How better is a Turntable compared to a CD?

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Digital tends to sound bigger , louder and is not as dynamic as analog, analog in turn gets smaller , larger and wider than digital, if you listen to musicals, opera and symphony music the difference is staggering between the two...

"Digital sounds bigger, analog larger". Now I've heard it all. If you had a clue you would stop this, before you completely swallow your foot. But I'm not getting my hopes up.
 
... i was into 17k of Wadia stuff , ...then It happened , i had just delivered a set of monitors to a client friend and he had his analog rig up , i have never forgotten this awakening ,

Here we go, the Revelation Awakening Experience. :djinn: Please join the end of the queue for your slot on TV Evangelists, but you might enrage a few christians when they find your gasping and panting revelations relate to a disc of flat black vinyl plastic as an idol.

It's up to you if you like the many ways that vinyl mangles sonics. But if you want a valid revelation, try being a subject in a controlled test comparing a CD with the analog or digital master it is made from. I have. Then, if you have the humility to refrain from trying to shoot the test method in a desperate attempt to maintain old beliefs, you might come to understand that you have thus far been liking wrongness. The wronger the liker.
 
Yes, easy to 'nicefy' the sound with analog filters; all of which are readily producible by digital techniques.

Thread could easily be titled "How is a turntable better compared to CD"; this is equivalent to: "How is a turntable better compared to digital with sample rate 44.1kHz and 16bits of depth.

Digital is capable of capturing noise of even best studio analog tape, along with entire recorded signal. All recorded signals ride on top of this.

With digital, independent channels are just that; with vinyl crosstalk exists both in cutting head and with pickup. Very best cartridges only have channel separation of 45dB; and this at 1kHz.

Digital captures DC to 22kHz; mechanical recording requires RIAA filter to reduce LF content and corresponding inverse filter in phono preamplifier to boost it back up. Good performance requires good matching of filters at cutting head and in phono preamplifiers; four filters total for stereo that have to work across audio band. Digital only requires cutting extraneous signals above Nyquist frequency.

Phono pickup represents real mass/spring system. In order to track complex signal, stylus must be able to track a single frequency twice as high as highest frequency signal present in track. Standard technique for adjusting tracking force and anti-skating is with single tone at about 300Hz; procedure reveals that no pivot tonearm is capable of good performance across record surface even for single tone.

With rigid record tracking errors lead to stylus becoming lathe. Vinyl formulations for records is compliant and undergoes deformation under stylus. In theory it springs back to original state. Reality is that tracking force and coefficient of friction with moving groove leads to instantaneous heating that leads to changes in groove. 1.5g on tiny stylus translates to enormous force. Ware and tear are inevitable.

Digital captures all information in desired bandwidth, from single frequencies to fully modulated white noise. Perfect reconstruction of analog signal occurs. For records, groove is the information, and every reading is different.

The thread OP checked out after about eight posts. Didn't take too long to make a decision.

Sure, record concept has a certain elegant appeal and historical significance. All its flaws and shortcomings remain unchanged from Edison's original proof of concept. Underlying concept is that sound may be treated as information that may be stored and retrieved.

Records remain stuck in original rut. Underlying concepts of information have bloomed and flourished.

Moving forward is better than remaining stuck in rut.

Trips down memory lane are wonderful; clinging to the past as better than the present is delusional.

Nice post mate, picks up the main issues rather succinctly.
 
Nope. You don't use mold release on compression molded polycarbonate; Slide makes a product used for certain compounds in other processes (not flat discs). Dieco as well. Chemically, that claim makes no sense, either- would a lipid wash off with distilled water? Of course not, other than placebo. Likewise, a couple of microns of a lipid on the surface will not impede optical reading.

Mold release is used on certain thermosets, one thermoplastic (Surlyn), and most elastomers (rubber). I'm intimately familiar with both molding processes and the product lines/applications of all of the top mold release manufacturers. I rarely pull the "Believe me, I'm an expert" card, but as Technical Director of a Fortune 200 company's mold release division, and someone with 30 years of experience in plastic molding, I have to do so this time.

edit: I limit the term "mold release" to "external mold release," i.e., stuff that's sprayed onto the mold. You cannot wash off an internal release- and if you could, you'd ruin the part surfaces.

Thank you, nice to see an authoritative end to Yet Another Myth. Isn't it amazing what you have to do to get a Believer to believe you!

What's the bet the myth will be cranked up again within weeks! 😡
 
Just joined this thread.

I will upset more than a few of you.

I have built a pair of speakers that are "live music in your home" good. I will be attending TAVES (Toronto Audio Video Entertainment Show) this weekend, Nov 1-3, 2013, in Toronto of course.

Knowing there will be people who ask why I am NOT using CD's, I will read from an article from AudioStream; DSD DAC's (which is the next generation of CD, not SACD), "just sounds more natural than CD". That's it!!!!. Read it for yourself. Entitled "So what's the big deal about DSD? Listening Notes. READ IT FOR YOURSELF. CD's are the bottom of the barrel if 'believable' is your quest.

My analog rig (Jean Nantais Lenco Reference MKll, Kuzma 4 point tonearm, and ZYX Universe ll) Sounds like the performers are in the room with you. SACD comes close (EMM Labs CDSA se), CD's make my cats run, along with anyone that's heard the analog version.

Sony has done a fabulous job brainwashing a lot of you. Enjoy your CD's.
 
Just joined this thread.

I will upset more than a few of you.

I have built a pair of speakers that are "live music in your home" good. I will be attending TAVES (Toronto Audio Video Entertainment Show) this weekend, Nov 1-3, 2013, in Toronto of course.

Knowing there will be people who ask why I am NOT using CD's, I will read from an article from AudioStream; DSD DAC's (which is the next generation of CD, not SACD), "just sounds more natural than CD". That's it!!!!. Read it for yourself. Entitled "So what's the big deal about DSD? Listening Notes. READ IT FOR YOURSELF. CD's are the bottom of the barrel if 'believable' is your quest.

My analog rig (Jean Nantais Lenco Reference MKll, Kuzma 4 point tonearm, and ZYX Universe ll) Sounds like the performers are in the room with you. SACD comes close (EMM Labs CDSA se), CD's make my cats run, along with anyone that's heard the analog version.

Sony has done a fabulous job brainwashing a lot of you. Enjoy your CD's.
what is your DAC?
All this thread is about people having top vinyl rig say it sounds better. DUH if your dac reference sucks.
Wayne, you still havent answered my question, what is the DAC you use.
Personnal experience is completely irrelevant if you havent heard both side by side a top of the line vinyl rig and top of the line DAC. Anyone has done that and can report?
 
Here's a simple question: How much money do you need to spend on your analog rig (TT, tonearm, cartridge, phono amp, record cleaning machine, brushes, cleaning liquids, level, record clamp or puck, anti-vibration feet, solid stand, anti-static gun, cartridge's replacement, quality album, ...) to equal a digital rig (solid quality CD/SACD player, and which comes with one free bonus quality hybrid SACD Multichannel from Channel Classics record label, and that's all)?

Say to equal (or surpass) a digital source playback machine that cost $1,000 USA dollars.
...Overall sound quality wise; frequency response, dynamics, pleasantness, non-fatiguing, natural, neutral, resolved, noise, distortion, and all that jazz.

And! How much time, dedication, adjustments at perfecting all the TT's calibrations required from scientific books, reading the TT gurus, the TT forums, tonearms adjustments, cartridge proper installation with all the elevation, proper speed, tangential horizontal and vertical and tracking force and perfect azimuth and EVERYTHING else, counting the album's flipping every 20 minutes or so (always sitting, standing up, walking, repeating, re-balancing, re-cleaning, re-adjusting, re-speeding, belt checking, ...), all the TT rituals required to equal the amount of time required to put a CD in the player's tray and press play, from your remote control, sitting in your chair, and listening for 80 minutes non-stop?
 
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looks like that 70s lps were soaked in some substance from same age so of course it seems like band is in your house... it is not about money ...why everyone talks about cds y why you dont talk about pc based audio ... with 24/96 flac or pcm music and dac that is not in same box with pc ....that is digital of today ,no transports everything in pc ram.. cds are old now
 
Here's a simple question: How much money do you need to spend on your analog rig (TT, tonearm, cartridge, phono amp, record cleaning machine, brushes, cleaning liquids, level, record clamp or puck, anti-vibration feet, solid stand, anti-static gun, cartridge's replacement, quality album, ...) to equal a digital rig (solid quality CD/SACD player, and which comes with one free bonus quality hybrid SACD Multichannel from Channel Classics record label, and that's all)?

Say to equal (or surpass) a digital source playback machine that cost $1,000 USA dollars.
...Overall sound quality wise; frequency response, dynamics, pleasantness, non-fatiguing, natural, neutral, resolved, noise, distortion, and all that jazz.

And! How much time, dedication, adjustments at perfecting all the TT's calibrations required from scientific books, reading the TT gurus, the TT forums, tonearms adjustments, cartridge proper installation with all the elevation, proper speed, tangential horizontal and vertical and tracking force and perfect azimuth and EVERYTHING else, counting the album's flipping every 20 minutes or so (always sitting, standing up, walking, repeating, re-balancing, re-cleaning, re-adjusting, re-speeding, belt checking, ...), all the TT rituals required to equal the amount of time required to put a CD in the player's tray and press play, from your remote control, sitting in your chair, and listening for 80 minutes non-stop?

Ahhhhh Northstar, I humbly must agree with you.

In addition to all you said, some albums where cut on a lathe which itself was not perfectly aligned. At the level of my system, I sometimes need to readjust azimuth, now that's a pain.

The question is; is it worth it?. For me it is. The performers are in the room with me, and that is my Holy Grail.

I own an EMM Labs CDSA se. The DAC is internal. There was a time when this $10,000.00 player was ranked among the best on the planet.

Now let me share with you some 'secret' information;
The amount of information (digits) on a DSD master hard drive is staggering. It is known by industry insiders that a master DSD contains more information than a master tape. A disc, be it CD, SACD, or Blue Ray, cannot hold all this information. It is a matter of storage space. Here is the problem: How to get people to buy dedicated audio computers, than get them to buy a removable hard drive where ONLY ONE album 'fits' onto this $100.00 + 'cartridge'. You've read that correctly. Imagine something like the old style 8 track tape, only a hard drive, and having to carry and/or store hard drives on your shelf.

Well folks, let me be the first to say, as an analogue junky, as soon as 'musical', the performers are in your room, hard drive albums, become available, at any price, I will be the first in line.

DSD is the single greatest way to record an album. We just need to get all this 'information' into our stereo, and that my friends, is a long way away.
 
More than happy to have checked these links.

One link looks like bad packaging practices.

The other looks like bad pressing practices that could go back to production of stamper.

Both are indicators of weak market incapable of supporting manufacturing scale of economy allowing proper production with quality control.

Really have nothing against vinyl, I've enjoyed plenty. Good records in good condition played on totally acceptable systems, rendering countless hours of listening pleasure. With this is learned tolerance to surface noise, ticks, pops that are inevitable. One day a track is silky smooth, next play a defect is heard.

But calling vinyl systems better than CD or 44.1kHz 16 digital or other digital systems is delusional.

Best answer yet. I like others thought it was some kind of residue left from the pressing process. It has the feel of a residue of some kind but you are probably correct in saying it's simply bad pressings.

I like vinyl for it's euphoric effect (mild distortion) but digital is far cleaner and usually better to my ears when done well with recent modern recordings.

This debate is similar to two different religious sects arguing over which one got it 'right'. It will never be resolved, even if it went on for a thousand years!
 
what did I do with those quarters?

I didn't state I wasn't a relic (including the flip cell phone, I'll be damned before I spend half my day answering txt messages and/or develop a touch-screen index finger syndrome)

Hard drives are cheap as dirt nowadays (& big buck guys have the option of SSD's), broadband download speed allows any format.
Before long, a vast range of recordings will be available for download as lossless files, including digitised vinyl.
Take e.g. Christian Rintelen in Switzerland, currently offers to digitise LP's for individuals, to a 192kHz sample rate file if so desired.
He'd be unwise not to retain copies, to sell as downloads at a later stage.
An even more commercial bloke would just buy up digitised recordings, to merchandise on the web.
Eventually, it's the offer/supply side that will be the end of both LP and CD.

(I enjoy both analog vinyl, CD, and music servers, not at poverty level)
 
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