Depends on who is doing the remastering or remixing. I think Steven Wilson’s remasters and flat transfers from originals are of a very high standard, his remixes are a mixed bag, which is to be expected because of long term familiarity with the original material. Of the vast remainder of remasters available out there, the majority I’ve heard have been less enjoyable than the original, some sound bloody awful (often poor DR) but you can’t generalise.
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While I agree it’s not cut and dry for everything, if with a tiny sample number the OP is questioning remasters the difference must be quite significant on those albums alone.
It’s the same with vinyl re-issues, some are worse, some significantly better, some you just don’t know if your original LPs were rogered by a cheap music centre in your youth 
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Does Medimops sell new or second hand CDs? I tried to look at their website and I can’t understand a word, everything is only in German and French, at least I couldn’t find English. I haven’t tried Medimops yet. Berlin seems interesting, it’s risky to go there!
Addendum: I’ve just gone back to the DG website to order Le Sacre and it’s sold out along with the Kleiber 7th and Gilels Brahms (At least I already managed to snaffle the latter two in time!).
Conclusion : If you’re thinking on buying any of this series better look sharp…
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Often remasters are made so the music sounds better for how the majority of the population listen to music, that being in cars with lots of background noise or Bluetooth speakers, so levels are increased and dynamic range is lost. In this situation remasters will often sound better as the quieter parts of the originals are more difficult to hear, but the opposite of course to a decent hifi system.
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They are limited editions, so don’t hang about.
The Kleiber Beethoven Seventh that I have is (hand numbered) 0239/3200.
The Karajan Verdi Requiem is 0558/2000.
And the Gilels/Amadeus ‘Trout’ is 1046/2300.
I have no idea why there are different total runs for each of the three.
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Why is Berlin risky??
I’d guess the wallet trembles!
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Maybe I didn’t use the proper word, I inteded to be ironic. If there are so many nice CD shops for audiophiles in Berlin, you’d better take a good amount of time to buy the good stuff and empty your wallet! Yes @steviebee, the wallet trembles for sure!
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To be fair, the CD shopping is great…But the vinyl opportunity? Outstanding.
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You gave me a good reason to visit Berlin. I’m more interested in buying CDs, only because I have no turnable.
For those interested, I’ve just stumbled across a brilliant ‘podcast’ (on YouTube - so not sure exactly what it is… 
) that goes into this area of originals and remasters. It’s Rick Rubin talking to Giles Martin about sound engineering, compression, audio codecs, etc. The ‘podcast’ is called Broken Record and I would highly recommend anybody interested to have a listen. Two brilliant guys talking about music, sound engineering and the like.
The best part is when Rick asks Giles what he’d pick to test a HiFi rig and he says anything from 1972-1980 because it’s uncompressed and offers the best sound. I think he specifically mentions Sultans of Swing and Dark Side of the Moon
In any event, queue it up and have a listen if you’re into that sort of thing. I found it super engaging.
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Thanks, I’ll be interested to hear that.
Seems a little ironic to have Rick Rubin talking about compression and dynamic range when he was the producer on two of the most dreadful examples of the loudness war (Californication and Death Magnetic). I don’t suppose he takes this opportunity to beg for forgiveness, does he?
Mark
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I went to a Naim demo once in Bristol, someone asked Paul about the choice of music, he replied we don’t use re-murdered material, always stuck in my mind that!
Martin
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Interesting topic.
Regarding Jazz CDs that I have been purchasing over the last 6 months. Most of them were originally recorded in the 1950/60’s, I assume analog tapes.
Then remastered and released on the CD format from the 1990’s onwards. Example labels are Verve, Essential Jazz Classics, Riverside Records. I have going on for 50 albums now and they all sound fantastic, I’d go as far to say some of my best recordings are on these Jazz labels.
So where do you all stand regarding this example?
Just saying 
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There are some really good mastering engineers out there that do a great job, especially with old material.
There are also some really bad ones who (sadly, often at the request of producers) crush everything until it makes your ears bleed.
The problem is that it can be difficult to know whether a given remaster release is great or not before you buy it, unless you know the mastering engineer or can find a trusted review of it.
So, @MrDom, that’s where I stand. Also just saying (whatever that really means!).
Very true this.
I think Classical and Jazz genres from experience seem to take great care with these aspects. Of course, I assume there are bad examples but on the whole seems to be a safe area.
Thankfully, two genres I really like.
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The much maligned ‘Steve Hoffman Forum’ is your friend. You need to do some research to know which vinyl/CD to buy.
I’m a long time SHF member, like jegreenwood above, and the site has been so so invaluable for me when building up my CD library.
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Agreed re Hoffman. Some grumps, some know it alls but also some very well informed members when it comes to mastering and matrices, pressings and whatnot etc.
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