Multiple Copies Of LP s Same Title

Whatjd says is of utmost importance. The basic record collector rules/guidelines for audiophiles are as follows:
1)Always try to identify first issues/labels
2)Always purchase the copy in the Home country of the master tape (and forget about those wonderful Japanese pressings with the perfect and quiet surfaces and the better covers. Magnificent work, but almost always inferior sound compared to original country of origin issues. wasted alot of money on these. Too bad cause the workmanship was none finer!)
3)There are exceptions, but remember reissues are usually Not as good as originals. Many factors that include Tape deterioration and SS electronics in the case of pre 64 music.
4) Audiophile issues from Mobile Fidelity usually are Not as good as original issues either, UNLESS the mastering was botched up to begin with (Like most A&M Record 70s pop releases)
Sorry if I drifted off thread.
Finally, Yes I also snag insurance copies when I see the correct combiations listed above......Thanks for listening...Frank

Khawk, And that 1S/1S Pines sounds waaaay better than the Classic Reissue. Too bad, Had they used Doug at The Mastering Lab,I am sure he would have equalled and most likely surpassed the 1S/1S Original,since the tapes were in such good shape. Once again Tube vs SS from I to O. mastering!!........Frank

Khawk, Sugarbrie, I also try to purchase on CD, everything I like on LP. Sometimes it works(with decent sound), and sometimes it does'nt. But sometimes it surpasses the LP, as in the case of the incredible(musically) Deutch Grammophone DG catalog. I consistently hear better sound on the CDs than even the original pressings.
Don, the MOFI "Abbey Road" was done pretty well. It does have value but not big money.
RCprince, I just knew someone would bring up the "compression" issue on RCA, and ,of course, you are right about the bass dynamics being better on Classic. My issue is with the top stridency on strings compared with the original. I am sure this was a function of Bernie Grundman's Studer mastering deck, even though the electronics (preamp), I know were completely custom and were not Studer. The original all tube mastering at TML, would have given us a miracle of sound I am sure........Frank

Slawney, I'm not anti SS as you seem to think. Overall, I feel that classic did a good job with the transfers. The bass and dynamics are superior, as mentioned previously. The "compression" is gone, the overall sound is cleaner, but more sterile as well. The top end is more extended. Some very good improvements. But, the 3D and smoothness of the strings on the originals is compromised on the reissue.
Since the recording was originally mastered all tube, it only makes sense to reissue it that way (RCA themselves thought it best too, on the tape deck at least when thier CD issues were released). I can think of no other reason for the "falsification" of the violins.
Since these Reiner issues are arguably the most important musically and sonically in the Stereo era, I wished for TML's all tube chain, to mimmick the way it was done in 58.
Let it be known that in no way would these recordings have reached exhaulted status SONICALLY, without the original all tube chain used in the birth of stereo.......Frank