Speakers Corner / Deutsche Grammophon - DGG SLPM 139020
AAA 100% Analogue - 180 Gram Virgin Vinyl - Pressed at Pallas Germany
Pure Analogue Audiophile Mastering - Limited Edition
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
Best Analog Reissue: Schostakowitsch: Symphony NR.10, Berliner Philharmoniker (Herbert von Karajan, conductor), Deutsche Grammaphone/Speakers Corner 139020 SLPM. As the saying goes, better late than never. This 12-inch black disc sat for several years on a record shelf due to DG's less than stellar reputation for sound quality (read unlistenable). Big mistake. This reissue bears little resemblance to the DGs that I'm and PFO's readers are familiar with (according to Sid Marks, and who's to argue with his years of experience, not all DG's records sound like a "table radio." ). This Shostakowitch's Symphony NR. 10 possesses an extremely wide frequency response along with a sense of hall acoustics and natural instrumental timbre (save for an extremely rare high string hardness). Yes, there's a glint of the Speaker's Corner's sound but that's more than compensated for by von Karajan's mastery of the 10th. Grab this album if it's still available! - Positive Feedback
Dmitri Shostakovich: Symphony No. 10 in E minor, op. 93 - The Berlin Philharmonic Orchestra conducted by Herbert von Karajan
Russia in the year 1953. After the October Revolution this was probably one of the most eventful epochs in the whole of the 20th century as far as social development and Art were concerned. When Stalin’s reign of terror at last came to an end Shostakovich was able to realize his artistic ideas without fear of political persecution. And this is precisely the reason for regarding the premiere performance of his Tenth Symphony, in December 1953, as a gesture of freedom after years of discrimination. Shostakovich wanted his music to reflect human feelings and passions – and indeed the rugged first movement is filled with melancholy. Many biographers have identified a brutal portrait of the dictator Stalin in the strained mechanism and whip-lash rhythm of the following Allegro. The third and fourth movements take on a brighter character and are filled with song-like melody which leads to a splendid Finale.
Herbert von Karajan and his Berlin orchestra made the present recording just a few years after the work’s composition; even today it is still considered one of the very best performances of this unique work.
November 1966 in der Jesus-Christus-Kirche, Berlin, von Günter Hermanns und Hans Weber
Produktion: Otto Gerdes
The Berliner Philharmoniker conducted by Herbert von Karajan performing Shostakovich's Symphony No. 10 in E minor, Op. 93. A sonic & musical masterpiece! A combination of the best recording & performance.
Herbert von Karajan, conductor
Dmitri Shostakovich (1906-1975)
Symphony No. 10 in E minor, Op. 93
4. Andante - Allegro
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!