![]() Most of the reaction there was negative, solely because the signal path is digitized, thereby breaking the holy AAA chain. ![]() So.Ī couple of years ago I saw a thread in the Hoffman forums about the Sugarcube, a $2K device that transparently declicks vinyl. I also enjoy good (read: "transparent") audio. I also enjoy many genres that feature a wide dynamic range. Though I've culled out most of the truly thrashed LP's over the decades, I also have a lot of sides that are in less-than-stellar quality. ![]() Oh, and I'm no fan of modern country, but that should go without saying.Īs a result of the above hunter/gatherer methods, I have a lot of records that never made it to digital. Really, the only thing I'm not interested in is mainstream classic rock - I've had enough of that pumped at me over radio to last two lifetimes. My tastes are pretty broad - I started as a punk/alternative kid, but later got into soul, jazz, exotica, international, krautrock, early electronic, the more esoteric end of classical, vintage country, etc. I don't think I've ever paid more than $15 for a record, new or used, and the vast majority of my stuff was had for $1-5 each through the salvage operation described above, yard sales, thrift stores, or used bins. As a collector, I'm definitely at the low end of the price scale. Stick with me - I'm getting to the hardware bit. I met a lot of fascinating people this way, including a guy who'd been a Walter Matthau's stunt double for much of his career, with several thousand jazz LP's collected over a lifetime in Los Angeles (unfortunately, two Japanese investors had flown in a few days before and snapped up most of the Blue Notes, but there was still a lot to be found.) Had an ad for years in the local paper under the head "Sanford & Son Vinyl Salvage," and took calls from people enthusiastic for me to rummage through their collections and cherry-pick for $1 a pop. It does not store any personal data.I've been collecting vinyl since I was a teen in the 80's and really went ape in the 90's when everyone sold off their collections for CD's. The cookie is set by the GDPR Cookie Consent plugin and is used to store whether or not user has consented to the use of cookies. The cookie is used to store the user consent for the cookies in the category "Performance". This cookie is set by GDPR Cookie Consent plugin. The cookie is used to store the user consent for the cookies in the category "Other. The cookies is used to store the user consent for the cookies in the category "Necessary". The cookie is set by GDPR cookie consent to record the user consent for the cookies in the category "Functional". The cookie is used to store the user consent for the cookies in the category "Analytics". These cookies ensure basic functionalities and security features of the website, anonymously. Necessary cookies are absolutely essential for the website to function properly. The optimal level for “Automatic to” also depends a lot on the type of music you are working with. With a higher treshold value (for example 40) you will save a lot of time and you will probably never notice the difference. You will probably accept the correction more often than you’ll change or reject it. With the setting “ Automatic to 20” – as I have here – will the program stop many times and “ask for advice” (unlesss it is a “mint condition” record). ![]() Respond “Resume” and the program skips the correction and starts looking for the next: One sign of this is when both channels look exactly the same. (The markings in the picture below are not perfect…):īelow we have an example of a false click detection. Then you may want to decide for yourself on the size of repair for each channel, and you will interactively see what the repair will look like. This is an example of a really bad damage. It is perfectly OK, so you respond by clicking “ Accept”: Here the program has stopped at a repair which exceeds the set treshold limit ( Automatic to 14).
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