My music-loving friend who upgraded his Bricasti M1 to the gold-plated edition wanted to be able to continue to listen to Long-Playing vinyl phonograph records. However, while Bricasti’s M12 Source Controller does have a set of analog inputs, the M1 does not.
I suppose I should now insert a Heresy Trigger Warning Alert, in that I believe that in most cases, LPs are not really a high-resolution format–compared to anything as good as or better than native 20-bit 44.1kHz PCM. So I chose the expedient but gratifyingly effective path of specifying an affordable Analog to Digital Converter that I surmise was made for the Custom Installation market, the now-discontinued Key Digital AXXDA, for the princely sum of $50. That unit is based on a 24-bit, 48kHz chip.
Click on the jump link to hear the surprisingly good results from a MoFi vintage Frank Sinatra 180-gram remastering! Continue Reading →
Photographed in 1949 by Julius Shulman.
Julius Shulman: Modernism Rediscovered (3 vols.)
Directed and Produced by Benedikt Taschen
Taschen, Cologne, 2016
Vol. 1: 336 pp.; 15.5 x 10.5 x 1.5 inches; 19 pounds total weight for set.
Frank Sinatra signed with Colombia Records in 1943. However, wartime rationing meant that only the so-called “V-Discs” (“Victory Discs”) that were recorded as morale boosters for service personnel overseas could be manufactured. Regular commercial recording resumed only after the end of the war. The Voice of Frank Sinatra, Sinatra’s first “album” of four 78rpm records, was released in March 1946, having been recorded in two sessions on July 30 (Hollywood) and December 7 (New York) 1945. The Voice of Frank Sinatra went to the top of the Billboard chart, and stayed at No. 1 for seven weeks.
Ironically enough, though, it was Sinatra’s contract with movie studio MGM that provided him his first million dollars, enabling him in 1947 to hire architect E. Stewart Williams. At first, Sinatra had wanted a Georgian mansion, complete with brick façade and white columns. But Williams was able to convince Sinatra that the Palm Springs location called for a different style. As you can see above, when originally built, the Sinatra House housed a state-of-the-art 78rpm hi-fi system. Continue Reading →
Berlin the Bear says, “Body-Shaking Bass!!!”
This is the sixth (and final) 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. Part 4 (a USB computer interface to handle analog-to-digital conversion) is here. Part 5 (software to make and edit a digital transfer of an analog LP) is here. This installment is about choosing headphones and monitoring loudspeakers for digitizing legacy media formats.
In much the same way that one cannot go wrong buying paint from Benjamin Moore (there probably are “better” paints; but, for most people and most uses, Benjamin Moore is the Pareto-Optimal choice), one cannot go wrong buying Audio-Technica’s ATH-M50x headphones. Their virtues include (as far as I know) class-leading sound in their very affordable price tier (in Basic Black, $149 with free shipping from B&H Photo); closed-back earcup design for two-way sound isolation; comfort; and robust construction.
Part of my calculus is that for the limited purposes of ripping and editing an LP, headphones (or monitoring loudspeakers) that are good enough, will be good enough. For an elaboration of that, and other headphone options and loudspeaker options, please click on the jump link. Continue Reading →
This is the fifth (and the penultimate) 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. Part 4 (a USB computer interface to handle analog-to-digital conversion) is here. This installment covers software to make and edit a digital transfer of an analog LP.
In my immediately-previous installment, I tried to drive home the point that the kind of “computer audio interface” box that you can find at your local guitar-and-keyboards store is likely to have features you don’t need, while lacking features that you do need. This installment sings the same tune, but with different words.
You do not need the Pro Tools software suite in order to make an archival-quality digital transfer of an LP (or any other legacy sound-media format). (Neither do you need a lightning-fast tower computer with buckets of RAM.) Justifications, after the jump. Continue Reading →
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 →