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I have recently noticed that my European records (especially from the UK) sound better than my American records, is there a reason?

Gramophone King 15 wrote: Sun Nov 12, 2023 2:34 pm I have recently noticed that my European records (especially from the UK) sound better than my American records, is there a reason?

I believe that UK records are considered better because the UK used shellac as an ingredient for longer than the USA did.

Something like that any-way.

Some-one else will know if that is correct or not.

Gramophone King 15 wrote: Sun Nov 12, 2023 2:34 pm I have recently noticed that my European records (especially from the UK) sound better than my American records, is there a reason?

I don't know what period you are referring to, but in the case of early acoustic operatic records the compilers of CD reissues such as the Nimbus Prima Voce series tended to prefer Victor pressings to HMV ones. It is believed that Victor used a higher percentage of shellac in the mix, resulting in a smoother and quieter surface.

epigramophone wrote: Mon Nov 13, 2023 3:49 am

Gramophone King 15 wrote: Sun Nov 12, 2023 2:34 pm I have recently noticed that my European records (especially from the UK) sound better than my American records, is there a reason?

I don't know what period you are referring to, but in the case of early acoustic operatic records the compilers of CD reissues such as the Nimbus Prima Voce series tended to prefer Victor pressings to HMV ones. It is believed that Victor used a higher percentage of shellac in the mix, resulting in a smoother and quieter surface.

Also there are some views that, for reasons related to the many ingredients of shellac compounds and their interactions, UK shellac may have suffered a degree of micro-granulation over the years. Amongst major labels, US pressings are typically quieter than UK ones. I suspect there might have been little or no difference when new.

Orchorsol wrote: Mon Nov 13, 2023 4:17 am I suspect there might have been little or no difference when new.

I read an article in a late 20s issue of the Gramophone magazine in which the reviewer of a soundbox praises its virtues to reduce the ¨notorious crackle of the HMV records¨. That somehow contradicts the impression that the crackle developed over time. In any case, this is irrelevant today, as we all experience the high noise level of the English-made records since the late 20s. The high noise is not confined to HMV records, but it extends throughout the other labels, which hints at the supply of a common ingredient to the records being the culprit.

In my experience the UK-made HMV records are the worst for crackle of any manufacturer after the nineteen-twenties and I have great regard for European, Australian and American disc quality all of which have very much quieter surface noise. Quite why HMV got it so wrong is a constant source of mystery and sadness, particularly as they produced to an excellent and quiet standard pre WW1. Cost control might well have been the culprit ?

I've always been impressed with the quality of Parlophone.
James.

Quite agree. They are usually excellent, as is the content !

Totally agree.
Many many black label batwing victors of the 16000-18000 series have a great sound, with almost no hiss, especially when played with bamboo, to which they are so kind.
And yes, I'm also astonished at the quality of laminated electrical parlophones of late twenties, with their shiny silent surfaces... very good...

Roaring20s wrote: Mon Nov 13, 2023 12:17 pm I've always been impressed with the quality of Parlophone.

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James.

In my experience the quality of English Parlophones is uneven. Early black label issues are great pressings, but later in their production, and the subsequent blue label shown in the photo, the surface noise grew significantly. I have however found some more recent blue labels with very quiet surfaces. It is hard to maintain quality standards over a long period, especially with a war in the middle of it. The effects of WWII is particularly evident in the French records: the Columbias, Odeons, Gramophones and Pathés, all high quality pressings with silent surfaces, became noisy in the wartime production, with labels printed on cheap paper and ink. I did not notice this in the German production, the Electrolas and Telefunkens kept their high quality throughout the war, and surprisingly even improved in the post-war years.