Quote from: 2Bdecided on 29 November, 2012, 04:51:23 AMListen to this man. He is too modest to tell you just how much experience he has with vinyl.I'm not familiar enough with cliveb's history to know if this is sarcasm or not.
Listen to this man. He is too modest to tell you just how much experience he has with vinyl.
When it comes to phono cartridges, I figure you can't go wrong with Shure's best which you can get for less than $100, so I wouldn't spend much more than that. Of course, good speakers will be nice with analog and digital sources. When it comes to sound quality, speakers make the biggest difference (especially with a digital source).
I just connect my iPod Touch to my receiver via a cheap headphone jack-to-RCA cable. I thought about buying a dock but when I heard the "cheap solution" it sounded terrific. (Substitute "iPod Touch" for whatever device you use to playback your digital files as appropriate.) They perform well above their price-point IMO. It doesn't hurt that they say "Polk Audio" on them either. Resale value is often found in a recognized brand name. They will pack more than enough punch: I was prepared to add a sub, but after I heard them in my room I happily noticed that that wouldn't be necessary.So I would spend at least that much on speakers, or you'll quickly come down with a really itchy case of upgradeitis from cheap ones. If you want to be thrifty, I recommend doing so on the receiver. You could always find a good used one at a thrift store or on Craigslist. 2-channel amp is preferable for your usage....but as to the tired vinyl vs. digital debate: If we keep bringing it up over and over it's sort of like trying to resurrect that proverbial dead horse; it has long since been beaten to death and rotted away.
From the historical records [sic]: http://shure.custhelp.com/app/answers/deta...and-record-wear
Audio Technica LP120-USBPlus a built in phono pre amp and USB connection.I find it hard to believe the internals can be up to the standard of the venerable 1210s but you never know? With a sticker price of £219 it looks a bargain whichever way you look at it.Discogs is an excellent site for the vinyl enthusiast. That's all you need mate. Good luck and have fun.
...I'll use the 3.5 mm to RCA to connect my laptop. Seems like the most logical option. As for the speakers, they are the last thing I want to be thrifty on. You make a strong case for the Polks. I'm not sure if their bass will satisfy a guy that's used to two 12 inch woofers worth of bass. So I'll just have to try em and see, I can always add a sub. I'm wondering if there's something I'm missing that would make these floor standing speakers worth the extra $100 over the seemingly identical bookshelf speakers you suggested.I agree with your last point. Vinyl just isn't the best or logical option anymore.
Audio Technica LP120-USBIt is dead ringer for the now discontinued and much missed, classic Technics 1210 DD turntable. With all the standard tweeks pre implemented. Plus a built in phono pre amp and USB connection. The AT95E cartridge is pretty decent as well.Looks to be an excellent one stop shop for the aspiring vinylophile. I find it hard to believe the internals can be up to the standard of the venerable 1210s but you never know? With a sticker price of £219 it looks a bargain whichever way you look at it.Anyone have any hands on experience to report?...
One thing I'm still unsure about is impedance...
... and how to correctly match wattage between the amp and speakers. If this amp is rated at 60 watts a channel, my speakers will need to handle at least that much, correct? Or is there more to it?
I wouldn't worry about impedances and wattage ratings. All modern receivers will work just fine with all modern speakers. The only exception would be if you a) want to fill a large space with music, or b) listen to music so loud that your neighbors complain, or c) choose speakers that are unusually inefficient and need more than the usual watts to drive them.
If you have the room for those floor-standing Polks, I think you should scoop them up. A powered sub may be in order, based on your musical tastes, but that can be had at a later time if you're running low on funds.
BTW: I'm not trying to discourage you from getting into vinyl...I like it.
I think that the case for wear of records is often overstated. (Ditto for "speed variations" but that's another story.) I pick up used eighties American vinyl of unknown origin quite frequently. Granted I get picky over the way it looks before I buy it...but none of them sound "worn" and many sound better than some of the new vinyl I have. Your stylus OTOH should be replaced as needed. The records themselves really only have to last for your lifetime or as long as you use them. Your grandchildren aren't going to want a record collection of your old-fart music.
I second what pdq said... You shouldn't need to worry about impedance.
I'd feel safer spending an extra $100 for the belt drive,
could you tell me a bit more about those pre-implemented tweaks?
CDs can handle a larger dynamic range than LPs.
The most important thing is to ensure you set up the arm/cartridge properly.
Quote from: Light-Fire on 28 November, 2012, 02:19:45 AMCDs can handle a larger dynamic range than LPs.What does sound better: an LP with good mixing or a standard CD with maximum lodness (aka clipping and compression) making it sound flat?Which by the why leads the "better" dynamic range of the CD ad absurdum. An interesting link (maybe): The Loudness War AnalyzedIf CDs were mixed like LPs used to be I'd go for CD anytime. But for now I keep my old records to remind myself what music used to sound like.
Quote from: botface on 30 November, 2012, 03:42:05 AMThe most important thing is to ensure you set up the arm/cartridge properly.I'll definitely have to read up on this. Is it something that should come properly setup out of the box? Or will it require fine tuning? Thanks. ...
If you're still intent on purchasing the Debut III, then the cartridge will be factory-fitted and adjusted. You may still want to read up on it for future cartridge changes. (Assuming you don't want to just take it to a specialist to have it done. One of my local audio dealers is very knowledgeable and charges a fair price. I personally feel more comfortable that way...up to you.)I highly recommend you use a good stylus brush (Always brush the stylus gently and only in the proper direction/same as that which it operates during playback.) A good carbon-fibre brush should be used on your LPs, even new ones out of the package, like this one here.
Quote from: botface on 30 November, 2012, 03:42:05 AMThe most important thing is to ensure you set up the arm/cartridge properly.I'll definitely have to read up on this. Is it something that should come properly setup out of the box? Or will it require fine tuning? Thanks.
I guess you can expect a factory installed arm/cartridge to be set up properly. I'd still want to check though even if only for reassurance that things haven't gone "off" in transit.
As for people's gripes about vinyl, take them with a grain of salt. In this forum we are used to being rather, um, detail-oriented. We speak the truth, but we often seem to contradict ourselves: when the topic of lossy encodings comes up, we will insist that nothing matters but transparency as ascertained by double-blind testing, and that objective differences, no matter how measurably huge, are irrelevant. But at the same time, some of us will point to things like the lacquer cutting head moving across the master disc in a straight line, while the playback stylus on a turntable sweeps in an arc, and swear, or at least imply, that the resulting distortion is truly a nightmare and a reason CD is infinitely superior.
There was a time when we just listened to the music, and we did this everywhere—at home, in our cars, on our Walkmans, blasting from tiny speakers on transistor radios and out in public shops. We said "oh good, I love this song" when we heard something we liked, not "better not turn it up too loud or we'll hear that it's on vinyl; God, the signal-to-noise ratio is horrendous as compared to CD. And man, I can't believe the stereo separation and dynamic range is so bad. Listen to that tracing distortion!" No, if you asked most of us at age 20 what we didn't like about vinyl, the list of problems would be very short, and would focus on the medium needing to be kept clean and scratch-free, and stored upright and away from heat so it won't warp. We wouldn't be talking about distortion, transducers, rumble, wow, stereo separation, electrical noise, and every other shortcoming as compared to digital. Those things didn't matter to us until we learned about them and started listening for them and comparing vinyl to CD.
A good carbon-fibre brush should be used on your LPs, even new ones out of the package, like this one here.
in what regard is the carbon-fiber brush you linked better than a cheap $5 one? the $25 brush wouldn't be the first bit of voodoo itt...
Quote from: Engelsstaub on 03 December, 2012, 10:42:24 AMA good carbon-fibre brush should be used on your LPs, even new ones out of the package, like this one here.in what regard is the carbon-fiber brush you linked better than a cheap $5 one? the $25 brush wouldn't be the first bit of voodoo itt...
I'm pretty certain I never said it was. For your convenience I went over the original quote, as reiterated above, and added particular emphasis to the word "like."
Quote from: Engelsstaub on 04 December, 2012, 09:46:14 AMI'm pretty certain I never said it was. For your convenience I went over the original quote, as reiterated above, and added particular emphasis to the word "like."you wrote twice that he should get a good fiber brush. and the one you linked to is $25. mentioning "good" twice suggests that bad ones exist. and one would suspect from your post as well that you linked to a "good" brush, not a bad one.in any case, here in germany i buy brushes for €4 or so. the brush comes in some kind of mounting bracket and you clean the brush by turning it 360 degrees. (there is some plastic thingy in the mounting.)
A word of caution: I believe any carbon fibre brush is capable of leaving dislodged fibres on the record's surface. Since many records are still black vinyl it could be very difficult to see one if it happens. I was thinking there may be some sort of a paint-marker that would work well on carbon fibre. If the upper parts of the fibres (the parts that don't actually contact the record's surface) were painted a bright orange for example, it would be difficult not to see fibres that could have been left on record.