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  • Clearaudio Concept Wood Turntable CARTRIDGE/TONEARM OPTIONS Clearaudio Concept Wood Turntable Quick View

    $2,200.00
    Buy Now
    x

    Clearaudio Concept Wood Turntable


    Have a question about this product? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.


    **All Cartridges Installed Free Of Charge**


    The Concept Wood turntable furthers the sonic excellence of the award-winning Concept turntable. The Concept Wood uses a baltic birch, constrained layer plinth that is both visually attractive and sonically rich and smooth. The aluminum machined sub-platter and rear-mounted fine speed adjustments are an upgrade from the original Concept design. The Concept Wood is equipped with the Satisfy Black tonearm, which features a 3-point mechanical bearing, magnetic anti-skate, and hard-wired tonearm cable. You can upgrade to the Satisfy Carbon Fiber tonearm for enhanced musicality and imaging. A high-quality Clearaudio moving magnet (Concept MM) or moving coil (Concept MC) cartridge can be pre-mounted to complete this setup. The Concept is belt-driven by a low-noise, decoupled DC motor built into the baltic birch plinth. The platter is made of 30mm-thick polymer (POM), an engineering thermoplastic with a weighted rim for increased fly-wheel effect, providing greater speed stability. The Concept Wood plays at three speeds - 33rpm, 45rpm, and 78rpm - selectable by an Electronic Speed Control knob.


    Clearaudio Turntables
    $2,200.00
    Concept Wood Turntable - Cartridge/Tonearm Options
    Buy Now
  • Dusty In Memphis Dusty In Memphis Quick View

    $21.99
    Buy Now
    x

    Dusty In Memphis

    Ranked 89/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    Britain's greatest pop diva Dusty Springfield was the finest white soul singer of her era and this landmark Atlantic Records album from 1969 is a masterpiece, a perfect marriage of pop and soul...contains her top 10 hit Son Of A Preacher Man plus several other hit singles and classic tracks...


    Originally released in 1969, the concept for Dusty In Memphis was to take England's reigning female soul queen to the home of the music which had inspired her. Produced by Atlantic's Jerry Wexler and Arif Mardin and engineered by Tom Dowd, the record's highlights include Son Of A Preacher Man, So Much Love, Breakfast In Bed, Just One Smile, I Don't Want To Hear It Anymore and Just A Little Lovin'. Springfield is backed by a crack band that had previously worked with Aretha Franklin, Wilson Pickett, King Curtis and Elvis Presley among others. The musicians - collectively known as the Memphis Cats - include guitarist Reggie Young, bassist Tommy Cogbill, drummer Gene Chrismann, pianist Bobby Wood and Bobby Emmons on organ and electric piano. Songwriting contributions came from, among others, Randy Newman, Carole King, Gerry Goffin, Barry Mann and Cynthia Weil. Dusty Springfield is one of the finest white soul singers of her era, and this is the undisputed proof.

    1. Just A Little Lovin'
    2. So Much Love
    3. Son Of A Preacher Man
    4. I Don't Want To Hear It Anymore
    5. Don't Forget About Me
    6. Breakfast In Bed
    7. Just One Smile
    8. The Windmills Of Your Mind
    9. In The Land Of Make Believe
    10. No Easy Way Down
    11. I Can't Make It Alone
    Dusty Springfield
    $21.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Dusty In Memphis Dusty In Memphis Quick View

    $54.99
    Buy Now
    x

    Dusty In Memphis

    Ranked 89/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    Britain's greatest pop diva Dusty Springfield was the finest white soul singer of her era and this landmark Atlantic Records album from 1969 is a masterpiece, a perfect marriage of pop and soul...contains her top 10 hit Son Of A Preacher Man plus several other hit singles and classic tracks...


    Originally released in 1969, the concept for Dusty In Memphis was to take England's reigning female soul queen to the home of the music which had inspired her. Produced by Atlantic's Jerry Wexler and Arif Mardin and engineered by Tom Dowd, the record's highlights include Son Of A Preacher Man, So Much Love, Breakfast In Bed, Just One Smile, I Don't Want To Hear It Anymore and Just A Little Lovin'. Springfield is backed by a crack band that had previously worked with Aretha Franklin, Wilson Pickett, King Curtis and Elvis Presley among others. The musicians - collectively known as the Memphis Cats - include guitarist Reggie Young, bassist Tommy Cogbill, drummer Gene Chrismann, pianist Bobby Wood and Bobby Emmons on organ and electric piano. Songwriting contributions came from, among others, Randy Newman, Carole King, Gerry Goffin, Barry Mann and Cynthia Weil. Dusty Springfield is one of the finest white soul singers of her era, and this is the undisputed proof.


    This title is not eligible for discount.

    1. Just a Little Lovin'
    2. So Much Love
    3. Son of a Preacher Man
    4. I Don't Want to Hear It Anymore
    5. Don't Forget About Me
    6. Breakfast In Bed
    7. Just One Smile
    8. The Windmills of Your Mind
    9. In the Land of Make Believe
    10. No Easy Way Down
    11. I Can't Make It Alone
    12. Willie and Laura Mae Jones
    13. Hi-De-Ho (That Old Sweet Roll)
    14. What Do You Do When Love Dies
    Dusty Springfield
    $54.99
    200 Gram Audiophile Virgin Vinyl 45RPM LP - 2 LPs Sealed Buy Now
  • Charisma V2 MM Cartridge Charisma V2 MM Cartridge Quick View

    $2,000.00
    Buy Now
    x

    Charisma V2 MM Cartridge



    As Clearaudio continue to advance standards in our range of moving coil (MC) cartridges, we felt it was equally time to turn our attention to the moving magnet (MM) range and to make a new statement.


    From the concept V2 to the Maestro V2, our MM cartridges have long been at the forefront of the moving magnet field and have proved popular among music lovers for their distinctive high quality.


    The Charisma V2 is the new flagship of the Clearaudio MM cartridge range.


    Only the finest materials qualified for inclusion, including the same diamond-coated Boron cantilever found in our world-leading Goldfinger Statement MC cartridge.


    The use of highly efficient magnets gives the dynamic Charisma V2 an almost record-breaking output, easily enough to amply drive less sensitive phono stages. The double-polished diamond stylus is mounted on the cantilever with matchless precision, ensuring excellent frequency response and the highest channel separation.


    The cartridge body is made from the finest ebony wood and is set with a precious metal-bearing inlay.


    The result? A quality of sound that, until now, seemed unachievable from MM cartridges. Utterly charismatic.

    Clearaudio Cartridges
    $2,000.00
    Moving Magnet Cartridge Buy Now
  • Clearaudio Performance DC Turntable COLOR/TONEARM OPTIONS Clearaudio Performance DC Turntable Quick View

    $3,000.00
    Buy Now
    x

    Clearaudio Performance DC Turntable


    Have a question about this product? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.


    The Performance DC shares sophisticated technology with Clearaudio's award-winning Ovation and Concept turntables, placing it in the middle of this series of three turntables featuring outstanding sound, unmatched value and ease of use. The Performance DC's main composite chassis consists of a specific density wood core sandwiched between two massive anodized aluminum plates. A band of polished silver aluminum is wrapped around the plinth's core, giving the Performance DC an elegant and modern look. The powerful and smooth-running DC motor is mounted to the composite main chassis and is effectively decoupled for enhanced dynamic range. The motor and belt are hidden from view, protected from dust and UV. They drive a precision machined aluminum sub-platter coupled to a 40mm thick POM platter, supported by Clearaudio's patented CMB (Ceramic Magnetic Bearing). The Performance DC's 33, 45, and 78 rpm speeds are selected by blue illuminated buttons, ergonomically integrated into the front left of the chassis. Precision adjustability is possible for each speed via user-accessible trim pots. The Performance DC comes with Clearaudio's magnetic bearing Verify Carbon Fiber tonearm and its interchangeable armboard design can accommodate a variety of 9 inch tonearms including Clearaudio's Clarify, Magnify and Universal tonearms.


    Clearaudio Turntables
    $3,000.00
    Performance DC Turntable - Color & Tonearm Options
    Buy Now
  • The Cosmic Scene (Pure Pleasure) The Cosmic Scene (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    The Cosmic Scene (Pure Pleasure)

    Still riding the success of his triumphant concert at the 1956 Newport Jazz Festival, Duke Ellington in 1958 decided to reduce his touring orchestra to a nonet dubbed the Spacemen, and recorded this lone project with them for the Columbia label. Perhaps inspired by the first orbiting satellites, Ellington is not taking cues from George Russell or Sun Ra, whose extraterrestrial inspirations led them to even more progressive paths. This large ensemble is playing mostly standards, but the arrangements and solos carve an integrated yet elasticized concept that allows for a more expanded role for the ensemble's trombonists Quentin 'Butter' Jackson, John Sanders, and Britt Woodman, and select soloists. One in the solo spotlight is Clark Terry on flugelhorn exclusively, putting his fabled trumpet aside. The classic material presented includes clarinetist Jimmy Hamilton's features Avalon and Early Autumn, the slinky stripper pole blues version of St. Louis Blues with Ellington's piano taking the lead, and a version of Body & Soul, with tenor saxophonist Paul Gonsalves completely extrapolating and re-harmonizing the tune. There's a modified Perdido, an animated and perky Midnight Sun that deviates from any other slow and lugubrious version of the ballad, and Jones a real good swinger. There are two originals; the blues bass of Jimmy Woode and the 'bones with plentiful piano from Duke infusing Bass-Ment, and one of the more delightful of all of Ellington's book, the poppin' and boppin' Spacemen, a bright happy horn chart led by Terry that is one of the more distinctive Ellington numbers of this time period. It comes highly recommended.



    Musicians:



    • Paul Gonsalves (tenor saxophone)

    • Clark Terry (fluegel horn)

    • Britt Woodman, John Sanders, Quentin Jackson (trombone)

    • Jimmy Hamilton (clarinet)

    • Duke Ellington (piano)

    • Jimmy Wood (bass)

    • Sam Woodyard (drums)



    Recording: April 1958 at Columbia 30th Street Studio, New York




    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.



    This title is not eligible for discount.

    1. Avalon
    2. Body And Soul
    3. Bass-ment
    4. Early Autumn
    5. Jones
    6. Perdido
    7. St. Louis Blues
    8. Spacemen
    9. Midnight Sun
    10. Take The A Train
    Duke Ellington
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • AmpsandSound Seneca Horn-Loaded Loudspeaker AmpsandSound Seneca Horn-Loaded Loudspeaker Quick View

    $20,000.00
    Buy Now
    x

    AmpsandSound Seneca Horn-Loaded Loudspeaker


    Have a question about this product? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.


    AmpsandSound Products Are Handmade In Small Batches and Go Through Extensive Quality Control


    The Seneca is AmpsandSound's nod to studio monitors. Inspired by the flat response and dynamic range of the best studio monitors from TAD and JBL, the Seneca is a 2way horn loaded monitor. They've combined a massive 15" woofer for effortless bass and 2" beryllium compression driver provides for lighting fast transient, wide bandwidth and ultra-low distortion.


    The Seneca like the Hudson is a partial horn-loaded loudspeaker system configured as an ultra-wide bandwidth 2way. The foundation of the Seneca is a direct radiating 15" woofer for low frequencies, providing usable bass into the 35hz range and crossing to the Mid-Horn @ 500hz. The Seneca mates a modern high-efficiency compression driver to Elliptical traxtrix horn. The reduction of a crossover point and driver increases coherence without sacrificing high frequency information. The concept of the Seneca is to have big horns, state of the art crossovers and drivers into the smallest form factor possible; and yielding bass response, efficiency, dynamic capabilities, low distortion, and scale of much larger designs in a much smaller enclosure.


    The Seneca had long been utilized by ampsandsound's founder in his personal system due to its more relaxed presentation. The core design was revisited with the development of the Hudson. Now paired with our newest crossover design and utilizing one of the most a calmed mid ranges, the Senenca was transformed into a loudspeaker capable of life like realism. Gone was the reference to a good sounding speaker, but now music was described as hearing the artist just feet away from you; as if you were at the counsel in the studio and they were playing to just you.


    Its compact size makes it capable of being installed into even small most rooms, minimizes room interactions. Front ported and horn loaded reduces back wall interaction. The Seneca offers dynamic range, life like scale, tonal accuracy will appeal to audiophiles who desire all of the positive attributes of horn-loaded designs but without the issues of size and room interaction that are inherent to many designs.


    The Seneca features a state of the art hand-wired crossover network, which utilizes high-order filters, and minimal driver lover lap, through use of large air-core inductors for low signal loss. If the heart of the Seneca is its horns and midrange, the crossover represents its cerebral cortex. The Seneca is art though design, providing detail rich rendering without coloration. Its crossover minimizes frequency overlap, and achieves phase coherence and perfect time alignment. Its crossover is hand-made and built to the same rigorous standards as our amplifiers and loudspeakers, utilizing Hyper-litz inductors and low Q capacitors. Each crossover weighs more than 15 pounds and is unlike anything you've seen or heard in horn-loaded loudspeakers.


    The Seneca's bass section utilizes a 15 woofer in a direct-radiating configuration that is front-ported to minimize interaction with front walls. Through the use of FFT analysis, ampsandsound has carefully built an inert cabinet that features strategic bracing and dampening. As a result, the Hudson is capable of high output with minimal excursion, and greatly reduced levels of distortion over conventional designs.


    The heart of the Seneca is its large CNC-cut midrange horn, which utilizes a hybrid tractrix flare, providing controlled horizontal dispersion and limiting vertical dispersion to reduce room interactions. The midrange horn is mated to a 2 large-format midrange compression driver with beryllium diaphragm. No need for a tweeter with a midrange capable of extending past 20khz and providing a rule flat midrange. The combination of a large, precision-made wood horn with a large throat and large midrange compression driver has resulted in a midrange that is tonally accurate, yet rich with detail. The midrange is smooth, fast-sounding, and easy to listen to for hours.


    AmpsandSound
    $20,000.00
    Horn-Loaded Loudspeaker (Pair) Buy Now
  • Overstep Overstep Quick View

    $22.99
    Buy Now
    x

    Overstep

    Ask, and Mike Gordon will tell you all about the songs he has written and recorded for his fourth solo album Overstep, and how the finished product
    compares to his previous releases (2003's Inside In, 2008's The Green Sparrow, and 2010's Moss). But as a devotee and student of the creative process,
    he'd much rather talk about how the songs came to be, and about the long road traveled between idea and finished work.


    Most artists have a ritual or routine that they rely on to inspire and guide their efforts from concept to fruition. Gordon has developed hundreds of them
    over the years, and perhaps thousands. He speaks often about the importance of listening, and of his commitment to following ethereal voices and
    visions. One such persistent vision he describes was of a spare cabin in the woods with a single window and a desk, and Gordon making music with
    guitarist and longtime collaborator Scott Murawski. So he called Murawski and proposed a songwriting retreat at idyllic Lake Sunapee in New Hampshire.
    Murawski accepted, and the old friends escaped together to summon the muse, unburdened as yet by the expectation that they would eventually record
    an album.


    After multiple writing retreats and an album's worth of core tracks in hand, Gordon took a leap of faith, and hired Paul Q. Kolderie (Radiohead, Hole,
    Pixies, Dinosaur Jr.) as producer to bring the project home. Gordon had self-produced all of his previous albums, but felt he was ready to surrender
    control to someone who understood his vision and loved the material. "Hiring Paul was definitely the right thing," says Murawski. "The payoffs are all over
    the place."


    Gordon cites three goals that he kept in mind throughout the process from start to finish: Find ways to be raw and sophisticated at the same time; Be
    groove oriented; Write songs that will be fun to play live. Whether an explicit goal or not, the songs on Overstep evidence Gordon's evolving ability to
    develop three-dimensional characters within his songs, and to speak more directly to the truth of their condition.

    1. Ether
    2. Tiny Little World
    3. Jumping
    4. Yarmouth Road
    5. Say Something
    6. Face
    7. Paint
    8. Different World
    9. Peel
    10. Long Black Line
    11. Surface
    Mike Gordon
    $22.99
    Vinyl LP - Sealed Buy Now
  • Encore 50 Speakers Encore 50 Speakers Quick View

    $9,995.99
    Buy Now
    x

    Encore 50 Speakers


    Have a question about this product? Please email our href=mailto:audioadvisor@soundstagedirect.com>audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.


    There is no substitute for the pure musical involvement and enjoyment to be experienced when listening to the new Epos Encore 50. This unique Epos Flagship loudspeaker has been 3 years in the making but, there is no doubt the time taken to develop this exceptional loudspeaker has been well worth the wait.


    Each and every part of the Epos Encore 50 has been developed by Epos engineers to a standard not previously achieved by the company. From the original design concept through to the cabinet construction, speaker drive units, crossover and final voicing, the Encore 50 stands superior in every way.


    Cabinet

    It is tall and imposing yet exhibits elegance synonymous with Epos. Standing 1.2 metres high, it is deeper rather than wide and is supplied with a strong stylish painted MDF plinth to support its 50 kg weight and spread its footprint for improved stability and mechanical decoupling. Fully adjustable turned aluminium and steel spiked feet can raise or lower the speaker to adjust or tilt the level. The cabinet itself is made from a composite of birch-plywood and MDF which has been extensively strengthened internally using plywood bracing within the mid-range and bass enclosures.


    To ensure the lowest colouration, the cabinet and bracing have been optimised, following accelerometer measurements and listening tests. Hand selected and book-matched real wood veneer has been chosen give the most luxurious finish on an Epos speaker so far.


    Separate Bass, Mid-range and Crossover sections of the cabinet are hermetically sealed and allow the Crossover to be located in a convenient section at the bottom of the cabinet, accessed via the large, ventilated terminal panel on the bottom rear with a letter box opening in the plinth. All drive units are separately wired to the crossover section, using custom Epos solid core wire.


    The bass enclosure has a volume of 43 litres. Two 220mm woofers are bass-reflex loaded by one large diameter 90mm port, positioned mid-way between the woofers and flared at both ends to minimise port turbulence and harmonic distortion. The height and spacing of the woofers has been chosen to minimise the 'floor-bounce' cancellation, optimise bass output and ensure a smooth bass-mid range transition in room. The mid-range unit is in its own, braced, 8 litre sealed-box enclosure.


    Drive Units

    The 2 x 220 mm woofers and 158 mm mid-range cones are made from a Kevlar/carbon fibre/pulp mixture to combine high rigidity, with good inherent damping and feature concave dust caps coupled tightly to the cone. Frequency responses of both woofer and mid-range are inherently very smooth. They each incorporate a copper shorting ring in the magnetic circuit to reduce and linearise inductance and therefore, reduce harmonic and inter-modulation distortions at high sound pressure levels. The two woofer cones couple acoustically at low frequencies and are port loaded for extremely high power handling.


    The tweeter is a specially developed version of the Epos Mi tweeter, with anodised aluminium dome, Kapton voice coil former, braided lead-out wires and Ferro-Fluid damping. The centre pole is damped under the dome and vented into a contoured, felt-filled, rear chamber to damp the fundamental resonance frequency.


    Crossover

    The crossover design of the Epos Encore 50 is revolutionary. It allows the user unparalleled flexibility to compensate for individual room acoustics, without compromising sound quality in any way. The tonal balance of the speaker may be easily changed by the user to increase or decrease the tweeter and midrange output in 1.5dB steps, via an aperture in the bottom of the speaker and plinth. The crossovers use high-grade customised 'Epos' polypropylene capacitors and non-polarised electrolytic capacitors, which are bypassed with polypropylene capacitors on the mid-range and tweeter. It also uses air-core inductors, a tapped autotransformer for adjusting the mid-range output and laminated steel-core inductors. Metal-oxide resistors are paralleled where necessary to achieve high power rating and a custom heatsink is used to reduce the temperature.


    The high sensitivity mid-range is attenuated by a tapped auto transformer, which doubles as the high-pass crossover inductor. The tweeter network also has variable attenuation via metal-oxide resistors. The maximum sensitivity treble position by-passes all attenuation. Passive components are mounted on a high quality, glass fibre PCB, mechanically isolated from the cabinet.


    The crossover PCB's are designed to be completely, or partially, by-passed, to enable the user to configure the speaker in passive or active mode. Epos, will offer a custom DAC with programmable digital crossover to suit any make of amplification system. In short, it has unparalleled flexibility.


    The ongoing development for a future user upgrade to the Epos Encore 50 will represent yet another great leap forward in Epos speaker design and will have music lovers giving it a 'standing ovation' whilst applauding this exceptional speaker.


    Plinth

    A custom made MDF plinth helps to extend the footprint of the speaker and decouple mechanical vibrations from the cabinet. This makes the speaker more stable in a domestic environment and improves low frequency performance.


    It also allows access to the crossover adjustment patch-board. Adjustable metal feet allow the height and angle of the speaker to be adjusted. This enables a custom skateboard to fit underneath so the speaker can be transported on wheels to a different position and then carefully lowered into place. This is supplied with the speakers.


    This product is not eligible for discount.


    Epos Speakers
    $9,995.99
    Encore 50 3-Way Flagship Speaker Buy Now
  • Such Sweet Thunder (Pure Pleasure) Such Sweet Thunder (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Such Sweet Thunder (Pure Pleasure)

    This music counts among Ellington's most well-realized 'concept projects', all inspired by Shakespeare's work and filled with memorable melodies and ample opportunities for solos by Cat Anderson, Johnny Hodges, Paul Gonsalves, and Quentin Jackson. The Ellington-Strayhorn compositions treat their soloists like actors doing scenes and, in effect, playing parts, even quoting lines after a fashion - Clark Terry 'plays' Puck in Up and Down, Up and Down (I Will Lead Them Up and Down), and Johnny Hodges turns in one of the most sensuous performances of his career for Half the Fun, from Antony and Cleopatra.



    Musicians:



    • Duke Ellington (piano)

    • Johnny Hodges

    • Russell Procope (saxophone)

    • John Sanders (trombone)

    • Britt Woodman (trombone)

    • Ray Nance (trumpet)

    • Clark Terry (trumpet)

    • Jimmy Wood (bass)

    • Sam Woodyard (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.



    This title is not eligible for discount.

    Side 1:
    1. Such Sweet Thunder
    2. Sonnet For Caesar
    3. Sonnet To Hank Cinq
    4. Lady Mac
    5. Sonnet In Search of A Moor
    6. The Telecasters

    Side 2:
    1. Up And Down, Up And Down (I Will Lead Them Up And Down)
    2. Sonnet For Sister Kate
    3. The Star-Crossed Lovers
    4. Madness In Great Ones
    5. Half The Fun
    6. Circle of Fourths

    Duke Ellington
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Bashin' (Speakers Corner) Bashin' (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Bashin' (Speakers Corner)

    Right up until today rumour has it that Creed Taylor enticed the organist Jimmy Smith to leave Blue Note and change to the Verve label by means of a very large fistful of dollars. One things is clear, however: that Jimmy Smith never revealed a single word about this delicate matter; but it is also clear that the whole concept of his music took on new dimensions when he changed over to his new backer. Recordings with Wes Montgomery were just the beginning; large ensembles, superb arrangements by Oliver Nelson, and fine contributions by his soloists created a magnificent background for the 'new' Jimmy Smith on this and subsequent LPs.



    Despite its title, Bashin', there is absolutely nothing to criticise on this LP. The A side presents the new concept: a wonderful, swinging background against which Jimmy Smith can develop his full potential. Oliver Nelson's light and airy arrangements further enhance the standard themes: soloists are never confined within set limits but are gently guided; the riffs are presently precisely and cleanly, without ever sounding overloaded.



    The use of the organ is also quite fascinating: beautifully relaxed in Beggar For The Blues which is arranged for a trio; swinging in the title number Bashin', and cheerful in the style of an old cowboy song - I'm An Old Cowhand, whereby this version has no need to stand in the shadow of Sonny Rollins's almost classical version.



    The old Hammond B3 organ has experienced a revival over the past few years. Jimmy Smith, on the other hand, can look back on a great musical and commercial success story ever since the Fifties - as with Bashin'!



    Musicians:



    • Jimmy Smith (organ)

    • Phil Woods (saxophone)

    • Ernie Royal, Doc Severinsen (trumpet)

    • Jimmy Cleveland, Urbie Green (trombone)

    • Barry Galbraith (guitar)

    • George Duvivier (bass)

    • Ed Shaughnessy, Don Bailey (drums)




    Recording: March 1962 in New York by Rudy Van Gelder

    Production: Creed Taylor





    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.



    This title is not eligible for discount.

    1. Walk on the Wild Side

    2. Ol' Man River

    3. In A Mellow Tone

    4. Step Right Up
    5. Beggar for the Blues
    6. Bashin'
    7. I'm an Old Cow Hand (From the Rio Grande)
    Jimmy Smith
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Noctunes Noctunes Quick View

    $24.99
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    Noctunes

    Willis Earl Beal was born on the South Side of Chicago. He would never consider it home. An odd kid, he spent a lot of his youth talking with his grandmother, who would entertain his endless questions about the universe and encourage his love of drawing. He developed an obsession with Batman that would last well into his teenage years, when he enlisted in the U.S. Army as a form of vigilante training. Willis Earl Beal died on an army base in Fort Leonard Wood, Missouri. While in boot camp he was plagued with physical and mental abuse, health complications (which would later require surgery and the removal of large portions of his intestine) forced his discharge. He moved back home. "When that all broke down," Beal says. "I lost a piece of myself." Willis Earl Beal was born in Albuquerque, New Mexico. After a stint of homelessness there, he worked odd jobs and rented a studio apartment. Though he'd never learned to play any instruments, he began to record raw, lo-fi albums with hand-drawn covers that he'd leave at coffee shops around town alongside flyers seeking a girlfriend with his phone number written on them. Those artifacts would eventually find their way to the cover of Found magazine, then to Jamie-James Medina at XL Recordings. Beal signed with XL's Hot Charity imprint in 2012. Willis Earl Beal died in New York City. Despite the release of two critically well-received albums on XL-Acousmatic Sorcery, a collection of his early home recordings, and a fully orchestrated studio album he recorded in Amsterdam called Nobody Knows-he was a mess. "I'd drink myself into stupors," he says. "I'd walk around in the daytime, crying, then I'd go downtown. The police would bring me home in the morning." Willis Earl Beal was born on a lake twenty miles outside Olympia, Washington. After ending his contract with XL, Beal went to live in the woods, and began an artistic transformation entirely of his own design, from rough-edged outsider-art provocateur to the kind of mysterious crooner one might expect to haunt the outskirts of Twin Peaks. "People had all these ideas about what I was supposed to be," he says. "I had only ever wanted to make lullabies." Beal's development played out over two self-released EPs and a full-length album, and then Beal built the patient, ambient-leaning Noctunes. The album's twelve songs are moving and meditative, thoroughly soaked with mournful synth strings and simple lyricism that Beal says is intentionally minimalistic. "I wanted to create this persona that could say everything perfectly with very little," Beal says. "The record, to me, is a perfect record. I listen to that thing a lot, and it helps me." Willis Earl Beal has yet to be born. Critics and publicists defined him before he'd had a chance to define himself. Their expectations were inextricably linked with race and gender, two concepts Beal thoroughly rejects. Now, two extremely productive years removed from the spotlight, Beal doesn't feel pressure to define himself against anything. His new music is shockingly original, utterly confident, and as ephemeral as Beal himself. He levitates above definition, concerned only with self-discovery and truth-seeking. "I know it sounds falsely altruistic," he says. "But I think a simple voice like mine can serve as an example of some kind of freedom."
    1. Under You
    2. Flying So Low
    3. Like a Box
    4. Lust
    5. No Solution
    6. Stay
    7. Say the Words
    8. Love Is All Around
    9. Able to Wait
    10. Survive
    11. Start Over
    12. 12 Midnight
    Willis Earl Beal
    $24.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • The Magician's Birthday The Magician's Birthday Quick View

    $22.99
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    The Magician's Birthday

    Reissue of their 5th studio album, originally released in 1972. Album reached #31 on the US Album Charts and is RIAA-Certified GOLD. Includes the singles "Blind Eye" and "Sweet Lorraine.



    Loosely based on a story by Ken Hensley, The Magician's Birthday continues Uriah Heep's adventurous immersion into fantasy worlds at a time when similarly sci-fi pop-culture releases such as Star Wars and Dungeons and Dragons were still years away. Influential in concept, appearance, and sound, the 1972 record remains a thematic bookend to Demons and Wizards, released the same year and, akin to this set, recognized as the group's high-water mark.


    Both records resonate with a newfound vitality in a 21st century engrossed in a resurgence in comic-book superheroes and gothic tales. Pursuing a more streamlined, cleaner sound that scales back harder arrangements and accentuates prog-rock and blues elements, the British band accentuates texture and hooks throughout. Uriah Heep attains a dynamic balance between brief, punchy fare (Spider Woman) and spooky, cosmic piano balladry (Echoes in the Dark), with guitarist Mick Box supplying versatile leads and underlying narratives with exceptional tonal shadings.


    Space-rock synthesizers and subtle xylophones help in further setting the moods. The Magician's Birthday skirts the parody that befell many albums that copied its formula by way of fine-tuned songwriting, David Byron's passionate singing, and cohesive playing. Groups ranging from Iron Maiden to Emerson Lake and Palmer drew from its example. Boasting arguably the strongest production of Uriah Heep's career, the record exudes early 70s warmth and organic sonics.


    As soon as your turntable's needle hits the grooves, an era renowned for wood-encased receivers, tube amplifiers, and vintage instruments will emerge in front of your eyes. Whether it's the whirring organ and eerie frequency effects on the crunchy FM radio favorite Sweet Lorraine or the ringing bells on the epic multi-part title track, The Magician's Birthday pulls you into its spell with ethereal power and supernatural charm.

    1. Sunrise
    2. Spider Woman
    3. Blind Eye
    4. Echoes In The Dark
    5. Rain
    6. Sweet Lorraine
    7. Tales
    8. The Magician's Birthday
    Uriah Heep
    $22.99
    Vinyl LP Reissue - Sealed Buy Now
  • The Magician's Birthday The Magician's Birthday Quick View

    $24.99
    Buy Now
    x

    The Magician's Birthday


    Influential 1972 Record Delves into Moody Fantasy Worlds, Thematically Bookends British Band's Demons and Wizards


    Organic Production and Tonal Shadings Exude Revered Early 70s Hi-Fi Sound: Reissue Faithfully Replicates Original Gatefold Sleeve and Pressed on Colored Vinyl


    Loosely based on a story by Ken Hensley, The Magician's Birthday continues Uriah Heep's adventurous immersion into fantasy worlds at a time when similarly sci-fi pop-culture releases such as Star Wars and Dungeons and Dragons were still years away. Influential in concept, appearance, and sound, the 1972 record remains a thematic bookend to Demons and Wizards, released the same year and, akin to this set, recognized as the group's high-water mark. Both records resonate with a newfound vitality in a 21st century engrossed in a resurgence in comic-book superheroes and gothic tales.


    Pursuing a more streamlined, cleaner sound that scales back harder arrangements and accentuates prog-rock and blues elements, the British band accentuates texture and hooks throughout. Uriah Heep attains a dynamic balance between brief, punchy fare (Spider Woman) and spooky, cosmic piano balladry (Echoes in the Dark), with guitarist Mick Box supplying versatile leads and underlying narratives with exceptional tonal shadings. Space-rock synthesizers and subtle xylophones help in further setting the moods. The Magician's Birthday skirts the parody that befell many albums that copied its formula by way of fine-tuned songwriting, David Byron's passionate singing, and cohesive playing. Groups ranging from Iron Maiden to Emerson Lake and Palmer drew from its example.


    Boasting arguably the strongest production of Uriah Heep's career, the record exudes early 70s warmth and organic sonics. As soon as your turntable's needle hits the grooves, an era renowned for wood-encased receivers, tube amplifiers, and vintage instruments will emerge in front of your eyes. Whether it's the whirring organ and eerie frequency effects on the crunchy FM radio favorite Sweet Lorraine or the ringing bells on the epic multi-part title track, The Magician's Birthday pulls you into its spell with ethereal power and supernatural charm.


    Complete with a faithful replication of the original gatefold sleeve, and replete with dead-quiet surfaces, this Wax Cathedral reissue is pressed at RTI, America's best record plant. Better still, it's on colored vinyl, to boot!

    1. Sunrise
    2. Spider Woman
    3. Blind Eye
    4. Echoes in the Dark
    5. Rain
    6. Sweet Lorraine
    7. Tales
    8. The Magician's Birthday
    Uriah Heep
    $24.99
    Colored Vinyl LP - Sealed Buy Now
  • AudioQuest NightHawk Headphones AudioQuest NightHawk Headphones Quick View

    $599.00
    Buy Now
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    AudioQuest NightHawk Headphones


    Have a question about this product? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.


    Named 2015 CES Innovation Winner (Eco-Design
    & Sustainable Technology) and Honoree
    (Headphones), NightHawk is an around-the-ear,
    semi-open headphone-AudioQuest's full-bore
    assault on both the state of the headphone art
    and on the limits to which quality, innovation, and
    sustainability can be achieved at an affordable cost.
    Every aspect was carefully optimized for high levels
    of sonic, ergonomic, and aesthetic performance.


    NightHawk's earcups are made from a remarkable
    material known as "Liquid Wood," which
    offers outstanding acoustic properties and
    is environmentally friendly. NightHawk's
    sophisticated loudspeaker-cabinet inspired
    earcup enclosures incorporate
    support beams that enhance
    structural integrity and minimize
    unwanted resonances and vibrations.
    An elastomer coating is carefully
    applied to the enclosures' internal
    surfaces to further reduce harmful
    vibrations, while a damping
    material comprising an effective
    blend of wool and polyester
    enables an extraordinarily
    smooth, natural
    frequency response.


    NightHawk is the first
    completely original
    production headphone
    to use a 3D-printed part-a biomimetic
    grille that uses a complex diamondcubic
    latticework to diffuse sound and
    defeat resonances. NightHawk's 50mm
    pistonic drivers have a biocellulose diaphragm
    which takes advantage of the material's outstanding
    rigidity and lack of resonances or break-up modes,
    while its patented split-gap motor significantly
    reduce intermodulation distortion.


    NightHawk's flexible headband effectively
    distributes the headphones' weight, providing a
    sure and simple fit designed to minimize clamping
    force and enable long listening sessions. Finally,
    NightHawk's patent-pending suspension system
    allows its earcups to move freely, accommodating
    heads of any shape or size, while decoupling the
    earcups, further preventing harmful resonances.


    Of course, NightHawk benefits from AudioQuest's
    30+ years of experience in the high performance
    cable business, including
    a headphone cable designed to
    minimize distortion and to maximize
    a deep emotional connection with
    the music. It uses many of the same
    ingredients found in our speaker
    cables and interconnects, including
    high-purity Solid Perfect-Surface
    Copper+ conductors, Foamed-PE
    insulation, Carbon-Loaded
    Noise-Dissipation System
    (NDS), and silver-plated
    terminations. We also include
    a custom 3.5mm-to-1/4"
    headphone adaptor
    that also uses thick
    Direct-Silver plating
    over Red Copper
    base metal, resulting
    in a part that isn't merely
    functional, but up to the standards of
    NightHawk itself.


    From concept, through years of perfecting
    NightHawk, designer Skylar Gray worked from the
    ground up, applying his comprehensive vision
    to the ultimate goal-to celebrate the singularly
    moving experience of listening to music through
    headphones that don't sound like headphones.


    AudioQuest
    $599.00
    Around-The-Ear Semi-Open Headphones Buy Now
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