I suspect they are rubbish, but I have wonderedthe same thing. I have a lot of LPs that i've not heard since I was young (1970s) and I also have the o riginal GL75 turntable I used to play them on. My plan (one day) is to con nect up the GL75 to a PC and make CDs of the vinyl. I actually want all t he pops and crackles because I am so familiar with them and they will be pa rt of the nostalgic experience.
Daft I know.
Robert
Google will find you a replacement.
Unless it's something very rare I'd say a spare shouldn't be too hard to find. Got one for my Thorens easily. Ebay might be worth a look.
Assuming that recording pre the horrendous RIAA equalisation you can get a decent enough digital representation that doesn't go all nasty when corrected in the digital domain. There is 40 dB difference in level between the LF and HF ends. 16 bit encoding might struggle, that only has a 96 dB dynamic range, doesn't leave a lot of space with 30 to 40 dB dyanmic range of an LP. 24 bit would be OK. B-)
That's the benefit of direct drive with quartz lock (my Sony PS-LX5 - bought in 1981).
looking at Wo=
Some claim to play 78s with an appropriate stylus - they play at 45 RPM I think and post process the sound to get the pitch right.
Quite. 16 bit is just fine for an end user replay system. Once you go into signal processing of any kind - and that's what the RIAA curve is - it is very marginal.
take a look at this article before plunging into Hi-res audio
Tidal and Qobuz do hi-res streaming and downloads as do Linn and others.
As I vaguely understood it, it was necessary to do the correction in the first stage for noise reasons. BICBW, and that might only have been a practical limitation at the time.
I can kind of see that, but I don't miss the pops/scratches. Any vinyl I care about I've rebought on CD: CDs are pretty cheap now, compared to the 80s.
Ebay is a surprisingly good source for stuff like that: I got a belt for a 1970s Super 8 projector.
Assuming the MP3 is available. I have some vinyls I want to 'rip' where a CD or MP3 is not available.
I liked my SP25...
I kept my TD160 and I have a few vinyls to do, when I get round to it...
lo-fi.
vinyl & mp3 are more than good enough to notice. Unless you record at 64k a nyway.
Plastic decks are always better avoided IME. You can almost get away with i t with enough care, but not really.
NT
why use low bit rates
Everyone knows the grotty ceramics of the 60s. By the 80s ceramic pickup te chnology had matured, and one could get something ceramic to rival most hif i pickups for a few australian peanuts. Few would ever admit it, but it was n't hard to fool people on that point.
NT
I remember the LM381 making a pretty good job of it.
NT
if you can't find one designed for the model, one of same dimensions should work. And if you have a real oddity, just make a belt. It does work.
NT
well if you do it at too high a level, you may end up clipping before filtering.
IN general the input stage boosted form a nominal 2mV or so at 50K ohm impedance, to a corrected few hundred mV. You could have put the RIAA filter after that, but why bother? Wrap it as feedback on the input stage so the output of that is neat and normalised with respect to volume and frequency response.
It was just the neatest way to do it.
There was only a 65dB S/N ratio on a typical pickup anyway, due to thermal noise in the wires. You could generally design carefully for a couple more dB of front end noise at the worst.
Hardly CD quality.
I bought a spare drive belt for mine (a TD125MK1) a decade or so back just in case. The last time I checked, a few years ago now, I couldn't tell whether it was the new belt in the plastic bag or the old one since I can't remember for sure whether or not I actually swapped the new one onto the deck! The original had been still in such good condition that I think I may have decided to hang onto the new belt as an 'unused spare'. :-)
Obviously, Thorens chose their 'rubber' compound wisely since even after more than two decades, there was no sign whatsoever of deterioration in the drive belt (unlike the drive belt used by Philips in their solenoid controlled data cassette deck drives which had become a gloopy sticky mess in little more than a couple of decades).
That's all fine and dandy, provided they hadn't been 'weaponised' for use in "The Loudness War" campaigns that were (and still are?) being conducted by "The Pop Industry". Many a good recording suffered the effects of the extreme levels of compression made possible by DSP when remastered for re-release on CD. :-(
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