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  • Ortofon MC Windfeld Ti Cartridge Ortofon MC Windfeld Ti Cartridge Quick View

    $4,390.00
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    Ortofon MC Windfeld Ti Cartridge

    Ortofon


    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.


    In continuation of the Ortofon design tradition and the new paradigm in engineering and manufacturing, we are proud to introduce the MC Windfeld Ti, a new moving coil phono cartridge in the absolute high-end class.


    At the heart of the MC Windfeld Ti lies a revolutionary customized Selective Laser Melting manufacturing technology pioneered by Ortofon for manufacturing of the legendary MC A90 in 2008. The use of Titanium in the MC Windfeld Ti has provided a further improvement to the overall rigidity of the structure and the cartridge weight.


    Our extensive knowledge of vibration properties, characteristics in different shapes and materials, competences in magnetism, mechanical design and new technologies has been applied for optimization of the MC Windfeld model. The new MC Windfeld Ti has gone to the next level by reducing unwanted vibrations and increasing the dynamic capability of the cartridge.


    Those who choose to adopt the MC Windfeld Ti will experience the lifelike, dynamic and open sound, with exceedingly clear midrange. The MC Windfeld Ti remains extremely musical while paying close attention to micro dynamic details, with its delicate, but also analytical nature.

    The mechanical integration of the MC Windfeld Ti


    Historically, Ortofon has always followed its own path with regard to the mechanical design of the cartridge housing, because mechanical rigidity and total freedom from resonance in the audible range are a precondition for optimal sound quality.


    In the MC Windfeld Ti the cartridge's contact with the tonerarm takes place through three hard, well-defined contact points placed on the fastening section of the cartridge. This means that the mechanical integration of the cartridge and the tonearm arm are always absolutely perfect.


    Flexibility and performance with a range of compatibility


    With optimized weight and moderate compliance to suit the majority of modern tonearms, the MC Windfeld Ti is easy compatible with an endless array of contemporary high-end turntable equipment, including the Ortofon TA-210 and TA-110 tonearms.


    A low output impedance of 7 ohm and a medium output voltage of 0.2 mV makes the Ortofon MC Windfeld Ti a perfect partner for most MC pre-amps as well as step-up transformers, including the Ortofon ST-80 SE.


    When combined with Ortofon's world-class knowledge in analogue sound reproduction, The MC Windfeld Ti will undoubtedly provide sound which is literally unsurpassed and simply has to be experienced.

    Ortofon Cartridges
    $4,390.00
    Moving Coil Phono Cartridge Buy Now
  • Sky 30 CineMag 1:15/1:30 Sky 30 CineMag 1:15/1:30 Quick View

    $1,250.00
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    Sky 30 CineMag 1:15/1:30

    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.


    Ultra High quality laminations, lower inductance and superior sound. These transformers were especially designed and tested with several low-output moving coil cartridges. These are very difficult transformers to construct and require a precision manufacturing process that can only be done by David Geren at CineMag. The same construction techniques are used as in the 1131, except that the inductance of the SKY 30 is even lower due to the lower step up ratios.


    Hand Crafted, Moving Coil (MC) Cartridge Step-up Transformer (SUT) built with new CineMag SKY 30 (Blue Version) Transformers and gold plated hardware in a hand polished black powder coated cast-aluminum enclosure. All lettering is laser etched. Included are 2 switches: high/low gain and ground/lift.


    Includes premium construction with C&K Brand Silver contact toggle switches, and Deluxe Gold Plated RCA jacks.


    These specially designed transformers are wired to connect a moving coil cartridge (on a turntable) to a phono preamplifier, phono input of a receiver, or your preamp's phono input.


    Switchable for 1:15 (24 dB gain) or 1:30 (30 dB gain).


    Into a standard 47k phono preamp, the effective input impedance of the low gain (1:15 ratio) is 209 ohms. At 1:30, the effective input impedance is 52 ohms.


    The 1:30 ratio is perfect for most low output cartridges.


    Construction Techniques:

    All connections are Resistance soldered using the American Beauty system which avoids heat damage to the delicate insulation on the hair-like wires of the transformers. Test equipment is very low current to avoid saturating the transformer cores. You can count on a premier product that is state-of-the-art.


    This unit includes a grounding post that can be used to connect your turntable ground and your preamplifier ground. It also includes a ground lift switch. In all modes, the transformer cases and faraday shield internal to the transformers are connected to the ground screw. In the ground mode, the phono system minus sides (negative sides) are connected to the grounding lug. This configuration works well for those systems where the turntable ground is connected to the negative leads coming from the phono cartridge or where the negative inputs to the preamp are internally connected to ground. In the lift mode, none of the conductors in the RCA jacks are connected to the case, ground, or shield and there is no electrical connection between channels. This design allows you much flexibility to mitigate for ground loops regardless of the configuration of your other equipment.


    This item is not eligible for discount.

    Bob's Devices
    $1,250.00
    Sky 30 CineMag 1:15/1:30 Buy Now
  • Over And Even Over And Even Quick View

    $17.99
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    Over And Even

    Joan Shelly's new album, Over And Even, was written in the back of an abandoned beauty parlor on the island of Thessaloniki. The whole thing had something to do with Vashti Bunyan. That's what Joan told me, but Joan Shelley is a poet, so she makes things up. In a small, dark room that smells of expired hair-do chemicals, there is talk of hypnosis. All the windows are blacked out. Look into my eyes. White walls are blinding in the ancient sunlight. A bowl of oranges shines like solid gold, waiting for you. There is a small classical guitar, a sunburn, and a key that turns a lock, and songs come pouring out. Maybe the Greek deal was really about Leonard Cohen. That's Joanie's jam: songs wide open enough to let the wind blow the curtains around, and solid enough to hang a ton of heartache on. She writes smart, beautiful songs full of poetry, history, mystery and nature. Like all the best sad songs, they will make you cry. Then they will drag you outside and leave you flat on your back, staring up at the stars. Joan lands on a note like a laser beam on a diamond. Colors fly around the room, and her voice bends between them. People say her voice reminds them of Sandy Denny. It's more than the vocal range. It's a quiet power that draws you in. Maybe Over And Even wasn't written last winter on a Greek island. Maybe these songs were written a hundred years ago in a farmhouse somewhere in Kentucky. That's where Joan is from, and that's where she and guitar player Nathan Salsburg recorded all the basic tracks live. All the people who played on Joan's new record -- and Daniel Martin Moore who recorded and engineered it -- are friends. That comes through somehow in the sound of the album. Will Oldham and Glen Dettinger are genius harmony singers. They leave the perfect amount of space for microscopic shifts in Joan's voice, without sacrificing their own awesome idiosyncrasies. Nathan Salsburg's guitar follows every twist of the melody. When the song breaks your heart in two, Nathan is there with a high E-string to sew it back together. Joan Shelley's voice flows out like a river. It never travels in a straight line. It follows bends and curves carved by history. We are all lucky just to be swept away, and go with her wherever she's going. But it's not over by half There's a gold in your eyes blooming out through the black And you're still standing, your hand on the map No its not over, not over by half the end.
    1. Brighter Than The Blues
    2. Stay On My Sure
    3. Over and Even
    4. Not Over By Half
    5. Ariadne's Gone
    6. No More Shelter
    7. Easy Now
    8. Lure and Line
    9. Jenny Come In
    10. Wine And Honey
    11. My Only Trouble
    12. Subtle Love
    Joan Shelley
    $17.99
    Vinyl LP - Sealed Buy Now
  • The Rise & Fall Of Paramount Records, Volume One (1917-1927) Box Set The Rise & Fall Of Paramount Records, Volume One (1917-1927) Box Set Quick View

    $469.99
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    The Rise & Fall Of Paramount Records, Volume One (1917-1927) Box Set


    * 800 Newly-Remastered Digital Tracks, Representing 172 Artists


    * 200+ Fully-Restored Original 1920s Ads And Images


    * 6x 180g Vinyl LPs Pressed On Burled Chestnut Colored Vinyl W/ Hand-Engraved, Blind-embossed Gold-Leaf Labels, Housed In A Laser-Etched White Birch LP Folio


    * 250 Page Deluxe Large-Format Clothbound Hardcover Art Book


    * 360 Page Encyclopedia-Style Softcover Field Guide Containing Artist Portraits And Full Paramount Discography


    * Handcrafted Quarter-Sawn Oak Cabinet With Lush Sage Velvet Upholstery And Custom-forged Metal Hardware


    * First-Of-Its-Kind Music And Image Player App, Allowing User Mgmt Of All Tracks And Ads, Housed On Custom-Designed USB Drive


    How did a Wisconsin chair company, producing records on the cheap and run by men with little knowledge of their audience or the music business, build one of the greatest musical rosters ever assembled under one roof? The answer lies in 'The Rise and Fall of Paramount Records 1917-1932,' an epic, two-volume omnibus of art, words and music housed in a limited-edition, hand-sculpted cabinet-of-wonder, to be jointly released by Jack White's Third Man Records and John Fahey's Revenant Records.


    'Volume One,' which covers the label's improbable rise from 1917-1927, will be released exclusively through Third Man on October 29, and worldwide on November 19. The project is co-produced by leading Paramount authority Alex van der Tuuk, and 'Volume 2' will be released in November 2014.


    Paramount Records was founded on a modest proposition: produce records as cheaply as possible, recording whatever talent was available. Over its lifetime, the label would become a "race records" powerhouse, its sound and fortunes directly linked to the Great Migration.


    By the time Paramount ceased operations in 1932, it had compiled a dizzying array of performers still unrivaled to this day, spanning early jazz titans (Louis Armstrong, King Oliver, Jelly Roll Morton, Fats Waller), blues masters (Charley Patton, Blind Lemon Jefferson, Son House, Skip James), American divas (Ma Rainey, Alberta Hunter, Ethel Waters), gospel (Norfolk Jubilee Quartette), vaudeville (Papa Charlie Jackson), and the indefinable "other" (Geeshie Wiley, Elvie Thomas). Paramount would also directly influence the style of Robert Crumb and countless other 20th century artists and illustrators, through a series of hand-drawn ads promoting its releases in the pages of the Chicago Defender.


    The 'Rise and Fall' wonder-cabinet gives equal status to page-turning narrative and new scholarship; original and newly created graphic art; industrial design; and compelling analog and digital music experiences.

    6 LPs feature 87 tracks from the collection.


    USB Drive contains 800 digital tracks by 172 artists across the Paramount family of labels, including the earliest recordings of:
    King Oliver, Jelly Roll Morton, Blind Blake, Fats Waller, Ma Rainey, Blind Lemon Jefferson, Duke Ellington, Louis Armstrong, Fletcher Henderson, Alberta Hunter, Papa Charlie Jackson, Ethel Waters, Coleman Hawkins, Johnny and Baby Dodds, Bo Weavil Jackson, Jimmy O'Bryant, Buddy Boy Hawkins, Tiny Parham, Jimmy Blythe, and Jaybird Coleman.

    Various Artists
    $469.99
    180 Gram Audiophile Virgin Vinyl LP + 2 Books - 6 LPs Sealed Buy Now
  • Cells Cells Quick View

    $24.99
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    Cells

    Four years and four EPs on, Keating is still something of an enigma. He doesn't prey on fame, he does very few interviews and he isn't part of a DJ crew: he has always preferred to let his music speak for itself. He's been in no hurry to release a record either - until now, that is. Keating has found a home on Different Recordings, which counts club crusaders like Tiga, Felix Da Housecat and Vitalic among its roster, and is finally ready to present his mission statement: Cells.


    An album is such a personal manifesto, he says, of why he has waited until now to release Cells, and, in some ways, I didn't feel as if I'd earned that. I hadn't got their full attention yet. He should, however, give himself more credit. Since Mars, Keating has released another chart-nudging single, I Think I Like It, remixed with everyone from Hot Chip and Gossip to Calvin Harris and Sway, produced three memorable mixes for Radio 1 and appeared on huge party bills with the biggest names in dance music. He has also started a label, Blood Music, and has hosted its showcases at Social Club in Paris and London's Fabric. And he has just dropped a new EP, Yes/No, to ready fans for his debut long-player. The world, as it happens, is bloodthirstily waiting: Cells is one of the most anticipated dance albums of 2012.


    It's a daring one at that. Cells is an 11-track distillation of Keating's surreal vision, an electronic masterpiece skewered by his love of the macabre, the uncanny and the sinister. He has trapped his signature breed of savage, Godzilla-strength basslines and laser-blazing four-to-the-floor inside his very own suspense thriller.

    1. Yes / No
    2. Airbrushed
    3. Phantom Power
    4. End of Days
    5. All In The Blink
    6. Let It Go
    7. Another World
    8. Sideshow
    9. Soft Machine
    10. London
    11. Contact
    Fake Blood
    $24.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Giant Steps (Mono Remaster) Giant Steps (Mono Remaster) Quick View

    $21.99
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    Giant Steps (Mono Remaster)

    Mono Remaster


    History will undoubtedly enshrine this disc as a watershed the likes of which may never truly be appreciated. Giant Steps bore the double-edged sword of furthering the cause of the music as well as delivering it to an increasingly mainstream audience.


    Although this was John Coltrane's debut for Atlantic, he was concurrently performing and recording with Miles Davis. Within the space of less than three weeks, Coltrane would complete his work with Davis and company on another genre-defining disc, Kind of Blue, before commencing his efforts on this one.


    Coltrane (tenor sax) is flanked by essentially two different trios. Recording commenced in early May of 1959 with a pair of sessions that featured Tommy Flanagan (piano) and Art Taylor (drums), as well as Paul Chambers -- who was the only band member other than Coltrane to have performed on every date. When recording resumed in December of that year, Wynton Kelly (piano) and Jimmy Cobb (drums) were instated -- replicating the lineup featured on Kind of Blue, sans Miles Davis of course.


    At the heart of these recordings, however, is the laser-beam focus of Coltrane's tenor solos. All seven pieces issued on the original Giant Steps are likewise Coltrane compositions. He was, in essence, beginning to rewrite the jazz canon with material that would be centered on solos -- the 180-degree antithesis of the art form up to that point. These arrangements would create a place for the solo to become infinitely more compelling. This would culminate in a frenetic performance style that noted jazz journalist Ira Gitler accurately dubbed sheets of sound. Coltrane's polytonal torrents extricate the amicable and otherwise cordial solos that had begun decaying the very exigency of the genre -- turning it into the equivalent of easy listening.


    He wastes no time as the disc's title track immediately indicates a progression from which there would be no looking back. Line upon line of highly cerebral improvisation snake between the melody and solos, practically fusing the two. The resolute intensity of Countdown does more to modernize jazz in 141 seconds than many artists do in their entire careers. Tellingly, the contrasting and ultimately pastoral Naima was the last tune to be recorded, and is the only track on the original long-player to feature the Kind of Blue quartet. What is lost in tempo is more than recouped in intrinsic melodic beauty.


    - Lindsay Planer (AllMusic.com)

    1. Giant Steps (Mono Version)
    2. Cousin Mary (Mono Version)
    3. Countdown (Mono Version)
    4. Spiral (Mono Version)
    5. Syeeda's Song Flute (Mono Version)
    6. Naima (Mono Version)
    7. Mr. P.C. (Mono Version)
    John Coltrane
    $21.99
    Vinyl LP Mono - Sealed Buy Now
  • Fuck Off Get Free We Pour Light On Everything (Awaiting Repress) Fuck Off Get Free We Pour Light On Everything (Awaiting Repress) Quick View

    $25.99
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    Fuck Off Get Free We Pour Light On Everything (Awaiting Repress)


    Marks The 15th Anniversary Of The Band, Founded And Led By Efrim Menuck Of Godspeed You! Black Emperor


    First New SMZ Full Length Since GYBE's Return To Action In 2011


    Recorded In Quebec By Greg Norman (electrical Audio)


    Thee Silver Mt. Zion Memorial Orchestra (SMZ) has traced a barbed-wire arc of
    genre-defying protest music since its inception in 1999. Formed by Efrim Menuck, with
    Thierry Amar and Sophie Trudeau, the initial iteration of the band was a predominantly
    instrumental trio that forged a more intimate and ragged chamber-punk than Godspeed
    You! Black Emperor, in which group all three founding SMZ members also played (and
    continue to play). Through seven albums from 2000-2010, SMZ expanded its line-up and
    shifted towards an increasing use of lead and group vocals, with Menuck penning politically charged lyrics to anchor long-form multi-movement compositions that juxtaposed electrified
    guitars against a 4-piece string section of violins,cello and contrabass.


    Most recently, SMZ has pared back to five players, with Menuck's massive spectrum spanning electric guitar sound emerging as the spine around which two violins, bass (now
    more often electric than acoustic) and drums are deployed. SMZ have managed a handful
    of short tours in the past couple of years (in the gaps between GYBE commitments) and
    as anyone who has seen the band in its recent incarnation can attest, their current sound
    is more honed, laser-guided and bone-rattling than ever, melding hardcore, blues, garage
    and dark metal influences that have nothing to do with anything so quaint as "post-rock"
    (a tag the group has always and rightly rejected).


    Fuck Off Get Free We Pour Light On Everything is the first definitive document of
    the band's newfound sound and style as a quintet. It's also their first single LP-length
    work since the band's debut record as a trio almost 15 years ago, and features road tested pummeling rock-outs "Fuck Off Get Free (For The Island Of MontrÉal)", "Take
    Away These Early Grave Blues" and "What We Loved Was Not Enough" alongside the
    previously unheard lullabyes/minuets "Little Ones Run" and "Rains Thru The Roof At Thee
    Grande Ballroom (For Capital Steeze)" and the album centerpiece "Austerity Blues" with
    its closing lyric "Lord let my son live long enough to see that mountain torn down"
    sung in varying incarnations throughout the second half of this 14-minute epic.


    This lyric in many ways encapsulates Menuck's unflinching take on a world replete with
    shabbiness, greed and injustice, seen through the lens of parenthood, mortality, endurance
    and defiance. There are few other musicians who deliver social critique with the courage
    and honesty of lines like "All our cities gonna burn / All our bridges gonna snap / All our
    pennies gonna rot / Lightning roll across our tracks / All our children gonna die". Feel-good
    music this is not; but neither can it reductively be tagged apocalyptic or world-weary.
    Fuck Off Get Free rages with scorn and with hope, utterly passionate but pointedly
    unromantic. Thee Silver Mt. Zion once again demonstrates, like few other bands working
    today, that there is much to fight for and against, and plenty more fight songs to sing.

    1. Fuck Off Get Free (for The Island Of Montreal)
    2. Austerity Blues
    3. Take Away These Early Grave Blues
    4. Little Ones Run
    5. What We Loved Was Not Enough
    6. Rains Thru The Roof At The Grande Ballroom (for Capital Steez)
    Thee Silver Mt. Zion Memorial Orchestra
    $25.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
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