Peter:
My issue with the Tascam was the quality of the analog front end. By cutting that out by using the Benchmark, the recordings have improved significantly. Plus, the original recordings were made with the digital conversion in the Tascam, so the only variables changed were the analog and A/D conversion in the Tascam vs the analog and A/D conversion in the Benchmark.
I don't have a computer set up to stream USB at this moment, as my PC server is too far away from my sound system to run a USB cable. I bought the Tascam for about $700 so it's probably a wash buying a laptop instead, plus I like the idea of not dealing with the noise and conversion issues of a standard PC. That being said, the Benchmark is specifically designed to stream USB to a computer, so I doubt there should be any issues, even though the tech I spoke with at Benchmark actually preferred the Benchmark/Tascam system if I was going to keep the Tascam.
If you are paying full retail for the Tascam and the Benchmark, then spending a little more for the Ayre 9A may make more sense (which is about $4K). I paid about $2500 for both, which is a considerable differential with the Ayre 9A. |
DTC:
I am only using dB Poweramp which has limited file processing capabilities. Thanks for the suggestion for Vinyl Studio, as I would like software to "crop" lead in and lead out noise and song transitions. I would stay away from those pop and tick removers because they may be altering the sound data.
I have not directly compared 24/96K vs 24/192K, although I have read in some forums that 24/96K is the best sonically. This was confirmed by the Tech at Benchmark (sorry I cannot remember his name). The explanation had something to do with the anti-aliasing filters and digital processing...not my cup of tea. Plus, the 96K files are half the size so that is a plus when recording to flashcards. But to each his own and if you feel the 192K is more "accurate" then by all means, use it.
I do like the volume normalize function in dBpoweramp that lets you convert the file data to 32 bit floating point, perform all the math in floating point, then re-convert back to 24 bit.
Regarding writing to the Tascam vs PC, I am in the Bryston camp here. I have a BDP-1 (instead of a PC server) to play back my digital files and have not been disappointed with the sound quality. Their arguments re the use of linear power supplies and isolation from noise sources in a conventional computer make sense (speaking of RF Al). The Tascam uses similar techniques. Plus, the Benchmark tech actually confirmed that he prefers the Tascam/Benchmark combo vs a PC for those reasons.
Regarding the connections, the Benchmark has a word clock out and the Tascam has a corresponding word clock input. But you don't need them if you use AES/EBU. You have to set up the Tascam properly while the Benchmark is connected and powered on. Otherwise the Tascam will refuse the settings and tries to revert back to an internal clock. |
JWM:
The Benchmark cannot stream USB to the Tascam, as the Tascam has no USB data INPUT. The USB inputs on the Tascam are for storage media only, and you cannot record to a USB drive, only play back from it (or transfer files to it).
To connect the Benchmark or the Ayre, you would connect the digital outputs such as coax SPDIF or AES/EBU XLR balanced. The Benchmark or Ayre has to connected and powered on for the Tascam to recognize the inputs and allow you to choose the clocks and sources correctly (which is done in menus in the Tascam).
You do not need a word clock connection between the Tascam and the Benchmark either if you use AES/EBU (or another digital input/output). |
Peter S:
Regarding sound quality, I have always been partial to discrete component Class A circuitry. So I am partial to the Ayre.
But I could not find a used one for a reasonable price and $4K was a bit rich for my blood. Honestly, I originally thought I could mod the Tascam with better opamps and caps, but realized this would be difficult once I got the Tascam and opened it up. All the opamps are SOIC8 surface mount and difficult to access. Plus no schematic means a lot of guesswork.
The Benchmark was the next most reasonable choice (there may be others), and if you buy directly from Benchmark, they have a money back trial period if you are not satisfied. So you can try a few recordings and compare to your phono system to see if it is good enough. For me, I found it was, but I was fully prepared to return the unit back to Benchmark if the results were not satisfactory.
If that is the case for you, then something like the Ayre is necessary and you may have to spend the big bucks. |
DTC:
If VS can remove tics or pops "individually" without processing the entire track, that would be amazing. I have some early first pressings that have the one depressing loud tick or pop that ruins the whole track. Being able to remove that without affecting everything else would be a plus.
But how do you locate these? Do you listen while watching a waveform playback to identify their location? |
DTC
Could you clarify that point about the corrections?
Are you saying that at the end of the process you have two files, the original and a corrected version?
Or is VS needed to apply the corrections during playback? |
There is another potential option if you find 24Bbit/96K is sufficient. It is another Tascam product, but uses discrete Class A transistors on its analog input stage. I have not made a direct sonic comparison, but bought one of these (oh yeah, its a Tascam DR 60D MKII) to use as a mic pre-amp to digital converter for a sound re-enforcement system to record pink noise in a room, for playback to a spectrum analyzer. Tascam touts the linearity and low distortion of the discrete component mic preamps, but these can be gain adjusted to take low level line inputs as well. Might well work in a vinyl conversion set-up. Not as flexible as a 3000, but a heck of a lot cheaper with maybe better sonic performance.
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I had a chance to do some more testing with the Tascam DR60DmkII.
I ran some pink noise spectrum tests on my speakers with a digitally recorded pink noise source file. I had a Shure SM81 mic connected to the mic pre-amp on the Tascam, and I needed the highest gain setting (there are three, LOW, MID, and HIGH) for pink noise at about 83 dB at the mic.
I then recorded 10 minute files with the mic pointed at different positions, for playback later to a spectrum analyzer.
This system was a lot cheaper than buying a dedicated stand alone sound measurement system. Most mic pre-amps (with phantom power) are more expensive than the Tascam. So you basically get the digital recorder for free.
The Tascam specs on the mic pre-amps indicate the input levels can be as high a 0 dBu (on the LOW gain setting), so there should not be an issue using a phono pre-amp with a balanced output, assuming it can drive the 2K input load in the Tascam. Only compromise I can see is the DR60DmkII only records at 24BIT/96K, unlike the DA-3000 which can record up to DSD frequencies. A further advantage to the little DR60D is the use of discrete components in the input pre-amps,
"The DR-60D's HDDA mic preamplifirers utilize discrete circuitry and premium parts approved after months of evaluation tests." -- Tascam
Kind of wished they would have used those in the DA-3000.
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jeff
Was wondering about that myself. I cannot make a direct comparison of two digital files in my system, but can make a comparison between a digital file made on the DR60 and the LP itself. I'll see if I can break some time free to do that test.
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