I don't know about building the circuit , but I messed around with hardware last night. I over drove the mono track to muddy it up, and played it behind the stereo at a much lower volume. The full range mono track seemed more natural , than just passing the lower frequencies. It still didn't really sound like vinyl though.
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perhaps an appeal to authority - but Monty does have a MIT EE degree
popularizations can leave some things out - but I'm not sure what you can object to with Monty's video, his Analog signal gens, spectrum analyzers and scope displays all on camera, with signals behaving as described?
in engineering we do take some shortcuts that appear as handwaving extensions from some elementary dual sided, infinite transform theory
I believe most can be justified with Generalized Function Theory - not that I really understand all of the issues
but heuristically we can make simple thought experiments - like just looping a digital music record - and now we do have a "infinite", "periodic" waveform of the length of loop up to hours if needed
and practical digital audio always brickwall filters strictly less than Nyquist - so the "infinite time" required to resolve a frequency component infinitely close to Nyquist isn't in play
popularizations can leave some things out - but I'm not sure what you can object to with Monty's video, his Analog signal gens, spectrum analyzers and scope displays all on camera, with signals behaving as described?
in engineering we do take some shortcuts that appear as handwaving extensions from some elementary dual sided, infinite transform theory
I believe most can be justified with Generalized Function Theory - not that I really understand all of the issues
but heuristically we can make simple thought experiments - like just looping a digital music record - and now we do have a "infinite", "periodic" waveform of the length of loop up to hours if needed
and practical digital audio always brickwall filters strictly less than Nyquist - so the "infinite time" required to resolve a frequency component infinitely close to Nyquist isn't in play
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An interesting experiment would be to record a CD onto vinyl then use that CD player when comparing. Having just had the new ELO LP it sounds almost like that's happened. I don't have the CD so can only guess. My guess is the CD would be better.
Mostly I prefer LP. I suspect this comes down to one thing. The people who made LP's were more skilled. The difference to me is more like one is a painter and the other a photographer. The latter not in the art world.
I have LP's where both are great yet different. ELP Tarkus. George Michael Faith might be better on CD, the bass is very powerful. It is early digital and yet sounds great. Perhaps a bit in your face as all that could be said against it. Joni Mitchelll Blue is good on both. Beatles better on LP and by a large margin ( I'm told later versions have solved this, others say not ). Brian Eno is fantastic on CD ( Another day on Earth).
I heard a mastertape played up against a CD just made. The test cut was at 33 45 and 78. I am sorry to say the CD did not sound like the tape. The engineer also cut the famous Paris Texas LP/CD which I think is a masterpiece. He was very hurt when I said it sounded like a tribute band. Everything I was listening to was exactly what was used. The tape was Stairway to Heaven. The moitors big Tannoy. The 33 cut sounded much like the tape. The 45 much the same as the 33. As the lathe had 78 I was allowed a 78 cut. We were playing back in real time. This cut was as near as you will even get to sounding the same. That was a surprise because I have been told some dreadful lies about this. Ones like " it is impossible to make it sound as the mastertape so it is cut to sound nice ". That's total nonsense.
Two things to say. The Scully lathe is a first class turntable not unlike a Garrard 401. Also the LP made from the cut is of a lower grade. All the same the clues that make LP better were the ones I heard that the CD didn't have. That is space in the music. The mastertape had it also. When like my ELO LP I doubt it is a debate. I am sure the CD is more useful as somehow this isn't the ELO I know. It's not bad, but...... I do like classical music which even more favours LP. This often is just the version. My friend from DGG prefers LP, he was surprised I did. He knew it wasn't to be talked about at DGG. I often prefer MP3 over most peoples 16 bit. Sometimes less is more. Now if you might say that about LP, maybe that's right. However the mastertape seems to say when CD where is the tone colour the tape had? Regardless of digital or analogue the CD should soud like an analogue source when it is that. If you do it all digital like I magine the ELO is. then maybe the battle is already lost and an LP will not help as the LP is only telling the truth. That seems unlikely, but I am fairly sure is true. CD is the only digital source I dislike. Perhaps the mechanical side of CD is not as good as we imagine. Seeing as all other digital sound fine to me I wonder. I do know about all the imformation is there etc and a computer said so. If so who is doing what wrong?
Mostly I prefer LP. I suspect this comes down to one thing. The people who made LP's were more skilled. The difference to me is more like one is a painter and the other a photographer. The latter not in the art world.
I have LP's where both are great yet different. ELP Tarkus. George Michael Faith might be better on CD, the bass is very powerful. It is early digital and yet sounds great. Perhaps a bit in your face as all that could be said against it. Joni Mitchelll Blue is good on both. Beatles better on LP and by a large margin ( I'm told later versions have solved this, others say not ). Brian Eno is fantastic on CD ( Another day on Earth).
I heard a mastertape played up against a CD just made. The test cut was at 33 45 and 78. I am sorry to say the CD did not sound like the tape. The engineer also cut the famous Paris Texas LP/CD which I think is a masterpiece. He was very hurt when I said it sounded like a tribute band. Everything I was listening to was exactly what was used. The tape was Stairway to Heaven. The moitors big Tannoy. The 33 cut sounded much like the tape. The 45 much the same as the 33. As the lathe had 78 I was allowed a 78 cut. We were playing back in real time. This cut was as near as you will even get to sounding the same. That was a surprise because I have been told some dreadful lies about this. Ones like " it is impossible to make it sound as the mastertape so it is cut to sound nice ". That's total nonsense.
Two things to say. The Scully lathe is a first class turntable not unlike a Garrard 401. Also the LP made from the cut is of a lower grade. All the same the clues that make LP better were the ones I heard that the CD didn't have. That is space in the music. The mastertape had it also. When like my ELO LP I doubt it is a debate. I am sure the CD is more useful as somehow this isn't the ELO I know. It's not bad, but...... I do like classical music which even more favours LP. This often is just the version. My friend from DGG prefers LP, he was surprised I did. He knew it wasn't to be talked about at DGG. I often prefer MP3 over most peoples 16 bit. Sometimes less is more. Now if you might say that about LP, maybe that's right. However the mastertape seems to say when CD where is the tone colour the tape had? Regardless of digital or analogue the CD should soud like an analogue source when it is that. If you do it all digital like I magine the ELO is. then maybe the battle is already lost and an LP will not help as the LP is only telling the truth. That seems unlikely, but I am fairly sure is true. CD is the only digital source I dislike. Perhaps the mechanical side of CD is not as good as we imagine. Seeing as all other digital sound fine to me I wonder. I do know about all the imformation is there etc and a computer said so. If so who is doing what wrong?
I don't own a record lathe, but I have dubbed cds onto a reel to reel, and it does color the sound. In some cases it seems to be an improvement, others not so much. Once again that is just my opinion, others would probably disagree. I have had the same mixed results with vinyl. I have always assumed it was the playback coloration of the RTR that benefits certain albums, not the source that I dubbed.
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That is true. It doesn't quite turn it back into LP. It can be the most natural compressor and no complex maths required. It's a shame I don't have a working Revox now ( two broken ones ). I should push my ELO LP through. Sony TC 377 is well able to show this.
Valve buffers were a fad. I didn't like them much. They have nearly zero distortion yet sound pink.
Valve buffers were a fad. I didn't like them much. They have nearly zero distortion yet sound pink.
is it possible that vinyl lovers have acclimatised their brain into filtering out the distortion?
i grew up in the centre of Edinburgh in Scotland which is a fairly busy city so had acclimatised my brain into filtering out the background noise and only discovered this when i moved to a small town with very little background noise and especially so at night and due to this i could not sleep well as i was used to the noise of the city. someone i knew said to leave a radio on in the background when going to sleep which worked. its hard to describe the feeling of having a silent background instead of background noise but it was weird and i would say its like the feeling you get before your ears pop due to an altitude rise/drop.
maybe this is the same effect as to why some people prefer the sound of vinyl as opposed to digital as their brain is acclimatised to the background noise.
i grew up in the centre of Edinburgh in Scotland which is a fairly busy city so had acclimatised my brain into filtering out the background noise and only discovered this when i moved to a small town with very little background noise and especially so at night and due to this i could not sleep well as i was used to the noise of the city. someone i knew said to leave a radio on in the background when going to sleep which worked. its hard to describe the feeling of having a silent background instead of background noise but it was weird and i would say its like the feeling you get before your ears pop due to an altitude rise/drop.
maybe this is the same effect as to why some people prefer the sound of vinyl as opposed to digital as their brain is acclimatised to the background noise.
The more I think about it my music preferences seem to be more about nostalgia, than the medium. I can't imagine listening to a crystal clear 24 bit recording of Marty Robbin's would take me back to the garage where I built my first truck with my Grandpa, anymore than throwing a Korn Lp on an old Montgomery Ward console system would take me back to skipping school in the truck to go get high.
I think I'm just a music lover, not a true audiophile.
Nothing beats the first time I listened to Powerslave on my Walkman.
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I think I'm just a music lover, not a true audiophile.
Nothing beats the first time I listened to Powerslave on my Walkman.
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BBC = British Broadcasting Crap
Let me be the first to congratulate you on your thoughtful and considered contribution.
That's why it puts me to sleep.BBC = British Broadcasting Crap
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I withdraw this statement. It is not straightforward at all.
Anbody tried it? This is a good problem for SPICE simulation.
The suggestion was in Circuit Ideas, not Letters.
You are probably listening to the world service by mistake or a feed modified for the local market.
Personally I think Radio 3 is both wonderful and dangerous for the mix of music they have introduced me to. Only other station I have found that was close was the chicago classical station (whose call sign I cannot remember) <google> WFMT.
You're right, I just looked at my saved feeds, it is the World Service. I'll have to check out Radio 3.
I used to like to listen on shortwave, but it's rare to pick it up here anymore. Sometimes I can get the broadcasts into Africa at night.
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Cracked it, but it's a bit of bugger. It takes 5 opamps per channel. I now have anti-phase cancellation starting at 22 Hz (easily altered, obviously) and with a fourth-order slope. IE anti-phase signals go down at 24 dB/octave as frequency falls. I think that should be fast enough, but a less steep slope would probably work and save components.
I would encourage more people to have a go at this. It is a fascinating problem.
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