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Can anyone explain the vinyl renaissance?

I was with him for a bit, but then he started displaying all the typical “ I don’t get it” stuff from somebody who isn’t in to vinyl.
He includes some of the standards exaggerations -“ obvious, audible degradation , even after the first play” - nonsense.

I think it’s fine as a personal rant, but it also exemplifies what I’ve pointed out so many times before; you’re not going to get a good understanding for why people enjoy vinyl from somebody who is not into it.
I've watched a lot of David Hurwitz' videos on recordings of classical music. Hard to imagine him extoling the "virtues" of LPs for classical music. He's a perfect example of the kind of person who immediately embraced CDs when they first appeared on the basis of improved sound quality and playing time. Note that he mentioned an LP issue that he preferred to a subsequent CD incarnation on sonic grounds. Didn't get to the end of his video - find the sound of his voice annoying. Have often skimmed his videos in order to find out what versions he prefers of a given composition. Don't always agree with him, but he does point me in the direction of some interesting recordings. Disagreements - he has no use for either historical recordings or historically informed/original instruments performances.

Finding "obvious, audible degradation, even after the first play" is not nonsense. He's a music critic, probably didn't pay as much attention to his playback gear as a gearhead. Going through a lot of LPs in a short time with the sort of cartridges common in the 1970s and 1980s would lead to rapid stylus wear. Usually, by the time the stylus is replaced, it's too late to prevent groove wear. When I was rapidly collecting and playing LPs in the 1970s and 1980s, using low-cost cartridges, I would often find audible record wear beginning after a single play. Say what you will of the AR XA, it's better with medium compliance cartridges than high compliance cartridges. Of course, I was spending more on records than phono cartridges. Besides, many of my LPs were promos, freebies from the record stores where I was working. Getting 10 LPs a week was not at all uncommon. Music critics get even more promos. And I usually used high compliance cartridges, assuming they would have lower record wear. But if the tonearm is inappropriate for the cartridge and the handling of the tonearm into the groove is too jerky, it's likely the cantilever would get messed up sooner rather than later.
 
I've watched a lot of David Hurwitz' videos on recordings of classical music. Hard to imagine him extoling the "virtues" of LPs for classical music. He's a perfect example of the kind of person who immediately embraced CDs when they first appeared on the basis of improved sound quality and playing time. Note that he mentioned an LP issue that he preferred to a subsequent CD incarnation on sonic grounds. Didn't get to the end of his video - find the sound of his voice annoying. Have often skimmed his videos in order to find out what versions he prefers of a given composition. Don't always agree with him, but he does point me in the direction of some interesting recordings. Disagreements - he has no use for either historical recordings or historically informed/original instruments performances.

Finding "obvious, audible degradation, even after the first play" is not nonsense. He's a music critic, probably didn't pay as much attention to his playback gear as a gearhead. Going through a lot of LPs in a short time with the sort of cartridges common in the 1970s and 1980s would lead to rapid stylus wear. Usually, by the time the stylus is replaced, it's too late to prevent groove wear. When I was rapidly collecting and playing LPs in the 1970s and 1980s, using low-cost cartridges, I would often find audible record wear beginning after a single play. Say what you will of the AR XA, it's better with medium compliance cartridges than high compliance cartridges. Of course, I was spending more on records than phono cartridges. Besides, many of my LPs were promos, freebies from the record stores where I was working. Getting 10 LPs a week was not at all uncommon. Music critics get even more promos. And I usually used high compliance cartridges, assuming they would have lower record wear. But if the tonearm is inappropriate for the cartridge and the handling of the tonearm into the groove is too jerky, it's likely the cantilever would get messed up sooner rather than later.

I did find David was trying to make a balanced case, and made plenty of good points. I was just objecting to some of it.

Has to record degrading starting with the first play, no doubt mechanically this happens.
I just find that this can be raised in a way that tends to exaggerate the problem. As if a record is going to sound obviously different from play to play as soon as you start playing it.

I’ve posted this before, but here it is again:

A test with records played on a cheap turntable and a higher quality turntable.
Each record was played 100 times. Then you get to listen to the first play of each record versus the hundredth play as well as see the waveform documenting any additional noise.

There is relatively little difference from the first to the hundredth play using the good turntable. This is consistent with my personal experience. I’m not saying it overrules your experience, I’m just giving some reasons why I find the claim to be a bit exaggerated:



 
But like myself, he WAS into it and chose to walk away, his ears, wallet, and common sense lead him to vote with digital and give up on an
irrelevant, noisy, distorted, and totally inconvenient, obsolete technology.
I don't think the reason was choosing to walk away as much as getting his review copies in the form of CDs. Of course, one thing led to another, but it's not so much that he walked away but that he continued to be a reviewer of new recordings and CD was the format that new recordings were available.
 
Sal have you considered going the route that Newman took, and just attach some of your anti-vinyl screeds to your signature line?
Hah, you even got that wrong. How typically Matt. Not one word of mine is in that sig file.

Here ya go, just for you in your role as #1 biased vinyl fan and defender who can't bear objective reality: https://www.musicbusinessworldwide.com/putting-the-vinyl-revival-in-proper-perspective/

Some more of the proper perspectives from the article, as per its title:-

"...arriving like clockwork every January dressed like the naked emperor in the invisible ermine of a “feel-good” story, is the repetitious news of the “vinyl revival” that, for a business not shy about exaggeration and self-aggrandisement, really takes the biscuit."

"It is hard to keep count, but this must now be the vinyl re-re-re-re-re-re-re-re-re-re-re-re-re-re-re-re-revival."

"...all sense of perspective has been badly lost here in the race to proffer a positive story with which to kick off the new year."

"...the dirty secret – a dirty secret that is also signing the format’s potential death warrant – of this vinyl “revival”. Vinyl pricing is utterly out of control and consumers are being roughly upended as all the money is shaken out of their pockets."

"...the steadily ascending retail price of LPs is “constantly and industrially taking the piss”."

"Pricing is being pushed to breaking point."

"This so-called “revival” is really a commercial shakedown of the fan."

"...the vinyl “revival” (apologies for always archly curling inverted commas around the word, but this is the only way to properly deal with it)"

"...a handful of megastars are drastically skewing the results."

"...often using multiple vinyl variants to drive high first-week sales – badly skews the results."

"It is like looking at the blockbusting gross from Taylor Swift’s Eras tour, over $1 billion and counting, and proclaiming that it is driving a revival in grassroots venues."

"...almost every major act (is) creating a multitude of colour and picture disc versions of albums aimed squarely at their fanbase. A few major acts getting fans to buy the same album multiple times does not constitute a “boom” for the vinyl format. It only constitutes a boom in their personal wealth."

"Sales are growing and that’s clearly lovely. But that growth is marginal and it needs to be understood within its proper context, not devoid of context. Because stripping things of their context to propagate a particular and highly conditional worldview is little more than propaganda."


Hear bloody Hear!

It is hard to resist the impression that he is saying that to partake in the, um, re-(16X)-revival, is to willingly be the sucker in a con-artist's game. Being held upside down while the money is shaken out of one's pockets.

cheers
 
Hah, you even got that wrong. How typically Matt. Not one word of mine is in that sig file.

Oh Newman…:rolleyes:

Of course those quotes in your signature line are not yours. That’s obvious. I remember when you copped those quotes after hyping up that article.

Just like Sal was posting anti-vinyl pictures and memes he did not write.

Clearly, you were missing the point again.

It is hard to resist the impression that he is saying that to partake in the, um, re-(16X)-revival, is to willingly be the sucker in a con-artist's game. Being held upside down while the money is shaken out of one's pockets.

And isn’t it convenient for your ego that you and the author just happen to not be among those suckers, right?

It’s not surprising that you side with these self-aggrandizing screeds that seem most concerned with painting the choices of others as exemplifying a negative character trait (suckers) that you of course rise above.

And then to make it so much a part of your identity that you put it in your signature line.

Notice that not a single vinyl enthusiast here (certainly not me anyway ) has attempted to besmirch the choices you make in how you listen to music. Do you ever ask yourself as to why you feel so compelled to dump on someone else’s choice?

I find that… to use the word of the moment…weird.
 
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“(None of that means that the same amount of satisfaction can’t be gotten from digital, of course to anybody who dedicates their listening to digital! The point is we have to look at how people are actually listening and how that affects the experience).”

I am looking at how people are actually listening. I am looking at how they make their choices. And I don't see the words they write afterwards as necessarily confirming their original reasons for turning to vinyl. I'm surprised at the nature of your response to my post: particularly the two quotes you pulled out would make it obvious that is what I am talking about.

I'll add that I don't consider things like post-rationalisation of decisions dishonest, it's a human trait which I've certainly found myself doing. It does happen and you do need to consider it when considering what people post online after taking to vinyl, in the context of the discussion here.
 
I did find David was trying to make a balanced case, and made plenty of good points. I was just objecting to some of it.

Has to record degrading starting with the first play, no doubt mechanically this happens.
I just find that this can be raised in a way that tends to exaggerate the problem. As if a record is going to sound obviously different from play to play as soon as you start playing it.

I’ve posted this before, but here it is again:

A test with records played on a cheap turntable and a higher quality turntable.
Each record was played 100 times. Then you get to listen to the first play of each record versus the hundredth play as well as see the waveform documenting any additional noise.

There is relatively little difference from the first to the hundredth play using the good turntable. This is consistent with my personal experience. I’m not saying it overrules your experience, I’m just giving some reasons why I find the claim to be a bit exaggerated:



"Relatively little difference" is still difference. There can still be audible degradation on the first play.

I agree with you that it's largely exaggerated, but not in every case. I know I had some late 1970s UK pressings where I suspect recycled vinyl content was screwed up, and yes, the quality of the sound degenerated quickly. I even had a couple of LPs where you could even see paper in the grooves from where labels, most likely, got into recycled vinyl content.

Sample variance in LPs is a thing, even if it doesn't justify those special LPs that sell for thousands because a guru decides some pressings are "hot" (or whatever it was). One thing I really do NOT miss is the walk back to a record store to negotiate yet again with a grumpy owner or manager in the hope that not only will they change a problem disc, but that the replacement won't be just as bad.

I don't know how bad things are these days, but I do remember Australian forums a few years ago littered with complaints from people who were ordering records by post from the other side of the world and getting duds.
 
Notice that not a single vinyl enthusiast here (certainly not me anyway ) has attempted to besmirch the choices you make in how you listen to music. Do you ever ask yourself as to why you feel so compelled to dump on someone else’s choice?

I find that… to use the word of the moment…weird.
I distinctly remember, when I repeated that Newman actually listens to vinyl - which he does, despite the run of posts here from him - that somebody did besmirch that choice, because somehow his reasons for doing it weren't genuine, like theirs.
 
Hah, you even got that wrong. How typically Matt. Not one word of mine is in that sig file.

Here ya go, just for you in your role as #1 biased vinyl fan and defender who can't bear objective reality: https://www.musicbusinessworldwide.com/putting-the-vinyl-revival-in-proper-perspective/

Some more of the proper perspectives from the article, as per its title:-

"...arriving like clockwork every January dressed like the naked emperor in the invisible ermine of a “feel-good” story, is the repetitious news of the “vinyl revival” that, for a business not shy about exaggeration and self-aggrandisement, really takes the biscuit."

"It is hard to keep count, but this must now be the vinyl re-re-re-re-re-re-re-re-re-re-re-re-re-re-re-re-revival."

"...all sense of perspective has been badly lost here in the race to proffer a positive story with which to kick off the new year."

"...the dirty secret – a dirty secret that is also signing the format’s potential death warrant – of this vinyl “revival”. Vinyl pricing is utterly out of control and consumers are being roughly upended as all the money is shaken out of their pockets."

"...the steadily ascending retail price of LPs is “constantly and industrially taking the piss”."

"Pricing is being pushed to breaking point."

"This so-called “revival” is really a commercial shakedown of the fan."

"...the vinyl “revival” (apologies for always archly curling inverted commas around the word, but this is the only way to properly deal with it)"

"...a handful of megastars are drastically skewing the results."

"...often using multiple vinyl variants to drive high first-week sales – badly skews the results."

"It is like looking at the blockbusting gross from Taylor Swift’s Eras tour, over $1 billion and counting, and proclaiming that it is driving a revival in grassroots venues."

"...almost every major act (is) creating a multitude of colour and picture disc versions of albums aimed squarely at their fanbase. A few major acts getting fans to buy the same album multiple times does not constitute a “boom” for the vinyl format. It only constitutes a boom in their personal wealth."

"Sales are growing and that’s clearly lovely. But that growth is marginal and it needs to be understood within its proper context, not devoid of context. Because stripping things of their context to propagate a particular and highly conditional worldview is little more than propaganda."


Hear bloody Hear!

It is hard to resist the impression that he is saying that to partake in the, um, re-(16X)-revival, is to willingly be the sucker in a con-artist's game. Being held upside down while the money is shaken out of one's pockets.

cheers
But that's not the fault of the vinyl format.
If it wasn't a run of expensive bits of flat plastic, it would just be yet more of:
  • world tour hoodies and t-shirts plastered on the back with tour dates that the wearer probably can't afford the extortionate sum to attend
  • those little rubber doll things with the big heads
  • a revival of expensive special issue CDs and video discs of whatever format
  • posters, calendars, badges and so on
  • cheapo, crappy sounding, hard to play guitars that will allow kids to sound just like their heroes
  • official fan clubs to join with even more special merchandise
  • branded headphones and other cheap audio stuff with markups that would make our "favourite" high end manufacturers green with envy
I mean...

(and yes, the LPs are the most expensive of that stuff)
 

For example, if a person chooses option A instead of option B, they are likely to ignore or downplay the faults of option A while amplifying or ascribing new negative faults to option B. Conversely, they are also likely to notice and amplify the advantages of option A and not notice or de-emphasize those of option B.

The objective of a choice is generally to pick the best option. Thus, after making a choice, a person is likely to maintain the belief that the chosen option was better than the options rejected. Every choice has an upside and a downside. The process of making a decision mostly relies upon previous experiences. Therefore, a person will remember not only the decision made but also the reasoning behind making that decision.
 
Galliardist,

I’m wondering why, in this reply below, you didn’t even acknowledge the whole point of my post to you: I was correcting your mischaracterizations/misunderstanding of my argument.

You’d written things like “I'm not going to accept that because you can ignore the problems in vinyl playback, everybody else can or should.”

When nowhere had I suggested that, and even have often argued precisely the opposite. I have continually acknowledged that one person can be bothered more by problems and vinyl playback than another person and therefore, of course, vinyl is not for everybody.

And yet through your post to me, and I could’ve selected multiple other examples, were similar micharacterizations, suggesting I was making generalizations about vinyl, its superiority, etc, but I simply was not arguing for.

Would you acknowledge you misunderstood me at least? Otherwise, I don’t know if my clarification got through.

As to this…
I am looking at how people are actually listening. I am looking at how they make their choices. And I don't see the words they write afterwards as necessarily confirming their original reasons for turning to vinyl. I'm surprised at the nature of your response to my post: particularly the two quotes you pulled out would make it obvious that is what I am talking about.

I'll add that I don't consider things like post-rationalisation of decisions dishonest, it's a human trait which I've certainly found myself doing. It does happen and you do need to consider it when considering what people post online after taking to vinyl, in the context of the discussion here.

I find all that pretty vague and opaque. But it seems to imply that whatever people say about why they enjoy vinyl, you won’t accept it and at least imply you somehow know better than they do as their reasons reasons.
It looks like you were already dismissing such accounts as post hoc reasoning.

Is there any reason I should take this seriously? (please note: the fact that generally speaking post hoc justification exists, is not an argument against any specific account ). For example, I’ve given plenty of reasons as to why I got back into vinyl:


If you’d like, You can start explaining to me why those aren’t the real reasons I enjoy vinyl and explain to me the real ones that I actually hold. (post hoc justification you think is in play instead)

But really... vinyl is better because of how people use music?
^^^ another example of starting with a misleading generalization I never made, nor would have made. I speak only of my own experience, or vinyl enthusiasts who have made observations and comments similar to mine as to their experience with records.
I would not make the sloppy generalization in that form of “vinyl is better…”

Firstly, I certainly listen to entire albums when streaming. And when vinyl was my main thing, I could also go and cue up a different track, or take an LP off and start listening to another after a minute or so if I'd made an obviously wrong choice of what to play. This stuff is really format agnostic.
Cool.

But am I to accept your anecdotal account of your experience? Or shall I ignore it as inaccurate post hoc justification?

I am happy to accept your account of how you went about listening to vinyl and digital sources.

I’m a different person, and so my experience was slightly different sometimes. You may have continued to effortlessly listen to entire albums from your digital source. I found it increasingly difficult. Not impossible, but more difficult overtime. Are you willing to accept people having other experiences than you? If so, Why should we accept your account as to how you listen versus someone who listens to records? Where it is the person listening to records, who’s description of the experience suddenly becomes under suspicion?


If vinyl disappeared tomorrow, completely and utterly, people would still listen to whole albums that they like or understand as whole albums.

This is imprecise, relative to the points I’ve been making. I’ve been either referencing myself, or other vinyl enthusiasts who acknowledge they were experiencing similar issues. Your thought experiment has an effect already been run by us: we were not in fact, tending to listen to whole albums, when digital streaming was our only source. Then, when we integrated a turntable and records, we found ourselves listening to whole albums much more frequently. So we have our experience against your mere speculation.

And when you get into speculation like “ if they were really into the music…” you have entered Newman territory, which is full of stones and glass houses. You aren’t in a position to tell how people would listen if they were “really into the music.” People really into the music find their own ways of highest engagement with their music.
 
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Truth be told - it's a 'kin ridiculous thing to be doing. But I'm having fun doing it anyway.
There ya go partner, that about rounds it up. ;)
 
There ya go partner, that about rounds it up. ;)
As it does for most of our big boys toys. At least in the perspective of half of the population. You ride Harleys don't you? :p
 
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As it does for most of our big boys toys. At least in the perspective of half of the population. You ride Harleys don't you? :p
I ride Harleys, and Ducati's, and Buells, even had the Triumph or two.
 
As it does for most of our big boys toys. At least in the perspective of half of the population. You ride Harleys don't you? :p

None of it is remotely silly in my view. Why should somebody think that convenience is everything? Or that there is only one factor - e.g., perhaps accuracy - that affects how we respond to experiences?
 
Or that there is only one factor - e.g., perhaps accuracy - that affects how we respond to experiences?
Because as you always avoid, accuracy = is the definition of High Fidelity.
The rest is called distortion.
 
Because as you always avoid, accuracy = is the definition of High Fidelity.
The rest is called distortion.

That didn’t answer the question Sal.

It’s a fact that, generally speaking, digital is the more accurate source than vinyl.

But that doesn’t mean it must be the criteria for choosing a source, nor that accuracy alone is the only thing that influences a listening experience or how people relate to their music, nor that an audiophile can’t rationally enjoy listening to records.

Driving a car is generally more safe than driving a motorcycle.

If we used only that criteria, then you’re choosing to ride motorcycles is irrational.

But of course, the rationality of such a choice isn’t judged merely on one criteria, right?
 
That didn’t answer the question Sal.

It’s a fact that, generally speaking, digital is the more accurate source than vinyl.

But that doesn’t mean it must be the criteria for choosing a source, nor that accuracy alone is the only thing that influences a listening experience or how people relate to their music, nor that an audiophile can’t rationally enjoy listening to records.

Driving a car is generally more safe than driving a motorcycle.

If we used only that criteria, then you’re choosing to ride motorcycles is irrational.

But of course, the rationality of such a choice isn’t judged merely on one criteria, right?
What is your desire for a system, a toy to play with, or a clear window to the world of music?
 
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