vinyl Tag

Getting Into Vinyl? Find Yourself an Expert

Getting Into Vinyl? Find Yourself an Expert

Photo by Ivan Boban from Pexels

Listening to a luxury turntable can be a sublime musical experience. However, actually buying an ultimate record-playback setup can be daunting, especially if you don’t know who to turn to for advice. There are so many choices for turntables, tonearms, phono cartridges, and electronics . . . where to begin?

The short answer: Rely on an expert.

 

The obvious first place to look is a good specialist audio/video retailer, custom installation firm, or systems integration company. You want companies that sell and install high-end turntables and are knowledgeable about these things. (Luxury turntables require expert setup.)

 

Do a search, and you’ll find that some dealers focus on home audio and video, while other companies lean toward home automation, business, and corporate services, and may not even have turntables on their line card. Traditional “stereo stores” (boy, does that sound dated, but do a Google search and they’ll come up) will likely be your best bet, but don’t rule out others without checking. Stirling Trayle of the consulting company Audio Systems Optimized notes, “The consumer/dealer relationship is vital. Find a good dealer and stick with them.”

 

See if the potential dealer carries reputable brands. Ones you can expect to find at a dealer who’s on top of his game

include Brinkmann, Clearaudio, Linn, McIntosh, SME, Tech DAS, and VPI.

 

Even if you don’t know a platter from a pizza you should be prepared with as much knowledge as possible. As the old Syms clothing store commercials used to say, “An educated consumer is our best customer.”

 

Good articles about buying turntables can be found online at Engadget, CNET and Make Use Of. Although these tend to focus on lower- and mid-priced models rather than ne plus ultra gear, they’re good reading. For articles about and reviews of ultimate-performance gear, check out some of the websites listed in the “Sites & Sound” sidebar below.

And if you feel up to some old-school book-length reading, I highly recommend two volumes, both written in a clear, non-intimidating style. The Complete Guide to High-End Audio by Robert Harley, editor of The Absolute Sound, contains a wealth of information on turntables (and every other type of audio component). It’s available from Amazon, HiFiBooks.com, and other outlets. The Friendly Audio Guide by veteran A/V writer Mark Fleischmann is exactly that, filled with useful material about turntables and everything audio. You can buy it from Amazon, Quiet River Press, and elsewhere.

 

As for online and Facebook forums and discussion groups, you’ll need to keep things in perspective. Audiophiles tend to be opinionated, with adherents and detractors for analog vs. digital, tubes vs. solid-state, and every conceivable audio-related topic, with no consensus on what’s “best.” That said, reading posts, some from honest-to-goodness audio-industry experts who are friendly and generous with advice, can be extremely informative.

 

However . . . there’s also an epidemic of misinformation online. Without getting 

into the sociological “why,” it’s well-known that social media sites are filled with people posting uninformed and rude comments. Sadly, audio forums and discussion groups aren’t immune. Beware of self-styled “experts” who are anything but, not to mention the flat-out trolls. If the poster is inflammatory, dogmatic, condescending, seems to have an agenda, or all of the above, those are the typical tells of someone to ignore.

Once you feel like you’ve identified some potential places to buy your dream turntable setup, go and take a listen. Buying a high-performance, luxury turntable-based audio system is not unlike buying a sports car—and can cost as much, all told. So you’ll want to be as comfortable with your audio dealer as you are with your car dealer.

 

Check out a variety of turntables. This is important: Ask the dealer to take you through the process of actually playing a record—putting it on the platter, cueing up the tonearm/cartridge, and so on. Playing a record without damaging the disc or the turntable takes a little practice. And you’ll want some instruction in how to maintain your gear over time. Bring some good-sounding records you’re familiar with so you’ll have a consistent point of reference as you check out different models (see “A Newbie’s List of Reference Discs”).

 

 A great turntable setup should sound astoundingly lifelike, detailed and dynamic with an almost tangible presence to vocals and instruments. It should absolutely, completely, utterly blow you away.

 

Oh, and one more suggestion . . .

 

If you can, attend an audio show! If you’ve never been to one, you’ll be dazzled by the variety of turntables and audio gear to listen to. They’re a wonderful opportunity to meet the designers and manufacturers first-hand, along with hundreds of enthusiasts. They’re also tremendous fun! With more and more audio shows happening around the country—like AXPONA (Chicago), Rocky Mountain Audio Fest 

Getting Into Vinyl? Find Yourself an Expert

A NEWBIE’S LIST OF REFERENCE DISCS

If you already have some albums you’re well familiar with, bring those along when you go to audition a turntable. But if you’re looking for a place to start, you can’t go wrong with these classic choices:

 

Miles Davis, Kind of Blue (Mobile Fidelity re-issue)

The Eagles, Hotel California

Diana Krall, All for You

Pink Floyd, The Dark Side of the Moon

Shelby Lynne, Just a Little Lovin’ 

Cecile McLorin, WomanChild

(Denver), Capital Audiofest (Rockville, MD), the Florida Audio Expo (Tampa), the California Audio Show (Oakland), The Home Entertainment Show (Long Beach, CA), and the New York Audio Show (Manhattan)—not to mention international shows, you can find one just about anywhere.

 

There’s no one “right” way to buy a vinyl playback setup. While the opinions of an expert will be invaluable, ultimately, you should buy what makes you (and your fellow listeners) happy.

Frank Doris

Frank Doris is the chief cook & bottle washer for Frank Doris/Public Relations and works with a
number of audio & music industry clients. He’s a professional guitarist and a vinyl enthusiast with
multiple turntables and thousands of records.

A Brief Introduction to Tube Electronics

The history of tube audio components parallels that of vinyl records over the past 40 years, so in my mind it’s sort of appropriate that tubes and vinyl often go together among audiophiles.

 

By the early 1970s, tube gear was becoming obsolete, supplanted by smaller, more efficient wonder-of-the-Space Age transistors and solid-state audio components. But many audiophiles and music lovers found the sound of early solid-state harsh, spatially flat, even awful. Yet while tubes flickered out of mainstream consumer electronics, they enjoyed a high-end audio revival in the 1970s, still going strong. Today a wealth of tube gear exists, most of it in the high-end luxury realm.

With the advent of the digital Compact Disc in 1982, records were written off—literally, among the mainstream audio press—as a dying format. After all, CDs offered “Perfect Sound Forever.” But critical listeners rejected the sound of early digital, like that of solid-state gear, as harsh, flat and sometimes awful. Some CDs and CD players certainly were. Many audiophiles clung to the analog sound of vinyl, and still do.

 

Thanks to some very talented designers, engineers, and manufacturers, digital audio has improved dramatically. High-resolution audio formats and better D/A (digital to analog) converters are just two examples. In fact, a large contingent of audio professionals will tell you “Game over. Tube components and record players are hopelessly outmoded.”

 

Not so fast.

 

The fact—not wishful audiophile longing, but fact—is that vacuum-tube components have a major presence in high-

end audio, as do turntables, and it’s common knowledge that vinyl is enjoying a major renaissance. Many people who prefer tubes also like to listen to vinyl.

 

Why? Is it because tubes and vinyl really do sound better? Or is it nostalgia—the desire to transport, via one’s music system, back to a simpler, more fondly remembered time as heard through the aural equivalent of rose-colored glasses? Maybe it’s the fun factor of basking in the glow of those tubes (they look really cool in the dark!), watching the record spinning, and holding the record jacket in your hands as you admire the artwork and read the liner notes.

 

(An aside—I listen to everything from old mono LPs to hi-res streaming audio. I’ve heard superb digital and solid-state, and those formats have practical and engineering advantages. That said, there will always be a special place in my heart for tubes and vinyl.)

 

Good tube gear can sound incredibly good, with superb tonal richness, body, detail, and spaciousness. If you equate measurements with fidelity, some tube gear in fact measures very well. On the other hand, detractors will say that “tube warmth” is just an inaccurate coloration or harmonic distortion. (Some people like to run digital audio through tubes to “warm up” the sound, but I’ll leave that aside for now.)

 

There are practical considerations. Tubes generate heat and use more electricity. Tube audio components tend to skew expensive—vacuum tubes cost a lot more than transistors and integrated circuits, they use other expensive parts, and building them is labor-intensive. Tube gear can weigh a lot.

 

Tube amps come in many varieties. There are under-10-watt single-ended-triode Class A designs like the Audio Nirvana 300B ($1,650) and behemoths like the VTL Siegfried Series II Reference monoblock ($75,000/pair). Careful speaker 

matching will be necessary, especially with lower-powered amps. (There are also hybrid audio components that incorporate both tubes and solid-state, to combine the advantages of both.)

 

Tube electronics require commitment—the tubes eventually need to be changed, though they can last many years, and some tube amps need periodic user attention. Solid-state gear is set-and-forget by comparison. If you’re thinking of going tube, talk to your dealer, read reviews, and do your homework.

 

To bring turntables, which I discussed in my previous article, into the discussion: Although vinyl has its drawbacks (bass limitations, inner-groove distortion, etc.), a high-end record-playback system can sound wonderful. And there are those who insist analog does sound better than digital, especially through tubes. Complementary colorations or better fidelity? The debate rages.

 

Arguments—er, debates—on sound quality aside, there’s definitely a funky cool nostalgic vibe to tube components and turntables. They look retro and give you classic analog sound. Vintage pieces from Marantz, McIntosh, Quad, Western Electric, Garrard, Thorens and others are from a bygone era—and prized by many audiophiles. (And are also going up in value.)

 

A friend of mine wanted a tube/vinyl setup specifically to listen old-school style to

music as it sounded back in the day as he looks out onto a lakeside sunset and cues up an album on the stereo. You’re just not going to get that vibe scrolling through a computer playlist.

 

In that sense, tubes and turntables very much go together. As far as I’m concerned, it’s fun just to be around them. Playing an old record on a tube/vinyl system gives a strong connection with the past. It’s like listening through a time machine. (Try it. You’ll feel it.) Listening to contemporary albums also sounds great.

 

Writers give a lot of blah blah blah lip service to the experience—but really, that’s what listening to music is all about. It should be fun, involving, emotional. Tube audio gear, turntables, and records offer an intriguing path toward getting you there. Maybe it’s a path you’d like to take.

Frank Doris

Frank Doris is the chief cook & bottle washer for Frank Doris/Public Relations and works with a
number of audio & music industry clients. He’s a professional guitarist and a vinyl enthusiast with
multiple turntables and thousands of records.

A Quick Guide to Luxury Turntables

With the resurgence of all things vinyl, there’s arguably never been a better time to add a high-end turntable to a luxury home entertainment setup.

 

A what?

 

Audiophiles like me take this for granted, but most people don’t even realize luxury turntables even exist. But what exactly makes a turntable luxury? Well, if it’s defined not just by price but by the ability to deliver a compelling musical experience, the best record-playback systems sound remarkably realistic, blurring the line between “reproduced sound” and the feeling the musicians are right in front of you.

A fine turntable can also be strikingly beautiful, whether a minimalist design like the classic Linn Sondek LP-12 or the clockwork-tech visuals of the VPI Avenger Reference.

 

If you think of audiophiles as a bunch of tweak-crazy perfectionists—assuming you’ve ever bothered to think of audiophiles at all—well, in some cases, you’d be right. (Certainly in my case!) But don’t let the thought that a turntable isn’t a simple plug-and-play purchase scare you away from buying and enjoying one of these gorgeous pieces of machinery.

But there’s one thing I need to emphasize before we proceed: Any high-end turntable will require setup.

 

If you don’t know, or don’t want to know, the tricks of the trade, you can enlist the help of a dealer, systems integrator, or turntable setup specialist (yes, there are people like that). Their advice (and that of expert reviewers) on what turntable to buy 

will also be invaluable. While setup is exacting, it’s not a black art, so if you want to learn how to do it yourself, I would recommend Michael Fremer’s turntable setup DVD.

 

Better turntables start at around a few hundred dollars for a complete turntable/arm/cartridge setup, and spending from $500 to around $2,000 will bring immense musical satisfaction. But if you’re striving for the sonic ultimate, manufacturers like 

A Quick Guide to Luxury Turntables

the five-platter, 780-pound TechDAS Air Force Zero turntable

the above and SME, Brinkmann, Spiral Groove, Rega, and Technics offer models from four and five figures all the way up to the mighty $440,000, 780-plus-pound TechDAS Air Force Zero, which features five interlocking platters floating on a cushion of air, and a host of exotic proprietary materials, including a motor that’s no longer made.

A Quick Guide to Luxury Turntables

the Koestu Goldline Black
phono cartridge

Should you decide to invest in such a dazzling device, you’ll need to add a tonearm and cartridge. While there are plenty of excellent complete turntable setups on the market, for many high-end record-playback rigs, the turntable, tonearm, and cartridge must be chosen separately. (One truly luxury exception is the $17,500 SME Synergy, which includes a Nagra phono stage and Ortofon Windfeld cartridge.) 

 

There are ultra-refined tonearms from some of the manufacturers mentioned above, plus Swedish Analog Technologies (their $48,000 CF1-09 is a mind blower), Acoustic Signature, Graham Engineering and more, and dozens of superb phono cartridges from Grado, Ortofon, Koetsu, Audio-Technica, van den Hul, Kiseki, Lyra, Soundsmith, and many others. The miniaturized works of these diamond-tipped marvels are made to the standards of fine watches.

To go to another level of audiophile geekdom—and raise another topic you might want to hand off to an expert—you’ll also need a phono stage, which amplifies and equalizes the weak signals coming from the turntable to a level the rest of the audio system can handle. (In the days when turntables were everywhere, phono inputs were common on receivers and preamps—today, not so much.) While budget and some under-$1,000 turntables have a built-in phono stage, ultimate-performance phono rigs and outboard phono stages like the Audio Research Reference Phono 3 ($15,000) or the CH Precision P1 ($31,000) go together like Ferraris and Brembo brakes.

 

(For an overview of what’s available check Stereophile’s”Recommended Components” or The Absolute Sound’s“Editors’ Choice” listings.)

 

Why is the best turntable gear expensive? Consider: A record groove is around 40 to 80 micrometers wide. A human hair is 17 to 181 µm wide! When dealing with that kind of micro-level physics, things like stylus shape and cartridge and tonearm alignment become exacting concerns in accurately translating the minute wiggles of the stylus through the groove into electrical signals heard as music. On the macro level, the motor must spin the platter at an unwavering speed (or it’ll be heard as pitch variation) while adding no noise of its own, and the turntable should be immune from outside vibrations.

A Quick Guide to Luxury Turntables

the MAG-LEV Audio ML1 turntable features a levitating record platter

It all adds up to a delicate balancing act—literally—and the engineering involved could fill more than one book. There are a myriad of approaches to things like materials, cartridge designs (the most common are moving coil and moving magnet), tonearm geometries, motors, and noise isolation. (The MAG-LEV Audio ML1 turntable uses magnetic levitation for platter

isolation!) Materials like titanium platters, high-precision bearings, and handmade phono cartridges don’t come cheap, especially when manufactured in small quantities. But when a manufacturer takes a cost-no-object approach, it provides the freedom to reach for the sonic ultimate.

 

So, what’s best for you? I asked Michael Trei, who is a reviewer for Sound & Vision and a turntable setup expert, what his well-to-do clients want most—looks? sound? bragging rights? “Reliability is the most important thing,” he said. ”My customers don’t want to deal with turntables going out of adjustment.”

 

He added that “arm handling is important.” There aren’t any high-end turntables with automatic operation (let alone remote control!), so you have to manually play your records, and take care in doing so. Because of that, you need to be comfortable with the “feel” of the arm. (Some SME models make it physically impossible to accidentally drop the tonearm onto the record.)

 

For the klutzes among us, Trei recommends using a moving-magnet cartridge, since the stylus on most can be easily replaced if damaged. If you have toddlers or others who might cause damage, keep the turntable—or them—out of reach! “I wish someone would make a locking turntable dustcover,” Trei mused.

 

On the other hand, as mentioned before, some audiophiles enjoy “tweaking” their setups. Some turntables are very stable; others require regular attention.

Is it all worth it? Consider me an enabler. A high-end turntable setup will convey music with astounding realism, resolution of musical detail, and a soundspace that can extend beyond the boundaries of your entertainment room or place you right in the audience.

 

If you’ve never heard a high-end turntable at this level of performance, it will be a revelation.

 

If that’s not luxury for the soul, I don’t know what is.

Frank Doris

Frank Doris is the chief cook & bottle washer for Frank Doris/Public Relations and works with a
number of audio & music industry clients. He’s a professional guitarist and a vinyl enthusiast with
multiple turntables and thousands of records.

The High Cost of High Expectations

The High Cost of High Expectations

photo by Tom Pumford

The other day I had the opportunity to work on a job using a camera system I had only heard stories about—that is to say, I had never personally used it for my paid professional work. Needless to say I was more than a little excited, struggling to contain my inner fanboy, as I began the shoot. After about an hour behind the lens, something became increasingly clear, something I wasn’t expecting . . . I hated the camera. Oh, I loathed it. It threw me for a complete loop, for how could I, after all these years of yearning, not only be disappointed by this machine but actually be upset by it?

 

I’ve seen the same happen to AV enthusiasts time and time again. The reason often has to do with many of our opinions being formed by the opinions of others rather than being based on firsthand knowledge. It took me all of an hour to realize I would never recommend this product to another despite it winning countless Best Of awards and being the IT product to have in a given year. More shocking still was that when I quietly shared my displeasure with a few of my colleagues, they instantly rushed to the defense of . . . the product! As if my personal opinions (that is what we’re talking about here) were invalid, and it was me who had the problem—not the product!

 

When we self-identify with a hobby, product, or group, we take offense when that something is called out or criticized. For if there is something wrong with our choice in whatever, that must mean there is something wrong with us . . . right? Better to attack what threatens us rather than reason with it, even if this means not being able to reason with our very selves. It is this latter point that I find especially prevalent among AV enthusiasts—especially older diehards (or dare I say, blowhards).

 

I have on numerous occasions been in the presence of individuals who have five- and six-figure AV systems that others heap praise upon for their drool-worthiness, and yet know that these same individuals spend nearly zero time enjoying their setups. I know that if many had to do it all over again, they would likely never have purchased much of the gear they currently own, opting for something less intrusive and cumbersome. They stick with it because of this notion of clout.

 

I’ve watched people listen intently to something they clearly do not like and still buy it anyway because it must be them—the customer—who is missing something. That with time they will see the light so to speak. Why do we do this to ourselves? Why do we feel we are incapable of trusting our own judgement when it comes to AV equipment? Is the draw of an award, or the seemingly endless string of others who “believe,” that strong of a pull that we’re willing to lie to ourselves? Or is it because we build up so many products into “legend” that the mere idea they may be “mortal” is too much for us to take?

 

I don’t pretend to know the exact answers.Suffice to say that the phenomenon is very real and only growing stronger, as more and more people in this world are choosing to live vicariously through the actions and ideas of others. Don’t believe me? I recently produced a video entitled “Vinyl Sucks” for YouTube, and within three days it garnered over 100,000 views and over 

1,500 negative comments—mostly directed at me on a personal level for my opinion. The funny thing about this being, I don’t think vinyl sucks, and in the video I say as much. I even explain that despite its shortcomings, it has great value to me and others. But I opened with a critical—albeit humorous—jab, and as a result I was roasted for it.

Why is there a right way and a wrong way to enjoy your favorite music and movies? If there is, who decides? Have you lied to yourself about equipment you’ve purchased in the past, or maybe even currently own?

Andrew Robinson

Andrew Robinson is a photographer and videographer by trade, working on commercial
and branding projects all over the US. He has served as a managing editor and
freelance journalist in the AV space for nearly 20 years, writing technical articles,
product reviews, and guest speaking on behalf of several notable brands at functions
around the world.

Three Essential Vinyl Demos

I’ve been a vinylphile since I was a child, when 78 RPM records like Debbie Reynolds’ “Abba Dabba Honeymoon” and Spike Jones’ “Hawaiian War Chant” captivated my young ears on my grandmother’s Victrola.

 

Here are three of my favorite demo discs for audio system and component evaluation and listening pleasure. In fact, I’d say you could tell everything you need to know about what your system is doing or where it’s falling short with these three records.

 

 

Bill Berry and His Ellington All Stars, For Duke

M&K Realtime RT-101

 

This LP attained audiophile-pantheon status shortly after it came out in 1978, and for good reason. It remains one of the most astonishingly well-recorded vinyl LPs ever. Unlike many “audiophile” discs with exceptional sonics and forgettable music, the playing is wonderful, with a jazz combo having a ball playing Ellington’s greatest hits, including “Take the A Train,” “Satin Doll,” and “Mood Indigo.”

 

For Duke was recorded direct-to-disc—the performance was cut live directly to the master disc, a process that eliminates the sonic degradation and generation loss that comes with recording to analog tape and then cutting the disc from tape.

 

It shows. In particular, the dynamics are remarkable. A couple of minutes into “Take the A Train,” Berry takes a cornet solo that is literally startling—when he comes in, it’s all you can do not to flinch in surprise (as I did the first time I heard it). The drums are powerfully lifelike, as are all the instruments—Ray Brown’s bass is jaw dropping in its richness and presence. The recording is astoundingly pure and detailed. The tonal balance is near perfect.

 

We’ve all heard the cliché “It sounds like the musicians are in the room” to describe the sound of a good recording, but in this case, it really does sound like that. This record is hard to find and usually expensive, but hey, that’s part of the agony and the ecstasy of record collecting.

Fritz Reiner, The Chicago Symphony Orchestra, Scheherazade

Analogue Productions LSC-2446 re-issue of RCA “Living Stereo” original

 

While For Duke is renowned for its up-front perspective, Scheherazade puts the listener in an entirely different acoustic environment, with its realistic rendering of an orchestra in the concert hall. Recorded in 1960 by producer Richard Mohr and engineer Lewis Layton and brilliantly performed by the Chicago Symphony Orchestra conducted by maestro Fritz Reiner, this Analogue Productions re-issue is nothing less than sensational.

vinyl demos

The tonal palette of the orchestra is beautifully conveyed, with sumptuous lows, a natural midrange, and the sweet, airy upper midrange and highs that let you know you’re hearing analog at its best. On a good system, you can clearly hear the character of the hall. The quiet parts are exquisite (Sidney Hart’s violin playing could not be more nuanced and expressive) and the fortes are thrilling.  My feeble words don’t begin to do this masterpiece justice.

 

For decades, the legendary original RCA Living Stereo recording was nearly impossible to find, with various vinyl re-issues ranging from mediocre to very good. No longer—this 2013 Analogue Productions re-issue is magnificent. In fact, while I don’t have an original pressing on hand for comparison (though I’ve heard it many times), no less an authority than Analog Planet’s Michael Fremer thinks this re-issue actually betters the storied original. I won’t argue.

New Order, “Blue Monday”

Factory Records Factus 10 (1983 US 12-inch single)

 

But want to know if your system can rock? All you need do is listen to the first Oberheim DMX drum-machine beats of New Order’s “Blue Monday,” the best-selling 12-inch single of all time (according to Wikipedia), and one of the most groundbreaking, genre-defining, walloping bowl-you-over dance-music singles ever. But don’t turn it up too loud or you might blow out your woofers.

 

“Blue Monday” is insanely powerful and dynamic, irresistibly catchy and moving. Back in the day, this would propel people to the dance floor with its mesmerizing mix of synth and Peter Hook’s unmistakable electric bass, its layered synthesizer washes and melodies, its pull-no-punches electronic drums, and Bernard Sumner’s dryly-delivered vocals. On a good audio system, it sounds massive.

 

My copy is an original 1983 US version with the die-cut cover (designed to resemble a floppy disc!) and silver inner sleeve, though not one of the first UK pressings with the “FAC 73” catalog number. There are literally more than 50 1983 vinyl US, UK, and international issues listed on Discogs (and there were also 1998 and 1995 remixes and numerous CD and digital versions), so I certainly can’t vouch for the sound quality of every one of them! But since the record sold so well, you shouldn’t have to do a Where’s Waldo to find a copy like mine. Put it on the turntable and stand back!

Frank Doris

Frank Doris is the chief cook & bottle washer for Frank Doris/Public Relations and works with a
number of audio & music industry clients. He’s a professional guitarist and a vinyl enthusiast with
multiple turntables and thousands of records.

The Lost Art of Album Listening

album listening

I have a confession to make: I can no longer listen to an entire album in one sitting. I can binge-watch an entire season of Game of Thrones over a weekend, but I can’t devote 60 to 75 minutes of real concentration to absorb the latest creation from a favored musical artist. I get maybe six or seven songs in, then I just tune out. The music may still be playing, but my brain ain’t listening.

 

I would not call myself an audiophile, but I’m definitely a music junkie. For me, music is an indispensable part of each and every day—when I’m driving in the car, working at my desk, going for my daily walk, or making dinner. Music is always playing. The thing is, that music is always in the form of a playlist. I almost never listen to complete albums anymore, even my most treasured faves.

 

I’ve always been a playlist kind of gal, dating back to the days when playlists were called mix tapes. Oh, could I make a mean mix tape. The hours spent picking a theme, agonizing over song selection, and then arranging the songs just right to ensure that minimal time was left at the end of each side of the tape. Give me a mix tape that cut off part of a song, and I would think less of you as a human being. But there was a balance between my love of mix tapes and my love of albums. How do you think I found all the songs to mix?

 

Mix tapes evolved into CD mixes, which evolved into iTunes playlists, which evolved into Pandora artist-inspired radio stations, which evolved into curated playlists from Apple, Amazon, or Tidal. The ease of playlist listening, combined with the ability to buy just one song off any album, has simply removed “the album experience” from my repertoire . . . apparently to the point that I can’t even do it when I want to.

album listening

This became painfully obvious when I recently picked up U2’s latest album, Songs of Experience. We’re talking about my all-time favorite band here, and I was determined to sit down and really absorb the album from start to finish. Didn’t happen. Got distracted. The snarky response is that perhaps the album just isn’t good enough to merit my full attention, but how can I even make a fair assessment without one serious listen? Believe it or not, Achtung Baby didn’t jump out at me at first, and now it’s my favorite U2 album, start to finish.

 

It seems there is no “start to finish” anymore. I wonder, if I forced myself to use nothing but a CD player—to ban iTunes and all streaming music services—for six months, could my love of album listening be revived? Or are the days of sitting in front of the record player, reading liner notes, and learning lyrics far behind me? I could say I don’t have time for such indulgences, but the hard truth is that I don’t make time for it. I don’t give music the attention it deserves anymore.

 

As for liner notes, who can even read the text in CD packaging these days? Maybe that’s the real reason for vinyl’s resurgence—it’s not the sound quality, it’s the larger print.

    —Adrienne Maxwell

Adrienne Maxwell has been writing about the home theater industry for longer than she’s
willing to admit. She is currently the 
AV editor at WirecutterAdrienne lives in Colorado,
where  she spends far too much time looking at the Rockies and not nearly enough time
being in them.

Record Care 101

If you keep your vinyl and stylus clean, you’ll be able to enjoy your records for many, many playings.

 

Keep the dust, dirt, oil, and sweat from your fingerprints, along with other contaminants, away from the record surface. Always handle records by the edgesnever grab them by the surface! Whenever I see somebody do that in a TV show or movie, I cringe.  (Guess the producers didn’t do their homework.)

 

After you put records back in their sleeves, put the sleeve into the album cover with the sleeve’s opening facing up, not with it facing to the right, aligned with the opening of the cover. I realize it’s easier to pull the record out if you don’t have to remove the sleeve from the cover, but doing it right will protect your LPs from dust and other schmutz. And storing records “sleeve up” keeps them from accidentally falling out.

 

Store your albums vertically, never laying one on top of another, which makes them susceptible to warping. And never pile bare records on top of each other. They’ll scratch and go from mint to mauled in no time.

 

Keep records away from extreme heat and humidity. I can’t tell you how many moldy records I’ve found in basements. Never store them in direct sunlight.

how to clean records

Before you play a record, clean it off with a record brush. This will remove dust that can cause ticks, pops, and record and stylus wear. (You can brush the record while it’s spinning on the turntable.)

 

Clean your stylus. The dust and contaminants that can accumulate there can cause distortion and even damage the stylus. But don’t use your fingertip! Use a brush specifically designed for stylus cleaning, and use a back-to-front motion to avoid damaging the stylus assembly.

 

If you like to buy used records, and if your budget allows, get a record-cleaning machine. They can be miraculous in transforming dirty click-and-pop-laden LPs into noise-free specimens. If money is tight, buy a record-cleaning kit. You can clean records by hand using various methods, including dishwashing liquid and soft clothsyou have to be careful but it can be done.

 

This post just scratches the surface. (Sorrybad analogy!) Other aspects of record care include replacing worn paper inner sleeves with high-quality sleeves, using anti-static guns and cloths, and investing in electronic stylus cleaners and even ultrasonic record cleaners. More to come!

—Frank Doris

Frank Doris is the chief cook & bottle washer for Frank Doris/Public Relations and works with a
number of audio & music industry clients. He’s a professional guitarist and a vinyl enthusiast with
multiple turntables and thousands of records.

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Listening to Vinyl? Then Do It Right

record listening tips

Editor’s Note: For a lot of people, listening to vinyl is the ne plus ultra of the home-entertainment experience,
and since this site is all about finding the best ways to enjoy the best entertainment at home, we’ll be
offering advice on what it takes to make sure you’re getting the best sound possible from your records
& your system.

 

 

What’s not to love about the vinyl renaissance? The inviting sound, the tactile pleasure of handling a record, the cover artwork, the thrill of finding a sought-after album, and the pleasure of building a collection all add to the experience.

 

But you need a turntable that’s set up properly, and a good music system. A poorly set up or poor-quality turntable won’t give you all the sound records have to offer and might even damage themusually because of a crummy stylus and tonearm.

 

And an inadequate music system won’t let you hear records at anywhere near their wonderful bestin the same way watching a movie on your phone can’t beat seeing it on a big screen! You can listen to a turntable through a cheap Bluetooth speaker but you won’t get the tonal realism, dynamic impact, stereo imaging, and other sonic attributes you’ll hear out of even a modest system with good speakers.

 

You need to start with a level playing fieldand I mean that literally. The turntable needs to be level so the arm can properly track the record from beginning to end without wanting to “skate” from one end to the other.

 

The cartridge needs to be mounted and set up correctly. The tracking forceor the pressure of the stylus in the groovecan’t be too light or too heavy. And the geometric alignment of the cartridge has to be right in all three dimensions.

 

If all that sounds daunting, the good news is that many turntables come with the cartridge already set up, or might require just a couple of simple adjustments (usually tracking force and anti-skating). Or, your dealer or other specialist can set it up for you. But you might want to learn how to do it yourselftweaking your turntable to perfection is something many aficionados will tell you is supremely rewarding.

 

But not as rewarding as listening to your vinyl on a good, properly set-up turntable and system. It’s astounding how much music is engraved into those record groovesand how captivating and real a good record can sound.

Frank Doris

 

Disclaimer: Frank Doris handles U.S. public relations for Audio-Technica, a manufacturer of turntables, phono cartridges, and other products, and for high-end turntable manufacturer Spiral Groove. All opinions are his own.

Frank Doris is the chief cook & bottle washer for Frank Doris/Public Relations and works with a
number of audio & music industry clients. He’s been involved in audio 
& music for most of his life
and is a professional guitarist.