I wasn’t a fan of the Korg MR2 I had. I got much better results from the Marantz PMD661, 671 and Sony PCM-D50, all recording at 24/96, straight from the REC Out of my NAC552/Superline and not using any post processing in software, save for trimming and cutting the recording into individual tracks using Audacity.
With care, you can get some remarkable results. Forget de-clicking and that sort of thing - horrible, kills the sound. Be careful not to go into digital clipping, but also be careful not to under-record either.
Once cut into tracks then loaded on a stick and played back via my Naim DAC the resulting files can sound very convincing. The trick is keeping it all as simple as possible.
Not quite sure what you mean. The recording sources were LP12/Lingo/Ekos/Dynavector TKR/ Naim phonostage SS version added inside the Linn. and Nakamichi CR7. All this into the NAC52/52PS. The only comparison made was between the source and the original when I eventually moved the LP12 to my study and attached it to the NAC282. The study system has been considerably upgraded since then!
True, but I regard the digitised vinyl and cassettes as backups now. I wonder when my Karousel will be ready for installation … must ring Peter and co to find out …
I ordered my Karousel early July and took my place in the queue. I was about no 7 inline and the dealar date in shop was given as mid August, so could be any time now. Covid -19 was a potential delay factor to machine them.
I am luckly to be a couple of miles from my dealer so as its a full rebuild, they collect and refit which is helpful to me. Makes you wonder how much more from the LP12 can be fettled out, not just from Linn but other specialists as well.
Yes, I viewed it as preserving them, warts and all (except de-clicked), but no more wear (or worsening dust as later seemed an alternative explanation), no more stylus (cartridge) replacement, and a TT to sell, giving way to (on CD as originally ripped) no flipping of record every LP side and less storage space. Some since replaced with downloads or ripped CDs, but others remaining as the ripped vinyl, the better quality ones, either because not easily found or only rarely played.
As you go up the financial ladder the irritation of LP surface noise seems to receed. All down to choice as to which way you spend your hard earned money.
I found with increasing play the surface noise increased, which I put down to wear. It has been suggested on this forum that it may have been increasing ingrained dust, despite my routine wipe - I had no concept of a need to have a disk cleaning machine.
When I only had vinyl I could ignore the clicks and the background surface noise, I presume because I was used to it as the norm of playing vinyl. I only found it objectionable on the most played albums where the background level became significant - but once I had digital it made me notice the noise: so nice to not have!
Just remembered that the phono stage was a Naim Prefix. I gave the NAC.52 to my younger son-in-law. He uses it with my daughter’s Linn Axis, Rega mm cartridge and the onboard mm boards, and Naim NDX.
Having collected classical LPs since I was a teenager and now 76 I have some 4000 which means they may stay unplayed for quite a time. OK, always favourites which is the other side. My LP12 apart from bearing and platters is far removed from the stock Glasgow job with a Stiletto plinth and a Lyra Etna SL. This goes into a Superline/Supercap/552. So perhaps a touch of overkill! A lot of investment to get whats on a piece of plastic into loudspeakers.
Apart from small scratches caused by pressing plant carelessness the vast majority of my discs, and that’s classical with a lot of near silent passages, can be as quiet as CD.
Surface noise is still be unpredictable. I don’t think anybody really knows why. Even a good RCM can be defeated by some discs.
The conductor Herbert von Karajan on hearing CD for the first time has been quoted as saying “the rest is gaslight” Each to his own.