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Tchaikovsky - 1812 (Discontinued)This recording dates from the beginning of Andre Previn's golden era at the helm of the London Symphony Orchestra and has been newly cut at EMI's Abbey Road Studios from the original stereo EMI Master Tapes. Produced and engineered by the legendary EMI team of Christopher Bishop and Christopher Palmer and pressed on 180g audiophile vinyl.
EMI made the recording in both stereo and quadraphonic, an early attempt at surround sound for the now defunct SQ vinyl format. HiQ has used the superior balance of the stereo master tapes.
If anyone still has a lingering suspicion that a former Hollywood film composer and jazz pianist might compromise on musical standards, let him hear this... with superb recording which allows for inner clarity in a rich texture, with fine discipline and sharp rhythmic pointing (sforzandos meticulously observed), the musical qualities are reinforced... this is a record to satisfy the most discriminating... - Edward Greenfield, Gramophone, July 1973.
180g Audiophile Vinyl
Cut from original stereo EMI Master Tapes at EMI's Abbey Road Studios
Original album artwork
London Symphony Orchestra
This title is not eligible for discount.Pyotr Ilyich Tchaikovsky (1840-1893)
1. 1812 Overture, Op. 49
2. March Slave, Op. 31
3. Romeo & Juliet - Fantasy Overture$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Tchaikovsky - 1812 Overture (Speakers Corner)
The 1812 Overture, Tchaikovsky's musical tribute to celebrate victory over Napoleon's army, is one of those 19th-century works which is seldom performed in the concert hall due to the enormous number of instruments it requires. This programmatic symphonic work with its battlefield participants - male-voice choir, bell chimes, percussion, and cannon-fire - requires the utmost from everyone involved, from the tutti strings right up to the balance engineer.
The gratifying result of a production made with only the very best ingredients can now be enjoyed once again with this re-release of a DECCA recording. The London Symphony Orchestra, led by Kenneth Alwyn, has achieved a remarkable feat, their rich timbre enhancing every nuance of this closely-knit score. Sonorous strings and polished brass wind passages ensure that the listener's attention will be riveted right to the very last bar.
Less nerve-racking but certainly no less riveting in its beauty and lightness are the well-known Capriccio italien and the popular Marche slave. The purchaser of this LP can congratulate himself that he now possesses three of Tchaikovsky's greatest showpieces.
- London Symphony Orchestra
- Kenneth Alwyn (conductor)
Recording: May 1958 at Kingsway Hall, London by Kenneth E. Wilkinson
Production: Michael Williamson
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. 1812 Overture, Op. 49
2. Capriccio Italien, Op. 45
3. Marche Slave, Op. 31$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
iFi Audio micro iPhono2
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.
Since its launch, the original iPhono became the 'benchmark' phonostage under US $1,000.
In order to improve upon the sector-defining original iPhono, whilst keeping in essence the same design philosophy, our design team went back to the beginning and designed a ground-up, new iPhono2. The design, circuitry, the parts, the specifications and most important of all, the sonic performance meant the end justified the means.
Ultra-wide gain from 36dB up to 72dB
The iPhono2 allows any cartridge at any price to be accommodated optimally. The maximum gain is now an astonishing 72dB to handle the lowest of low output MC cartridges. Even the legendary Ortofon MC-5000 does not require sound-degrading step-up transformers.
The original iPHONO already had a wonderful dynamic range of 90dB that had super-expensive phono stages looking nervously over their shoulder. Well, the iPHONO2 with its 106dB dynamic range has just pulled right out in front with something close to a 15dB bigger dynamic range than the best of the best phono stages.
With infamous test tracks like Tchaikovsky's 1812 overture, the dynamism and wide-open sonic range is jaw-droppingly good and will take any audio system to a whole new level of enjoyment.
Most accurate range of EQ curves
The newly designed RIAA Equalisation circuit guarantees a +/- 0.2dB accuracy of the RIAA EQ from 20Hz - 20kHz, a reference class performance, period.
The iPhono2 is also a perfect match for older non-RIAA LPs too. The iPhono2 retains the very popular 6 different Stereo EQ curves found in the original iPhono. So one will never have to put up with sub-optimal sound quality because of being unable to select the correct EQ curve ever again.
Latest AMR trickle-down; Class A, TubeState®
In the iPhono2, the Class A TubeState® has been further refined. There is an all-new Burr-Brown Soundplus® J-FET type amplifier at the heart of the new Class A, J-FET/BJT output buffer.
This new circuit significantly reduces the loading seen by the main amplification circuit; which improves the circuit inherent linearity while allowing it to drive even punishing 600 ohm studio inputs with impunity.
The power supply filtering has been increased 5X in value. The iPhono2 noise performance was further optimised to achieve a noise levels that approach what is feasible at room temperature. To achieve lower noise, cooling the circuit in liquid nitrogen would be needed.
Drawing from admired AMR PH-77, the super-silent noise floor of the iPHONO2 is quite remarkable. It defies its price class to challenge money-no-object phono stages.
The litmus test of any good phono stage design is that it is able to amplify the signal but not the noise. Hence, we advise customers to take the iPHONO2 home and to not listen to it. Why? They should lower the cartridge and turn the listening level as loud as possible. Then lift the needle again and listen for the lack of noise that just about every phono stage is affected with.
The Signal-to-Noise ratio of the iPhono2 is 3dB quieter on MC and 10 dB quieter on MM than the original iPhono.
More than ever, listening to vinyl, one can hear 'into' the recording itself with the blackest of backgrounds and every nuance, inflection is picked up by the system.
DC-Infinity circuit is light-years ahead
To guarantee an output free from DC, a 'textbook' high-end Phono Preamplifier# usual has up to 5 coupling capacitors from MC cartridge to output in addition to DC servos, all of which cause signal quality degradation.
The original iPhono had only 2 coupling capacitors and no DC servo. In the iPhono2, with the all-new Direct-Drive Servoless 'DC Infinity' circuit, it has no capacitor AND no DC-Servo; so it adds zero noise nor distortion into the audio signal path.
The example cited is literally from a textbook on audio circuit design - "Small Signal Audio Design" by Douglas Self.
Reference class parts quality
The iPhono2 employed even more Japan TDK C0G type capacitors. These are complimented by Japan Panasonic ECPU Film Capacitors explicitly designed for audio use with extremely low distortion (<0.00001% @ 1V/10kHz).
iPhono2 also uses many more Vishay MELF type thin film resistors compared to the original. The proof is in the listening. The best just got better.$549.00Phono Amplifier Buy Now