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Music servers and other computer based digital audio technologies.

RE: Ripping vinyl

Problem is seeing the ticks and pops, vs. sounds on the recording. Those will be band limited to 20 kHz. Ticks and pops will have impulses to the maximum frequency response of the cartridge/phono pre, probably significant energy up to 50 Khz. This makes it easy to see ticks and pops due to vinyl vs. sounds on the recording itself, such as bows hitting music stands, etc... when using a spectral plot (freq vertical, time horizontal, amplitude colors). Or when using automatic detection so as to avoid mouse clicks.

I'm not sure who Mark Walberg is. Do you mean Mark Waldrup? In any event, a recording engineer who is incapable of hearing that 192/24 is better than 96/24 is not a first rate recording engineer, either because he is not using first rate equipment, because he cuts unnecessary corners, or because he is hearing challenged. If each step in the process sounds transparent then several steps in a row will be audible, so to produce a quality result one has to overdo each step a bit.

I found that transferring cassette tapes at 96/24 was noticeably closer to the sound of live cassette playback (on a Nak CR7) compared to 44/24 which was degraded. I know this sounds absurd. I was asked by a friend to use this format many years ago when I first started doing transfers, and I did my very best to convince myself my friend was wrong. Unfortunately, my ears told me he was right. (I don't use 192/24 for cassette transfers, but for open reel tapes or LP I would.)

Note: 16 bits may be enough, but only if the gain is set perfectly. If not then it will suck, particularly if there is any clipping. By setting the gain conservatively you will operate in the low distortion portion of the A/D and not have to worry about digital noise if you record at 24 bits.


Tony Lauck

"Diversity is the law of nature; no two entities in this universe are uniform." - P.R. Sarkar


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