To imagine this visually, it's like plotting points on graph paper. This sounds terrible, but the reality is that the end result of an analog or digital signal is exactly the same after it is processed through an amplifier and played through speakers: You hear a continuous sound wave.
There is no objective way to analyze the end result to determine whether the source was digital or analog because we cannot actually hear digital code or analog voltage fluctuations. It depends on a lot of factors, and most of them have to do with the quality of your turntable, amplifier, and speakers, and we'll get to that stuff in a little bit.
If you're listening to a vinyl record, CD, or high-quality digital file of the same song on a good stereo system, you probably won't notice a lot of difference between what you're hearing unless there's a problem with the actual physical media — scratches, dust, defects. There have been many studies that show that the untrained ear can't discern these differences, and that those who favor one format have a confirmation bias based on their preferences or values going into the test.
There are aspects of vinyl records and analog recordings in general that you definitely can notice beyond the pops and crackles of surface noise. Analog aficionados will often attribute a "warmth" to pure analog sound. This sound is actually a result of analog's limitations in capturing and reproducing sound, particularly on the low end of the mix. Digital recordings are far more accurate than analog recordings and can capture a much broader dynamic range.
Analog recording is much less detailed, and the gaps in data result in a slight abstraction of sound that is often very pleasing to the ear. You get a very similar difference between images captured on film as opposed to digital cameras — purely digital recording can feel too precise, cold, and clinical, and lose the "warmth" and humanity many people associate with analog technology. This goes back to the question of whether you're an audiophile, or if you just like the look and feel of records.
If you care deeply about sound, you're going to end up spending a lot more money. But seriously, don't get hung up on that unless you're an audiophile.
It'll be fine. You are better off buying a new turntable instead of finding something vintage. Old, used turntables will have some wear and tear and will be expensive to fix if something goes wrong.
You can easily buy a good new turntable without spending a lot of money, and since most models have a built-in pre-amp, you can sidestep some of the more obnoxious aspects of building a stereo system. More about that later. If you aren't tremendously concerned about sound quality and just want an uncomplicated turntable with built-in speakers that won't take up much space, you should look into getting one of these portable Crosley turntables, or some other similar products on the market.
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Cosmo Borsky. Patrick O. One Collective. In late , Face to Face were signed to a local punk rock record label Dr. Strange Records. Strange issued the band's first single "No Authority" and their first studio album Don't Turn Away , which was released in Copies of Don't Turn Away sold quickly and Dr. In addition to re-releasing the album, Fat Wreck Chords released " Disconnected " as a 7" single in August Also in , just after a three-week tour in Germany supporting their labelmates Lagwagon , Face to Face added Chad Yaro as an additional guitarist.
Before the band could begin work on Don't Turn Away' s follow-up, they made a decision to go with a new label that had major-label distribution. The label, Victory Music ,signed them and then they entered the studio with producer Thom Wilson of The Offspring fame and began recording their second album, entitled Big Choice.
The label was nervous about their distribution deal and wanted a test release to run through the system, and issued an EP of songs from 7"s and other rarities called Over It. The band replaced Riddle with a then-unknown bassist named Scott Shiflett. After cleaning it, I didn't notice any loss of sound quality, but in theory, it most likely effected the volume and possibly the bass of the recording Of course, my old ears couldn't notice a difference in the bass and the volume knob has plenty of rotation left.
The only difference I noticed, whether placebo or not, was the over-sanded portions of the disk sounded, to me, more like MP3 versions of the same song. Wal Mart sells it as well as big box and hardware stores I would prefer to use something finer, but it's too frustrating trying to find.
Finer grits will, by design leave the record's surface shinier. The final microscopic image is a 35x plus 3x camera zoom of the surface after hard sanding with grit.
I should have thought of zooming the camera before taking the photo to get even closer. Due to the mechanical nature of the sanding, the lands don't have the same coarse look that they've after hand sanding. But remember, the middle portion of the record received much less contact with the paper. Until someone perfects a mechanical "refinisher" that accounts for the non-flat record surface, I'll stick to hand work. The bottom line for me is, I'll be using my hand to sand records from now on, but if I can find a finer grit paper, I might use this as a way to polish it after I'm through.
Out of nowhere I had an idea. Baking soda and white vinegar, it sounds crazy but stay with me on this. While wet I made a thick paste using baking soda and water and very lightly added it thickly to the vinyl going with the groove. Here comes the fun bit. Pouring white vinegar over the baking soda forms an instant volcanic chemical reaction, fizzing out what was stuck.
If all else fails give it a go, the explosion is worth the price of admission alone. Jut be careful to not exfoliate the grooves. Question: I have a number of records I want to try this with, but two of them are picture discs. Would this remove the image from the disc, or is it colored all the way into the vinyl, so it would still be present, if a little dull?
If you are looking for a ready source of really fine sandpaper, try an auto-body shop. They will use lots of very fine grain stuff grit, sometimes even finer than that. There are also some specialty abrasives that get to extremely fine grains, google "abralon" for an example. Nice technique. A thought on handling cupped records - attach the grit sandpaper to a block of foam rubber, which is attached to a hard block i.
To automate it, it could be made into a fixture that attaches to an OLD turntable one you don't mind getting wet. Fix one end of the sanding block to the spindle, the other to a fixed point outside of the platter.
Drizzle a continuous stream of water at the edge of the block. Tilt the turntable so the water runs off into a pan. An answer to your question of how many grooves on a side of a record - 3. I believe this was an early attempt at multi-channel sound recording. Three grooves could handle left, right and center channels. I have also heard a recording by Victor that was originally made from 2 separate records, one on the Victor label and the other on the HMV label Europe.
When synchronized they formed a perfect bi-naural recording of Duke Ellington. These records were also from Columbia also had puzzle records from about the same time. Tip 1 year ago on Step 4. Here is my process, wash, sand, wash, glue and wash. I build a device for the sanding part. The glue certainly cleans the gooves! How did you get involved with half-speed mastering? In those days I was a junior making lots of cups of tea, running cassettes for people and doing other menial stuff.
Before I started working, my dad had an independent record shop and I had some albums that were cut by a guy called Stan Ricker. They were issued by Mobile Fidelity Sound Labs, who are still going, and who would license classic albums and do limited runs, very high-quality half-speed cuts, very nice pressings — they pressed them in Japan at the time. I had a few of these records and they sounded amazing. Oh no, no, no. So we then pursued it and built the prototype board there.
I persuaded management to adapt one of the lathes and they went for it. How long do you think the equipment is likely to last? So there will be no more disc-cutting lathes. But, thankfully, they built them like tanks. Not to the quality that Neumann could. The rest of it dates back to sometime in the s, when the CD all but killed off vinyl in the first place.
Production studios for large entertainment companies made the switch to digital, and realized that the new format afforded new ways to edit music. By doing this, you can bring the average loudness up super high—something that record execs assumed would translate into better-selling records ed.
Loud music can sound better in some instances, but when you push it too far, you lose a lot of sound quality when your listeners change the volume. Even by conventional metrics, quality of the sound will tank the more you lean on this compression. By doing it too much, you can unintentionally add noise and artifacts into your recordings by raising the levels of certain sounds, as well as cutting the loudness of individual instruments where they need to stand out amongst the crowd.
In short, this is a tool that should be used sparingly because it can dramatically decrease the quality of a song even though the medium supports something better. By that we mean, the difference between the quietest sound and the loudest ones will be much smaller, so the wider your dynamic range is, the more potential you have for different loudnesses in certain sounds.
This makes your recordings seem more lifelike and interesting, because it more accurately reflects what a listening environment would be."I Used To Fuck People Like You In Prison" Records, Century Black, Century Death, CM Distro, Death Certificate, Identity, KINGfisher (2), Manifesto Of Metal For The Masses, Metal For The Masses, Metal For The Masses 25 Alive!, New Release Highlights, Olympic Recordings (2), People Like You .