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  • The Soulful Moods Of Gene Ammons The Soulful Moods Of Gene Ammons Quick View

    $34.99
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    The Soulful Moods Of Gene Ammons

    Part of the ultimate audiophile Prestige stereo reissues from Analogue Productions - 25 of the most collectible, rarest, most audiophile-sounding Rudy Van Gelder recordings ever made. All cut at 33 1/3.


    All mastered from the original analog master tapes by mastering maestro Kevin Gray. 200-gram LPs pressed at Acoustic Sounds' state-of-the-art pressing plant, Quality Record Pressings, plated by Gary Salstrom


    Deep groove label pressings, tip-on jackets on thick cardboard stock


    "One of the best efforts from Ammons' extensive catalog. A fat, warm, rich sax tone - you know, the one you immediately identify as Jug - is on display in all its glory on this great Moodsville release. Feeling tired and stressed out? Give Uncle Gene a spin. Besides perfect pitch, Ammons' other special gift was a melodic sense that allowed him to effectively convey feelings at slow tempos. Here is a great jazz ballad player given full scope to spin his charms. - Stereophile, February 1995


    This title is not eligible for discount.

    1. Two Different Worlds
    2. But Beautiful
    3. Skylark
    4. Three Little Words
    5. The Street Of Dreams
    6. You'd Be So Nice To Come Home To
    7. Under A Blanket Of Blue
    8. Three Little Words
    9. I'm Glad There Is You
    Gene Ammons
    $34.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Julie Is Her Name Vol. 2 Julie Is Her Name Vol. 2 Quick View

    $34.99
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    Julie Is Her Name Vol. 2


    Mastered By Kevin Gray At Cohearent Audio From The Original Analog Tapes


    200-Gram Gatefold LP plated And Pressed At Quality Record Pressings!


    She was the sultry film starlet-turned-torch singer-come-TV actress whose dusky alto captivated a generation. Julie London was discovered while running a department store elevator in Hollywood.


    Just three years earlier the bountiful 15 year old, born Julie Peck to her parents, a song-and-dance duo of the vaudeville era, was singing on her parents' radio show. When she started working in the movies in the 1940s, she changed her name to London. During the course of a celebrated career in acting and music, she made more than 30 albums.


    The sultry-voiced actress, who was once married to Dragnet producer-star Jack Webb, had a hit record with the 1950s single Cry Me a River. The single debuted in 1955, sold three million copies and remained in demand into the 1960s.


    Analogue Productions has brought back Julie Is Her Name Volume 2, making it an undeniable classic in every sense of the word. Remastered by Kevin Gray at Cohearent Audio, and plated and pressed on 200-gram vinyl at Quality Record Pressings, the result is a memory-stirring masterpiece.


    Julie Is Her Name - Volume Two, has all the sincerity and warmth of her professional album debut, the best-selling Julie Is Her Name, from Liberty. An untested singer with uncompromising musical faith, an unknown record company, sophisticated, tastefully presented standards presented simply backed by just a bass and guitar - Julie Is Her Name faced long odds of success. Yet it soared to become a best-selling hit. Julie London rose to the Top 10 of every list of female vocalists.


    And as to the cover, expect only top-notch reproduction for our Analogue Productions reissue. Originally a single LP jacket, we've upgraded to a gatefold incorporating more original photographs provided by Universal.


    London appeared in nearly two dozen motion pictures during the 1940s and '50s; she was best known to TV audiences as nurse Dixie McCall on the 1970s hospital drama Emergency! She was hired on Emergency! by Webb, her then-former spouse, to co-star with her second husband, jazz musician Bobby Troup. Troup, who composed the iconic musical hit Route 66 played a doctor on the show and it was he who helped sign Julie to the Liberty record label.


    Describing her smoky vocal style, London once said, It's only a thimbleful of a voice, and I have to use it close to a microphone. But it is a kind of over-smoked voice, and it automatically sounds intimate. A style inimitable, in our estimation.


    This title is not eligible for discount.

    1. Blue Moon
    2. What Is This Thing Called Love
    3. How Long Had This Been Going On
    4. Too Good To Be True
    5. Spring Is Here
    6. Goody Goody
    7. The One I Love Belongs To Somebody Else
    8. If I'm Lucky
    9. Hot Toddy
    10. Little White Lies
    11. I Guess I'll Have To Change My Plan

    12. I Got Lost In His Arms
    Julie London
    $34.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Otis Blue Otis Blue Quick View

    $54.99
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    Otis Blue

    Ranked 74/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    Remastered By Kevin Gray At Cohearent Audio From The Original Analog Tapes


    200-Gram 45 RPM Double LP Plated And Pressed At Quality Record Pressings!


    Tip-On Gatefold Jacket From Stoughton Printing


    Otis Redding's third album presents his talent unfettered, his direction clear and his confidence emboldened, with fully half the songs representing a reach that extended his musical grasp. More than a quarter of this album is given over to Redding's version of songs by Sam Cooke, his idol, who had died the previous December.


    Otis Redding Sings Soul is considered by many critics to be Redding's first great album. Recorded in April and July of 1965, it was released September 15th of that same year. The styles of Cooke and Redding couldn't have been more different; Cooke smooth and sure, Redding raw and pleading. But Redding's versions of Shake and A Change Is Gonna Come show how Cooke's sound and message helped shape Redding's Southern soul sound. Redding's singing reaches a new level of expressiveness with this as well as with covers of B.B. King's Rock Me Baby and the Motown hit My Girl.


    This great album receives the full Analogue Productions reissue treatment here, starting with Kevin Gray's remaster from the original analogue tapes. Then we back that up with 200-gram plating and pressing on super-silent vinyl by our own Quality Record Pressings. Finally it's all housed in a tip-on gatefold jacket from Stoughton Printing. Deluxe all the way; you'll be estatic with the results!


    This title is not eligible for discount.

    1. Ole Man Trouble

    2. Respect
    3. Change Gonna Come
    4. Down In The Valley
    5. I've Been Loving You Too Long
    6. Shake
    7. My Girl
    8. Wonderful World
    9. Rock Me Baby
    10. Satisfaction
    11. You Don't Miss Your Water
    Otis Redding
    $54.99
    200 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed Buy Now
  • Shostakovich - Symphony No. 5 (Speakers Corner) Shostakovich - Symphony No. 5 (Speakers Corner) Quick View

    $34.99
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    Shostakovich - Symphony No. 5 (Speakers Corner)

    One of the most fascinating aspects of Dmitri Shostakovich's music was and still remains his aesthetic ambiguity, the likes of which is almost impossible to find in modern music. The Fifth Symphony in particular is regarded as an excellent example of how, during Stalin's regime, Shostakovich outwardly remained true to the regulations concerning art while still managing not to forfeit his own artistic freedom and identity. Conceived in a classical vein, the work is filled with powerful motion and Russian song, even going almost as far as late-Romantic transfiguration. But this idyll is deceptive. Again and again the apparent harmony is disrupted by biting sarcasm: the spirited main theme of the first movement soon stiffens into a march-like farce, while in the untroubled second movement a shrill motif in the winds tears apart the cheerful mood.



    Skrowacziewski amalgamates the contrasting tender sweetness of the violins and the violence of the attacking wind instruments in his precise and sparing interpretation, which is free of sugary expression and forced dynamics. His well-balanced conducting, combined with the wonderfully transparent recorded sound creates an ideal basis for identifying all the details which Shostakovich composed 'between the lines of the staff'.




    Recording: March 1961 at Northrop Memorial Auditorium, Minneapolis, USA, by C.R. Fine and Robert Eberenz

    Production: Wilma Cozart Fine




    About Speakers Corner



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existant tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects - excluding the exception above - and that the lacquer discs are newly cut.



    Stanislaw Skrowaczewski
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • It's Monk's Time (Speakers Corner) It's Monk's Time (Speakers Corner) Quick View

    $34.99
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    It's Monk's Time (Speakers Corner)

    With its three compositions by Thelonious Monk, one might call this LP from 1964 "3 Standards and 3 Monks". The 'High Priest' of bebop had reached a further pinnacle in his career and performed with his fantastic, skilful and well-rehearsed quartet at numerous festivals and concerts. As if in a dream, the musicians penetrate the apparently simple yet rhythmically complicated themes, interrupted again and again by Monk's solo escapades on the piano. On the stage, Monk often stood up and jigged around the piano like a lumbering dancing bear, with one of his distinctive hats on his head; he plonks down on the piano stool after the Charlie Rouse solo; his enormous feet tap back and forth to the beat; he constantly fiddles with the ring on his finger; and he creates the most wonderful improvisations ever heard with his 'false' fingering.


    Calling all jazz fans: Listen to Thelonious Monk, and you will have a ball - most especially if you put this super disc with the promising title "It's Monks Time" on your turntable!



    Musicians:



    • Thelonious Monk (piano)

    • Charlie Rouse (tenor saxophone)

    • Butch Warren (bass)

    • Ben Riley (drums)

    • Teo Macero (producer)


    Recording: January - March 1964

    Production: Teo Macero



    About Speakers Corner



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existant tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects - excluding the exception above - and that the lacquer discs are newly cut.



    1. Lulu's Back In Town
    2. Memories Of You
    3. Stuffy Turkey
    4. Brake's Sake
    5. Nice Work If You Can Get It
    6. Shuffle Soil
    Thelonious Monk
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Dark Side Of The Moon (Awaiting Repress) Dark Side Of The Moon (Awaiting Repress) Quick View

    $30.99
    Buy Now
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    Dark Side Of The Moon (Awaiting Repress)

    Ranked 43/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    Remastered From The Original Analogue Tapes By James Guthrie, Joel Plante, And Bernie Grundman


    Pink Floyd's most successful and singularly defining album is here to stay. The Dark Side of the Moon has sold over 40 million copies worldwide since its release in 1973, and it shows no signs of letting up. With lush, immaculate production and sweeping instrumentals, The Dark Side of the Moon is unrivaled in sonic brilliance. The complex textures found within have captivated audiophiles for over thirty years.


    With lyrics about seemingly mundane details set against dreamy, atmospheric backdrops, the songs on The Dark Side of the Moon achieve a truly emotional response. Performances are not virtuosic, but they are brilliant nonetheless and were likewise brilliantly recorded. Abbey Road Studios engineer Alan Parsons and Pink Floyd made use of some of the most advanced techniques available at the time to craft a sound that was innovative yet entirely classic, by any sense of the word. Swirling organs, mellow drums, and spacious guitars are signature sounds that have been inextricably linked with Pink Floyd's magnificent songwriting.


    The Dark Side of the Moon is a peerless entry in the annals of classic rock history. No record collection should be without this multi-platinum masterpiece.

    1. Speak to Me
    2. Breathe in the Air
    3. On the Run
    4. Time
    5. The Great Gig in the Sky
    6. Money
    7. Us and Them
    8. Any Colour You Like
    9. Brain Damage
    10. Eclipse
    Pink Floyd
    $30.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Byrd At The Gate Byrd At The Gate Quick View

    $49.99
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    Byrd At The Gate

    To a great many people, the name of Charlie Byrd and the updated samba beat known as bossa nova will always be intertwined. The guitarist did play a most important role in the introduction into this country of the compelling Brazilian rhythm-first on that major hit with Stan Getz and then on his own Bossa Nova Pelos Passaros. But before, during, and after the craze, Byrd was capable of much more-a remarkable impoviser and a richly versatile in-person performer. This 1963 live session at a celebrated New York club, the Village Gate, offers a little South American flavor and a lot of other jazz elements, including the guest appearance of trumpet great Clark Terry.


    This title is not eligible for discount.

    1. Shiny Stockings

    2. More (theme from Mondo Cane)

    3. Blues For Night People

    4. Butter and Egg Man

    5. Ela Me Deixou

    6. Broadway

    7. I Left My Heart In San Francisco

    8. Some Other Spring

    9. Where Are The Hebrew Children?

    10. Let's Do It

    11. Jive at Five

    The Charlie Byrd Trio
    $49.99
    45 RPM 180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • The Artistry Of Freddie Hubbard The Artistry Of Freddie Hubbard Quick View

    $49.99
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    The Artistry Of Freddie Hubbard

    Trumpeter Freddie Hubbard leads a particularly talented sextet (with trombonist Curtis Fuller, a rare outing away from Sun Ra for tenor-saxophonist John Gilmore, pianist Tommy Flanagan, bassist Art Davis and drummer Louis Hayes) on three of his originals and strong versions of Summertime and Caravan.


    This title is not eligible for discount.

    1. Caravan
    2. Bob's Place
    3. Happy Times
    4. Summertime
    5. The 7th Day
    Freddie Hubbard
    $49.99
    180 Gram Audiophile Virgin Vinyl 45 RPM LP - 2 LPs Sealed Buy Now
  • Mobley's Message (Mono) Mobley's Message (Mono) Quick View

    $34.99
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    Mobley's Message (Mono)

    Hank Mobley's 1956 Prestige release Mobley's Message features six recordings from the legendary tenor saxophonist in three different settings including one cut with a quartet, four with a quintet and one with a sextet. Players such as Donald Byrd (trumpet), Jackie McLean (alto sax), Barry Harris (piano), Doug Watkins (bass) and Art Taylor (drums) offer their support here in disparate incarnations. Contains a quintet reading of Charlie Parker's Au Privave and a quartet take on the Rodgers & Hart standard Little Girl Blue with Mobley being the sole horn.


    This title is not eligible for discount.

    1. Bouncing With Bud
    2. 52nd Street Theme
    3. Minor Disturbance
    4. Au Privave
    5. Little Girl Blue
    6. Alternating Current
    Hank Mobley
    $34.99
    200 Gram Audiophile Virgin Vinyl Mono LP - Sealed Buy Now
  • Takes To The Hills (Pure Pleasure) Takes To The Hills (Pure Pleasure) Quick View

    $34.99
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    Takes To The Hills (Pure Pleasure)

    The incomparable and profoundly influential pianist/singer-songwriter Mose Allison - who's inspired everyone from Georgie Fame, The Who and The Clash to Van Morrison and Pixies - developed his own unique, idiosyncratic style that melded an ironic sense of wit and humour with country-blues inflections and a bebop-esque vocabulary. Besides cool playing and his uniquely smoky singing, has great taste in material. Hey Good Lookin' fits right in with revisited versions of I Love the Life I Live, I Ain't Got Nobody and Baby Please Don't Go, complete with what the singer himself calls his distinctive 'involuntary groan' during the piano solo. Teo Macero's intimate production makes it feel like you're right there in the studio.



    Musicians:



    • Mose Allison (piano, vocals)

    • Addison Farmer, Henry Grimes, Aaron Bell (bass)

    • Jerry Segal (drums)

    • Paul Motian, Osie Johnson (drums)



    About Pure Pleasure



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existent tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.

    1. V-8 Ford Blues
    2. Please Don't Talk About Me When I'm Gone
    3. Baby, Please Don't Go
    4. Hey, Good Lookin'
    5. I Live The Life I Live
    6. I Ain't Got Nobody (And Nobody Cares For Me)
    7. Back On The Corner
    8. Life Is Suicide
    9. 'Deed I Do
    10. Ask Me Nice
    11. You're A Sweetheart
    12. Mad With You
    Mose Allison
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Rimsky-Korsakov: Scheherazade Rimsky-Korsakov: Scheherazade Quick View

    $34.99
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    Rimsky-Korsakov: Scheherazade

    RCA Living Stereo Classical LPs - The Gold Standard For Top Quality Orchestral Performance And Sound!


    Remastered And Cut At 33 1/3 RPM By Ryan Smith At Sterling Sound


    Lacquers Plated By Gary Salstrom And Pressed On 200-Gram Vinyl At Quality Record Pressings!


    Grade A+. Another one of HP's favorites, this LP (at least in its earliest pressings) is famously wonderful sounding, and the Analogue Productions version certainly lives up to the hype. Once again string tone - and this disc is celebrated for its string tone - is ravishingly beautiful. The bass is astonishingly deep and authoritative. And the dynamics are tremendous. In sum, I highly recommend all of these celebrated RCAs in their Analogue Productions reissues. They will cost you $30 a disc, which is a more-than-fair price considering that they are, IMO, uniformly superb (yes, better than the Classic Record versions). - Jonathan Valin, The Absolute Sound.com, June 11, 2013


    We compared this new 200-gram, 33 RPM LP from Analogue Productions with the original RCA Living Stereo issue and Classic Records' 33 RPM version, and were surprised at the outcome. Why? Because to these ears, the new Analogue Productions version was the more relaxed and natural sounding of the bunch. The sound is as it should be, inviting the listener into the music and entirely constant with Reiner's readings. ... If ever there were a must-have LP in the recent wave of audiophile vinyl reincarnations, this is it. Treat yourself and thank (Analogue Productions' Chad) Kassem for doing it the justice it deserves. - Harry Pearson, HP Soundings, May 2013.


    Without a doubt, the AP pressing sounds much more natural than the Classic Records reissue; the sound is simply less forced, as if the notes and rhythms have more air to explore, more ambient Hall to reverberate, and more of the acoustic envelope to reveal. ... the vinyl is so damn quiet, you can turn it up without any hesitation ... The solo violin is the heart of this recording and it's supposed to sound seductive, and on this reissue, it does. One thing if for certain, there is a lot more information coming through than on the original. The AP pressing takes the simplistic approach of the Chesky, but with a more developed sound, making the Chesky appear a bit more subdued by comparison. ... If you are interested in hearing this classic RCA in all of its natural glory, you needn't look any further than Chad Kassem's latest offering. If this is any indication of Analogue Production's current batch of RCA reissues (approximately 24 more on the way), it just may be a new golden age for the modern vinyl listener. - Joey Weiss, HP Soundings, May 2013


    The second movement is just ravishing in the beauty of the Chicago's playing and Reiner's romantic approach; there is some staccato triple-tonguing done by trumpeter Adolph Herseth in the fourth movement that should leave you, if not him, breathless. But let is just be said that, after you hear this, no other Scheherazade will ever replace it in your affections. HP's The Golden Dozen LPs - Harry Pearson, The Absolute Sound, June/July 2007


    The jewel in the Living Stereo crown. This, like the Respighi, is considered one of the very best LPs by Reiner, the Chicago Symphony Orchestra and RCA's crew. Another Mohr and Layton classic.


    This title is not eligible for discount.

    1. The Sea And Sinbads Ship
    2. The Story Of The Kalender Prince
    3. The Young Prince And The Young Princess
    4. Festival In Bagdad; The Sea; The Ship Goes To Pieces On A Rock Surmounted By A Bronze Warrior
    Fritz Reiner with the Chicago Symphony Orchestra
    $34.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Surfer Girl Surfer Girl Quick View

    $34.99
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    Surfer Girl

    Mastered By Kevin Gray At Cohearent Audio, Most From The Original Master Tapes Or Best Sources Available


    Audio Production - Mark Linett


    For Brother Records - Elliott Lott


    Lacquer Plating By Gary Salstrom And 200-Gram Vinyl Pressing By Quality Record Pressings


    A musical legacy that began in Hawthorne, California and went on to conquer the world. Analogue Productions presents the ultimate pressings of 14 essential Beach Boys albums! Mastered by Kevin Gray, most from the original master tapes, and plated and pressed by Quality Record Pressings, the finest LP pressing facility in the world, these are awesome recordings to experience. And the look of each album befits its sonic superiority! Presented in old school Stoughton tip-on jackets, these time honored favorites shine brighter than the originals!


    Surfer Girl, the Beach Boys' third album for Capitol Records, was the first produced by Brian Wilson on his own (the previous two, Surfin Safari and Surfin Usa (Mono & Stereo Remasters), were co-produced by the late Capitol A&R man, Nik Venet). This album was The Boys' first really great effort; there's not a bad track in the lot, including the title song, Catch A Wave, In My Room, Hawaii, Our Car Club, Little Deuce Coupe, Your Summer Dream, and more.


    Apart from Surfin' Safari, which was mono only, the Beach Boys did turn in stereo masters on all of their early albums up until 1965. The Beach Boys Today! was the first LP for which they only delivered a mono master.


    The stereo editions of Surfin' USA, Surfer Girl, Little Deuce Coupe, Shut Down Vol. 2, All Summer Long, Beach Boys Christmas Album and Beach Boys Concert were all mixed in stereo by their own preferred engineer, Chuck Britz, ostensibly under the group's supervision.


    Brian may or may not have been present for those mixing sessions - evidence suggests that he trusted Chuck's skills enough to let him prepare those mixes on his own - but the group held onto their multitrack tapes and delivered stereo masters to Capitol, rather than allowing Capitol to prepare their own stereo versions. Later, when Brian was only delivering mono masters, Capitol would prepare the Duophonic pseudo stereo editions for the stereo market, says Alan Boyd, producer and Beach Boys' archivist.


    The Beach Boys' practice of double-tracking their vocals really lends itself to stereo mixes. Split left and right, as they are on a lot of those early stereo versions, those doubled vocal parts can really envelop the listener, surrounding them with Wilsons, Loves and Jardines!


    All of the newer stereo mixes on these remastered albums (The Beach Boys Today!, Summer Days (And Summer Nights!!), The Beach Boys' Party, Pet Sounds and Smiley Smile) were all done by Mark Linett on behalf of the Beach Boys.


    This title is not eligible for discount.

    1. Surfer Girl
    2. Catch A Wave
    3. The Surfer Moon
    4. South Bay Surfer
    5. The Rocking Surfer
    6. Little Deuce Coupe
    7. In My Room
    8. Hawaii
    9. Surfer's Rule
    10. Our Car Club
    11. Your Summer Dream
    12. Boogie Woodie
    Beach Boys
    $34.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Breaking Silence Breaking Silence Quick View

    $34.99
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    Breaking Silence

    This album finds Janis' voice in its purest, most vital form ever. The tracks were recorded as live as possible without sounding retro. This 1992 all-analogue recording, praised as much for the artist's too infrequently heard talents as for it's recorded dynamics, is now available on the medium that is a natural: 200-gram vinyl!


    The audiophile LP reflects what the two top bibles of high-end audio decree as an impeccable production that has come to be regarded as a high-fidelity reference. Matched with Ian's very personal songs, delivered in a voice that draws you in close in confidence, Breaking Silence is one of the very few recordings of recent years that by reproducing a pure analogue sound, has attained true audiophile status.


    Tracks were recorded at Nightingale Studio on a Studer 820, 24-track machine, 30 IPS, non-dolby, at the elevation of +6/250 nu using Ampex 499 tape.


    Included among the mics used on the recording dates were: Nuemann M-49, AKG C-12, Telefunken 251, Sheffield C-9 and a custom built tube direct box on the bass. Janis' vocal was recorded using a Telefunken U-47 and a Mastering Lab mic preamp, linked with series-one Monster Cable direct to the back of the multi-track machine with no EQ or Limiting.


    The album was mixed at Bill Schnee Studio to an Ampex ATR 1/2 machine, at 30 IPS, non-dolby, at the elevation of +3/250 nu on Ampex 499 tape. The reverb on the album was an EMT tube plate used along with natural room sounds captured in the recording. During the mixing of the album, Some People's Lives was recorded direct to two-track using the same vocal chain as above and Telefunken 251's on the piano. Take number two was used as the album cut. The album was mixed using Mastering Lab modified Tannoy SGM-10's powered by Sherwood-Sax mono-block tube amps.


    Produced, engineered and mixed by Jeff Balding. Mastered by Doug Sax.


    This title is not eligible for discount.

    1. All Roads To The River
    2. Ride Me Like A Wave
    3. Tatoo
    4. What About The Love
    5. His Hands
    6. Walking On Sacred Ground
    7. This Train Still Runs
    8. Through The Years
    9. This House
    10. Some People's Lives
    11. Breaking Silence
    Janis Ian
    $34.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Pet Sounds (Stereo) (200 Gram 45 RPM) Pet Sounds (Stereo) (200 Gram 45 RPM) Quick View

    $54.99
    Buy Now
    x

    Pet Sounds (Stereo) (200 Gram 45 RPM)


    Ranked 2/500 On Rolling Stone Magazine's 500 Greatest Albums Of All Time!


    Stereo


    Lacquer Plating By Gary Salstrom


    200-Gram Vinyl Pressed At Quality Record Pressings


    Deluxe Tip-On Gatefold Jacket From Stoughton Printing


    Mastered By Kevin Gray At Cohearant Audio


    Stereo Mix Produced By Mark Linett Under The Supervision Of Brian Wilson


    The ultimate pressing of The Beach Boys' iconic album from Analogue Productions!
    Pet Sounds, the 11th studio album by The Beach Boys, is acclaimed by critics
    and musicians alike as one of the most influential works in the history of popular
    music. Brian Wilson wrote and composed almost all of the songs - mono
    mixes created under Wilson's supervision were how the surf rockin' California
    crew rose to fame, and now Analogue Productions brings them to you with THE
    definitive Pet Sounds reissue on 200-gram vinyl at 45 RPM pressed at Quality
    Record Pressings. You get to choose - either the mono or stereo album version,
    or both!


    The reception for our previously-issued 33 1/3 version drew praise from reviewer
    Michael Fremer of AnalogPlanet.com who wrote: "The instrumental separation
    and front-to-back layering is nothing short of astonishing compared to the pleasing
    mush offered up by other editions." Acclaimed mastering engineer Kevin
    Gray has been able to extract details heretofore uncaptured from the tape with
    Brian Wilson's original mono mix "and present it in a way that is pleasing and
    natural to the ear," wrote Lee Dempsey, for Endless Summer Quarterly.


    Our stereo version was mixed from an assembled digital multi-track master that
    synced the original 4-track master instrumental with the 4 or 8-track vocal overdub
    master. The stereo mix was mixed to 15 ips 1/4" analog tape with SR noise reduction.


    Even better, the 45 RPM versions of this historical musical masterpiece makes your
    cartridge a near-perfect tracker by way of reduction of inner-groove distortion, a
    clear sonic advantage. You get two 200-gram LPs in a beautiful tip-on gatefold
    jacket from Stoughton Printing.


    Pet Sounds is famous for its use of multiple layers of unorthodox instrumentation as
    well as other cutting edge audio techniques for its time. Conventional keyboards
    and guitars were combined with exotic touches of orchestrated strings, bicycle
    bells, buzzing organs, harpsichords, flutes, Theremin, Hawaiian-sounding string instruments,
    Coca-Cola cans, barking dogs, and more. This classic has some of the
    group's most stunning melodies - "Wouldn't It Be Nice," "God Only Knows," "Caroline
    No," and "Sloop John B" (the last of which wasn't originally intended to go on
    the album) are the well-known hits, but equally worthy are "You Still Believe in Me,"
    "Don't Talk," "I Know There's an Answer," and "I Just Wasn't Made for These Times."


    VH-1 named Pet Sounds as the No. 3 album in the Top 100 Albums in Rock 'n'
    Roll History, as judged in a poll of musicians, executives and journalists. It's been
    ranked No. 1 in several music magazines' lists of the greatest albums of all time,
    including NME, The Times and Mojo Magazine. It was ranked No. 2 in Rolling
    Stone's 500 Greatest Albums of All Time list.


    This title is not eligible for discount.

    LP 1
    1. Wouldn't It Be Nice
    2. You Still Believe Me
    3. That's Not Me
    4. Don't Talk (Put Your Head On My Shoulder)
    5. I'm Waiting For The Day
    6. Let's Go Away For Awhile
    7. Sloop John B


    LP 2
    1. God Only Knows
    2. I Know There's An Answer
    3. Here Today
    4. I Just Wasn't Made For These Times
    5. Pet Sounds
    6. Caroline No

    Beach Boys
    $54.99
    200 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed Buy Now
  • Super Bass Super Bass Quick View

    $34.99
    Buy Now
    x

    Super Bass

    A tribute to Freddie Green. Musicians include Jeff Hamilton, Jeff Clayton, John Clayton and Freddie Green. Super Bass has been a dream of mine longer than I can remember. Back in 1945 I did One Bass Hit and in 1946 I did Two Bass Hit. All that time I had thoughts of doing the Triple and the Home Run. Well I guess Super Bass is a fulfillment to those two. First of all I had this young student that returned from studying at Indiana University as a complete wizard of the bass. He also was studying conducting and arranging and will be one of the top arrangers in the music business. His name is John Clayton and he is a major part of this album. The LP edition has been remastered by Doug Sax off the original master tapes through custom tube electronics. Pressing done by Quality Record Pressings on 200 gram of pure virgin vinyl. This album was produced to the same standards of all Analogue Productions LPs.
    1. One Armed Bandit
    2. Bag's Groove
    3. Swing Jig
    4. Killer Joe
    5. Medley
    6. Righteous Boogie Bass
    7. Hues
    8. Goodbye Freddie Green
    9. Five O'Clock Whistle
    10. Happy Days Are Here Again
    Ray Brown
    $34.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Sings the Blues (Speakers Corner) Sings the Blues (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Sings the Blues (Speakers Corner)

    In both her public and private life, Nina Simone was adamant about one thing, namely, what she simply would not tolerate. She sometimes complained about the miserable erotic prowess of her lovers, while at other times her audience were a target for her tongue. Sometimes she cancelled her performances at short notice and held a tirade against show business as such. In her music, rooted in gospel, she sought a path which took her down a middle course between jazz and pop, thus earning her the title of High Priestess Of Soul (as in the LP title) with her rock fans in the Sixties.



    The present blues album was recorded during what was undisputedly her most productive phase. It is a recording which does not swim with the tide of the times in that it does not employ massive forces or seek the twang of electrification. Instead Nina Simone's wonderfully sleek contralto voice bathes in the gentle timbre of an organ and a pithy, pulsating - but by no means stomping - rhythm. The cool, unemotional number "Sings The Blues" guarantees riveting tension and the authenticity of the genre which is, of course, the be all and end all of music for every black artist. Surely no compilation, no matter how carefully conceived, could possibly mark the diva's 70th birthday in February and sudden death in April 2203 better than this re-release.



    Musicians:



    • Nina Simone (piano, vocal)

    • Rudy Stevenson, Eric Gale (guitar)

    • Ernest Hayes (organ)

    • Bob Bushnell (bass)

    • Bernard Purdie (drums)





    Recording: 1967 by Ray Hall and Mickey Crofford at RCA Victor's Studio B, New York

    Production: Danny Davis




    About Speakers Corner



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existant tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects - excluding the exception above - and that the lacquer discs are newly cut.



    1. Do I Move You
    2. Day And Night
    3. In The Dark
    4. Real Real
    5. My Man's Gone Now
    6. Backlash Blues
    7. I Want A Little Sugar In My Bowl
    8. Buck
    9. Since I Fell For You
    10. The House Of The Rising Sun
    11. Blues For Mama
    Nina Simone
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Workout Workout Quick View

    $49.99
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    x

    Workout

    During his stint with Miles Davis, Hank Mobley's four Blue Note sessions with bandmates Wynton Kelly and Paul Chambers are considered his finest and most lyrical work. One listen to Workout, and you'll understand why. This 1961 masterwork also features guitarist Grant Green and drummer Philly Joe Jones, who, along with the tenor saxophonist, weave what can truly be called hard-bop magic. Listeners will be hard-pressed to find a more illustrative example of musical finesse, creativity, and swing.



    Part of Analogue Productions' incredible Blue Note reissue series, this pressing claims mastering from the original master tapes and cut at 45RPM by the infallible team of Steve Hoffman and Kevin Gray, which did the deed at Acoustech. Add in amazingly clean 180g vinyl pressed at RTI, numbered and limited quantities, and gorgeous reproduction of the cover art--itself a classic--and you have a can't-miss jazz classic made even better. And yes, this is the same process and personnel Analogue Productions used on its critically acclaimed Fantasy Jazz reissue series, so you know the quality is top-notch.


    This title is not eligible for discount.

    1.   Workout

    2.   Uh Huh

    3.   Smokin'

    4.   The Best Things in Life are Free

    5.   Greasin' Easy

    Hank Mobley
    $49.99
    180 Gram Audiophile Virgin Vinyl 45 RPM LP - 2 LPs Sealed Buy Now
  • Chopin - Scherzo No. 3 / Brahms -  Rhapsodies (Speakers Corner) Chopin - Scherzo No. 3 / Brahms - Rhapsodies (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Chopin - Scherzo No. 3 / Brahms - Rhapsodies (Speakers Corner)

    The debut recording by the Argentinian pianist Martha Argerich took the public by the storm all over the world - and the applause has still not subsided! A mere glance at the repertoire shows that she was reaching for the stars. To bring five composers together on an LP of roughly 45 minutes length means nothing other than speaking five different musical languages - and Martha Argerich proves herself a master of them all! The demonic opening of the Scherzo in C sharp minor gives way to an iridiscent dialogue which sings and sparkles beyond compare. The Barcarolle rocks gently along; Prokofiev's Toccata is filled with dynamic force and nervous agitation; Ravel's Jeux d'eau is pensive and introverted, with the water rippling in a circular motion. As a contrast, the two famous Brahms Rhapsodies are performed with passion, impetuosity and occasionally the required heaviness.



    This recording is surely one of the brightest candles to burn anew on Deutsche Grammophon's birthday cake.



    This record was part of the 3-LP Set "The Conductors" and is now available again.



    Musicians:



    • Martha Argerich (piano)




    Recording: July 1960 at Beethoven-Saal, Hannover by Heinz Wildhagen

    Production: Prof. Elsa Schiller





    About Speakers Corner



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existant tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects - excluding the exception above - and that the lacquer discs are newly cut.


    and that the lacquer discs are newly cut.



    1. No. 3 C Sharp Minor, Op.39: Scherzo No. 3 In C Sharp
    2. Minor, Op.39
    3. Rhapsody, Op.79: No.1 Agitato In B Minor
    4. Rhapsody, Op. 79: No. 2 Molto passionato, ma non troppo allegro In G Minor
    5. Toccata, Op. 11
    6. Jeux D'Eau: Tres doux
    7. Barcarole In F Sharp Major, Op. 60
    8. Hungarian Rhapsody No.6:
    Johannes Brahms
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Art Blakey!!!!! Jazz Messengers!!!!! Art Blakey!!!!! Jazz Messengers!!!!! Quick View

    $49.99
    Buy Now
    x

    Art Blakey!!!!! Jazz Messengers!!!!!

    Art Blakey discovered and championed young talented musicians such as Clifford Brown, Lou Donaldson, Keith Jarrett and Wynton Marsalis to name but a few. But he also delivered the message of hard bop through thousands of performances at festivals right down to the smallest club. Lively, joyous performances, the very highest technical standards and somnambulistic music-making characterize this recording. Right from the very start it is clear that these jazz ambassadors have a new message for us. The hard-beat recordings win in lyricism thanks to the gentle sound of Curtis Fuller's trombone, something that was often missing in the powerful Blue Note sound. Four jazz evergreens give the musicians the time and opportunity to display their soloistic talents. The real climax, however, is to be found in the harmonic layering of the three winds which lend the themes new appeal. The message was broadcasted many times until the death of Art Blakey, but the history of jazz would have been a great deal poorer without these milestone recordings on the Impulse label. Art Blakey certainly knew how to delight his audience with fire, originality, a wealth of ideas and great humor. All these attributes are applicable to the six titles on this album.


    Musicians:

    Lee Morgan (trumpet)

    Curtis Fuller (trombone)

    Wayne Shorter (tenor saxophone)

    Robert H. "Bobby" Timmons (piano)

    Jymie Merritt (bass)

    Art Blakey (drums)


    Recording: June 1961 at Rudy van Gelder's Recording Studios, Englewood Cliffs, N.J., USA by Rudy van Gelder Production: Bob Thiele



    This title is not eligible for discount.

    1. À la Mode
    2. Invitation
    3. Circus
    4. You Don't Know What Love Is
    5. I Hear a Rhapsody
    6. Gee Baby, Ain't I Good to You
    Art Blakey
    $49.99
    180 Gram Audiophile Virgin Vinyl 45 RPM LP - 2 LPs Sealed Buy Now
  • The Ultimate Analogue Test LP The Ultimate Analogue Test LP Quick View

    $39.99
    Buy Now
    x

    The Ultimate Analogue Test LP

    Editors Editors Editors Editors


    Analogue Productions set out to produce the ultimate test record.


    We've consulted many experts in the field, including mastering engineers, audio experts, turntable experts and audiophile listeners, to create a test record that's never been made before. When Barry Wolifson from Sterling Sound in New York City called us with the same idea we had been thinking about - that being to create the ultimate test record - he and our audio expert Clark Williams began to brainstorm and research ideas until they were both completely satisfied with what should go on the record.


    Most of the test records in the past have been made to test a variety of equipment. This test record excludes silly cannon shots, typewriters, voices on one channel and other useless fluff. This one specifically addresses your turntable and cartridge. It's designed to provide the basic test signals necessary to calibrate a turntable or cutting lathe as simply as possible. Most of the signals have specific implications, but it is certainly possible to use them in any number of novel ways.


    This record was mastered and cut on a Neumann VMS 80 lathe at Sterling Sound and pressed at Record Technology, Inc. on high-quality, 180-gram virgin vinyl.


    Side 1

    General Reference Level

    This 1 kHz reference tone will allow you to establish a "base level" for all measurements.
    Track 1 1Khz reference tone 7cm/s Mono, in phase (Lateral)

    Basic reference for all measurements, adjust meter for maximum convenience (in the studio 0VU).
    Adjust preamp channel balance for equal output.
    Also used to check the offset angle of the photo cartridge; L&R signals should be exactly in phase as displayed on an oscilloscope.


    Azimuth Adjustment

    Track 2 1kHz reference level Left channel only

    Measure Right channel output.

    Track 3 1kHz reference level Right channel only

    Measure Left channel output.

    The object is to sit the stylus exactly perpendicular in the groove.

    Twist cartridge about its radial axis until the measurements from Track 2 and Track 3 are equal or very close to equal for both channels.


    High Frequency Adjustment

    Tracks 4, 5 and 6 are used to calibrate the RIAA high frequency equalizer of a phono preamp. This will be used to calibrate a mastering lathe's phono preamplifier or any phono preamplifier that has these adjustments.

    Track 4 1 kHz tone at -20 below reference level, Lateral

    Reference for High Frequency test.

    Track 5 10 kHz reference tone at -20dbu, Lateral
    Adjust the high frequency until the output level equals that of Track 4.

    Track 6 1 kHz to 20 kHz sweep at -20dbu, Mono (Lateral)

    The AC millivoltmeter reading should stay constant across all frequencies. There are a number of factors which can affect frequency response, including cable capacitance, cartridge loading, tracking force and worn parts. Because of this, it can be difficult to achieve perfectly flat frequency response. Sometimes by making small compromises in the 10 kHz adjustment, a better overall frequency response can be achieved.


    Low Frequency Adjustment

    Tracks 7 & 8 are used to calibrate the RIAA low frequency equalizer of a phono preamp.

    Track 7 1 kHz to 20 Hz sweep at 0 VU (Lateral)

    Play Track 7 and measure the output with your AC millivolt meter.

    Ideally, the output will be flat across all frequencies. When viewed on an oscilloscope, the amplitude would remain constant during the frequency downsweep.

    Track 8 100 Hz reference tone at 0 vu (Lateral)
    Adjust LF Eq to reference (which is your reading from Track 1).


    Track 9 VTA adjust

    This is an IEC intermodulation distortion (IMD) test signal; 60Hz & 4kHz 4:1 ratio.

    Using an IMD tester, adjust VTA by raising or lowering the tonearm for minimum distortion.


    Track 10 Standard Wow & Flutter test signal; 3150Hz
    The Wow & Flutter meter will give dynamic speed variations as a percentage deviation from nominal.

    Also, the frequency counter should read exactly 3150 Hz for nominal speed. You can use the Hz function on your multi-meter (if so equipped) to verify speed here as well. You can also use to find the measurements at 45RPM. The correct reading at 45RPM would be 4253 Hz (45/33.33) x 3150.


    Side 2

    Track 1 Anti-skating test; 315Hz amplitude sweep to +12dbu (Lateral)

    Signal should remain clean in both channels up to the highest level, both audibly and as viewed on an oscilloscope. In case of distortion, increase anti-skating force or decrease anti-skate until breakup occurs equally in both channels. The left channel information is inscribed on the inner groove wall, the right channel information, on the outer groove wall. Because of the offset angle of a pivoted tonearm, a constantly varying vector force biases the arm towards the center of the record causing the stylus to lose contact with the outer (i.e. right channel) groove wall. Both linear and modulated groove velocity, tracking force, stylus profile, and vinyl composition are contributing factors. The anti skating force attempts to ameliorate this by applying an opposing similar force.

    It is also accepted that the overall force vector increases as the tonearm approaches closer to the spindle or end of the record.


    Track 2 Pink noise lateral

    Track 3 Pink noise vertical

    Used for cartridge "demagnetizing"

    You can also use this track to loosen up the cantilever's suspension to help break in a new cartridge. Play these tracks five to ten times after every 300 hours of normal LP playback.


    Track 4 1kHz @ reference level, vertical
    This out-of-phase signal should cancel to nothing when summed to mono.

    Any signals still present are distortion artifacts, lack of channel balance, or timing (phase) anomalies. This test can be a second confirmation of anti-skate adjustment.


    Track 5 1kHz to 10Hz sweep @ -20 below

    reference level, vertical
    Resonance anomalies in the tonearm / cartridge interface will show up as amplitude peaks and dips as the frequency sweeps down.

    Once again, by listening in 'Mono' it is easier to hear the distortion artifacts.


    Track 6 Silent groove for bearing rumble and table isolation

    During playback of this track, nothing should be transmitted from the turntable to the speakers. Replay the track and gently tap on the rack or base that the turntable is resting on. There should be little or no thump transferred to the speakers. This track will help you experiment with turntable isolation methods and products to be able to get the most out of your playback system. You may want to use a closed or sealed headphone for best listening results, or a stethoscope on the plinth.


    This title is not eligible for discount.

    Analogue Productions
    $39.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Going Back To Acoustic (Pure Pleasure) (Awaiting Repress) Going Back To Acoustic (Pure Pleasure) (Awaiting Repress) Quick View

    $34.99
    Buy Now
    x

    Going Back To Acoustic (Pure Pleasure) (Awaiting Repress)

    Originally issued in France on Isabel Records 900.510 under the title "Going Back" this LP presents one of the best duos in the history of the blues, guitarist Buddy Guy and harmonica player Junior Wells. Over the years they made many recordings together but this one is unique. Recorded whilst on a 1981 tour of Europe, Guy and Wells took a break from their backing musicians and amps to cut this spontaneous, all acoustic set. The results stand in stark contrast to the steamy Chicago blues the duo is best known for. Instead these recordings are relaxed and personal, with an intimate, back porch feel. Guy switches between six and twelve string guitars, and lays down rootsy acoustic rhythms for Wells's tasteful harmonica lines. The two share vocal duties on the performances as they pay homage to the rural, country blues roots these modern bluesmen share.



    Musicians:



    • Buddy Guy (guitar, vocal)

    • Junior Wells (harmonica, vocal)



    Recording: May 1981 at Sysmo Studio, Paris
    Production: Didier Tricard




    About Pure Pleasure



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existent tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.



    and that the lacquer discs are newly cut.


    1. Boogie Chillen
    2. Im In The Mood
    3. Dont Leave Me
    4. Give Me My Coat And Shoes

    5. Medley:Baby What You Want Me To Do/Thats Allright
    6. Big Boat(Buddy and Juniors Thing)
    7. High Heel Sneakers
    8. My Home Is In The Delta
    9. Wrong Doing Woman
    10. Diggin My Potatoes
    Buddy Guy & Junior Wells
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Pet Sounds (Mono) (200 Gram 45 RPM) Pet Sounds (Mono) (200 Gram 45 RPM) Quick View

    $54.99
    Buy Now
    x

    Pet Sounds (Mono) (200 Gram 45 RPM)


    Ranked 2/500 On Rolling Stone Magazine's 500 Greatest Albums Of All Time!


    Mono


    Lacquer Plating By Gary Salstrom


    200-Gram Vinyl Pressed At Quality Record Pressings


    Deluxe Tip-On Gatefold Jacket From Stoughton Printing


    Mastered By Kevin Gray At Cohearant Audio


    Stereo Mix Produced By Mark Linett Under The Supervision Of Brian Wilson


    The ultimate pressing of The Beach Boys' iconic album from Analogue Productions!
    Pet Sounds, the 11th studio album by The Beach Boys, is acclaimed by critics
    and musicians alike as one of the most influential works in the history of popular
    music. Brian Wilson wrote and composed almost all of the songs - mono
    mixes created under Wilson's supervision were how the surf rockin' California
    crew rose to fame, and now Analogue Productions brings them to you with THE
    definitive Pet Sounds reissue on 200-gram vinyl at 45 RPM pressed at Quality
    Record Pressings. You get to choose - either the mono or stereo album version,
    or both!


    The reception for our previously-issued 33 1/3 version drew praise from reviewer
    Michael Fremer of AnalogPlanet.com who wrote: "The instrumental separation
    and front-to-back layering is nothing short of astonishing compared to the pleasing
    mush offered up by other editions." Acclaimed mastering engineer Kevin
    Gray has been able to extract details heretofore uncaptured from the tape with
    Brian Wilson's original mono mix "and present it in a way that is pleasing and
    natural to the ear," wrote Lee Dempsey, for Endless Summer Quarterly.


    Our stereo version was mixed from an assembled digital multi-track master that
    synced the original 4-track master instrumental with the 4 or 8-track vocal overdub
    master. The stereo mix was mixed to 15 ips 1/4" analog tape with SR noise reduction.


    Even better, the 45 RPM versions of this historical musical masterpiece makes your
    cartridge a near-perfect tracker by way of reduction of inner-groove distortion, a
    clear sonic advantage. You get two 200-gram LPs in a beautiful tip-on gatefold
    jacket from Stoughton Printing.


    Pet Sounds is famous for its use of multiple layers of unorthodox instrumentation as
    well as other cutting edge audio techniques for its time. Conventional keyboards
    and guitars were combined with exotic touches of orchestrated strings, bicycle
    bells, buzzing organs, harpsichords, flutes, Theremin, Hawaiian-sounding string instruments,
    Coca-Cola cans, barking dogs, and more. This classic has some of the
    group's most stunning melodies - "Wouldn't It Be Nice," "God Only Knows," "Caroline
    No," and "Sloop John B" (the last of which wasn't originally intended to go on
    the album) are the well-known hits, but equally worthy are "You Still Believe in Me,"
    "Don't Talk," "I Know There's an Answer," and "I Just Wasn't Made for These Times."


    VH-1 named Pet Sounds as the No. 3 album in the Top 100 Albums in Rock 'n'
    Roll History, as judged in a poll of musicians, executives and journalists. It's been
    ranked No. 1 in several music magazines' lists of the greatest albums of all time,
    including NME, The Times and Mojo Magazine. It was ranked No. 2 in Rolling
    Stone's 500 Greatest Albums of All Time list.


    This title is not eligible for discount.

    LP 1
    1. Wouldn't It Be Nice
    2. You Still Believe Me
    3. That's Not Me
    4. Don't Talk (Put Your Head On My Shoulder)
    5. I'm Waiting For The Day
    6. Let's Go Away For Awhile
    7. Sloop John B


    LP 2
    1. God Only Knows
    2. I Know There's An Answer
    3. Here Today
    4. I Just Wasn't Made For These Times
    5. Pet Sounds
    6. Caroline No

    Beach Boys
    $54.99
    200 Gram Audiophile Virgin Vinyl LP 45 RPM Mono - 2 LPs Sealed Buy Now
  • Bizet: Carmen (Speakers Corner) Bizet: Carmen (Speakers Corner) Quick View

    $95.99
    Buy Now
    x

    Bizet: Carmen (Speakers Corner)

    This is a problem recording, and even fans of Leonard Bernstein and Marilyn Horne will find it odd« writes a large mail-order media company about this Carmen production. However, discerning listeners who submerge themselves in the music will soon conclude that the problem is rather to be found among the many highly acclaimed and styled-up other recordings that present the fiery musical portrait as a sanitized, spirited indoor ballet. This is very different from Bernstein, who hints at the work's inevitable tragedy already in the agonisingly weighty clashing cymbals of the surprisingly slow opening. His rustic-sounding street scenes are filled with vaudeville, raw and authentic, and so typical of how people behave when they dance out-of-doors. This Carmen is far closer to the cracking Westside Story than a saturated Traviata.


    Marilyn Horne in the title role lends the full-blooded Carmen such an incredible voice in all manner of moods that one can hardly believe that we are listening to just one singer. One minute we hear the bright voice of a young girl lusting for life, and in the next minute the mezzo-like pained cry of a man-killing heroine.
    James McCracken has a distinctive dry voice, which is full of rousing passion, and is ideal in the role of Don JosÉ. He is complemented by the dramatic, powerful baritone Tom Krause as the torero Escamillo.


    Harry Pearson, the founder and former Editor in Chief of the specialist magazine The Absolute Sound, accorded this outstanding recording a regular mention in his 'super disc' list - no problem!

    Musicians:



    • Marylin Horne

    • James McCracken

    • The Manhattan Opera Chorus and the Metropolitan Opera Orchestra conducted by Leonard Bernstein



    Recording: September and October 1972 im Manhattan Center, New York von
    GÜnter Hermanns

    Production: Thomas W. Mowrey



    About Speakers Corner



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existant tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects - excluding the exception above - and that the lacquer discs are newly cut.



    LP 1
    1. Prelude
    First Act
    2. Introduction
    3. March And Chorus Of Urchins
    4. Chorus And Scene
    5. Habanera
    6. Scene
    7. Dialogue
    8. Duet
    9. Chorus

    10. Chanson And Melodrama

    11. Chanson Et Duet
    12. Finale


    LP 2
    1. Entracte
    Second Act
    2. Chanson
    3. Chorus And Ensemble
    4. Couplets / Chorus
    5. Quintet
    6. Chanson
    7. Duo
    8. Finale
    Third Act
    9. Entracte

    10. Introduction


    LP 3
    1. Trio
    2. Ensemble
    3. Air
    4. Duo
    5. Finale

    6. Entracte

    Fourth Act
    7. Chorus

    8. Chorus

    9. Final Duo

    Georges Bizet
    $95.99
    180 Gram Audiophile Virgin Vinyl LP Box Set - 3 LPs Sealed Buy Now
  • But Beautiful (Pure Pleasure) But Beautiful (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    But Beautiful (Pure Pleasure)

    A highly successful and respected jazz and soul singer, Nancy Wilson bridges the gap between the classic pop vocal era of Peggy Lee, Frank Sinatra and Ella Fitzgerald and the belting R&B divas of today. Though Nancy Wilson has always cited the emotionally naked, androgynous vocal style of Jimmy Scott as her primary influence, her voice carries definite echoes of Dinah Washington and Sarah Vaughan. Yet Wilson also has always had a strong feeling for post-Sam Cooke soul and the tartness of her delivery carries more than an echo of the sometimes-icy Lena Horne. Young and heart-stoppingly beautiful, Wilson was discovered singing in a N.Y.C. jazz club in the late 1950s by Cannonball Adderley, who told his management at Capitol Records that they needed to scoop her up before another label did. Wilson was immediately signed and started recording for Capitol, the premier vocal label of the 1950s and '60s.




    Musicians:



    • Nancy Wilson (vocal)

    • Hank Jones (piano)

    • Gino Bertachini (guitar)

    • Ron Carter (bass)

    • Grady Tate (drums)




    Recording: November 1969 in New York City

    Production: David Cavanaughdeutsch




    About Pure Pleasure



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existent tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.



    1. Happiness Is A Thing Called Joe
    2. Oh! Look At Me Now
    3. Glad To Be Unhappy
    4. Do It Again
    5. But Beautiful
    6. Easy Living
    7. Prelude To A Kiss
    8. I Thought About You
    9. For Heaven's Sake
    10. Supper Time
    11. I'll Walk Alone
    12. Darn That Dream
    13. In A Sentimental
    Nancy Wilson
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
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