Berlin the Bear celebrates Christmas with some great audio gear! Photo by John Marks
This is the fourth installment in my series about choosing Pareto-Optimal equipment to make archival digital copies of vinyl LP (long-playing) phonograph records. The first part (an overview) is here. Part 2 (Rega’s Planar 3 turntable package) is here. Part 3 (Graham Slee’s Revelation M phono stage) is here. This installment covers the conversion of the analog signal from the phono stage into a digital-audio data file.
Unfortunately, as far as I have been able to determine, the various inexpensive solutions for making digital transfers of LPs are inadequate for making archival-quality copies. In this regard, I am not referring to “Best Practices.” I am only talking about “Non-Inadequate Practices.” I cannot recommend all-in-one “USB Turntable” or “USB Phono Stage” solutions for anything other than their convenience for casually ripping an LP to a CD-R. The reasons for this disinclination on my part appear after the jump.
I wrote about Graham Slee’s UK-made Revelation M phono stage with selectable treble-cut and bass-boost controls (which enable proper playback of non-RIAA as well as RIAA 33 rpm records—and also most electrically-cut 78 rpm discs) here.
Bruce Kohl, facilitator of Graham Slee’s US in-home trial program, included a pair of Graham Slee’s Lautus analog line-level signal cables (with locking RCA phono-plug terminations at both ends–other terminations optional) in the package with the phono stage.
When listening for reviewing I try to avoid (if at all possible) changing more than one variable at a time. So, I had to put Slee’s interconnects aside; and, put-aside they stayed. I eventually did listen; but since you are reading this, you likely figured that out already. The story continues after the jump! Continue Reading →
Photo by John Marks.
This is the third installment in my series about choosing Pareto-Optimal equipment to make digital archival copies of vinyl LP (long-playing) phonograph records. The first part (an overview) is here. Part 2 (Rega’s Planar 3 turntable package) is here. But even if you are not planning to make digital transfers, you might be interested in my thoughts on turntables and phono stages.
Phono stages are necessary to (1) amplify the faint electrical signal generated (literally) by the phono cartridge, and (2) reverse the drastic frequency changes imposed on the music signal in order to make LPs playable. If an LP were to be cut without treble pre-emphasis and bass pre-de-emphasis, the high treble would be lost, while the deep bass notes would cause the stylus to jump out of the groove. Continue Reading →
Part 1 covered recorded media (CD boxed sets, and an SACD/CD hybrid). Part 2, concerning recommendable hardware gifts, will be short and sweet… three buy-them-once-and-buy-them-right pieces of audio gear.
To learn their identities, though, you will have to click through to the jump page.
Photo by Peter McGrath, MFA
My colleague Mike Zisserson has already written up this event for Positive Feedback Online. Therefore, my coverage will be a bit broad-brush.
This open house took place Saturday afternoon December 3, at Fidelis Music Systems‘ Nashua NH store. While the featured brands were Wilson Audio Specialties and MSB Technology, I was tickled that Wilson Audio’s Peter McGrath had brought along two of my Esperanto Audio digital cables, one for the S/PDIF signal, and the other for the Word Clock connection. More, and more photos, after the jump.
Photo by John Marks; Berlin the Bear not included.
This is the second installment in a series about choosing Pareto-Optimal equipment to make digital archival copies of vinyl LP (long-playing) phonograph records. The first part is here. But even if you are not planning on making digital transfers, you might be interested in my advice on turntables and phono stages.
The turntable system (by which I mean the turntable itself; the tone arm; and the phono cartridge) is both the beginning of the playback process and, by the nature of things, the most critical bottleneck.
After the jump, more on that; and, well-deserved words of praise for Rega’s Planar 3. Continue Reading →
Berlin the Bear staying on top of things in LP-Land. (Photo by John Marks)
Time for a new project!
Over the past few years, a new consumer-audio product category has emerged, that of phonorecord playback equipment with the added capability of outputting a digital datastream via USB connection. (I.e., a phono playback stage that also has analog-to-digital conversion and a USB digital output.) The ultimate expression of that concept is a turntable with onboard phono playback equalization and digitization. Such a turntable has both analog outputs for listening and a USB output for recording via a computer or other compatible digital device. Such a package has the advantages of low or low-ish cost, and easy setup. But its cost constraints will lead to sonic compromises, and such setups cannot accommodate pre-RIAA LP discs or 78 rpm records.
So I set myself on a quest to find a Pareto-Principle solution. This will be a four- or five-part series wherein I will discuss alternatives to USB turntables for people who want better performance, or who already have a non-USB turntable they are happy with. Along the way there will be some history lessons, and some practical advice too.
What “Pareto-Principle solution” means; some background on the challenges of storing music on analog physical media; and more, after the jump. Continue Reading →
Photo © 2016 John Marks
On Sunday, August 14, the musically-astute friend I mentioned in the context of the Andris Nelsons Boston Symphony Wagner/Sibelius CD and I traveled to Lenox, Massachusetts, where the Boston Symphony makes its summer home at Tanglewood. The program consisted of Beethoven’s Op. 64 Coriolan Overture (1807), his Piano Concerto 3 (1800-1801), and Schumann’s Symphony 4 (1841/1851).
But of course, I could not resist indulging in audio geekery, in the process making a new pro-audio friend! Geek-bait photos, official concert photos, and a link to streaming audio of the concert, all after the jump! Continue Reading →
(Images courtesy of On a Higher Note, LLC)
If the amplifier budget for your bedroom or office stereo (or some other modest but high-quality audio system) stretches to multiples (about five times as much) of the price of the over-performing at its price point ($349) Parasound Zamp v.3, I heartily recommend Luxman’s (US MSRP) $2000, refined and elegant M-200 power amplifier.
(Note, the M200 has a defeatable front-panel manual-only volume knob, so its inputs can be set either to Direct or Variable, allowing it to be used with one fixed-output source such as a CD player. Luxman also makes a matching DAC/pre with the same form factor, the DA-200.)
The M-200’s output is “only” 25Wpc, but I found it completely capable of driving the prototype Esperanto Parolanto loudspeakers, a moderately inefficient load (83dB/1W/1m). The M-200 runs warm, but in my experience, it never ran hot. Continue Reading →
Yes, what you see is what you get (if Santa Claus really likes you, that is): A Bricasti M1 Digital-to-Analog Converter with gold-plated casework. United States Manufacturer’s Suggested Retail Price, $15,000. (Why do I hear echoes of Auric Goldfinger gloating, “No, Mr. Bond; I expect you to die!“)
Bricasti is a Massachusetts, USA company that was started by three exiles from Harmon International’s Lexicon division: Brian, Casey, and Tim. Hence the corporate name, which would warm the cockles of any trademark lawyer’s heart: Yes! Unique! My puckish sense of humor has at times led me to suggest to the unwary that “Bricasti” is the coastal resort town just North of Brindisi. As Peter McGrath would say, that has the ring of “near-truth” to it.
Bricasti, no surprise, started out in the professional-audio field, offering a “we will cut no corners” reverberation unit that quickly became the Gold Standard in its field. Why? Well, cutting no corners is a good place to start. Continue Reading →