Vinyl's Noise Floor

Loves music - you have noticed something that has been noticeable since 1970. The vinyl used in US made records is re-cycled vinyl. This is due to the Clean Air Act that makes vinyl manufacturing in this country nearly impossible. the re-cycled vinyl has impurities in it that show up as noise and pops. Import records generally(not always) use virgin vinyl and sound much quieter. Also, records made in the US prior to the Clean Air Act MAY have also used virgin vinyl.

To Twl; You ar dead on with regards to earlier US pressings. I seem to remember some old Columbia SAX and early RCA's sounding pretty good. Please give LATE 70's English pressings a try...some of the best viynl sound ever is there.

Interesting thread. Viridian's correct about CD "silence".

One caveat is that one has to be very careful with cartridge selection. I find that some cartridges diminish surface noise, or don't pick it up. The experts tell me this has to do with stylus shape, polish, record condition, and of course setup. I also find on some of the very best clasical records with wide dynamic range (say Chopin) the artifacts one hears in the pianissimo passages are that of the recording venue and the recording electronics, not the record itself. A good "front end' will clearly delineate this for you so you can "bracket it" as you become a more perceiving listener. So there is another factor to throw in in your search for perfection. Accepting the journey with its singularity is the end in itself.

Not putting up with some noise while listening to vinyl is like not going to see live music because someone might cough or a telephone might ring or glasses might clink. It simply goes with the territory.

Hi everyone,

It seems like the Hatfields and McCoys are at it again.

I really don't want to cause any hard feelings but the truth must be told. To Pbb, whether the noise floor ceases to exist with a quality rig or we listen around it or there is some brain phenomenon where the noise floor isn't perceived is largely irrevelent. The point to be made here is that analog has brought an enjoyment factor we vinylphiles can't find anywhere else.

First of all, I want to inform this intelligent group that I'm not an expert on electronics but I've found through listening that a lot of what is going on is being ignored to the detriment of this hobby we all love so much. I have many more questions than I have answers and hope that before I leave this life these mysteries are solved.

Get a lead fishing sinker and a marble. Toss each one on the sidewalk. You then may get an understanding of a momentary imperfection in vinyl with the marble being the result of playback on a lesser turntable and the lead sinker being the same imperfection played on a quality rig. Knowing quite a lot about mechanics I will state in no uncertain terms that lesser rigs echo dirt/static/imperfections making them much more audible.

Through personal experience I have found that lesser cartriges play back noise with gusto equal to the music.

Some phono stages amplify the noise floor and some don't.

Crossovers behave the same way. Lesser ones enhance the presence of the noise floor and others don't.

I really feel sorry for the folks that post analog questions as, IMHO, they are not being well served. Case in point. I know that many of the turntables recommended here are of way less musicality than the LP12 which I have owned for over thirty years. It seems cool to be down on Linn. Yes, I REALLY am offended by the manufacturer and many of the retailers who represent this product line. I have even stepped up to the pump and sent Linn a critical letter about the state of affairs in this country. No, I wouldn't buy a new Linn tt today as I feel they are way over priced, but used is an entirely different story.

To those that are considering getting into vinyl I suggest you follow TWL's lead and buy the Teres. Also, if you aren't going to get into vinyl correctly, then don't do it. You won't be happy and if you stay in the vinyl game it will just cost you more in the long run. Yeah, you may find an older Thorens and do it on a real budget but it's unlikely since the sun, the moon and the stars rarely line up.

With the vast majority of my vinyl library what is referred to as the noise floor is simply silence. This is with an analog rig that the idealogues love to hate. Sure, a VPI or Rega will sound superb with great pressing as will my LP12 but I maintain that on lesser recordings my Linn will blow them away.

Grab a few of these recycled vinyl American pressings and use them to audition your choices. Only using the best software is what the retailers want you to do.

Active crossovers have done more for my enjoyment factor REGARDLESS OF SOURCE than any other improvement I have made since the purchase of the LP12. Most of my complaints about digital are minimized through my active system. Of course, this is another concept promoted by Linn so will be largely ignored by the idealogues. Does this sound like politics, or what?

TWL is again ahead of the curve on this concept by eliminating crossovers entirely. Should his research prove fruitful I would love an invitation to listen because I relish the day I can dump my Linn electronics and buy from a manufacturer that doesn't insult me every step of the way. Until then however, I will continue my dance with the devil because I like listening to the music.

If any naysayers are coming to the Boise area send me an email and I'll show you a good time. Dinner is on me and if we get tired of listening we can always load up my drift boat and go fly fishing.

Regards,
Patrick