ANTONIN DVORAK

* Violin Concerto in A minor op.53 *

Ferenc Fricsay

RIAS Symphony Orchestra Berlin

Johanna Martzy - violin

released by CLEARAUDIO reissue

180 gram premium vinyl

Seit über 40 Jahren gilt die LP „Esther, Esther Ofarims 1. Album“ als eine Referenz für anspruchsvolles Liedgut und perfekten Klang. Länger als ein Jahrzehnt Weltkarriere von Esther mit ihrem damaligen Ehemann Abi Ofarim gingen der LP voraus. „1. Album“ war Ausdruck für ihren Neustart als Solo-Sängerin mit einem äußerst melodischen, fröhlichen, teils melancholischen und auch frechen Repertoire.

Kann eine solche Schallplatte, audiophiler Klassiker in tausenden Plattensammlungen, noch verbessert werden? Birgit Hammer-Sommer und Dirk Sommer, die Klangprofis von „sommelier du son“, und ihr Team nahmen die Herausforderung für ein Re-Mastering an.

Zusammen mit Christoph Stickel vom cs mastering-Studio in Wien haben sie die originalen Mastertapes sorgfältig restauriert. Thorsten Scheffner schnitt in seinem Organic Music Studio die Lackfolien, dies nach kleinen tonalen Korrekturen zur Optimierung der Abtastbarkeit. Optimal Media hat im Zuge des Vinyl-Revivals in Röbel an der Müritz eins der weltweit höchstqualifizierten Schallplatten-Presswerke neu errichtet. Dort koordinierte Dirk Mahlstedt vom Künstlerhafen in Bernau die Fertigung.

Titel:

1 Kinderspiele

2 Rataplan

3 El Rey Nimrod

4 Hayu Leiloth

5 Nique Nac No Muse

6 Una Matica De Ruda

7 La Vezina Catina

8 Tziyunyanai Haderech

9 La Scillitana

10 Leil Galil

11 Pamparapam

12 Pavane

SPANISH FOLIAS

Gregorio Paniagua

original German ATR pressing reissue

140 gr premium vinyl

Arne Domnerus - saxophone

Gustaf Sjökvist - organ

original German black-gold labelled PROPRIUS / ATR pressing

reissue 140 gr premium vinyl

original recorded by PROPRIUS in 1974/75

Als Jim Davis begann, bei Verve Schallplatten zu produzieren, veränderte er die Aufnahmephilosophie der Firma hin in Richtung auf ihren produktivsten Musiker. Wo Norman Granz zahllose Oscar-Peterson-Alben mit überwiegend populären Kompositionen produziert hatte, war Davis mehr daran interessiert Alben zu machen, die so klangen wie das Peterson-Trio live. Seine ersten Peterson-Aufnahmen waren dann die legendären London House Sessions. Zum Zeitpunkt dieses Albums hatte es fünf Jahre lang keinen Besetzungswechsel im Trio gegeben - also ist es kein Wunder, dass das Zusammenspiel der Musiker gewissermaßen telepathisch funktioniert.

Oscar Peterson (p); Ray Brown (b); Ed Thigpen (dr)

"Hope" ist ein Klassiker unter den audiophilen Vorführplatten, besonders der Dynamikumfang ist verblüffend. Hugh Masekela, der außergewöhnliche Trompeter aus Südafrika, stellte für diesen großartigen Liveauftritt im Washingtoner Club Blues Alley eine 7-köpfige Band zusammen. Die Songs decken einen Zeitraum von fast fünf Jahrzehnten ab und stellen einen ungezwungenen Rundgang durch Masekelas Leben dar. Diese Songs sind ehrlich und gradlinig, ebenso wie der Sound - phantastisch! « ... "Hope" ist eine dieser intensiv intimen, lebensgroßen und unmittelbar präsenten Aufnahmen, die praktisch jede Anlage zumindest sehr gut klingen lässt - und die besseren erzeugen unvermeidliche eine Gänsehaut!» – Wayne Garcia, The Absolute Sound, August 2008

Hugh Masekela (tr, flh); Ngenekhaya Mahlanghu (fl, perc, sax, voc); Themba Mkhize (keyb, voc); Lawrence Matshiza (g, voc); Bakithi Khumalo (b, voc); Remi Kabaka (perc, voc); Damon Duewhite (dr), a.o.

Manche Geiger begeistern durch reine Tongebung, andere mit warmem Timbre oder spieltechnischen Finessen. Einer der wenigen, der all diese Vorzüge auf sich vereinte und zudem kompositorische Fähigkeiten besaß, war Pablo de Sarasate y Navascuéz. Von seinen insgesamt 50 Werken zählen die traditionsverbundenen Zigeunerweisen und natürlich die mit allen erdenklichen Schwierigkeiten gespickte Carmen-Fantaisie zu den bekanntesten. Saint-Saëns’ Rondo capriccioso gilt als eindringliches Beispiel dafür, daß fröhliche Ausgelassenheit und Molltonalität durchaus vereinbar sind. Die Havanaise hingegen schlägt, wie der Name schon vermuten läßt, melodische Funken aus spanischen Rhythmen und trägt das Prädikat „Streitroß der Violinisten" zu Recht. Selbstverständlich kommt an diesen gewichtigen Bravourstücken des 19. Jahrhunderts kein moderner Geiger vorbei, der als Virtuose in die Annalen eingehen möchte. Heute, 40 Jahre nach Entstehung dieser Aufnahme, herrscht Gewißheit darüber, daß Ruggiero Ricci dieses Ziel mühelos erreicht hat.

Aufnahme: September 1959 in der Kingsway Hall, London von Alan Reeve / Produktion: James Walker

Die 24 besten Stücke von Elvis wurden hier sorgfältig zusammengetragen und remastered von den originalen Ein-, Zwei- oder Dreispuraufnahmen, die liebevoll betreut in den Schatzkammern von RCA-Victor gelagert werden. Alle seine Hits sind dabei, von „Heartbreak Hotel“ bis „Suspicious Minds“. Elvis – wie wir ihn noch nie gehört haben.

Titel:

1. Heartbreak Hotel (Mono)

2. Love Me (Mono)

3. Don't Be Cruel (Mono)

4. Hound Dog (Mono)

5. Love Me Tender (Stereo)

6. All Shook Up (Mono)

7. (Let Me Be Your) Teddy Bear (Mono)

8. Jailhouse Rock (Mono)

9. Wear My Ring Around Your Neck (Mono)

10. A Big Hunk O' Love (Mono)

11. Stuck On You (Stereo)

12. It's Now or Never (Stereo)

13. Are You Lonesome Tonight (Stereo)

14. Surrender (Stereo)

15. (Marie's The Name) His Latest Flame (Stereo)

16. Little Sister (Stereo)

17. Can't Help Falling In Love (Stereo)

18. Good Luck Charm (Stereo)

19. She's Not You (Stereo)

20. Return To Sender (Stereo)

21. (You're The) Devil In Disguise (Stereo)

22. Crying In The Chapel (Stereo)

23. In The Ghetto (Stereo)

24. Suspicious Minds (Stereo)

"Back in the golden age of vinyl there were many different test LPs available - all rather similar to one another. Analogue Productions decided to create a modern test disc that hasn't been done before, and have succeeded. It specifically addresses the turntable, cartridge and stylus." - John Sunier, Audiophile Audition, February 21, 2010

"The disc is indispensable for anyone who is dedicated to the most accurate adjustment of his LP playback system and thus the best sound." - Harry Pearson, The Absolute Sound Editor

"…The modern renaissance in vinyl over the past decade, coupled with the startlingly high performance of today's best LP front ends, has created the need for a new standard in test records. And that new standard is undoubtedly The Ultimate Analogue Test LP from Analogue Productions. This new disc has been meticulously assembled in collaboration with some of the world's greatest technical experts in record cutting…a 'must-have' for any analog enthusiast." – Robert Harley, The Absolute Sound, October 2008

"The speed stability of this test record is outstanding and below the measurable threshold, that's what it's supposed to be. With most test LPs, the speed is erratic caused by off center holes and warps in vinyl. I have over 40 test records and for most functions they are useless. You made a great test LP, I used it to set up and measure my new Rim Drive and without it most of the testing would have been useless. It's unbelievable, there is no wavering." – Harry Weisfeld, VPI Industries "The Ultimate Analogue Test LP from Analogue Productions is something that could only have been dreamed of a few years ago. Now it's a reality and an indispensable tool for setting up and getting the most from your vinyl rig. It's 'all about the music' for us vinyl lovers and I can't imagine how we ever did without something like this for so long! Bravo to Analogue Productions/Acoustic Sounds for making this the true Ultimate set-up disk, a tool that will enable us to get the most music and good sound from our record collections." – Steve Hoffman, mastering engineer

"The Ultimate Analogue Test LP is a milestone and very powerful reference for those truly concerned about getting the very best performance from an analog (vinyl) front end and also for those professionals who manufacture the related analog front end products. To start with, Track One very accurately provides a 1kHz tone at 7 cm/s mono (in-phase, lateral) NAB OVU standard reference level, which has been the industry standard since 1964. This supercedes the long-outdated RCA 5 cm/s (3.54 cm/s stereo) test level. Track One can also be used as an outside track wow and flutter reference as will the inner Track 10…two ways to approach this measurement. A close look shows that each track on this disc can be used in multiple ways far beyond the list provided in the limited space on the record jacket. Hats off to all of those involved in making this outstanding test LP." – Keith Herron, Herron Audio

"The Ultimate Analogue Test LP from Analogue Productions is the quintessential tool for setup and fine tuning of ALL analog systems…Pure Science yields High Performance." – Dan Babineau, Technical Editor, TONEAudio Magazine "First of all I have to say it comes along in close to perfect manufacturing quality. In comparison to lots of other test records available in the market there are nearly no warps. So when it comes to talk about a test record, the first thing that is absolutely necessary is perfect flatness of the disc. The second and third tracks on the first side of this record are very good tools to adjust azimuth to a certain degree without test-equipment. Track 10 is a perfect 3150 Hz tone that is mastered close to perfection. In direct comparison to a German-made product, one can see that level is kept in a much narrower band. So there is only very small amplitude deviation visible. All of the other tracks are very useful as well. I have to give my highest recommendation to this record – a must have for any audiophile!" – Dr. Christian Feickert, Feickert Analog Products

"In having created a special grinding system we at Basis have created turntable drive belts precise to within a fraction of a Micron. Combined with our similarly groundbreaking work in creating absolutely true bearings and platters Basis has broken new ground in turntable speed stability. The result is that the speed stability of Basis turntables now exceeds the limits of the very test records used to test speed stability. Only one out-of-print test record so far had been up to the task. The recent test record you sent makes the second. The lack of drift in the test tone makes this the most close to perfect speed check we have found to date. Thank you for bringing this record to my attention." – A.J. Conti, Basis Audio

"Yes, I'll occasionally set up a cartridge visually to listen casually. However, all serious listening is done by setting up with the 'Ultimate Test LP,' it's always interesting to see how far off I am with a visual set up. Some of the adjustments are very fine. I don't think one can be certain that their cartridge is set up right without this disk." – Michael Yee, Michael Yee Audio 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 pressed at Quality Record Pressings on 200 gram vinyl.

Side 1

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. Azimuth Adjustment

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.

Side 2

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.

Bei einem seiner zahlreichen Studio-Besuche im Northeimer Stockfisch Studio schlug Allan Taylor vor, eine Vinyl-LP mit zehn seiner favourite songs herauszubringen. Und er hatte bereits ein Tracklisting dabei: darunter so schöne Lieder wie The Dove, Chimes At Midnight oder Colour To The Moon. Und außerdem die Session Save The Last Dance For Me aus dem 2000er BEHIND THE MIX-Projekt. Eine überzeugende Idee! Diese LP erscheint in der neuen Stockfisch-Reihe IN THE GROOVE als audiophile 180g-Vinyl-LP, überspielt auf der hauseigenen NEUMANN VMS-82 Direct-Metal-Mastering (DMM) Schneidanlage. Allan Taylor zu diesem Projekt: “I thought the vinyl format was finished. However, since I have been recording with Stockfisch Records and working with Gunter Pauler I have become used to the supremely high criteria the work to, so when they asked me to choose a few songs of mine from our catalogue for a release on vinyl I thought it was a great idea."

TITELAUFLISTUNG

1. Brighton Beach

2. Back Home To You

3. Chimes At Midnight

4. Frenchtown

5. Red On Green

6. Colour To The Moon

7. For Those We Knew

8. Leaving At Dawn

9. The Dove

10. Save The Last Dance For Me