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  • AudioQuest DragonFly USB DAC 2 VERSIONS AVAILABLE AudioQuest DragonFly USB DAC Quick View

    $99.95
    Buy Now
    x

    AudioQuest DragonFly USB DAC


    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.


    DragonFly Black & DragonFly Red


    AudioQuest is truly pleased to introduce two dramatic
    steps forward-two new DragonFlys with unprecedented
    audio quality and even higher performance-to-cost ratios-and,
    drum roll, they work with Apple and Android™ phones!
    Yes, that last point is a biggie. From the day that the original
    DragonFly came out, we got requests for a DragonFly-quality
    DAC to use with smartphones. Finally, thanks to newly
    available parts, power draw is now well within what any
    phone will authorize.


    We've been busy for years making this new generation of
    DragonFlys possible. AudioQuest worked alongside Microchip
    Technology to develop a new high-performance, full-speed
    USB microcontroller (a DAC's input processor) that delivers
    improved signal-to-noise ratio and significantly lower power
    consumption. Drawing 77% less current than the DragonFly
    v1.2's microcontroller, the new Microchip MX microcontroller
    enables true compatibility with Apple and Android smartphones
    and tablets. For use with Apple iOS devices, Apple's
    Lightning-to-USB Camera Adaptor is required; for use with
    Android devices, a Made for Android (OTG) adaptor, such as
    our DragonTail USB Adaptor For Android Devices, is required.
    We hesitate to brag about specific electronic parts in the
    DragonFlys because the implementation of those parts is
    as crucial as their quality. Please don't make the mistake of
    thinking that DACs with the same microcontroller or primary
    processor all sound alike! Depending on the circuit design,
    control of noise, power supply regulation, quality of the many
    passive parts, etc., a supposedly "lesser" DAC chip can easily
    outperform a "better" DAC chip in a different DAC.


    Also, as with cameras and their previous race to have more
    pixels than the other guy, playing the numbers game can
    distract and deceive. While the DAC chips in both the Black
    and Red DragonFlys have great capability, we have chosen
    to limit DragonFly Red and Black processing to 24-bit/96kHz.
    This makes using the DragonFlys as simple as it's always been,
    fully compatible with PCs, etc., without having to download
    and install new drivers. Though maybe more importantly,
    faster processing can mean more noise, so while playing
    24/192 files with some of the best component DACs does offer
    sonic advantages, many DACs actually sound better when
    the computer down-samples a 24/192 file to 24/96 before
    sending the data to the DAC. Our point is that AudioQuest
    plays a music-quality game first and foremost. DragonFlys
    are designed to be the-best-they-can-be Emotional Transportation
    for your music, whether Spotify, YouTube videos, Tidal,
    ripped CDs, or state-of-the-art Hi-Res files.


    Back to bragging about our internals: The new DragonFly
    models also incorporate improved 32-bit ESS Sabre DAC
    chips-the 9010 in Black and the higher-performance 9016
    in Red-both of which employ minimum-phase filtering for
    naturally detailed, more authentic sound. While DragonFly
    Black uses the same high-quality headphone amp and analog
    volume control found in the DragonFly 1.2, DragonFly Red
    includes the latest ESS headphone amp and a bit-perfect
    digital volume control that resides on the 9016 DAC chip
    itself-a sophisticated implementation that ensures maximum
    fidelity, dynamic contrast, and signal-to-noise ratio.


    Those of you who remember how we bragged about the
    DragonFly v1.0 and v1.2 having an analog volume control
    might now be going "huh?" Good question! It's a matter of
    capabilities. The earlier DragonFlys and the Black feature
    an analog volume control because that's a better-sounding
    approach than most digital volume controls, which cut off
    bits in order to reduce the volume. However, when a digital
    volume control, as in the new DragonFly Red, doesn't
    compromise the signal, doesn't reduce finesse and subtlety
    and low-level detail, then a bit-perfect digital volume control
    is superior. Once more, it's not about a particular part or
    sample rate or buzz word-it's about honoring the quality of
    the resulting sound above all else.


    DragonFly Black outputs 1.2 volts-enough power to capably
    drive all preamplifier input circuits and all reasonably
    efficient headphones. Meanwhile, with its higher 2.1-volt
    output, DragonFly Red is compatible with an even wider
    range of headphones, including power-hungry, low-efficiency
    models. For reference, DragonFly 1.0 and 1.2 featured
    1.8-volt output.


    The difference in maximum output between DF Black and DF
    Red is essentially irrelevant with our NightHawk headphones,
    as they can be easily driven by either model, but Red's
    higher output is an important advantage with some of the
    more inefficient headphones on the market. However, the
    difference in sound quality between the two new models
    is always meaningful, and is important whether feeding
    headphones or the Aux input of an audio system. At the same
    volume, Red has much more "torque," "grip," and "muscle"
    than Black. Red simply sounds cleaner and clearer overall,
    enabling a larger soundstage with each instrument or voice
    more nearly in its own space.


    And, more good news: The new DragonFlys are software
    upgradeable through complimentary Windows and OS X
    desktop applications. As new developments arise in music
    player applications, streaming protocols, or other associated
    software, DragonFly users will be able to incorporate those
    updates into their existing devices.


    DragonFly Black for only $99, with better sound than any
    previous DragonFly for less money than any previous
    DragonFly, and DragonFly Red with much better sound at
    only $199-and both compatible with phones-how much
    good news can you stand?!


    AudioQuest
    $99.95
    USB DAC + Preamp + Headphone Amp (2 Versions Available)
    Buy Now
  • AudioQuest Perch Headphone Stand AudioQuest Perch Headphone Stand Quick View

    $79.95
    Buy Now
    x

    AudioQuest Perch Headphone Stand


    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.


    AudioQuest is pleased to present Perch-a headphone
    stand ideal for safely storing and displaying NightHawk,
    NightOwl, and other headphones. With its heavy base
    of die-cast zinc, tall strong steel frame, and curved
    eco-leather headband support, Perch provides an
    attractive, structurally sound foundation for any
    headphone, regardless of earcup size, headband
    construction, or cable length.


    Many popular headphone stands
    are designed a way that causes
    the accompanying headphone to
    hang askew or forces the headband
    to open wide, thereby gradually
    misshaping the headpad and
    earpads, and placing undue tension
    on the headband. Over time, such headphone stands
    can actually harm their accompanying headphone,
    straining the important ergonomic elements that
    contribute to comfort and wearability.


    Perch, however, allows the headphone to rest naturally,
    evenly distributing its weight across the entire headpad,
    never placing stress on the band, and ultimately
    preserving the headphone's structural integrity.
    Further, unlike other designs that require the owner
    use two hands merely to place or remove headphones,
    Perch's design allows for simple one-handed access.


    Perch requires no assembly. Just add headphones.


    AudioQuest
    $79.95
    Headphone Stand Buy Now
  • Master & Dynamic MP1000 Headphone Stand - Black Master & Dynamic MP1000 Headphone Stand - Black Quick View

    $59.00
    Buy Now
    x

    Master & Dynamic MP1000 Headphone Stand - Black

    Have a question about this product? Please email our
    style=color: rgb(0, 0, 255); >audio advisor
    or call 1-877-929-8729 with any questions or concerns regarding your

    equipment purchase.


    Structure<brOur stand is designed to display your headphones in the most elegant and utilitarian way, while maintaining the organization and beauty of your desk, studio or home.>


            Electroplated Steel

            Providing superior durability.


            Weighted Base

            With Rubber Foot Pad for stability and surface protection.



    In


    This item is not eligible for discount.


    Master & Dynamic Headphones
    $59.00
    Master & Dynamic MP1000 Headphone Stand - Black Buy Now
  • Omega Headphone Stand (Walnut) Omega Headphone Stand (Walnut) Quick View

    $179.99
    Buy Now
    x

    Omega Headphone Stand (Walnut)

    The Sieveking Sound (SVS) Omega Headphone Stand made its debut at the 2009 Munich High End Show and the response was overwhelming! Made from real wood, these gorgeous stands are sumptuously finished, a sturdy and stable design designed to protect your headphones as much as show them off. Large enough to accommodate even very large headphones like Sennheisers HD800 or Grados PS1000, the Omega cradles virtually any headphone with its sensuous form.


    The Omega's design is so unique it has been granted a design trademark by the European Union. The Omega headphone stand features a smaller opening angle than a human head and thus puts less tension on the headphone than the listener does when wearing them!


    Made in Germany from a single piece of wood, steam-molded then coated with clear matte lacquer, the Omega stand is built to last. Unlike painted or glossy stands which need constant cleaning to preserve their appearance, the Omegas soft lacquer finish will look great year after year. To keep the Omegas safe during transportation or when theyre not being used, SVS includes a pouch of ultra-soft undyed flannel which can also be used to cover the stand and headphones, protecting them from light and dust.


    Features:

    Perfectly shaped to not stretch your headphone headband

    Wide and perfectly flat sides put even pressure on the earpads

    Fits virtually all headphones

    Undyed flannel protective pouch to cover Omega stand and headphones

    Made In Germany



    Common Questions:

    Question: Will the Omega hold extra large headphones like the round Stax types or
    the Sennheiser HD 800?

    Answer: Yes these headphones fit without trouble.


    Question: Wont the tension on the spring loading wear out the headphones over time?

    Answer: Any headphone is designed to be worn on a human head for many hours
    with comfort and during these hours there is no loss of tension in the spring.
    The Omega headphone stand features a smaller opening angle than the human head and
    thus puts less tension on the headphone than you personally would when wearing the
    headphone.


    Question: Is there any glossy or painted version available?

    Answer: All the Omega units come with real wood veneer coated with a matte clear
    lacquer. Unlike with glossy or painted versions this has got the advantage of not
    showing off grease, dust and dandruff that were transported from the pads of your
    headphone onto the stand. Upon closer inspection this is a major advantage over
    any versions in glass or acrylic.


    Dimensions:

    6 1/2 L x 4 3/4 W x 10 H

    Footprint: 6 1/2 L x 4 3/4 W

    Curved Widest Outer: 5 1/4

    Curved Widest Inner: 4 3/8

    Curved Narrowest Outer: 2 1/2

    Curved Narrowest Inner: 1 5/8

    Inner Height: 9 5/8

    7/16 Thick Wood

    Sieveking Sound
    $179.99
    Headphone Stand Buy Now
  • Omega Headphone Stand (Makassar) Omega Headphone Stand (Makassar) Quick View

    $199.99
    Buy Now
    x

    Omega Headphone Stand (Makassar)

    The Sieveking Sound (SVS) Omega Headphone Stand made its debut at the 2009 Munich High End Show and the response was overwhelming! Made from real wood, these gorgeous stands are sumptuously finished, a sturdy and stable design designed to protect your headphones as much as show them off. Large enough to accommodate even very large headphones like Sennheisers HD800 or Grados PS1000, the Omega cradles virtually any headphone with its sensuous form.


    The Omega's design is so unique it has been granted a design trademark by the European Union. The Omega headphone stand features a smaller opening angle than a human head and thus puts less tension on the headphone than the listener does when wearing them!


    Made in Germany from a single piece of wood, steam-molded then coated with clear matte lacquer, the Omega stand is built to last. Unlike painted or glossy stands which need constant cleaning to preserve their appearance, the Omegas soft lacquer finish will look great year after year. To keep the Omegas safe during transportation or when theyre not being used, SVS includes a pouch of ultra-soft undyed flannel which can also be used to cover the stand and headphones, protecting them from light and dust.


    Features:

    Perfectly shaped to not stretch your headphone headband

    Wide and perfectly flat sides put even pressure on the earpads

    Fits virtually all headphones

    Undyed flannel protective pouch to cover Omega stand and headphones

    Made In Germany



    Common Questions:

    Question: Will the Omega hold extra large headphones like the round Stax types or
    the Sennheiser HD 800?

    Answer: Yes these headphones fit without trouble.


    Question: Wont the tension on the spring loading wear out the headphones over time?

    Answer: Any headphone is designed to be worn on a human head for many hours
    with comfort and during these hours there is no loss of tension in the spring.
    The Omega headphone stand features a smaller opening angle than the human head and
    thus puts less tension on the headphone than you personally would when wearing the
    headphone.


    Question: Is there any glossy or painted version available?

    Answer: All the Omega units come with real wood veneer coated with a matte clear
    lacquer. Unlike with glossy or painted versions this has got the advantage of not
    showing off grease, dust and dandruff that were transported from the pads of your
    headphone onto the stand. Upon closer inspection this is a major advantage over
    any versions in glass or acrylic.


    Dimensions:

    6 1/2 L x 4 3/4 W x 10 H

    Footprint: 6 1/2 L x 4 3/4 W

    Curved Widest Outer: 5 1/4

    Curved Widest Inner: 4 3/8

    Curved Narrowest Outer: 2 1/2

    Curved Narrowest Inner: 1 5/8

    Inner Height: 9 5/8

    7/16 Thick Wood

    Sieveking Sound
    $199.99
    Headphone Stand Buy Now
  • Omega Headphone Stand (Cherry) Omega Headphone Stand (Cherry) Quick View

    $179.99
    Buy Now
    x

    Omega Headphone Stand (Cherry)

    The Sieveking Sound (SVS) Omega Headphone Stand made its debut at the 2009 Munich High End Show and the response was overwhelming! Made from real wood, these gorgeous stands are sumptuously finished, a sturdy and stable design designed to protect your headphones as much as show them off. Large enough to accommodate even very large headphones like Sennheisers HD800 or Grados PS1000, the Omega cradles virtually any headphone with its sensuous form.


    The Omega's design is so unique it has been granted a design trademark by the European Union. The Omega headphone stand features a smaller opening angle than a human head and thus puts less tension on the headphone than the listener does when wearing them!


    Made in Germany from a single piece of wood, steam-molded then coated with clear matte lacquer, the Omega stand is built to last. Unlike painted or glossy stands which need constant cleaning to preserve their appearance, the Omegas soft lacquer finish will look great year after year. To keep the Omegas safe during transportation or when theyre not being used, SVS includes a pouch of ultra-soft undyed flannel which can also be used to cover the stand and headphones, protecting them from light and dust.


    Features:

    Perfectly shaped to not stretch your headphone headband

    Wide and perfectly flat sides put even pressure on the earpads

    Fits virtually all headphones

    Undyed flannel protective pouch to cover Omega stand and headphones



    Made In Germany



    Common Questions:

    Question: Will the Omega hold extra large headphones like the round Stax types or
    the Sennheiser HD 800?

    Answer: Yes these headphones fit without trouble.


    Question: Wont the tension on the spring loading wear out the headphones over time?

    Answer: Any headphone is designed to be worn on a human head for many hours
    with comfort and during these hours there is no loss of tension in the spring.
    The Omega headphone stand features a smaller opening angle than the human head and
    thus puts less tension on the headphone than you personally would when wearing the
    headphone.


    Question: Is there any glossy or painted version available?

    Answer: All the Omega units come with real wood veneer coated with a matte clear
    lacquer. Unlike with glossy or painted versions this has got the advantage of not
    showing off grease, dust and dandruff that were transported from the pads of your
    headphone onto the stand. Upon closer inspection this is a major advantage over
    any versions in glass or acrylic.


    Dimensions:

    6 1/2 L x 4 3/4 W x 10 H

    Footprint: 6 1/2 L x 4 3/4 W

    Curved Widest Outer: 5 1/4

    Curved Widest Inner: 4 3/8

    Curved Narrowest Outer: 2 1/2

    Curved Narrowest Inner: 1 5/8

    Inner Height: 9 5/8

    7/16 Thick Wood

    Sieveking Sound
    $179.99
    Headphone Stand Buy Now
  • Omega Headphone Stand (Maple) Omega Headphone Stand (Maple) Quick View

    $179.99
    Buy Now
    x

    Omega Headphone Stand (Maple)

    The Sieveking Sound (SVS) Omega Headphone Stand made its debut at the 2009 Munich High End Show and the response was overwhelming! Made from real wood, these gorgeous stands are sumptuously finished, a sturdy and stable design designed to protect your headphones as much as show them off. Large enough to accommodate even very large headphones like Sennheisers HD800 or Grados PS1000, the Omega cradles virtually any headphone with its sensuous form.


    The Omega's design is so unique it has been granted a design trademark by the European Union. The Omega headphone stand features a smaller opening angle than a human head and thus puts less tension on the headphone than the listener does when wearing them!


    Made in Germany from a single piece of wood, steam-molded then coated with clear matte lacquer, the Omega stand is built to last. Unlike painted or glossy stands which need constant cleaning to preserve their appearance, the Omegas soft lacquer finish will look great year after year. To keep the Omegas safe during transportation or when theyre not being used, SVS includes a pouch of ultra-soft undyed flannel which can also be used to cover the stand and headphones, protecting them from light and dust.


    Features:

    Perfectly shaped to not stretch your headphone headband

    Wide and perfectly flat sides put even pressure on the earpads

    Fits virtually all headphones

    Undyed flannel protective pouch to cover Omega stand and headphones

    Made In Germany



    Common Questions:

    Question: Will the Omega hold extra large headphones like the round Stax types or
    the Sennheiser HD 800?

    Answer: Yes these headphones fit without trouble.


    Question: Wont the tension on the spring loading wear out the headphones over time?

    Answer: Any headphone is designed to be worn on a human head for many hours
    with comfort and during these hours there is no loss of tension in the spring.
    The Omega headphone stand features a smaller opening angle than the human head and
    thus puts less tension on the headphone than you personally would when wearing the
    headphone.


    Question: Is there any glossy or painted version available?

    Answer: All the Omega units come with real wood veneer coated with a matte clear
    lacquer. Unlike with glossy or painted versions this has got the advantage of not
    showing off grease, dust and dandruff that were transported from the pads of your
    headphone onto the stand. Upon closer inspection this is a major advantage over
    any versions in glass or acrylic.


    Dimensions:

    6 1/2 L x 4 3/4 W x 10 H

    Footprint: 6 1/2 L x 4 3/4 W

    Curved Widest Outer: 5 1/4

    Curved Widest Inner: 4 3/8

    Curved Narrowest Outer: 2 1/2

    Curved Narrowest Inner: 1 5/8

    Inner Height: 9 5/8

    7/16 Thick Wood

    Sieveking Sound
    $179.99
    Headphone Stand Buy Now
  • Omega Headphone Stand (Zebrano) Omega Headphone Stand (Zebrano) Quick View

    $179.99
    Buy Now
    x

    Omega Headphone Stand (Zebrano)

    The Sieveking Sound (SVS) Omega Headphone Stand made its debut at the 2009 Munich High End Show and the response was overwhelming! Made from real wood, these gorgeous stands are sumptuously finished, a sturdy and stable design designed to protect your headphones as much as show them off. Large enough to accommodate even very large headphones like Sennheisers HD800 or Grados PS1000, the Omega cradles virtually any headphone with its sensuous form.


    The Omega's design is so unique it has been granted a design trademark by the European Union. The Omega headphone stand features a smaller opening angle than a human head and thus puts less tension on the headphone than the listener does when wearing them!


    Made in Germany from a single piece of wood, steam-molded then coated with clear matte lacquer, the Omega stand is built to last. Unlike painted or glossy stands which need constant cleaning to preserve their appearance, the Omegas soft lacquer finish will look great year after year. To keep the Omegas safe during transportation or when theyre not being used, SVS includes a pouch of ultra-soft undyed flannel which can also be used to cover the stand and headphones, protecting them from light and dust.


    Features:

    Perfectly shaped to not stretch your headphone headband

    Wide and perfectly flat sides put even pressure on the earpads

    Fits virtually all headphones

    Undyed flannel protective pouch to cover Omega stand and headphones

    Made In Germany



    Common Questions:

    Question: Will the Omega hold extra large headphones like the round Stax types or
    the Sennheiser HD 800?

    Answer: Yes these headphones fit without trouble.


    Question: Wont the tension on the spring loading wear out the headphones over time?

    Answer: Any headphone is designed to be worn on a human head for many hours
    with comfort and during these hours there is no loss of tension in the spring.
    The Omega headphone stand features a smaller opening angle than the human head and
    thus puts less tension on the headphone than you personally would when wearing the
    headphone.


    Question: Is there any glossy or painted version available?

    Answer: All the Omega units come with real wood veneer coated with a matte clear
    lacquer. Unlike with glossy or painted versions this has got the advantage of not
    showing off grease, dust and dandruff that were transported from the pads of your
    headphone onto the stand. Upon closer inspection this is a major advantage over
    any versions in glass or acrylic.


    Dimensions:

    6 1/2 L x 4 3/4 W x 10 H

    Footprint: 6 1/2 L x 4 3/4 W

    Curved Widest Outer: 5 1/4

    Curved Widest Inner: 4 3/8

    Curved Narrowest Outer: 2 1/2

    Curved Narrowest Inner: 1 5/8

    Inner Height: 9 5/8

    7/16 Thick Wood

    Sieveking Sound
    $179.99
    Headphone Stand Buy Now
  • Master & Dynamic MP1000 Headphone Stand - Silver Master & Dynamic MP1000 Headphone Stand - Silver Quick View

    $59.00
    Buy Now
    x

    Master & Dynamic MP1000 Headphone Stand - Silver


    Have a question about this product? Please email our
    style=color: rgb(0, 0, 255); >audio advisor
    or call 1-877-929-8729 with any questions or concerns regarding your

    equipment purchase.


    Structure<brOur stand is designed to display your headphones in the most elegant and utilitarian way, while maintaining the organization and beauty of your desk, studio or home.>


            Electroplated Steel

            Providing superior durability.


            Weighted Base

            With Rubber Foot Pad for stability and surface protection.



    In


    This item is not eligible for discount.


    Master & Dynamic Headphones
    $59.00
    Master & Dynamic MP1000 Headphone Stand - Silver Buy Now
  • Manley Headphone Amplifier (Pre-Order) 3 COLORS AVAILABLE Manley Headphone Amplifier (Pre-Order) Quick View

    $2,950.00
    Buy Now
    x

    Manley Headphone Amplifier (Pre-Order)


    Manley Laboratories have been designing and manufacturing professional and hi-fidelity audio equipment for the last twenty five years. Headphone listening has become more and more popular in recent years. To meet this new demand Manley have combined its professional and domestic engineering skills to develop a new and exciting groundbreaking product, The Manley Headphone Amplifier.


    Headphone listening is not new to us, we have developed headphone mixers for the professional industry and our Neo-Classic 300B preamplifier was designed with the serious headphone listener in-mind, which now has quite a cult following. The new Manley Headphone Amplifier addresses absolutely every possible feature the headphone user could desire.


    Feature Rich


    This feature rich product has no less than twelve independent controls designed for maximum performance and maximum control. We design and manufacture our own output transformers and this is where this product excels. The Manley Headphone Amplifier utilizes hand-wound air gapped dual mode output transformers. The user can configure the unit for all triode Push-Pull mode or Single-Ended mode. The transformer can be configured to drive three types of headphone loads, covering a range from 12 to 600 ohms.


    The enthusiast can also vary the Feedback from 0dB to 10dB, maintaining a ruler-flat frequency response across the audio band, demonstrating how stable the design is. For increased transparency and accuracy we have incorporated a Precision Stepped Relay Volume control with perfect channel balance. A balance control is also available for extra sensitivity. The Manley Headphone Amplifier operates fully symmetrical, enabling it to drive balanced headphones through its XLR output. Also available is the standard non-balanced "Jack" plug or TRS connection. Another very useful feature is a preamplifier output, which routes your first input through the system when not in use, no need for unplugging sources! The Manley Headphone amplifier can also be used as a stand-alone transformer coupled preamplifier, so it can be partnered with any power amplifier if so desired.


    With the advent of expensive and high technology headphones it was important for the Manley design team to think about protection. So the Manley Headphone Amplifier features a user defined headphone overload protection system. The user dials this in so precious headphones are never overdriven. For maximum performance and the lowest noise floor, The Manley Headphone Amplifier incorporates a very high-tech switching audiophile power supply. The high-tension and low-tension rails are all fully regulated offering super low impedance for a fast and dynamic response.


    The Manley Headphone Amplifier also incorporates a tone control circuit what? for an audiophile product!! Yes! With the expertise gleaned from building professional studio equipment, we have incorporated the best possible solution for a tone control. It is completely switchable, so for the real purist it is completely out of the circuit, but if you need that slight adjustment for a hard digital recording the feature is there.


    The Design


    The Manley Headphone Amplifier is a very unusual design. Zia Faruqi, who is responsible for running the engineering team and industrial design at Manley Laboratories, developed its concept. "I wanted a design that would reflect the use of this piece of equipment. Its shape was inspired by a head, a piece that you could rest your headphones on, a piece that you want to indulge yourself in" Mitch Margolis who worked on the Steelhead and our 300B amplifiers worked with our head engineer Humberto Rodriguez to finalize its design. Available in three different colors for today's lifestyle choices. Champagne & White, Titanium & Bronze and Copper & Black.


    Manley Labs
    $2,950.00
    Headphone Amplifier PRE-ORDER
    Buy Now
  • Music Hall HA11.1 Headphone Amplifier Music Hall HA11.1 Headphone Amplifier Quick View

    $275.00
    Buy Now
    x

    Music Hall HA11.1 Headphone Amplifier


    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 Music Hall HA11.1 is a high quality low noise stand-alone headphone amplifier intended for use with the majority of headphones available. It is for those who desire the best in sound and performance at an affordable price.


    Designed in collaboration with Mike Creek of Creek Audio Ltd. fame, it represents the culmination of a strong and cooperative bond dedicated to outstanding audio products formed some 30+ years ago by music hall and Creek. The beautifully finished extruded aluminum chassis wards off the ill effects of stray magnetic fields, provides a safe quiet environment for the sensitive electronics it houses, and thus provides you with the best possible sound for your headphones.


    Music Hall
    $275.00
    Headphone Amplifier Buy Now
  • The Rolling Stones Turntable & Headphone Bundle 2 COLORS AVAILABLE The Rolling Stones Turntable & Headphone Bundle Quick View

    $798.00
    Buy Now
    x

    The Rolling Stones Turntable & Headphone Bundle



    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.


    Buy the Rolling Stones Debut Turntable bundled with Master & Dynamic MH40 Rolling Stones Headphones and Stand and save $109!!


    Available in two configurations: white turntable with gunmetal headphones and black turntable with black headphones. Additional configurations available upon request. Both include (1) black headphone stand.


    Learn more about the Extremely Limited SoundStageDirect Exclusive Rolling Stones Pro-Ject Debut Turntable.


    Learn more about the Master & Dynamic MH40 Rolling Stones Headphones.


    The Rolling Stones
    $798.00
    Turntable, Headphone, & Headphone Stand Bundle - 2 Colors Available
    Buy Now
  • Klipsch Reference X12 Neckband Bluetooth Headphones 2 COLORS AVAILABLE Klipsch Reference X12 Neckband Bluetooth Headphones Quick View

    $399.00
    Buy Now
    x

    Klipsch Reference X12 Neckband Bluetooth Headphones




    Preferring to stand apart from the plastic monotony and build something better, Klipsch built the X12 Neckband headphones from the ground up to combine premium hand-picked materials, beautiful copper accents and unrivaled acoustic technology for a superior listening experience. With an all-day battery, call vibration alerts and carefully-selected real leather, these wireless in-ear monitors deliver durability, comfort and audiophile-grade sound that's incomparable.




    Premium Audio Style

    We've paired our smallest, lightest, best sounding, and most comfortable X12 acoustic modules with the best materials and craftsmanship of our Neckband for the most enjoyable experience for listening on the go. With copper accents bound by genuine leather, the Klipsch X12 Neckband headphones couple superior form and function into a classy package.




    Built For Long Days

    Built with extended usage in mind, Klipsch X12 Neckband headphones can last 18 hours on a single charge for music listening or taking calls. Secured by an electroplated steel exoskeleton and an IPX4 splash-proof rating, the Klipsch X12 Neckband headphones are built to last.




    Call Vibration Alert

    You can keep your phone in your bag and no longer stress about missing a crucial phone call. With a vibrating motor in the left control pod, a pulse against your collar will notify you of an incoming call.




    Audiophile Balanced Armature

    Using a custom KG-926 balanced armature placed inside of a milled aluminum housing, X12 Neckband headphones achieve full range response from a tiny form factor. Ported and vented, the balanced armature driver provides classic tube amplifier sound and unrivaled bass performance. With a warm and full soundstage, the KG-926 produces dynamics only rivaled by multi-armature counterparts.




    Patented + Custom Fit

    Klipsch X12 Neckband headphones feature Klipsch patented silicon contour ear tips that sit inside the ear canal with anatomical accuracy for incredible comfort and create the perfect seal for excellent noise isolation and bass response. The X12 Neckband headphones come with a pair of Comply™ Ts-100 Comfort Tips for a personalized, memory foam fit.




    Advanced Remote + Clear Voice Mic

    Offers full control of most smartphone models including Android and Apple devices, ensuring seamless control of music and calls. With cVc®, X12 Neckband Bluetooth® automatically enhances voice clarity and actively diminishes environmental noise to ensure you sound loud and clear.




    rockrollkeepers


    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.


    Klipsch Headphones
    $399.00
    Reference X12 Neckband Bluetooth Headphones - 2 Colors Available
    Buy Now
  • MrSpeakers DUM Dual-Entry Cables 6 OPTIONS AVAILABLE MrSpeakers DUM Dual-Entry Cables Quick View

    $199.99
    Buy Now
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    MrSpeakers DUM Dual-Entry Cables




    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.


    MrSpeakers' premium 24AWG (per conductor) cable for Alpha and ETHER headphones.


    DUM stands for Distinctly-un-magical cables. DUM uses no magic copper crystals or pixie dust insulators, and is hand-made in the USA. DUM is a 24-guage (per conductor) OFHC cable designed in collaboration with a guy who's forgotten more about cables than we will likely ever know; we told him what we needed, he went through a LOT of iterations with us to dial the sound in, and we got DUM. And it was good to be DUM. To our ears what sets DUM cables apart from our stock cable is a fuller, cleaner and more detailed sound with a deeper soundstage and a very organic upper register. As of November 2015, we have improved the cable's flexibility so it now has a nice relaxed drape and microphonics are greatly reduced.



    MrSpeakers
    $199.99
    Cable - 6 Options Available
    Buy Now
  • Lehmann StudioCube Lehmann StudioCube Quick View

    $499.00
    Buy Now
    x

    Lehmann StudioCube


    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.


    I've been shocked at how much the studio cube has been inspirational as a monitoring device. [...] I monitor at lower levels and more relaxing levels than I ever have before..
    - Paul Pilot, Producer


    Our StudioCube is the ideal partner for the personal monitoring: it enables a nuanced, transparent and fatigueless listening in the studio and on stage. At the same time this compact headphone amplifier fascinates the most demanding musicians and master sound engineers with its outstanding sound qualities.


    Being a musician or a sound nerd, it's your natural ambition to always deliver optimum results on stage and in the studio. For a pro-level headphone amplifier this ambition poses a special challenge. Our StudioCube copes with any task brilliantly and is your true and flexible companion in every situation. An all-out professional whose uncompromisingly truthful sound you can always depend on.


    Essential jack-of-all-trades


    The StudioCube distinguishes itself by high-class technology and practical features. Its first-grade components, coupled with balanced input stages, give it outstanding sound qualities and a punchy, clean bass reproduction. Like all our devices the StudioCube, too, is a role model for exceptional transparency and extremely low noise.


    Its excellent transient behaviour ensures that studio musicians can work at a lower listening volume level. This does not only protect their hearing and allow a longer concentration phase. That way crosstalk from the headphone into the nearby microphones is audibly reduced as well. All people involved can rejoice over a more inspiring, more musical result.


    Practical features


    Apart from its excellent sound properties the StudioCube offers a number of practical features: it consorts well with virtually every headphone. The front panel has a practical input level indicator and a conveniently located toggle switch to assign a mono signal to both the left and right output channel simultaneously. The Loop output can be used to feed several devices through a daisy chain. Thanks to its special design bracket it mounts very conveniently on a microphone stand or under the table.


    Lehmann Audio
    $499.00
    Headphone Amplifier Buy Now
  • VPI Player Turntable VPI Player Turntable Quick View

    $1,500.00
    Buy Now
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    VPI Player Turntable



    Need help choosing the right turntable for you? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.


    Comes Pre-Mounted With An Ortofon 2m Red Cartridge, Phonostage And Headphone Amplifier


    The VPI Player is an all in one high-end entry level turntable. It comes complete with a phonostage, and pre-mounted Ortofon 2M Red cartridge, and a headphone amplifier. It is the perfect solution to enjoying your records! It also has standard RCA connections providing the ability to connect to a standard amplifier and desktop/floor standing speakers. The Player turntable is a precision instrument that has been thoroughly tested to create the musical experience you're looking for! It is also now available in two finished Hard Rock Maple and Mocha Walnut.


    VPI Turntables
    $1,500.00
    Player Turntable
    Buy Now
  • Chord Mojo DAC Chord Mojo DAC Quick View

    $529.00
    Buy Now
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    Chord Mojo DAC


    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 new Chord Mojo is entirely designed and manufactured in England. Mojo stands for 'Mobile Joy' and Chord is justifiably proud to say that Mojo is a true reference-quality mobile DAC and high-level headphone amplifier; its performance can truly rival DACs at twenty times its price.


    YOU WERE BORN FOR THIS


    Its ultra-compact design is based on the Hugo platform, but Mojo uses the new Xilinx Artix-7 FPGA, making the Chord Mojo the most advanced DAC of its type on the planet! It has been designed to be easily operated: there are no confusing or superfluous switches - it is devoid of the bewildering number of switch options common to similar devices.


    The Chord Mojo is capable of driving any headphone between 4 ohms and 800 ohms and can drive two pairs of headphones simultaneously. It can work with any music file from 44.1kHz up to 768kHz and DoP DSD files: DSD 64; DSD 128 and DSD 256. Mojo can decode a wide range of formats, too: PCM; WAV; AAC; AIFF; MP3 and FLAC files and is designed to work with all smartphones and music players. It has a full recall-memory for both input selection and previous volume set level.


    FULLY AUTOMATIC


    Input selection is fully automatic: if more than one input is active they are prioritized as USB first, coax second, optical third. The file frequency is shown clearly by an indicator color option on the power switch, from 44.1kHz (red), 48kHz (orange) and so on, up through a rainbow of colours to bright white for DSD. The highly accurate low-distortion digital volume is controlled via two color-illuminated buttons.


    Many low-cost apps now make high-resolution music files playable from all smart phones. Mojo has three different high-resolution digital inputs: optical to 192kHz, plus USB and RCA (mini-jack) which operate up to 768kHz.


    ADVANCED BATTERY TECHNOLOGY


    The Chord Mojo utilizes new advanced high-temperature battery technology that allows for faster charging (four hours) which is up to twenty hours faster than competitor units. Charging is via a standard USB port; Mojo Charging is via a standard USB port; Mojo may be played at the same time. Mojo's charging Micro USB port has a battery status and charging indicator light.


    Mojo's casework is machined from solid aircraft-grade aluminum and has a hard Matt black fine finish that does not finger-mark. All inputs are denoted with a fine laser ablated permanent white lettering.


    Chord Electronics
    $529.00
    DAC Buy Now
  • Evolution 100A 2 COLORS AVAILABLE Evolution 100A Quick View

    $2,195.00
    Buy Now
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    Evolution 100A





    To maintain a family resemblance with the lower powered amplifier, the EVOLUTION 100A is housed in a similar slim case with engraved front panel and solid metal control knobs as the EVOLUTION 50A. It is available with either a Black or Silver brushed aluminium front panel and uses the same ingenious soft push button design as the EVOLUTION 50 series, offering excellent tactile feel and backlit optical indication of functions, for optimum user-friendliness.


    The front panel features a large OLED (Organic Light Emitting Diode) display. The white on black display provides higher clarity and resolution than a normal display and has a wide range of customised graphic symbols. Display brightness levels can be changed or turned-off, if not required, via the menu system.


    In addition to greatly increased performance, thanks to ingenious new circuit design, the EVOLUTION 100A has been equipped with 2 sets of high quality loudspeaker binding posts, with local and remote switching for A & B outputs. Optional extras include the ability to plug the Sequel mk2 Phono pre-amp inside and add the AMBIT FM/AM radio or RUBY DAC/Bluetooth/FM radio module to the expansion slot on the rear panel.


    At the heart of any high-end amplifier there must be a good power supply; The EVOLUTION 100A uses a massive 360 Watt, low profile, toroidal mains transformer, with multiple windings for high and low voltages and current, to separate the power amp, pre-amp and digital circuitry. Creek's long-standing design policy of paralleling several small capacitors in the power supply creates an ultra-high specification capacitor, with low inductance and ultra low impedance. This significantly improves filtering and helps produce a very powerful and accurate sound from such a relatively small amplifier.


    After testing several methods of building a high performance and high efficiency power amplifier, suitable for this new model, David Gamble - Creek Audio's Senior Engineer - created a unique Class G circuit especially for the EVOLUTION 100A. David chose to use four Sanken STD03 complimentary power Darlington transistors per channel, as used in the EVOLUTION 50A, which feature built-in thermal compensation. Compared to the EVOLUTION 50A, he improved the performance of the voltage gain circuitry, which, in combination with the output stage, now achieves extremely high open-loop gain and exceptionally low distortion, without sacrificing stability. The result is an exceptional power amplifier circuit with very low output impedance and high output current capability. This combination provides exceptional speed and control suitable for driving most loudspeakers.


    To increase the power output of the smaller EVOLUTION 50A, yet still retain the same case size, David Gamble developed a cunning Class G circuit which runs normally at a lower voltage for power levels up to 25 Watts into 8 Ohms. When required to produce more than 25 Watts, the amp automatically swings to a higher secondary voltage, to increase the output power capability to over 100 Watts into 8 Ohms.


    Statistically, average audio signals are mostly below half the maximum voltage swing available, which incidentally is only one quarter of the power. As the dissipation of lossy 'idle current' in a Class A/B amp (in the form of heat) is much lower for a 25 Watt amp than the potential 100 Watts in the EVOLUTION 100A, this solution dramatically improves the amplifier's thermal efficiency and helps to keep it slim and attractive.


    The Pre-amp circuit provides high levels of flexibility and control, via unbalanced or balanced inputs. It has multiple input options, switched either electronically or by gold contact relays. It also has a State-of-the-Art electronic Volume, Balance and Tone controls. Volume control and op-amp circuit outputs are all buffered with constant current sources, to provide improved load tolerance and stable distortion characteristics.


    Correct grounding is difficult, if not impossible, in an un-balanced amplifier, so Creek has provided the consumer with a balanced line input for both the pre-amp and power amp input. In addition, the optional RUBY DAC module also benefits from having a dedicated balanced audio connection to the EVOLUTION 100A's pre-amp, via its flat foil cable, to avoid potential ground loops inside the amplifier.


    It is a modern listening trend for headphones to now be fed from low voltage sources, such as smart-phones and portable music storage devices. This required the development of low impedance headphones, to draw the required current to make them loud enough to satisfy the consumer. This trend has also necessitated a re-think of circuitry used in modern Hi-Fi amplifiers, to drive such low impedance headphones, together with the traditional medium to high impedance versions also.


    Creek Audio has taken the unusual step of driving the headphone output socket of their EVOLUTION amplifiers from a dedicated low impedance source. Instead of the headphone output being sourced from the power amplifier, the headphone output is derived from a dedicated amplifier, with only a few Ohms in series for protection against short circuits. This dedicated HP amp is now located on the pre-amplifier circuit board.


    Creek Audio no longer makes a separate FM Tuner, but die-hard analogue tuner fans can continue to enjoy this valuable format by using the top-quality AMBIT plug-in tuner module, which augments the EVOLUTION 50A and 100A's capabilities. The AMBIT or RUBY modules are mounted on the back panel 'Smart-Slot', replacing Line Input 5. When the AMBIT is fitted, it automatically turns the amp into a Receiver, configurable for use in any region of the world. The OLED display shows all the tuner's functions and it's controlled by the left hand buttons and control knobs, as well as remote control.


    For vinyl fans, the EVOLUTION 100A can also be configured for Vinyl Disc input, using Line input 1. A SEQUEL 2 (40, 48 or 54) module can be plugged into a dedicated connector on the pre-amp PCB. It doesn't restrict the use of either the AMBIT or RUBY modules. Sequel 2 comes in three versions - 40dB MM, 48dB MC and 54dB MC.


    To simplify the many options a stylish system remote handset controls all the functions of the EVOLUTION 50 and 100 series. An optional IR extender to enable the products to be hidden away, but still operable via remote control.


    The EVOLUTION 100A is the most sophisticated and reasonably priced amplifier Creek has ever made. It provides stunning audio performance and is capable of out-performing other makes of amplifiers costing many times the price.


    This product is not eligible for discount.


    Creek Audio
    $2,195.00
    Integrated Amplifier
    Buy Now
  • Rega Elex-R Amplifier Rega Elex-R Amplifier Quick View

    $1,695.00
    Buy Now
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    Rega Elex-R Amplifier

    40th



    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 Elex-R is a sublime blend of the Brio-R design with the power circuits and advanced phono stage of the Elicit-R. Rega's engineers have achieved the perfect balance of power, control and dynamics, delivering a performance that always puts the music first.


    You will find plenty of connectivity options allowing complete flexibility and integration within the rest of the Rega range.


    Design Innovation


    The Elex-R is built to the highest standard and designed to deliver the best possible audio performance whilst remaining simple to use and easy to setup.The Elex-R is built into the full width Rega case with increased heat dissipation, which along with a larger transformer enables the Elex-R to deliver 90 Watts per channel into 6 and 72.5 Watts per channel into a design centre rating of 8.


    Our time, effort & money have been spent on developing the circuit and construction utilizing the highest specification of components throughout. As part of the design we have included useful features like pre-amplifier output, to enable the new Elex-R amplifier to be used in a wide combination of systems and have avoided superfluous gadgets such as tone controls or a headphone socket as they can obstruct the signal path and degrade the produced sound quality.


    The Elex-R has been built to Rega's extremely high standards of reliability and quality to ensure many years of musical enjoyment. The primary function of an amplifier is to boost and equalize the low level signal generated by a phono cartridge, DAC and CD player or other source component to a level that can drive the loudspeakers. It is vital that the amplifier achieves this whilst minimising distortion, as this would directly affect the music. The distortion level is typically 0.007%; just under the clipping of the output.


    The volume control and pre-amplifier used in the Elex-R is designed to overcome the problems associated with the standard arrangement. This design uses a custom chip along with peripheral support IC's like a microcontroller and a custom made rotary volume control.


    The Elex-R uses a combined feedback and passive volume control, where the feedback and input levels are varied to set the required volume level. The level and tracking between the two channels is set by the close tolerance parts in the pre-amplifier circuit and less by the actual potentiometer itself, thus keeping the mismatch of channels due to volume control tracking irregularities to a minimum.As well as keeping tracking irregularities to a minimum, this method also reduces noise and input overload as the control will only 'use' the required gain to amplify the signal.This form of volume control is normally only found in professional broadcast environments where accurate low noise control of levels is required.


    Power Amplifier Technology


    The output amplifier used in the Elex-R, Elicit-R and Brio-R was born after extensive research by our engineers to develop a low source impedance emitter follower Class-A driver stage. This is based around a complementary pair of 150w Sanken Darlington output transistors. The technical and sonic improvement gained by the use of low impedance drivers is well known, however, it can feature high standing currents in the driver stage when using standard transistor configurations. By combining the low impedance driver with the Sanken Darlington transistors (with their imbedded thermal bias network running at a lower standing current) this combination forms a complementary emitter follower emulating Class-A conditions with good thermal stability with lower standing.


    Rega Integrated Amps
    $1,695.00
    Rega Elex-R Amplifier Buy Now
  • Apocalyptica Apocalyptica Quick View

    $27.99
    Buy Now
    x

    Apocalyptica

    A listen to Apocalyptica's Apocalyptica brings with it the nagging urge to figure out where, exactly, the music fits. Certain moments - entire tracks, even - are given over to classical formality, and it is in those moments, steeped as they are in traditional loveliness, that a listener can come dangerously close to thinking he is hearing something lofty and important. He is not.


    Apocalyptica, the genre-splicing Finnish instrumental band that changed headbangers' perception of the cello, is not pretentious exactly, but its effect is the same as that of a rock band whose lead singer is audibly British: it sounds smart. Too smart, for instance, to issue from the headphones of a kid just discovering Black Sabbath or lining up for Slipknot tickets.


    Where Apocalyptica might fit, then, is not with heavy rock scenesters but with aging metal heads. It is not hard to envision tracks like Fatal Error and Fisheye booming from the speakers of a splashy convertible with a bald guy at the wheel. Elaborate fantasy-concocting gamers - Dungeons & Dragons players and their descendants - also stand a better chance than most of finding relatable rock bliss here.

    1. Life Burns!
    2. Quutamo
    3. Distraction
    4. Bittersweet
    5. Misconstruction
    6. Fisheye
    7. Farewell
    8. Fatal Error
    9. Betrayal/ Forgiveness
    10. Ruska
    11. Bonustrack Inkl. Deathzone & en VIe
    Apocalyptica
    $27.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • The Grinding Wheel The Grinding Wheel Quick View

    $31.99
    Buy Now
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    The Grinding Wheel

    Armed with pioneering pure metal proposals like "Death Rider," "The Beast Within," and "Raise The Dead" already in 1982, New Jersey's Overkill were a rock-solid part of the first clutch of bands forging in fire this music known as thrash metal. Along with Metallica, Exodus, Slayer and cross-town doppelgangers Anthrax, D.D. Verni and Bobby "Blitz" Ellsworth were helping to create a new form of metal that is still as vibrant today as when the band's first album, Feel the Fire was issued by Jonny Zazula's Megaforce Records back in the spring of '85.


    Witness Overkill's 18th album of blistering yet precise and thought-provoking thrash magic, The Grinding Wheel, a record on which thrash's ultimate team of five machined parts shows up and executes to perfection with a little punk thrown in for bad measure.


    But a life dedicated to metal can be a grind, hence the title of this sparks-a-flyin' record. "It just makes sense for us," reflects D.D. "If you've been making metal for almost 40 years like we have, it can be a grind. But we also liked the old school metal idea of referencing "Grinder," the Judas Priest song, which suits the album because it has classic metal parts on it as well as the thrash parts. There's a blue collar feel to that title too, and that's how we approach Overkill. The guitar case is basically a lunchbox and we go to work."


    "One of the principles-if not characteristics-of the band is that it's been grinding through for long, long periods of time," seconds Blitz. "Decades to this point. And not necessarily with huge gains with regards to popularity, but for sure, with huge gains in as much as we can earn a living while doing the kind of music that we want. And so the idea of grinding it out over the decades became a device for writing the album, whether it would be riffs or lyrics."


    Despite, as D.D. says, the album's classic metal references (such as Black Sabbath in "Come Heavy" and Iron Maiden in "The Long Road" and the epic and cinematic title track), when the band gets up a full head of thrash steam, they bring to the party a trademark punk aesthetic, forged from trips on the train to CBGB and Max's Kansas City to witness original punk legends such as The Damned and The Dead Boys.


    "Punk is huge for Overkill," confirms Verni. "And it's something we very specifically brought back to the band in a sort of second wave, beginning with Ironbound in 2010 and then The Electric Age and White Devil Armory. I know from my end, it came from talking to the band and talking to fans. We had some of those metal records in the middle of our career where I wasn't paying enough attention to the punk rock vibe of the band. But just before we started writing Ironbound, I was very specific about getting back into that mentality, picking up on that energy again. You're not going to hear any Green Day or Ramones in us, but the energy and the attitude of punk mixed with the New York vibe that's what Overkill is, compared to other bands. You don't hear any of that in Megadeth; you don't hear any of that in Slayer. It's more specific to what we brought to the thrash world."


    Central to that premise is the incendiary "Let's All Go to Hades" which is sure to become a pit favourite. "This one was a hell of a lot of fun," says Blitz. "You know, I've always written abstractly. I'm not the guy who says, 'I'm going to crush your skull into dust.' I like writing more so from an abstract point of view, putting a slew of thoughts together that create one idea, like a puzzle more than a specific black or white. And when I looked at all these lyrics when I was done, I said, oh my God, I'm 57 and I finally matured (laughs). Oh, this is gross! (laughs). But I do like tongue-in-cheek songs like 'Hades,' where it says, sort of let's all go to the Bataclan, you know, stand arm in arm and sing 'Killed by Death.' I kind of tied in not long ago events, specifically what happened in Paris, with losing Lemmy. After that, I'm on a train from Paris to Istanbul on the Orient express, which actually existed (laughs)-it actually went from Paris to Istanbul. So that one is mapped out a bit more."


    Adds D.D., "It's not a 'smash your face into the wall' kind of song. It got a little bit of fun in it. I know any time you talk to the really heavy thrash guys, they go, 'Oh, no, no, no-no fun allowed. It's got to be heavy and brutal every second.' But that song definitely has a bit of fun in it. And we've done that before, with things like 'Old School' and 'Fuck You.' We're not afraid to do a bit of that sometimes."


    Another favorite lyric of Blitz', which is set to a non-nonsense old school thrash track, is "Our Finest Hour." "It's about the recognition of sameness," explains Ellsworth. "I think people are comfortable when they recognize themselves in someone else. And 'Our Finest Hour' is kind of a detailed journey through that concept. It's like, 'Come on over here; I recognize you.' I've always been a firm believer in the fact that it's great to accomplish things on your own, but people are always stronger as a group-that's the basic outline of that tune."


    At the other end of the spectrum from punk is a song like "The Long Road." D.D. readily agrees that there was a Maiden influence as part of this one's crafting. "Oh yeah, for sure. The opening, along with a little section in there with the vocals, definitely feels like New Wave of British Heavy Metal.


    More evident in the band's panoramic classic metal passages, but even articulated here on "Our Finest Hour," is another storied Overkill trademark, the definition one gets in the band's bass parts. Combine this with the Mensa-like percussive wizardry of Ron Lipnicki (laid bare for all to hear at headphone levels through the smack of his gravity-defying double bass work), and The Grinding Wheel emerges as a record with a remarkable rhythm section foundation from which to rise.


    "I've had that kind of sound now for a long time," says Verni. "There are a lot of bass players that say, 'I want to feel the bass.' And it's like, I just couldn't give a shit about feeling the bass. To me that's low-end. Guitars have low-end, kick drums have low-end, bass has low-end-I want to hear the bass, not feel it. So from a long time ago, that's what I would be doing on my EQ. I would be tweaking and turning knobs until not only could I feel it, but I can hear it separate from the guitars. And as a result, the bass just got more and more aggressive. I'm not a finesse player at all, on a bass. I bang the shit out of it, and I kind of do that to get away from the guitars and give it its own identity, its own sound, its own thing, so the bass has its own personality, not just serving as a foundation for the guitars."


    This affects the writing as well, says Blitz. "Don't forget, D.D. is a guitarist. He's been playing guitar probably more so than bass in his spare time since the late '80s. This is a guy who has two-and-a-half decades of six strings under his belt. So we get more of a unique perspective; it gives this band its unique qualities when it comes to songwriting. Because it's a guy holding six strings who's got plenty of experience playing those six strings, but thinking from the other perspective. So you get a punchier thing; you don't get a lot of fluff. When you compare Overkill to some of our contemporaries, there you get a guitar player writing guitar-based songs. D.D. is writing, first and foremost, from a rhythm perspective, and that's what drives the songs. Add Dave Linsk to the picture, once there's a ten-note riff written, then you have the best of both worlds."


    Which brings us back to the aforementioned machine-like efficiency of the five guys that comprise Overkill, this idea that there are no weak links within this particular classic five-piece with two guitars lineup of metal warriors.


    "That's the strength of the band," explains Blitz. "Dave is really the one that holds the guitar reigns in this band. He's a writer at his core. You know, he's one of these guys who brushes his teeth and hears a rhythm the way the bristles are hitting the enamel (laughs). He's that dude. 'Oh wait a second, I have another idea.' He has an idea a minute, and if that's the case, some of them are going to be great. So he holds the reins. When it comes to Derek, he's more the opinionated thought later on. And so when it runs through the machine, being D.D. and myself, then Dave, Derek comes in and can change that song. It's always kind of good to have, let's say, a chief and some Indians. And it depends who's wearing the chief hat at any particular time. But I think at the end of the day, when you're looking for a clean perspective, it goes through Derek-that's usually what his contribution is, more of a finalization."


    And Ron? "He's one-of-a-kind," says Verni. "He's a great drummer. I've worked with him for a bunch of records now. This is our fifth record together and so I really understand how he plays at this point. Working with him in the studio is just a pleasure, because he's so right on it."


    After heaping all manner of praise on legendary producer Andy Sneap (brought on only for mix given Verni's proven acumen at the task), D.D. further clarifies the reason Overkill can be at the top of their game 18 records into their distinguished run.


    "I have a studio and I did most of it at my place; I've been doing it that way for a while now. And now the group of guys we have in the band has been pretty consistent for a while. So we have a nice mix; everybody kind of knows their role, and is good at their role. Everybody brings a little something to the party. And I think that's why these last couple of records people ask, 'How is it that your records get better after 25 years?' And I think part of it is that everybody has a role in the band, everybody is comfortable with their role, and they're really good at the part they have. So the records actually get better. It's like having a team, instead of having a whole bunch of chiefs and no Indians.


    But a proven people's band like Overkill-a more personable bunch you'll never meet-fully recognizes that part of the band's success in being able to survive and thrive with the grind is due to the allegiance of the band's considerable worldwide fan base.


    "For sure," says Blitz. "One of the things with regard to grind, with regard to four decades of Overkill, it's good to be here, but it's obviously earned, not just by us but by the people that support this in general. The fact is that it's not just us grinding it out. I mean, maybe it is when it comes to the studio and writing and recording songs, from that selfish perspective. But the reason something exists for decades is based on group effort. Like we had talked about earlier with 'Our Finest Hour,' people are stronger together. In that light, this band is, let's say, not just our project, but it's a project by and for all those who hold it dear."

    1. Mean, Green, Killing Machine
    2. Goddamn Trouble
    3. Our Finest Hour
    4. Shine On
    5. The Long Road
    6. Let's All Go To Hades
    7. Come Heavy
    8. Red, White And Blue
    9. The Wheel
    10. The Grinding Wheel
    11. Emerald
    Overkill
    $31.99
    Vinyl LP - Sealed Buy Now
  • The Grinding Wheel (Yellow And Black Vinyl) The Grinding Wheel (Yellow And Black Vinyl) Quick View

    $31.99
    Buy Now
    x

    The Grinding Wheel (Yellow And Black Vinyl)

    Pressed On Yellow And Black Vinyl

    Armed with pioneering pure metal proposals like Death Rider, The Beast Within, and Raise The Dead already in 1982, New Jersey's Overkill were a rock-solid part of the first clutch of bands forging in fire this music known as thrash metal. Along with Metallica, Exodus, Slayer and cross-town doppelgangers Anthrax, D.D. Verni and Bobby Blitz Ellsworth were helping to create a new form of metal that is still as vibrant today as when the band's first album, Feel the Fire was issued by Jonny Zazula's Megaforce Records back in the spring of '85.

    Witness Overkill's 18th album of blistering yet precise and thought-provoking thrash magic, The Grinding Wheel, a record on which thrash's ultimate team of five machined parts shows up and executes to perfection with a little punk thrown in for bad measure.

    But a life dedicated to metal can be a grind, hence the title of this sparks-a-flyin' record. It just makes sense for us, reflects D.D. If you've been making metal for almost 40 years like we have, it can be a grind. But we also liked the old school metal idea of referencing Grinder, the Judas Priest song, which suits the album because it has classic metal parts on it as well as the thrash parts. There's a blue collar feel to that title too, and that's how we approach Overkill. The guitar case is basically a lunchbox and we go to work.

    One of the principles-if not characteristics-of the band is that it's been grinding through for long, long periods of time, seconds Blitz. Decades to this point. And not necessarily with huge gains with regards to popularity, but for sure, with huge gains in as much as we can earn a living while doing the kind of music that we want. And so the idea of grinding it out over the decades became a device for writing the album, whether it would be riffs or lyrics.

    Despite, as D.D. says, the album's classic metal references (such as Black Sabbath in Come Heavy and Iron Maiden in The Long Road and the epic and cinematic title track), when the band gets up a full head of thrash steam, they bring to the party a trademark punk aesthetic, forged from trips on the train to CBGB and Max's Kansas City to witness original punk legends such as The Damned and The Dead Boys.

    Punk is huge for Overkill, confirms Verni. And it's something we very specifically brought back to the band in a sort of second wave, beginning with Ironbound in 2010 and then The Electric Age and White Devil Armory. I know from my end, it came from talking to the band and talking to fans. We had some of those metal records in the middle of our career where I wasn't paying enough attention to the punk rock vibe of the band. But just before we started writing Ironbound, I was very specific about getting back into that mentality, picking up on that energy again. You're not going to hear any Green Day or Ramones in us, but the energy and the attitude of punk mixed with the New York vibe that's what Overkill is, compared to other bands. You don't hear any of that in Megadeth; you don't hear any of that in Slayer. It's more specific to what we brought to the thrash world.

    Central to that premise is the incendiary Let's All Go to Hades which is sure to become a pit favourite. This one was a hell of a lot of fun, says Blitz. You know, I've always written abstractly. I'm not the guy who says, 'I'm going to crush your skull into dust.' I like writing more so from an abstract point of view, putting a slew of thoughts together that create one idea, like a puzzle more than a specific black or white. And when I looked at all these lyrics when I was done, I said, oh my God, I'm 57 and I finally matured (laughs). Oh, this is gross! (laughs). But I do like tongue-in-cheek songs like 'Hades,' where it says, sort of let's all go to the Bataclan, you know, stand arm in arm and sing 'Killed by Death.' I kind of tied in not long ago events, specifically what happened in Paris, with losing Lemmy. After that, I'm on a train from Paris to Istanbul on the Orient express, which actually existed (laughs)-it actually went from Paris to Istanbul. So that one is mapped out a bit more.

    Adds D.D., It's not a 'smash your face into the wall' kind of song. It got a little bit of fun in it. I know any time you talk to the really heavy thrash guys, they go, 'Oh, no, no, no-no fun allowed. It's got to be heavy and brutal every second.' But that song definitely has a bit of fun in it. And we've done that before, with things like 'Old School' and 'Fuck You.' We're not afraid to do a bit of that sometimes.

    Another favorite lyric of Blitz', which is set to a non-nonsense old school thrash track, is Our Finest Hour. It's about the recognition of sameness, explains Ellsworth. I think people are comfortable when they recognize themselves in someone else. And 'Our Finest Hour' is kind of a detailed journey through that concept. It's like, 'Come on over here; I recognize you.' I've always been a firm believer in the fact that it's great to accomplish things on your own, but people are always stronger as a group-that's the basic outline of that tune.

    At the other end of the spectrum from punk is a song like The Long Road. D.D. readily agrees that there was a Maiden influence as part of this one's crafting. Oh yeah, for sure. The opening, along with a little section in there with the vocals, definitely feels like New Wave of British Heavy Metal.

    More evident in the band's panoramic classic metal passages, but even articulated here on Our Finest Hour, is another storied Overkill trademark, the definition one gets in the band's bass parts. Combine this with the Mensa-like percussive wizardry of Ron Lipnicki (laid bare for all to hear at headphone levels through the smack of his gravity-defying double bass work), and The Grinding Wheel emerges as a record with a remarkable rhythm section foundation from which to rise.

    I've had that kind of sound now for a long time, says Verni. There are a lot of bass players that say, 'I want to feel the bass.' And it's like, I just couldn't give a shit about feeling the bass. To me that's low-end. Guitars have low-end, kick drums have low-end, bass has low-end-I want to hear the bass, not feel it. So from a long time ago, that's what I would be doing on my EQ. I would be tweaking and turning knobs until not only could I feel it, but I can hear it separate from the guitars. And as a result, the bass just got more and more aggressive. I'm not a finesse player at all, on a bass. I bang the shit out of it, and I kind of do that to get away from the guitars and give it its own identity, its own sound, its own thing, so the bass has its own personality, not just serving as a foundation for the guitars.

    This affects the writing as well, says Blitz. Don't forget, D.D. is a guitarist. He's been playing guitar probably more so than bass in his spare time since the late '80s. This is a guy who has two-and-a-half decades of six strings under his belt. So we get more of a unique perspective; it gives this band its unique qualities when it comes to songwriting. Because it's a guy holding six strings who's got plenty of experience playing those six strings, but thinking from the other perspective. So you get a punchier thing; you don't get a lot of fluff. When you compare Overkill to some of our contemporaries, there you get a guitar player writing guitar-based songs. D.D. is writing, first and foremost, from a rhythm perspective, and that's what drives the songs. Add Dave Linsk to the picture, once there's a ten-note riff written, then you have the best of both worlds.

    Which brings us back to the aforementioned machine-like efficiency of the five guys that comprise Overkill, this idea that there are no weak links within this particular classic five-piece with two guitars lineup of metal warriors.

    That's the strength of the band, explains Blitz. Dave is really the one that holds the guitar reigns in this band. He's a writer at his core. You know, he's one of these guys who brushes his teeth and hears a rhythm the way the bristles are hitting the enamel (laughs). He's that dude. 'Oh wait a second, I have another idea.' He has an idea a minute, and if that's the case, some of them are going to be great. So he holds the reins. When it comes to Derek, he's more the opinionated thought later on. And so when it runs through the machine, being D.D. and myself, then Dave, Derek comes in and can change that song. It's always kind of good to have, let's say, a chief and some Indians. And it depends who's wearing the chief hat at any particular time. But I think at the end of the day, when you're looking for a clean perspective, it goes through Derek-that's usually what his contribution is, more of a finalization.

    And Ron? He's one-of-a-kind, says Verni. He's a great drummer. I've worked with him for a bunch of records now. This is our fifth record together and so I really understand how he plays at this point. Working with him in the studio is just a pleasure, because he's so right on it.

    After heaping all manner of praise on legendary producer Andy Sneap (brought on only for mix given Verni's proven acumen at the task), D.D. further clarifies the reason Overkill can be at the top of their game 18 records into their distinguished run.

    I have a studio and I did most of it at my place; I've been doing it that way for a while now. And now the group of guys we have in the band has been pretty consistent for a while. So we have a nice mix; everybody kind of knows their role, and is good at their role. Everybody brings a little something to the party. And I think that's why these last couple of records people ask, 'How is it that your records get better after 25 years?' And I think part of it is that everybody has a role in the band, everybody is comfortable with their role, and they're really good at the part they have. So the records actually get better. It's like having a team, instead of having a whole bunch of chiefs and no Indians.

    But a proven people's band like Overkill-a more personable bunch you'll never meet-fully recognizes that part of the band's success in being able to survive and thrive with the grind is due to the allegiance of the band's considerable worldwide fan base.

    For sure, says Blitz. One of the things with regard to grind, with regard to four decades of Overkill, it's good to be here, but it's obviously earned, not just by us but by the people that support this in general. The fact is that it's not just us grinding it out. I mean, maybe it is when it comes to the studio and writing and recording songs, from that selfish perspective. But the reason something exists for decades is based on group effort. Like we had talked about earlier with 'Our Finest Hour,' people are stronger together. In that light, this band is, let's say, not just our project, but it's a project by and for all those who hold it dear.

    1. Mean, Green, Killing Machine
    2. Goddamn Trouble
    3. Our Finest Hour
    4. Shine On
    5. The Long Road
    6. Let's All Go To Hades
    7. Come Heavy
    8. Red, White And Blue
    9. The Wheel
    10. The Grinding Wheel
    11. Emerald
    Overkill
    $31.99
    Colored Vinyl LP - Sealed Buy Now
  • Melted Toys Melted Toys Quick View

    $19.99
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    Melted Toys

    Melted Toys self-titled debut is released via Underwater Peoples. Culminating
    three years after their acclaimed Washed & Dried EP rst unveiled the group's distinct blend of
    hazy, plaintive pop and psychedelic electronica, the full-length reigns in squarely as the
    group's most denitive vision yet. It comes on as a sort of sanctuary-in-transit, inspired both
    by the shifting visions of dreams and global travel, so that each of the twelve passages icker
    and ame with equal impression.


    Melted Toys is Stephen Harkins, Daniel Rosado, Brian Wakeeld, and Ole Haarstad. Their
    casual bond laces the languid pop with an unpretentious melodic language. It's both downcast
    and serene, resembling the catalog of mid-career FELT, where Maurice Deebank's somber leads
    colored each and every detail, rather than just issuing showy statements at predictable intervals. Highlights along the album spark from timely synthesizer voicings as well, mixed in
    fantastic contrast against the shadowy mid tones of Wakeeld's bass and Haarstad's metronomic, motorik drumming style.


    The three-year wait for this debut irked followers and friend's close to the band, but it was
    caused by one of the members leaving a laptop containing all the initial work on a San
    Francisco BART train. So it goes, and Melted Toys seems to have used the guaw to their
    advantage, as the band re-located to Los Angeles, and singer-guitarist Harkins ended up traveling to Beijing, Tokyo, and Taipei, where he wrote an additional half of the material.


    Bummed Out signals the albums opening tone with a wiry lead from Rosado, a kind of
    circuit-bent guitar hook that practically nishes Harkins' nodding out sentences. Further along
    the rst side A Postcard unfurls the most somber portrait of the LP, but forgoes lulling in
    self-importance by trodding against a snare heavy loop, and sneering delivery.


    Tellingly, the lyrics to Horizon seem to underscore the album's themes of psychoactive and
    physical escape: Here I'm standing right on the cusp / of what could be my life / when we're
    strapped under pressure / we could go inside our minds, wherein Harkins ends the verse with
    the line, There's a chance for us / LAX back to Beijing. There, Harkins consolidates Melted
    Toys' psychedelia with wanderlust, and what's more, the album seems most apt for both these
    extremes: music for headphones en route to self-discovery, or music for mental escape indoors,
    where's there's nothing more to discover but music.

    1. Intro
    2. Bummed Out
    3. Horizons
    4. Press A (Habitat)
    5. A Postcard
    6. Blush
    7. Always
    8. Water Arches
    9. Joy Fit
    10. Observations
    11. Come On
    12. Citrus Honeymoon
    Melted Toys
    $19.99
    Vinyl LP - Sealed Buy Now
  • Shadowed By Vultures Shadowed By Vultures Quick View

    $16.99
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    Shadowed By Vultures

    Polar have been teasing us for 'Shadowed By Vultures' since the release of 'Glass Cutter' in October and 'Mountain Throne' earlier this week and it still isn't enough. This early on it is clear that 'Shadowed By Vultures' is one of the best things to come from 2014 already, Polar are always reliable for epic pit inducing, crowd chanting tracks but this full length has taken it to the next level. Polar have matured and developed bringing depth, musicianship and ingenuity to create a inspirational and remarkable album that will form an iconic place in their discography.


    'Shadowed By Vultures' opens with 'First Breath' which immerses the listener in, calling them out with a dominating and prevalent riff heaving them to the forefront of the album. In 52 seconds we have already had all our attention drawn out by a tyrannical Polar calling card that preludes what is unleashed throughout the entire album. And they continue to dominate our ears with 'Blood Lines' pulling Woodford's vocals forward in an anthemic chorus, his vocals are one of Polar's unique points that through every rasp, growl and shout there is nothing but clarity, you can hear every word and shout it back.


    First single 'Glass Cutter' premiered on Radio 1 in October and still stands out as one of the most influential tracks from 'Shadowed By Vultures'. The track ignites crowds and echoes out venues with 'I am the water that fills your lungs' and spurs images of people climbing over each other in frantic Polar induced fits. However, 'Before The Storm' then brings the full length to a hauntingly unexpected halt, the female vocals juxtaposing Woodford's rawr into an eloquent and fragile track that delves deeper into anything we could have expected. A longing, fervent track that commands notice among the destructive album as we go into the second single 'Mountain Throne'.


    Within days of the video being posted fans have begged for the lyrics so they can sing them back. As guitars rise up and haul us through every breaking breath of the track you can see why 'Mountain Throne' has swept up fans all over the internet sitting behind their screens desperate to shout 'We are, we are condemned to be criminals!'. And Polar do not cease there as they rip into the neck breaking 'Vipers' which finds itself as another example of Polar's outstanding song writing before title track 'Shadowed By Vultures' that never relents. The track falls on intricate, resilient and winding riffs that form around unrelenting percussion. As instruments rile up in pauses into incessant uproars before piano keys fall in and we seamlessly find ourselves in 'Paradise' . The articulate and delicate track forms the most beautiful breather in such a hefty album allowing a moment of recollection before 'Create'.


    If you didn't know 'Create' from their previous EP 'Inspire Create Destroy' then you don't know what Polar excellence you have been missing. Although they have clearly developed from their previous work 'Create' still commands every second of savage attention it deserves. If Polar don't have you chanting 'Inspire! Create! Destroy!' by the end of their set, you are definitely in the wrong place, or they have already broken you. As the album closes on 'Our Legacy' Polar unleash a rasping raw space before strings wind us into a frenzy that leaves us desperate to play the album again. Twangs and stomps winding down a diverse and prodigious album that will be splitting our headphones for years to come.


    - Amber Carnegie (Hit The Floor)

    1. First Breath
    2. Blood Lines
    3. Glass Cutter
    4. Black Days
    5. Before the Storm (Featuring Ellie Price)
    6. Mountain Throne
    7. Vipers
    8. Shadowed By Vultures
    9. Paradise
    10. Create
    11. Our Legacy
    Polar
    $16.99
    Vinyl LP - Sealed Buy Now
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