Can anyone explain the vinyl renaissance?

[Frgirard]

Like this: You measure the commercial product compared to the source. In this case you would need access to the source of whatever "Beethoven Tahra Furt 2001 1954" is.

If you had such access, you would find that a competently made digital copy of it is more accurate than a vinyl pressing of it.*



*Assuming the source has not degraded significantly since the vinyl pressing was made

It's impossible. There are a work of restoration made with several vinyles. The level of detail can not be add by the restoration /remastering.

I have seen demonstrations of a program dealing with off-centering. It's amazing the difference before after. To my knowledge, in the past Nakamichi was the only TT manufacturer to deal with off-centering. But vinyl lovers do not give importance to this problem.

 

[krabapple]

It's impossible. There are a work of restoration made with several vinyles. The level of detail can not be add by the restoration /remastering.

I don't really see your point here. A 'restoration' usually means the source has been damaged.

 

[MattHooper]

Analog:

Digital:

 

[Frgirard]

I don't really see your point here. A 'restoration' usually means the source has been damaged.

A source? In vynile restoration, the sound engineers take the best parts of each vynile what he has access to.
I repeat, you can not add details if they don't exist. It looks like you're having trouble understanding.

 

[mhardy6647]

I mean... here's the thing about artists...

 

[nextSibling]

Does the vinyl renaissance make sense to you because it sure doesn't to me

I miss cover art.

 

[MattHooper]

I mean... here's the thing about artists...

That's great!

 

[Wunderphones]

That's probably my favorite Calvin and Hobbes of all time.

 

[EJ3]

The problem with streaming is normally there's only one version of an album available, maybe 2, stereo and multich now.
For the music I love, I like to have the best master that's been done, so I buy that CD and then burn it to my hard-drive.
I love the convenience of having my own digital library containing the best possible sources.
The best of all worlds IMHO.

I have quite a number of LP's that never made it to CD or digital.
So I will keep my vinyl rig.
However, my end goal is to transfer all of those to both CD-R or CD+R and digital And also record (*RIP?) the existing CD's to digital.
Then, I won't have to muck around with the LP's (or the CD's) unless I really want to for some reason (or if the digital file has somehow become screwed up).
I have found that around here West Ashley, Charleston, SC, power aberrations are worse than on most Indian Ocean & Western Pacific islands & atolls that I have lived on.
OK, our internet connections weren't very good: but the issue was rarely the power company.

 

[krabapple]

A source? In vynile restoration, the sound engineers take the best parts of each vynile what he has access to,

So, you're talking about a recording that now only exists on 'vynile' (yet another silly new spelling of 'vinyl')? Meaning it was recorded directly to vinyl in the first place, or that the original recording on tape is lost? Is that what you mean?

I repeat, you can not add details if they don't exist. It looks like you're having trouble understanding.

I suspect I'm far from alone in having trouble deciphering your claims on this.

Meanwhile, you don't seem to understand my point.

Using your example, what I am saying is, if the source (or sources) is on vinyl, a digital transfer of it (i.e, digitizing the output of the phono preamp) will be measurably more accurate than transfer to any other format. Indeed, I expect any competent audio restorer nowadays would work in the digital domain, whether or not the final restoration result is released on vinyl.

 

[Wunderphones]

So, you're talking about a recording that now only exists on 'vynile' (yet another silly new spelling of 'vinyl')? Meaning it was recorded directly to vinyl in the first place, or that the original recording on tape is lost? Is that what you mean?



I suspect I'm far from alone in having trouble deciphering your claims on this.

Meanwhile, you don't seem to understand my point.

Using your example, what I am saying is, if the source (or sources) is on vinyl, a digital transfer of it (i.e, digitizing the output of the phono preamp) will be measurably more accurate than transfer to any other format. Indeed, I expect any competent audio restorer nowadays would work in the digital domain, whether or not the final restoration result is released on vinyl.

Yes, but it's so much easier to do that kind of task in the digital domain that a lot of restorers would choose digital even if the output weren't superior.

 

[mhardy6647]

That's probably my favorite Calvin and Hobbes of all time.

It's on the short list

 

[Newman]

A source? In vynile restoration, the sound engineers take the best parts of each vynile what he has access to.
I repeat, you can not add details if they don't exist. It looks like you're having trouble understanding.

We don’t have trouble understandings things that are communicated clearly.

 

[krabapple]

Yes, but it's so much easier to do that kind of task in the digital domain that a lot of restorers would choose digital even if the output weren't superior.

In a science fiction world where digital copying isn't more accurate than analog, yeah, gee, I guess we'd just be lucky that digital is superior for that kind of task.

 

[Sal1950]

Well, digital is capable of it when the bit depth and sample rate are sufficient.

That's called "Red Book" spec.

 

[Wunderphones]

That's called "Red Book" spec.

Yeah, all modern digital is up to the task. But digital used to be just 8-bit, and I wanted to be sure we weren't implying that digital is inherently capable of transparency.

 

[MattHooper]

That's called "Red Book" spec.

Sal do you also stream hi-res audio, and if so do you find a worthwhile difference from red book CD?

 

[Sal1950]

Sal do you also stream hi-res audio, and if so do you find a worthwhile difference from red book CD?

Yes I stream hres from Apple on a 4k device, but No I don't believe it's any better than 16/44.
It's next to impossible to know if any hi-res release/stream has been remixed or remastered since it's 16/44 release, so many question marks are always there. But I have participated in a number of comparisons done where the provenance was a known, like Mark Waldrep of AIX records 2 tests, and a couple others I can't remember right now. In every case I've never been able to ID a Redbook from anything higher using the most revealing path I have, my Emotiva DC-1 DAC and Sennheiser HD650 cans.
I may have missed a few, but I'm not aware of any tests that have ever conclusively shown better than Redbook data rate to be audible.

 

[Leporello]

The world has moved on and my generation has voted that they prefer vinyl, whether the old men like it or not.

What percentage of your generation?

 

[Waxx]

I don't know the percentage, but it's a big group of the younger generation that buys vinyl. This is a picture of record store day in front of one of the many vinyl shops (the Music Mania) of the city where i used to live (Ghent, Belgium). Other shops had similar waiting rows that day:

This town has about 10 specialised vinyl shops in this city of 250K inhabitants, and many mainstream stores (like the media markt, a very mainstream electronics shop) also sell vinyl of more mainstream music, as it sells like hotcakes.

Many new releases sell out the day of release, even in obscure genres, and often got many represses within months of the release date. And even mainstream arstists press vinyl today. Stromae and Angèle, the two biggest Belgian artists sell their music on vinyl on big quantities, more than cd's (but not more than streaming). It's also better for their income, as vinyl releases earn more money per copy than streaming or digital sales. They are everywhere to buy, on mainstream sales websites like Bol.com (the local copy of Amazon) to local specialised vinyl stores like the Music Mania above.

It's that bad that waiting rows for vinyl pressing plants became ridiculous (6 months is not abnormal), altough their are new plants opening every year and the vinyl pressing capacity of Belgium went up by the factor 20 compared with a decade ago.