lps

Every sound you hear in real life that doesn't come out of a speaker is analog. Analog audio is, simply put, an analogous record of sound, and an LP's groove is a literal imprint of the music's soundwaves. Analog magnetic tape is just as analog, but the waveform is recorded to the orientations of the iron oxide particles bonded to the tape. Tape or LP, analog recordings store audio signals as a continuous wave in or on the media and therefore have theoretically infinite resolution.

Digital audio recording converts the original sound into a sequence of numbers; sampled to convert the analog signal to a digital representation. Sampling is the division of the signal into discrete intervals (CD's sample rate is 44.1 thousands of samples per second). CDs have a 16-bit resolution and DVD-Audio discs can be encoded with a maximum of 24-bit resolution. DVD-A's have greater bit depth results in finer gradations of sound compared with CDs and MP3s, and is subjectively on par with analog recordings. Analog-to-digital processing is performed by a converter in the recording studio; and must be converted from digital-to-analog to be listened to.

If I lost you with all that talk about sampling and conversions, let's just say the prime difference between analog and digital is that analog recordings are continuous in time, and digital is sampled at distinct intervals. What happens between samples? Not much. Analog is always "on," digital is either on or off. Analog recording's theoretically infinite resolution refers to its continuity, compared with digital's on/off sampled nature.

If digital audio sounds a lot more complicated than analog, that's because it is. But digital recording offers very significant advantages over analog recording; it has inherently lower noise, perfect duplication capabilities, and superior speed accuracy (lower wow and flutter).

Most of the digital audio advances since the early days in the 1970s come from today's superior A/D and D/A converters. Digital audio has never sounded better than it does now.

The same can be said about analog: the best LPs, played back on a good turntable sound more like real, live music played by human beings than digital recordings ever do. That's my subjective opinion. On a more objective basis I'd say digital eliminates, or lowers analog-type distortions (noise, speed variations, and so on), but it suffers from far from perfect analog-to-digital and digital-to-analog conversion processes. To many, but not all, audiophiles and recording engineers, the best digital still sounds sterile, cold, and lacks natural warmth.… Read more

Vinyl accounts for less than 1 percent of overall music sales, but it's been making a bit of a comeback: sales almost doubled between 2007 and 2008 and grew another 33 percent in 2009, according to Nielsen. That's only 2.5 million records out of a total of more than 370 million albums sold in all formats, but record companies don't see many growing business areas, so they're suddenly jumping aboard.

New vinyl hasn't been this abundant since the mid-1980s--you can even find it in Best Buy and Wal-Mart. I give particular props to independent … Read more

Dave McNair has been playing, recording, mixing, producing, and mastering music for more than 30 years and has worked with a wide range of artists including Los Lobos, Stevie Ray Vaughan, Patti Smith, Miles Davis, Willie Nelson, Angelique Kidjo, and John Mayall. He now works for New York City's top mastering house, Sterling Sound.

I interviewed McNair for Tone Audio magazine, this is just a small part of it.

Q: How has the mastering engineer's work changed from the days when analog audio ruled the roost?

When they were cutting records from analog masters, mastering engineers were caretakers of rather fragile analog signals. It wasn't an easy thing, trying to get it from Point A to Point B without losing the music. Back then the mastering engineer didn't compress or limit the signal all that much, you wanted the end user to hear all of the punch and leading edge dynamics. But now that things are so clean on the recording end mastering is a bridge from mixing to the duplication process. You might be adding the color that might have once been added by analog processors or mixing consoles.

Q: 'Color,' is that the same thing as sweetening?

Right, I'm chasing this idea, I want to make CDs sound like LPs.

Q: By adding complementary distortions?

Not always, but sometimes. I want to get more of the effortless sound of vinyl on CDs.

Q: It's pretty complex, but I agree, analog distortions can sound more musical than digital, even high-resolution digital.

Right, they add flavor, texture, and harmonics, but I'm not speaking for all mastering engineers; many still use a very simple path and stay away from enhancements.

Q: Like compression, you guys love compression. But the music was already compressed during tracking and mixing, why compress it again?

 Not always, maybe 20 percent of the time I get stuff that's not compressed enough. That's only because there's so many more new-to-the-game, semiamateur engineers making records these days. They're recording some really great, artistically valid bands, but it winds up sounding like a documentary style of recording. They leave it to the mastering guy to make it work, so I need to make the sound more dense, gluing the elements together. … Read more

Mobile Fidelity Sound Lab has been perfecting the art of remastering audio since 1977. It currently offers a broad catalog of music, from Frank Sinatra and the Pixies to Yes and Little Richard on LP, SACD, and CD.

I recently chatted with Rob LoVerde, one of MoFi's mastering engineers,  about how the company's remasters differ from the original label's product.

First and foremost, he said that every MoFi LP--which was originally recorded to analog--is cut from an analog master tape. That's interesting  because ever since digital came onto the scene, most, probably about 99 percent, of LPs for sale now are cut from digital masters. So unless you're already buying MoFi LPs, you still haven't heard what a pure analog recording sounds like--older LPs, pressed before the 1980s are all-analog.

Second, LoVerde said that  MoFi never uses dynamic range compression.  Virtually every new recording is compressed during recording, mixing and mastering. But MoFi eliminates the last compression stage. He also said that equalization is either avoided completely or used sparingly.

LoVerde came to MoFi from Sony, so I was curious about how the two companies approached mastering. At Sony, LoVerde worked within a team, at MoFi each mastering project he takes on is controlled entirely by him. And at Sony, LoVerde had to work fast and complete one or two projects a day. At MoFi he can take his time and track down the best possible master tape. I was surprised to learn that LoVerde doesn't go out of his way to listen to previous remasters.  Instead, he's trying to transfer as much of the original master's sound to the final product as possible.

The analog master is also used for MoFi's SACDs and CDs. That means MoFi's analog sourced SACDs are totally PCM-free, which is extremely rare.  Most SACDs on the market have at least some PCM digital in them, which means they're not really delivering the format's true potential. MoFi SACDs are the real deal, pure SACD--using Direct Stream Digital DSD coding.

LoVerde said he knows that MoFi customers expect the best possible transfer, so he can't let a "good enough" mastering leave the plant. MoFi has occasionally bailed on a project because the sound wasn't up to its  standards.

I listened to a stack of MoFi vinyl and the sound was awesome. Yes, there's more bass, a near absence of vinyl's old friends--clicks and pops--but it's the clarity improvements that were the most impressive. … Read more

Maybe it's an American thing; we love big stuff. We equate size with quality, and think that exquisitely designed, silly, expensive products are always better than more affordable alternatives. Is the new iPod always better than last year's model? Then again, how do you define "better"?

A lot of audiophiles believe more watts, more power, higher digital sampling rates, higher resolution, heavier turntable platters, speakers with more drivers, bigger drivers, or more channels of sound will always produce better sound. It ain't necessarily so.

Don't get me wrong, I love high-end audio. But I … Read more

I don't care how many people get their music online, it'll never replace the joys of perusing CDs and LPs in brick-and-mortar record stores.

My Morning Jacket's Jim James apparently agrees with me. He said recently, "I think the thing that people forget about is the community and the memories that are created when you come to an independent and locally owned record store that you can only get in that town."

That's right. There are other humans there, looking at and buying music. The store, if it's any good, plays great stuff … Read more

I'm not sure why, but there's a never-ending stream of articles cheering on vinyl's comeback. I guess if it's a slow news day, editors can't resist plugging in yet another story about booming LP sales, and they always claim something along the lines of "Kids are digging the grooves, they've seen the light, and now crave analog sound!"

Puh-leeze!

Don't get me wrong; I wish it were true. Maybe in some alternative universe, vinyl is flying off the shelves, and kids are ditching their iPods and buying turntables.

Back here on the Earth we know and love, 2008 sales of LPs were up 89 percent, from 990,000 in '07 to 1.88 million in '08. That's hardly a boom, now that CD sales are in the hundreds of millions. The best-selling LP of 2008 was Radiohead's "In Rainbows," which sold a piddling 28,800 platters. Second-place honors went to another British band, The Beatles, which sold 16,500 "Abbey Road" LPs. If those numbers are accurate, and Radiohead's Thom Yorke and company were trying to live off LP sales, they'd have to get day jobs.

So sure, there's more and more new and reissue vinyl, and that's great, but only a teensy-weensy number of people buy new vinyl. Most of my vinyl-loving buddies regularly score free records on the street, or pay a buck or two for used vinyl to play on their megabucks high-end turntables. Again, no problem there, but it's not the same as a true vinyl resurgence. That's just media hype.

I love vinyl because it looks cool and sounds great. I own around 4,000 LPs. And I'm hoping that the vinyl revival keeps growing. But the market for physical media--CDs and LPs--has nowhere to go but down. More than anything else, people want cheap or free music, playable anywhere they want. … Read more

Alan Zweig's terrific YouTube video takes you deep inside the record collector's mind. The funny part is, even guys with 15,000 LPs don't think that they have a lot of records or consider themselves collectors.

Hey, some of us collect baseball cards or Corvettes. What's so wrong with filling your house with vinyl?

Over on the Audiophiliac blog, Steve Guttenberg is polling readers about how they get their music. Here are my answers to his questions.

Do you buy CDs, LPs, MP3s, iTunes, or 8 track cartridges? I purchase about 80% of my music on LP. For a few years in the early 1990s it was almost impossible to find new vinyl, but now it's reasonably common, especially for indie rock, electronic music, and hip hop. (Classical? Not so much. Jazz? Only re-releases.) In fact, vinyl availability sometimes convinces me to buy a record I otherwise might have skipped--Of Montreal'sGladiator Nightstick Collection … Read more