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  • Classic Series Acrylic Dust Cover - VPI Classic, VPI Classic II, VPI Classic III, and VPI Classic Signature Classic Series Acrylic Dust Cover - VPI Classic, VPI Classic II, VPI Classic III, and VPI Classic Signature Quick View

    $299.00
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    Classic Series Acrylic Dust Cover - VPI Classic, VPI Classic II, VPI Classic III, and VPI Classic Signature

    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 Only Dust Cover Authorized By VPI Industries


    In order to protect your investment in a VPI turntable, AudioShield created a product line that supports production VPI turntables.


    This cover supports the VPI Classic, VPI Classic II, VPI Classic III, and VPI Classic Signature turntables.


    This product is 100% made in the United States of America.


    AudioShield warrants this unit against defects in materials and/or workmanship for 90 days from the date of purchase.


    Product Dimensions:

    Width: 20

    Depth: 15

    Height: 6.5


    Turntable not included in purchase.

    AudioShield
    $299.00
    VPI Dust Cover - Plinth Buy Now
  • Volare Volare Quick View

    $6.99
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    Volare

    Volare
    Occhi di Fata
    La Strada Nel Bosco
    La Girometta
    Malinconia D'Amore
    Chi e Piu Felice Di Me?
    Luna Marinara
    Fra Tanta Gente
    Fiorin Fiorello
    Ti Voglio Tanto Bene
    Una Chitarra Nella Notte
    Cantate Con Me
    Serenata
    Dimmi Tu Primavera
    Un Amore Cosi Grande
    Luciano Pavarotti
    $6.99
    Vinyl LP - Sealed Small cutout slit on cover Buy Now
  • Mozart - Clarinet Concerto - Horn Concerto (Speakers Corner) Mozart - Clarinet Concerto - Horn Concerto (Speakers Corner) Quick View

    $34.99
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    Mozart - Clarinet Concerto - Horn Concerto (Speakers Corner)

    The amazing skill of two great virtuosos, Joseph Leutgeb and Anton Stadler, inspired Mozart to compose the concertos heard here. Made in 1959, this DECCA recording gives us an excellent idea of how the concertos would have sounded in Mozart's day, thanks to two of today's very best instrumentalists - the clarinettist Gervase de Peyer and the horn player Barry Tuckwell.



    Amazing lightness, warmth of tone and perfect intonation are the hallmarks of the soloist and London Symphony Orchestra conducted by Peter Maag in the clarinet concerto, which Mozart completed only a few weeks before his death. The two horn concertos heard here were also written during Mozart's final creative period in Vienna. Just one hearing is enough to let them be remembered for all time - for these concertos employ to the full the horn's rich and widely varied range of expression. Broad arching melodies, tripping runs and merry hunting calls in the final movements guarantee musical enjoyment, and for this we owe our thanks to both the past and present masters of their instruments in this delightful recording.





    Musicians:



    • Gervase de Peyer (clarinet)

    • Barry Tuckwell (horn)

    • London Symphony Orchestra

    • Peter Maag (conductor)




    Recording: November 1959 at Kingsway Hall, London by Kenneth E. Wilkinson
    Production: Ray Minshull





    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.



    Wolfgang Amadeus Mozart
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Tchaikovsky - 1812 Overture (Speakers Corner) Tchaikovsky - 1812 Overture (Speakers Corner) Quick View

    $34.99
    Buy Now
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    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.





    Musicians:



    • 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
    Pyotr Ilich Tchaikovsky
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Vivaldi: Concertos Vivaldi: Concertos Quick View

    $34.99
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    Vivaldi: Concertos

    In the 18th century, long before any quota agreement or gender studies had taken place, a major part of Venice's musical life lay in the hands of four local orphanages for girls. In 1703, Vivaldi took on the position as conductor, violinist and composer at one of these homes, the Ospedale della Pietà. There he wrote works that are among the very best in music literature due to their inventiveness and artistic demands upon the musicians. As such, one can well imagine just how extraordinarily talented the young girls were. A notion of the fine compositions that floated through the city of canals 300 years ago is given by the Stuttgart Chamber Orchestra in a selection taken from a collection of 12 violin concertos known as L'estro armonico, op. 3. The animated dialogue among the strings takes place on several levels: for example, the leading parts not only concertise with and against one another but also after one another, so that the characteristic art of performance of each individual soloist is clearly to be discerned.


    And because no one knows how Vivaldi's girl orchestra would have sounded, anyone listening to this recording can let his imagination run riot as to how it could have been. It goes without saying that the Tacet team have pulled out all the stops with regard to technical matters in order to achieve the best possible analogue sound.

    Antonio Vivaldi: Concerto for Two Violins, RV 522
    Concerto for Two Cellos, RV 531
    Concerto for Three Violins, RV 551
    Concerto for Violin and Cello, RV 547
    Antonio Vivaldi
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Bestseller Classic No. 1 Bestseller Classic No. 1 Quick View

    $44.99
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    Bestseller Classic No. 1

    Bestseller Classic No. 1 recordings use a unique recording technique and contain unusually wide dynamic range and present an extraordinary challenge to all stereo systems! This recording can be used for listening tests or real comparison of the sound quality of different high fidelity components and systems. The songs are carefully recorded, timeless, and simply wonderful!
    1. Alla turca (Wolfgang Amadeus Mozart)
    2. For Elise (Ludwig van Beethoven)
    3. Menuet D major (Wolfgang Amadeus Mozart)
    4. Waltz sharp minor,op.64 (Frederic Chopin)
    5. Etude E flat minor (Sergej Rachmaninov)
    6. Hungarian Dance (Johannes Brahms)
    7. Ave Maria (Charles Gounod)
    8. Serenade (Franz Schubert)
    9. Dreaming (Robert Schumann)
    10. Humoresque G flat major (Autonin Dvorak)
    11. Valse triste (Jean Sibelius)
    Various Artists
    $44.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Bach: Unaccompanied Cello Suites Bach: Unaccompanied Cello Suites Quick View

    $34.99
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    Bach: Unaccompanied Cello Suites

    180 Gram Audiophile Virgin Vinyl, 3 LP Set


    Yo Yo Ma's Classic album from the 18 time Grammy Award Winner. This is One of Yo-Yo Ma's most influential and successful albums and is available for the first time on 180 Gram Vinyl!
    He was also the Winner of the 1984 Grammy® Award for Best Classical Performance Instrumental - Soloist or Soloists (Without Orchestra).

    LP1
    1. Unaccompanied Cello Suite No. 1 in G Major, BWV 1007; PrÉlude
    2. Unaccompanied Cello Suite No. 1 in G Major, BWV 1007; Allemande
    3. Unaccompanied Cello Suite No. 1 in G Major, BWV 1007; Courante
    4. Unaccompanied Cello Suite No. 1 in G Major, BWV 1007; Sarabande
    5. Unaccompanied Cello Suite No. 1 in G Major, BWV 1007; Menuett
    6. Unaccompanied Cello Suite No. 1 in G Major, BWV 1007; Gigue
    7. Unaccompanied Cello Suite No. 2 in D Minor, BWV 1008; PrÉlude
    8. Unaccompanied Cello Suite No. 2 in D Minor, BWV 1008; Allemande
    9. Unaccompanied Cello Suite No. 2 in D Minor, BWV 1008; Courante
    10. Unaccompanied Cello Suite No. 2 in D Minor, BWV 1008; Sarabande
    11. Unaccompanied Cello Suite No. 2 in D Minor, BWV 1008; Menuett
    12. Unaccompanied Cello Suite No. 2 in D Minor, BWV 1008; Gigue


    LP2
    1. Unaccompanied Cello Suite No. 3 in C Major, BWV 1009; PrÉlude
    2. Unaccompanied Cello Suite No. 3 in C Major, BWV 1009; Allemande
    3. Unaccompanied Cello Suite No. 3 in C Major, BWV 1009; Courante
    4. Unaccompanied Cello Suite No. 3 in C Major, BWV 1009; Sarabande

    5. Unaccompanied Cello Suite No. 3 in C Major, BWV 1009; BourrÉe

    6. Unaccompanied Cello Suite No. 3 in C Major, BWV 1009; Gigue

    7. Unaccompanied Cello Suite No. 4 in E-Flat Major, BWV 1010; PrÉlude

    8. Unaccompanied Cello Suite No. 4 in E-Flat Major, BWV 1010; Allemande
    9. Unaccompanied Cello Suite No. 4 in E-Flat Major, BWV 1010; Courante
    10. Unaccompanied Cello Suite No. 4 in E-Flat Major, BWV 1010; Sarabande

    11. Unaccompanied Cello Suite No. 4 in E-Flat Major, BWV 1010; BourrÉe
    12. Unaccompanied Cello Suite No. 4 in E-Flat Major, BWV 1010; Gigue


    LP3
    1. Unaccompanied Cello Suite No. 5 in C Minor, BWV 1011; PrÉlude
    2. Unaccompanied Cello Suite No. 5 in C Minor, BWV 1011; Allemande
    3. Unaccompanied Cello Suite No. 5 in C Minor, BWV 1011; Courante
    4. Unaccompanied Cello Suite No. 5 in C Minor, BWV 1011; Sarabande

    5. Unaccompanied Cello Suite No. 5 in C Minor, BWV 1011; Gavotte
    6. Unaccompanied Cello Suite No. 5 in C Minor, BWV 1011; Gigue
    7. Unaccompanied Cello Suite No. 6 in D Major, BWV 1012; PrÉlude
    8. Unaccompanied Cello Suite No. 6 in D Major, BWV 1012; Allemande
    9. Unaccompanied Cello Suite No. 6 in D Major, BWV 1012; Courante
    10. Unaccompanied Cello Suite No. 6 in D Major, BWV 1012; Sarabande
    11. Unaccompanied Cello Suite No. 6 in D Major, BWV 1012; Gavotte
    12. Unaccompanied Cello Suite No. 6 in D Major, BWV 1012; Gigue

    Yo-Yo Ma
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - 3 LPs Sealed Buy Now
  • Pro-Ject The Classic Turntable 3 COLORS AVAILABLE Pro-Ject The Classic Turntable Quick View

    $1,099.00
    Buy Now
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    Pro-Ject The Classic Turntable




    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 Classic combines the best of modern technical design with a timeless aesthetic that hearkens back to turntables of years past.


    Unlike other throw-back designs that rely solely on clichÉ "retro cool" styling to sell, The Classic is also a technical tour de force. Featuring a new 9" carbon fiber and aluminum composite tonearm, a completely new sub-chassis design, and a set of sophisticated isolation feet, The Classic offers a level performance the distantly-related turntables of analog's golden age could only dream of.


    Don't just take our word for it, though - EISA (the European Imaging and Sound Association) has already bestowed The Classic with their prestigious "Best Turntable Award" for 2017.


    The Classic arrives this month in three beautiful matte wood finishes: walnut, rosenut (walnut with a tasteful red tint), and eucalyptus. Turntable includes a hinged acrylic dustcover and an Ortofon 2M Silver moving magnet cartridge.


    Pro-Ject
    $1,099.00
    Classic Turntable - 3 Colors Available
    Buy Now
  • Classic 1 Turntable - Black Classic 1 Turntable - Black Quick View

    $3,299.00
    Buy Now
    x

    Classic 1 Turntable - Black


    Sterophile Golden Golden


    Absolute Absolute ToneAudio


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


    **All Cartridges Installed Free Of Charge**


    The VPI Classic 1 turntable comes standard with the unipivot JMW-10.5i tonearm Special Edition in rigid mount mode, new VPI silver coated pure copper wire, a 2.5 thick plinth trimmed with real black oak or real solid walnut finish (at no additional cost), a solid mounted 600 RPM AC synchronous motor, new 2 thick machined aluminum platter, silent inverted bearing, and new isolator feet derived from the HR-X.


    The sound of the Classic 1 turntable is fast, clean, wide open, with deep powerful bass, and unequalled in speed stability. The Classic 1 turntable gives any turntable made regardless of price a serious run for the money.


    This completely new design has produced the simplest and one of the best sounding VPI tables to date.


    VPI Classic Turntable Features:


    Special Edition JMW-10.5i SE tonearm - By giving up vta on the fly adjustments, you get most of the sound of the highly reviewed JMW-10.5i tonearm. A new less expensive base and mounting saves hundreds of dollars but gives up little in sound.


    New 6061 machined aluminum 18 pound high inertia platter with precision inverted bearing and stainless steel damping plate.


    Speed stability on par with a master tape - Due to the rigid mounting of motor - platter - tonearm there is no random motion to cause speed instabilities.


    Noise rejection allowing the Classic 1 turntable to sit on a wood shelf near four 15 subwoofers and having virtually no feedback.


    Lack of random motion between the motor - platter - tonearm gives the ultimate in low level resolution. Not only does this rigidity improve speed stability, it also allows the retrievel of low level information challenging the world's great turntables and master tapes.


    Absolutely solid, non-resonating laminated one-piece chassis holding all components. This is not a wooden frame; it is a solid laminated 2.5 thick MDF block with 11 gauge steel attached to the top with silicone and long bolts through all the layers. The chassis weighs 30 pounds and is totally non-resonant. Now with solid black oak or solid walnut wood finish on all four sides.


    RCA jack termination so you can use the interconnect of your choice.


    Tonearm anti-skate - For those that require the fine adjustment of anti-skate, it is standard on the JMW-10.5i SE.


    Optional lift off full dustcover is available.


    Optional periphery ring clamp.


    Optional SDS power supply.


    Optional XLR conectors.


    VPI Turntables
    $3,299.00
    Classic 1 - Black
    Buy Now
  • Brahms - Hungarian Dances (Speakers Corner) Brahms - Hungarian Dances (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Brahms - Hungarian Dances (Speakers Corner)

    Fritz Reiner dedicated himself to the interpretation of works by modern composers such as Richard Wagner, Richard Strauss and BÉla Bartók, and it suited him well to tackle works such as Brahms's Hungarian Dances and Dvorák's Slavonic Dances. These lively compositions require a conductor whose interaction with the orchestra is vivacious and animated. Reiner always demanded utmost concentration and perfection from his ensemble. Under his baton, the Vienna Philharmonic Orchestra plays with enthusiasm and without restaint; no trace of a sterile concert atmosphere is found in this recording.



    Reiner's penchant for effects is not irritating, but rather adds highlights which support his highly musical interpretation, indeed one even forgets this trait when listening to the brilliant music.



    From a tonal point of view, the sound is beautifully balanced and reaches the highest standards despite its recording date of 1960 - or maybe just for that reason? The recording is characterized by its brilliance, warmth and vivacity with the result that listening becomes a true musical pleasure.





    Musicians:



    • Vienna Philharmonic Orchestra

    • Fritz Reiner (conductor)




    Recording: June 1960 at Sofiensaal, Vienna by James Brown

    Production: Erik Smith





    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.



    Johannes Brahms
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Decca Sound - The Analogue Years (Box Set) The Decca Sound - The Analogue Years (Box Set) Quick View

    $120.99
    Buy Now
    x

    The Decca Sound - The Analogue Years (Box Set)

    In the late 1940s, the pioneering Decca recording engineers perfected a new set of microphone techniques that allowed the full range of frequencies to be
    fully heard by listeners for the first time, and the term 'full frequency range recording' was launched. It was a major revolution in sound quality, and the
    beginnings of high fidelity. Perfected with the birth of stereo in the mid-1950s, Decca's 'Full Frequency Stereophonic Sound' became a worldwide hallmark
    of sonic excellence and a golden age of classical recorded music was born. THE ANALOGUE YEARS presents a 50-Album overview across 6 LPs of the celebrated international recordings that emerged from the London-based record label in that pre-digital era.
    LP 1
    1.Ravel: L Enfant et les sortilèges


    LP 2
    1. Rossini: Overture to La Gazza Ladra
    2. Rossini: Overture to La Scala di Seta
    3. Rossini: Overture to Il Barbiere di Siviglia
    4. Rossini: Overture to Semiramide
    5. Rossini: Overture to Guglielmo Tell


    LP 3
    1. Bruch: Scottish Fantasy, Op.46
    2. Hindemith: Violin Concerto


    LP 4
    1. Sibelius: Symphony No.1 in E minor, Op.39
    2. Sibelius: Karelia Suite, Op.11


    LP 5
    1. Kodaly: Hary Janos Suite
    2. Kodaly: Dances of Galata
    3. Kodaly: Orzses Song & Chicken Song from Hary János


    LP 6
    1. Stravinsky: The Rite of Spring

    Various Artists
    $120.99
    180 Gram Audiophile Virgin Vinyl LP - 6 LPs Sealed Buy Now
  • Rimsky-Korsakov: Scheherazade Rimsky-Korsakov: Scheherazade Quick View

    $34.99
    Buy Now
    x

    Rimsky-Korsakov: Scheherazade

    RCA Living Stereo Classical LPs - The Gold Standard For Top Quality Orchestral Performance And Sound!


    Remastered And Cut At 33 1/3 RPM By Ryan Smith At Sterling Sound


    Lacquers Plated By Gary Salstrom And Pressed On 200-Gram Vinyl At Quality Record Pressings!


    Grade A+. Another one of HP's favorites, this LP (at least in its earliest pressings) is famously wonderful sounding, and the Analogue Productions version certainly lives up to the hype. Once again string tone - and this disc is celebrated for its string tone - is ravishingly beautiful. The bass is astonishingly deep and authoritative. And the dynamics are tremendous. In sum, I highly recommend all of these celebrated RCAs in their Analogue Productions reissues. They will cost you $30 a disc, which is a more-than-fair price considering that they are, IMO, uniformly superb (yes, better than the Classic Record versions). - Jonathan Valin, The Absolute Sound.com, June 11, 2013


    We compared this new 200-gram, 33 RPM LP from Analogue Productions with the original RCA Living Stereo issue and Classic Records' 33 RPM version, and were surprised at the outcome. Why? Because to these ears, the new Analogue Productions version was the more relaxed and natural sounding of the bunch. The sound is as it should be, inviting the listener into the music and entirely constant with Reiner's readings. ... If ever there were a must-have LP in the recent wave of audiophile vinyl reincarnations, this is it. Treat yourself and thank (Analogue Productions' Chad) Kassem for doing it the justice it deserves. - Harry Pearson, HP Soundings, May 2013.


    Without a doubt, the AP pressing sounds much more natural than the Classic Records reissue; the sound is simply less forced, as if the notes and rhythms have more air to explore, more ambient Hall to reverberate, and more of the acoustic envelope to reveal. ... the vinyl is so damn quiet, you can turn it up without any hesitation ... The solo violin is the heart of this recording and it's supposed to sound seductive, and on this reissue, it does. One thing if for certain, there is a lot more information coming through than on the original. The AP pressing takes the simplistic approach of the Chesky, but with a more developed sound, making the Chesky appear a bit more subdued by comparison. ... If you are interested in hearing this classic RCA in all of its natural glory, you needn't look any further than Chad Kassem's latest offering. If this is any indication of Analogue Production's current batch of RCA reissues (approximately 24 more on the way), it just may be a new golden age for the modern vinyl listener. - Joey Weiss, HP Soundings, May 2013


    The second movement is just ravishing in the beauty of the Chicago's playing and Reiner's romantic approach; there is some staccato triple-tonguing done by trumpeter Adolph Herseth in the fourth movement that should leave you, if not him, breathless. But let is just be said that, after you hear this, no other Scheherazade will ever replace it in your affections. HP's The Golden Dozen LPs - Harry Pearson, The Absolute Sound, June/July 2007


    The jewel in the Living Stereo crown. This, like the Respighi, is considered one of the very best LPs by Reiner, the Chicago Symphony Orchestra and RCA's crew. Another Mohr and Layton classic.

    1. The Sea And Sinbads Ship
    2. The Story Of The Kalender Prince
    3. The Young Prince And The Young Princess
    4. Festival In Bagdad; The Sea; The Ship Goes To Pieces On A Rock Surmounted By A Bronze Warrior
    Fritz Reiner with the Chicago Symphony Orchestra
    $34.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Bolivar Soloists: Musica de Venezuela Bolivar Soloists: Musica de Venezuela Quick View

    $39.99
    Buy Now
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    Bolivar Soloists: Musica de Venezuela

    In Venezuela, at any gathering, musicians will take out their instruments and play traditional music for hours. This is a wonderful tradition, deeply missed when Venezuelan musicians go to live abroad. One of the triggers for the creation of Bolivar Soloists was the need to play our music, share it with our colleagues and perform it for audiences around the world. The original tunes have very distinctive characters and evoke simple but powerful emotions. It was a true challenge to bring these tunes into to a classical format trying both to keep the essence of the original and create a classical work to give it a faithful frame. These pieces convey the spirit of Venezuelan music making but also appeal to classical audiences who will enjoy the fine playing and fantastic musicianship.


    After their debut record with music from Astor Piazzolla for Berliner Meister Schallplatten, the Bolivar Soloists make their second LP with a new formation: flute, oboe, clarinet and string quintet. Powerful and flexible, this ensemble is joined by the Cuatro - Venezuelan national instrument, a four-stringed guitar - which plays a very important role in this repertoire. The players, who come from South America and Europe, became very intimate with the music, allowing them to perform it with great rhythmical accuracy but with freedom and spontaneity. As this performance was recorded direct to disc, leaving no possibility of post-production, audience were invited to the studio to create the right atmosphere and make the musicians feel at home.


    Recording: May 2013 at Emil Berliner Studio 1, Berlin, by Stephan Flock

    Production: Rainer Maillard & Stephan Flock

    No Tracklist Available
    Bolivar Soloists
    $39.99
    180 Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Dvorak: String Quintet In G Major (Speakers Corner) Dvorak: String Quintet In G Major (Speakers Corner) Quick View

    $34.99
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    x

    Dvorak: String Quintet In G Major (Speakers Corner)

    A perusal of string quintets throughout history leaves one with the impression that their creators wish to bestow a powerful impact upon the small group of musicians. And it is no different with Dvoák's Quintet in G major: a double bass, instead of the usual second cello, paints with broad strokes in the lengthy score whose first movement almost takes on symphonic dimensions.


    Here, the insistent, broad theme is presented in snappy cascades of sound. The cantilena, supported by a scurrying second subject, is followed by a frenzied Scherzo, which is steeped in Czech folk music under Dvoák's distinctive style. The third movement (Poco andante) is highly meditative and is constructed with layers of one and the same basic motif, which soon is intensified with pulsating quavers and finally evolves in rising melodic elements.


    The Finale is filled with fresh melodies and spiced with subtle motivic development, which is pleasant on the ear in all its complexity. It is not surprising, therefore, that Dvoák won an important prize for his Quintet.

    Recording: June 1971 at Boston Symphony Hall by GÜnter Hermanns
    Production: Thomas Mowrey



    Musicians:



    • Joseph Silverstein (violin)

    • Max Hobart (violin)

    • Burton Fine (viola)

    • Jules Eskin (cello)

    • Henry Portnoi (bass)



    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. Allegro Con Fuoco
    2. Intermezzo. Andante Religioso. Molto Adagio
    3. Scherzo. Allegro Vivace - Trio. L'Istesso Tempo, Quasi Allegretto
    4. Poco Andante

    5. Finale. Allegro Assai
    Antonin Dvorak
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • VPI Classic Direct Turntable VPI Classic Direct Turntable Quick View

    $30,000.00
    Buy Now
    x

    VPI Classic Direct Turntable

    2013



    In-Home Setup In The Continental U.S. Included!


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


    **All Cartridges Installed Free Of Charge**


    The VPI Classic Direct Drive Turntable is the newest turntable in the VPI Classic line. Our design takes advantage of 21st Century motor technology for accurate speed control utilizing a servo motor controller coupled with an active feedback loop to control the motion of the platter. It is a true measure of design and engineering excellence. The Classic Direct Drive Turntable is precision manufactured and painstakingly handmade entirely in the USA. It is simple to set up and is free from any shift in factory settings over time. Some of the VPI Classic Direct Drive Turntable key features are:


    VPI produced a superior design by using fundamentally sound engineering coupled with innovative applications of new technologies. By bringing together a team of engineers and companies with proven track records of engineering achievements we have established a new level of performance in turntables that reach the limits of analog technology. The revolutionary design, the ground breaking direct drive system, the most accurate speed control achieved to date, the outstanding industrial design, the list goes on and on substantiating why the VPI Classic Direct Drive Turntable is the most advanced and technically superior turntable design ever.


    VPI Turntables
    $30,000.00
    Classic Direct Drive Turntable
    Buy Now
  • Wagner: The Collector's Edition Wagner: The Collector's Edition Quick View

    $109.99
    Buy Now
    x

    Wagner: The Collector's Edition

    The 6-LP limited edition set includes landmark performances from Jessye Norman, Herbert von Karajan, Karl Böhm, Jess Thomas and more; a musthave
    for the dedicated Wagner collector.


    Richard Wagner was one of the most revolutionary figures in the history of music, a composer who made pivotal contributions to the development of harmony and musical drama that reverberate even today. Indeed, though Wagner occasionally produced successful music written on a relatively modest scale, opera -- the bigger, the better -- was clearly his milieu, and his aesthetic is perhaps the most grandiose that Western music has ever known. Early in his career, Wagner learned both the elements and the practical, political realities of his craft by writing a handful of operas which were unenthusiastically, even angrily, received. Beginning with Rienzi (1838-40) and The Flying Dutchman (1841), however, he enjoyed a string of successes that propelled him to immortality and changed the face of music. His monumental Ring cycle of four operas -- Das Rheingold (1853-54), Die WalkÜre (1854-56), Siegfried (1856-71) and GötterdÄmmerung (1869-74) -- remains the most ambitious and influential contribution by any composer to the opera literature. Tristan and Isolde (1857-59) is perhaps the most representative example of Wagner's musical style, which is characterized by a high degree of chromaticism, a restless, searching tonal instability, lush harmonies, and the association of specific musical elements (known as leitmotifs, the flexible manipulation of which is one of the glories of Wagner's music) with certain characters and plot points. Wagner wrote text as well as music for all his operas, which he preferred to call music dramas.

    - Rovi Staff (All Music Guide)

    LP 1 / Wagner: Choruses
    Der fliegende HollÄnder
    1. Act 1 - Mit Gewitter und Sturm aus fernem Meer
    2. Act 2 - Summ und Brumm, du gutes RÄdchen - Dann hÄlt uns lÄnger keine Pflicht (Chor der MÄdchen, Mary, Senta)
    3. Act 3 - Steuermann, lass die Wacht! (nur Chor)
    TannhÄuser
    4. Act 2 - Freudig begrÜßen wir die edle Halle
    5. Act 3 - BeglÜckt darf nun dich, o Heimat, ich schauen - Heil! Heil! Der Gnade Wunder Heil!
    Lohengrin
    6. Act 1 - Seht, seht! Welch ein seltsam Wunder!
    7. Act 2 - Gesegnet soll sie schreiten
    Lohengrin
    8. Act 3 - Treulich gefÜhrt ziehet dahin
    Die Meistersinger von NÜrnberg
    9. Act 3 - Wacht auf! Es nahet gen den Tag - Ehrt eure deutschen Meister
    GötterdÄmmerung
    Zweiter Aufzug
    10. Szene 3: Hoiho! Hoihohoho Ihr Gibichsmannen
    Parsifal
    11. Act 1 - Zum letzten Liebesmahle gerÜstet Tag fÜr Tag


    LP 2 / Wagner: Tristan and Isolde - Arias & Duets
    Tristan und Isolde
    1. Act 2 - Isolde! Geliebte! - Tristan! Geliebter!
    Tristan und Isolde
    2. Act 2 - Einsam wachend in der Nacht - O ewnge Nacht (Brangaenens Watch and Love Duet ( II))
    3. Act 3 - Mild und leise wie er lÄchelt (Isoldes Liebestod) (Isolde)


    LP 3 / Jess Thomas Sings Richard Wagner
    Die Meistersinger von NÜrnberg
    1. Act 1 - Fanget an!
    2. Act 3 - Morgenlich leuchtend
    Lohengrin
    3. Act 3 - Höchstes Vertraun hast du mir schon zu danken
    4. Act 3 - In fernem Land, unnahbar euren Schritten
    Die WalkÜre
    Erster Aufzug
    5. Ein Schwert verhieß mir der Vater
    Das Rheingold
    Zweite Szene
    6. Immer ist Undank Loges Lohn!
    Rienzi
    7. Act 5 - AllmÄcht'ger Vater, blick herab
    Parsifal
    8. Act 3 - Nur eine Waffe taugt


    LP 4 / Wagner: Overtures and Preludes
    Rienzi
    1. Overture
    TannhÄuser and the Contest of Song on the Wartburg
    2. Overture
    Die Meistersinger von NÜrnberg
    3. Prelude
    Parsifal
    4. Prelude


    LP 5 / Wagner: Tristan and Isolde - Highlights
    Tristan und Isolde
    1. Prelude to Act 1. Langsam und schmachtend
    2. Act 1 - Herr Tristan trete nah - Nun lass uns SÜhne trinken
    3. Act 2 - O sink hernieder, Nacht der Liebe - ...bald entweicht die Nacht
    Tristan und Isolde
    4. Act 3 - Prelude
    5. Act 3 - O Wonne! Nein! - Isolde - Ha
    6. Act 3 - Tod und Hölle - ...ertrinken, versinken, unbewusst, höchste Lust


    LP 6 / Wagner: TannhÄuser Overture, Siegfried-Idyll, Tristan und Isolde (Excerpts)
    TannhÄuser
    1. Overture
    2. Siegfried Idyll
    Tristan und Isolde
    3. Prelude to Act 1. Langsam und schmachtend
    4. Act 3 - Mild und leise wie er lÄchelt (Isoldes Liebestod)

    Various Artists
    $109.99
    180 Gram Audiophile Virgin Vinyl LP - 6 LPs Sealed Buy Now
  • VK-1 Classic Edition Headphones VK-1 Classic Edition Headphones Quick View

    $500.00
    Buy Now
    x

    VK-1 Classic Edition Headphones



    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-assembled in France


    One-Year Warranty


    VK-1 Classic Edition combine minimalistic and refined design with high-definition custom made titanium transducers.


    Aedle
    $500.00
    Aedle VK-1 Classic Edition Headphones Buy Now
  • The Stranger The Stranger Quick View

    $34.99
    Buy Now
    x

    The Stranger

    Ranked 67/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.

    Billy Joel has become the sixth best-selling recording artist and the third best-selling solo artist in the United States. He has had multiple Top 10 hits in the '80s and '90s, all of which he wrote singlehandedly. He is also a six-time Grammy Award winner, has sold over 100 million records worldwide and was inducted into almost every Hall of Fame there exists. Joel retired from recording pop music in 1993 but continues to tour, often with Elton John.


    'The Stranger' is his fifth studio album, originally released in 1977. While his four previous albums had been moderate chart successes, this was his breakthrough album. It remains Joel's best-selling non-compilation album to date. 'The Stranger' contains nine songs, many of which are now considered "classic Joel". Much of the album's success is attributed to Joel's collaboration with producer Phil Ramone, whose innovative production methods complemented Joel's songs. This fruitful collaboration would continue for a decade.


    Whereas a handful of Joel's preceding efforts feature a near-flawless mix of melodic arrangements and poignant lyrics, the aspects he sought in order to graduate into a more serious artist arrive here via Ramone's more muscular, fleshed-out, and rock-enabling production. The streamlined approach slightly strips back the sweeping developments heard on Piano Man and Turnstiles, and on this edition, lays bare the core of the material, allowing the vocalist's bittersweet yearning, rollicking 88 notes, and working-class conviction to emanate with full-bodied detail, vivid color, and grand-scale dynamics.


    A Grammy winner for both Record and Song of the Year, "Just the Way You Are" epitomizes Joel's balladic reach, his ability to transfer wistful sentiments and lovelorn emotions. He also flashes a mean streak. The animated "Only the Good Die Young" bounces and hops to an updated classic-R&B rhythm and, underneath its beauty, "She's Always A Woman" hints at trouble underfoot. And then there's the New York-centric, character-rich poetry of the vignettes.


    Akin to many of his influences, Joel nails the grit, personality, specificity, descriptiveness, and behavior of protagonists that populate "Movin' Out (Anthony's Song)" and "Scenes From an Italian Diner," each equally at home on The Stranger as well as on a Broadway play or on a golden-era Hollywood film soundtrack. No wonder that, just months after its original release, Joel was no longer a stranger to any of the music-loving public. He would never look back.

    1. Movin Out (Anthonys Song)
    2. The Stranger
    3. Just the Way You Are
    4. Scenes From an Italian Restaurant
    5. Vienna
    6. Only the Good Die Young
    7. Shes Always a Woman
    8. Get It Right the First Time
    9. Everybody Has a Dream
    Billy Joel
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Classic Soundtracks Classic Soundtracks Quick View

    $20.99
    Buy Now
    x

    Classic Soundtracks

    Spindrift's new full-length is a soon-to-be classic concept album collection of what the band has always done best and in vibrant rich recording sonics. Produced by Ethan Allen (Better than Ezra, Throwing Muses) and mastered by the legendary Howie Weinberg (Nirvana, Smashing Pumpkins), Classic Soundtracks pushes the band's penchant for experimentation even further and with stellar results.

    1. Japexico
    2. Space Vixens Theme
    3. Hellbound
    4. Theme From Confusion Range
    5. Shadytown
    6. When I Was Free
    7. Theme From Ghost Patrol
    8. Legend of the Widower Colby Wallace
    9. Devil With A Gun
    10. Theme From Amboy
    11. Roundup
    12. Showdown
    13. Theme From Drifter's Pass
    14. Red Reflection

    Spindrift
    $20.99
    Vinyl LP - Sealed Buy Now
  • Prokofiev: Classical Symphony (Speakers Corner) Prokofiev: Classical Symphony (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Prokofiev: Classical Symphony (Speakers Corner)

    Thankfully musical genres have been spared from being described with new buzz words such as 'Kleinkunst' which could be translated as 'Small Arts'. But music in small forms - maybe set down on just a few pages of manuscript paper - certainly exists. Prokofiev's miniature, the Symphonie classique, combines several superlatives as regards both its musical notes and form: it is only 15 minutes long, contains a wealth of melodic ideas, and is the most performed of all Prokofiev's symphonies.



    This four-movement composition employs traditional forms such as the sonata form in the outer movements and the pre-Classical dances menuet and gavotte. The work's carefree esprit, serenade-like humour, and courtly elegance is delightful throughout and culminates in a high-spirited 'sturm und drang' Finale.



    On the B side is Glinka's Kamarinskaya Fantasia, only eight minutes long but captivating with its extremely closely-knit compositional style, and his Overture to A Life for the Tsar - a showpiece whose leitmotifs are truly forward-looking. Alongside these classical-romantic musical gems, Borodin's In The Steppes of Central Asia acts as an ideal programmatic amalgamation of the Orient and the Occident, and fits perfectly into this choice of repertoire.




    Recording: February and March 1961 at Victoria Hall, Geneva (Switzerland), by Roy Wallace

    Production: Michael Bremner




    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. Classical Symphony In D Major, Op. 25
    2. Kamarinskaya - Fantasy
    3. In The Steppes Of Central Asia
    4. A Life For The Czar (Ivan Susanin) - Overture
    Sergei Prokofiev
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Gershwin: Rhapsody In Blue, An American In Paris (Speakers Corner) (Awaiting Repress) Gershwin: Rhapsody In Blue, An American In Paris (Speakers Corner) (Awaiting Repress) Quick View

    $34.99
    Buy Now
    x

    Gershwin: Rhapsody In Blue, An American In Paris (Speakers Corner) (Awaiting Repress)

    This fast and furious orchestral work with piano, which begins with what must surely be the most famous clarinet glissando of modern times, was composed with the intention of presenting as many facets as possible of music from the New World in the short space of around 15 minutes. In his Rhapsody In Blue Gershwin wanted to »paint a musical kaleidoscope of America - our enormous melting pot, our typical national traits, our blues, our seething city life«. With this in mind, Leonard Bernstein made a number of recordings of the work and among the many excellent recordings that he made as a conductor or as a soloist, this present version with the Columbia Orchestra, from 1959, is especially of note. Bernstein takes on a double function as conductor and soloist and manoeuvres his way safely and surely through the highly diversified score to create a well-rounded picture filled with hefty orchestral dynamics and finely chiselled solo playing. In Gershwin's freely composed work the soloist and orchestra do not resort to bombastic shock effects or egomaniac keyboard acrobatics, and so this the work can be described as rhapsodic in the very best sense of the word.
    Most fittingly, on the B side there is another freely composed work - the autobiographical sketch entitled An American In Paris. The superb New York musicians paint the impressions of a visitor to the hectic French capital city - that too is the sound of America.


    Musicians:



    • The Columbia Symphony Orchestra

    • New York Philharmonic Orchestra

    • George Gershwin (composer)

    • Leonard Bernstein (conductor)




    Recording: June 1959 and December 1958 at St George Hotel, Brooklyn, New York, by Fred Plaut and Frank Bruno

    Production: John McClure



    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. Rhapsody In Blue
    2. An American In Paris
    Leonard Bernstein
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Tchaikovsky - Mendelssohn - Concerto for Violin (Speakers Corner) Tchaikovsky - Mendelssohn - Concerto for Violin (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Tchaikovsky - Mendelssohn - Concerto for Violin (Speakers Corner)

    Although he has lived in the USA since 1929 and even took on American citizenship in 1942, Nathan Milstein is often referred to as perhaps the last "Russian" among all Russian violinists due to his art of playing - which is governed wholly by intellect. This does not mean that Milstein plays in an academic or cool manner; his art is thoughtful and controlled - in the very best sense of the meaning. And this should certainly not be equated with "deliberateness". On the contrary. Milstein's tremendous virtuosity, particularly in the fiendishly difficult final movements of Tchaikovsky's and Mendelssohn's concertos, takes both works to new heights. Although never a forceful presence since he employs relatively little vibrato and thus achieves a slender tone, Milstein's playing is filled with amazing assertion and luminance, and is quite fascinating for its extraordinary purity. And this is precisely what enhances his interpretation of these two great classical concertos, lending them a legendary grace, a feeling of rightness - that there is no other way. The Vienna Philharmonic with their great tradition provide support of the first order, and Claudio Abbado proves once again that he is a more than circumspect master of the baton.



    This record was part of the 3-LP Set "The Conductors" and is now available again.





    Musicians:



    • Nathan Milstein (violin)

    • Vienna Philharmonic Orchestra

    • Claudio Abbado (conductor)




    Recording: September 1972 and March 1973 at Musikvereinssaal, Vienna by GÜnter Hermanns

    Production: Rainer Brock




    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.



    Concerto for Violin and Orchestra in D major, Op. 35


    Allegro Moderato
    Canzonetta Andante
    Finale Allegro Vivacissimo


    Concerto for Violin and Orchestra in E Minor, Op. 64


    Allegro molto Apassionato
    Andante

    Allegretto non troppo - allegro molto vivace

    Pyotr Ilich Tchaikovsky
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Classic Roy Orbison The Classic Roy Orbison Quick View

    $24.99
    Buy Now
    x

    The Classic Roy Orbison

    180 Gram Vinyl Includes Fully Restored Original Artwork.


    The Classic Roy Orbison was originally released in July of 1966. Orbison breaks all convention with these 12 songs holding steadfastly to his own artistry. 'Pantomime' is best described as epic, and notably, the single 'Twinkle Toes' charted at #13. This re-issue is fully remixed and remastered to return the audio to its original glory.

    1. You'll Never Be Sixteen Again
    2. Pantomime
    3. Twinkle Toes
    4. Losing You
    5. City Life
    6. Wait
    7. Growing Up
    8. Where Is Tomorrow
    9. (No) I'll Never Get Over You
    10. Going Back To Gloria
    11. Just Another Name For Rock And Roll
    12. Never Love Again
    Roy Orbison
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Manley Neo-Classic 500 Watt Monoblock Amplifier Manley Neo-Classic 500 Watt Monoblock Amplifier Quick View

    $15,000.00
    Buy Now
    x

    Manley Neo-Classic 500 Watt Monoblock 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.


    Handcrafted in the USA


    Tried and true: The Manley 500 and 250 Watt Monoblocks are our most powerful push-pull production-models. Both the circuit design and the selected componentry have been refined over years and years of development. Reliability that you can depend upon combined with musical accuracy and emotional authority is what these amplifiers promise- and deliver. They are able to switch operation modes allowing the listener to choose between the sonically seductive qualities of triode and the more powerful Ultra-Linear configuration. We use big, beefy reservoir capacitors in the high voltage supplies giving plenty of instant energy for dynamic performance of transient peaks and bass impact and weight which often exceeds that of rival solid-state amplifiers. We run high voltages on the plates of the output tubes but operate them at lower current which will result in their longer life. Although each output tube has its own bias-adjust, We carefully fit each amplifier with computer-batched tubes for optimum performance. The bias adjustment pots and measuring points are conveniently located behind the oval front panel insert.


    To avoid a heavy power drain when the cold amplifier is first switched on, we conceived a Soft-Start mode which also functions as an Ever-Warm position allowing the amplifiers to be always warmed up for pleasurable listening. Each amplifier only consumes 30 watts of power in Ever-Warm mode. A blinking green LED reminds the user that the amplifier is in warm-up mode because as all the power supplies are at half-voltage, the amplifier will still operate at half power when the Ever-Warm mode is engaged, so the user should use the MUTE switch when in this mode.


    The front-panel mute switch and angled-back chassis make it easier to hook up the interconnects, speaker cables, and IEC power cord.


    In our own in-house magnetics department, our R&D team completely redesigned all of our output transformers in 1998 with the goal to reclaim that luscious rich mid-range of our vintage designs. In 2013 we reworked the output transformer to operate the output stage in Ultra-Linear mode which is a great sounding balance between the detail of triode and the brawn of Tetrode. We also specifically set out to achieve a deeper bottom register at higher power with lower distortion. Hours and hours of listening tests, measurements, and fine-tuning brought an exciting and stunning result to our ears. We hope you will agree.


    Manley Labs
    $15,000.00
    Manley Neo-Classic 500 Watt Monoblock Buy Now
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