turntables manufacturers are laughing of audiophiles...They are sellings very old technologies at ridicules high prices....
(sorry for my english.)
(sorry for my english.)
turntables today is only a matter of business and money...not HI-FI. I dont know why
today's audiophile ask again for that kind of technologie from the past...Maybe they afraid of future...Magazines and sellers are so liers about real HI-FI...
vinyl : ease money with old technologies.
today's audiophile ask again for that kind of technologie from the past...Maybe they afraid of future...Magazines and sellers are so liers about real HI-FI...
vinyl : ease money with old technologies.
vinyl and turntable : no research and development at all since many time....only
fireworks and lies.
fireworks and lies.
yes sir , it's ridiculous too. Why audiophile buy this kind of product ???
it's steal !!!
If you can't detect the different sound quality between analog and digital, that mean the rest of sound system not in a kind of level, a ear plug can never find that out
In the previous comments has anyone pointed out that the tracks at the end of LP sides have less 'fidelity' than those at the start?
(they move slower!)
(they move slower!)
listen in digital is just for sound only but in analog is for music, I got experience in recording both at the same time and same micro phone, I know the different
It's all one argument which you have. Thus current recording studio are in the error with the digital technology?
They are all digital ....
Well entering this debate very late in the day - and I admit I don't have time to read the previous 90 pages (!) of comments - my view is that there is no reason to tolerate rumble, hiss, wow, flutter, scratches and pops in audio any more. Not to mention the tortuous mangling that the signal has gone through at the mastering stage to eliminate the needle jumping out of the groove on transients in playback, or reducing the top end to prevent overheating of the cutter. Or general dynamic compression to raise the quiet bits above the noise.
I once played with analogue companding (DBX I think) on a three head reel-to-reel tape deck, and I remember the revelation of being able to turn noise reduction on and off in real time. Without DBX it sounded OK by the standards of the time (about the same as vinyl), but when you turned the DBX on it was as though a curtain between you and the music had fallen. The absence of noise was remarkable.
Well what I get now from CD, and even 320 kbps streaming audio, is just stunning. I have an ultra-low cost single chip USB DAC (but quite good anyway), a powerful low distortion amplifier (1970s design) and extremely neutral and heavy floor standing speakers (sometimes seen for about £50 a pair on eBay - they don't know what they've got!). I now experience 'the real thing'; instruments and voices that emerge from a three dimensional stage in front of me, and *huge* sounds that reverberate to perfect silence. It's spine tingling. This illusion could just not happen with the scratches, dust and limited dynamic range of LPs, no matter how quaintly 'musical' the sound or 'warm' the 'tone'.
I once played with analogue companding (DBX I think) on a three head reel-to-reel tape deck, and I remember the revelation of being able to turn noise reduction on and off in real time. Without DBX it sounded OK by the standards of the time (about the same as vinyl), but when you turned the DBX on it was as though a curtain between you and the music had fallen. The absence of noise was remarkable.
Well what I get now from CD, and even 320 kbps streaming audio, is just stunning. I have an ultra-low cost single chip USB DAC (but quite good anyway), a powerful low distortion amplifier (1970s design) and extremely neutral and heavy floor standing speakers (sometimes seen for about £50 a pair on eBay - they don't know what they've got!). I now experience 'the real thing'; instruments and voices that emerge from a three dimensional stage in front of me, and *huge* sounds that reverberate to perfect silence. It's spine tingling. This illusion could just not happen with the scratches, dust and limited dynamic range of LPs, no matter how quaintly 'musical' the sound or 'warm' the 'tone'.
It depend what level equipment going to be used, vinyl is not the best in analog if the hi end level tonearm and table will not have a big different between play from outer side to inner side, Studer pro recorder play 15/ips without dbx will has no problem like your mentioned and will far far away from vinyl play back
Just reading about vinyl mastering in general. What you get from the LP is severely limited by the medium. Transients must be compressed or limited to prevent groove skipping; treble must be limited to keep the cutting head cool; bass must be limited and mixed to mono. (And something tells me that they don't use your gold connectors and teflon-coated oxygen free cable in all this. They may even use ordinary mains leads, and not prop them up on little ceramic stands either. I doubt the cutting head amplifier is Class A. Even op amps may be involved... )
New vinyl mastering | News | Vinyl |
As this vinyl pressing plant brochure says:
"Prior to mastering is started, a computer application analyses the audio data and creates a virtual groove in the computer’s memory in the same way as the cutting lathe. It is therefore possible to know in advance the space required and all critical passages which cannot be recorded or later played back without distinct distortion. The computer application also allows the original signal to be adapted to remove only the undesirable elements of the signal which are causing the distortion."
And from New releases at Opus3 Records
"...the increased speed of rotation of the record gives improved high-frequency performance which is of particularly significance especially in the later parts of the record as the circumference progressively reduces.
We would also like to draw attention to the following:
A cutting lathe requires two signals, one feeding the cutter head and the other which gives information in advance to enable the grooves to be packed in the best possible way without impinging on adjacent grooves.
For this purpose a special tape recorder is required with one "preview" head for the spacing of the grooves and one audio head which feeds the cutter.
Between the heads the tape makes a special loop which provides the required delay. Because these very special tape recorders are becoming increasingly rare, many cutting studios have resorted to incorporating a digital delay in the signal path in order to use an ordinary tape recorder. This means that the audio signal in the record-groove has first been A / D converted, i.e. digitalized, then digitally delayed then D/A converted back to analogue."
You can have the best turntable in the world, but it's playing an arbitrarily modified recording to start with. And then you can start to add in the dust, scratches, rumble, warping, tracking errors, stylus wear etc.
New vinyl mastering | News | Vinyl |
As this vinyl pressing plant brochure says:
"Prior to mastering is started, a computer application analyses the audio data and creates a virtual groove in the computer’s memory in the same way as the cutting lathe. It is therefore possible to know in advance the space required and all critical passages which cannot be recorded or later played back without distinct distortion. The computer application also allows the original signal to be adapted to remove only the undesirable elements of the signal which are causing the distortion."
And from New releases at Opus3 Records
"...the increased speed of rotation of the record gives improved high-frequency performance which is of particularly significance especially in the later parts of the record as the circumference progressively reduces.
We would also like to draw attention to the following:
A cutting lathe requires two signals, one feeding the cutter head and the other which gives information in advance to enable the grooves to be packed in the best possible way without impinging on adjacent grooves.
For this purpose a special tape recorder is required with one "preview" head for the spacing of the grooves and one audio head which feeds the cutter.
Between the heads the tape makes a special loop which provides the required delay. Because these very special tape recorders are becoming increasingly rare, many cutting studios have resorted to incorporating a digital delay in the signal path in order to use an ordinary tape recorder. This means that the audio signal in the record-groove has first been A / D converted, i.e. digitalized, then digitally delayed then D/A converted back to analogue."
You can have the best turntable in the world, but it's playing an arbitrarily modified recording to start with. And then you can start to add in the dust, scratches, rumble, warping, tracking errors, stylus wear etc.
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Nothing is perfect in audio reproduction, the point is which way ( analog or digital)can present more closer to the real music the true is each way has it's good and bad characters need to improve but they are not the same kind of sound in basically , further they go still can't join to-getter , the only way is compare and take the favor one by yourself in the quality level of your whole system, you can't judge by information only, if you can't get the basic different between them in your system, that you should stay in digital
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