Music anyone ripped from vinyl?

im recording some old classics.
Canned heat. Led Zeppelin. talking heads etc. from original Lp.
these get converted to mps3. if anyone wants some albums pm me email address.

No bro! Can only do what I can do!!! Xxx

Rant warning.......Putting my recording / mastering engineer hat on for a moment, most often the re mastered stuff is way off the mark from the original artists intension. The several versions of Dark side of the moon I have had where so bad I could not listen to them. The re master by Doug Sax is the only one worth a listen, and that goes for many iconic albums I have heard through my mastering chain. A mate of mine, Terry Manning, ( www.terrymanning.com/styled-3/index.html ) has recorded quite a few including the Led Zep III album, and Let's Work Together by Canned Heat, ZZ Top ...... and the stories he has told me of the artists losing controll of re mastered / re engineered albums etc is a woefull inditement on the recording companies attitudes..... it's the equivalent of someone getting the Mona Liza into the digital domain and having a play...........




........not to mention that getting your music for free is the expectation these days, but what you are doing here because it's on a public forum, leaves you a bit vulnerable. It's a small world but don't worry steve I won't say nuthin. I would suggest an edit to your post though for your own sake.
If you already own a copy then i see no problem with ripping youtube audio etc for personal use, however you will not get better than original audio from youtube, louder as in average level with less dynamics, yes, processed with aural exciter to make it "sound" better despite the loss in conversion to youtube, maybe but playback on a good hi fi system, .... it's like going sailing in bass strait in an unseaworthy boat with an armchair skipper in the middle of winter!! ....not a pleasant experience!

CD as it is processed these days if fatigueing to listen to for tech reasons I will explain if any one is interested and mp3's are about the worst example of this sonic fatigue. There has been a subtle dumbing down of the whole audio listening experiense for "consumers" since the introduction of CD's You don't hear it on earbuds and car audio with the roadnoise etc but hearing through a good full range playback system exposes the loss of mp3 format. The ear is forgiving and adjusts but when doing a side by side listening test many aspects of inferiour sound quality become apparent.
When converting Vynal to digital I capture the audio at 24 bit 192k or 96k and listen back on my home system at that resolution. For portable I convert those files to mac AAC or mp4.

vinyl is still the best way to listen to real music nothing else even comes close to comparing to it's quality, (except live performance of course, and sometimes not even that), on the other hand it doesn't matter what you use to play some forms of so called music as it is quite unlistenable for anyone who enjoys the finer things in life. Bring on the pirates

Yes, I hope i didn't sound like a copyright nazi...... there is nothing better than sharing the music you love among friends, as a listening experience. It's such an essential part of what it's all about. I still have all my vinyl albums but most are sounding tired after 40 years or so. for some I have new pressings, and I have the original 1/4 inch master of Frampton Comes Alive for the Australian pressing that I get out for a listen once in a while. !/4 inch master tape is the best format but DSD or direct stream digital is as good. Quite a few classic albums are available on DSD format as well.

Just had a listen to fipradio and they where playing Tower of Power! Thanks prawnhead, great link.
Radio Paradise is another good one:
legacy.radioparadise.com/?

Ha Audiophiles and $1000 speaker cables! I think most Yachtie audiophiles spend their money on their yacht and buy sensible hi fi. My home turntable is a Sony with an Audio Technica stylus, the studio turntable is an Audio Technica. Speakers are Duntech Esquire. Amp is a crown DC 300. I have 3 pairs of Duntech PCL 15 for mixing, one pair at home, one at my live recording rig and one for the studio. The studio also has Tanoy 15 inch Golds for full range playback. The amp there is a Haffler. I also have a Melbourne made Linear Phase 300 watt amp I use with the larger Duntech's for mastering. The Linear Phase amp came from Roger Savages studio and was used to mix the original Star Wars movie. The boat has a Cassette player and Ive rigged it so I can play my iPhone. I have a coppy of War's Spill the Wine for whenever I open a bottle!

This one's dedicated to you Cisco...... I still have my original copy.

At the risk of hijacking this topic, does anyone know where I can get a 1950s PYE 2 in 1 valve stereo repaired?

It has no left channel and the turntable doesn't power up, but the radio works fine.

Oh, and if you could find an RCA Victrola, you could have vinyl on your boat.
www.consumerreports.org/cro/news/2014/04/record-players-were-the-infotainment-systems-of-the-1950s-and-60s/index.htm

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Guitz said..
Rant warning.......Putting my recording / mastering engineer hat on for a moment, most often the re mastered stuff is way off the mark from the original artists intension. The several versions of Dark side of the moon I have had where so bad I could not listen to them. The re master by Doug Sax is the only one worth a listen, and that goes for many iconic albums I have heard through my mastering chain. A mate of mine, Terry Manning, ( www.terrymanning.com/styled-3/index.html ) has recorded quite a few including the Led Zep III album, and Let's Work Together by Canned Heat, ZZ Top ...... and the stories he has told me of the artists losing controll of re mastered / re engineered albums etc is a woefull inditement on the recording companies attitudes..... it's the equivalent of someone getting the Mona Liza into the digital domain and having a play...........




........not to mention that getting your music for free is the expectation these days, but what you are doing here because it's on a public forum, leaves you a bit vulnerable. It's a small world but don't worry steve I won't say nuthin. I would suggest an edit to your post though for your own sake.
If you already own a copy then i see no problem with ripping youtube audio etc for personal use, however you will not get better than original audio from youtube, louder as in average level with less dynamics, yes, processed with aural exciter to make it "sound" better despite the loss in conversion to youtube, maybe but playback on a good hi fi system, .... it's like going sailing in bass strait in an unseaworthy boat with an armchair skipper in the middle of winter!! ....not a pleasant experience!

CD as it is processed these days if fatigueing to listen to for tech reasons I will explain if any one is interested and mp3's are about the worst example of this sonic fatigue. There has been a subtle dumbing down of the whole audio listening experiense for "consumers" since the introduction of CD's You don't hear it on earbuds and car audio with the roadnoise etc but hearing through a good full range playback system exposes the loss of mp3 format. The ear is forgiving and adjusts but when doing a side by side listening test many aspects of inferiour sound quality become apparent.
When converting Vynal to digital I capture the audio at 24 bit 192k or 96k and listen back on my home system at that resolution. For portable I convert those files to mac AAC or mp4.

"most often the re mastered stuff is way off the mark from the original artists intention..... "

Thats true Guitz, but sometimes the new version can be better than the original. I think Sara Brightmans version of a Whiter Shade of Pale is much better than the original, only my taste though. If you get a copy of the original (a brilliant work by Procol Harum which I love) and listen to Sarah Brightmans version I think she adds an amazing breathless beauty to it.

In the days when it was possible to P 2 P download music the fantastic thing was being able to get the same song done by different artists.

And Guitz you're right about subtle dumbing down of the whole audio listening experiense for "consumers". I read an article about the origins of Akai and Mr Akai himself was quoted saying the secret to making a good amplifier wasnt making one with a perfect flat frequency response it was in fact making an amplifier that sounds how the listener wants. The reason Fender is still a success I guess.

I would love to mix your album. It's always a privilege. Is your 1/2 inch tape machine an 8 track, because I have a lovely Otari half inch 8 track I could mix from and all you would have to do is sent me the tapes. Also It would be a good idea to back up the tapes into a computer at 24 bit 96k. The KRK Rockits are good little monitors and placed in the corner will give more bass response. That would be good for a bigger sound on playback but not necessarily for critical listening for accuracy when mixing. If mixing from the tapes is your prefered option then it can be an all analogue project pressed to vinyl. Here is a pick of my old school mixer, a rare piece of Australian audio history this one;
[URL=.html] [/URL]

And some vintage outboard;
[URL=.html] [/URL]

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keensailor said..
That outboard looks tasty Guitz, what are they ?

The brand name is Optro and they have been my secret weapon for years. Most newcomer engineers are not even aware of their existence and because of internet "wisdom" or fashion look to the holy grail Neve, API, Helios, and EMI gear that was made in-house for studios in the 60's and 70's. Well this is the Australian built gear of that era , designed and built by the audio genius, Graham Thirkle and his team of electronic engineers. Graham built two inch tape machines and invented the 24 track tape head, an invention he sold to Ampex but the yanks don't acknowledge it was Grahams invention. He also designed studio's for the ABC and the one I work out of. The silver modules in the second pic where from the console Optro built for Bill Armstrong's studio in South Melbourne. The two compressors are also Optro but I don't know their history. The Desk is an Audek and it uses Optro discreet pre amp cards and the rest of the design and build was by Alan Jenkins from Pearcedale who was one of Optro's engineers for various projects and builds. Alan built the desk for Aurthur Lewis who owned Rambler Recording Co in Mt Eliza. Rambler pre dated Armstrong Studios and most of Bill Armstrong's recording engineers in the early days first worked for Rambler on the Audek desk. The desk is a real "Rolls Royce" example of gear of it's vintage; hand wound transformers and the eq is inductor design topology which the holy grail Pultec EQP1A is so it's like having a pultec for each channel of audio..... sweet silky highs and fat ass punchy low end!!!! and the design is such that you will never run out of headroom which most modern gear design is woefully short on. And when driven into distortion as an artistic choice it is full cream organic smooth thickness!..... how else do you describe sound when you're waxing lyrical and full of hyperbole!
For more about Graham Thirkle read the Audio Engineering Socioty write up, a truelly amazing and inspiring life story of achievement against the odds; www.aesmelbourne.org.au/graham-thirkell/
We need to know more about the great achievements of Australians especially when we hear Polly's talking about inovation..........C'mon get serious!...... Malcom, Bill and all the political class. Australians built this country on inovation and there never was a shortage of it till we got F'd over by multinationals but we won"t go there shall we??? I understand nothing and know even less...... Sadly Graham passed away a few years ago and is greatly missed.

If youse want to hear some of my mixing and recording there are some samples on my soundcloud page, Indian Raga, classical, jazz, now and hopefully zen!
soundcloud.com/hallamsound
my favourites are Hard Land by Peter Martin which was done on the otari tape machine and Brad Martin which was a live soundcheck recorded through the Audek that turned into a jam. They should give the hi fi a bit of a tickle even though they are converted low rez.

Yep, live recordings have the energy and passion that is oftem missing in the more "perfect" studio recordings. My neich market in the 90's was live recording and it's still the major part of my work. In the studio to get over this I ditch the headphones set the band up in the studio and record while they play live. For this a good large room comes in handy, even better when its a live, tuned room.

soundcloud.com/steve-bee-3

Heres some demos. Can We Go On, is on the album but i need to redo the vocals plus fix some other stuff.
Gotta stop fixing though and get this done!

Henwood Road is the one i paid a mixer to mix. I really can't stand the sound. My singing is shocking, but the whole sonic quality doesn't work for me. too breathy or something.

Forbidden Fruit is on the album but not this version.

Lovin those mixes on your sound cloud too Chris. Just what I'm after i reckon!

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keensailor said..

thats analogue heaven right there!
did you work with any analogue synths of the day?

Not me personally as I'm a guitarist but I loved the Roland Juno 106 and we have a Sequential Circuits Prophet 600 at the studio.
The keyboard player in one of the bands i played in in the early 80's had a Moog Sonic Six. He left the band to research speech synthesis and is now the principal research scientist at Apple. Here's his TED Talk on magic ;)