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Found 10 results

  1. I took this test using only my laptop and some decent over ear headphones, no DAC. Funny they seemed to change the order of the music. I had to listen to JayZ and Katy Perry first and it was very difficult for my ears not to puke, let alone determine which was which. I was pretty sure I would get the Neil Young and Classical samples correct and I also got Coldplay by guessing. Scored three total. I guess it doesn't matter which digital file I get, I can't tell that much of a difference. https://www.npr.org/sections/therecord/2015/06/02/411473508/how-well-can-you-hear-audio-quality
  2. I am listening to the 2016 re-release of Pink Floyd's, vinyl edition of Dark Side of the Moon. Even though I am almost certain the production source is digital, my opinion is that they did a fantastic job (no noise in the background as in the original album). I am tired of buying what on the cover seems a beautiful, brand new re-release, just to find out that the quality of the recording is "crappy". I have spent hours and hours on the Internet looking for "the right stuff" and yes I have found great products, such as MOFI, Speakers Corners Records and ORG Music. For the same token, I have this question: if the time to decide between buying an original vinyl (let's says a sealed one, from the 70s) and buying an audiophile quality re-release of the same record, which way should I go?
  3. My dad has always wanted to start a blog about his records and, I have come here to learn about records. Me and my sister want to help him start the blog. I am a videographer so guess I'm a videophile?, but honestly it requires both video and audio I guess . I was wondering what are some of the best sources out there for beginners?
  4. Dear fellow audiophiles, My name is Jerome Sabbagh, I am a new member and I am a professional jazz saxophonist. I just released a new album called "The Turn" on Sunnyside Records, with my longtime quartet of Ben Monder (guitar), Joe Martin (bass) and Ted Poor (drums). "The Turn" was recorded live to 2 track analog tape by James Farber at Sear Sound and mastered by Doug Sax and Jett Galindo at The Mastering Lab (with very little limiting, might I add!). It's all original compositions of mine, except "Once Around the Park" by Paul Motian, who I played with at the Village Vanguard in 2011. I did my best for this album to sound great and I am very happy with the final result. Currently, "The Turn" exists in 192/24 download, physical CD and "mastered for iTunes". That said, I am a big vinyl enthusiast and, for that reason, I just launched a crowdfunding campaign on Kickstarter to press the record onto vinyl, as a limited edition of 500. I realize most of you probably don't know me and I hope this post isn't inappropriate. As a gift to the community and to encourage anyone to listen to my music, I am happy to send two tracks from the record, for free, to anyone who sends me a private message through the forum, in the following uncompressed formats: 192/24, 44/24 and 44/16. The Kickstarter campaign is here. I remember reading on several forums fellow vinyl afficionados complaining about the relative lack of vinyl by new artists, as opposed to reissues, and also the paucity of affordable - and well produced - new vinyl in general. I agree, and, with that in mind, I have set the price of the record to $20, including domestic shipping. However, I am not cutting corners. It will be produced with the utmost of care by the best of professionals. I will use Doug Sax to cut the lacquer and press the record at Quality Record Pressings onto two 150g LPs (3 sides). I am planning on 150g records because I am not convinced that 180g sounds better and it does cost a lot more. I think picking the right cutting engineer and the right pressing plant is more important for the quality of the record than the weight of the vinyl. I am confident Doug Sax and QRP are the right people for this. In case the recording/mastering process is of interest to you, here is some more detailed info: The record was done all in one day. We recorded all in a room at Sear Sound, without headphones. James Farber used quite a few microphones (great vintage mics for the most part: Neumann M49 on the tenor saxophone etc) and the mixing was done live, on a Neve 8038 console in Studio A. Among other things, we used real EMT plate reverbs and also a Pultec tube preamp on the saxophone. We actually recorded three different versions simultaneuously: one to ProTools digital at 88.2/24, one on an Ampex ATR 102 solid state tape machine, and one on a Studer C-37 tube tape machine. Both tape machines used 1/2 inch tape at 30 ips. Both machines were backed up to ProTools at 88.2/24 at the same time as we were playing. We reused a couple of tapes throughout the day, as I couldn't afford to buy enough tape to record everything without doing that. I am aware that this is a bit of a trade-off, but I have done this before and I feel it's well worth it: It allows me to use tape and I think tape sounds a lot more musical than digital in general. I also feel that the transfer at 88.2/24 is quite faithful to the sound of the tape. The converters at Sear Sound were Mytek. During the mastering process, we listened to the three sets of files and tried to keep an open mind. We decided to use the files made from the ATR 102 tape machine. We thought they sounded the best overall, the most balanced and the most solid. The files from the Studer tape machine sounded really great too, but somehow the sax felt a bit peaky. The straight-up digital files were good but just didn't compare overall for my taste. Both sets of files from the tape sounded a lot more realistic and involving to me. Doug Sax and Jett Galindo then gave me a few options to pick from at mastering. Since we now had digital files at 88.2/24, the main decision was whether to master in digital or convert back to analog. We tried both. Upon listening, I thought that going through The Mastering Lab's pristine analog chain sounded a lot better despite the added conversion. That's what we did in the end. I don't think Doug did that much to the files but what he did made a big difference. He did some very effective, tasteful EQ, and just a little bit of limiting. Doug also did separate passes through his JCF converters to create the 192/24 version and the 44/24 version, thus avoiding any sample rate conversion, which, in my experience, always degrades the sound. If the Kickstarter campaign is successful, Doug will cut the LP directly from the 88.2/24 files from the Ampex ATR 102, using the same analog chain he used before. I believe this will be the best-sounding version of this record. As an aside, I had always wanted to work with Doug, based on the Sheffield Labs records (the Wagner, Prokofiev and Stravinsky/Debussy LPs), his vinyl remaster of Sonny Rollins' "Way Out West" and his remaster for CD of "Ray Charles and Betty Carter" (two of my favorite records). I have to say I was not disappointed. Doug, Jett and James Farber (who I have worked with many times) were all absolutely great to work with, and they truly care about good recorded sound. They are about the music. I am happy to answer any and all questions about this project. I hope you enjoy the music, and, if you do, I hope you will consider backing the Kickstarter. Thank you! Jerome Sabbagh www.jeromesabbagh.com www.facebook.com/sabbaghjerome www.twitter.com/jeromesabbagh
  5. I'd like to get a list going of albums with excellent production/mastering that sound great on a hi-fi system...Recordings that showcase detail, separation, dynamics, etc. For example: Wilco - Yankee Hotel Foxtrot The Flaming Lips - Yoshimi Battles the Pink Robots Nils Frahm - Spaces Tycho - Dive Efterklang - Piramida From searching the web, it seems like most lists are full of older classic rock, jazz, and classical stuff but I'm mostly interested in more recent albums (within the past 25 years or so). What are some of your favorites/recommendations?
  6. I found a video recording of Vinyl Collective. "If you don't own this record, you might as well come to terms with the fact that you're a fraud and kill yourself."
  7. There's nothing to prove here, it's just an interesting listen for the general audience who don't have the time to take an audio recording class in college. FROM "Science Friday from NPR"
  8. I was wondering if anyone could help me. I've been listening to vinyl now for about 3 years and I really love it. I have a pretty basic setup (pioneer pl-a45d TT / pioneer sa-5200 amp / and 4 speakers) and am trying to go to the next level slowly as I save money. This is my question, I currently have an automatic turn table and I personally love the automatic starting and stopping. Are there no TTs that would be considered audiophile that are automatic? One thing that concerns me is sometimes (it's random, not all the time) I have a problem with shaking and not having super steady hands. I'd like to go get something great but personally I would like it to be automatic though I think I could deal with it if it weren't. I read some good things about the vintage technics SL-1600. Does anyone know if this TT is any good? Is it considered audiophile quality? I was also considering about the Pro-Ject Debut Carbon. Any thoughts / advice / help would be greatly appreciated.
  9. I'm hoping over the next year to acquire the components to a decent audiophile system. I think for a turntable I've chosen a Pro-ject Debut Carbon. What would I need (or want) in the way of preamps, stereos, speakers to complete a nice little living room sound system. This doesn't need to be something that can play my T.V. audio or CDs or anything. I just want a system dedicated to quality vinyl sound.
  10. My local shop has a Yamaha PX-3 in stock that is positively drool-worthy. Anyone have any experience with linear tracking turntables?