Here you will find precise descriptions of unusual Lo-Fi audio technologies, as well as excellent music restored from old vinyl and shellac records.

J.S.Bach — Concerto For Two Violins — Yehudi Menuhin, Georges Enesco ‎– 1932 78rpm shellac rip

Bach Johann, Classical, Enesco George, His Master's Voice, Menuhin Yehudi, Monteux Pierre, Remastering from shellac records, Violin
Anton Stepichev


Only the first record is present from the set. The orchestra sounds a little heavy, but Menuhin's violin is recorded elegantly – touching, soft and intonated, it is for this sound Menuhin loved by his fans. The Enesco instrument sounds calm and muted, the teacher does not interfere with his protege.

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J.S.Bach – Concerto For Two Violins – Fritz Kreisler, Efrem Zimbalist ‎– 1915 78rpm shellac rip

Bach Johann, Classical, Cymbalist Efrem, Electrola, His Master's Voice, Kreisler Fritz, Remastering from shellac records, Violin
Anton Stepichev


Re-release of the 1930s, two records from different sets – the crackling HMV and the clean Electrola. Unique 1915 version of the concert – acoustic recording with chamber accompaniment, which preserved unusually merged consonances and chords, built by two beautiful violins and a quartet. The narrative is on the rise – setting the mood for vivace, then the extraordinary beauty of Largo and the passionate, divine Allegro at the end.

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Charlie Parker & Lester Young – 1950th 78rpm shellac rip

Clef, Jazz, Mercury, Parker Charlie, Remastering from shellac records, Saxophone, Young Lester
Anton Stepichev

In my opinion in jazz there were two saxophonists who talked to God on equal terms – it's Charlie Parker and John Coltrane. Parker's recordings presented here were made in 1952, during this period of creativity in almost all Parker’s improvisations feel a piercing sadness – two years later he will die at the age of 34. Young’s records are a wonderful LO-FI of the early 1950s. After the shake-up caused by Parker's play, Young acts soothingly, aided by the characteristic sound of his saxophone's lower register.

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Prewar USA pop orchestras, 78rpm shellac rip

Brunswick, Decca, Ellington Duke, Fitzgerald Ella, Pop, Remastering from shellac records, Victor, Webb Chick
Anton Stepichev


American pre-war records with very good sound. Clinton has a great chorus of saxophones, the orchestra is good, but Bea Wain sings so-so, Ellington orchestra emits a powerful rhythm energy with perfectly played and recorded solo on the clarinet in the middle, Ella lively and perky, can be compared with the previous version. The last two records – subtle tenors, fashionable in the 1920s, The Westerners – acoustic record, the most intelligible, but its charm in digital form is almost completely lost.

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Soviet gramophone Records, 78 rpm shellac rip

Leningrad Sovnarkhoz, Los Panchos, Mikhailov Piotr, Nogisky Zavod, Pop, Remastering from shellac records, Shmelev Ivan, Tsfasman Alexandr
Anton Stepichev

Examples of the sound of Soviet records at 78 turns. Pre-war "Separation" and "I am endlessly sorry" have the most full and clear sound, what wonderful melodies! Los Panchos at 78 can be compared to the LP of the same age: on 78s the top is cutted, but they sound musically better. Such impressive filigree playing and recording of guitar in “Mad Love”!

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Billie Holiday ‎– Solitude, 1956 LP mono

Clef, Holiday Billie, Jazz, LP Remastering, Peterson Oscar
Anton Stepichev


The album is a prime example of Clef's recordings in the mid-1950s. The wholeness of the sound is somewhat lacking, but on successful tracks the vocals are still clear and tremulous – "You Turned The Tables On Me" and "You Go To My Head" are recorded cleanly and sound comfortable, in the second case only the piano failed.

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Billie Holiday – vol1, 1954 Jolly Roger LP mono

Holiday Billie, Jazz, Jolly Roger, LP Remastering, Wilson Teddy
Anton Stepichev


Re-release of 1930s-40s records on the pirate label Jolly Roger, 1954. The recors are cut from home made tape copies with very large HF losses, which can be estimated by listening on YouTube to the one remastered from the original tape – I’ll Never Be The Same. I didn’t want to mess with such LP, but then I decided to leave it as an example, and the songs are good, the best times of the great Lady Day. Also listen to Teddy Wilson’s solo on the same I’ll Never Be The Same, it is a balm for the soul. What a pity I have no original.

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Organ music, 1960th lp mono

Aprelevsky Zavod, Bach Johann, Boelman Leon, Braudo Issay, Classical, Clerambault Louis, Leningrad Sovnarkhoz, LP Remastering, Melodia, Reinberger Josef, Schweitzer Albert
Anton Stepichev


For all its power, the organ is vulnerable to intangible distortions made by the sound recording even more than its smaller acoustic brothers – the organ’s soft notes is poorly discernible, and the loud chords desperately screams in all the registers, the higher the register, the more desperate it shout. In my opinion, the organ sounds quite comfortable only on some very old records, they, thanks to the LO-FI recordings of those years, can convey to the listener the sublime mood inherent in church music. The 1960s Soviet records presented here are not ideal technically, nevertheless you can feel the heavenly beauty of them, especially if you listen to the tracks using an old tube receiver as an amp.

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I.S. Bach – Goldberg Variations, Glenn Gould – 1959 LP mono

Accord, Bach Johann, Classical, Gould Glenn, LP Remastering, Piano
Anton Stepichev

Reissue on the 1955s USSR Accord, the quality varies from track to track, the sound is sometimes not fully disclosed, but magical honey notes, expressive and caressing the ear, arise here and there. Gould is certainly a wizard!

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J.S.Bach – Well-Tempered Clavier, Book 2 – Glenn Gould, LP mono Rip ‎

Bach Johann, Classical, Columbia, Gould Glenn, LP Remastering, Piano
Anton Stepichev


From the 3-lp set only the first (1968) and the third (1972) records have been found, from each one I took three most successfully recorded tracks. The result was an example of how the thoughtless replacement of recording equipment with a more modern one leads to the degradation of sound, in this case – the loss of natural timbres of the piano on the record of 1972 (tracks 4, 5, 6). In general, the sound of the entire second book of the WTC makes worse impression than the first (1965).

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