AAA 100% Analogue This LP was Remastered using Pure Analogue Components Only from the Master Tapes through to the Cutting Head
Speakers Corner/Columbia - KC31067 - 180 Gram Virgin Vinyl - AAA 100% Analogue
Pressed at Pallas Germany - Mastered by Maarten de Boer at Emil Berliner
Speakers Corner 25 Years Pure Analogue This LP is an Entirely Analogue Production
This was a fine recording, with excellent dynamics, full bodied deep bass, a particularlywell recorded drum kit and a satisfying three dimensional perspective.Speakers Corner’s 180g reissue is slightly thicker and richer sounding than the thin, bassshy original. A case could be made for either one being superior but ultimately I think the reissue wins for its improved bottom end, greater three-dimensionality and overallharmonic completeness. It even comes with a reproduction of the original’s insert. Like the sonic comparison, the reissue’s insert is thicker and more vibrant than the original. - Michael Fremmer
The Mahavishnu Orchestra's The Inner Mounting Flame burns from the very first note to the last and the wealth of ideas, sheer vitality and supreme soloistic virtuosity of the five top-notch musicians from four different countries is absolutely first class here. "Meeting Of The Spirit," "The Dance Of Maya" and "You Know You Know" are just a few of the highlights from this 1971 debut from the Mahavishnu Orchestra and it's still amazingly fresh and creative over 36 years later.
As British bands like Yes, ELP, and Genesis extended the borders of rock & roll, John McLaughlin had seized the opportunity to do the same with jazz. The first stars of the jazz/rock fusion camp, the Mahavishnu Orchestra played sellout concerts, sold records in quantities previously unheard of by jazz musicians, and captured a crossover audience of forward-looking jazz devotees and progressive rock fans.
The music on The Inner Mounting Flame is incendiary and highly improvisational. Well-conceived unison melodic passages structure each tune, and McLaughlin and company play like the virtuosos they are throughout. "The Noonward Race" features a bluesy, yet harmonically dissonant solo from McLaughlin, and the frenetic drumming of Billy Cobham. In contrast, in "A Lotus on Irish Streams," McLaughlin soars passionately on an acoustic guitar, while violinist Jerry Goodman adds a simple, folky melody.
Available once again on Vinyl LP. - This is a classic recording that belongs in every rock and jazz collection
John McLaughlin, acoustic & electric guitars
Billy Cobham, drums
Jan Hammer, Fender Rhodes, ring modulator, piano
Jerry Goodman, acoustic & electric violins
Rick Laird, electric bass
The Mahavishnu Orchestra The Inner Mounting Flame
1. Meeting of the Spirits
3. Noonward Race, The
4. A Lotus on Irish Streams
5. Vital Transformation
6. Dance of Maya, The
7. You Know You Know
Are your records completely analogue?
Yes! This we guarantee!
As a matter of principle, only analogue masters are used, and the necessary cutting delay is also analogue. All our cutting engineers use only Neumann cutting consoles, and these too are analogue. The only exception is where a recording has been made – either partly or entirely – using digital technology, but we do not have such items in our catalogue at the present time
Are your records cut from the original masters?
In our re-releases it is our aim to faithfully reproduce the original intentions of the musicians and recording engineers which, however, could not be realised at the time due to technical limitations. Faithfulness to the original is our top priority, not the interpretation of the original: there is no such thing as a “Speakers Corner Sound”. Naturally, the best results are obtained when the original master is used. Therefore we always try to locate these and use them for cutting. Should this not be possible, – because the original tape is defective or has disappeared, for example – we do accept a first-generation copy. But this remains an absolute exception for us.
Who cuts the records?
In order to obtain the most faithful reproduction of the original, we have the lacquers cut on the spot, by engineers who, on the whole, have been dealing with such tapes for many years. Some are even cut by the very same engineer who cut the original lacquers of the first release. Over the years the following engineers have been and still are working for us: Tony Hawkins, Willem Makkee, Kevin Gray, Maarten de Boer, Scott Hull, and Ray Staff, to name but a few.
At the beginning of the ‘90s, in the early days of audiophile vinyl re-releases, the reissue policy was fairly straightforward. Companies such as DCC Compact Classics, Mobile Fidelity, Classic Records and others, including of course Speakers Corner, all maintained a mutual, unwritten code of ethics: we would manufacture records sourced only from analogue tapes.
Vinyl’s newfound popularity has led many other companies to jump 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 from which to master: CDs, LPs, digital files and even MP3s.
Even some who do use an analogue tape source employ a digital delay line, a misguided ’80s and ‘90s digital technology that replaces the analogue preview head originally used to “tell” the cutter head in advance what was about to happen musically, so it could adjust the groove “pitch” (the distance between the grooves) to make room for wide dynamic swings and large low frequency excursions. Over time analogue preview heads became more rare and thus expensive.
So while the low bit rate (less resolution than a 16 bit CD) digital delay line is less expensive and easier to use than an analogue “preview head”, its use, ironically, results in lacquers cut from the low bit rate digital signal instead of from the analogue source!
Speakers Corner wishes to make clear that it produces lacquers using only original master tapes and an entirely analogue cutting system. New metal stampers used to press records are produced from that lacquer. The only exceptions are when existing metal parts are superior to new ones that might be cut, which includes our release of “Elvis is Back”, which was cut by Stan Ricker or several titles from our Philips Classics series, where were cut in the 1990s using original master tapes by Willem Makkee at the Emil Berliner Studios. In those cases we used only the original “mother” to produce new stampers.
In addition, we admit to having one digital recording in our catalogue: Alan Parsons’ “Eye in the Sky”, which was recorded digitally but mixed to analogue tape that we used to cut lacquers.
In closing, we want to insure our loyal customers that, with but a few exceptions as noted, our releases are “AAA”— analogue tape, an all analogue cutting system, and newly cut lacquers.