The AAA (100% analog) vinyl handbook
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- Опубликовано: 16 июн 2024
- Audiophiles and vinyl enthusiasts sometimes forget or give for granted what is a true AAA record, how it is made, what to look out for and where to find the best. This video tries to fill that gap!
LINKS:
Second golden age of analog: • Why we are living a ne...
New AAA series: • New High-Fidelity viny...
Digital delay: • Digital Delay: The lit...
Speakers corner: • Discussing vinyl maste...
Record scalpers: • RECORD SCALPING: What ...
Mofi-Gate: • MoFi-Gate: The audioph...
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Jerome Sabbagh is a jazz saxophonist based in NYC. He went to great lengths to ensure that his two most recent releases are AAA. The reception has been so positive that he started a new record label "Analog Tone Factory" aimed at creating more new AAA recordings. The first planned release for Analog Tone Factory will be Sabbagh's own album titled "Heart" due out later this year. In addition to all analog LPs, Analog Tone Factory also offers all analog Reel to Reel tapes.
Shame his stuff on Tidal sounds bad😢
Yup, have two of his albums! If the community is interested I could make a video dedicated to NEW AAA releases. I do think they sound good but not exceptional IMO.
When a record is purely analogue, it is proudly labelled as "AAA," "All-analogue," or described as "Remastered / cut directly from the original analogue tapes" - that "directly" is important. If the term "directly" is omitted, there's a 99.99% probability of digital step. So if you see "Remastered from the original analogue tapes," it likely means there is a digital step. Also, if you see "Transferred from the original analogue tapes", you need to know that "transfer" is the short term for "digital transfer". In audiophile labels today, they avoid using "digital" essentially to deceive analogue purists.
Good point! Thanks for underlining that. The fact that it is AAA it is not always marked, as I explained in the video, especially for modern productions, but the fact that some releases play on the fact that they started with the master tapes and the omit that there was a digital transfer is very true and import. Directly and also full or cut from are key words to understand when it is a true AAA production.
thank you very much for your detailed video on this topic. I had a lot of questions and you answered them all. and you have gone even further in your answer. thank you again and also many thanks for all the links included. Musical greetings from the Netherlands, Govinda.
Thank you Govinda!
Thank you for the informative talk.
Thank YOU!
So cool. Thanx - MfG
Thanks for this video Guido. The Analogue Productions Atlantic 75 anniversary serie ( AAA ) is a great success with the Genesis lp " Selling England By The Pound " and " The Lamb Lies Down On Broadway ". Perfect analog sound, oulalah !!! but Steely Dan Aja, UHQR double lp is really amazing. At reasonable price the DeWolff lp (Love, Death & In Between) and Ghostwoman lp (Hindsight is 50/50) recorded at Kerwax Studio (AAA) are very good too 🙂
Thanks!
Good video 😊
we need more artists and studios using tape al AAA and for gosh sakes make several tape backup copies and if possible some kinda great tape preservative fluid used on the master tapes i think "LAST" makes a preservative for tape, maybe science can come up with something special, and not harmful to the sonics to extend the life of master tapes
Oh Mama, Oh Baby !
Amazing video with a ton of great info. Playing the role of the 'Devil's advocate', there are a few things people should realize, especially after watching a video like this: It is often very difficult to distinguish a AAA release from a well-mastered release with a digital step. This humbling realisation was exposed during the Mofi controversy, people were brainwashed into believing they could hear the difference. AAA is the ideal and while it can sound better, much of the appeal lies in the philosophy and the appreciation of the craft. Also worth noting that while modern AAA releases can offer improvements in SQ vs originals, the originals often have a more apparent 'in the room' feeling or 'presence' that is difficult for a modern reissue to replicate, possibly due to the age of the master tapes- a reissue of a 1970 recording is using tapes that are now 54 years old!
Thanks! This is a misconceived narrative that people have been waving around to punish snobby audiophiles (which I perfectly understand) but the principle is wrong. First of all it is absurd to declare I can hear something is sourced from analog (or digital). You always need a comparison unless you know PERFECTLY that recording. So, following this aspect, if you take a DSD-sourced vinyl by MoFi and compare it with a full analog release, in MOST cases, not all, you can tell a difference. This was also discussed and presented on other channels. That apart, DSD-sourced vinyl is amazing and in some cases can be as good or even better than the original release. It actually comes down to the mastering at that point.
There are a couple of Tone Poets not in “all analog” format. Two are by Joe Henderson - State of the Tenor Vol1 and Vol2. The hype sticker indicates this. And maybe one or two more.
The closest to Analog, I found at Octave Records (everything is recorded at 256 DSD or at 11,2 MHz). I compared Zuell Bailey’s Performance of BACH solo cello sonatas on LP and on DSD file. Not easy to hear the difference. 😎
Wish they made stuff I want to listen to.
Well, DSD is a whole other animal say compared to Abbey Road's 24/192 PCM mastering (not to mention whatever other conversions they use in between) Especially with the Quad DSD (256) you are talking a whole other level of quality and resolution. I have a link on my channel here with an excellent interview with the owner of Positive Feedback where he talks about a shootout involving himself, Chad, and another luminary at that level, where in doing a blind comparison of several original master tapes with their Quad DSD counterparts, even Chad could not tell the difference between them - Quite a fascinating interview!
As a Collector myself over the last 40 years or so, I have used the Spars code when selling my vinyl record. I understood the AAA stood for Analogue Master, Analogue Production, but the last A stands for the Analogue media and source it is played on. In other words, the Vinyl or tape/cassette you have in your hand. It was originally used for the CD media. That is why when you pick up a CD, you should always see a D on the spars code as the last letter, as it's a digital media. So A will always be the last letter on a vinyl record as it is Analogue media played back on an Analogue source. Has this all now changed?
That is a common misconception. It never has changed. The letter ALWAYS indicates the gear used to make that step. If you open any CD booklet of the 80’s you will find the spare code and this explanation
Angelo Kelly is making some good AAA albums
Indeed! I have his last LP and he is also a subscriber of the channel I discovered
I am off topic but: Could you create at show and tell about PHASE? I am a longtime audio enthusiast. Lately I keep hearing people talk about phase. I have always understood that it simply meant keeping the red and black speaker wires attached to their corresponding red and black connectors.
Can you provide more detail if it is relevant?
Thank you.
Phase means a lot of things! I am taking notes for a future video...It may happen that the final master of a record (LP, CD, streming etc.) can have its phase inverted lowering its quality. That is also why several DACS of preamps in the past had the option to invert phase...I also made a video on the phase of the EU plugs: ruclips.net/video/VhhRPmt47j8/видео.htmlsi=Labqb-Ltl5W1saFJ etc etc. many other meanings...
Sometimes the limited numbering is randomized. So having a low number doesn't mean anything.
Yes, I should have been more accurate. I am talking about special limited editions as those by Analog Productions where the number stands exactly for the record that was pressed. Apart from that, the concept I was trying to convey is that of seeking low batches like Fonè or Craft recordings or ERC where that low number reflects on the quality of the pressing.
was this confirmed by AP? where every record pressed of the first 200 (say from their 75th anniversary series) is hand matched to the number on the jacket?
@@anadialog I think you have exaggerated the difference between a low number pressing and a later number- I would confidently say most people would have little chance of consistently distinguishing one from the other.
Just because the cover # is #50 doesn,t mean the lp is the 50th off the press.I really doubt they package them that way.
Yes, you are right, I should have mentioned that only in special cases like Analog Productions, it is done that way. But there are also other examples done for example in the past by Fone in Italy and others, also like the small batch from Craft recordings that the pressing are very low. The subscription of Analog Production gives you exactly that number out of the pressing machine (that is also way it is expensive).
Not sure about Stockfish Records releases. They are using a digital Studer console for recording.
You're right! I got mixed up with audiophile labels. Thank you for pointing that out.
@starlightgrecording559
Hi Guido From Anadialog***
Gerard Stroh!!! I Got Some of these Pricy Vinyl Record and I Got These Albums on Analogue Productions and They Cost A lot and I Got 2 Phil Collins Albums and MILES DAVIS Kind of Blue + Fleetwood Mac * Dave Rubeck Take Five Album + Beachboy's Pet Sounds + Bernard Herrmann + and Others and I Have t Change Sides on my Records But They Sound Good Guido Anadiaog!!! I Spend Big Money on These!!!! Good Video*****
All my excuse, you were right, after your interview with kevin gray, i decided to reread the vms80 manual, and indeed i confused with the digital delay inside the computer and the signal used to feed the computer digital delay.
Although the computer use the preview head signal it does not make any differences, however and that s the point were i confused they feed the computer digital delay with the analog head and the outside digital delay feeds the groove, or i thought that the outside digital delay was feeding the preview signal of the vms80 digital delay, and the analog head the inside groove!
You 're again right requesting as audiophile grade record, an analog delay!
This said i would love to get a comparison of two exact master cut one with analog delay and the other with digital delay, because i really don't think that except the digital conversion which again i agree is against AAA, the sound should be drastically different , as again everything is mechanical after!
The question is does the final print is different optically speaking?
Furthermore are you sure that even with an analog delay the AAA isn't arguable due to the digital delay inside the VMS80 computer?
Anyway again all my excuse for this confusion!!!
Thanks for this. I respect very much who admits their mistakes and very few do so chapeau!
That being said, if you use an digital delay regardless the result il there is absolutely no sense in using the master tape. Just use a file from the beginning. The results are clearly going to be different, not only for the conversion but also for the filtering and processing that Kevin mentioned. I don’t get you last phrase, Kevin clearly said that the Vms80 electronics are not in the music. A digital delay comes from the tape machine, where the analog signal goes in the electronics to establish the correct pitch, since it is the first thing read by the machine, from that is generated a digital signal that feed the cutter head. For others interested I made a dedicated video on the topic: ruclips.net/video/TOuQDMy__Qk/видео.htmlsi=F69U_Mk3zOClr5Rx
@@anadialog That's normal, i misunderstood, i apologize.
Indeed the VMS80 digital delay store the peak values only not the audio signal. That was what bernie said but again i confused it with the external digital delay!
So the question was where audiophile don't want any conversion, does this digital delay cannot also be against AAA, because there is also adc-dac conversion, digital data used even if it's not music it also can produce data integrity loss?
Strictly audiophile vision that would mean that a constant groove width or an analogously done rest space cut layer should be a more audiophile grade record!
Regarding the rest well theoretically that's true, but by experiences i know that pure digital source dac - recorded analogously - adc will sound different in a good way than the original.
Doing an adc-dac of a tape won't sound as digital as the pure digital sound!
Purely audiophile vision that's against AAA!
Now in practice this sampled signal is then printed mechanically so it become true analog with theoretical integrity loss.
But again theory and practice are different, so as i'm like saint thomas, i need a proof by two release of the same master using the two method showing that the signal optical and sonic differ in a bad way for the sound, otherwise, i cannot frankly say that it is better, or badder, just different! Digital vinyl is a nonsense, vinyl will always remain analog!
In fact yes i would like to really know practically the "disease" by the digital delay on an analog print because i think it s not a big deal! (again in a non audiophile vision)
Furthermore i thought about this, and just don't understand why they do not use analog delay instead of digital delay!
According the manual there are precise delay timing according tape speed and cutting speed.
Why don't just take of the head signal to feed the computer and an analog delay then feed the lathe!
The issue is resolved, ok you got thought a delay with electronic but you stay in the analog domain ! You can even put a tube delay, that would be better than the pure digital delay and more available than two head device for very low price in comparison with those rare devices!
Why such extreme where compromise can be done with one head by staying in the analog domain!!!
Because even what kevin said, 70cm of tape, two head, so much pinch roller/axes/friction/tension, constant verify of tape path, setting of length between ips, rpm, two eq, 4 channel, two amp, twice alignement setting and i certainly miss other constraint.
Don't sure if one head and an analog delay won't be an advantage just in term of easier put in practice signal to cut lathe, and an help in saving the master tape!
hmm. i also like sacd audiophile recordings
Me too! I love digital, just not as much as quality analog media
Even before the analog tape there are analog/tube microphones.
That is why I end all my videos with a precise phrase
@@anadialog Is that where you say, 'Don't mess with me, I'm Italian MutherF*****!' 😁
@@latheofheavenNot exactly 😅
The Tone Poet is hit and miss tbh. Any recording done after 1973 will have a digital delay in the analogue process. This eliminated the need for a preview head on the tape.
Wrong. KG doesn't use a digital delay.
@arize84 the Ampexreel to reel was made with this. Wrong, sshmong.
@@simonheffernan1767 I guess you can call KG a liar but he has specifically addressed the question with the following answer.
“I have always cut from analog with a Studer A80 preview deck which has the "pre" head to feed the lathe's computer to do the groove spacing and depth control. The heads and electronics are custom. The electronics, like all my gear, are discrete Class-A, transformerless.
IMHO an ATR100 is a poor choice for a mastering deck. It's a fine recorder, but way too rough on tapes with paper leader and splices, and in the case of really old tape, tape that is slit slightly too wide.
The preview time for most Neumann lathes is 1080 mS for 33.33, and 800ms for 45.
Even when cutting from digital I don't use a delay, I use two files on my Sonic Solutions workstation that are offset and locked to the times mentioned.
It is true that most mastering houses today do digitally delay the analog feed. I don't. And yes, it defeats the whole purpose of cutting from analog. Yes, the delayed signal is fed to the cutter with that method.”
@simonheffernan1767 No, that is incorrect. The 1973 information is wrong because someone in some forum said that because they quickly read that Masterfonics was founded in 1973 and the first to introduce digital delay but that actually took place in 1979 with the Ampex ADD-1 and it did not pick up until CDs got big so late in the 80’s. Yes, someone started soon but not the majority of engineers because they already had their lathes set up in a specific analog way and digital was extremely expensive. Check out my video on digital delay for more info: ruclips.net/video/TOuQDMy__Qk/видео.htmlsi=4DO4Boa1ZTyda87b
If at some point in time there’s a regulated body dealing with AAA vinyl integrity, AAA vinyl will most likely cost more to buy. Better to stick with integrity and reputation.
I see you're still made at those digital delay.... Frankly it don't think it's a big deal as it is for the groove width not the printed signal, and the command is numeric but the cutting head move analogously and is slower than the command; clearly not a big deal, it like analog synthesizers digitally controlled !!! Of course it's a digital control, but i would prefer this to digitally sourced material with analog delay...
My goodness! No, watch the video I made, I have clearly shown documentation of the era that states that the digital delay GOES ON THE RECORD and the analog signal is used for the pitch (groove width): ruclips.net/video/TOuQDMy__Qk/видео.htmlsi=4DO4Boa1ZTyda87b
Plus, apart from the documentation, it is also logic if you think about it. The tape must be read from an analog tapehead so you can't put the digital delay first, it must come after the tapehead, which feeds the lathe electronics (to establish the width of the groove) and the digital delay preamp, which will then feed the cutting head. The only way to avoid this is to have a machine with two analog tapeheads like for examples Analog Productions have or Kevin Gray at Cohearent audio etc. This is a fact, a sad fact. I have also discussed this with Kai Seeman of Speakers Corner, who is very concerned about this: ruclips.net/video/A405QH55cNk/видео.htmlsi=BAbebpjfiVpsNdqF around minute 16 and 23 seconds
@@anadialogYou're wrong but you don't want to listen!!! +/127ùm is well enough!
In a vinyl cutting system, the audio signal and the groove width control signal are two separate inputs to the cutting head. The audio signal drives the lateral movement of the stylus (left-right), while the groove width control signal adjusts the forward motion of the stylus to create wider or narrower grooves depending on the dynamics of the audio.
The grooves on a vinyl record are typically about 0.04 to 0.08 millimeters wide1. This is equivalent to 40 to 80 micrometers (µm).
An 8-bit DAC (Digital-to-Analog Converter) with a range of +/-127µm can represent 256 discrete levels (2^8 = 256), from -127µm to +127µm. This means that the smallest change (or step size) that it can represent is approximately 1µm (254µm range / 256 levels).
I have only a few digital remasterd records............sounds flat, lifeless, emotionless like creamed and pasteurized milk ........never listen to them again ...would never have bought the original albums if it they sounded like them !
When the CD hype took over the market many recored stores got rid of their records at dumping prices ...............Blue Note , Verve and all other for 5$ a piece..........i bought hunderds of records that moment and I do not regret it .
What a wise move!!!
and... where is The book?
The video is the “handbook” ;-)
It's analogue, you're not a yank?
Nope, it’s both (analog and analogue). My channel’s name contains that word, trust me I did some research! ;-)
And for the record, I am Italian!
@@anadialog i'm Italian too born in England it's always been analogue to me 😉
Don’t if he’s praying or asking for help 😅 enough of the hand movements. He must be Italian