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Re: [ARSCLIST] Analog to digital capture question
Hi Dick:
Welcome to the list. I have a similar situation to you in that I have a lot of
good-quality/good-condition LPs and in more cases than should be, I prefer the sound of the LP to
the badly executed CD remaster. In other cases, the LP was never released as a CD or the CD release
went out of print before I could obtain a copy. So, long and short is that I've transferred quite a
few LPs and have quite a few still to do. In fact, I've been working on a pile this week because I'm
headed upstate for the weekend and want to trade in some that I could do without if the trade at my
favorite used vinyl store is worthwhile.
This is my pick for the best value A-D interface:
http://www.digitalaudio.com/digitalaudio/myheadline.asp?S=75&P=5187&PubID=4401
The CardDeluxe is pro-grade but is simple and streamlined so a sharp-eared consumer can use it with
no fuss. In my experience, in both a Dell 4100 and a much newer (and more hash/noise-prone) Dell
E510, it runs silently. I mean dead silent. I've used it unbalanced in early versions of the studio
but everything is balanced +4 nowadays. It ran silent unbalanced with the jumpers set at -10 in the
early version of the studio way back 3-4 years ago.
I have the M-Audio 9624 in my video workstation computer (Dell 8300). It does not interface will
with my system because it has a grounding issue caused by the computer. I have to use isolation
transformers on the output to keep the hum out. I do not know if it would behave better in a
consumer system or with a different computer. In the budget for next year is to get rid of that
card. Soundwise, it is better than a Soundcrapper and it does 96K/24bit. But it's nowhere in the
league of the CardDeluxe, nor should it be for a fraction of the cost.
Now, here's my key bit of advice for you. Transfer in 96/24. A good LP contains a shocking amount of
information. You'll want to be pretty conservative on levels because of the dynamic range of good
LPs, particularly classical LPs. Then you'll want to normalize peak level so you don't have
over-quiet digital discs when you're done. All of this is done much better in higher resolution. For
software, I use and recommend Sony Soundforge but there are many other options out there. And here's
another secret -- consider DVD-Audio. For 2-channel, you can preserve that whole 96/24 resolution.
Discwelder Bronze:
http://www.discwelder.com/
builds a basic DVD-A disc (no menus, behaves like a regular CD in any player I've tried).
In my experience, only a truly A-class LP benefits from all this, but the good ones do. Keep your
needle sharp and use a good preamp.
I continue to be disappointed by how many CD's are so poorly mastered. It's a shame because there's
no reason the medium shouldn't sound excellent. But very often, it sounds harsh, poorly eq'd,
over-compressed and with the recent loud-loud-loud mastering butchery, incredibly distorted.
-- Tom Fine
----- Original Message -----
From: "vandiik" <vandiik@xxxxxxxxxxxxxxxx>
To: <ARSCLIST@xxxxxxxxxxxxxxxx>
Sent: Tuesday, November 21, 2006 8:26 PM
Subject: [ARSCLIST] Analog to digital capture question
Hi all,
I'm new to this list, having joined because I recently inherited a large collection of 1960s and
1970s era classical LPs from my father and I'd like to digitize them.
I wonder if anyone has input on what sound capture device will best serve me on this? I see lots
of happy talk on the Internet about the M-Audio Audiophile 2496 sound card, but most of the buzz
seems to be people saying that it's better than a Soundblaster, and that strikes me as faint
praise. I think the analog signal I'm providing should be pretty good, as the albums to be
digitized were well engineered and pressed, and the discs have been well cared for. My analog
playback setup consists of a Thorens turntable and Shure V15 Type V pickup. The step up amplifier
is of similar if not better quality. My stereo is not a full blown audiophile system, but better
than most, and I hope the digitized files I capture will be good enough that, when I play them,
musicians and other informed listeners will concentrate on the music and not gaps in the fidelity.
Budget wise, I'd be able to pay $400-500 if the capture fidelity warrants the price.
Thanks to all of you in advance,
Dick Williams