Thanks, Scott! Fun to see your various copies. And re: video, I liked seeing the close-up photos you inserted, too. I have the AP 33 and the packaging is quite beautiful.
Thank you for your comment, Jason! This was a fun video to do, and I designed it more around a show and tell this time because the sets are so visually interesting. I think using closeups throughout helps you see things better, but provides a nice break in what would be a long rather static monologue. Any of these records sounds great, and the AP is my favorite overall. It's compact, looks gorgeous, is pressed better than all of them, provides the quietest surfaces and has 95% of the SQ of the best 45s, some would say it's even closer. You've got a great pressing. Hope you enjoy the music from time to time. The recording is just beautiful.
This is so absorbing. My jaw is hitting the floor on the prices. Thousands?!?! I understand hundreds…..I’m glad you got a play copy finally. I need to hear this recording.
I'm sure it's available on a standard CD. It's great but not 1,000 great! That's more about rarity. Maybe you'll come across the Victrola I showed. Could be had for peanuts and it's really good!
Wow. What a collection of this recording you have! I have the AP 45rpm boxset and it sounds amazing to me on my humble system. Oh, and it is available.
Same here : i could find a new, sealed copy, AP 33, here in switzerland for 100 Euro. I am very happy, this is really superb. Thanks for your advice. I will try to find a US RCA-Victrola stereo copy of Ernest Ansermet - Ballet Favorites , and compare the sound. Happy New Year 😎 luca
Hi Scott. I bought the AP 2x33 a few months ago and I’m thrilled with it, the music, the performances, the recording, and the pressing. AS did have their 45rpm set available at that time, but like you I don’t like interrupting the music with more frequent flipping, and the 33 sounds absolutely brilliant, good enough to make my ears super happy. I don’t have any other pressings of this, and I was really happy to learn about them from this video. Plus I’ve been buying probably a few too many UHQRs, One Steps, and the like. Gotta draw the line somewhere. Thanks so much for another really thoughtful and informative video! Ron
Hi Ron, As these are essentially the same records as the Classics, using the same metalwork, there was absolutely no need to go with the 45, especially considering the side breaks. I've heard it at 45 many times and I get much more enjoyment from the AP 33. You got the right one for this fabulous recording.
Hey Scott, congrats to your royal ballet treasures. I love that album a lot, too, but decided to stick with the AP 33 which perfectly fits my needs to experience that grand performances and recording. I agree that in this case 45 cuts are disrupting the joy of listening. Not sure why people are buying the killer priced 45s at all while the AP 33 sounds so great. I do own a number of classical Classic Records‘ resp. AP releases from original Classic mothers. Grundman remastered many outstanding classical releases for Classic, and I am glad that AP continues to curate them. (PS I also own a great number of Classics‘ Jazz releases in Mono (cut from the original mono masters), and to me they are much better sounding than their extremely panned stereo counterparts). Many thanks for your great review.
Hi Thomas, I agree, these 45 cuts are becoming redundant in many cases, especially with the Classic Living Stereo classical releases. The AP 33 is now my go to and preferable.
Terrific review and competist assessment. You might should have mentioned The RCA Bible is way out of print and a really rare thing to find for under $100.00.
It really does sound like The Royal Ballet Gala Performances has been a bit of an odyssey for you. Chasing the sound is what audiophiles do best. 😜There's a library affiliated used book store where I live that sells used vinyl records. Their stock is composed of donations, so the prices are very sweet. I've been going to that store for nearly 25 years. Sometimes I would look through their classical section and could swear that I saw this box set there. There's a good chance that it was an original pressing and maybe even a stereo version. I didn't know about the album and just thought is was your run of the mill classical album. Now this album is on my radar, and I'll keep an eye out for it. 😍 Never knowing the joys contained in those grooves, people pass up albums like these. 😲
It certainly could have been! The light color and fragile texture of this box is subject to looking pretty shabby if tossed around in a used book store. My original was pretty beat looking because of this and it would have been a pass had I not known about it beforehand. That place sounds like a great resource. Keep looking, it's worth it!
Trust me, I've pulled a lot of great original issue vinyl out of that used book store for pennies on the dollar over two decades. A lot of it is in immaculate condition. Places like these can be the best kept secrets around. I've found Sheffield direct to disc recordings there. Are you familiar with Sheffield recordings? They're the best sounding vinyl records I've ever heard. 😻@@ThePressingMatters
Of course, I have many Sheffield records. I'm a bit envious you've got a resource like that. I guess I need to get back out there and check around my local area
It saddens me that they demolished Kingway hall in 1998 to build a hotel. Decca made so many great recordings there. All my favorite Solti London Symphony recordings were done at Kingsway Hall. So natural, beautiful and realistic. EMI made many fine recordings at Kingsway as well. What a wonderful recording hall it was. When I want to show off my system I play the ending of Solti's Mahler third with the dual timpanis and the London Symphony Brass fanfares and I get a grin on my face like a Cheshire cat. It sounds amazingly realistic. I thank Kenneth Wilkinson for the great engineering. I wish Decca could have done something to save it. I love that "Little Nipper" logo on the old "Shaded Dog" label RCA used on their vintage "Living Stereo" records. I have a 10" by 12" replica of the original Baraud painting done in the 1890's in a picture frame on my living room floor on a stand that I'm looking at right now. I believe that RCA bought the rights to the "Little Nipper" trademark from EMI/HMV in the early 1920's. The original Baraud painting of "Little Nipper" hangs in the executive offices of Capitol Records in Hollywood, California and is valued at about $11,000,000. I got my replica for my 50th birthday, 15 year ago, and it reminds me of all the great records RCA made in the golden age of recording.
Hi Scott, I was reading up on Kingsway Hall, such an interesting history. It seems lack of maintenance was such an issue, by the time anyone could possibly take it over, everyone passed on it. Such a shame. I'll definitely check out the Solti Mahler 3rd you mention. I may even have it, but a good chunk of my London catalog is unsorted right now, awaiting a fresh cleaning and evaluation.
I remember driving somewhere, perhaps upstate NY, and saw a building that had the nipper dog atop it. I'm not sure if the building had anything to do with RCA. Perhaps you know? Edit - It was in Albany! Pretty cool site! www.atlasobscura.com/places/the-worlds-largest-terrier-mascot-menands-new-york
I think when BMG took over RCA back in the 1980's there were some executive office in New Jersey, but I don't know is there was anything affiliated with RCA in upstate New York.
So it was a warehouse for gas meters and renovated in 1958 into a distributorship for RCA products at 991 Broadway Albany, New York. I have a little beanie baby Nipper too and everytime I see that terrier I'm reminded of RCA records. Now I know. Back in the day they used to have a lot of Nipper replicas in the record stores in ceramic and paper mache. I just discovered they just reopened the HMV store on Oxford Street in London. I wish they would reopen some of the big record stores on this side of the water. It was so much fun.
Scott this is spooky as I was looking at this the other day for my wife for Xmas and was wondering if the 45 would be worth it and you have answered that thank you . I have the Buena vista social club on single sided LP's on classic and getting 8 LP's out is a long winded process 😁
Tony, I'm glad you caught this in time. To me there's no compelling reason to overspend on a lesser experience. This was programmed for 33 and it sounds very close to the 45. I definitely prefer it. My 45s of this are destined for the sell pile, not because they don't sound great, but the flipping and shelf space needed no longer serve me.
@@ThePressingMatters down side is the 45 in stock 33 not sure if they can get it in time but it will be worth the wait I am sure 😁😁. Great video by the way . Those 45 sets will sell fairly easy I am sure .
Hi Scott great video and a glorious set of copies of RBGP. It’s legendary audiophile status and eye-watering cost in the past means a high quality release at a relatively sane price should definitely be applauded. By coincidence I recently watched Dave Hurwitz review the complete Ansermet stereo boxset and I think he unintentionally threw shade on audiophiles when he got to the recordings that RBGP is derived from he kept saying “excerpts, who cares” ! But I think it is important to stress that in some ways RBGP is the Beatles Red Album of the glorious golden phase of late 1950’s Decca/RCA Kingsway Hall, mainly Wilkinson recorded era of Ballet music. If anyone UK/Europe based wants an incredible bargain supermarket own brand equivalent of RBGP my recommendation is the Ace of Diamonds boxset Invitation to a ballet festival. It was pressed in the 1970’s probably in response to Decca not getting the rights to RBGP and is a compendium of ballet bangers from the same period with a wider range of conductors venues and orchestras but the same charm and golden sound and generally goes for between £5 and 15 pounds!
Great comment. This is one of the few records where I don't really mind excerpts of complete scores, and the reason is its quality, and history. I like to hear anything Kenneth Wilkinson was involved with purely from a technical standpoint in the history of stereo recording. That is is so engaging musically and sonically always wins me over. For new listeners to ballet, it might be the ticket to admission. Not everyone has the patience to sit through a complete ballet without the visual component. This record unfolds like a show of highlights and easily holds the attention of anyone who likes fine music and great sound.
@@ThePressingMatters I agree with your comments Scott, that’s kind of why I ended up comparing to the Beatles Red album, a wonderful stand alone album but also one that if truly successful is a gateway to further delights that will partly supplant it. I’ve also been musing about the incredible audiophile quality of the Royal Covent Garden Orchestra during this golden period there is little written about the reasons for this but it may well be partly down to Kubelik’s influence working with them during the 1954-58 period as I did find an article interviewing several musicians during this period (but no one from the VPO!) about how influential his rehearsals were for them. It also seems likely that when Solti was recruited a few years later this would have further refined their incredible aptitude with ballet and opera scores.
Forgot one other small detail/comment on the Ansermet Decca recordings. In Japan, the Ansermet/OSR Decca recordings sold very. very well. Ansermet was extremely popular in Japan among both Audiophiles and classical music lovers. It's pretty easy to locate some of these recordings in Japan such as the Tchaikovsky ballet pieces. King issued many of these titles numerous times under different catalogue numbers. These versions used both with Decca UK cut lacquers and King Records cut lacquers. In Japan, Ansermet recordings sold so well that King Records compiled box sets of the Ansermet Ravel and Debussy recordings and issued these sets each as 4 LP box sets of orchestral music that were never issued in the UK or the US. Not to diverge too much but same is true with the Backhaus Beethoven Piano sonatas. In the US and UK, they were issued as individual titles only. In Japan, King issued these recordings as individual titles, and as a box set. And a few of these made it to the King Super Analogue series.
That Japanese obsession with some of these artists and genres has always been fascinating. I missed the whole King era, so it's always great to hear more detail on how they were perceived. Thank you for always contributing valuable information.
One of the King Decca Ansermet Japan pressings that I treasure I happened upon by accident on eBay . It is the Falla 3 cornered hat with a unIque cover of a flamenco dancer photograph. I realised when it arrived it was a grooved repressing from an original stamper. As far as I know unlike most early SXLs which had grooved Ace of Diamonds repressings done in the mid sixties for some reason 3CH only came out on AOD as a non grooved later version; so definitely worth getting if you see that cover!
@analogueanorak1904 Very interesting! I wasn't aware of that pressing, in fact the King Decca pressings are something I've not explored at all. Never have come across one.
@@analogueanorak1904 Very nice!! That recording was quite popular in Japan. Yes there are a number of the King titles on ebay. King issued this title at least 4 or 5 times, maybe more. Some of the King Isses used the Decca UK artwork and Decca UK lacquers, some used the US London artwork and some used King's own artwork for the cover with a King cut lacquer. Yes, if you have a deep groove press, its most likely the Decca UK lacquer that was used. I bought my first 5 King pressings at PREX (Princeton Record Exchange) in NJ many years ago before I started traveling to Japan. Did not even know what they (King pressings) were at the time. PREX had them labeled as "Japanese Import". They were marked 2 dollars more than the typical London UK release so I figured what the heck, I will try it. Have to admit I was completely clueless about King Records back then.
@@ThePressingMatters It would have been something if King had included this recording in their laboratory standard series but unfortunately they did not. I am pretty sure King issued that title (3 cornered hat) more times than Decca /London did with a greater number of cover artwork variations.
Nice review Scott. Ironic you did this review, I almost sent you an email saying have you considered doing the Royal Ballet. You are quite correct, its a great, great set and an easy segway into classical music for those who may not be too familiar with it. Both the Classic and the AP versions of the 33 and 45 are really good. And you are right about the current AP release. Its worth the 80 bucks for the title. I did a similar move you did when Classic first released their first versions. Bought 2 copies of the 33, two copies of the 33 in the re-issue box set, and two of copies of the 45 set. At the time no one knew how long these would be available. Was not like today where vinyl is hot again. I did not opt for the clarity vinyl 45 version or the test pressings. With the AP versions bought only one copy each of the 33 gatefold and 45 box set. Also have an Indy 1S/1S pressing of the original and several copies of the PLUM VICS 1066. When new, the original Soria set did not sell very well. There was only a 1S Indy pressing of it, no 2S/2S or 3S/3S that I am aware of. When new the Soria set sold for quite a bit more than the standard RCA Living stereo album and was by an Orchestra many in the US had not heard of so can see why RCA did not sell and press many copies. With the VICS-1066, it was pressed by RCA Indy only to the best of my knowledge. And even more strange all the PLUM VICS I have seen were 4S/4S copies. Makes one wonder what happened to the original RCA 1S/1S lacquers for the VICS issue. A bit rhetorical, but one would wonder if the guys at RCA thought they were cut too hot, did the 1S/1S lacquers get damaged or did they get scrapped from some other reason? And what about the 2S/2S or 3S/3S lacquers, what happened to those?? One of the small RCA details lost to time. RCA was very methodical in their lacquer numbering system. Usually Indy would get the 1S/1S, Rockaway would get the 2S/2S, Hollywood would get the 3S/3S, etc. If a title sold well, then the cycle would repeat. As the stampers wore at different rates and the pressing plants needed fresh lacquers, later you would see one side of an Indy pressing with 1S and the other side with 5S or 6S. This offset in numbering would become more common as titles sold well. There was no Rockaway or Hollywood pressings on the stereo or mono Soria set or the VICS 0166 from what I can tell. It sure appears the VICS copy did not sell well either when new. For a short time, RCA did issue the VICS as a pink label, thick pressing (140 gram Indy pressing), no deep groove, smaller pressing ring which signifies the lacquers were cut on all solid state equipment and pressed with the later presses and tooling. Incidentally if a person finds a PLUM VICS without the deep groove, its not really a PLUM VICS, it uses the solid state lacquer cutting and later pressing used on the Pink label VICS. Like most labels RCA did not throw away much. After the change from Tube to solid state if RCA still had plum labels remaining, they would run them out since it was the same catalogue number. The pink VICS do not have the lush string tone of the Plum VICS have but usually do have better dynamics. Also a bit strange is London/Decca recorded this title. Once the contract expired with RCA, Decca never re-issued this under their 1st line labels CS or SXL (the way they did with other titles recorded for RCA including Venice - LSC 2313; which was re-issued under London/Decca as Solti at the Opera). But Decca did issue a copy of the VICS 1066 pressed in England. Its a really nice sounding copy that does not go for a ton. I often wondered why Analogue Productions did not issue this with a fresh lacquer cut by Ryan Smith at Sterling Sound? would have more of that warm string tone the Classic and current AP don't have compared to the original Indy Pressing. The VICS 1066 copy was also issued in Germany but have not heard a copy. The VICS 1066 was also issued in Japan under catalog number GT 9210, with King Records excellent lacquer cutting and King Records Pressing on all virgin vinyl. The King pressing is not easy to find. Its one copy I would love to find but do not have it and have not heard it.
I'm curious if you feel the 45s are a significant enough jump in SQ to warrant the break up of these pieces, which are already excerpts of course, the constant flipping and the considerable shelf real estate they take up. Seriously considering letting one of my 45 boxes go to the sell pile.
@@ThePressingMattersthat is a tough call. The 45 set does sound much better. As you noted the drawback is a lot more flipping, getting up and down. And it breaks up the getting into the music mood. If it helps you out at all, I have played the AP 45 RPM set a few times. One of the 33 RPM sets gets regular play. Not sure I could say there is a difference between the AP and Classic 45 sets. The other option is to transfer the 45 RPM set to open reel tape and play the tape. A person could really get into the music and SQ of the 45 set.
@@mcgjohn22 I may just do that. I can't afford one of the big tape decks, but I may be getting my Pioneer reel to reel restored soon. It'll be great too because I collected many Living Stereo classical prerecorded tapes back when I had it working. I'll do a feature on that process and my tapes when it's underway.
Now we can collect $500 Ultra Tapes of Lt.Kije! If only you have the player! I'm actually going to be hearing that Ultratape next week and will report on it!
I have two pressings that weren’t mentioned, the Classic two disc in a gatefold cover and the Classic 45rpm set. And I also find the nine sides to be a pain to play. One of the discs has the wrong label, adding to the fun. My favorite piece is Swan Lake. The Nutcracker tracks are not in the same order as in the ballet, but the suite has a nice flow. This collection has been seriously overplayed, but I guess every audiophile should have a copy.
Hi Louis, I did forget to mention Classic's later gatefold. Do you have the Classic 45 in a red box? Or another variation? I honestly think the black 180gm pressings are better than the Clarity or 200gm black pressings in general. 9 flips is just too much when you consider these are already excepts from the full ballets. Chopping them further is kind of silly. There is an uptick in SQ with the 45s, but I find I like the trade off with the 33. I think this collection is a must for Living Stereo collectors, but even at $80 is a bit expensive for a casual fan just wanting some ballet highlights.
My 45rpm box set is in a black box with gold label and the gatefold album inside, like the one in the video. Vinyl is black, I bought it as soon as it was released. I am done buying the same music over and over again, so I’ll live with the two versions I own. You are right to have mentioned the harp, it is very well recorded. All too often, a harp can sound like fingernails running over a comb. One other cool thing, the underground (train) is audible shortly into the Nutcracker.
@@louisperlman8030 Oh ok, so that must have been right before this Clarity version. Probably preferable. Maybe more like the pressings in my test box. Yes, Kingsway, for all its sonic virtues, had the underground noise to deal with for recording sessions. I guess it was unavoidable and it was decided they would not redo a take in some cases
I got my Analogue Productions copy today and was absolutely thrilled with the Nutcracker, and I think the $80 was worth it just for that piece. But I have run into a weird situation with Side 3 on the second disc. Starting with Swan Lake I am detecting a low frequency rumble running under the music which of course is more noticeable in the quieter passages. I ruled out my central air conditioner and the fairly close train tracks. I engaged the subsonic filter on my Pro-Ject DS3 B phono pre-amp but that made no difference. I have no idea if it could be caused by something in my system but I've never experienced it before. Have you heard of this before or do you have any ideas?
I wonder if this is one of the famous RCAs that were done in Kingsway Hall and on occasion you can hear the subway. I am aware that some of the Decca RCAs that suffer from this. I don't think I ever noticed it on this record, but my set up at the time was restricted in low frequency content. Let me see if I can find out
Yes, if you go to Wiki and look up Kingsway Hall, you'll find a section about recording engineers having trouble with rumbling of the subway. Still it was a favored location. I looked in the RCA Bible and saw no note of this happening on The Royal Ballet Gala. But it could be the culprit. I'll keep researching it.
I think I hear exactly what you're talking about. A little bit during the harp solo and then again on the violin and harp section. In the first instance it sounds like a truck may be pulling away from a stop out side the hall. The second instance and I think I heard a third seems like a longer continuous roar, like the underground subway passed during the segment. Very good ears! I have heard about this happening with Kingsway recordings but I suppose my system wasn't reaching as deep as it does now and it went unnoticed a year back. I hope you're not too disappointed by it. There's some amazing music on this side!
I can't believe you got the 45 test pressing you madman! What is that worth nowadays? Also, does the Classic 33 sound the same as the AP 33? Thanks buddy
How much better sounding is the 45? I'm tempted by the AP 45 but it's a crazy number of discs. It seems like you recommend sticking with the AP 33. Thanks
Hi Andrew I would stick with the 33, in fact I do when listening to this. Maybe the 45 if you are want to demo short segments and the increase in SQ is there. If you must have the best possible sound and can deal with the interruptions, the 45 is marginally better (at least in my Classics). I find the 45 a royal pain in this case, and rarely play either box that I showed here. Also the more discs, the more cleaning and opportunity for issues, especially the Classics which are nine discs!
Makes me glad I got the 33 instead of waiting for the 45. It really is one of the best Classical recordings Ive heard. Did you ever compare the sound of these, besides the surface noise, which do you prefer?
Yes, I did go back and forth through the 33 and 45s. I won't say I didn't hear a difference - there were slight improvements in the presentation of the 45, but to my mind they were so minor that when I downsize eventually, I'll just keep the AP and Classic 33 (for the beautiful box) 45 is a no go for me. I think you made the right choice.
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Thanks, Scott! Fun to see your various copies. And re: video, I liked seeing the close-up photos you inserted, too. I have the AP 33 and the packaging is quite beautiful.
Thank you for your comment, Jason! This was a fun video to do, and I designed it more around a show and tell this time because the sets are so visually interesting. I think using closeups throughout helps you see things better, but provides a nice break in what would be a long rather static monologue. Any of these records sounds great, and the AP is my favorite overall. It's compact, looks gorgeous, is pressed better than all of them, provides the quietest surfaces and has 95% of the SQ of the best 45s, some would say it's even closer. You've got a great pressing. Hope you enjoy the music from time to time. The recording is just beautiful.
Awesome. What a great recording. And you have wonderful copies in your collection. Thanks for all the hard work. All the very best, Anthony
Thank you Anthony. It's always a joy to review something this good!
This is so absorbing. My jaw is hitting the floor on the prices. Thousands?!?! I understand hundreds…..I’m glad you got a play copy finally. I need to hear this recording.
I'm sure it's available on a standard CD. It's great but not 1,000 great! That's more about rarity. Maybe you'll come across the Victrola I showed. Could be had for peanuts and it's really good!
Wow. What a collection of this recording you have! I have the AP 45rpm boxset and it sounds amazing to me on my humble system. Oh, and it is available.
Hi Chris! I thought about getting another 45 but you can see how things are!!!
@@ThePressingMatters yes, you definitely have a problem!😀😀
Same here : i could find a new, sealed copy, AP 33, here in switzerland for 100 Euro. I am very happy, this is really superb. Thanks for your advice. I will try to find a US RCA-Victrola stereo copy of Ernest Ansermet - Ballet Favorites , and compare the sound. Happy New Year 😎 luca
Thank you Luca!
I wish you the very best in this New Year.
Thanks!
Thank you, Marco! I'm glad you found some value in this video!
Hi Scott.
I bought the AP 2x33 a few months ago and I’m thrilled with it, the music, the performances, the recording, and the pressing. AS did have their 45rpm set available at that time, but like you I don’t like interrupting the music with more frequent flipping, and the 33 sounds absolutely brilliant, good enough to make my ears super happy.
I don’t have any other pressings of this, and I was really happy to learn about them from this video. Plus I’ve been buying probably a few too many UHQRs, One Steps, and the like. Gotta draw the line somewhere.
Thanks so much for another really thoughtful and informative video!
Ron
Hi Ron,
As these are essentially the same records as the Classics, using the same metalwork, there was absolutely no need to go with the 45, especially considering the side breaks. I've heard it at 45 many times and I get much more enjoyment from the AP 33. You got the right one for this fabulous recording.
Hey Scott, congrats to your royal ballet treasures. I love that album a lot, too, but decided to stick with the AP 33 which perfectly fits my needs to experience that grand performances and recording. I agree that in this case 45 cuts are disrupting the joy of listening. Not sure why people are buying the killer priced 45s at all while the AP 33 sounds so great. I do own a number of classical Classic Records‘ resp. AP releases from original Classic mothers. Grundman remastered many outstanding classical releases for Classic, and I am glad that AP continues to curate them. (PS I also own a great number of Classics‘ Jazz releases in Mono (cut from the original mono masters), and to me they are much better sounding than their extremely panned stereo counterparts). Many thanks for your great review.
Hi Thomas,
I agree, these 45 cuts are becoming redundant in many cases, especially with the Classic Living Stereo classical releases. The AP 33 is now my go to and preferable.
Terrific review and competist assessment. You might should have mentioned The RCA Bible is way out of print and a really rare thing to find for under $100.00.
Thank you! Yes I have mentioned the book before, stating it took me years to find a copy. It's very hard to get a nice copy.
It really does sound like The Royal Ballet Gala Performances has been a bit of an odyssey for you. Chasing the sound is what audiophiles do best. 😜There's a library affiliated used book store where I live that sells used vinyl records. Their stock is composed of donations, so the prices are very sweet. I've been going to that store for nearly 25 years. Sometimes I would look through their classical section and could swear that I saw this box set there. There's a good chance that it was an original pressing and maybe even a stereo version. I didn't know about the album and just thought is was your run of the mill classical album. Now this album is on my radar, and I'll keep an eye out for it. 😍 Never knowing the joys contained in those grooves, people pass up albums like these. 😲
It certainly could have been! The light color and fragile texture of this box is subject to looking pretty shabby if tossed around in a used book store. My original was pretty beat looking because of this and it would have been a pass had I not known about it beforehand. That place sounds like a great resource. Keep looking, it's worth it!
Trust me, I've pulled a lot of great original issue vinyl out of that used book store for pennies on the dollar over two decades. A lot of it is in immaculate condition. Places like these can be the best kept secrets around. I've found Sheffield direct to disc recordings there. Are you familiar with Sheffield recordings? They're the best sounding vinyl records I've ever heard. 😻@@ThePressingMatters
Of course, I have many Sheffield records. I'm a bit envious you've got a resource like that. I guess I need to get back out there and check around my local area
Happy hunting👍👍👍 @@ThePressingMatters
It saddens me that they demolished Kingway hall in 1998 to build a hotel. Decca made so many great recordings there. All my favorite Solti London Symphony recordings were done at Kingsway Hall. So natural, beautiful and realistic. EMI made many fine recordings at Kingsway as well. What a wonderful recording hall it was. When I want to show off my system I play the ending of Solti's Mahler third with the dual timpanis and the London Symphony Brass fanfares and I get a grin on my face like a Cheshire cat. It sounds amazingly realistic. I thank Kenneth Wilkinson for the great engineering. I wish Decca could have done something to save it. I love that "Little Nipper" logo on the old "Shaded Dog" label RCA used on their vintage "Living Stereo" records. I have a 10" by 12" replica of the original Baraud painting done in the 1890's in a picture frame on my living room floor on a stand that I'm looking at right now. I believe that RCA bought the rights to the "Little Nipper" trademark from EMI/HMV in the early 1920's. The original Baraud painting of "Little Nipper" hangs in the executive offices of Capitol Records in Hollywood, California and is valued at about $11,000,000. I got my replica for my 50th birthday, 15 year ago, and it reminds me of all the great records RCA made in the golden age of recording.
Hi Scott,
I was reading up on Kingsway Hall, such an interesting history. It seems lack of maintenance was such an issue, by the time anyone could possibly take it over, everyone passed on it. Such a shame. I'll definitely check out the Solti Mahler 3rd you mention. I may even have it, but a good chunk of my London catalog is unsorted right now, awaiting a fresh cleaning and evaluation.
I remember driving somewhere, perhaps upstate NY, and saw a building that had the nipper dog atop it. I'm not sure if the building had anything to do with RCA. Perhaps you know?
Edit - It was in Albany! Pretty cool site!
www.atlasobscura.com/places/the-worlds-largest-terrier-mascot-menands-new-york
I think when BMG took over RCA back in the 1980's there were some executive office in New Jersey, but I don't know is there was anything affiliated with RCA in upstate New York.
@@ScottHughes-n4u Check out the article I linked. It has some info on why and how Nipper got there.
So it was a warehouse for gas meters and renovated in 1958 into a distributorship for RCA products at 991 Broadway Albany, New York. I have a little beanie baby Nipper too and everytime I see that terrier I'm reminded of RCA records. Now I know. Back in the day they used to have a lot of Nipper replicas in the record stores in ceramic and paper mache. I just discovered they just reopened the HMV store on Oxford Street in London. I wish they would reopen some of the big record stores on this side of the water. It was so much fun.
Scott this is spooky as I was looking at this the other day for my wife for Xmas and was wondering if the 45 would be worth it and you have answered that thank you .
I have the Buena vista social club on single sided LP's on classic and getting 8 LP's out is a long winded process 😁
Tony,
I'm glad you caught this in time. To me there's no compelling reason to overspend on a lesser experience. This was programmed for 33 and it sounds very close to the 45. I definitely prefer it. My 45s of this are destined for the sell pile, not because they don't sound great, but the flipping and shelf space needed no longer serve me.
@@ThePressingMatters down side is the 45 in stock 33 not sure if they can get it in time but it will be worth the wait I am sure 😁😁. Great video by the way . Those 45 sets will sell fairly easy I am sure .
Hi Scott great video and a glorious set of copies of RBGP. It’s legendary audiophile status and eye-watering cost in the past means a high quality release at a relatively sane price should definitely be applauded. By coincidence I recently watched Dave Hurwitz review the complete Ansermet stereo boxset and I think he unintentionally threw shade on audiophiles when he got to the recordings that RBGP is derived from he kept saying “excerpts, who cares” ! But I think it is important to stress that in some ways RBGP is the Beatles Red Album of the glorious golden phase of late 1950’s Decca/RCA Kingsway Hall, mainly Wilkinson recorded era of Ballet music. If anyone UK/Europe based wants an incredible bargain supermarket own brand equivalent of RBGP my recommendation is the Ace of Diamonds boxset Invitation to a ballet festival. It was pressed in the 1970’s probably in response to Decca not getting the rights to RBGP and is a compendium of ballet bangers from the same period with a wider range of conductors venues and orchestras but the same charm and golden sound and generally goes for between £5 and 15 pounds!
Great comment. This is one of the few records where I don't really mind excerpts of complete scores, and the reason is its quality, and history. I like to hear anything Kenneth Wilkinson was involved with purely from a technical standpoint in the history of stereo recording. That is is so engaging musically and sonically always wins me over. For new listeners to ballet, it might be the ticket to admission. Not everyone has the patience to sit through a complete ballet without the visual component. This record unfolds like a show of highlights and easily holds the attention of anyone who likes fine music and great sound.
@@ThePressingMatters I agree with your comments Scott, that’s kind of why I ended up comparing to the Beatles Red album, a wonderful stand alone album but also one that if truly successful is a gateway to further delights that will partly supplant it. I’ve also been musing about the incredible audiophile quality of the Royal Covent Garden Orchestra during this golden period there is little written about the reasons for this but it may well be partly down to Kubelik’s influence working with them during the 1954-58 period as I did find an article interviewing several musicians during this period (but no one from the VPO!) about how influential his rehearsals were for them. It also seems likely that when Solti was recruited a few years later this would have further refined their incredible aptitude with ballet and opera scores.
@@analogueanorak1904Verybinteresting information, thank you my friend!
Forgot one other small detail/comment on the Ansermet Decca recordings. In Japan, the Ansermet/OSR Decca recordings sold very. very well. Ansermet was extremely popular in Japan among both Audiophiles and classical music lovers. It's pretty easy to locate some of these recordings in Japan such as the Tchaikovsky ballet pieces. King issued many of these titles numerous times under different catalogue numbers. These versions used both with Decca UK cut lacquers and King Records cut lacquers. In Japan, Ansermet recordings sold so well that King Records compiled box sets of the Ansermet Ravel and Debussy recordings and issued these sets each as 4 LP box sets of orchestral music that were never issued in the UK or the US. Not to diverge too much but same is true with the Backhaus Beethoven Piano sonatas. In the US and UK, they were issued as individual titles only. In Japan, King issued these recordings as individual titles, and as a box set. And a few of these made it to the King Super Analogue series.
That Japanese obsession with some of these artists and genres has always been fascinating. I missed the whole King era, so it's always great to hear more detail on how they were perceived. Thank you for always contributing valuable information.
One of the King Decca Ansermet Japan pressings that I treasure I happened upon by accident on eBay . It is the Falla 3 cornered hat with a unIque cover of a flamenco dancer photograph. I realised when it arrived it was a grooved repressing from an original stamper. As far as I know unlike most early SXLs which had grooved Ace of Diamonds repressings done in the mid sixties for some reason 3CH only came out on AOD as a non grooved later version; so definitely worth getting if you see that cover!
@analogueanorak1904 Very interesting! I wasn't aware of that pressing, in fact the King Decca pressings are something I've not explored at all. Never have come across one.
@@analogueanorak1904 Very nice!! That recording was quite popular in Japan. Yes there are a number of the King titles on ebay. King issued this title at least 4 or 5 times, maybe more. Some of the King Isses used the Decca UK artwork and Decca UK lacquers, some used the US London artwork and some used King's own artwork for the cover with a King cut lacquer. Yes, if you have a deep groove press, its most likely the Decca UK lacquer that was used. I bought my first 5 King pressings at PREX (Princeton Record Exchange) in NJ many years ago before I started traveling to Japan. Did not even know what they (King pressings) were at the time. PREX had them labeled as "Japanese Import". They were marked 2 dollars more than the typical London UK release so I figured what the heck, I will try it. Have to admit I was completely clueless about King Records back then.
@@ThePressingMatters It would have been something if King had included this recording in their laboratory standard series but unfortunately they did not. I am pretty sure King issued that title (3 cornered hat) more times than Decca /London did with a greater number of cover artwork variations.
Thanks for this review...I'll hop over to Audiophilia and find that write up. This one really is fantastically difficult to find.
Definitely, I know, I was shocked to see it once in my life!
Nice review Scott. Ironic you did this review, I almost sent you an email saying have you considered doing the Royal Ballet. You are quite correct, its a great, great set and an easy segway into classical music for those who may not be too familiar with it. Both the Classic and the AP versions of the 33 and 45 are really good. And you are right about the current AP release. Its worth the 80 bucks for the title. I did a similar move you did when Classic first released their first versions. Bought 2 copies of the 33, two copies of the 33 in the re-issue box set, and two of copies of the 45 set. At the time no one knew how long these would be available. Was not like today where vinyl is hot again. I did not opt for the clarity vinyl 45 version or the test pressings. With the AP versions bought only one copy each of the 33 gatefold and 45 box set. Also have an Indy 1S/1S pressing of the original and several copies of the PLUM VICS 1066. When new, the original Soria set did not sell very well. There was only a 1S Indy pressing of it, no 2S/2S or 3S/3S that I am aware of. When new the Soria set sold for quite a bit more than the standard RCA Living stereo album and was by an Orchestra many in the US had not heard of so can see why RCA did not sell and press many copies. With the VICS-1066, it was pressed by RCA Indy only to the best of my knowledge. And even more strange all the PLUM VICS I have seen were 4S/4S copies. Makes one wonder what happened to the original RCA 1S/1S lacquers for the VICS issue. A bit rhetorical, but one would wonder if the guys at RCA thought they were cut too hot, did the 1S/1S lacquers get damaged or did they get scrapped from some other reason? And what about the 2S/2S or 3S/3S lacquers, what happened to those?? One of the small RCA details lost to time. RCA was very methodical in their lacquer numbering system. Usually Indy would get the 1S/1S, Rockaway would get the 2S/2S, Hollywood would get the 3S/3S, etc. If a title sold well, then the cycle would repeat. As the stampers wore at different rates and the pressing plants needed fresh lacquers, later you would see one side of an Indy pressing with 1S and the other side with 5S or 6S. This offset in numbering would become more common as titles sold well. There was no Rockaway or Hollywood pressings on the stereo or mono Soria set or the VICS 0166 from what I can tell. It sure appears the VICS copy did not sell well either when new. For a short time, RCA did issue the VICS as a pink label, thick pressing (140 gram Indy pressing), no deep groove, smaller pressing ring which signifies the lacquers were cut on all solid state equipment and pressed with the later presses and tooling. Incidentally if a person finds a PLUM VICS without the deep groove, its not really a PLUM VICS, it uses the solid state lacquer cutting and later pressing used on the Pink label VICS. Like most labels RCA did not throw away much. After the change from Tube to solid state if RCA still had plum labels remaining, they would run them out since it was the same catalogue number. The pink VICS do not have the lush string tone of the Plum VICS have but usually do have better dynamics. Also a bit strange is London/Decca recorded this title. Once the contract expired with RCA, Decca never re-issued this under their 1st line labels CS or SXL (the way they did with other titles recorded for RCA including Venice - LSC 2313; which was re-issued under London/Decca as Solti at the Opera). But Decca did issue a copy of the VICS 1066 pressed in England. Its a really nice sounding copy that does not go for a ton. I often wondered why Analogue Productions did not issue this with a fresh lacquer cut by Ryan Smith at Sterling Sound? would have more of that warm string tone the Classic and current AP don't have compared to the original Indy Pressing. The VICS 1066 copy was also issued in Germany but have not heard a copy. The VICS 1066 was also issued in Japan under catalog number GT 9210, with King Records excellent lacquer cutting and King Records Pressing on all virgin vinyl. The King pressing is not easy to find. Its one copy I would love to find but do not have it and have not heard it.
I'm curious if you feel the 45s are a significant enough jump in SQ to warrant the break up of these pieces, which are already excerpts of course, the constant flipping and the considerable shelf real estate they take up. Seriously considering letting one of my 45 boxes go to the sell pile.
@@ThePressingMattersthat is a tough call. The 45 set does sound much better. As you noted the drawback is a lot more flipping, getting up and down. And it breaks up the getting into the music mood. If it helps you out at all, I have played the AP 45 RPM set a few times. One of the 33 RPM sets gets regular play. Not sure I could say there is a difference between the AP and Classic 45 sets. The other option is to transfer the 45 RPM set to open reel tape and play the tape. A person could really get into the music and SQ of the 45 set.
@@mcgjohn22 I may just do that. I can't afford one of the big tape decks, but I may be getting my Pioneer reel to reel restored soon. It'll be great too because I collected many Living Stereo classical prerecorded tapes back when I had it working. I'll do a feature on that process and my tapes when it's underway.
@@ThePressingMatters yes, did very similar. started collecting once I knew what they were.
Now we can collect $500 Ultra Tapes of Lt.Kije! If only you have the player! I'm actually going to be hearing that Ultratape next week and will report on it!
I have two pressings that weren’t mentioned, the Classic two disc in a gatefold cover and the Classic 45rpm set. And I also find the nine sides to be a pain to play. One of the discs has the wrong label, adding to the fun. My favorite piece is Swan Lake. The Nutcracker tracks are not in the same order as in the ballet, but the suite has a nice flow. This collection has been seriously overplayed, but I guess every audiophile should have a copy.
Hi Louis,
I did forget to mention Classic's later gatefold. Do you have the Classic 45 in a red box? Or another variation? I honestly think the black 180gm pressings are better than the Clarity or 200gm black pressings in general. 9 flips is just too much when you consider these are already excepts from the full ballets. Chopping them further is kind of silly. There is an uptick in SQ with the 45s, but I find I like the trade off with the 33. I think this collection is a must for Living Stereo collectors, but even at $80 is a bit expensive for a casual fan just wanting some ballet highlights.
My 45rpm box set is in a black box with gold label and the gatefold album inside, like the one in the video. Vinyl is black, I bought it as soon as it was released. I am done buying the same music over and over again, so I’ll live with the two versions I own. You are right to have mentioned the harp, it is very well recorded. All too often, a harp can sound like fingernails running over a comb. One other cool thing, the underground (train) is audible shortly into the Nutcracker.
@@louisperlman8030 Oh ok, so that must have been right before this Clarity version. Probably preferable. Maybe more like the pressings in my test box.
Yes, Kingsway, for all its sonic virtues, had the underground noise to deal with for recording sessions. I guess it was unavoidable and it was decided they would not redo a take in some cases
Thank you sir. Any chance you could talk about the cd counterpart as well?
Your welcome! If I can get one, I'll definitely include it in a review. I just recently acquired a disc player so now it's a possibility.
Just had the AS delivered from the US not yet played
Cool, I'd love to hear your thoughts on it.
I got my Analogue Productions copy today and was absolutely thrilled with the Nutcracker, and I think the $80 was worth it just for that piece. But I have run into a weird situation with Side 3 on the second disc. Starting with Swan Lake I am detecting a low frequency rumble running under the music which of course is more noticeable in the quieter passages. I ruled out my central air conditioner and the fairly close train tracks. I engaged the subsonic filter on my Pro-Ject DS3 B phono pre-amp but that made no difference. I have no idea if it could be caused by something in my system but I've never experienced it before. Have you heard of this before or do you have any ideas?
I wonder if this is one of the famous RCAs that were done in Kingsway Hall and on occasion you can hear the subway. I am aware that some of the Decca RCAs that suffer from this. I don't think I ever noticed it on this record, but my set up at the time was restricted in low frequency content. Let me see if I can find out
Yes, if you go to Wiki and look up Kingsway Hall, you'll find a section about recording engineers having trouble with rumbling of the subway. Still it was a favored location. I looked in the RCA Bible and saw no note of this happening on The Royal Ballet Gala. But it could be the culprit. I'll keep researching it.
@@ThePressingMatters
Thanks Scott.
I'm sorry you are having this issue. I will be happy to check Side Three on my system now and see if I hear it. Will get back to you shortly
I think I hear exactly what you're talking about. A little bit during the harp solo and then again on the violin and harp section. In the first instance it sounds like a truck may be pulling away from a stop out side the hall. The second instance and I think I heard a third seems like a longer continuous roar, like the underground subway passed during the segment.
Very good ears! I have heard about this happening with Kingsway recordings but I suppose my system wasn't reaching as deep as it does now and it went unnoticed a year back.
I hope you're not too disappointed by it. There's some amazing music on this side!
I can't believe you got the 45 test pressing you madman! What is that worth nowadays?
Also, does the Classic 33 sound the same as the AP 33? Thanks buddy
I think it's reasonably priced at about $700 lol
The AP sounds better than the Classic 33. Quieter.
How much better sounding is the 45? I'm tempted by the AP 45 but it's a crazy number of discs. It seems like you recommend sticking with the AP 33. Thanks
Hi Andrew I would stick with the 33, in fact I do when listening to this. Maybe the 45 if you are want to demo short segments and the increase in SQ is there. If you must have the best possible sound and can deal with the interruptions, the 45 is marginally better (at least in my Classics). I find the 45 a royal pain in this case, and rarely play either box that I showed here.
Also the more discs, the more cleaning and opportunity for issues, especially the Classics which are nine discs!
Makes me glad I got the 33 instead of waiting for the 45. It really is one of the best Classical recordings Ive heard.
Did you ever compare the sound of these, besides the surface noise, which do you prefer?
Yes, I did go back and forth through the 33 and 45s. I won't say I didn't hear a difference - there were slight improvements in the presentation of the 45, but to my mind they were so minor that when I downsize eventually, I'll just keep the AP and Classic 33 (for the beautiful box)
45 is a no go for me. I think you made the right choice.