AAA 100% Analogue This LP was Remastered using Pure Analogue Components Only from the Master Tapes through to the Cutting Head

Speakers Corner / Atco - SD 33-332 - 180 Gram Virgin Vinyl 

Mastered fy Kevin Gray at Cohearent Audio

AAA 100% Analogue  - Limited Edition -  Audiophile Mastering - Pressed  at Pallas 

 Speakers Corner 30  Years Pure Analogue  This LP is an Entirely Analogue Production

As for the sound and mastering quality, the music emerges from a beautifully arrange soundstage. The latter, infused with clarity and transparency, is spread evenly across the channels while the soundstage is pushed a bit further than you might expect left and right. This gives a panoramic view of the music which sounds grand and just a bit on the epic side of life with a slight, just a slight, 70s-era warming presentation. The space and air infused in the soundstage also allows the music to flow with ease. That same space adds detail to each voice and instrument. An example of that is the backing harmonies on the track Je Vous Are (I Love You) which features a soulful rendition with a slow funk twist that is eminently appealing. The fact that the master allows the ear in between each voice just adds to the emotion of their cries. A classic master for a classic album.-Theaudiophileman

1970 debut by soul singer Donny Hathaway. Everything Is Everything features the standard socially conscious cuts including "Tryin' Times," but the real deal, actually, is in the covers — Ray Charles' "I Believe To My Soul" and Nina Simone's "To Be Young, Gifted And Black."

Many a musical career began in the gospel church choirs of the black communities, but that of Donny Hathaway must certainly be one of the most meteoric. Rolling Stone magazine named him the 49th greatest singer (of 100) of all time, though this might sound somewhat abstract. But just the very first few bars of the opening number "Voices Inside" promises a programme in which the instrumental and human voices are on a par. Just listen to the impressively saturate sound and clear phrasing of the wind instruments which range from discreet to brassy. Spiced with peppery volleys on the clavinet, Hathaway’s soul sound breaks into new ground with harmonically fresh blues ("I Believe To My Soul"), soars passionately upwards ("Misty") and ploughs through a percussive, dry and cheerful confusion in the number entitled "Sugar Lee". Every single arrangement profits to the full from the excellence of the musicians and each number is therefore quite unique. Softly cushioned, melodious togetherness ("Trying’ Times") seems just as natural as prayer-like gospel song ("Thank You Master For My Soul"), which ventures into the realms of free jazz harmonies to the glory of God. To round off the album we once again hear Hathaway’s voice, smooth and soaring, right up into the top register, in the short number "A Dream" – an apt description of the whole album.

Recording: September 1969 - April 1970 by Murray Allen and Roger S. Anfinsen

Production: Donny Hathaway and Ric Powell

Musicians:
Donny Hathaway, vocals, keyboards, bass (B2)
Johnny Board, tenor saxophone
Clifford Davis, alto saxophone
Robert A. Lewis, trumpet
King Curtis, guitar, bass
Phil Upchurch, guitar, bass
Louis Satterfield, bass
Ric Powell, drums, percussion
Morris Jennings, drums
The Vashonettes, vocals

Selections:
Side A:
1. Voices Inside (Everything is Everything)
2. Je Vous Aime (I Love You)
3. I Believe To My Soul
4. Misty
5. Sugar Lee
6. Tryin' Times
Side B:
7. Thank You Master (For My Soul)
8. The Ghetto
9. To Be Young, Gifted and Black

Recording: September 1969 – April 1970

AAA 100% Analogue   This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head 25 Years pure Analogue

 

MADE FROM THE ORIGINAL MASTER TAPES

AAA 100% ANALOGUE - PURE ANALOGUE AUDIOPHILE MASTERING

We use the Original Tapes and work with only the Best Mastering Studios Worldwide

180 GRAM VIRGIN VINYL  PLATED & PRESSED AT PALLAS GERMANY

Faithful Reproduction of the Original Artwork and Labels

LIMITED EDITION Released in Limited Quantities

All Licences and Mechanical Rights Paid

 

                                      

 

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.

 

60 Years Pallas

 

Audiophile Vinyl - Made in Germany  For over 60 years the family business in the third generation of the special personal service and quality "Made by Pallas" is known worldwide. Our custom PVC formulation produces consistently high pressing quality with the lowest surface noise in the industry. Our PVC complies with 2015 European environmental standards and does not contain toxic materials such as Lead, Cadmium or Toluene. Our vinyl is both audiophile and eco-grade!