Ripping Vinyl footage

[oldwrench]

it would be nice if you had a Phono-Pre-Amp, but using the MIC-IN should do the trick.

- yikes! - don't use Yamaha 724 mic-in, wow; talk about a clean sound with
40% vibrations and 30% needle-movement! ( this card is toooo sensitive! )

I used to have a Real-Time Noise-Remover program . . . I'll have to dig through
my CD-R's ( I haven't used vinal for MP3's in years! ) . . I believe Cakewalk Pyro
was the program ^_^

Most mic-in are a mono input and not suited to recording from a stereo. Mic-in is also a more sensitive input than line in and easily overdriven. It is best to use a record out, line out or pre-amp out from the stereo to the line in on the sound card. If you don't have one of these, then use the speaker output, but keep the volume lower to not overdrive the input. Cables to hook it up can be found at Radio Shack stores or online. I make my own from components, it's less expensive.

[atrophiedXlungs]

I was actually wondering about this the other day, and it looks like a phono pre-amp is probably worth the expense(I guess you can get a decent one for under 50?).

Anyhow, this is mostly just a bump for this thread.

[Jimmy Turbo]

I've been reading this thread and I thought I'd put in my two cents.

you know, I've been asking myself the same questions. and have so far come up with the following tips...

1) clean the living hell out of the record.

The best way to clean a vinyl record is with a clean, soft cloth and distilled water. When you clean the record, make sure that you get to every square inch of the surface, and try not to leave any moisture on the surface because even if dry, it will leave all the residue that it picked up in the groove.

2) make sure your needles are in good quality, and not weighed down too much.

I'd go a few steps further and say all of your external hardware should be in good quality. If you have the money, go get a few items:

A. A good tone arm. You'll really have to go looking around for this. A reasonalby good resource can be found here: http://www.gcaudio.com/resources/howtos ... ridge.html

B. A good stylus/cartridge. This will attach to the tone arm/headshell to reproduce the sound. This little "box" is probably the most important piece in the entire setup. Now, I've heard only good and wonderous things about the Ortofon MC 7500 Moving Coil cartridge. It is probably the best stylus/cartridge to use, however it requires special equipment such as a high preformance transformer and there is the other problem; it costs nearly $3000 US. Magnetic catridges are still great and reproduce sound almost as good as a Moving Coil, but for far cheaper. I would recommend the Ortofon Super OM 10 cartridge, wich should run you about $75 US.

C. Always get the manufacture's recommended needles. If Ortofon (Or anyother manufacturer) recommends a certain style or brand of needle for their product, listen to them.

3) im still trying to debate wether to get a stronger source by preamplifying the input, or by making a more sensitive microphone.

Records are made a certain way, different from any other digital or analog media. The sound is recorded at such a low level on purpose because the louder (or higher parametric EQ per Hz band), the wider and deeper the groove will be when cut. If the sound is too loud or the parametric EQ is too high, the soundwave distorts causing the needle to fall out of the groove upon playback (Skipping).

Therefore you must pre-amp. I pesonally use a mixing board, but a good stereo amp does the trick as well.

The line-in found on most sound cards are a pretty good ADC's (Analog to Digital Converter), again however go get even a cheap studio ADC. It will be better than almost all sound cards' line-in.

Also make sure that you use at least gold-tipped cabling for your recordings.

When recording to a .wav file, use nothing less than 1408 kilo-bits-per-sample [kbps] (44000Hz sampling rate, Stereo, and a bit depth of 16 bit). 1408 kbps is actual CD quality. A 320 kbps mp3 file only uses a bit depth of just over 7.256 due to compression when recorded at 44000Hz, and is garbage for editing or mixing in my opinion. I personally use 96000Hz and 24 bit depth... beware though, it will consume 737.2 KB per second per mono channel (stereo has 2 mono channels, 5.1 has 6 mono channels) of hard drive space. Though you get a great master file for editing.

5) part I haven't gotten to yet. is reducing the noise from the LP once its been recorded to .wav.

If you have good equipment and a good source, you really shouldn't have this problem. Sometime you will need to do a half-assed mastering job to get rid of humming, hissing, or pops and clicks. Goldwave does a great job of getting rid of all three of these problems, but it will alter the entire waveform, lowering the quality by a barely noticable amount. Sometimes the mid-range will be distorted, and will sound like it has been recorded underwater (In the most extreme of cases).

I really hope this helps you out!

[madmallard]

its, 44100

Also, if you plan on mastering to a Cd quality wave, or an MP3 that outputs at cd freq rates, I would strongly suggest not using 96000 even if your soundcard supports it.

You should record in multiples of 44100, 88200, 132300. This avoids potential downsampling problems and digital artefacting I've run into with most audio/wav programs.

[Noverca1is]

i forgot the name of this particular sound card, but its expensive by all means, my friend has a small recording studio with alot of high end equipments, I know he bought the item at "Sam Ash"
so try that store, check online
also, Sam Goody, Sound advice guitar center.....
they carry higher end stuf than audiogy, SB etc...

[Jimmy Turbo]

its, 44100

Also, if you plan on mastering to a Cd quality wave, or an MP3 that outputs at cd freq rates, I would strongly suggest not using 96000 even if your soundcard supports it.

You should record in multiples of 44100, 88200, 132300. This avoids potential downsampling problems and digital artefacting I've run into with most audio/wav programs.

Actually it's 44000Hz.

Stereo CD quality is 1408000 Bits per Sample (1408kbps). The number is derived from a simple little formula [Bit depth X Hertz X the number of channels the file has = Bits per Sample].

Then, if it were 44100Hz, it would look like this: 16 bit X 44100Hz X 2 = 1411200 bps or 1411.2 kbps.

44000Hz looks like this: 16 bit X 44000Hz X 2 = 1408000 bps or 1408 kbps.

And what's wrong with 96000Hz? Pro Tools has no problem with it. And DVD's use 192000Hz, and that isn't a mulitple of 44100Hz. Instead it's a mulitple of 48000Hz which 96000Hz is also a multiple of.

[madmallard]

Actually it's 44000Hz.

Stereo CD quality is 1408000 Bits per Sample (1408kbps). The number is derived from a simple little formula [Bit depth X Hertz X the number of channels the file has = Bits per Sample].

Then, if it were 44100Hz, it would look like this: 16 bit X 44100Hz X 2 = 1411200 bps or 1411.2 kbps.

44000Hz looks like this: 16 bit X 44000Hz X 2 = 1408000 bps or 1408 kbps.

i'm sorry, it is actually 44100 hz

http://www.jvcdiscusa.com/spex/audio.asp
http://www.fivemasks.com/red_book.htm
http://www.gatemedia.com/html/specs.html

of course theres:
http://electronics.howstuffworks.com/cd1.htm

44,100 samples/channel/second x 2 bytes/sample x 2 channels x 74 minutes x 60 seconds/minute = 783,216,000 bytes

and our very own Read <a href=http://www.a-m-v.org/guides/avtech31/>ErMaC & AbsoluteDestiny's Friendly AMV Guides</a>
http://www.animemusicvideos.org/guides/ ... io1.html#1

And what's wrong with 96000Hz? Pro Tools has no problem with it. And DVD's use 192000Hz, and that isn't a mulitple of 44100Hz. Instead it's a mulitple of 48000Hz which 96000Hz is also a multiple of.

The issue isn't wether or not the file was going to be used for DVD playback. I said very specifically "Also, if you plan on mastering to a Cd quality wave, or an MP3 that outputs at cd freq rates, I would strongly suggest not using 96000 even if your soundcard supports it. "
there is nothing inherantly wrong with 96k, and yes, Protools and Soundforge Pro both can handle the resampling quite well, but those are both rather expensive (several hundred$) programs/setups Since he mentioned being a novice, he likely has none of these advanced programs. Most wave editors are not good at this type of resampling because of the mismatch in math; Creative's wavestudio and Nero's coming to mind are both awful, and most free programs aren't much better in my experience.
also, DVDs do not use 192khz by default and rarely ever actually do, even for high quality music performances. They usually use compressed audio AC3 at 48khz, or LPCM. But DVDs also support the 44.1khz multiples too. I believe you're confusing the bitrate with the frequency response. DVDs do use 192Kps bitrate, but the wave output is usually 48khz.
http://dvddemystified.com/dvdfaq.html#3.6.2

Dolby Digital is multi-channel digital audio, using lossy AC-3 coding technology from PCM source with a sample rate of 48 kHz at up to 24 bits. The bitrate is 64 kbps to 448 kbps, with 384 or 448 being the normal rate for 5.1 channels and 192 being the typical rate for stereo (with or without surround encoding).

Thats talking about bitrate when they say 192, not frequency sample rate which is 48khz in playback.
Its easy to get all this mixed up, bit rate, bit depth, sample rate, playback rate, frequency response.