@syntax
That's interesting. Most collectors say they prefer SXL's over CS's, probably in an attempt to defend their buying decisions. You are the first person I come across who actually prefers the London's for their sonics. Which still seems to suggests that you hear a generic sonic difference......
I agree that most of the so called 'audiophile' reissues sound like crap, not just the Speakers Corner. Any of Decca's own Ace of Diamonds reissues from the 70's will sound better for much less money.
@pryso
syntax is correct that later matrix numbers can often sound just as good as the earlier ones. The mother/stamper number is much more significant to sonic quality. Decca used the services of several great cutting engineers, e.g. Stan Goodall (E) and Tony Hawkins (K), who did most of the SXL 2000's and earliest 6000's, and Harry Fisher (W), who was responsible for the majority of the later 6000's. In my opinion Ted Burkett (mister 'G') was probably the most consistently excellent. Not so much for deep bass, but for their 'see through' transparency. He unfortunately didn't do that many of the SXL/CS cuts, but he was responsible for most of the Argo catalogue. This is a Decca subsidiary label greatly underrated by 'audiophile collectors' and therefore very affordable. Less mainstream repertoire perhaps, but lots of interesting 20th century stuff. Grab 'em while you still can.
That's interesting. Most collectors say they prefer SXL's over CS's, probably in an attempt to defend their buying decisions. You are the first person I come across who actually prefers the London's for their sonics. Which still seems to suggests that you hear a generic sonic difference......
I agree that most of the so called 'audiophile' reissues sound like crap, not just the Speakers Corner. Any of Decca's own Ace of Diamonds reissues from the 70's will sound better for much less money.
@pryso
syntax is correct that later matrix numbers can often sound just as good as the earlier ones. The mother/stamper number is much more significant to sonic quality. Decca used the services of several great cutting engineers, e.g. Stan Goodall (E) and Tony Hawkins (K), who did most of the SXL 2000's and earliest 6000's, and Harry Fisher (W), who was responsible for the majority of the later 6000's. In my opinion Ted Burkett (mister 'G') was probably the most consistently excellent. Not so much for deep bass, but for their 'see through' transparency. He unfortunately didn't do that many of the SXL/CS cuts, but he was responsible for most of the Argo catalogue. This is a Decca subsidiary label greatly underrated by 'audiophile collectors' and therefore very affordable. Less mainstream repertoire perhaps, but lots of interesting 20th century stuff. Grab 'em while you still can.