So tell this digital aficionado all about converting to vinyl…

As per thread title.

I’ve only heard vinyl about 10 or so times in my entire life – but each time it’s happened, it’s been memorable. I’ve only ever handled records twice in my entire life. I’m curious about vinyl, and am seriously considering a conversion now.

My interest was first piqued a long time ago – let’s face it, vinyl looks cool.

Then I realized that title availability was poor, and I was put off by the effort/hassle required just to get music playing – with all that searching, grading, cleaning, re-cleaning, and then re-cleaning again etc. The poor noise floor and severely limited lifespan of the medium was the last straw for me.

Then I heard a few vinyl rigs. Then I realized that a respectable entry-level turntable may not be that expensive after all. The final straw was when I picked up a couple of DESS Beatles CDs recently – they just sounded so much… better. So… warm, and full. And this was with what some people considered heavily EQ’ed needledrops!

So my friends, what do I need to do? What do I need to know? I’ve numbered my questions for easy answering.

1. So just like there are desired CD masterings there are desirable vinyl ‘pressings’?

2. Phono stage, MM, MC, spindle, matrices, deadwax, platter, grading – what the heck do all these terms mean? What other terms do I need to know in order to fluently ‘speak vinyl’?

3. Direct drive or belt drive? This seems to be a rather contentious issue – why?

4. Which is more important – the cartridge or the turntable?

5. I read about ‘mono’ and ‘stereo’ needles, what gives?

6. What is the expected lifespan for vinyl? How many times can you play a record before it ‘dies’?

7. What is ‘tracking force’ and why does it need to be adjusted?

8. Is cleaning really the most important thing to do?

9. Why is a tone arm important? Why are there straight and 'S' shaped ones? Which are better?

10. I might just pick up a turntable after all this Christmas shopping madness is over – my budget is ~$700. I’m looking for a maximum bang-for-buck that has the potential for future upgrades. I’ve lurked here quite a while and from what I’ve read, I’m considering the following TTs – which is the best?

a. Technics SL-1200 mkII
b. Goldring 1.2
c. Rega P3
d. Music Hall MMF5
e. ??? (Suggestions welcome)

If anyone else has any other advice to offer, I’m all ears. Thanks in advance everyone!

 

You've already saved up enough for retirement, right?

 

Really how about a records FAQ? This post can be used if it helps make one. Anyone feel free to correct me. This is a heck of a post to attempt.

You'd better get to using the search over in the Audio Hardware forum here Asking waaay too much for anyone to reply to. But I'll try to answer the big stuff.

1. So just like there are desired CD masterings there are desirable vinyl ‘pressings’?

A: Correct, absolutely. Sound can vary wildly.

2. Phono stage, MM, MC, spindle, matrices, deadwax, platter, grading – what the heck do all these terms mean? What other terms do I need to know in order to fluently ‘speak vinyl’?

A: Deep breath...

You have a turntable; it is a base on a suspension, with a motor that turns a platter on which you put the record, and a tone arm which holds the cartridge which holds the stylus (needle). The spindle is basically the stem at the center of the platter.

Phono stage compensates for two factors of record playback:

a) The cartridge puts out a tiny electrical signal. It is not the same intensity as the "line level" electrical output (from a radio or a CD/DVD player or tape deck or whatever). Therefore if you patched it right into your preamp/tuner/whatever, it would be too low compared to the other inputs. A phono stage boosts the cartridge output to a line level.

b) In order to optimize the sound quality from a record, a method was developed in the early days of the vinyl LP. Highs are boosted and lows are reduced by a certain amount. When you play the record back, the phono stage corrects this, reducing the highs and boosting the bass the certain amount opposite the amount used in cutting, so you hear the sound accurately again. Noise in the highs is reduced and the ability to accommodate bass, which causes the widest motion in the grooves, is maximized. This is called the RIAA Equalization Curve.

There are three kinds of common cartridges. Moving Magnet, Moving Coil and Moving Iron. Moving Magnet and Moving Iron have the same characteristics, so are usually both referred to as MM. Moving Coil is MC. MMs can have higher output levels. MCs are usually either low or high output, relatively. MCs tend to be more expensive. MMs, high output MCs and low output MCs each have their fans, it's a matter of tastes and costs etc. Some phono stages are optimized for MM or MC or have adjustments to "tweak" it for whichever kind you use.

Deadwax: the area of the record between the inner grooves and the label. Dead area + old term for records being wax = dead wax. Numbers and letters are put there which you could use to tell which version the record is, how many pressings down the line that pressing is, what stamper it was made from, where it was made, sometimes who cut the disc, etc etc.

Matrices: Usually refers to the numbers/letters cut in the deadwax area of the pressing parts...

Grading: the system used to judge the condition of a record.

3. Direct drive or belt drive? This seems to be a rather contentious issue – why?

Direct drives are motors which are attached to the platter and turn it like a wheel. Belt drives have the motor isolated to the side and turn the platter via a belt between the motor and platter. You can figure out the pros and cons from there: the direct drive is more solid and sturdy, the belt drive can offer less motor noise and vibration to carry to the platter and to the record etc. Most higher quality tables are belt drive. A good design of either approach will work and sound great.

4. Which is more important – the cartridge or the turntable?

All parts matter equally: the turntable, the tonearm and the cartridge. It's a synergy. You don't have an engine work well with bad valves and good pistons.

5. I read about ‘mono’ and ‘stereo’ needles, what gives?

Records (and home playback) was originally one channel, one speaker, called mono. Gradually two speaker, stereo, sound became used. Only mono was around when records started, including vinyl LPs in 1948-49. In 1958, the record technology was changed to carry two channels (stereo). The groove shape changed from a U to a V cut. Cartridges and stylus changed appropriately. Early stylus was made for the U shape and could chew up stereo records. V stylus are safe for U grooves but are noisier than a U stylus playing a U groove. Stereo method also results in more record noise; playing a mono record in stereo is needlessly noisy. You can clear this up. Use a stereo cartridge for stereo records and a mono cartridge for mono records. You could even try to have a U stylus for use on old mono records. You can also use a stereo/mono switch if your preamp/tuner/whatever has one, that's the easiest way. You can also swap cables from a stereo set to a pair of Y-cables to sum the two channels to one. That might sound very confusing at first but it'll fall into place one you get it.

6. What is the expected lifespan for vinyl? How many times can you play a record before it ‘dies’?

Never had a record wear out. You have to wreck it somehow: use a worn out stylus; play the record when its dirty or soiled so the gunk scours the grooves and ruins it; play it with an improperly adjusted setup causing excessive wear. If the record is seriously clean, the stylus is a good one, not worn out and the rig is properly adjusted, wear is not a concern. We're talking only vinyl LPs and 45s played on high quality rigs; the situation is different for 78 rpm records. Note also that bad quality vinyl could wear out no matter how ideal the playback, it's just too soft or brittle.

7. What is ‘tracking force’ and why does it need to be adjusted?

This refers to an adjustment of the tonearm. The needle is being carried in a groove; for best sound results and to prevent damage from too much weight or banging around in the grooves, the geometry of that contact point and its weight and resistance has to be "just so." It's an amazing technology.

Tracking force is one factor, a counterweight that controls the weight of the stylus in the groove. Anti-skate is another. Azimuth and overhang refer to the position of the stylus tip. Vertical Tracking Angle (height of the arm) is another. You set all these things when you set up your turntable. Only when they are just so is it going to get the best sound and be safe to use on the record. Good news is, it's not that hard to do yourself, and once done is done until/if you change the cartridge.

8. Is cleaning really the most important thing to do?

It matters, absolutely. Unless you want a noisy, crackly, staticy junky sound and intend to ruin the records... There's lots of ways to do it right, including expensive machines or cleaning "by hand" with "home made" items and fluids. A good quality pressing in good condition that is properly cleaned and played on a good rig can be so quiet you may not notice it's a record. Introduce dirt and things sure can get nasty quick.

9. Why is a tone arm important? Why are there straight and 'S' shaped ones? Which are better?

See above. Designs influence the geometry and affect sound and wear. Some are made for good sound, some are junk, and some are made for DJs so they can do things like "backscratching." The junk is junk and the DJ ones wear records and won't sound the best. Beyond that there's a million designs with all kinds of results.

10. I might just pick up a turntable after all this Christmas shopping madness is over – my budget is ~$700. I’m looking for a maximum bang-for-buck that has the potential for future upgrades. I’ve lurked here quite a while and from what I’ve read, I’m considering the following TTs – which is the best?

a. Technics SL-1200 mkII
b. Goldring 1.2
c. Rega P3
d. Music Hall MMF5
e. ??? (Suggestions welcome)

Quality turntables from the mid-1970's on can be found from the likes of Pioneer or Sansui or a few others for great prices. Properly set up with a good cartridge they can sound great.

In my opinion the Technics is probably the sturdiest and most durable in build. The other three will probably sound better. I didn't think too highly of the Technics when I heard it, but I did like the Music Hall I heard; I haven't personally heard the others.

Good luck. It's a great hobby and will bring you a lot of great music!

 

apileocole, that was a fantastic post. Thanks so very much!

So would someone explain to me why static is a bad thing for vinyl playback? What if you stay somewhere where the relative humidity is ~85% and static is unheard of? Would there then be any precautions with respect to storing vinyl?

 

Static is an electrical charge. You are turning a physical groove into an electrical one. So, you can understand why having static within mm's of a very sensitive coil might affect playback...

Also, static attracts dust. Dust is a physical thing, and it also affects playback. Dragging a needle through a valley of vinyl makes a very hot friction for a fraction of a second; this can weld dust to the inner wall of the vinyl, to always be there from then on.

This is why dusty records sound bad, and will always sound bad after they have been cleaned... You can loosen some pieces of dust, but not all if they have been welded into the vinyl.

Things to cut down on static is a grounded turntable hub, humiditity in the air, and clean vinyl...

Oh, and if the humidity is fine, you will be fine with static.

 

I have an MM5, after the usual break in period (for me it was about 30 hours) the Goldring cartridge was impressive.

I use a Bellari phono preamp to bring the signal up to "line level", they are $200-300 but like SH once advised you could use an old thrift store receiver as your phono preamp, if you have the deskspace.

The best part is the thrift stores with all the $1 vinyl in great shape (at least all over the south). Someone else here described $1 as desirable as crack, and that about jibes with my experience. $30 a week on vinyl is not uncommon for me and the discs I buy are rarely beat up. Of course, I look at 50 records and pick only one, you get 6 good ones out of the couple hundred in a pile at Goodwill.

I wash them like dishes at the sink, sponge, detergent, rinse, then towel dry. you can do a Michael Fremer and turn record cleaning into an art but this simple method works for me.

Never let "mono" scare you from a title, the mono 'Surrealistic Pillow' stomps the stereo one. Most of the mono Dylans are every bit superior. I even prefer some mono classical to their stereo lp and cd reissues.

 

I would like to nominate this thread for permanent sticky status.

 

Differences between pressings are far more marked than between CD pressings. You'll find that the same album released in different countries will sound slightly different. The same album pressed at differing times will sound different. There are just so many more variables with vinyl.

Your CD player or tuner puts out a signal at what's called "line level". It can go straight into your amp or preamp with only the volume control for company. A signal from a phono cartridge needs to be greatly boosted (or amplified) in level and have a large level of equalisation applied. The phono stage in an integrated amp or preamp, or a stand-alone phono stage takes care of this.

In theory, you'd think that there would be a number of quality turntables with either kind of drive. In practise, belt drive turntables rule the audiophile marketplace.

As to why this is contentious? Really it's not contentious at all. The audiophile (as in, people who care about sound) market has well and truly spoken: belt-drive turntables rules the marketplace.

The turntable is always the most important part of a vinyl system. Always.

You should hear a modest cartridge like the Grado Prestige Gold on a decent turntable, such as a VPI Scout. Wow-wee! Better sound and a much better idea than putting an expensive cartridge on a cheap'n'cheerful (or worse: a cheap'n'cheerless) turntable.

I don't think I've ever had a record wear out from playing. As long as you take a little care with your records, they will outlive you.

Tracking force is the force applied by the tonearm to keep the stylus in the record groove. As different cartridges have different weights, and the force required differs between cartridges, adjustment on the tonearm is needed.

The most important thing is to have your turntable, tonearm and cartridge set up properly.

Record cleaning has increased in importance over recent years. Th main reason is that the supply of LPs these days are second hand, older records.

Because without a tonearm your cartridge can't play a record

Don't get screwed up about straight vs s-shaped tonearms. The shape is really of little overall importance.

The best performing turntable in your list is the Rega P3. Several people in this forum use the high output Dynavector 10x5 cartridge on it.

 

Just think of all the music that will suddenly be available to you that just isn't with digital!

 

I went all vinyl about a year ago and have never looked back. Regarding your comment about searching for vinyl, I have had no trouble getting hold of new releases and they're about the same price as the CD. If you are seriously thinking about getting into vinyl, "Go for it!" if all I can say. It can be frustrating at times, but you wont regret it.

 

Some more questions -

1. Why are there different weights for vinyl pressings? I've seen 120g, 160g, 180g 200g, etc... I've googled quite a bit but no answer seems to be in sight. I don't see how the weight can affect the quality of vinyl playback. Vinyl quality and composition - yes, but not weight.

2. 'Virgin' vinyl = 100% newly manufactured vinyl with 0 recycled vinyl added, right? Why is this better? Do the qualities of recycled vinyl vary from that of 'virgin' vinyl?

3. And what are styrene records?

4. How do you ship vinyl safely? I see talk about placing a cardboard insert inside the and then others recommend that you take the record out of it's jacket for shipping.

5. Sleeve vs jacket? Which is which? The sleeve is the one that's closest to the record right?

6. Is it a good idea to replace record sleeves? Why? Can they scratch records like digipaks so often do to CDs?

7. How the heck do you hold a record safely? The spindle hole is too far and too small to hold it like a CD, and holding it by the edges gets the record grubby.

Thanks!

 

It certainly pays to keep your hands as oil-free as possible - there's a reason most used records are noisiest in the opening grooves of each side. Wash your hands often. And be VERY careful about taking the records out of the sleeves by the label, especially when dealing with black labels. (Those UK Island HELP labels were the worst; almost all I've ever come across are permanently discolored due to fingerprint oils)

 

Thanks 93curr - so how do I remove a record from a sleeve?

And what causes surface noise?

 

I love vinyl. It's what I was weaned on when I was cutting my musical chops as a kid and I have records here that I have owned for over 35 years. There is a magical sound to a nice record. I like record shows and funky old record stores. When I travel, like many of the cats here, I check out local used record stores. I read Goldmine. When I go to parties I still check out the hosts record collection. I loved "High Fidelity".

Having said that let me repeat something I have said here before: records are work. You have to want it.

The CD myth of "perfect sound forever" has long since died and been buried but for the most part you still just push play.

Next to my stereo is a cart with two shelves of records waiting to be cleaned. On top of that table is a collection of tools and devices necessary or at least helpful for vinyl playback. I have a KAB Speedstrobe, a Clearaudio Cart Allignment Gauge, a Exact Stylus Tracking Gauge, a DBP Phono Alignment Protractor plus an odd assortment of little tools, lights, fluids, levels, brushes...even toothpicks. You need to set cart tracking force, VTA, overhang, alignment and have a level platter on a level surface. Perhaps the most important tools you can have are Michael Fremers TT Set Up DVD and a guy. By a guy I mean a local stereo guru who will come by your house and show you tricks of the trade for some cash or some music and beer.

I still think it's worth it and I mostly suck at all the stuff in the previous paragraph except for the beer part.

Good luck. You're in for quite a ride and some wonderful results
But don't dump that CD player so quickly

Peace-
Norm

 

Don't worry about static unless you're in a terrible area for it IMHO, especially if your turntable has a "ground" wire.

You do not want your fingers on the grooves. Keep that in mind and you'll quickly figure out how to do it, and with a bit of practice you'll be handling vinyl like nothin' to it. Usually Index/middle finger on label on or near hole, outside of record against the inside of your thumb. If your fingers are that long, if not no worries, you'll figure a way to handle them.

Heavier records can be more resistant to tiny warping which can be a problem. Their greater mass in some cases could make for less resonance of the record as it's played, but IMHO, only concern yourself with the quality of the mastering and pressing and ignore the vinyl weight.

Don't worry too much about this either. You're correct, it means no recycled vinyl and it also means that there is no "filler" materials added; recycled vinyl and fillers were added by some labels at times over the years to cut costs. The impure vinyl will be more prone to groove damage, being softer. It can also be noisier than pure virgin vinyl. However, whatever the pressing is made with, as long as it isn't too horrific, the effects of the level of care taken with the pressing process and the quality control standards easily outstrip the differences between good and great vinyl materials.

Styrene was a material used by some labels years ago to cut costs. It's horrible soft stuff and can wear out. That doesn't mean there are no good sounding styrene records, just something to be wary of and to treat accordingly.

Out of its sleeve or packed in such a way that the record won't slip around and wreck the jacket or be prone to warpage. I'm no expert there.

Correct, jacket is outside.

Dirt and scuffing. The sleeve from the plant is dirty. The paper ones can scuff the record. So it's good to store your newly cleaned records in a good non-static plastic sleeve, plastic lined paper sleeve or plastic "ricepaper" sleeve.

 

to quote a definition from a neat little book entitled THE ROCK SNOB'S DICTIONARY: Technics SL-1200 Mark 2---Unassuming turntable that began its life as a hi-fi component for 1972 Hef aspirants, but, thanks to the sturdiness of its belt drive, was later adopted by whiplash-wristed club DJs, who linked pairs of them to a mixer. To this day, the SL-1200 is the prime instrument of turntablists worldwide. Though hiphop and dance music tend to be weak spots for the Rock Snob, knowing about the SL-1200 Mark 2 is still de rigueur, a touchstone of dance-culture insiderism. Dude! I just got an SL-1200 for the apartment!

 

The time and patience that members took to answer the OP's questions in this thread make it worthy of a sticky, FAQ, or something other than allowing it to fade into obscurity--really well done.

Meanwhile, please accept this humble "bump" as a gesture of respect and appreciation to apilieocole, et. al.

Given the popularity of this forum, a thread has a "page one half-life" of about 20 minutes. Valuable information like this gets lost in the shuffle.