Insights on vinyl

Talking about changing the original signal, most, if not all "rock" Cds(and many jazz records as well) are so over-bumped that the atrocious low is unintelligible to the point that you can't ear the bass line, so there's no comparison in term of fidelity between this and the original vynil. You can talk about a so-called warmth, i refer to extreme coldness, dryness, a edgy, lifeless and boring sound that break the ears until 5 minutes. But now you can serve me your mathematical formulas and theories to prove your point. The listening experience is something else.
    

Edited by oliverstoned - October 25 2006 at 09:51

If the difference between a vague buzzing and a deep powerful and clear bassline is not so important, OK so.
The low is far more articulate, quick, dry and deep on vynil than on CD. If (very rare)good Cds records manage to have decent "soft" highs (without comparison in term of tone and informations with the vynil), these Cds all have a problem with the low which is very thin on the old release and overbumped on most recent versions. However, these overbumped releases goes well with Mr everybody
mediocre system. They are done for it. Thats why i should
cut my sub when i'm listening to thse kinds of CDs, whereas it works wonderful with my sub on a well- balanced classical or jazz Cd. So it proves the problem is on the (overbumped)CD .
    

Edited by oliverstoned - October 25 2006 at 10:08

I've never pretend that you can't apreciate music through
mediocre equipement. There's always better but as soon as you've heard something good, it's very hard to go backward.

I don't talk about ultra expensive gear, you can already judge the difference between records on a good 1000€ system.

You talk about current artists (digital).
Actually, jazz and classical recording studios are far more tidy with sound than rick studios.
If it seems pointless to you to spent much on equipment, it's just because you haven't heard it.
My system is around 10000€ and should be soon around 15000€ and it blows what you can hear in studio.
It's like a hard drug because it's so good!

oliverstoned wrote: My system is around 10000€ and should be soon around 15000€ and it blows what you can hear in studio.

Edited by Heavyfreight - October 25 2006 at 11:09

If the difference was marginal, it was simply not a good system. Price means nothing. A 1 000 000 dollars system can be bad, less good than a 1000 dollars well composed one.

Without talking about the source, here are the conditions for a system to work, WHATEVER THE PRICE:

-ALL the elements must be good and musical. If all your system is good except your preamp i.e, the whole wil be bad. That's what's tricky. Price means NOTHING. There are good and bad things in all price ranges.

-Tubes in wide-band, or bi amp with tubes in the highs.
So, if you must have only one amp, it must be tube.
There are some nice solid-state which work decently in the highs, but no comparison with a good valve one.

-Good cables, proportioned to the elements (Interconnects+power cables)(bad ones downgrade)

-Separated power lines direct to the home counter.

-A minimum of good power filters (bad ones downgrade)

-A minimum of cancelling device under each element.

-Several essential tips such as: power phase respect,
horizontality for turning machines (Cd player/turntable).


Few audiophiles apply all the points, many systems are:

Digital + solidstate, no power optimization and no vibration treatment most of the time. And the guys believe that they will compensate their system's flaws with acoustic treatment. This said, the speaker's position in the room is essential as well.

As you see, it's quite complex (and simple at the same time)and it's virtually impossible to do well in the esoteric world of Hifi, if you don't have a solid background. I had the chance to meet a very "big" audiophile, one of the biggest in France, his experience is the result of 35 years of research.

A few words about his setup:

-CD : The biggest Mark Levinson Setup, about 45 000 € (drive + convertor of course)

-Turntable : Constantly changing, still in research.

-Tuner: Marantz 10B

-Tapedeck: Nakamichi 1000zxl Gold

-Preamp: Mark Levinson 32 Reference, the best ever.

Bi-amplification:

-Low: Two mono blocks Goldmund 9.4
-Highs: Constantly changing, always tube: two mono blocks
Conrad Jonhson, Antique sound lab, Graaf...

-Speakers: Genesis (a brand created by the "Infinity" conceptor). A blend of electrodynamic speakers for low,
and rubon tweaters in the highs (the best for highs).

Cables: "Transparent cables" for Interconnects (something like 80 000€ for the whole), "Nordost" in power cables (3000€ each cable), "Transparent cables" power isolators,
"Richard Grey" filters.









    
    
    
    
    

Edited by oliverstoned - October 26 2006 at 06:25

How can a power cable cost 3000€?

What is is made of? even if it's gold it should cost that much.

I've got a USB cable like that cost me about £7

I would listen to vinyl but I don't have a record player so all those Rush albums just look cool.

progismylife wrote: I would listen to vinyl but I don't have a record player so all those Rush albums just look cool.

You should look for a Rega Planer 3 turntable with a "Elyss" or "Super Elyss" cartridge.