Sold Date: January 9, 2021
Start Date: January 2, 2021
Final Price: $86.00 (USD)
Bid Count: 15
Seller Feedback: 1060
Buyer Feedback: 81

This item is not for sale. Gripsweat is an archive of past sales and auctions, none of the items are available for purchase.

The biggest myth (or shall I say "conspiracy theory"?) in classical record collecting, is perhaps "Decca issues sound better than the equivalent London versions". It means Decca would have to go through the logistic nightmare of keeping two sets of stampers for each identical issue since they were both pressed at the Decca factory in New Malden, Surrey, UK without mixing them up. And furthermore, why would Decca intentionally and consistently sabotage their biggest market (i.e. North America for London, since they cannot use the Decca name as there already existed the US Decca Records)? I can't trace the origin of the conspiracy, but most likely from some unscrupulous sellers (or even collectors) trying to inflate the price/value of their Decca records. Other than these logical arguments, if you have some rudimentary knowledge of the record making process, the best proof (or rather, disproof) of such theory is to show BOTH Decca and London issues with the exact same stampers! For example, I have the Decca ffss, London ffss, and here the "lowly" London ffrr issues of this amazing recording. They all share the same 1E/1E, very first stamper number! Technically, this should be called "matrices number" or "master number", as Decca identifies it with a unique digit followed by alphabet once a master lacquer is cut from the master tape. The first digit means the sequence of cutting process (1 means first cut, 2 the second and so on), and the following alphabet represents name code for different mastering engineer. From then on, it goes through a series of plating, releasing, and duplication to make the final stampers. Yes, there are a sequence of so-called mothers and stampers (also identified on matrix by digits and letters from the word Buckingham), but the key point is, once the master is cut, there is no way anyone can change the dynamics, balance, ambience, etc. in the ensuing plating/releasing/duplication process! Yes, there will be minute, gradual degradation of the stampers throughout the process (but NOT affecting those characteristics above), until the point the engineers decide to cut another master and start over, if the market demand requires so. The engineer then may choose to stick to the same setting as the previous cut, or modify it. This is when it's possible to have different characteristics on the resulting cut, but then it's clearly identified by a different master number! I have shown here all three versions having identical 1E/1E master (I'm following the convention of calling it "stamper" number), which means they are all from the same cut and you shouldn't expect any "inferior" dynamics, balance, "less airy ambience" etc. some conspiracists insist! I have dozens of similar examples but will not bother you with more of the same! 

I totally understand there will always be "trophy" collectors or those chasing certain logo, color, package, etc. And the collecting market in turn will always be set by supply and demand. Whether or not it's worth the ~5X up to maybe 20X higher price for the same pressing, it's up to individual collector's discretion. I'm just using this space to illustrate the point why I always show the stamper (master) number of these "collectible" labels! Hope this rumbling is helpful but most importantly, enjoy these wonderful UK pressed London's while they are still reasonably available and priced!

Producer: Erik Smith

Engineer: Arthur Lilley (Hindemith); Alan Reeve (Bruch)

Recording location/date: West Hampstead Studio 3/13-14 September, 1962 (Hindemith); Walthamstow Town Hall, UK/24 September, 1962 (Bruch)

Issued: 1963

Record condition: NM/NM

Cover condition: NM, amazingly clean for a white cover!

Stamper: 1E/1E ffrr UK Decca pressing

Note: I'm a collector, not a dealer. The reason I'm selling is to downsize my collection. Every record I offer was hand-picked based on its merits on music, performance, and sonics (not necessarily in that order!). I will list recording credentials such as producer, engineer, venue, date, etc. as I believe as an educated buyer, these will offer crucial info for an unfamiliar record to make a buying judgement. Hope you'll find this useful!

Shipping cost:

US: shipping is $5 by USPS media mail. $1 extra per each additional items for combined shipment. Priority Mail is available and cost is based on your location. Please wait for invoice if you prefer Priority Mail.

Canada: shipping is $19 by USPS First Class International package (no tracking or insurance available) for the first record, $3 extra per each additional items for combined shipment up to 4 lbs. (about 5 or 6 single records). For orders over 4 lbs. the best available shipping is by Priority Mail International up to 20 lbs. Please wait for invoice for actual shipping.

Europe: shipping is $25 by USPS First Class International package (no tracking or insurance available) for the first record, $5 extra per each additional items for combined shipment up to 3 lbs. (about 4 single records). For orders over 3 lbs. the best available shipping is by Priority Mail International up to 20 lbs. Please wait for invoice for actual shipping.

Asia: shipping is $25 by USPS First Class International package (no tracking or insurance available) for the first record, $5 extra per each additional items for combined shipment up to 3 lbs. (about 4 single records). For orders over 3 lbs. the best available shipping is by Priority Mail International up to 20 lbs. Please wait for invoice for actual shipping.