On Considering the Vinyl Revival…

By Bryan Geyer

Vinyl media invites disparate opinion. For some, vinyl conveys handling and listening pleasure that transcends the many shortcomings of its aged vintage. Others regard vinyl as obsolete, and view its performance and convenience limitations as intolerable.

LP discs are the product of a 1948 compromise that traded fidelity for the means to fit some 25 minutes/side onto a 12 inch record. Bass response was sacrificed to reduce groove excursion, and treble was boosted to mask surface noise. Complementary equalization is introduced during playback, but analog LPs still measure poorly when compared to standard “Red Book” CD media. CDs convey a dynamic range some 30 dB better than most vinyl, with much flatter frequency response, far less total harmonic distortion, and near-noiseless playback. These critical advantages compel the professional insiders, e.g. musicians, performing artists, conductors, and audio engineers, to express uniform preference for the superior realistic accuracy of CDs—see http://www.laweekly.com/music/why-cds-may-actually-sound-better-than-vinyl-5352162.

Further, LP records undergo frictional abrasion with every play, causing groove wear (fussy cleaning often needed), while CDs are read without contact. And LPs deliver 25-28 mins./side, whereas CDs can store up to 80 minutes. Given this score, why would any audiophile prefer vinyl? Well, some say that “vinyl sounds better."  But objective listening isn’t likely if you’ve just bought your hi-end vinyl playback gear. Massive turntables, exotic tonearms, and costly cartridges exude strong visual karma, and will implant a potent vinyl bias that overrides even the most astute aural perception. (Refer http://www.pnas.org/content/110/36/14580 for a closely related study.)

The “vinyl revival” depicts what can happen when specious improvement meets marketing greed, with 50 lb. turntables (at > $5K ea.) to spin 1/4 lb. records. Vinyl is a potential option, but it’s best ignored unless you already own lots (and lots!) of LPs, or you feel compelled to support the groupthink cult at your local hi-end audio club. Conversely, CD media makes it easy to hear great sound without the brief play time, compressed dynamics, low signal-to-noise ratio, high harmonic distortion, endless groove wear, and dedicated equipment expense that’s forever innate with vinyl.

(1) NOTE:  Be aware that the analog era of LP vinyl has largely expired, at least for popular music discs of the recent decade. In SPARS code lingo, most vinyl releases are now DDA or ADA—not AAA. Most of the recording, and virtually all of the mixing, is now accomplished digitally. Only the final master is analog, so you’re listening to a digitally-sourced signal that’s delivered via LP microgroove. If you’re of the school that “can’t bear digital sound,” your shopping should be confined to musty tubs that stock old, used LP records.

(2) WARNING:  If you intend to “A/B” (compare) vinyl-to-CD sound, be aware that many pop market CDs are intentionally “hyper-comped” (mastered with gross dynamic range compression) to assure that they’ll peak the level meters (sound loud) when given any airplay; ditto when played in cars. This odious digital distortion will cause this freak CD to sound inferior when compared to its vinyl equivalent. Analog discs can’t be artificially despoiled to this same extent, so it's the CD release that gets intentionally compromised.

BG (June 2019)

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Meet the Staff

Meet the Staff
John J. Puccio, Editor, Publisher, Reviewer

Understand, I'm just an everyday guy reacting to something I love. And I've been doing it for a very long time, my appreciation for classical music starting with the musical excerpts on The Big John and Sparkie radio show in the early Fifties and the purchase of my first recording, The 101 Strings Play the Classics, around 1956. In the late Sixties I began teaching high school English and Film Studies as well as becoming interested in hi-fi, my audio ambitions graduating me from a pair of AR-3 speakers to the Fulton J's recommended by The Stereophile's J. Gordon Holt. In the early Seventies, I began writing for a number of audio magazines, including Audio Excellence, Audio Forum, The Boston Audio Society Speaker, The American Record Guide, and from 1976 until 2008, The $ensible Sound, for which I served as Classical Music Editor.

Today, I'm retired from teaching and use a pair of bi-amped VMPS RM40s loudspeakers for my listening. In addition to writing the Classical Candor blog, I served as the Movie Review Editor for the Web site Movie Metropolis (formerly DVDTown) from 1997-2013. Music and movies. Life couldn't be better.
Karl W. Nehring, Contributing Reviewer

For more than 20 years I was the editor ofThe $ensible Soundmagazine and a regular contributor to its classical review pages. I would not presume to present myself as some sort of expert on music, but I have a deep love for and appreciation of many types of music, "classical" especially, and have listened to thousands of recordings over the years, many of which still line the walls of my listening room (and occasionally spill onto the furniture and floor, much to the chagrin of my long-suffering wife). I have always taken the approach as a reviewer that what I am trying to do is simply to point out to readers that I have come across a recording that I have found of interest, a recording that I think they might appreciate my having pointed out to them. I suppose that sounds a bit simple-minded, but I know I appreciate reading reviews by others that do the same for me -- point out recordings that I think I might enjoy.

For readers who might be wondering about what kind of system I am using to do my listening, I should probably point out that I do a LOT of music listening and employ a variety of means to do so in a variety of environments, as I would imagine many music lovers also do. Starting at the more grandiose end of the scale, the system in which I do my most serious listening comprises an Onkyo C-7030 CD player, Legacy Audio StreamLine preamplifier, Legacy Audio PowerBloc2 amplifier, and a pair of Legacy Audio Focus SE speakers augmented by a Legacy Point One subwoofer. I also do a lot of listening while driving in my 2016 Acura RDX with its nice-sounding ELS Studio sound system through which I play CDs (the ones I especially like I rip to the Acura's hard drive so that I can listen to them whenever I want) or stream music through the system using my LG G7 ThinQ cell phone, which features surprisingly sophisticated audio circuitry. For more casual listening at home when I am not in my listening room, I often stream music through the phone into a Vizio soundbar system that has remarkably nice sound for such a diminutive physical presence. And finally, at the least grandiose end of the scale, I have an Ultimate Ears Wonderboom Bluetooth speaker for those occasions where I am somewhere by myself without a sound system but in desperate need of a musical fix. I just can't imagine life without music and I am humbly grateful for the technology that enables us to enjoy it in so many wonderful ways.
Bryan Geyer, Technical Analyst

I initially embraced classical music in 1954 when I mistuned my car radio and heard the Heifetz recording of Mendelssohn's Violin Concerto. That inspired me to board the new "hi-fi" DIY bandwagon. In 1957 I joined one of the pioneer semiconductor makers and spent the next 32 years marketing transistors and microcircuits to military contractors. Home audio DIY projects remained a personal passion until 1989 when we created our own new photography equipment company. I later (2012) revived my interest in two channel audio when we "downsized" our life and determined that mini-monitors + paired subwoofers were a great way to mate fine music with the space constraints of condo living.

Visitors that view my technical papers on this site may wonder why they appear here, rather than on a site that features audio equipment reviews. My reason is that I tried the latter, and prefer to publish for people who actually want to listen to music; not to equipment. My focus is in describing what's technically beneficial to assure that the sound of the system will accurately replicate the source input signal (i. e. exhibit high accuracy) without inordinate cost and complexity. Conversely, most of the audiophiles of today strive to achieve sound that's euphonic, i.e. be personally satisfying. In essence, audiophiles seek sound that's consistent with their desire; the music is simply a test signal.

Mission Statement

It is the goal of Classical Candor to promote the enjoyment of classical music. Other forms of music come and go--minuets, waltzes, ragtime, blues, jazz, bebop, country-western, rock-'n'-roll, heavy metal, rap, and the rest--but classical music has been around for hundreds of years and will continue to be around for hundreds more. It's no accident that every major city in the world has one or more symphony orchestras.

When I was young, I heard it said that only intellectuals could appreciate classical music, that it required dedicated concentration to appreciate. Nonsense. I'm no intellectual, and I've always loved classical music. Anyone who's ever seen and enjoyed Disney's Fantasia or a Looney Tunes cartoon playing Rossini's William Tell Overture or Liszt's Hungarian Rhapsody No. 2 can attest to the power and joy of classical music, and that's just about everybody.

So, if Classical Candor can expand one's awareness of classical music and bring more joy to one's life, more power to it. It's done its job. --John J. Puccio

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"Their Master's Voice" by Michael Sowa

"Their Master's Voice" by Michael Sowa