analog audio

The CD player's days may be numbered, but we're seeing more and more turntables. They all share the common design features of a base, platter, and tonearm, but the Townshend Audio Rock 7 turntable is decidedly less common.

In addition to those three components I just mentioned, the Rock 7 employs proprietary features, mounted on the front of the tonearm, ahead of the phono cartridge. The cartridge and its needle are designed to convert the record groove's tiniest wiggles into electrical signals, but on other turntables the tonearm is unsupported and free to vibrate at the cartridge … Read more

Playing LPs usually requires a complete hi-fi system, but Music Hall's slick USB-1 turntable and AktiMate Mini speakers make beautiful music together.

I associate desktop speakers with computers and iPods, so when Ken, one of my audiophile pals, raved about this slick little Music Hall system, he had my full attention. It's just a pair of desktop speakers and a turntable--there's your system. The little rig dispenses with the usual receiver or preamplifier required to play LPs; you just hook up the USB-1 turntable via its stereo analog outputs directly to the AktiMate Mini speakers, and you'll be grooving to your tunes. You can also dock your iPod to the AktiMate Mini, and digitally dig your music.… Read more

Music was forever changed in 1983. Up to that year we had lived in a digital-audio-free world, where musicians and the music industry flourished in a state of pure analog bliss. Vast numbers of people actually listened to music--without doing anything else--on a regular basis.

An analog recording corresponds the variations in air pressure of the original sound. A digital recording is a series of numbers that correspond to the sound's continuous variations, but the numbers have to be reconverted to analog signals before they can be listened to. No wonder analog and digital sound so different from each … Read more

Every sound you hear in real life that doesn't come out of a speaker is analog. Analog audio is, simply put, an analogous record of sound, and an LP's groove is a literal imprint of the music's soundwaves. Analog magnetic tape is just as analog, but the waveform is recorded to the orientations of the iron oxide particles bonded to the tape. Tape or LP, analog recordings store audio signals as a continuous wave in or on the media and therefore have theoretically infinite resolution.

Digital audio recording converts the original sound into a sequence of numbers; sampled to convert the analog signal to a digital representation. Sampling is the division of the signal into discrete intervals (CD's sample rate is 44.1 thousands of samples per second). CDs have a 16-bit resolution and DVD-Audio discs can be encoded with a maximum of 24-bit resolution. DVD-A's have greater bit depth results in finer gradations of sound compared with CDs and MP3s, and is subjectively on par with analog recordings. Analog-to-digital processing is performed by a converter in the recording studio; and must be converted from digital-to-analog to be listened to.

If I lost you with all that talk about sampling and conversions, let's just say the prime difference between analog and digital is that analog recordings are continuous in time, and digital is sampled at distinct intervals. What happens between samples? Not much. Analog is always "on," digital is either on or off. Analog recording's theoretically infinite resolution refers to its continuity, compared with digital's on/off sampled nature.

If digital audio sounds a lot more complicated than analog, that's because it is. But digital recording offers very significant advantages over analog recording; it has inherently lower noise, perfect duplication capabilities, and superior speed accuracy (lower wow and flutter).

Most of the digital audio advances since the early days in the 1970s come from today's superior A/D and D/A converters. Digital audio has never sounded better than it does now.

The same can be said about analog: the best LPs, played back on a good turntable sound more like real, live music played by human beings than digital recordings ever do. That's my subjective opinion. On a more objective basis I'd say digital eliminates, or lowers analog-type distortions (noise, speed variations, and so on), but it suffers from far from perfect analog-to-digital and digital-to-analog conversion processes. To many, but not all, audiophiles and recording engineers, the best digital still sounds sterile, cold, and lacks natural warmth.… Read more

Dave McNair has been playing, recording, mixing, producing, and mastering music for more than 30 years and has worked with a wide range of artists including Los Lobos, Stevie Ray Vaughan, Patti Smith, Miles Davis, Willie Nelson, Angelique Kidjo, and John Mayall. He now works for New York City's top mastering house, Sterling Sound.

I interviewed McNair for Tone Audio magazine, this is just a small part of it.

Q: How has the mastering engineer's work changed from the days when analog audio ruled the roost?

When they were cutting records from analog masters, mastering engineers were caretakers of rather fragile analog signals. It wasn't an easy thing, trying to get it from Point A to Point B without losing the music. Back then the mastering engineer didn't compress or limit the signal all that much, you wanted the end user to hear all of the punch and leading edge dynamics. But now that things are so clean on the recording end mastering is a bridge from mixing to the duplication process. You might be adding the color that might have once been added by analog processors or mixing consoles.

Q: 'Color,' is that the same thing as sweetening?

Right, I'm chasing this idea, I want to make CDs sound like LPs.

Q: By adding complementary distortions?

Not always, but sometimes. I want to get more of the effortless sound of vinyl on CDs.

Q: It's pretty complex, but I agree, analog distortions can sound more musical than digital, even high-resolution digital.

Right, they add flavor, texture, and harmonics, but I'm not speaking for all mastering engineers; many still use a very simple path and stay away from enhancements.

Q: Like compression, you guys love compression. But the music was already compressed during tracking and mixing, why compress it again?

 Not always, maybe 20 percent of the time I get stuff that's not compressed enough. That's only because there's so many more new-to-the-game, semiamateur engineers making records these days. They're recording some really great, artistically valid bands, but it winds up sounding like a documentary style of recording. They leave it to the mastering guy to make it work, so I need to make the sound more dense, gluing the elements together. … Read more

I heard on NPR's Weekend Edition Sunday that it was 30 years ago that NASA sent Voyager 2 into space with the music of Louis Armstrong, Chuck Berry, Beethoven, Bach, and a wide selection of world music. The disc that also contained images of Earth, and the sounds of whales, a baby crying, and waves breaking on a shore. The NASA scientists must have felt sound was one of the best ways to communicate human experience of the 20th century to intelligent life in the distant future.

The gold-plated, 12-inch copper disc was an all-analog recording, probably because that … Read more