Thanks for the insights, apart from all the noise that comes with vinyl, my reasons are much simpler, I just can't be bothered with all the rigmarole of dealing with it. Having music at your finger tips and being able to easily select individual tracks, albums or genres at the touch of a button from a hard drive is bliss.
I tested EsPlaylist for DUI which doesn't have this behaviour. Also, Columns UI's NGplaylist works as expected too.
I installed the latest program version on a Windows 10 Pro system. My need on this machine is to record in mp3 format using the LAME encoder. I have done this quite easily under Windows XP and Windows 7.
Here, in Windows 10, the main problem is that there is no record button. But that isn't all.
When I first installed the program and configured it, the only input device listed was wave mapper. Wave Mapper does not seem to actually be a source of anything. The only really valid input, 'line in', doesn't show anywhere until something is actually plugged into the input jack.
I did load, and play, an mp3 file in mp3DirectCut but didn't attempt to do any operations on it.
Once I plug a hardware player into the input jack and told the system it is to be a line in jack (not a microphone jack), line-in becomes a selectable input for recording. However, when I opened mp3DirectCut, with line-in selected as its input device, the record button was no longer there. After that, no matter what I do, the record button stays AWOL.
Also now, when I open an existing mp3 file with the program, all the operation controls are gone. I can not play the file nor do anything else with it. If I close the mp3 file, all controls, except the record button, reappear. Open a file, the controls disappear again.
I installed CoolEdit 2000. It records properly from line in and plays back what it records. Everything seem normal.
Can anyone use mp3dDirectCut, especially for recording, in Windows 10?
Any ideas about the strange behavior on my computer?
Last post by cliveb -
Right. I focused on the difference that was most objectively and reliably audible and quantifiable. I counted the tics and pops that I could hear, and did that several times to ensure that I had fairly stable numbers for each file. I did this in FooBar's ABX comparator as randomly chosen X's, and then analyzed the ABX log to sort my tic counting runs according to the actual source.When I listen to the two samples, I hear a "freshness" and clarity in the laser sample compared to the needle one. For example, the cymbals have more sparkle. I am realistic enough to acknowledge that this could simply be down to different frequency responses.
But that isn't really the point. What I was trying to suggest is that when comparing two needle drops, some people (like Arny) seem to zone in on differences in the faults, while others (like me) zone in on the general character of the sound. My hypothesis is that this different psychological response may be at the root of why some people enjoy vinyl (despite its obvious flaws), while others simply can't.
Please apply what we know about experimental design. Both samples were obviously digitized vinyl. Therefore the issues you just raised are common to both transcriptions. No such conclusion can be arrived at by any means that I know of from listening to two transcriptions of what was presumably the same LP.I don't understand. We're talking about two needle drops from different turntables, and noticing the differences. It's obviously possible to draw conclusions about differences between the two transcriptions. They clearly aren't using the same cartridge - indeed one of them isn't using a cartridge at all.
Finally, "Improved detail" and tics and pops are AFAIK orthogonal. They can be independent properties of an audio file, particularly if a particularly good job of removing tics and pops is used before the recordings are compared as related to detail.Quite so. They are unrelated - hence my interest in noting that you focus on one while I focus on the other.
Please note that no way did I say that the only audible differences between the files were the tics and pops. I just said the tics and pops were the most obvious to me. Anybody want to read my mind and argue with that statement? ;-)And please note that I never said otherwise - just that since it was the faults that were most glaring to you, could this be a factor in how you respond to vinyl playback in general?
In other words, we can place listeners into two categories: those who can (to some extent) dial out the faults of vinyl in order to enjoy the music, while others find those faults so off-putting that they simply cannot stomach listening to vinyl.
For that you can try:
I have two questions:
1) Why does Playback Statistics convert a normal human timestamp into computerspeak when writing statistics to file tags? E.g.: 2017-06-02 21:36:22 becomes 131409273821466963.
2) Is there a simple way for a layman to convert a human timestamp into this computerspeak format?
Last post by kode54 -
Well, yes, but that's to be expected, since the Album List is mostly a stock tree view, while the Playlist Viewer is entirely a custom control.
My playlist needs are fully met by the DUI viewer, so I'm of no help there. The DUI Album List behaves as it should.
Wall Street Journal says Vinyl's Fad is over:
By Neil Shah July 22, 2017 7:00 a.m. ET
"Ms. Welch and Mr. Rawlings have gone to extreme lengths to solve a problem many music aficionados say is an open secret in the music industry: Behind the resurgence of vinyl records in recent years, the quality of new LPs often stinks.
"Old LPs were cut from analog tapes—that’s why they sound so high quality. But the majority of today’s new and re-issued vinyl albums—around 80% or more, several experts estimate—start from digital files, even lower-quality CDs. These digital files are often loud and harsh-sounding, optimized for ear-buds, not living rooms. So the new vinyl LP is sometimes inferior to what a consumer hears on a CD."
The WSJ article contains obvious falsehoods as statements of fact. It's a black mark on the WSJ's otherwise enviable reputation. The first sentence in the article has two glaring faults: "Old LPs were cut from master tapes, that's why they sound so high quality."
The first problem is that the last 10 years of LP production prior to the introduction of the CD (old enough?) were increasingly cut from digital masters, not analog master tapes. At the time, many music lovers applauded this because it did have a great potential for improved sound quality.
The second problem is that in general, CDs simply sound better than LPs because they are generally more accurate, technically speaking. No tics and pops, for openers and that is just the beginning. This does not have to be true because of the application of mastering, which involves making changes that may reduce a CDs sonic accuracy in the interest of being louder.
For a more balanced view:
Why CDs May Actually Sound Better Than Vinyl
Even purely digital music is now marketed using the trappings of vinyl. When U2 distributed 500 million digital copies of its new album to iTunes users — a reach unimaginable when the band released its debut in 1980 — the artwork depicted a vinyl record inside a sleeve with the initials "LP" scribbled on the exterior. And when Neil Young launched a Kickstarter campaign for PonoMusic, a digital music player and online store, his company's stated mission was to "re-create the vinyl experience in the digital realm."
Baked into the vinyl resurgence is the suggestion — fed by analog apostles such as Young and White — that an LP's analog playback produces honest, authentic sound, while digital formats like the CD compromise quality for the sake of portability and convenience. Young articulated this sentiment earlier this month at the International Consumer Electronics Show in Las Vegas, where he told Rolling Stone's Nathan Brackett that the vinyl resurgence is due to the fact that "[vinyl is] the only place people can go where they can really hear."
In 1968, a 23-year-old audio engineer named Bob Ludwig at New York's A&R Recording was asked to create a test pressing of The Band's debut, Music From Big Pink, so that the producers could hear what it would sound like on LP. During the process, he especially tried to preserve as much as possible of the deep low end of the band's sound, which he believed was critical to its music.
But when he heard the final LP that was released, he was stunned. "All the low, extreme low bass that I knew was there, was chopped right off"
Years later, when Ludwig was hired to provide the final edit (known as mastering) for a greatest-hits package for The Band, he got the album's master tapes back from Capitol Records. On the box was a note from the cutting engineer who'd made the original vinyl master, saying the album's extreme low end had to be cut out.
Of vinyl's inherent deficiencies, reproducing bass is one of its most glaring. The other is that the last track on each side of a record sounds worse than the first, due to the fact that the player's stylus covers fewer inches of grooves per second as it gets closer to the center
The vinyl disc is a steadily collapsing medium," says Ludwig, who went on to become a Grammy-winning mastering engineer, with credits on Patti Smith's Horses, Steely Dan's Gaucho and White's Lazaretto, among many others. "The closer it gets to the label, the more the information is getting compromised, the high frequencies getting lost."
Ludwig's colleague Bob Clearmountain is one of the industry's most respected mixing engineers, responsible for setting the levels of a band's performance before it's sent to the mastering engineer. He has worked with everyone from The Rolling Stones and David Bowie to Ricky Martin and Lenny Kravitz.
When Clearmountain mixed vinyl albums for Columbia Records, he says the label required the test pressing of each LP to play on an old, cheap turntable without skipping, or it would have to be mixed again. Too much bass in one speaker could make the needle skip out of the groove, as would too much sibilance — a harsh "s" — in a singer's voice.
Clearmountain, who now works out of Mix This! in Pacific Palisades, says that when he heard the vinyl test pressings of the albums he'd worked on in the studio, he always felt the same way: depressed.
"I'd just listen and go: 'Jesus, after all that work, that's all I get?' It was sort of a percentage of what we did in the studio," he says. "All that work and trying to make everything sound so good, and the vinyl just wasn't as good."
Not only did records provide only a sliver of what he'd done in the studio but they also came with plenty of sounds that hadn't been there in the first place: ticks and pops.
"If you're a musician like Bob and I," Ludwig says, "and you get to do a mix and you listen to it and you love the way it sounds, and then it's transferred to vinyl and suddenly it's got noise and ticks and pops, for me that's an extremely unmusical event."
Unfortunately I cannot find the fb2k-component file, so this is the dll I have in my user-componets folder which has to be installed manually.
foo_softplaylists.fb2k-component - https://drive.google.com/open?id=0B-52fIoCowfjdFNtMlJnMk9UVGM