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  • California Feeling Featuring the Words and Music of Stephen Kalinich and Friends (Discontinued) California Feeling Featuring the Words and Music of Stephen Kalinich and Friends (Discontinued) Quick View

    $17.99
    Buy Now
    x

    California Feeling Featuring the Words and Music of Stephen Kalinich and Friends (Discontinued)

    Featured artists:

    Carnie & Wendy Wilson

    The Honeys

    Rachel & The Reindeerz

    Carl B. Wilson

    Stephen Kalinich

    and many more


    Plus A Special Tribute To The California Music Sound By Stephen Kalinich

    Side 1

    1. Intro - Chaos Band

    2. California Feeling - The Honeys

    3.III Crestmont Rd - Stephen Wrigley featuring Glen Richardson

    4. Contemplating Life - Dan Knutson

    5. Everything's Exploding - John Tiven

    6. A Time TO Live In Dreams - Probyn Gregory

    7. Touch Your Skin - Carl B. Wilson


    Side 2

    1. Rainbows - Jez Graham

    2. Little Bird - Carnie & Wendy Wilson

    3. A Friend Like You - Stephen Wrigley with Glen Richardson

    4. Child of Winter - Rachel & The Raindeerz

    5. You're The Beautiful - Alan Boyd

    6. I Feel God- Dane Conover / Popgems

    7. Stevie Nobody - MC Kalinich

    8. Be Still - Chaos Band

    Various Artists
    $17.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Musical Fidelity MX-VYNL Phono Stage Musical Fidelity MX-VYNL Phono Stage Quick View

    $999.00
    Buy Now
    x

    Musical Fidelity MX-VYNL Phono Stage


    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 MX-VYNL is a fully balanced, very high performance phono stage, able to operate with virtually any moving coil or moving magnet cartridge. With both traditional RCA inputs and our unique XLR fully balanced connection the MX-VYNL can be connected to 2 turntables simultaneously.


    The MX-VNYL offers a wide range of input impedance settings for moving coil cartridges as well as several capacitance settings for moving magnet units. Unlike many of our competitors units the MX-VYNL allows easy adjustment of these settings while playing. This allows easy experimentation and tuning to find the optimum setting for all your equipment.


    The MX-VYNL also includes our renowned RIAA correction that offers extremely accurate results to beyond 80kHz. That may sound extreme, but there is a good deal of information above 20 kHz that needs correction. If it isn't corrected, it will show itself as ringing and overshoot.


    With both extraordinarily low noise and exceptional overload margin the MX-VYNL can comfortably handle even the most demanding of cartridges and satisfy the most discerning of listeners.


    Musical Fidelity
    $999.00
    MX-VYNL Phono Stage Buy Now
  • Musical Fidelity LX-LPS Phono Stage Musical Fidelity LX-LPS Phono Stage Quick View

    $499.00
    Buy Now
    x

    Musical Fidelity LX-LPS Phono Stage


    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 LX-LPS is a very high performance MM/MC phono stage with TWO turntable inputs. Each input has an extra pair of input sockets so you can achieve exact impedance matching. The circuitry is derived from the MX-VYNL so it is unsurprising that the technical performance is outstanding.


    Musical Fidelity
    $499.00
    LX-LPS Phono Stage Buy Now
  • High Fidelity High Fidelity Quick View

    $29.99
    Buy Now
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    High Fidelity

    Original soundtrack to the film High Fidelity (15th Anniversary).



    Gen X rock buffs can revel in nostalgia with the High Fidelity soundtrack. The film centers on the romantic escapades of record-store owner and ex-club DJ Rob Gordon (John Cusack) and his full-time obsession with music. Since High Fidelity has as much to do with vinyl addiction as it does with the difficulties of love, great care has been taken with its selection of tracks, a solidly eccentric collection of heartache-heavy pop gems ranging from obscure '60s bands and groundbreaking artists like the Velvet Underground and Bob Dylan, to Stevie Wonder and Stereolab. As in the film, there's a method to the compilers' elitist rock-geek madness. Even co-star Jack Black's schlocky blue-eyed cover of Marvin Gaye's Let's Get It On doesn't seem out of place.



    The inspired screeches of acid-fried '60s singer-songwriter Roky Erickson's You're Gonna Miss Me set the pace for the musing, hangdog tone of the album. Besides the joyous licks of the Kinks' Everybody's Gonna Be Happy and Royal Trux's hybrid of hip-hip, techno, and aggressive rock on Inside Game, the bulk of the set is composed of moody folk-rock tunes like Dylan's exquisite Most of the Time and the Velvets' Oh! Sweet Nuthin. Other noteworthy tracks include Love's Always See Your Face, the Beta Band's Dry the Rain, Elvis Costello's wistful Shipbuilding, the stinging irony of Smog's Cold Blooded Old Times, and Stevie Wonder's soulful optimism on I Believe (When I Fall in Love It Will Be Forever). It's a fine, complementary batch of tunes that not only enhances the film's mood but is integral to its theme, and, as High Fidelity's Rob Gordon would agree, it'll go down as one of the top five soundtracks [originally] released in 2000. - Derrick Mathis (AllMusic)

    LP 1
    1. You're Gonna Miss Me - The 13th Floor Elevators
    2. Everybody's Gonna Be Happy - The Kinks
    3. I'm Wrong about Everything - John Wesley Harding
    4. Oh! Sweet Nuthin' - The Velvet Underground
    5. Always See Your Face - Love
    6. Most Of The Time - Bob Dylan

    7. Fallen For You - Sheila Nicholls
    8. Dry The Rain - The Beta Band


    LP 2
    1. Shipbuilding - Elvis Costello & The Attractions
    2. Cold Blooded Old Times - Smog
    3. Let's Get It On - Jack Black
    4. Lo Boob Oscillator - Stereolab
    5. Inside Game - Royal Trux
    6. Who Loves The Sun - The Velvet Underground
    7. I Believe (When I Fall In Love It Will Be Forever) - Stevie Wonder

    Various Artists
    $29.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Mobile Fidelity LP #9 Mobile Fidelity LP #9 Quick View

    $24.99
    Buy Now
    x

    Mobile Fidelity LP #9

    A dirty stylus gets between you and your music... Mobile Fidelity LP #9, a revolutionary stylus cleaner and lubricant, is a simple, easy to use stylus cleaner which will improve the sound of your analog system while extending the life of your phono cartridge. LP #9 provides smoother, grain-free sound and increased stylus life while reducing record wear. Mobile Fidelity LP#9 is both a stylus cleaner and a stylus preservative in one bottle. The fluid is only used sparingly, so this half ounce bottle will last you a long, long time. Also included is a great, soft stylus cleaning brush. Purchase a second bottle and save! Our highest recommendation!
    Mobile Fidelity
    $24.99
    Stylus Cleaner Buy Now
  • Mobile Fidelity SONIC CONNECT Cleaning System Mobile Fidelity SONIC CONNECT Cleaning System Quick View

    $49.99
    Buy Now
    x

    Mobile Fidelity SONIC CONNECT Cleaning System

    Mobile Fidelity SONIC CONNECT Will Clean All of Your Contacts and Connectors to Insure Nothing Gets Between You and Your Music!


    Mobile Fidelity proudly introduces the Mobile Fidelity SONIC CONNECT Cleaning System, the absolutely best way to clean audio contacts. This formula has been used in many mission-critical applications as well as by very well-known recording studios since the mid-1990s and is now available to help wring the fullest potential out of audiophile equipment.


    Audio professionals are keenly aware that dirty contacts are a source of amusical distortion robbing their recordings of power, clarity, and musicality. Sound engineers use Sonic Connect on every metal-metal connection in both cabling and recording equipment: microphone XLR connectors, signal cable connectors, AC outlets and plugs, 2-inch open reel mastering decks and many others. Several hydroelectric dams use this solution to clean oxidation from their large power distribution lines to ensure maximum conductivity and reduce down time.


    Mobile Fidelity SONIC CONNECT Cleaning System is a 2-step process. Step One is a solution designed to remove oxidation from metal parts. Step Two is a powerful solvent which removes grease, oils and other contaminants that impede and distort signal flow. In combination, SONIC CONNECT removes more and leaves less residue than any other contact cleaner we've used. Hear music and see video without the grunge and veiling introduced by dirty contacts. Once connections are fully cleaned with Sonic Connect, a contact enhancer may be used, if desired.


    We recommend cleaning connections with Mobile Fidelity SONIC CONNECT Cleaning at least twice a year, more often if the equipment is in humid or very dusty environments. Analog lovers, call us today to find out how your system can benefit from Mobile Fidelity SONIC CONNECT Cleaning System!

    Mobile Fidelity
    $49.99
    Record Cleaning Solution Buy Now
  • Music Music Quick View

    $34.99
    Buy Now
    x

    Music

    Released on the heels of her breakthrough, Tapestry, Carole Kings Music is every bit the equal of its more famous predecessor, a Number One smash that features impeccable songwriting, infallible melodies, and extraordinary piano playing. In short, everything thats made King an institution. After of years of being overshadowed, this 1971 singer-songwriter classic has finally been given the audiophile treatment its long deserved.



    Half-speed mastered from the original master tapes, Mobile Fidelitys numbered limited-edition 180g LP of Kings second solo masterpiece is rife with intimacy, transparency, soulfulness, and you-are-there sound. Never before remastered, Music seems like a brand-new album, Kings familiar voice, intelligent arrangements, and ravishing support band presented on a deep, three-dimensional soundstage. Your appreciation for and understanding of Kings inspirational lyrics and ravishing performances will increase tenfold. Mobile Fidelitys 180g LP brings you that much closer.



    Accompanied by percussionist Bobbye Hall, drummer Russ Kinkel, guitarist/vocalist James Taylor, and a cavalcade of professional wind musicians, King delves further into R&B and jazz-derived pop, coming up aces every time. Warm, intelligent, and cohesive, songs echo with simplicity and honesty. And as is typical of much of Kings work, several of tunes here were later covered by other artists, including Its Going To Take Some Time (the Carpenters). Yet the originals trump the later renditions, and the rendition of the standard Some Kind of Wonderful stands as the best ever recorded.



    With Taylor lending more of a hand on Music than he does on Tapestry, King expands her confident reach on the piano and peppers the songs with graceful touches of saxophone, flute, pedal-steel guitar, and woodwinds. Ballads sway (Surely), gospel brightness lifts spirits (Brighter), and backup vocals float heavenly pop (Song of Long Ago). Yet the best aspect is Kings voice, infused with fondness, concern, joy, and a quiet power that parallels the delicacy and deliberate nature that define Music.



    Mobile Fidelitys audiophile edition is free of the limiting artifacts that have helped keep this record in the dark for the better part of the past few decades. Previously diminished, acoustic guitars, subtle brass elements, and soft percussion contribute to the enjoyment of the songs, and Kings voice pleasant, assuring, emotion comes through with incredible clarity and inflection. The brilliance of the legendary Lou Adlers original production is restored to its full glory.


    If its at all possible and it is this treasure now sounds even more heartwarming than it did upon original release. The companion to Tapestry, Music is an aural and sonic delight.



    This title is not eligible for discount.

    1.Brother, Brother
    2.It's Going to Take Some Time
    3.Sweet Seasons
    4.Some Kind of Wonderful
    5.Surely
    6.Carry Your Load
    7.Music
    8.Song of Long Ago
    9.Brighter
    10.Growing Away from Me
    11.Too Much Rain
    12.Back to California
    Carole King
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Chicken Skin Music (Pre-Order) Chicken Skin Music (Pre-Order) Quick View

    $34.99
    Buy Now
    x

    Chicken Skin Music (Pre-Order)


    Give Yourself Goosebumps: Ry Cooder's Cross-Cultural Chicken Skin Music Mixes Hawaiian, Gospel, Conjunto, Folk, and Blues Styles into a Visionary Roots-Music Tapestry


    Mastered from the Original Master Tapes, Pressed at RTI, and Strictly Limited to 3000 Numbered Copies: Natural-Sounding 180g Vinyl LP Features Defined Textures, Intricate Details, Ample Airiness


    The title of Ry Cooder's Chicken Skin Music - Hawaiian slang for goosebumps - serves as a direct, simple description of the album's emotional appeal. But it barely scratches the surface of a 1976 effort that triggered an interest in world music a decade before the term became commonplace and a genre into and of itself. Part of a series of inimitable mid-1970s records on which Cooder ignored traditional boundaries and instigated lasting cross-cultural communication, Chicken Skin Music blends gospel, Hawaiian, folk, blues, and Tex-Mex styles into a brilliant roots stew distinguished with virtuosic playing and inspired contextual surprises.


    Mastered from the original master tapes, pressed at RTI, and strictly limited to 3000 numbered copies, Mobile Fidelity's 180g vinyl LP of Chicken Skin Music brings the brilliant instrumental textures and lively tonalities to the fore like no prior analog edition. Graced with silent, black backgrounds and generous soundstages, this reissue particularly underscores the depth of Flaco Jimenez's accordion contributions. You'll hear the air flowing through the reeds, pressure resonating from the bellows, and the wide-spanning timbres emanating from the register stops.


    Equally transfixing are the lifelike manners in which the rich assortment of guitars come alive, with each note occupying its own space and portraying a character unique to the individual instrument, be it a slack-key, steel, or acoustic guitar. The result is a multi-detailed, organic-sounding musical tapestry that dazzles by way of beautiful interplay, unexpected dialogue, and connective eclecticism that proves music is indeed a common language when executed with a collaborative mindset, innovative exploration, and respectful authenticity - no easy feats, but achievements fully on display on Chicken Skin Music.


    Jimenez, now a legend that's performed with everyone from the Rolling Stones to Dr. John, remains one of the keys to Cooder being able to successfully carry out what the latter deemed a mutuality in music vision. Cooder first heard conjunto accordion fare on a Mexican radio station in his car and proceeded to teach himself the instrument while committing himself to embracing the then-local, regionalized style for the set that became Chicken Skin Music. Jimenez graces three tracks, including a ravishing interpretation of Ben E. King's Stand by Me transformed into a spiritual grounded by a norteno structure and a romantic take on Jim Reeves' He'll Have to Go recast with a bolero rhythm and saxophone-accordion duet.


    Chicken Skin Music isn't limited to South of the Border geography and tradition. Steel-guitarist and vocalist Gabby Pahinui and slack-key guitar great Atta Isaacs represent the 50th state on stripped-down renditions of Hank Snow's smash Yellow Roses and the wordless Chloe. Elsewhere, gospel singers team with Cooder on the Appalachian-tinted Always Lift Them Up, the midsection of which features the Hawaiian standard Kanaka Wai Wai.


    Cooder bookends everything with a pair of Leadbelly numbers - The Bourgeois Blues and Goodnight Irene - chosen after the headliner witnessed Jimenez and his band perform at a local dance. Given their ordering on the album, techniques they employ, and themes, the songs also further tighten the thematic connection the headliner makes with the standout guests. In many ways, Chicken Skin Music is the equivalent of Buena Vista Social Club more than 20 years before the latter emerged. Experience it the way Cooder and company meant it to be heard - in unparalleled fidelity.


    This title is not eligible for discount.

    1. The Bourgeois Blues
    2. I Got Mine
    3. Always Lift Him Up/Kanaka Wai Wai
    4. He'll Have to Go
    5. Smack Dab in the Middle
    6. Stand by Me
    7. Yellow Roses
    8. Chlo-e
    9. Goodnight Irene
    Ry Cooder
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed PRE-ORDER Buy Now
  • Music From The Elder Music From The Elder Quick View

    $24.99
    Buy Now
    x

    Music From The Elder


    180g Audiophile Vinyl Reissue


    Remastered To High Definition 192kHz/24-bit Audio For Maximum Fidelity


    Celebrating four decades of decibels, KISS, Mercury Records and UMe proudly announce reissuing the legendary KISS albums on 180g audiophile vinyl. Remastered to high definition 192kHz/24-bit audio for maximum fidelity, these albums have never sounded so amazing and now
    vinyl collectors will get what they've been demanding. All posters, sleeve art, stickers, etc that appeared in the original LP release where applicable have
    been faithfully reproduced for the KISS Army.


    Music from The Elder is the ninth studio album released by Kiss.

    1. Fanfare
    2. Just A Boy
    3. Odyssey
    4. Only You
    5. Under The Rose
    6. Dark Light
    7. A World Without Heroes
    8. The Oath
    9. Mr. Blackwell
    10. Escape From The Island
    11. I
    Kiss
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Handel - Water Music - Fireworks Music (Speakers Corner) Handel - Water Music - Fireworks Music (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Handel - Water Music - Fireworks Music (Speakers Corner)

    Composed in the spirit of the Baroque, the Water Music and Royal Fireworks Music were written by the highly regarded George Frideric Handel on commissions from Kings George I and George II of England.



    The remarkable première of the Water Music - a suite of instrumental airs, fanfares, dances, and other delights - was played in 1717 by musicians in a barge who entertained the King and his entourage on a banquet held on board the royal barge which travelled up and down the river Thames. According to reports at the time, Handel's new work was greeted with unanimous acclaim.



    Music appeared equally fitting for the solemn but festive commemoration of a peace treaty. The Royal Fireworks Music - originally scored for brass, oboes and bassoons, plus timpani and the bizarre serpent horn - was composed in 1749 for the victory gala in London's Green Park celebrating the Peace of Aix-La-Chapelle.



    In both pieces Georg Szell and the London Symphony Orchestra conjure up the full splendour of baroque tonality. Orchestra and conductor are clearly in a festive mood. The strings show rare form, lush and radiant. The brass are brilliant but never shrill. The atmosphere is transparent, the spatial effects are impressive.



    For the outstanding quality of this recording we are indebted not least to its inspired recording engineer, Kenneth E. Wilkinson.






    Musicians:



    • London Symphony Orchestra

    • George Szell (conductor)




    Recording: August 1961 at Watford Town Hall, Watford by Kenneth E. Wilkinson
    Production: John Culshaw





    About Speakers Corner



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



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



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



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



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



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



    Georg Szell with the London Symphony Orchestra
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Music Is Painting In The Air 1974-1977 Music Is Painting In The Air 1974-1977 Quick View

    $34.99
    Buy Now
    x

    Music Is Painting In The Air 1974-1977

    Music Is Painting In the Air is a collection of new mixes and unheard music from Sensations' Fix's prolific output between 1974 and 1977. Revered as one of the great articulations of progressive music, Music Is Painting In the Air offers guide posts to those familiar with Sensations' Fix's amorphous catalog and an approachable primer to those just journeying on the sensational trip.



    The story of Sensations' Fix begins - and never quite ends - with Franco Falsini. Born in Florence, Italy in 1948, Falsini became a teenage rock 'n' roll convert through a steady supply of 45s sent home by his London-based sister. Following his sister's footsteps to swinging 60s London, Falsini put his love of music into practice, fronting a space blues trio that riffed its way from the UK back to Italy in a Ford Transit.



    Falsini became smitten by Vinnie Sherman, an American woman working as a waitress at a nightclub in Florence where Falsini was holding down a residency. The newlywed lovers made their way to Alexandria, Virginia in the summer of 1969. Arriving on August 15th, the first day of Woodstock, a spirit of freedom filled Falsini and fueled his creative proclivity.



    Falsini blazed a trail for home recording that has impressed upon inward resourcing and reflecting musicians and DIY enthusiasts in the decades since. A technology stalwart, Falsini employed a floor model MiniMoog and a tricked-out Teac 4-track machine to transform the Virginia basement of the house shared with Sherman into a cosmic conduit and launch pad for Sensations' Fix.



    The reach for space from a personal place is nowhere more apparent than on Fragments of Light, early basement recordings solicited by Falsini as deal demos and surprisingly flipped into the first of six Sensations' Fix albums released over the next five years. The up-close fidelity of Fragments - coupled with Falsini's emotive guitar leads and sparse, sentimental vocals - creates a private quality that separates the album from other extravagant progressive rock productions contemporary to its 1974 release.



    Relocating back to Italy on the heels of Fragments' release, Falsini, alongside drummer Keith Edwards and bassist Richard Ursillo (both American expats), charged through another two Sensations' Fix albums, Portable Madness in 1974 and Finest Finger in 1976, and a stunning solo album Cold Nose (Naso Fredo) in 1975. Without marketing or tour support to expose Sensations' Fix to a wider European audience, Falsini and his band of psychedelic renegades left Italy for the golden shores of California and their possible salvation. In 1977, Sensations' Fix released Vision's Fugitive on an independent label and fulfilled their major label obligation shortly after with Boxes Paradise.



    Falsini spent the next couple decades between New York City and Paris, creatively contentedly creating above par electro-pop (The Antennas) before returning to Florence to launch the Interactive Test dance music label. Meanwhile, the legend of Sensations' Fix grew. On his 2002 album, The Private Press, DJ Shadow sampled from two Sensations' Fix songs. More recently, Sonic Youth curated a career retrospective titled Sensational Fix at Life Gallery in Saint-Nazaire France.



    For Music is Painting in the Air, Falsini and his son Jeyon set forth on a year-long voyage to restore and revisit the original Sensations' Fix analog tapes. Honoring Falsini's tradition of autonomy, this collection, as with the majority of the Sensations' Fix catalog, was mixed solely by Falsini. The sequence is chronologically defiant, encouraging the listener to free associate the recurring themes' origins and immerse in the body of music as its own universe.



    Once this celestial body suit is occupied, it becomes apparent why the forward-thinking yet emotionally-accessible quality of Sensations' Fix's music is still finding the universal audience for which its intended. Falsini's disregard for time and insistence on reinvention provides an infinite reach for his music. The end-goal was seemingly unmarketable by the industry then, but perfectly harmonious with a culture constantly evolving now.

    LP1
    1. Barnhause Effect
    2. Cold Nose Part 3, 4th Movement
    3. Leave My Chemistry
    4. Acudreaming
    5. Grow On You

    6. Scraping Delay
    7. Warped Notions Of A Practical Joke (Instrumental)
    8. Dark Side of Religion
    9. Cosmic Saudade
    10. Cold Nose Part 3, Movement 2
    11. Fragments of Light
    12. Into The Memory


    LP2

    1. Cold Nose Part 3, Movement 5
    2. C'e Nessuno
    3. Map
    4. Moving Particles
    5. Cold Nose Part 3, Movement 3
    6. Music Is Painting
    7. Left Side Of Green

    8. Chelsea Hotel (Room 625)
    9. Fix A Water Fountain (Instrumental)
    10. Leave My Chemistry
    11. Overflowing Ashtrays
    12. Strangelands
    13. Cold Nose Story
    14. Slow Motion Movie
    15. Fortune Teller
    16. Fortune Teller Coda

    Sensations' Fix
    $34.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • The Music From Peter Gunn (Speakers Corner) The Music From Peter Gunn (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    The Music From Peter Gunn (Speakers Corner)

    This is not only a great LP but a key piece of jazz and pop music history. Back in 1958, Peter Gunn was one of the unexpected hits of the new television season, capturing the imagination of millions of viewers by mixing private eye action with a jazz setting. Composer Henry Mancini was more than fluent in jazz, and his music nailed down the popularity of the series. With the main title theme, a driving, ominous, exciting piece of music to lead off the album, The Music from Peter Gunn became a huge hit, charting extraordinarily high for a television soundtrack and doing so well that RCA Victor came back the next year asking for a second helping (More Music From Peter Gunn) from Mancini.



    The music holds up: Session At Pete's Pad is a superb workout for the trumpets of Pete Candoli, Uan Rasey, Conrad Gozzo, and Frank Beach, while Barney Kessel's electric guitar gets the spotlight during Dreamsville; and Sorta Blue and Fallout are full-ensemble pieces that constitute quintessential 'cool' West Coast jazz of the period. In other words, it's all virtuoso orchestral jazz, presented in its optimum form.





    Musicians:



    • Henry Mancini (arranger, conductor)

    • Ted Nash, Ronnie Lang (alto saxophone)

    • Dick Nash, Milt Bernhart (trombone)

    • Pete Candoli (trumpet)

    • Johnny T. Williams (piano)

    • Larry Bunker (vibraphone)

    • Rolly Bundock (bass)

    • Jack Sperling (drums)




    Recording: August and September 1958 in Hollywood, CA.

    Production: Simon Rady




    About Speakers Corner



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



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



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



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



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



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


    1. Peter Gunn
    2. Sorta Blue
    3. The Brothers Go to Mother's
    4. Dreamsville
    5. Session at Pete's Pad
    6. Soft Sounds
    7. Fallout!
    8. The Floater
    9. SLow and Easy
    10. A Profound Gass
    11. Brief and Breezy
    12. Not from Dixie

    Henry Mancini
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Golden Age of Harpsichord Music (Speakers Corner) The Golden Age of Harpsichord Music (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    The Golden Age of Harpsichord Music (Speakers Corner)

    The harpsichord, sometimes disrespectfully referred to as a plucked instrument with keys, left its stamp on the musical language of the Baroque as no other. Whether employed as a continuous bass to accompany delicate chamber music, or heard in heady open-air concerts, or just as a solo instrument, its bright sound, rich in overtones, was highly esteemed by all important composers and musicians of the era. Due to the construction of the instrument it is not possible to play with a differentiated volume of sound, so performers made a virtue of necessity in that they concentrated upon lively phrasing and a well-considered choice of register.



    In the present recording Rafael Puyana plays a two-manual Pleyel harpsichord and interprets a wide and varied range of European keyboard works from the 17th and 18th centuries. Along with compositions by Louis Couperin and Domenico Scarlatti's, both of whom had a great influence on style in their day, this compilation has at its heart works by the English composers John Bull, William Byrd and Peter Philips, which are taken from the most famous collection of all Baroque compositions, the Fitzwilliam Virginal Book. Short notes on the back cover provide useful information on the works' historical context.



    Musicians:



    • Besard, Couperin, Francisque, Scarlatti, Freixanet, Bach, Bull, Byrd, Philips, Peerson, and AlbÉniz - Rafael Puyana (harpischord)




    Recording: April and May 1962 at Ballroom Studio A of Fine Recording, New York City, by C. Robert Fine and Robert Eberenz

    Production: Wilma Cozart-Fine and Harold Lawrence




    About Speakers Corner



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



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



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



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



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



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



    1. Branle Gay
    2. Tombeau de M. de Blancrocher
    3. Branle de Montirande
    4. Sonata in E Major, K. 381
    5. Sonata in A Major
    6. Concerto in D Minor, after Alessandro Marcello
    7. Les Buffons
    8. La Volta
    9. Pavana Dolorosa-Galiarda Dolorosa
    10. My Lady Carey's Dompe
    11. The Primrose-The Fall of the Leafe
    12. The King's Hunt
    13. Sinata In D Major
    Rafael Puyana
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Let My Children Hear The Music (Pure Pleasure) Let My Children Hear The Music (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Let My Children Hear The Music (Pure Pleasure)

    On the original LP issued by Columbia, Mingus thanked producer Teo Macero for his »untiring efforts in producing the best album I have ever made.« From his deathbed in Mexico in 1979 he sent a message to Sy Johnson (who was responsible for many of the arrangements on the album), saying that Let My Children Hear Music was the record he liked most from his career. Although Mingus' small-group recordings are the ones most often cited as his premier works, this album does, in fact, rank at the top of his oeuvre and compares favorably with the finest large-ensemble jazz recordings by anyone, including Ellington. The pieces had been brewing over the years, one from as far back as 1939, and had been given more or less threadbare performances on occasion, but this was his first chance to record them with a sizable, well-rehearsed orchestra.





    Musicians:



    • Snooky Young (trumpet)

    • Jimmy Knepper (trombone)

    • Julius Watkins (fruegel horn)

    • Charles McPherson (alto saxophone)

    • Jaki Byard (piano)

    • Charles McCracken (cello)

    • Ron Carter (bass)

    • Charles Mingus (bass, composer, arranger)

    • Dannie Richmond (drums)



    About Pure Pleasure



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



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



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



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



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



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


    1. Shoes of the Fisherman's Wife Are Some Jive Ass Slippers
    2. Adagio ma Non Troppo
    3. Don't Be Afraid, the Clown's Afraid Too
    4. Hobo Ho
    5. Chill of Death
    6. The I of Hurricane Sue
    Charles Mingus
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Kansas City Suite: The Music Of Benny Carter (Pure Pleasure) Kansas City Suite: The Music Of Benny Carter (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Kansas City Suite: The Music Of Benny Carter (Pure Pleasure)

    A session from 1960 with Basie and his Orchestra on absolute top form. It's hardly surprising when you see the line up of star players and also the fact that every single selection was written by Benny Carter.



    The Kansas City that Count Basie found himself in had become the hard core of vital new jazz. It was a place where the musicians who expressed this new jazz could, from night through morning, and on again the next night, sit in on numerous jam sessions.It was a place where musicians like Walter Page, Benny Moten, Lester Young, Ben Webster, Andy Kirk, Coleman Hawkins and many more, could be found working, experimenting and living their music. This was Count Basie's Kansas City, and this is the Kansas City that Benny Carter has dedicated this music to. He has written an original modern jazz suite that is flavored with the elements of Kansas City stomp jazz, and tailored for the big brash sound of the Basie band of today. To Benny Carter, the different streets and places in Kansas City, where so many of these jazz greats lived and worked, and where so much of jazz history was written, evokes a mood, a rememberance of things past. He has, for this reason, titled the selections of this suite after these very same streets and places. The Kansas City of the '20s and 30s is now a legend, and the music that saw it's beginnings there has since developed and moved into the mainstream of today's jazz. It has reached its full maturity and greatness in the music of Benny Carter, and through the dynamic force of the great Basie band!




    Musicians:



    • Sonny Cohn (trumpet)

    • Thad Jones (trumpet)

    • Henry Coker (trombone)

    • Benny Powell (trombone)

    • Marshall Royal (alto saxophone,clarinet)

    • Billy Mitcheel (tenor saxophone, clarinet)

    • Charles Fowlkes (bassoon, bass clarinet, flute)

    • Count Basie (piano)

    • Freddie Green (guitar)

    • Eddie Jones (bass)

    • Sonny Payne (drums)




    Recording: September 1960 at United Recorders, Los Angeles, by Wally Heider

    Production: Teddy Reig



    About Pure Pleasure



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



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



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



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



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



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



    1. Vine Street Rumble
    2. Katy-Do
    3. Miss Missouri
    4. Jackson County Jubilee
    5. Sunset Glow
    6. The Wiggle Walk
    7. Meetin' Time
    8. Paseo Promenade
    9. Blue Five Jive
    10. Rompin' At The Reno
    Count Basie And His Orchestra
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Electric Music For The Mind And Body (Pure Pleasure) (Awaiting Repress) Electric Music For The Mind And Body (Pure Pleasure) (Awaiting Repress) Quick View

    $34.99
    Buy Now
    x

    Electric Music For The Mind And Body (Pure Pleasure) (Awaiting Repress)

    Country Joe & The Fish full-length debut is their most joyous and cohesive statement and one of the most important and enduring documents of the psychedelic era, the band's swirl of distorted guitar and organ at its most inventive. In contrast to Jefferson Airplane, who were at their best working within conventional song structures, and the Grateful Dead, who hadn't quite yet figured out how to transpose their music to the recording studio, Country Joe & the Fish delivered a fully formed, uncompromising, and yet utterly accessible - in fact, often delightfully witty - body of psychedelic music the first time out. Ranging in mood from good-timey to downright apocalyptic, it embraced all of the facets of the band's music, which were startling in their diversity: soaring guitar and keyboard excursions (Flying High, Section 43, Bass Strings, The Masked Marauder), the group's folk roots (Sad and Lonely Times), McDonald's personal ode to Grace Slick (Grace), and their in-your-face politics (Superbird). Hardly any band since the Beatles had ever come up with such a perfect and perfectly bold introduction to who and what they were, and the results - given the prodigious talents and wide-ranging orientation of this group - might've scared off most major record labels. Additionally, this is one of the best-performed records of its period, most of it so bracing and exciting that one gets some of the intensity of a live performance. One of Vanguard Records' classic albums, with startlingly vivid stereo separation and a close, intimate sound.




    Musicians:



    • Country Joe McDonald (guitar, harmonica, tambourine, vocal)

    • David Cohen (guitar, organ, vocal)

    • Barry Melton (guitar, vocal)

    • Bruce Barthol (bass, harmonium)

    • Chicken Hirsh (drums)




    Recording at Sierra Sound Laboratories, Berkeley, CA, USA, by Robert di Souza

    Production: Samuel Charters




    About Pure Pleasure



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



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



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



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



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



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



    and that the lacquer discs are newly cut.


    Country Joe & The Fish
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • The Gil Evans Orchestra Plays The Music Of Jimi Hendrix (Speakers Corner) The Gil Evans Orchestra Plays The Music Of Jimi Hendrix (Speakers Corner) Quick View

    $34.99
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    x

    The Gil Evans Orchestra Plays The Music Of Jimi Hendrix (Speakers Corner)

    Critics find this album rather difficult to evaluate. Their judgement ranges from a colourful mixture to a successful cover album to a masterly fusion and an homage to an artist whose life came to an end far too soon - Jimi Hendrix. Jimi had long been gone when this album was recorded in 1974. But it is almost superfluous to look back to the legendary Hendrix if you focus on the great Gil Evans. After such milestones as Birth Of The Cool and Sketches Of Spain it isn't difficult to regard these late audiophile masterpieces as a logical development of Evans's exceptional skill as an arranger.
    When you listen - or rather experience - how the crystal-clear sound in Angel is heightened to an emphatic ballad on the saxophone, or how rich soulful vocals storm ahead in a funky style (Crosstown Traffic), or fluffy, cloud-like sounds are built up on the flutes in Castles Made From Sand, then it is no longer of importance who thought out the music. It is sufficient that it exists and is pleasing to all who hear it. It is also unimportant whether one reveres Hendrix's immemorable melodies or whether one pays homage to Evans's visionary soundworld: a recording such as this could only be born of the two.




    Musicians:



    • Gil Evans (arranger, conductor, piano)

    • David Sanborn, Billy Harper (saxophone, flute)

    • Billy Harper (saxophone, flute)

    • Lewis Soloff (trumpet)

    • Tom Malone (synthesizer, trombone, flute, bass)

    • David Horowitz (electric piano, synthesizer)

    • John Abercrombie (guitar)

    • Don Pate (bass)

    • Warren Smith, Jr. (chimes, percussion, vibraphone)

    • Bruce Ditmas (drums)



    Recording: 1974 at RCA's Studio B, New York City, by Bob Simpson
    Production: Mike Lipskin




    About Speakers Corner



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



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



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



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



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



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


    1. Angel
    2. Crosstown Traffic/ Little Miss Lover
    3. Castles Made of Sand/Foxey Lady
    4. Up From the Skies
    5. 1983 - A Merman I Should Turn to Be
    6. Voodoo Child (Slight Return)
    7. Gypsy Eyes
    8. Angel
    9. Castles Made of Sand
    10. Up From the Skies
    11. Gypsy Eyes
    Gil Evans Orchestra
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Overseas Overseas Quick View

    $27.99
    Buy Now
    x

    Overseas

    Import


    FLANAGANS FIRST TRIO ALBUM AND HIS DEBUT AS A LEADER!


    LIMITED EDITION CLASSIC LPs - HIGH-DEFINITION PREMIUM VINYL PRESSING FOR SUPER FIDELITY

    THE WAY THIS MUSIC WAS MEANT TO BE HEARD - 180 gram VINYL AUDIOPHILE PRESSING

    1. Relaxin' At Camarillo

    2. Chelsea Bridge

    3. Eclypso

    4. Beat's Up

    5. Skal Brothers

    6. Little Rock

    7. Verdandi

    8. Delarna

    9. Willow Weep For Me
    10. Verdandi (Alternate Take)

    Tommy Flanagan
    $27.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Statement Series The Reference Cartridge Statement Series The Reference Cartridge Quick View

    $1,500.00
    Buy Now
    x

    Statement Series The Reference Cartridge

    0.5 mV Output


    The newly redesigned Master1 and Reference1 cartridges have had their coil design reconfigured, and the effective moving mass of their generating system has been reduced by 17%. All this is hand-assembled within a machined, new processed, Australian Jarrah wood housing. The Master1 and Reference1 models use a five piece OTL cantilever technology achieving an additional 5% tip mass reduction over the Platinum1 and Sonata1 models. The coils are wound with ultra-high purity long crystal (UHPLC) oxygen free copper wire. The Master1 model is mounted with Grado's specially designed nude elliptical diamond, and the Reference1 model uses Grado's true ellipsoid design diamond.


    "The Statement Reference is used by Musical Fidelity Sound Lab in their cutting room and in their mastering suite."

    - John Wood - Executive VP - Mobile Fidelity Sound Lab


    "As a long time Grado user, I was quite shocked at what I heard; all of the Grado virtues, but with a lot more warmth and silkiness and much better dynamic contrast -- including a lower noise floor."

    - Hi Fi News / Ken Kessler


     


    Frequency Response: 10-60

    Principal: MI

    Channel Separation at 1KHz: 40

    Input Load: 47K

    Output at 1KHz 5CM/Sec.: 1 mV

    Recommended Tracking Force: 1.5-1.9

    Stylus Type: E

    Inductance: 2mH

    Resistance: 2

    Compliance CUs: 20

    Stylus Replacement F: F

    Mounting: S

    Weight: 6.5



    This product is not eligible for discount.

    Grado Cartridges
    $1,500.00
    Cartridge Buy Now
  • Reference Series The Reference Cartridge Reference Series The Reference Cartridge Quick View

    $1,500.00
    Buy Now
    x

    Reference Series The Reference Cartridge

    4.0 mV Output

    The newly redesigned Master1 and Reference1 cartridges have had their coil design reconfigured, and the effective moving mass of their generating system has been reduced by 17%. All this is hand-assembled within a machined, new processed, Australian Jarrah wood housing. The Master1 and Reference1 models use a five piece OTL cantilever technology achieving an additional 5% tip mass reduction over the Platinum1 and Sonata1 models. The coils are wound with ultra-high purity long crystal (UHPLC) oxygen free copper wire. The Master1 model is mounted with Grado's specially designed nude elliptical diamond, and the Reference1 model uses Grado's true ellipsoid design diamond.


    The Reference and the Master use a five-piece cantilever assembly of very low mass, and ultra-high-purity, long crystal, oxygen-free copper coil wire. The Master model is fitted with a nude elliptical diamond, the Reference uses a true ellipsoid tip. All parts used in the Master and Reference models are finished in-house and polished to an extremely high tolerance. Final assembly is by hand.


    "The cartridges arrived today. Thank you very much!! Listening to the Statement Reference now yowzers!! Sweet, this is what vinyl is all about. All the boys here are very impressed!"

    - John Wood - Executive VP - Mobile Fidelity Sound Lab


    "The Statement Reference is used by Musical Fidelity Sound Lab in their cutting room and in their mastering suite."

    - John Wood - Executive VP - Mobile Fidelity Sound Lab


     


    Frequency Response: 10-60

    Principal: MI

    Channel Separation at 1KHz: 40

    Input Load: 47K

    Output at 1KHz 5CM/Sec.: 2-5

    Recommended Tracking Force: 1.5

    Stylus Type: E

    Inductance: 2mH

    Resistance: 2

    Compliance CUs: 20

    Stylus Replacement F: F

    Mounting: S

    Weight: 6.5



    This product is not eligible for discount.

    Grado Cartridges
    $1,500.00
    Cartridge Buy Now
  • Marantz SA8005 CD/SADC Player (Certified Pre-Owned) Marantz SA8005 CD/SADC Player (Certified Pre-Owned) Quick View

    $499.00
    Buy Now
    x

    Marantz SA8005 CD/SADC Player (Certified Pre-Owned)


    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.


    Certified Pre-Owned


    Note: Some scratches on top of unit


    For the ultimate music listening experience, the Marantz SA8005 Super Audio CD player incorporates a host of exclusive technologies from our reference class players, including discrete HDAM (Hyper Dynamic Amplifier Module) components, which provide wide bandwidth and high slew rate for the utmost musical fidelity. In addition to SACD and CD playback, the SA8005 also features multiple playback options from a range of other digital audio sources, including iPod and iPhone devices, as well as the ability to play back digital audio files from a PC, via the included asynchronous USB-B port.


    The rugged chassis features a dual layer bottom plate for high rigidity and freedom from vibration-induced distortion, and the center mounted disc drive features its own isolated sub-chassis that provides further vibration protection. Equipped with the reference-class high current CS4398 digital-to-analog converter, the SA8005 also features optical and digital audio inputs that let you use the player as a standalone D/A converter with your other digital audio sources. The front panel USB-A port lets you connect your favorite portable audio device, and is compatible with iPod, iPod touch and iPhone sources. The rear panel USB-B port lets you connect your home PC to play back digital audio files, including high resolution PCM and DSD tracks.

    Demo Discounts
    $499.00
    Marantz CD/SACD Player (Certified Pre-Owned) Buy Now
  • Rogers EHF-100 Amplifier Rogers EHF-100 Amplifier Quick View

    $8,000.00
    Buy Now
    x

    Rogers EHF-100 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.


    Never before has music sounded so good coming out of your speakers. Clarity rules with the EHF-100 and EHF-200. Trust us. Turn them on and youll be blown away by their concert hall quality. There may be other tube amps on the market, but nothing compares to the power and precision of these amps. The sound is stunning and so is the look. All you have to do is close your eyes and immerse yourself in the music.


    Proudly made in New York.


    All Roger's High Fidelity products come with a Limited Transferrable Lifetime Warranty


    Due to dealer relationships, Rogers High Fidelity cannot be shipped to Boston or NYC.


    Rogers High Fidelity
    $8,000.00
    Integrated Amplifier Buy Now
  • Rogers EHF-200 Amplifier Rogers EHF-200 Amplifier Quick View

    $12,900.00
    Buy Now
    x

    Rogers EHF-200 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.


    Hand-built, these Class A vacuum tube amplifiers are designed to give audio enthusiasts the ultimate listening experience now equipped with KT150 Power Tubes Never before has music sounded so good coming out of your speakers. Clarity rules with the EHF-200.


    Trust us. Turn them on and you'll be blown away by their concert hall quality. There may be other tube amps on the market, but nothing compares to the power and precision of these amps. The sound is stunning and so is the look. All you have to do is close your eyes and immerse yourself in the music.


    Proudly made in New York.


    All Roger's High Fidelity products come with a Limited Transferrable Lifetime Warranty


    Due to dealer relationships, Rogers High Fidelity cannot be shipped to Boston or NYC.


    Rogers High Fidelity
    $12,900.00
    Integrated Amplifier Buy Now
  • The Sophtware Slump The Sophtware Slump Quick View

    $19.99
    Buy Now
    x

    The Sophtware Slump

    The Control Group is proud to release the first 3 albums by Grandaddy on vinyl. Under The Western Freeway has never been released on vinyl in the U S. and The Sophtware Slump and Sumday are both long out-of-print collectors gems.


    Guided by Jason Lyttle's vision of spacey, mid-fi country-rock, Modesto, CA's Grandaddy unites a mess of guitar-based, late-90's fringe-music into coherent statements about humanity and technology that at times sounds a lot like OK Computer or a lower-fidelity Soft Bulletin.


    Mixed in an unselfconscious manner, these influences underline Lyttle's desire to have the music convey the era's confusion. So the epic mid-tempo opener He's Simple, He's Dumb, He's the Pilot recalls the stilted pace of Paranoid Android, Broken Household Appliance National Forest is a metaphorically lumbering rocker whose sounds spill over like punky stoners doing Black Sabbath, and Chartsengrafs rocks out in first-rate Vivadixie fashion. The Sophtware Slump is the sum of its grand parts.

    1. He's Simple, He's Dumb, He's the Pilot
    2. Hewlett's Daughter
    3. Jed the Humanoid
    4. Crystal Lake, The
    5. Chartsengrafs
    6. Underneath the Weeping Willow
    7. Broken Household Appliance National Forest
    8. Jed's Other Poem (Beautiful Ground)
    9. E. Knievel Interlude (The Perils of Keeping It Real)
    10. Miner At the Dial-a-View
    11. So You'll Aim Towards the Sky
    Grandaddy
    $19.99
    Vinyl LP - Sealed Buy Now
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