cunobelinus;687552 Wrote: 
> 
> The process is a chore - times about 20 compared with ripping CDs, not
> least because of the manual entry, without the aid of any online
> database, of all the tags, and because it's not a process you can leave
> to itself, like CD rips.You can make it shorter if you are prepared to use 
> simpler software that
finds track breaks and tag information automatically.

*'VinylStudio'
(http://www.alpinesoft.co.uk/VinylStudio/screenshots.aspx)* gives
access to all the usual tagging databases *while the LP is recording*
and adds the data to your FLAC, OGG or MP3 files automatically.  All
you do is enter the artist and album name and it finds the track
information and album art. It also detects breaks between tracks either
through the silences or using the timing information that usually comes
with the tags. A bit of fine adjustments of the track breaks is usually
necessary but it has very simple tools for doing that.

If you don't do any de-clicking the whole process only takes 5-10
minutes on top of recording the LP.

> And then there's the cleaning beforehand, which seems to me to be
> greatly preferable to digital noise removal because it doesn't in any
> way risk the sound of the recording, but which takes an age.

I don't usually clean my disks as I find very little benefit.  Very
occasionally, with an obviously grubby record, I simply rub washing up
detergent (Fairy or similar) into the face of the disk with my fingers
and then carefully rinse off under the tap - making sure not to get the
central label damp.

I have always been -very- careful about the care of my LPs. It helps
that the UK is a fairly damp place so there is rarely a problem with
static electricity attracting dust. 

The quality and type of cartridge and stylus plays its part. The ATOC9
uses a fine line stylus that digs deep into the groove.  This means it
tends to "read" the signal further down the groove which has not been
damaged by previous styli.  It has a larger contact area so does not
distort the vinyl and that reduces wear.  It also sticks to the track
like an F1 car! It is a revelation on inner tracks - where once there
was distortion now there is none.  No mis-tracking means less groove
damage.

Finally, a really good turntable and tonearm will provide a much higher
dynamic range signal making surface noise much less obvious - but you
seem to have that sorted.  

I am surprised at your combination of Technics and SME V. I would have
thought a highly rigid, high mass arm like the SME would be better
suited to a rigid belt drive suspended sub-chassis turntable. Have you
looked at the SME turntables?

> ...if an LP has been issued as a CD, I buy that rather than rip the LP.
> There is no post processing other than topping, tailing, splitting and
> tagging - and it still takes the best part of four hours per
> (classical) LP including the tagging.

Four hours!?!
I give up if it takes me more than 15 minutes!!

I only go through this process with pop, rock and jazz that are
generally "loud".  I do not bother with classical or quiet acoustic
folk music where surface noise can be more intrusive.  Also classical
CD recordings are usually much better than you find with recent
pop/rock CD reissues.  There is not the same compression and "loudness
wars" going on with classical CDs.

I am very suspicious of recent "digitally remastered" re-issues of
albums from the 1970s - 1990s. I prefer to buy the original CDs second
hand which are probably more faithful to the vinyl version.


-- 
TheLastMan

Matt
http://www.last.fm/user/MJL-UK
*SqueezeBoxes:* SB Duet (Controller + two receivers)
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*Study:* Linn LP12, Naim 72/Hi-cap/Headline.
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