analogsurviver
Headphoneus Supremus
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- Jul 2, 2012
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All of my recent posts - after a long sabbatical - are only meant as a preface - and warning.And the burden of proof lies on you to substantiate this claim that a record has any meaningful information beyond 20kHz (instead of noise). Hint, it's going to be really hard since the source tapes don't have ultrasonic material.
I am analogsurviver - not digitalover. It took me some time to get the digital side of things up to the standard that can reveal (most of ) the true capabilities of analog - be it tape or analog record from whatever the source material.
There are some kinks to be ironed out on the analog front as well - trivial things, such as establishing again the correct continuity in the integrated headshell cartridge with particularly linear response and superb channel separation - all the way to 50 kHz.
The thing is not meant to be serviceable and/or opened, but I did find a way that might work.
Plus making it mechanically compatible with the arm/TT of choice; in order to force one to use the cartridges from the same manufacturer of turntable, some did intentionally build their equipment not to be compatible with broadly available cartridges/headshells that did conform to EIA/JIS standards.
So this operation will have to be killing two birds with one stone - it is , unfortunately, the only way.
I could have posted the results with cartridge(s) with less linear response and lower channel separation up to and beyond 50 kHz at this time, but I want to do it RIGHT.
A month or two still needed to iron these kinks out and then re-record the most representative cases again with this "Cartridge with Checkered Past" ( it is a really long and interesting chain of coincidences that ultimately helped this cart to be still alive and well after all these decades ).
I was myself shocked what information actually can be residing in the grooves of an analog record - and particularly, from how long ago this has been possible.
RBCD is in case of extended frequency response a definitive retrograde - and, to be precise, such low resolution digital did rob many artists who have been active from the early 80s on of any really decent recordings. It also affected the amplifier quality, as there was suddenly no longer a requirement to cope with anything much higher than say 50 kHz.
The really good amplifiers for analog have usually MHz bandwidth - or close to that, definitely essentially flat to at least 100 kHz.
Amplifiers & the rest of the chain got better again only with the introduction of the SACD - but still not to the level once available at the golden age of analog.