Re: [ARSCLIST] (dream) restoration phono preamp opinions wanted

[Jeffrey Kane <jeffkane@xxxxxxxxxxxxxxx>]

I don't have one but know a few semi-pros using the Canon LiDE 600F to good
effect. For the price it's unbeatable.

-----Original Message-----
From: Association for Recorded Sound Discussion List
[mailto:ARSCLIST@xxxxxxx] On Behalf Of Steven Smolian
Sent: Wednesday, April 04, 2007 12:21 PM
To: ARSCLIST@xxxxxxxxxxxxxxxx
Subject: Re: [ARSCLIST] (dream) restoration phono preamp opinions wanted

I've been working some from mono LPs to master to CD.  In my experience, 
accurate recording/playback eq is imprecise at best, and, quite frequently, 
imaginary.  Further eq is always needed.

I've encountered a specific situation where I've had three issues of a 
Period LP, all mastered before 1959, each with its own eq.  One was early, 
probably Columbia, c. 1951, for which I used the LP setting. Another, 
mastered by RCA with the type in 1954 in small block letters and numbers, 
used NAB,  a third, using the same RCA matrix number but handwritten, fell 
in the cracks somewhere. I used RIAA and adjusted a whole lot with an 
equalizer.

Tube equipment has hum- it's genetic!  It should be removed during the 
restoration process.  If you prefer your finished audio with tube sound, ok.

But don't plead accuracy.  You are deliberately including non-musical noise.

In short- you know the answer.  Listening.

Steve Smolian


----- Original Message ----- 
From: "John Ross" <johnross@xxxxxxxxxxx>
To: <ARSCLIST@xxxxxxxxxxxx>
Sent: Wednesday, April 04, 2007 12:31 PM
Subject: Re: [ARSCLIST] (dream) restoration phono preamp opinions wanted


> At  4/3/2007 10:24 PM, EricJ wrote:
>>When it comes to phono preamps that are capable of
>>historical EQs, I was wondering...
>>
>>1.  How many people use anything but RIAA, NAB, and FLAT
>>     EQs for digital transfers when doing preservation work?
>
> For 78s and pre-RIAA LPs, I generally use a tube-era preamp that has 
> front-panel adjustments for Turnover and Rolloff. A McIntosh C-8 is 
> particularly flexible, but it requires an early Mac power amplifier as a 
> power supply. I also like my Scott 121-C, with the Dynaural Noise 
> Reduction function. I wouldn't use the noise reduction for preservation, 
> but it's nice for casual listening. Of course, any tube equipment of that 
> vintage almost certainly needs to be re-capped before you would want to 
> use it for serious work.
>
>
>>2.  Is the ability to reproduce a wide range of EQs on the phono preamp 
>>important, or do you apply the final EQ in the DAW using digital filters?
>
> I think either approach is acceptable, as long as the EQ is correct.
>
>>3.  Do you use an analog processor in conjunction with your DAW to apply 
>>EQ later to a FLAT digital transfer (ie. an analog processor loop)?
>
> No.
>
>>4.  How often do you run into the situation where your phono preamp 
>>doesn't have the EQ you want?  It gets close, but not quite what you want.
>
> That is not an issue with either the Scott or the McIntosh preamps.
>
>>8.  If the phono preamp has accurate EQ(s), is quiet, and has low 
>>distortion, does anyone prefer tube versus solid-state electronics?  Does 
>>this matter?
>
> Obviously, I'm partial to tubes, but for RIAA  EQ, I also use solid-state 
> (including a McIntosh C-24, a Stanton 310 and some other broadcast preamps

> with balanced outputs
>
>
>>9.  Do you use a custom-built phono preamp or a commercial phono preamp?
>
> They're all commercial devices.
>
>
>>And if there's a phono preamp that supports historical EQs that you
>>really absolutely love, let me know, because maybe I should be buying
>>instead of building.
>
> As I said earlier, I like both the Mac C-8 and the Scott 121-C. 
> Unfortunately, both are subject to the demands of the loony collectors' 
> market, so the prices are out of line with their value as playback tools. 
> You can find relatively inexpensive C-8s, but they're useless without an 
> expensive MC-30 or 20W-2 amplifier to supply power to the tubes.
>
> John Ross
>
>
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