2. analog
  3. 1295820131

Considering analog...but nervous

Well, I've been here before. Once again, I'm thinking of venturing into the Analog world, but before doing so, I wanted to pose a few questions to fellow agoners to make sure my head (ears?) are in the right place.

Some Background: My current setup consists of a Modwright Transporter, Musical Fidelity KW 500 (hybrid tube pre/SS Amp), and Focal/JM 1027be speakers. My entire current collection is digital and I have NEVER owned Vinyl before NOR have I ever heard a high-end Analog setup.

My Tastes/musical likes: I am all about soundstage and imaging. Vocal accuracy is hugely important and instrument placing (hence, imaging) are part of what I look for when listening. Genre wise, mostly rock, folk, acoustic and blues. Some jazz as well. I generally try to stick to labels that produce good-sounding material...not over-compressed garbage.

On with the questions:

1. One of the biggest things that has kept me from trying Vinyl thus far is the concern of excessive hiss and crackle/pop that vinyl is known for. Is it safe to assume that purchasing new Vinyl and played on a higher quality setup will reduce (eliminate?) the pops and crackle sounds? I have no problem purchasing exclusively new vinyl, knowing full well that the process of shopping used is what draws so many to this market...

2. If I purchase new vinyl, only play it on a decent player, and store it properly, will I still have to clean it? How expensive is a cleaning machine? Are there (reasonable), less expensive alternatives to a cleaning machine?

3. Based on my integrated (tube-pre,SS amp) and speakers, are these a good match for Vinyl? Does anyone know if the KW 500 Phono input is adequate for a good turntable? My digital system has a tendency to be on the bright side for a lot of material, but not everything. Strangly, even at 31 years old, I can still hear up to around 19Khz so I'm a bit picky about the highs...

4. How complicated is the setup of the TT? Being that I've never worked wtih it before, I'm somewhat intimidated by the "setup" requirements of the equipment. What are the core requirements/knowledge to properly setup a TT.

5. And finally, the most subjective question of all. If I had a budget of about $1,000-$1,500 for a TT, Tonearm and Cartridge, what would be a good starting place? I'd obviously be looking for used here from Agon.

I know this was a long post so thanks for hanging in and reading it all :-). Any feedback would be greatly appreciated.

-gh0st
fatgh0st
raquel
841 posts
 
If it makes you feel any better, I put up with a 11' x 22' room in a Manhattan apartment for fourteen years. The upside was that I was in a pre-war building with walls and floors made from foot-thick concrete - the only person who ever complained was in a neighboring building.

Regarding used LP's, you'll soon find that some which cost a buck or two sound great (I mean GREAT) and that many new LP's from major reissue labels are disappointing - it's somewhat hit or miss. I'm listening to a performance of Liszt's 1st Piano Concerto on a Musical Heritage Society LP that I picked up at Tower's used classical bins many years ago that I doubt I paid a buck for, and it's sublime.
fatgh0st OP
43 posts
 
So is there a dedicated site somewhere that user's can rate the SQ of LPs (by catalog number) to help take some of the guesswork out (similar to sa-cd.net for SACDs)? Or is it all through forums and such?

-gh0st
dan_ed
2,451 posts
 
In general, IMO, I can't see putting much money into a transport these days. Very few are anything special since most manufacturers have gone. Many times the mechanism are no different from what you find in a PC. I found a good performing CDP and it usually does sound better than music played from a file server. I think this is because the CDPs are a mature product and the transport-less options are still developing.

You have to take each LP on its own merits regarding playback. Yes, you can get guidance on specific releases, but each LP can be as different as people. I find the forums work best for me as far as trusting the input I get from others regarding an LP release. If you get into collecting $1K copies of old jazz then you'll need much more professional input, but you'll know that if you do get into that craziness.

Get your feet back on the ground if you are serious about vinyl playback. Be prepared for frustration, anger, set backs. There are many more mechanical interactions than you are accustom to, not to mention the importance of electrical components in the chain. I'm not trying to scare you off, just give you a dose of reality of what living with vinyl can be like. Especially when you are a complete novice. I strongly urge you to seek out someone with vinyl experience close to where you live that can give you hands-on, face to face help and guidance.

Have you thought about whether or not you will use a suspended turntable or a non-suspended one?
johnnyb53
3,510 posts
 

01-26-11: Raquel
... I'm listening to a performance of Liszt's 1st Piano Concerto on a Musical Heritage Society LP that I picked up at Tower's used classical bins many years ago that I doubt I paid a buck for, and it's sublime.
MHS editions have pretty much always been good in my experience as well. The performances are well-played, recorded, mastered, and pressed. And it seems that former owners on average took good care of them.

Here's another tip: Box sets from subscriptions (e.g., Time-Life) often arrive at the thrift shops unplayed. Many of the Time-Life classical box sets are culled from RCA Living Stereo vaults, a few later ones are EMI. I once picked up 16 4-LP Time-Life box sets of their "Great Men of Music" series, at $1 each. Performances are by Rubinstein, Heifetz, Julian Bream, Boston Symphony w/Charles Munch, Van Cliburn, Cleveland w/George Szell, etc., and are in excellent to unplayed condition.
fatgh0st OP
43 posts
 
Dan_ed: My listening room is in a basement so I'm assuming non-suspended would be just fine. Would you concur?

-gh0st
More to discover