Multiple Copies Of LP s Same Title

Thank you, gentlemen. Sorry for going off topic as well.

While I never used to do this in my foolish youth (vinyl was always around, just go to the record store and pick up another copy if you scratched your copy), I have been doing this for years with the reissues, figuring that they won't be around forever and, even if I never wear out my originals, I'll have collectors' items. Look at what Chad is charging for the out of print Classic reissues! I don't do this as much with used vinyl unless I really like the record. I think Harry Pearson used to write about picking up an HP 6-pack, i.e., 6 copies of the same record. Certainly a wise strategy in this day and age, in my view.

Khawk, I believe that there are very few of those 1S/1S stampers around, as they were too dynamic for almost all of the record playing systems of the day. The lowest number I think RCA released in bulk (and which I found) was a 10S/10S, if I recall correctly (and I like the Classic better than that pressing, tubes or no tubes, because RCA must have done some compression of the dynamics to keep the styli of the day in the grooves)--Frap, do you remember? In any event, you have a true rarity, guard it with your life!

David: Yes, you are not alone. Now, where should we send our respective bills for this therapy?

Frank, you're definitely right about the sweeter highs on the originals vs. the Classics. Part of this is offset by the better bass, dynamics, transparency and getting closer to the master tape, but yeah, I would not have minded tube mastering either, we could have had the best of both worlds. In the end, as I believe you said, we should be happy that they have made these reissues, they bring a new and bit different view to a great series of recordings.

None, really, Slawney--I'm thankful for the excellent job he did. And I can sweeten the strings a little with a choice of tubes in the MC stage of my preamp. So I guess I'm more than happy with the way things are; the greatness of the performances and recordings shines through, tubes or transistors. For those who wonder what the difference might have been, though, two interesting possibilities: 1. My recollection is that Analog Productions a few years ago did a reissue of a jazz album (don't recall which) which Bernie had originally mastered, but for which they had Doug Sax do the mastering. In response to protests, they did an alternate version of the same record, same tapes, with Bernie doing the remastering. I have not listened to either, but it might be interesting to compare. 2. Classic did a DAD of the old Ravel Vox Box with the Minnesota Orchestra (I assume Bernie was involved in the remastering, but am not sure), which I have, and which Analog Productions released both as a CD and vinyl record mastered by Mr. Sax. There is a definite bloom and ripeness in the Sax-mastered discs you don't get on the Classic, although in many respects I prefer the Classic version for its neutrality and better transparency, particularly in the lower frequencies (except for the damned reversed channels from track to track--maddening!). Apples and oranges, I know, due to the formats, but in terms of tonal balance the AP versions sound a little colored to me. Wouldn't want to live without either, though!

Detlof, my firm used to have an office in Budapest, wish I'd known of the shop, I would've visited. Since I'm going to be in Prague and Vienna the beginning of June, any suggestions on good record stores there?