Well, if you're using the lead-in groove or between-track spaces, I guess it wouldn't really matter either way. But I often do cue up with the record stopped, if for no other reason than because if someone crashes their car outside my window and my hand slips, at least that way I won't get a longitudinal scratch mark concentric with the grooves. But then again, I've been known to back-cue when making recordings, so what do I know?
Cueing it up...
Since analog is an analogy, I've developed a mental picture when cueing up on a rotating record. And that is the film we've seen of airliners landing, and those bazillion-ply tires instantly accelerating from zero to 200 mph, and, I've heard, leaving something like 20+ pounds of rubber on the runway in a cloud of smoke.
My gut tells me that rotating cue-up isn't so cool, enforced by how noisy most lead-in grooves are, and a lot of spacing grooves between tracks.
What do you do - rotating or standstill - and is this overly anal(og)?
My gut tells me that rotating cue-up isn't so cool, enforced by how noisy most lead-in grooves are, and a lot of spacing grooves between tracks.
What do you do - rotating or standstill - and is this overly anal(og)?
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- 7 posts total
- 7 posts total