Vinyl and the New Age of Analogue

Britain’s Financial Times take a look at a London shop whose business is booming because of the resurgence in vinyl.

In a small, dimly lit studio perched on the edge of London’s Westway flyover, Pete Hutchison is listening closely. Very closely. Not that there is any need to strain. Beethoven’s Symphony No 9 cascades like an avalanche from a rotund pair of speakers; explosive timpani pound the air of the soundproofed room into its fabric-lined walls.Volume is unlikely to make much difference to Hutchison’s trained ear. He’s something of an aural specialist, producing hyper-authentic pressings of rare mid-20th-century classical vinyl records.

Releases by The Electric Recording Company, Hutchison’s production outfit, are valuable: a volume of Bach’s unaccompanied violin sonatas by Johanna Martzy sells for £300; it’s £2,500 for a seven-LP box set of Mozart à Paris with conductor Fernand Oubradous. The cost, he says, is a result of the time and effort that goes into the manufacture of the albums: this is more than reproduction, this is replication down to the last audiovisual detail. “If you think of an audiophile as an outpatient at a psychiatric ward then us, in here with this equipment, we’re sectioned,” he says.

Read the entire article here.

 

Alan Cross

is an internationally known broadcaster, interviewer, writer, consultant, blogger and speaker. In his 30+ years in the music business, Alan has interviewed the biggest names in rock, from David Bowie and U2 to Pearl Jam and the Foo Fighters. He’s also known as a musicologist and documentarian through programs like The Ongoing History of New Music.

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