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Pro-Ject Black Record Broom

Cleaning a record collection can be tiresome. There are many ways to de-dust your precious collection. All of them have one thing in common, you have to clean the records while they are put at rest. Sweep it E goes the other way. You can enjoy listening to your records while they are being cleaned. Simply place Sweep it E on your turntable and make sure that the brush is placed before the needle. This way the grooves will get clean right before the cartridge can pick up sound from it.

Pro-Ject Silver Record Broom

Pro-Ject Black Magnetically Stabilized Record Broom

Record brooms have been around since the early 1970s. Some of them do a good job, some rather not. In many cases the brush rushes towards the middle of the platter, running out of sync with the tonearm. This phenomenon is known as skating. Recent developments aim to tackle this problem. Here the highly efficient neodymium magnet comes into play. These magnets are used to stabilize the record broom of the Sweep it S2. Sweep it S2 is constructed in collaboration with Klaus Mick and uses his patented technology to stabilize the record broom. Extensive theoretical and empirical research has been put into the development of this product.

Pro-Ject Silver Magnetically Stabilized Record Broom

Cleaning a record collection can be tiresome. There are many ways to de-dust your precious collection. All of them have one thing in common, you have to clean the records while they are put at rest. Sweep it E goes the other way. You can enjoy listening t

Sweep it E is made out of durable and resistant aluminum to make sure it lasts a long cleaning-life. With the heavy weight base it stands firmly on your turntable. The uni-pivot arm follows the grooves of your record and cleans them effectively. When you don‘t need Sweep it E you can simply put the arm on its dedicated arm-rest for a comfortable placement. The soft hair-brush guarantees that the records won‘t be harmed during the cleaning process.

Suitable for Primary, Essential and Debut turntables

Record brooms have been around since the early 1970s. Some of them do a good job, some rather not. In many cases the brush rushes towards the middle of the platter, running out of sync with the tonearm. This phenomenon is known as skating. Recent developm

The magnetic attraction between the neodymium magnet – based in the top part of the cylinder – and  the [Fe] core/counterweight stabilizes the record brush. Moreover, the distance between the neodymium magnet and  the [Fe] core/counterweight is carefully chosen to ensure a specific magnetic stabilization force. As the aluminium of the brusharm is paramagnetic, it acts like an additional space between the neodymium magnet and  the [Fe] core/counterweight. Sweep it S2 is height adjustable within a range of about 1cm. The position can be locked with the set screw on the base. With this mechanism, it is possible to adjust the height of the arm of the record broom in order to align it horizontally with the platter. A correct horizontal alignment ensures the correct tracking force of about 6g.

The record broom can be placed in one of two left hand side corners of the turntable. The placement is depending on the type and shape of your turntable. At the optimal position the brush should align with the spindle (i.e. the center of the platter). Deviations (relative to the spindle) between 1,5 to 2 cm are well compensated by design of the Sweep it S2. Higher deviations can cause more drastic skating effects.

Avoids the common record broom phenomenon known as „skating“

Natural hair brush with extremly low electronegativity

Constructed in collaboration with Klaus Mick

Available in silver and black metal finish

We have always been dedicated to natural, acoustic music from a broad range of genres. The incomparable experience of great sound in the comfort of your own home continues to drives Pro-Ject Audio Systems, and our goal has been to spread this emotional ex

Pro-Ject 7RAY Feature Triple Ace – Jazzy Zoetrope Studio and Live Recording Vinyl

Studio and Live Recording at Studio Baumgarten & Pro-Ject Headquarters

We have always been dedicated to natural, acoustic music from a broad range of genres. The incomparable experience of great sound in the comfort of your own home continues to drives Pro-Ject Audio Systems, and our goal has been to spread this emotional experience to as many people as possible. For nearly 30 years we have brought true Hi-Fi stereo at an affordable price to hundreds of thousands of customers – so they can enjoy that experience. But what about the available recordings?

From time-to-time we invite great musicians to perform in our company headquarters in Mistelbach, Austria. We have always been playing with the idea to record these sessions, but only using real analogue tape with reduced microphoning, captured live in true stereo with no compression or extensive editing – just live. One of the problems with this idea is that very few musicians are willing or able to record in such an environment, where no cuts and corrections are possible. That’s a lot of pressure for any recording artist. By pure coincidence and great luck, CEO Heinz Lichtenegger has learned that Austria’s own 7RAY is not only a great singer and musician, but also a keen audiophile. So it was amazing to find that he was immediately enthusiastic about the idea. Working with 7RAY we developed a concept to make both a special studio album (and by special, we mean special – learn more in the text), and a live recording direct from our company headquarters; giving you the ability to hear a direct comparison of recording styles.

Please enjoy this wonderful audiophile experiment and experience the true emotion of quality music!

Studio and Live Recording in all analogue AAA production

Recorded at Studio Baumgarten & the Pro-Ject Headquarters

Pure analogue recording, mixing and mastering

No cuts - no edits - just live and natural

Available as Vinyl LP or direct Master Tape Copy

Pressed on 180g premium-quality vinyl, handcrafted by austro vinyl in Austria

1/4“ SM468 tape on 2 x 10.5“ NAB metal reels in 15ips/CCIR/320nW

Reel A - Studio Recording / Reel B Live Recording

We have always been dedicated to natural, acoustic music from a broad range of genres. The incomparable experience of great sound in the comfort of your own home continues to drives Pro-Ject Audio Systems, and our goal has been to spread this emotional experience to as many people as possible.

The new vinyl edition of the Vienna Philharmonic on Pro-Ject Audio Systems is being transferred directly from the original tapes of Deutsche Grammophon and Decca, with no intermediate digital processing. Heinz Lichtenegger, owner and mastermind of Pro-Jec

Pro-Ject Wiener Philharmoniker & Herbert von Karajan – Richard Strauss Vinyl

Hallmark Recordings of the Vienna Philharmonic re-issued by Pro-Ject Audio Systems: “Analogue only” sets the Standard of Sound Quality.

The new vinyl edition of the Vienna Philharmonic on Pro-Ject Audio Systems is being transferred directly from the original tapes of Deutsche Grammophon and Decca, with no intermediate digital processing. Heinz Lichtenegger, owner and mastermind of Pro-Ject Audio Systems, is not only an avid music-lover in his private life. Over the years he has emerged as one of the most vocal international proponents of the analogue audio world. Out of his admiration for the Vienna Philharmonic, a plan emerged to re-release 12 legendary recordings of the world-famous orchestra from the analogue era.

The selected recordings of the Vienna Philharmonic are basically known for their high-fidelity sound – after all, Decca and then Deutsche Grammophon only allowed the very best sound engineers to work with this top-notch orchestra. With this series, Pro-Ject Audio Systems wants to capture the original condition of these irreplaceable recordings as part of our cultural heritage for posterity.

Together with a team of specialists, Lichtenegger chose Herbert von Karajan, to be featured on this Vienna Philharmonic LP. Counting all concerts, operas, tours and recording sessions together, the Vienna Philharmonic performed around 700 times with Herbert von Karajan, beginning in 1934 and ending with the conductor‘s death in 1989.

These tone poems by Strauss constitute striking examples of the unique artistry of Karajan‘s interpretative powers. They were recorded in Vienna‘s Sofiensäle in the late 1950s and early 1960s with the Vienna Philharmonic Orchestra and attest to nothing less than Karajan‘s exceptional feeling for sonority, balance and, above all, expressive depth.

As Lichtenegger says: “We produce the best possible quality for our customers and, while the original tapes continue to age, the vinyl records document their acoustic condition from 2019.”

Remastered with care and love from the original master tapes by Georg Burdicek (Tonzauber)

Produced in co-operation with Pro-Ject Audio Systems to reproduce the original music and sound experience of these famous concerts in the Sofiensaal, Vienna, held and recorded in the 1950‘s and 1960‘s

Pressed on 180g premium-quality vinyl in highest precision by Pallas Germany

The new vinyl edition of the Vienna Philharmonic on Pro-Ject Audio Systems is being transferred directly from the original tapes of Deutsche Grammophon and Decca, with no intermediate digital processing. Heinz Lichtenegger, owner and mastermind of Pro-Ject Audio Systems, is not only an avid music-lover in his private life.

This record was produced in cooperation with Pro-Ject Audio Systems to reproduce the original music and sound experience of this famous concert in the Golden Hall at the Wiener Musikverein. Pressed on 180g premium-quality vinyl in highest precision by Pal

Pro-Ject Wiener Philharmoniker & Karl Böhm – Ludwig Van Beethoven Vinyl

Remastered with care and love from the original master tape by Georg Burdicek

This record was produced in cooperation with Pro-Ject Audio Systems to reproduce the original music and sound experience of this famous concert in the Golden Hall at the Wiener Musikverein. Pressed on 180g premium-quality vinyl in highest precision by Pallas Germany.

In 1803 Beethoven jotted down in his notebook: “Babbling brooks, andante molt[o], the larger the brook the deeper the tone” and wrote out initial sketches for the dance rhythm of the third movement. Five years later he labelled the first three movement as scenes: “Scene: Arrival in the countryside [and] effect on the mood”, “Scene by the brook”, and “Scene: Festive gathering”, to which he added “Even without descriptions the whole will be heard more as expression than as tone-painting”. In the end he prefixed the symphony with the words “More expression of feeling than painting”. Though the symphony was inspired by impressions of nature (Beethoven called it “Pastoral Symphony, or Recollection of Country Life”), this F major composition is not intent on describing natural events. Rather, it was the idea of nature itself that he poured into the form of the symphony, giving it five instead of the customary four movements. Thematically, the work is basically constructed of triads. The opening of the first movement already states the formative material of the following Allegro, which owes its characteristic color not least of all to sustained pitches suggesting bagpipes and hurdy-gurdy. The “Scene by the brook”, with its onomatopoeic allusions to birdsong, is conceived as an expanded rondo. Whether or not the cry of the cuckoo struck a special chord with Gustav Mahler, just such a cry is found in the opening of his First Symphony.

The third movement, which substitutes for a scherzo, draws its character from the German dance known as a Deutscher. It is a gruff and assertive Allegro that leads directly to the symphony’s dramatic climax: a musical thunderstorm. Here thunderclaps are depicted by 16th-note quintuplets in the cellos and double basses, and raindrops by a flashing four-note figure in the violins. The finale follows without a break, leading once again to the tranquil atmosphere of the first movement. That Beethoven should return to the rondo idea of this movement in his late String Quartet op. 132 has to do with the similarity of their subjects: in the finale of the “Pastoral” the shepherds show their gratitude that the storm has subsided, whereas in the string quartet a man previously afflicted with a severe illness offers thanks to God for his recovery.

It was the success of this performance of Tristan und Isolde at the Vienna Opera (which Böhm served as director in 1943-45 and again in 1954-56) that led to his début concert with the Vienna Philharmonic in April 1933. His last concert was given in Japan in 1980. If we add to this his 667 appearances at the Vienna State Opera, Karl Böhm, “Austria’s General Music Director”, stood at the helm of the Vienna Philharmonic 1430 times. This figure does not even include the sessions for the many recordings he made with the orchestra during the 48 years of their collaboration. Among them is his rousingly acclaimed complete recording of the Beethoven symphonies from the early 1970s, along with several overtures, including Egmont, composed in 1810 for a Vienna performance of Goethe’s like-named tragedy. All of them bear eloquent witness to a musicianly ideal noted for precision and naturalness of expression, and provide documentary evidence of Böhm’s flawless sense of tempo.

Pressed on 180g premium-quality vinyl in highest precision by Pallas Germany.

Karl Böhm, who was born in Graz in 1894 and died in Salzburg in 1981, occupies a special place in the history of the Vienna Philharmonic. In 1967 this doctor of jurisprudence became the first person to whom the orchestra awarded the title “honorary conductor” – a distinction that has since then been accorded only once more in the orchestra’s history, namely, to Herbert von Karajan in 1980. Just how warmly Böhm felt toward the orchestra is evident in the words that he spoke at his last appearance with the Philharmonic. It was the final recording session for a film version of Elektra by Richard Strauss, who numbered Böhm among his favorite conductors: “I’ve loved the orchestra like a human being ever since I heard it for the first time, standing at the back of the stalls in the Musikverein, and ever since I first conducted Tristan at the State Opera.”

To celebrate Zubin Mehta’s 80th birthday, Decca (Universal Music) proudly presents iconic Zubin Mehta albums in cooperation with The Vienna Philharmonic Orchestra and Pro-Ject Audio Systems. A must-have for music fans of the analogue era back on heavy-wei

Pro-Ject Gustav Mahler – Symphony No. 2 Vinyl

To celebrate Zubin Mehta’s 80th birthday, Decca (Universal Music) proudly presents iconic Zubin Mehta albums in cooperation with The Vienna Philharmonic Orchestra and Pro-Ject Audio Systems. A must-have for music fans of the analogue era back on heavy-weight vinyl. Presented with original artwork, this recording has been carefully mastered from the original Decca analogue tapes at Abbey Road Studios.

This is probably Mehta’s finest Mahler album ever. The first movement is very dramatic. Mehta opens with a very tense, brisk tempo. Mehta never rushes, but never drags. The timpani is very well-defined, however not overpowering, throughout the movement, as well as throughout the entire disc. The Andante is played very well. The phrasing is wonderful. The Scherzo starts out the best I have ever heard. Two crisp, crystal clear Timpani strikes. Then the next 2 are softer, then the next 2 are even softer, which gives it an amazing affect.

Then to the Urlicht. Mehta’s slower tempo just adds to the heartbreaking beauty. Add to that the gorgeous singing of Ileana Contrubas and you have got a winning combonation. To the massive finale where Mehta really triumphs. The tempi are perfect. Mehta builds the climaxes perfectly, never dragging. The brass play superbly! I heard some of the lower brass instruments in this movement that I didn’t even hear before in my other recordings. Very impressive. When the chorus enters, just listen to the bass singers! Spectacular. The entire chorus sounds heaven-sent. Contrubas and Ludwig sing crystal clear and beautifully. The organ is heard very clearly. The combonation of perfect tempi, magnificent signing and ultra-vituostic playing make the finale one of the most moving pieces of music you will ever hear.

This recording has everything you could possibly ask for. Mehta’s perfect tempi, great signing by Contrubas, Ludwig, and the Vienna Staatsopernchor. The Vienna Philharmonic, particularly the brass, play just like the virtuostic ensemble that they are. Go and get it ASAP.

The Vienna Philharmonic conducted by Zubin Mehta

Limited edition exclusively for Pro-Ject Audio Systems (only 2000 copies available worldwide)

Remastered From Original Decca Analogue Tapes at Abbey Road Studios

1975 The Decca Record Company Limited, London

In celebration of Zubin Mehtas 80th birthday

Includes voucher for free download of digital copy

Cast: Vienna Philharmonic, Zubin Mehta (Conducter)

To celebrate Zubin Mehta’s 80th birthday, Decca (Universal Music) proudly presents iconic Zubin Mehta albums in cooperation with The Vienna Philharmonic Orchestra and Pro-Ject Audio Systems. A must-have for music fans of the analogue era back on heavy-weight vinyl.

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