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The Ultimate Analogue Test Lp'
The Ultimate Analogue Test LP
Analogue Productions set out to produce the ultimate test record.
We've consulted many experts in the field, including mastering engineers, audio experts, turntable experts and audiophile listeners, to create a test record that's never been made before. When Barry Wolifson from Sterling Sound in New York City called us with the same idea we had been thinking about - that being to create the ultimate test record - he and our audio expert Clark Williams began to brainstorm and research ideas until they were both completely satisfied with what should go on the record.
Most of the test records in the past have been made to test a variety of equipment. This test record excludes silly cannon shots, typewriters, voices on one channel and other useless fluff. This one specifically addresses your turntable and cartridge. It's designed to provide the basic test signals necessary to calibrate a turntable or cutting lathe as simply as possible. Most of the signals have specific implications, but it is certainly possible to use them in any number of novel ways.
This record was mastered and cut on a Neumann VMS 80 lathe at Sterling Sound and pressed at Record Technology, Inc. on high-quality, 180-gram virgin vinyl.
General Reference Level
This 1 kHz reference tone will allow you to establish a "base level" for all measurements.
Track 1 1Khz reference tone 7cm/s Mono, in phase (Lateral)
Basic reference for all measurements, adjust meter for maximum convenience (in the studio 0VU).
Adjust preamp channel balance for equal output.
Also used to check the offset angle of the photo cartridge; L&R signals should be exactly in phase as displayed on an oscilloscope.
Track 2 1kHz reference level Left channel only
Measure Right channel output.
Track 3 1kHz reference level Right channel only
Measure Left channel output.
The object is to sit the stylus exactly perpendicular in the groove.
Twist cartridge about its radial axis until the measurements from Track 2 and Track 3 are equal or very close to equal for both channels.
High Frequency Adjustment
Tracks 4, 5 and 6 are used to calibrate the RIAA high frequency equalizer of a phono preamp. This will be used to calibrate a mastering lathe's phono preamplifier or any phono preamplifier that has these adjustments.
Track 4 1 kHz tone at -20 below reference level, Lateral
Reference for High Frequency test.
Track 5 10 kHz reference tone at -20dbu, Lateral
Adjust the high frequency until the output level equals that of Track 4.
Track 6 1 kHz to 20 kHz sweep at -20dbu, Mono (Lateral)
The AC millivoltmeter reading should stay constant across all frequencies. There are a number of factors which can affect frequency response, including cable capacitance, cartridge loading, tracking force and worn parts. Because of this, it can be difficult to achieve perfectly flat frequency response. Sometimes by making small compromises in the 10 kHz adjustment, a better overall frequency response can be achieved.
Low Frequency Adjustment
Tracks 7 & 8 are used to calibrate the RIAA low frequency equalizer of a phono preamp.
Track 7 1 kHz to 20 Hz sweep at 0 VU (Lateral)
Play Track 7 and measure the output with your AC millivolt meter.
Ideally, the output will be flat across all frequencies. When viewed on an oscilloscope, the amplitude would remain constant during the frequency downsweep.
Track 8 100 Hz reference tone at 0 vu (Lateral)
Adjust LF Eq to reference (which is your reading from Track 1).
Track 9 VTA adjust
This is an IEC intermodulation distortion (IMD) test signal; 60Hz & 4kHz 4:1 ratio.
Using an IMD tester, adjust VTA by raising or lowering the tonearm for minimum distortion.
Track 10 Standard Wow & Flutter test signal; 3150Hz
The Wow & Flutter meter will give dynamic speed variations as a percentage deviation from nominal.
Also, the frequency counter should read exactly 3150 Hz for nominal speed. You can use the Hz function on your multi-meter (if so equipped) to verify speed here as well. You can also use to find the measurements at 45RPM. The correct reading at 45RPM would be 4253 Hz (45/33.33) x 3150.
Track 1 Anti-skating test; 315Hz amplitude sweep to +12dbu (Lateral)
Signal should remain clean in both channels up to the highest level, both audibly and as viewed on an oscilloscope. In case of distortion, increase anti-skating force or decrease anti-skate until breakup occurs equally in both channels. The left channel information is inscribed on the inner groove wall, the right channel information, on the outer groove wall. Because of the offset angle of a pivoted tonearm, a constantly varying vector force biases the arm towards the center of the record causing the stylus to lose contact with the outer (i.e. right channel) groove wall. Both linear and modulated groove velocity, tracking force, stylus profile, and vinyl composition are contributing factors. The anti skating force attempts to ameliorate this by applying an opposing similar force.
It is also accepted that the overall force vector increases as the tonearm approaches closer to the spindle or end of the record.
Track 2 Pink noise lateral
Track 3 Pink noise vertical
Used for cartridge "demagnetizing"
You can also use this track to loosen up the cantilever's suspension to help break in a new cartridge. Play these tracks five to ten times after every 300 hours of normal LP playback.
Track 4 1kHz @ reference level, vertical
This out-of-phase signal should cancel to nothing when summed to mono.
Any signals still present are distortion artifacts, lack of channel balance, or timing (phase) anomalies. This test can be a second confirmation of anti-skate adjustment.
Track 5 1kHz to 10Hz sweep @ -20 below
reference level, vertical
Resonance anomalies in the tonearm / cartridge interface will show up as amplitude peaks and dips as the frequency sweeps down.
Once again, by listening in 'Mono' it is easier to hear the distortion artifacts.
Track 6 Silent groove for bearing rumble and table isolation
During playback of this track, nothing should be transmitted from the turntable to the speakers. Replay the track and gently tap on the rack or base that the turntable is resting on. There should be little or no thump transferred to the speakers. This track will help you experiment with turntable isolation methods and products to be able to get the most out of your playback system. You may want to use a closed or sealed headphone for best listening results, or a stethoscope on the plinth.
This title is not eligible for discount.$39.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
HollandHolland In 33 1/3 RPM Stereo Only; Bonus Track Together With 12-inch EP Included!
Bonus Track We Got Love Restored; Left Off Of Original U.S. Pressings!
Audio Production - Mark Linett
For Brother Records - Elliott Lott
Mastered By Kevin Gray At Cohearent Audio, Most From The Original Master Tapes Or Best Sources Available
Lacquer Plating By Gary Salstrom And 200-Gram Vinyl Pressing By Quality Record Pressings!
A musical legacy that began in Hawthorne, California and went on to conquer the world. Analogue Productions presents the ultimate pressings of 14 essential Beach Boys albums! Mastered by Kevin Gray, most from the original master tapes, and plated and pressed by Quality Record Pressings, the finest LP pressing facility in the world, these are awesome recordings to experience. And the look of each album befits its sonic superiority! Presented in old school Stoughton tip-on jackets, these time honored favorites shine brighter than the originals!
The Beach Boy's Holland, the group's 19th studio album, was recorded in Baambrugge, Netherlands in the summer of 1972 and released in January 1973. Our Analogue Productions reissue also includes a bonus 12-inch EP: Mount Vernon and Fairway (A Fairy Tale). Plus the restoration of We Got Love, eliminated from original U.S. copies of the album!
By mid-1972, with Wilson's focus waning from the Beach Boys to other creative outlets, and his personal and health-related issues mounting, Wilson was producing less music for the band than ever before. They decamped for the Netherlands hoping to jump-start Brian's creative energies.
Wilson contributed little to the album, concentrating his musical efforts on Mount Vernon and Fairway, a 10-minute long musical fairy tale eventually included with the album as a bonus EP.
The title of the bonus EP was named after the intersection where the Love family lived in Los Angeles, and where the Wilsons and Loves would gather for family celebrations back in the 1940s and '50s when Brian, Mike, Carl and Dennis were all growing up. As a concept for a Beach Boys track, Mount Vernon and Fairway initially received a less than enthusiastic response from the other band members when Brian first presented the idea to the group, and this only fueled Brian's steadily worsening depression. Eventually, Carl stepped in to produce the recording for Brian, and the decision was made to include the fairy tale in the album package as a separate EP. Brian himself designed the EP's picture sleeve.
Although Mount Vernon and Fairway (A Fairy Tale) was narrated by Jack Rieley, the voice of the Pied Piper was supplied by Brian in a slightly grainier-sounding cartoon voice.
The instrumental tracks for Mount Vernon and Fairway (A Fairy Tale) were later released on Good Vibrations: Thirty years of The Beach Boys as Fairy Tale Music.
Upon the band's return from the Netherlands in the fall, Holland was rejected by Reprise Records for not having a potential hit single. Added to the track list was an unfinished Brian Wilson song Sail On, Sailor, that he'd originally co-written with Ray Kennedy, and finally completed with the help of Van Dyke Parks, Jack Reiley and Tandyn Almer. It would ultimately become Holland's most famous track. A casualty of the album's tracklist reshuffling was another Fataar/Chaplin tune, written with Mike Love, called We Got Love. A live version was included on the group's 1973 release The Beach Boys In Concert.
Early test pressings of Holland, made in the U.S. and U.K. featured We Got Love, as did a few hundred copies pressed and sold in Germany. Early French and Canadian pressings of Holland mention We Got Love on the jacket, but the song is not on those albums. For this Holland reissue Acoustic Sounds/Analogue Productions has brought back We Got Love as a bonus track!
The highlights (of Holland are) Carl's 'The Trader,' Brian's 'Sail on, Sailor' and 'Funky Pretty' ... Al Jardine and Mike Love's three-part 'California Saga' shows the effects of their environmentalist spirituality ...(the conclusion, 'California,' is a solid return to the harmony-laden sun-and-surf '60s). 'Only with You' is yet another tender Dennis Wilson ballad, (a rare songwriting collaboration with Mike Love), given an excellent reading by Carl. - AllMusic.com
This title is not eligible for discount.1. Sail On Sailor
3. California Saga
4. Part One: Big Sur
5. Part Two: The Beaks Of Eagles
6. Part Three: California
7. The Trader
8. Leaving This Town
9. Only With You
10. Funky Pretty
12" Mount Vernon EP
1. Mt. Vernon And Fairway - Theme
2. I'm The Pied Piper
3. Better Get Back In Bed
4. Magic Transistor Radio
5. I'm The Pied Piper
6. Radio King Dom
7. We've Got Love
8. Sail On Sailor (45 RPM)$34.99200 Gram Audiophile Virgin Vinyl LP + 12 - Sealed Buy Now
A Meeting By The River (200 Gram Vinyl)1994 Grammy Winner For Best World Music Album
Included In Tom Moon's 2008 Book 1,000 Recordings To Hear Before You Die
The sound is about as good as it gets, with almost no sense of recording gear between the listener and musicians, who are laid out in a solid horizontal line. The remarkable air and tangible 'thereness' will take your breath away. - Wayne Garcia, The Absolute Sound, August 2008
As spontaneous as music-making gets, this East meets West improv session between two masters of slide-based stringed instruments is like eating at the most exotic Indian restaurant that adds Tex-Mex flavors to its dishes. The sound is very natural, almost achingly beautiful. - Playback, June 2008
This record is a must-have for fans of Ry Cooder's explorations into global sounds. The playing is out of this world, and, on these cuts, it has less of a world music feel, and is almost bluesy at times. With the original sessions captured at 15 i.p.s. on all custom deParavicini gear, this is the ultimate stereo test record. The sound is as real, open and airy as it gets; not one more molecule of tone could possibly be put onto these black discs! - Jeff Dorgay, Tone Audio, No. 15, 2008
Passionate, mysterious, intricate, earthy, ethereal, moody and mystical, the rich musical improvisations on this recording defy categorization The recording is as astonishing as the music: a harmonically complex, three-dimensional, two-microphone purist production that will easily take its place at the top of the sonic heap in your record collection and that's a guarantee this is among the most spacious, convincing three-dimensional recordings you will ever hear An essential record in any 21st-century vinyl collection. Music = 11/11; Sound = 11/11 - Michael Fremer, Music Angle, www.musicangle.com
The quintessential 2 mic Blumlein recording, a musical extravaganza - on 45rpm it destroys the early '90s CD! - Danny Kaey, Positive-Feedback Online
Astonishingly, the four conversational yet adventurous tracks captured on A Meeting by the River were unrehearsed jams between the two masters, who had met only minutes before the session. The lesson is that Cooder and Bhatt not only knew how to play but how to listen. - Daniel Durchholz, Stereophile, February 2007
American composer, musicologist and guitar legend Ry Cooder teams with North Indian musician Vishwa Mohan Bhatt to create an exquisite musical realm, with both musicians playing exceptional slide guitar. Their collaboration evokes musical elements from many cultures and styles. Percussion by Sukhvindar Singh on tabla and Cooder's 14-year-old son Joachim on dumbek. This recording won a Grammy Award in 1994 for Best World Album.
Originally released in 1993.
This title is not eligible for discount.1. A Meeting By The River
3. Ganges Delta Blues
4. Isa Lei$54.99200 Gram Audiophile Virgin Vinyl 45 RPM LP - 2 LPs Sealed Buy Now
InnerworldIn a click-bait driven music scene, it's rare to find an album that stands the test of time, but Toronto-based synth duo Electric Youth may have managed that rare feat with their spectral, stunning debut
album Innerworld. "We wanted to make something that had the sense of being timeless," says Austin
Garrick, the band's instrumentalist alongside vocalist Bronwyn Griffin. "Our ultimate goal is to make a
record that will be the favourite album of people that aren't born yet.
With their swooning collaboration with College, "A Real Hero", featured in Nicolas Winding Refn's
universally acclaimed neo-noir 'Drive', a place in the history books is arguably already theirs. After
cracking the Top 10 of the iTunes dance charts in 15 countries, the band stepped back from the limelight
to take their time to work on a full-length. "We get asked a lot 'how have guys not already put out an
album - that would have been a good time to do it'", admits Austin. "But at the end of the day, more
important for us than capitalising on timing is really making sure that we would have the record that we
Recording took place between the duo's Toronto studio and their home studio in LA. Each space served
its different purpose - in Toronto Austin was able to make use of his extensive vintage synth collection,
making up what he estimates is 80% of analogue sounds on the album. In LA meanwhile, the pair
recorded Bronwyn's vocals, of which they share writing duties for -- in their space -- which includes a film
projection room. Fritz Lang's boundary-breaking twenties classic 'Metropolis' was a favourite. It's easy to
see how the vast scope of Lang's movie inspired the wide-eyed vistas of Innerworld, where soundscapes
bleed into vocals and songs take you on journeys into roads unexplored.
The artwork for Innerworld is similarly starry-eyed, with British artist Paul Roberts painting Austin and
Bronwyn as intrepid children for the cover. "He was in a group called Sniff 'n' the Tears who had a big hit
in the 70's with their song "Drivers Seat", which we came to know through its use in 'Boogie Nights'. We
loved his album covers which he would paint and from there we discovered he went on to incredible work
as an artist" says Austin. "The initial intention was for it to be more about the landscape, but we liked it
and it did make sense to us, going back to the concept of Innerworld Bronwyn and I have known each
other since we were 10 years old and a lot of the time we're still the same kids in our mind, in our inner
world. And so for us you could say, in our inner world that's what we look like - those two kids." With
their music's unquenchable sense of wonder, perhaps they're not too far from those kids today. "David
Lynch never wants to define the meanings of his films," says Austin. "Similarly, we don't like to get too
specific about the meaning of our music." When it sounds this good, who needs to put their music into
a box? Let their inner world wash over you.1. Before Life
5. Without You
6. If All She Has Is You
7. The Best Thing
9. Another Story
10. She's Sleeping Interlude
11. A Real Hero
12. Outro$18.99Vinyl LP - Sealed Buy Now