Need advice on LP transfers

[Royce]

Hey guys,
I need some advice on how to do great LP transfers..I've been paying attention to all this funny buisiness going on with lots of Great music being ruined by bad mastering lately, and i'm looking at my music collection, which i've been collecting since i was 7 years old or so, and thinkng that the only way i'm going to get some of this stuff on CD at all much less done properly, is if i do it myself..Here's the problem..I just plain don't know a lot about this stuff, so i don't know what i need..I've been reading LOTS of threads i could find here but i just didn't find what i was looking for..What i'm looking for is a great Turntable/Phono Preamp/Cartridge/Needle combination that will help me make great transfers of my collection (50s, 60s, and 70s 45s and LPs) that will sound right, track well, and avoid that awful siblance and groove distortion that i always seem to encounter..for the record, i was one of those kids who only held my records by the edges, and always kept them clean and in their jackets..because of that all of my vinyl is still in really great shape..here's what i have right now by way of equipment:

A Stanton STR8-80 Turntable (Picture Attached)
A Shure M44G Cartridge
A Nitty Gritty Pro II Record Cleaning Machine
A Set Of Mackie 624 Powered Monitors for playback

Any advice at all on how to better this setup will be greatly appreciated.
Also, even with the stuff i have, i'm not sure how you go about setting up all the adjustments properly (tonearm weight, anti skate, etc...)

[Hegeman's Ghost]

A Stanton STR8-80 Turntable (Picture Attached)
A Shure M44G Cartridge
A Nitty Gritty Pro II Record Cleaning Machine
A Set Of Mackie 624 Powered Monitors for playback

Any advice at all on how to better this setup will be greatly appreciated.
Also, even with the stuff i have, i'm not sure how you go about setting up all the adjustments properly (tonearm weight, anti skate, etc...)

Hi Royce,

Most cartridge manufactures will give you the recommended setting for tracking force. This setting will usually give you satisfactory results. I find that for most of the older records in my collection, I must use 3 or 4 grams to get optimum results. The recommended range for the cartridge I am using (see below) is 2 to 4 grams.

As a starting point, anti skate is usually set at the same value as your tracking force. For example, if you set your tracking force at 2 grams, set your anti skate at 2 grams also. However, you can vary this setting based on your actual listening experience.

I have an extensive collection of 10" Jazz LP's that I transfer to CD as soon as I acquire them. Consequently, I have tried many different cartridges, both mono and stereo, and, both conical and elliptical. However, I find that I get the best fidelity with my Ortofon Concord. This is a DJ cartridge with a conical stylus.

I use a Technics SL1200-MK2, but with the proper cartridge, your Stanton should give you great results.

If you record mono LP's you will need to use a "Y" connector if you do not have a "Mono" switch on your amp or preamp. This will reduce surface noise and allow true mono reproduction. Obviously, if you are only going to record stereo LP's, these are not necessary.

I use a Sony RCD-W500C CD recorder. In my opinion, It does an excellent job.

I make the initial recording on CD-RW then transfer it into my computer for minor editing. I use the Gold Wave audio editor, primarily to remove pops and clicks. I minimize editing to insure that I preserve the fidelity and mix of the original recording.

After final editing, I burn the final CD-R.

My son and I have compared my home recordings to the same store bought CD re-issues in his collection, and, we are always amazed at the fact that my homemade recordings are usually far superior.

Hope I have answered some of your questions.

Regards, HG :cool:

[bangsezmax]

If you're getting sibilance and groove distortion, it's very likely your rig may be part of the issue. These Stanton's are really designed for DJ as opposed to hi-fi work. I'd make sure you have the VTF set right (hint: aim for the heavier side of your cartridge's specs). Hopefully the Stanton manual tells you how to do that. Doesn't look like those have a VTA adjustment, which can be a big deal.

Basically, you need a TT that sounds good for playback. It also helps if you have different stylus profiles as an option, i.e. elliptical vs conical (or MicroLine, Shibata, etc). Some records (especially worn ones) respond better to certain stylus shapes.

My rig, FWIW, looks like this --

Thorens TD-125 MkII with Stanton 681/EEE-IIs >
Sansui AU-999 intergrated amp (great phono preamp in this one) >
DOD 31-band analog EQ (mostly for adjusting levels, occasionally for EQ) >
M-Audio Audiophile 24/96 soundcard >
CoolEdit 2000 >
CDWave Editor >
CD-R

[Graham Start]

I am not normally one to be fussy about the table and tonearm, preferring to focus on the cartridge... but this appears to have a short, straight tonearm, which is totally unsuited for decent music production. It's been designed to stay in the groove during scratch play, and unfortunately that means that the tracking angle will be way off no matter what you do.

I would suggest a table with a standard length tonearm and a cartridge like an Audio Technica AT440MLa.

[Glen B]

A Stanton STR8-80 Turntable (Picture Attached)
A Shure M44G Cartridge
A Nitty Gritty Pro II Record Cleaning Machine
A Set Of Mackie 624 Powered Monitors for playback

At the minimum i would ditch that Shure M44 in favor of something better. I was a mobile DJ during the 1970s and tried many cartridges including the Shure M44. It had a nice, high output level was just too "rough" sounding for my tastes. Later on, when the Stanton 881S was introduced that became my cartridge of choice. I always avoided the "DJ model" cartridges.

If you're getting sibilance and groove distortion, it's very likely your rig may be part of the issue. These Stanton's are really designed for DJ as opposed to hi-fi work.

My rig, FWIW, looks like this --

Thorens TD-125 MkII with Stanton 681/EEE-IIs >
Sansui AU-999 intergrated amp (great phono preamp in this one) >
DOD 31-band analog EQ (mostly for adjusting levels, occasionally for EQ) >
M-Audio Audiophile 24/96 soundcard >
CoolEdit 2000 >
CDWave Editor >
CD-R

I use the M-Audio soundcard too and get great results. :righton:

My setup:
Denon DP59L (captive cables replaced with Furutech RCA jacks).
Audio-Technica AT-OC9 cartridge.
Acoustic Zen Oscar Link ICs.
Monolithic Sound PS-2 phono stage and HC-1b power supply.
M-Audio Audiophile 24.96 sound card.
LP Recorder wave recorder.
LP Ripper wave editor.
CD burner.

[Solaris]

I had borrowed a Stanton table like yours from a friend so I could do needle drops until I got my Technics SL1200 Mk2, and I found much to my dismay that an elliptical cart on that Stanton can DAMAGE your records, so be careful. This applies to the highly touted Shure M97xE cart, which works well with other tables. The M97xE sounds great on my Technics, but it's bad news on the Stanton. I can't offer any advice on the M44 cart you have, but I would definitely do some investigating regarding different shaped styli and how they perform with that arm.

Hope that helps.

[GetRhythm]

Royce,

Congrats on your decision - sometimes you just have to do things yourself to get it right!

I've been engaged in a similar project for the past seven months, and while it's been frustrating at times, it's also been very rewarding.

First of all, some quick suggestions:

You didn't mention either a phono pre-amp or computer sound card in your list of equipment. For the phono pre, I used to have a Creek OBH-8 dedicated phono pre that I thought sounded pretty good - that is, until I picked up a vintage Fisher 800C tube receiver on Ebay that I've had completely restored. Believe me, once you go tube, you'll never want to go back - everything I put through this thing (including original recordings of bands I engineer) sounds fantastic.

For the sound card, like several others have mentioned, I'm a big fan of the Audiophile 24/96. I used to think using an internal sound card to do your A/D conversions was anathema to good audio, but the 24/96 actually sounds better than the external dedicated unit I was using before. You might want to give some consideration to converting at a high resolution - at least 24 bit - and then using a software application to reduce down to 16 bit for CD production or loading the tracks into an Ipod. 24-bit conversion sounds much better than 16-bit. I use Steinberg's WaveLab with the Waves L2 Ultramaximizer plug-in for my audio editing and mastering.

Something else I should mention - I highly value all my mono records, which comprise over a third of my total collection. That being the case, I had the better of my two turntables - a Microseiki DD-33 - fitted with a Grado mono phono cartridge. And I also have the Fisher switched into "Phono - Mono" mode when converting those recordings. The end result is that much of the inherent surface noise on some of these recordings is minimized, and the conversions are much cleaner.

Good luck - it's a very worthy project!

[DrJ]

I am now running a Shure V15VxMR cartridge with a Technics SL-1200mk2 turntable/tonearm. This combination will track anything and sounds fantastic and (importantly to me) without significant coloration. Makes fantastic needle drops. I use an HHB BurnIT standalone burner and then transfer the files to GoldWave for any necessary declicking and track indexing before burning the final play copy.

For vintage mono records I use an Ortofon Concorde DJ spherical cart, otherwise same set up.

As GetRhythm mentioned, phono stage is also important. My conviction is there are a ton of decent ones that will get the job done, from the built-ins in some nicer home theater amps (e.g. Denon AVR-3300 I have) to inexpensive standalones and the like. BUT I will say that having a truly great phono stage will make a HUGE difference in the quality of your needle drops. After a brief period of temporary insanity when I almost sold it here on the Forums a few weeks back (long story, won't bore you with the details), I thankfully held on to my Whest PS .20 phono stage (solid state). I use it direct into the burner and the results are wonderful, very noticeably superior to any other stage I've used in terms of detail, dynamics, and just sense of flow/naturalness of music.

[Royce]

Thanks a lot you guys!..Lots of good ideas..I sure wish i had more experience in this area..It really makes it difficult to make good decisions..A lot of people seem to like those Technics turntables..I also never thought about using a different cartridge just for mono records (which i have a lot of) or using a Y cable to get a true mono signal and help eliminate noise..I left some of my equipment off that earlier list, so here it is again with some additions

Nitty Gritty Pro II Record Cleaning Machine
Stanton STR8-80 Turntable
Shure M44G Cartridge
TCC TC-778 Phono Preamp
ESI Juli@ Sound Card
Magix Audio Cleaning Lab 10
Sony Noise Reduction 2.0 Plug-In
2 Mackie 624 Powered Monitors for playback

Right now i'm leaning toward the Technics SL-1200 MKII turntable..I guess i'm going to have to get a couple of different cartridges/needles for the different Mono/Stereo records i have..I really want to do this right..:agree:

[Grant]

Hi Royce,
I must use 3 or 4 grams to get optimum results. The recommended range for the cartridge I am using (see below) is 2 to 4 grams.
OMG!:eek: For most carts, that's way too much!


BTW, I use the Shure M97xE with great results, and do not have tracking/distortion issues with my table.

I use the E-mu 0404 soundcard because I record directly into the computer and record with Adobe Audition. I usually record at 88.2kHz/32-bit, and clean up. Then, I dither/SCR down to 44.1/16-bit for CD-R, and sometimes save the hi-rez version to DVD for future use.

[Hegeman's Ghost]

OMG!:eek: For most carts, that's way too much!

Hi Grant,

I would guess from your comment that you don't have many 10" mono LP's from the early 50's in your collection...am I correct? Otherwise, I don't think you would be so surprised at my occasional use of 3-4 gram tracking forces.

Regards, HG :cool:

[Grant]

Hi Grant,

I would guess from your comment that you don't have many 10" mono LP's from the early 50's in your collection...am I correct? Otherwise, I don't think you would be so surprised at my occasional use of 3-4 gram tracking forces.

Regards, HG :cool: True. I can count on one hand how many 10" LP records I have, all from Columbia.

[quicksrt]

Hi Grant,

I would guess from your comment that you don't have many 10" mono LP's from the early 50's in your collection...am I correct? Otherwise, I don't think you would be so surprised at my occasional use of 3-4 gram tracking forces.

Regards, HG :cool:

Please never suggest someone track with that kind of weight, it is FAR TOO heavy for normal treatment of any LP, and will ruin the record, completely total it out in one single play.

[Grant]

...not to mention what it will do to the stylus, and everything you play that stylus on thereafter!

[Blackie]

I didn't read every post above but here's my short but sweet version:
1. Find a clean copy of a good pressing (probably the most imporant step if an "audiophile" CD-R).:righton:
2. Clean the record as best you can (Loricraft, VPI, Clearaudio, or Disk Doctor).
3. Get the best TT/Cart/Phonostage you can.
4. Get the best soundcard your budget will allow and record at the highest possible fidelity.
5. Turn off your computer monitor and all speakers (headphones okay) while recording (you know, electrical and acoustic feedback and all).
6. Clean up intros an manually de-click loud pops and clicks then normalize and downsample to 16/44.1.
And possibly the most important step of all...give your friends your CD-Rs of the much better sounding versions of their favorite albums!

[Hegeman's Ghost]

Please never suggest someone track with that kind of weight, it is FAR TOO heavy for normal treatment of any LP, and will ruin the record, completely total it out in one single play.

Hi Jeff, :wave:

You are correct that the amount of tracking force is a major determinant of normal record "wear." However, just as detrimental is the permanent record "damage" that can result from mistracking. Mistracking occurs, when the stylus veers out of control in the record groove as a result of insufficient tracking force. This can permanently damage a record by altering the signal patterns in the groove. Such damage can occur in just one play. The lower the tracking force, the lower the record wear, but, the lower the trackability, the higher the risk of permanent groove damage.

It it were true that tracking forces of 3-4 grams "will ruin the record...in one single play", all of the 10" LP's from the early 50"s would be trash. I can assure you, they are not. You may not be aware of it, but tracking forces in excess of 4 grams were the norm for phonographs from that period.

Regards, HG :cool:

[vanmeterannie]

I've found that, on older mono records with a lot of groove wear, a .7 mil conical at 6.5 grams really does the trick, although I only use it in extreme cases. But it makes a noticable difference, and doesn't shred the record. Just my opinion.

[Royce]

Thanks for all the responses everybody!..I would like to take this time for a special shout out to "Grant"..I have read many of your posts here, and share your love for Mono 45 "Hit Mixes" and Mono/Stereo Single edits..I just can't get enough of them, and have often wondered about the notes and info you must have logged along the way (not to mention the actual 45s themselves!)..I'd also be interested to hear about the process and equipment you use for YOUR transfers..Here is what i'm going to do sometime today based on what i've read..I'm going to buy one of those Technics SL-1200MK2 turntables, a Shure Cartridge (Either the V15VxMR or the M97xE) (someone chime in if they think i should have one over the other)..Also, let me know if i need to buy an additional cartrige just for Mono playback (and which one you would suggest)..I do have lots of Mono LPs and 45s, and i do want to transfer them properly..I am also going to get that Hi Fi News test record..I see there is a newer "Producers Cut" made in 2004 that includes a "multi-discipline, alignment protractor, a truly universal device that can be used to set up all sizes and types of arm to fine degrees of accuracy"..if this comes with the record, does it mean that i won't need the ETM Protractor that i've read about here?..Last but not least, i also want to pick up one of those Shure Tracking Force Pressure Gauges..Is there anything else i need to get this system fine tuned, or do i have all the bases covered?..One more thing..The Nitty Gritty Pro IIa that i have is fully automatic, and cleans both sides of the LP at once (which is great) but it doesn't work on my 45s, which are more important to me than my LPs (even with the Nitty Gritty "3-Way" Adaptor for Automatic Rotation Of 7" - 10" - 12" Records)..Does anybody know if Nitty Gritty makes a model that works well with 45s?..Thanks again for all your much needed help in making these decisisions..Royce

[Hegeman's Ghost]

:cool: I've found that, on older mono records with a lot of groove wear, a .7 mil conical at 6.5 grams really does the trick, although I only use it in extreme cases. But it makes a noticable difference, and doesn't shred the record. Just my opinion.

Hi Vanmeterannie,

Right on! :righton:

As I'm sure you know, the older mono LP's were cut to be played with a 1 mil conical stylus. That's why the mono cartridges sold today all have a 1 mil stylus.

I have two mono cartridges, the Grado MC+ and the Ortofon 10M. However, like you, I find that I get much better sound from my Ortofon Concord....a stereo cartridge with a .7 mil conical stylus.....go figure!

As you have so correctly determined, when using a .7 mil stylus on the older mono LP's, a high tracking force is required to minimize mistracking and optimize fidelity.

A lot of great music on those old platters.... if you just know how to coax it out!!!

Regards, HG :cool:

[Grant]

It it were true that tracking forces of 3-4 grams "will ruin the record...in one single play", all of the 10" LP's from the early 50"s would be trash. I can assure you, they are not. You may not be aware of it, but tracking forces in excess of 4 grams were the norm for phonographs from that period.

Regards, HG :cool:I understand that, but what about the differences in stili we use today and that of yesteryear?:confused:

[Grant]

Thanks for all the responses everybody!..I would like to take this time for a special shout out to "Grant"..I have read many of your posts here, and share your love for Mono 45 "Hit Mixes" and Mono/Stereo Single edits..I just can't get enough of them, and have often wondered about the notes and info you must have logged along the way (not to mention the actual 45s themselves!)..I'd also be interested to hear about the process and equipment you use for YOUR transfers..Here is what i'm going to do sometime today based on what i've read..I'm going to buy one of those Technics SL-1200MK2 turntables, a Shure Cartridge (Either the V15VxMR or the M97xE) (someone chime in if they think i should have one over the other)..Also, let me know if i need to buy an additional cartrige just for Mono playback (and which one you would suggest)..I do have lots of Mono LPs and 45s, and i do want to transfer them properly..I am also going to get that Hi Fi News test record..I see there is a newer "Producers Cut" made in 2004 that includes a "multi-discipline, alignment protractor, a truly universal device that can be used to set up all sizes and types of arm to fine degrees of accuracy"..if this comes with the record, does it mean that i won't need the ETM Protractor that i've read about here?..Last but not least, i also want to pick up one of those Shure Tracking Force Pressure Gauges..Is there anything else i need to get this system fine tuned, or do i have all the bases covered?..One more thing..The Nitty Gritty Pro IIa that i have is fully automatic, and cleans both sides of the LP at once (which is great) but it doesn't work on my 45s, which are more important to me than my LPs (even with the Nitty Gritty "3-Way" Adaptor for Automatic Rotation Of 7" - 10" - 12" Records)..Does anybody know if Nitty Gritty makes a model that works well with 45s?..Thanks again for all your much needed help in making these decisisions..Royce

I wish I had the $$$ to burn for all that stuff you are going to buy!:D

Right now, i'm using the Shure M97xE because the V15xMR is no longer made, but i'm sure it wouldn't bee too hard for you to find one new or used. I will admit that my cart isn't always the best to use for mono 45s from the 50s and 60s, but I have no problems using it for mono LPs. Many people prefer the AT440la, but there are reports that it shreds styrene pressings. Not good if you work with a lot of 45s like we do. If you can switch out headshells, you could get both.

That Enjoythemusic protractor and the Shure pressure gauge works well for me.

The Technics TT is a good choice, and there are a few forum members who use them for their needle drops.

I use a poorman's method for cleaning records by using a couple of drops of Dawn dishwashing detergent, maybe a few drops of 91% isopropyl alcohol, and water.

[Hegeman's Ghost]

I understand that, but what about the differences in stili we use today and that of yesteryear?:confused:

GRANT,

MAYBE THIS WILL HELP.

1) YESTERYEAR = ALL CARTRIDGES HAD CONICAL/SPHERICAL STYLUS' 1.0 MIL IN DIAMETER. TOUCHES THE WALLS OF THE RECORD GROOVE. SOME USED TRACKING FORCES AS HIGH AS 15 GRAMS.

2) MODERN CONICAL/SPHERICAL = 0.7 MIL IN DIAMETER. = SIMPLEST & LEAST EXPENSIVE. TOUCHES THE WALL OF THE RECORD GROOVE. THEY ARE GOOD FOR MODERATE OR LESS EXPENSIVE TURNTABLES WHICH REQUIRE HIGHER TRACKING FORCE. GREAT FOR 45's AND 1950's MONO LP's. MOST USE TRACKING FORCES IN THE 2.0-5.0 GRAM RANGE

3) MODERN ELLIPTICAL 0.7 MIL MAX DIAMETER. = 2 RADII, FRONT WIDER THAN THE SIDE. THE SMALLER THE SIDE RADIUS, THE BETTER THE SOUND. THIS STYLUS RIDES IN THE CENTER OF THE GROOVE. GOOD FOR MORE EXPENSIVE TURNTABLES WHICH ARE CAPABLE OF LOWER TRACKING PRESSURE. GREAT FOR LP'S IN EXCELLENT CONDITION. NOT AS GOOD FOR OLDER MONO LP's. MOST USE TRACKING FORCES IN THE 1.5-2.0 GRAM RANGE.

4) TRACKING PRESSURE = A GENERAL RULE FOR ALL CARTRIDGES = THE LOWER THE TRACKING PRESSURE, THE LESS RECORD WARE. HOWEVER, IT IS IMPORTANT THAT YOU HAVE SUFFICIENT TRACKING PRESSURE TO PREVENT MISTRACKING. MISTRACKING OCCURS WHEN THE STYLUS VEERS OUT OF CONTROL IN THE RECORD GROOVE. THIS CAN PERMANENTLY DAMAGE A RECORD BY ALTERING THE SIGNAL PATTERNS IN THE GROOVE.

REGARDS, HG :)

[TomCrook]

Hi Royce,

I looked up your tt manual on the Stanton site and notice that yours has an SP/DIF digital output (as does my STR8-100).

Have you tried it yet? I've found that connecting that output to a high quality soundcard with a digital input makes one HUGE difference in the sound.

(For others' comments on one of my transfers, wander over to a Phil Spector thread on our BSN annex). Apologies - if this is a problem, certainly edit - or remove.

Klaatu verrada nicto...

[Grant]

GRANT,

MAYBE THIS WILL HELP.

1) YESTERYEAR = ALL CARTRIDGES HAD CONICAL/SPHERICAL STYLUS' 1.0 MIL IN DIAMETER. TOUCHES THE WALLS OF THE RECORD GROOVE. SOME USED TRACKING FORCES AS HIGH AS 15 GRAMS.

2) MODERN CONICAL/SPHERICAL = 0.7 MIL IN DIAMETER. = SIMPLEST & LEAST EXPENSIVE. TOUCHES THE WALL OF THE RECORD GROOVE. THEY ARE GOOD FOR MODERATE OR LESS EXPENSIVE TURNTABLES WHICH REQUIRE HIGHER TRACKING FORCE. GREAT FOR 45's AND 1950's MONO LP's. MOST USE TRACKING FORCES IN THE 2.0-5.0 GRAM RANGE

3) MODERN ELLIPTICAL 0.7 MIL MAX DIAMETER. = 2 RADII, FRONT WIDER THAN THE SIDE. THE SMALLER THE SIDE RADIUS, THE BETTER THE SOUND. THIS STYLUS RIDES IN THE CENTER OF THE GROOVE. GOOD FOR MORE EXPENSIVE TURNTABLES WHICH ARE CAPABLE OF LOWER TRACKING PRESSURE. GREAT FOR LP'S IN EXCELLENT CONDITION. NOT AS GOOD FOR OLDER MONO LP's. MOST USE TRACKING FORCES IN THE 1.5-2.0 GRAM RANGE.

4) TRACKING PRESSURE = A GENERAL RULE FOR ALL CARTRIDGES = THE LOWER THE TRACKING PRESSURE, THE LESS RECORD WARE. HOWEVER, IT IS IMPORTANT THAT YOU HAVE SUFFICIENT TRACKING PRESSURE TO PREVENT MISTRACKING. MISTRACKING OCCURS WHEN THE STYLUS VEERS OUT OF CONTROL IN THE RECORD GROOVE. THIS CAN PERMANENTLY DAMAGE A RECORD BY ALTERING THE SIGNAL PATTERNS IN THE GROOVE.

REGARDS, HG :) Uh, please don't maximize your posts. It hurts my eyes and makes me not want to read it.:)

[Royce]

Hey Guys!
After a short delay, i finally got this turntable stuff together..here's the new setup:

Technics - SL-1200MK2 Turntable
Technics - Duplicate SL-1200MK2 Headshell For Alternate Needle
Shure - Precision Stylus Force Gauge SFG-2
Shure - M97xE Stereo Cartridge
Ortofon - OM D25M Mono Cartridge
ESI - Juli@ Soundcard
Hi-Fi News - Analogue Test LP
Nitty Gritty - Pro IIa Record Cleaner
TCC-TC-778 Professional Stereo RIAA/78 Phono Preamp
MACKIE HR624 Active Powered Studio Monitors

So that's it..How did i do?..I have everything set up, now i need to dial it all in..I'm kind of puzzled by the Test LP..I've never used anything like this before..If somebody wouldn't mind, could you tell me how i should proceed?..I mean what to do, and in what order?..I know it sounds ridiculous to someone who knows this stuff already, but i really am in "Kindergarden" with all this stuff..One thing i'm wondering is how do i know that i have the cartridge aligned properly in the shell?..There's a cardboard "Cartridge Alignment Protractor" that came with the Shure M97xE, but it isn't mentioned in the instructions, and i don't understand how to use it..Also, regarding the mono cartridge (which is mounted on the spare shell)..do i just exchange the headshells to play old mono recordings, or will i have to change some other adjustments as well?..sorry for all the questions, but my brain just doesn't "get" some of this stuff..as soon as i get this setup dialed in, i'm going to transfer some mono Sam Cooke 45s!..i've been looking forward to this for some time!

If you guys can think of anything else i should be doing, please let me know thanks, royce