Your Vinyl Transfer Workflow (sharing best needledrop practices)*

Some very useful VSTs in my toolbox: MJUC (high quality VARI-MU comp., not free but cheap), ReaFir (free), SplineEQ (free), ModernLostAngel (LA-2A opto-comp. free).

 

I've updated the workflow above to show the addition of a Phase Linear 1000 Series Two Noise Reduction System in the mix. The Phase Linear offers two main features: Noise Reduction and Dynamic Expansion. I'm only using the Noise Reduction feature which provides about 10dB of hiss reduction - "roughly comparable to what the Dolby "B" system affords, but without the encoding needed for the latter" (quote from Stereo Review 1976 April). I've also now got all of the "clean up" functions operating before the final dynamic range expansion.

I also should have mentioned that while I use 320MP3 files in my daily streaming use, I do archive the extracted individual tracks in WAV format.

Jeff

 

I have a mint late German blue box waiting to be transferred, with a lot of other records (The Beach Boys Deluxe set from 1968 comes to mind, with the 1965-1966 records in Duophonic sound). I'd just like to add a gentle volume boost, not EQ or something.

 

Peak limiting on transient peaks only.

 

I resisted to other temptations more than 40 days from the order time. But finally, a new MOTU M2 will be in my hands in two days. I am waiting the UPS carrier. The seller is Thomann from Germany. Somehow, they found a device in their warehouse.

 

To get this right:

Add -85db Gaussian white noise, then run the ISO-226 curve in ReaFiIR, trying to keep the total RMS the same as the original (run in reverse too), then use a flat eq line in Photosound to adjust the gain to get the desired master level?

Please correct me if I am wrong.

 

That's brilliant! Let us know how you go.

Regards

 

I use a flat eq line to adjust the total RMS of the LP to -18 dB in SplineEQ.

This is the final noise cleaning to remove any distortion, quantization noise, aliasing and artifacts and to increase the SNR. I fill the whole audio file with -85db Gaussian white noise and then I de-noise the whole file with the iZotope RX6 function. With learning pattern from the first seconds of the file (the empty space before first track). After that, I dither with TPDF 24-bit.

 

G'day,

I just bought the RCA-TS golden plate adaptors for the interconnects between the Cambridge Alva Duo phono Pre (RCA output) and MOTU M2 (TS input).

Regards

 

Thanks. What is your normal peak dB level for you when all is said and done (ie -6db, -1db) and how do you do that without normalizing?

My issue is that I record at around -12db peak to give plenty headroom for processing, then I normalize to whatever I need it to be, either -3db or -6db).

 

I record at -19 dB to -21 dB total RMS with peaks at -9 dB to -6 dB. Depends on material. After processing, I normalize the LP to total RMS -18 dB. The peaks levels will stay into the -3 dB to -1 dB area. I target the equation: "total RMS = integrated BS.1770-2/3 loudness". This is a sign I obtained the optimal tonal balance of the LP sound.

This is the usually workflow for old vinyl records pressed before '90 from analog master tapes.

With these ordinary new vinyl records it's another story. They look and sound like CDs. Low Dynamic Range. These crappy pressings are made from whatever overcompressed digital masters. I run away from those new RM things.

This is how it looks my needledrop made from the original AC/DC - Back In Black (LP, Vinyl, 1980, Atlantic SD 16018). Mastered By, Lacquer Cut By: Bob Ludwig (RL Signature on dead wax).

 

Then you add the white noise using the signal generator, but do you then use spectral NR to learn from an area where there is input from needle (like groove noise), or from area before the needle drops?

 

The de-noise RX6 machine learn the empty area before first track, where is only noise, including the -85 dB Gaussian white noise. I process a single side at a time after which both sides of the LP are joined.

 

Is their a certain spectral denoise setting or preset you could send me or show a screenshot?

 

There is no a certain setting for de-noising. Every needledrop has its own noise and the learning function will find itself the noise pattern. It's your own choice how stronger or softer you will apply the de-noising algorithms. I make many audio tests before I apply a certain de-noise method. As a rule, I remove everything I don't hear or it don't belong to the music. The audible musical info must be preserved.

 

In fact, that's how all of the quality NR modules work in every professional software app i've ever used in RX, Audition, and Sound Forge. You select a sample of just the noise, and set your parameters to remove just that noise. Actually, you don't want to make the file squeaky clean. You wind up removing ambiance, reverberation, changing the tonal structure and balance, and some of the musical content.

 

What are these? I don't want to make the files deafening-loud, just feather-like loud.

 

Using a limiter will be fine for just two or three decibels, like the Beatles' stereo CD remasters.

The process I was thinking about is much more involved and time-intensive. It involves reducing the peaks by a couple of decibels by highlighting them, then literally turning them down a bit. Once you do that, you simply increase the gain by the same amount you reduced the peaks. Louder file with no use of compression. But, are you willing to sit there and go through every song and do this? Use the limiter.

 

This is what I do, far better than using a Compressor/Limiter.

 

That's the sort of thing I would have done years ago, but not any longer. Now I'm looking for simpler yet rewarding steps.
I've been trying to identify a click in RX spectral view but I couldn't. I think I read here that spectral view makes it simpler to find and eliminate clicks, how so? What does a click look like in spectral view?

 

Not always possible but you should try to audition a couple of units with the same equipment before making a decision. When they are expensive it is even more important as the disappointments can be bigger. Otherwise, only when there is an overwhelming support by the public and reviewers you should consider making a blind purchase. With my last one I did that and worked out well but it is a risky business.

 

The MOTU M2 arrived after 2 months of waiting! Some problems with the MOTU drivers for win 7 64-bit I use, but I fixed it. I wrote a dedicated win 7 x64 new driver that works.

Now my Vinyl recording chain is: TT (SONY PS-HX500 w/ Sumiko Pearl w/ JICO SAS 1/b) -> Cambridge Alva Duo phono pre -> MOTU M2 -> Audacity. Incredible sound!

I will put later some samples in the needledrops dedicated thread. Please, dont laugh about my cart. What you see is my DIY VTA and azimuth adjustments. The tonearm is quite simple.

 

What can we tell from MP3 files transfered from vinyl?
Its not surface noise per se, but.
Intermodulation distortion and poor channel separation for a start.
I just can't comprehend this hobby.
Its like lace making, unneeded on this voyage. this is the topic

 

Who's making mp3s? Not us.

 

A shout out to BrilliantBob on this work flow procedure.

After reading here about his process, BB elaborated on how to actually execute the steps. That was very helpful, while this post is a request for other details in using features of De-Noise in IzotopeRX.

I've made a few modifications to my processing. If I have a relatively clean, NM or new record, I give them an ultrasonic cleaning only, no VPI. I record from a suspension modified JA Michell Gyro with vibration control devices, Pete Riggles' the Woody tonearm with SRA adjustment capabilities, a Baerwald aligned Ortofon Cadenza Black MC phono cartridge, Discovery IV wiring harness to a Whest PS40.RDT SE phono preamp, then via either Audio Envy or Grover Hoffman XLR into Tascam DA-3000 recorder now at 88.2kHz/24 bit.

When the records are that clean, I do not use ClickRepair. Now the file goes into IzotopeRX7. I have not yet downloaded SplineEQ, so I employ Normalize (to 0.3dB). Then I add white noise at -085dB (mixed) to the entire recorded at once track. I make sure to record at least 5 seconds of the lead into the first track. I sample that in De-Noise. Experiment. Then I apply De-Noise to the entire set. Threshold and Reduction are the main settings. I work to minimize both to capture the sampled "noise". Finally, with head phones, I monitor the entire recording. When I hear a click, I mark, stop, zoom in, find the offending point, use Instant De-click. I do this for the entire recording, which takes time.

Then I Resample to Red Book CD, and Export To File with MBIT+ at 16 Bit.

Here is the query: There are other setting for De-noise and advanced settings. Now BB has mentioned that he experiments to get to a final render. What I am interested in learning is about the other main line setting and the advanced setting. To shortcut my learning, what have you other folks found to be useful and why?