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The New Jersey-based company sells turntables, tonearms, cartridges, record clamps, plinths, record cleaning machines, and a phono preamp. But that's not all. The company offers VPI-branded. pillows, candles, mugs, stickers, T-shirts, and a tell-all company history, 40 Years on the Record.
And talk about turntables! From the entrylevel $1499 Cliffwood to the top-of-the-line $104,000 Vanquish (found under the website's "VPI Luxury" page, accompanied by the adage, "Settle for Nothing but Extravagant"), VPI is clearly and rightfully proud of its analog achievements.
Like many successful small businesses, VPI is a family affair. Cofounder and designer/engineer Harry Weisfeld designed the tables that established the company's reputation. Sheila, Harry's late wife and VPI cofounder, was an important presence; her expertise in audiology and speech-and-language pathology gave her a skill set unusual in the industry and made her a principal contributor to VPI's success. Harry and Sheila's son Mat Weisfeld is the current designer and CEO; his wife, Jane, is VPI's office manager. The 15 employees work at the company's Cliffwood, New Jersey, HQ to manufacture every VPI 'table from 95% North American-made components.
Harry Weisfeld is a longtime, fervent record collector. His analog dreams started with buying vinyl and shellac as far back as the 1950s. He still collects LPs (no "vinyls," please) and has a special fondness for Sonny Rollins's Way Out West, Jo Basile's Hit Broadway Musicals (Audio Fidelity AFSD-5972), Eydie Gormé's albums on the Coral label, and anything on Norman Granz's Pablo Records, home to natural-sounding '70s and '80s records by Ella Fitzgerald, Joe Pass, Sarah Vaughan, Milt Jackson, and Count Basie, to name a few.
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Denne historien er fra June 2023-utgaven av Stereophile.
Start din 7-dagers gratis prøveperiode på Magzter GOLD for å få tilgang til tusenvis av utvalgte premiumhistorier og 9000+ magasiner og aviser.
Allerede abonnent? Logg på
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It's almost too easy to make Dave Dexter Jr. the villain in the story of the Beatles' fumbled introduction to America.
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One of my favorite things about this pastime is the modesty of its aims.
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Years ago, at one of the milestone NYC anniversary parties for Blue Note Records, a piercing voice burst out above the clinking glasses and chattering tongues, loudly declaiming (quoted here with several profanities omitted), \"Blue Note never gave me a dime!\"
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THAT'S PRETTY ODIOUS,\" ANDY SUMMERS SAYS TO ME. \"AN ODIOUS COMPARISON.\" HIS BLUEISH EYES DARKEN. ROUGHLY AN HOUR INTO OUR 90-MINUTE FACE-TO-FACE INTERVIEW, I'D ASKED IF IT BOTHERS HIM THAT IN TERMS OF REACH AND STAYING POWER, HIS SOLO OEUVRE WILL NEVER MATCH HIS WORK WITH THE POLICE.
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The first album I ever bought with my own money-cash earned mowing neighbors' lawns-was a British plum-label pressing of Led Zeppelin II.
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A recent high point in my career as a reviewer was writing about the MoFi Electronics SourcePoint 10 standmount loudspeaker for the February 2023 issue of Stereophile.'