LP研究社 (黑膠唱盤、黑膠唱片收藏分享)

[Leo Yeh]

[Edgarhorns in LA]

<a href="http://www.theelectricrecordingco.com/releases/j-s-bach-the-unaccompanied-violin-sonatas-volume-3" data-cke-saved-href="http://www.theelectricrecordingco.com/releases/j-s-bach-the-unaccompanied-violin-sonatas-volume-3">

Johanna Martzy's Bach Unaccompanied Violin Sonatas Reissued by The Electric Recording Co.

By Michael Fremer •

Bach: The Unaccompanied Violin Sonatas
Johanny Martzy

EMI/The Electric Recording Co. 33CX 1286-8, 3 180g mono LPs
Produced by: N/A
Engineered by: N/A
Mixed by: N/A
Mastered by: Sean Davies and Pete Hutchinson

MUSIC

SOUND


Through her early EMI recordings, among others, the late Hungarian violinist Johanna Martzy has achieved fame, notoriety and a cult following that escaped her during her lifetime. When she died of cancer in 1979 at age 54 it didn't exactly make news. Her career took off in 1947 after she won the Geneva Competition. Thereafter she achieved great success as a soloist and chamber music performer, though in the late '50s she performed with Leonard Bernstein and The New York Philharmonic.
This particular three record set originally issued in 1956 by EMI's Columbia division (not related to the American label of the same name) was well received both in Europe and America but it was not a big seller at the time, perhaps in part because of sexism.
However, since then a cult has developed around her generally and this recording specifically. Because of its scarcity, clean examples of the three record set regularly sell for $5000 plus. You can verify this on Popsike.com.
Enter Pete Hutchinson and his UK-based start-up record label The Electric Co.
Mr. Hutchinson has gone to fanatical lengths to reissue this and an entire catalog of early EMI and other label classical recordings from the early LP days using licensed master tapes.
In order to accomplish this correctly he's invested hundreds of thousands of dollars in a restored mastering chain overseen by veteran engineer Sean Davies that duplicates the original down to what seems to be the last nut and bolt using 1950s era Danish Lyrec and EMI vacuum tube tape machines and Ortofon DS522 cutter heads. More details are available on the company's website. But Mr. Hutchinson didn't stop there. He's re-created the exact original handcrafted artwork and jackets. That includes re-creating the paper stock originally used as well as the brass letterpress print process used at the time as well as the EMI "fold over" jacket construction. I have heard from someone who has seen the original and reissue side by side and he says that other than that one appears newer than the other, they appear to be identical!
The LP in the jacket is a 180 gram pressing fitted with the original label. Fortunately Mr. Hutchinson's attention to detail did not include using the old style lead out groove "swing back" designed to insure the tripping of record changer mechanisms!
Each of the records includes an "OBI" slipped over the jacket with information written in English, Chinese, Japanese and Korean, which reflects where lies much of the enthusiasm and fanaticism surrounding these records.
Instead of costing $5000+ for the original, these reissues cost approximately $450 each. Yes, a great deal, but also a great deal less than the scarce original and here with barely a pop or tick. Wherever these are pressed, they are dead quiet.
About the music: I don't claim to be a chamber music or Bach expert but even if solo Hendrix is your favorite, I don't hear how you cannot be moved, even mesmerized by Martzy's playing. It is appropriately precise and austere given Bach's almost mathematical compositions, yet rich with vibrato, though its a vibrato that is almost clinical. That may seem like a contradiction in terms but that's how it sounds.
Her approach is technically stern yet emotionally generous without being self-indulgent. Perhaps her newfound popularity is a result of that combination, which resonates with a 21st Century musical sensibility, even as some of the more flowery and "schmaltzy" interpreter sound old-fashioned and fall out of favor. Or, maybe I'm just talking out of my ignorant hat.
But rather than dwelling on the technical that's beyond my meager musical abilities or intellect, let me say that the result of her technique is hypnotic. Once the side starts, Martzy holds you captive. If you don't think one person sawing away on a violin can manage that (for you), this might change your mind.
The mono sound brings you into the recording space, not the violinist into your room. There's a slight aura of natural room sound surrounding the violin. Played back at the appropriate volume, especially with a mono cartridge (or at least a mono switch), the results are eerily real, particularly in terms of instrumental textures and overall depth. No CD reissue can come close to achieving what these LPs manage.
Yes, the set is expensive but if you've got the scratch it is one you'll long treasure and I have every confidence it will also make a solid investment sure to appreciate in value over time.
So engrossing and hypnotic is the spell Martzy casts, when a side ends, you'll snap out of it wondering where you've been, and how you managed to find your way back.
The label has also re-issued another iconic set, originally issued by the French Pathé Marconi label Mozart a Paris, a seven LP box set of Mozart's Paris output originally issued in 1956. An original copy of this set sold for $11,300 in 2007.
Again the attention to detail is fanatical (as opposed to the usual "bordering on the"). The white jackets reproduce the original Pathé embossing. The inner sleeves are fold over glassine like the originals and the reproduction of the book is nothing short of astonishing. Too bad it's in French. Please, can we have an online translation?
I'm going through that one now and will review soon. You can visit the company's website for more details including the price of that one. Meanwhile for those lucky enough to be able to afford the three LP Martzy set, you will be rewarded repeatedly and find yourself doing so often. What a treat!

[martin]

<a href="http://www.theelectricrecordingco.com/releases/j-s-bach-the-unaccompanied-violin-sonatas-volume-3" data-cke-saved-href="http://www.theelectricrecordingco.com/releases/j-s-bach-the-unaccompanied-violin-sonatas-volume-3">

Johanna Martzy's Bach Unaccompanied Violin Sonatas Reissued by The Electric Recording Co.

By Michael Fremer •

Bach: The Unaccompanied Violin Sonatas
Johanny Martzy

EMI/The Electric Recording Co. 33CX 1286-8, 3 180g mono LPs
Produced by: N/A
Engineered by: N/A
Mixed by: N/A
Mastered by: Sean Davies and Pete Hutchinson

MUSIC

SOUND

這套Joy Audio已經確定引進囉。

[sp007]

這套Joy Audio已經確定引進囉。

不便宜耶 ..............

[Leo Yeh]

Proteus:
The Legend Continues

The Proteus represents the pinnacle of all that Seiji Yoshioka has learned and achieved in his pioneering and perfection of the ring-magnet construction in phono cartridges. Listening to the Proteus on a top turntable and arm combination, the usual audio industry descriptors fail...there is only music, intensely communicative music. The phenomenal resolution can only be understood in musical and emotional terms..."did you hear how he bent that note? ...how could she do that with her voice? You can feel her pain..."

Proteus is the name of an early Greek sea god known for his ability like water, to change forms, flowing from one to the next. This aptly describes Transfigurations Proteus and its chameleon-like ability to become whatever music it sees. Liquid, powerful, delicate, transparent...and teeming with life.

When you are ready to unleash the gods of music hidden in the grooves of your favorite LP's, it is time for Proteus...

http://www.profundo.us/transfigurati...us/proteus.htm

[Leo Yeh]

The British company Rega, celebrating its 40 years of existence, is releasing a reference turntable, model Naiad. Available later this year, the model represents the culmination of philosophy turntables founder Roy Gandy. "This is a project without saving costs."


To make the model even more special, early 40 Naiad turntables have sequential numbers, from 1973 to 2012, representing each year of the Rega and will also be signed by Mr. Gandy. The Naiad has a unique design, using the best of modern materials and manufacturing processes, with a base built by hand from carbon fiber to achieve maximum structural lightweight high stiffness, further strengthened with double wishbone ceramic.
Mass is again reduced to a minimum, using a box bearing vertical titanium structure for mounting the turntable. The model will feature the world premiere in project "hub" bearing with a shaft and bearing housing made from zirconia.
The model also has the best power supply Rega found in cases of reference of the company, offering adjustable speed control by user with a digital display.
All turntables will be provided with a piece of music called Naiad, one of the favorite piano pieces Roy Gandy, which will be recorded by Rega. This single press includes a test signal which will run alongside power supply to ensure optimum speed is reached.
Finally, the company ensures that the Naiad will be the best performance in the Rega turntables, promising to deliver beyond expectations.
The Turntable Rega Naiad will be priced at £ 30,000.00 In the European market.

[Leo Yeh]

[Leo Yeh]

String-Theory ™ Woody ™ Tonearms:













Features:


Acclaimed playback performance and features. Exemplary at any price. Remarkable at $1600 U.S.


French polished wood tonearm wand for controlled resonances and great beauty. Solid brass hardware (aluminum or rosewood headshell hardware where required for low and medium effective mass). Ergonomically configured wood fingerlift for sure control when hand cueing. Precision lift/lower mechanism. Magnetic arm lock/rest.


Incorporates the proven, popular, and well received VTAF™ (Vertical Tracking Angle on the Fly) for easy VTA Adjustment with the record in play. Incorporates the VTAF Teflon Upgrade.

Incorporates the AZOF™ system (AZimuth On the Fly) for easy azimuth adjustment with the record in play.

Incorporates the ASOF™ system (Anti-Skate on the Fly) for easy anti-skate adjustment with the record in play.

Incorporates the proven and well received Counterweight for the Common Man™.

Headshell bubble level indicates adjustments to azimuth and VTA

String Theory (tm) unique string unipivot bearing system provides chatter free low bearing friction and smoothly adjustable anti-skate. Bearing is radially stiff for accurate tuneful bass performance.

Snubber integral with AZOF system provides tonearm handling comparable to a gimbal bearing tonearm.

Oil damping cup allows operation with or without oil damping.

Continuous wire from Cardas brand cartridge clips to RCA plugs is standard. XLR connectors available at no extra cost. Ultra flexible copper wire. Robust terminations. Upon request can be set up for independent external phono cables provided by user.

Tonearm specifically configured for 8 Hz resonance with owner specified cartridge(s). The laws of physics dictate that low resonance frequency provides increased stability against needle talk vibrations, giving improved clarity, inner detail, nuance, air and bass response. This is true across the entire audible spectrum.

Removable headshell and long headshell leads allows easy cartridge installation (user not required to stand on head) in conjunction with continuous tonearm wire.

Easily adapts to shallow, medium, or high platters.

All adjustments are easily made using knurled nuts or thumbscrews. Allen wrenches (hex wrenches) and other special tools are not required. Easy adjustments include single knurled nut for overhang and alignment, single thumbscrew for counterweight (tracking force adjustment), easy VTA adjustment with knurled wheel, easy azimuth adjustment with lever, easy lateral balance adjustment with knurled nuts, easy anti-skate adjustment with knurled knob and locking thumbscrew, and easy height adjustment of lift/lower mechanism with locking thumbscrew. Note that the VTA, Azimuth, and Anti-Skate Adjustments can be made on the fly (with the record in play).

Accessories Provided with the Woody Tonearm:

Provided accessories include: Detailed owners’ manual specific to the parameters of each String Theory Woody tonearm, mounting distance gage, alignment gage, overhang gage, high viscosity oil for damping cup, syringe for transferring high viscosity oil, and Pete Riggle Antiskate Measurement System (PRAMS™). The PRAMS is similar to the Wally Skater.

More Detail:

At this point we have extensive experience with Woody tonearms ranging in length from 9 to 14 inches. We have an order for a 16 inch arm. These tonearms are all very musical. We have provided users with a number of Woody tonearms in various lengths and for various cartridges. We are getting glowing reports.

VTA on the Fly (VTAF): These tonearms use the proven VTAF (Vertical Tracking angle on the Fly) system, allowing the VTA to be dialed in to the sweetest angle while the record is in play as the user listens to the effect of VTA. The VTAF also isolates the tonearm system from the armboard. Many VTAF users have attested to the remarkable sonic benefits of isolation provided by the VTAF. With the VTAF, a thin adjuster wheel running on fine threads moves the tonearm pedestal up or down to change VTA. The VTAF Teflon Upgrade, which lines the bearing surfaces of the VTAF with Teflon, and improves sonics and smoothness of operation, is standard with the Woody tonearms.

Azimuth On the Fly (AZOF): Also incorporated into the Woody tonearms is a system which allows the azimuth to be to be dialed in to the sweetest condition while the record is in play, as the user listens to the effect of azimuth. AZOF is achieved by a manually adjusted lever on the lower platform which controls the position of a vertical axis snubber pin directly under the tonearm pivot. The vertical axis snubber pin loosely engages a small aluminum channel secured under the tonearm wand, with the channel axis parallel to the tonearm axis. Once the preferred azimuth has been dialed in, it is desirable in theory, but actually unnecessary in practice, to adjust the lateral balance of the arm to achieve a balance such that the snubber pin is not in continuous contact with the channel.

Anti-Skate On the Fly (ASOF): During setup the anti-skate force can be accurately set using the Pete Riggle Anti-Skate Measurement System (PRAMS^TM), a $99 value, provided with the Woody tonearm. Subsequently, the user is free to tweak the anti-skating adjustment with the record in play.

The Woody tonearm can be used with or without the damping fluid, or with different levels of damping fluid. Expect a relaxed presentation with the full amount of damping fluid, with the presentation becoming more lively as the amount of damping fluid (provided) is reduced. The adjustable snubber pin is integrally machined into a Delrin cup which can accommodate high viscosity damping fluid to act upon the small aluminum channel of the snubber system. In addition to serving as the snubber element of the constrained unipivot system, the aluminum channel serves as a paddle engaging the damping fluid.

The arm for each customer is modeled by computer, and subsequently tested, to verify that the arm will balance and provide the intended tracking force with the intended cartridge(s) and will have correct effective mass to achieve the desired resonant frequency.The tonearm wand has a square cross section which tapers from the pivot to the headshell. While it is common in the industry to design tonearms for a resonant frequency somewhere around 12 Hz, theory dictates (and we believe on the basis of experience) that more massive arms, with a resonant frequency closer to 8 Hz, sound better. This is because across the audible frequency spectrum, arms with lower resonant frequency respond less to needle talk vibrations than arms with higher resonant frequency. Tracking problems with record warps and footfalls do not usually occur with a tonearm resonant frequency of 8 Hz and above.

With low compliance cartridges (roughly 5 to 8 compliance units) the Woody will typically use a brass headshell and headshell adjuster plate. With medium compliance cartridges (roughly 10 to 16 compliance units) the Woody will typically use an aluminum headshell and headshell adjuster plate. With high compliance cartridges (roughly 18 to 30 compliance units) the Woody will typically use a Brazilian Rosewood headshell and headshell adjuster plate. The $1600 U.S. price includes one headshell and one headshell adjuster plate. For a modest additional price, headshells and adjuster plates in all three materials can be provided, allowing the Woody to be a Universal^TM Tonearm, optimal with all cartridges.

The design philosophy is to use wood wherever possible, and brass and Delrin ™ where wood is not as practical as desired. Where necessary for reduced tonearm effective mass, aluminum or even wood of high hardness can be used for headshell components. This philosophy has resulted a remarkably balanced tonal character which makes real music. The question might arise "My Rega arm with the VTAF and the CCM sounds wonderful. Can the Woody tonearms actually sound better?" The answer is that while the Rega arms with the VTAF and CCM are truly excellent, the Woody arms are more musical.


The Woody design uses a uniquely configured string unipivot suspension with snubbing to make tonearm handling the same as with conventional bearings. Tonearm handling is made more convenient with the use of a long, light, wood, ergonomically shaped finger lift. A precision lift/lower device is standard. The tonearm rest/lock uses a strong magnet to attract a steel target under the tonearm wand. The tonearm is held down securely against vertical forces, but slides nicely off the magnet when put into play by the user.


The uniquely configured string unipivot is stiff in the horizontal plane, resulting in excellent bass response. The string unipivot bearing is suspended from a knurled brass knob at the center of the upper platform. Anti-skate tendency can be adjusted by rotating this knob. The knob is locked with a thumbscrew when in the correct position. The Pete Riggle Anti-skate Measurement System, included with the Woody tonearm, is used to determine the preferred anti-skate setting.


All Woody tonearm adjustments are easy to make without reliance on hex keys. We object to the common use of hex keys and special tools for tonearm adjustment. Hex keys are so easy to misplace, and once misplaced, it is a nuisance to find the right size. VTA is adjusted with the VTAF. AZimuth On the Fly is adjusted with the AZOF lever. Tonearm lateral balance is adjusted with knurled brass balance weights. The Counterweight for the Common Man provides tracking force adjustment with a knurled thumbscrew to lock the counterweight in place. The headshell provides easy alignment using only one knurled nut. Anti-skate tendency is dialed in by rotating a knurled brass knob on the upper platform, allowing Anti-Skate On the Fly (ASOF). Even the lift/lower device is easily adjusted upward and downward, using a knurled thumb-screw to lock the device in place. For arms with adjustable VTA this is an important feature. The Woody is probably the most easily adjusted tonearm ever developed.

Another first with this tonearm product is a tiny circular bubble level made integral with the headshell adjuster plate. This tiny bubble level provides the user with a quick visual determination of azimuth and VTA. A lateral balancer is provided to get perfect lateral balance at the desired azimuth once azimuth has been dialed in by the AZOF system.
The standard wiring configuration provides a continuous run of extremely flexible 36 gage stranded copper wire between the cartridge and the phono stage. The wire harness is shielded by a small diameter thin walled brass tube along the length of the tonearm, unshielded at the compliance loop (similar to VPI tonearms), and shielded with foil and a drain wire from the compliance loop to the RCA plugs. A ground wire is allowing the wiring harness shield system to be connected to ground at the amplifier chassis, at the turntable chassis, or both. Configurations allowing user selected RCA patch cables are optional. The Woody is designed for easy wiring and rewiring (not that rewiring will ever be required). The extreme flexibility of the wire used minimizes changes in anti-skate force as the arm sweeps across the record.


In our listening room we are using a 12 inch Woody with a Denon DL103 cartridge, and are getting very musical results. The 12 inch nominal Woody has a length of 310 mm (12.2 inches) from stylus to pivot, with an overhang of 13.1 mm (.516 inches) for the Baerwald alignment. This particular arm was set up with an effective mass of about 30 grams, to which one must add the cartridge mass to get the total mass. Cartridge mounting is standard with screws spaced 0.5 inches on centers. This arm sounds wonderfully musical with the DL103, and may sound even better with some of the more sophisticated cartridge products.


For higher compliance cartridges the arm effective mass can be lowered, still keeping the resonant frequency around 8 Hz, by using aluminum or Brazilian Rosewood for the headshell, the headshell adjuster plate, or both.


Woody tonearms are available in lengths to allow easy replacement of older arm designs. Typical arms in the 9 to 10 inch range vary from a length of 229 mm to 250 mm. Woody arms are available to replace arms of any length. We have had great success with 12 and 14 arms and have an order for a 16 inch arm.

he wood tonearm wand is finished in French polish, rubbed on in many sessions. French polish is legendary for bringing out the beauty of wood. There is nothing like it. Lacquered Brass finish is used for brass parts, with an optional Smokey Silver finish ($150 U.S. extra). At present the wood being used for most Woody tonearms is Mahogany taken from 100 year old boards. When this supply is depleted, we will find a suitable replacement.
Interest in this family of tonearms is running quite high. An introductory list price at $1600 U.S. has been established. We suggest comparing the Woody arms to Schroeder and Reed arms in the $4000 U.S. to $4500 U.S. range, and to Durand arms in the $7900 U.S. to $16500 range. Because these tonearms are labor intensive, and I am a one man shop, I will never be able to produce more than one of these tonearms every two weeks. Therefore I believe the list price will eventually have to rise. The purchaser is free to return the arm within 90 days, for a full refund of the purchase price. Actual shipping and insurance will be charged, running about $35 U.S. to U.S. destinations, and about $120 to Europe.


If multiple headshell systems are required (in differing densities) to accommodate widely varying cartridge parameters, there will be an extra charge. There are a number of things we can do to adapt an arm to a wide variation in cartridge parameters.

I will be happy to accept an order with a $200 down payment. The current waiting period for delivery has been 5 months, but I believe this will diminish. I prefer payment by PayPal, but can accept a credit card on a U.S. bank, a personal check on a U.S. bank, a money order, or an international money order.

Please advise if you find yourself with unanswered questions or concerns. I can be contacted by email at [email protected], or by phone at 509 582 4548. I am often in the shop, but away from the office phone. If you call and get the answering machine, please leave a brief message with your telephone number and/or email address.

Woody(tm) Tonearm Specifications

List Price: $1600 US in the Lacquered Brass finish. This is for an arm optimized for one compliance range. The compliance ranges are Low (5 to 8 compliance units), Medium (10 to 16 compliance units), or High (18 to 25 units).

Additional charges if multiple hardware components required to accomodate various cartridge mass/compliance: headshells $25 US headshell adjuster plates $50 US counterweights $50 US

Universal(tm) versions of the 12" and 14" Woody arms are available, with headshells and adjuster plates of three different materials (brass, aluminum and Brazilian rosewood), allowing the arms to maintain the preferred resonant frequency of 8 Hz using cartridges with compliances ranging from 5 to 25 compliance units. The price of the Universal 12" and 14" Woody arms, is $1750 US. For arms shorter than 12" a second counterweight is required in addition to the three sets of headshells and adjuster plates, bringing the cost of the Universal version to $1800 U.S.

Add $150 US if the Smokey Silver finish is required.

Each tonearm system is custom computer modeled and hand crafted for a specific cartridge or range of cartridges

Range of cartridge masses accomodated: 3 to 20 grams, as specified by customer

Range of cartridge compliances accomodated: 5 to 30 compliance units, as specified by customer

Mounting hole diameter: 1.25 inches (31.75 mm)

Finishes: Metal parts in Lacquered Brass or Smokey Silver; wood parts finished with hand applied French polish.

Tonearm length: 9 inches to 16 inches, as specified by customer

Tonearm effective mass: As required to achieve 8 Hz resonant frequency for specific cartridge or cartridges

Headshell material: Brass, aluminum, or rosewood, as required by resonant frequency

Headshell adjuster plate material: Brass, aluminum, or Brazilian rosewood, as required by resonant frequency

Headshell mounting screw and nut: Brass, aluminum, or nylon, as required by resonant frequency

Cartridge mounting screws/nuts: 2-56 brass or non-magnetic stainless steel

Cartrige screw spacing: 1/2 inch

Finger Lift: Ergonomically configured True Mahogany

Tonearm wand material: True Mahogany is standard. Other woods as required by resonant frequency or owner's preference

Counterweight: Brass Counterweight for the Common Man ™, modified for low center of gravity

Counterweight stub: Hollow stainless steel

Pivot Bearing: Unique Stringtheory(tm) string unipivot is stiff laterally and vertically

Tonearm handling: Snubber provides handling similar to standard gimbal bearings

Oil damping: standard . . . use arm with or without oil damping

Adjustments:

— VTA on the Fly, using patented VTAF(tm) mechanism, including VTAF Teflon Upgrade

— Azimuth On the Fly, using unique AZOF(tm) mechanism

— Anti-Skate On the Fly, with ASOF(tm) system (rotate string bearing knurled support knob)

— Anti-skate lock: set screw with knurled knob

— Tracking force: slide counterweight, lock with knurled thumb screw

— Overhang and cartridge alignment, using knurled nut with slotted headshell adjuster plate

— Lateral Balance coarse adjustment, rotate counterweight, fine adjustment,lateral balanceweights

— Lift/lower mechanism height adjustment: set screw with knurled knob

Adjustment tools: Knurled knobs eliminate the need for adjustment tools (hex wrenches not required)

Tonearm Rest and Lock: Brazilian rosewood tonearm rest with magnetic tonearm hold-down

Indicator: Azimuth and VTA indicated by circular bubble level on headshell adjuster plate

Setup tools included:
— circle template for mounting hole
— mounting distance gage (mm scale and caliper)
— overhang gage
— alignment protractor
— Pete Riggle Anti-skate Measurement System

http://www.vtaf.com/id82.html

[Leo Yeh]

[Leo Yeh]