Then I edit the head and tail of the file so the music begins and ends seamlessly. If the musical work stretches over two or more sides, I edit the sides seamlessly (which can be a fairly involved process itself that I’ll examine in a subsequent post). Next I use Audition’s normalize function to automatically match the left and right channel levels and increase the level of the loudest passages to 100%. When an edit is impossible, I reduce the audio level of the pop to match the surrounding musical material, which often renders the noise inaudible. Some can be excised with a simple edit, especially those between movements or in sustained passages. The remaining ticks require individual attention. This quickly removes the background crackle that used to annoy me no end while listening to LPs. Step One is Audition’s automatic pop and click eliminator (moderate level, if you must know). My rule of thumb is simple: if I can ‘hear’ the processing, it’s too heavy and I need to back off. Once I have the raw audio, I’m ready to make improvements. Unfortunately, it also has some annoying quirks, but nothing’s perfect. Also, Adobe has some sophisticated processing that’s invaluable for this work. The interface is simple, and the transport controls resemble an old-fashioned tape deck. I became accustomed to Audition at work, so it was only natural to use at home. I record the audio to my HP Envy DB 6 laptop with Adobe Audition 3.0.
ELAC MIRACORD 46 TURNTABLE INSTALL
So get one while you still can.Īnalog-to-digital conversion is accomplished by a Sound Blaster X-Fi HD model SB 1240, which is both flexible and easy to install and use. Naturally, the company has decided to stop manufacturing phono cartridges. It’s able to reproduce the entire classical dynamic range with ease and can track through almost anything. The Shure has exceptionally crisp highs, solid bass, and vivid presence. A few reviews cautioned that it might not be adequate for classical music, but I disagree. I chose the Shure M97圎 cartridge after reading several excellent reviews on line. As it is not new, the speed adjustment can be tricky and must be readjusted every time I restart the motor. The table I use now is a direct-drive Technics SL-D303. However, a few of the older transfers on Analog Masters were made with the Miracord. Back in the day I didn’t notice that, but now I want the sound as pristine as possible. Unfortunately, it’s a rim-drive turntable, which adds a significant amount of rumble to the final product. It plays 33, 45 & 78, and the head shells are easily interchangeable, so I can quickly switch to a 78 RPM stylus. The speed is mechanically adjustable, and the center pin is removable for those occasionally off-center pressings. Back in my bright college days, I purchased an Elac Miracord 46, then distributed under the Radio Shack brand. It works for all sizes and speeds from 45s to 78s and LPs. Moreover, the process is so quick I can clean a dozen discs while one is on the turntable. Results so far have been excellent, making most records sound nearly new and removing all but the most pernicious gunk. It’s relatively inexpensive and far more efficient than cleaning by hand. Recently, I purchased a Spin Clean record washing system. That works well, but it’s tedious, and if you’re not careful you can soak the label.
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I used to wash them with dish soap and tap water, carefully drying them with lint free towels. I have purchased used records, but only those that were also well cared for. So, for the most part, the records I bought new are in pristine condition. One significant lapse aside (which we shall address in due course), I’ve always taken great care with my discs. I began collecting classical music in 1965 and have never stopped.
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