The Spirit of Radio Rush. A Night at the Opera Queen. Rumours Fleetwood Mac. Major Dundee Daniele Amfitheatrof. Graceland Paul Simon. Bitches Brew Miles Davis. What I do see is the potential for disappointment with this entry-level table if purchased on the back of exposure to endless positive press about the vinyl revival.
No doubt you use better gear for your needle-drops than an RP1? Care to tell us what vinyl newcomers should be spending their cash on?
I bought an Rega rP3 last year and sold it after two months because it left me bemused as to what all the fuss about vinyl was about. Michael I think you might be way out of touch, and also missed the point. I sell hifi for a living.
They often have an entry-level table and some digital gear. The first thing that happens is they sport a huge grin on their face. Then they shake their head. They realise the potential. Vinyl can sound better or not , but there are no guarantees. The other 99 will enjoy and appreciate both mediums for their respective merits, as do I. Mr Fremer, anyone would think you invented vinyl the way you carry on here. Your comment reads like that of a spoilt child throwing a tantrum…hats off to John for not reacting to your shameful attempts to denigrate his opinion….
Consider the lengths we digital audiophiles go to to increase sampling frequency, decrease jitter, and mitigate other problems with digital playback. Maybe some people prefer vinyl because it has none of these problems? I personally prefer the convenience of digital to the incredible PITA of maintaining a vinyl rig, but I can certainly understand its appeal. In other words, there are lots of things on top of the well documented technical shortcomings that can go wrong that make is sound even worse.
The only way to do a fair comparison would be to listen in person to a completely analog vinyl playback vs. What about this though: is the reason the RP1 rips sounds so murky because of their digitisation? It simply makes Zero sense to digitally convert an LP. You have introduced all kinds of new variables, such as the type of AtoD conversion, and subsequent dtoA conversion.
Only LPs or tape makes you feel like the performer is in the room. Per the article, the ADC was introduced to show how the RP1 sounds for anyone curious enough to download the needle-drops. Is analog better than digital or vice verse? Who Cares? There is engagement there and some sort of traction that cannot be ignored. Its not all about SQ altho that is one of the talking points.
I see it in my non-audiophile music loving friends. They are having fun. You are probably right that dollar for dollar you get more on the digital side particularly on the low end. The funny thing is try to get them to spend 20 on Tidal is much much harder- we are being subscriptioned- to death right now. The de-bundling of TV, Netflix, Prime, etc, everyone wants their monthly. Also the idea of buying a DAC is somewhat foreign to my friends doing the vinyl thing.
Perhaps its no wonder the vinyl sounds better than the crappy mp3 they have on their macbook. Books, records, they all have a life in them. The differences are there obviously and yes in this case large enough to matter. That has been my experience. In the absence of the other each had its merits. This was not nearly as bad as that.
I do these kinds of comparisons for myself often because Tidal streams most of what I have on vinyl. My feeling is that on my setup Halide DAC vs. Other people with good ears have also heard the system and corroborated the conclusion. Sometimes the Tidal is really better. Pity bc its much more to my liking. How that is attributed- I have no idea. The variables are endless. Its a crap shoot. Hey John, legitimate question here. How about Dynamic Range. I heard the biggest thing about going vinyl is that it has better dynamic range compared to other formats due to the needle needing not being able to hand huge loudness spike like you can digitally.
Or is it overhyped? Digital and analog have their own strengths and weaknesses. Side by side, there is no comparison. OK, yes there is. The digital is quieter. More dynamics? Maybe, but this is an old recording. My LP is over 40 years old and mint. It just sounds more right, more real. It gets close, close enough for most of the time and with an Aurender server, no comparison in convenience. However your attitude, your methodology, make me feel that reading anything you write would be a waste of time from my perspective.
And I have some freaking great digital that I love listening to! Great comment. I have received hundreds of thank yous from readers who took the chance and bought a turntable either for the first time or after giving up vinyl for years.
He says he hates me…and loves me too! In the meantime, I can pull and play LPs made before I was born in and forget all of this crap and just follow the goosebumps. Til the next format. Or the one after that. Or the one … you get it. And that I also acknowledge that spending several thousand bucks on a vinyl setup gets you a much better result. Care to detail your setup for readers? An AAA of the same release? I still have the vintage madrigal proceed, a theta transport and dac and a rega apollo.
What do I use??? I listen to my ipod throught a wadia dock and power dac. To think I could have had a mojo. To really spend your time listening to music…digital wins on so many levels. To activily engage in the ritual of music…go ahead…buy the new rega planar 3. That is silly on both fronts.
Listen I just wrote the cover story for the current Stereophile. I let people choose the material—any record versus any CD or hi-rez file and the record always wins—better bass, and yes, subjectively wider dynamic range. Japanese pressings?
They sucked! Most were mastered using an 8 bit DDL line instead of a preview head. I travel around the world visiting people—well off, sophisticated, technologically sophisticated people and they all prefer vinyl.
And that includes guys who work for the chip makers. These are both youngsters or older guys who got rid of their records for CDs and are now happily back. I was in Munich in a Harman room with one of their chief engineers. So tommys, enjoy your digital! No way. I met backstage Andrew Litton, the former conductor of the Dallas Symphony. He told me he was a turntable guy.
That is just bitter ridiculousness. The reasons have to do with long term musical satisfaction. I can sit for hours and do listening to records long into the night but I cannot do that with digital. I mean lights out super-concentrated listening. Not so with records. Print out, laminate and keep in the car for hours of fun. The Great Summer Vacation Roadtrip! You've gotta love them. They always sound like a wonderful idea when you are planning them.
Exploring the open road, the freedom to stop when you want, no schedule, family. These were the original labels on to approximately , but also appeared sporadically on original albums as late as LP Promotional labels were white with black printing, the graphics were the same as the black label. Many of the early promotional offerings also were pressed in limited-edition multi-color vinyl, as shown at near left.
At about LP, Chess began transitioning away from the old label style. The first step was a change to a label with "CHESS" across the top instead of down the left side, with a chess knight used as a crest. At first, this label was black, with gold letters and a red-white-blue-gold color scheme for the crest. These "crest" labels were used for a very few issues, from about LP to about LP Possibly when they ran out of the label blanks for the multicolor crest labels, an all-blue label with silver print was used, with the crest design but without the full color.
These silver-and-blue labels were probably used in lieu of having the expensive crest multicolor labels reprinted, since they were changing the label design soon anyway, to the "fade" design shown below. Just after the blue and silver crest label, an aqua and white "transition" label was used far left on LP- , with the same design that would become the standard starting in late , but without the multicolor letters in the label name.
This "fade" design was also used for the Checker and Cadet labels, virtually the only difference being the label name. It was blue or purple on the top, fading to almost-white at the bottom of the label.
Printing was black. The "CHESS" name was in block letters above the center hole with the top of the letters red, the middle white, and the bottom blue. A stylized chess knight horse logo appeared on the right side under the label name. Various promotional issues used a few variations, but most just used the same label with the notation "D. Copy - Not For Sale". This new label was used from LP to the end of the series, LP This label was also used on the "Vintage Series" to CHV and on the early issues of the and series.
At far left, a purple variation of the label used from LP to Shortly after Chess was purchased by GRT, the label was changed to orange with black printing near left. The perimeter of this GRT label was blue with a blue stripe running horizontally through the center hole.One Wrong Turn: Rick Estrin & The Nightcats: Show Of Strength: Michael Burks: Stone Crazy (Remastered on gram vinyl) Buddy Guy: Crawfish Fiesta (Remastered on gram vinyl with bonus track) Blues Music Award Winner: Professor Longhair: Greedy/That's All I Got (45 rpm Record) Tommy Castro: Three Free Amigos: Anders Osborne: On My.