Saturday, March 6, 2010

DIGITIZING GUIDE
posted by O.W.

The TK Digitizing Guide

Prepared by Brendan Irvine-Broque and Oliver Wang

Before you start to build a vinyl digitizing system, remember how sound signal chains work. Every sound, whether it’s coming from a singer’s voice or a groove from one of your LPs, has an origin, and passes through a number of different physical and electric stages before it becomes the 1s and 0s that reside on your hard drive.

This is the long version:

1) The physical grooves of a record
2) The turntable, which spins the record at a theoretically constant speed, and isolates it from any internal or external vibrations.
3) The tiny needle that follows the grooves
4) The cantilever system that acts as a suspension system for the needle as it is affected by the record’s grooves
5) The tonearm that stablizes the needle and keeps it in the grooves
6) The wiring inside the tonearm, and the wiring coming out of the turntable, which carries a very weak signal through unbalanced cables into the phono preamp.
7) The phono preamp, which uses the standardized RIAA equalization curve to boost bass frequencies that cannot be represented by grooves on a vinyl record at high amplitude.
8) The cables that connect the phono preamp to the Analog/Digital Converter (ADC)
9) The ADC itself – its dynamic range, accuracy, and clocking.
10) A computer software program that then saves that information into a sound file (AIFF, WAV, MP3, etc.)

This is the short(er) version:

1) The record itself
2) Stylus + cartridge (can be upgraded separately)
3) Turntable + tonearm (can be upgraded separately)
4) Phono preamp (either stand-alone or built into a stereo receiver or DJ mixer)
5) ADC (either stand-alone or your computer soundcard)
6) Computer software

For each part of this chain, your decisions will impact the quality of sound at the back end.

Let’s get the simplest things out of the way first: computer software.

BIB says: Audacity is the most popular by a long shot, though I find its user interface to be confusing and inefficient. I recommend the inexpensive, yet very worthwhile Peak Express, made by Bias Inc. It’s been around for over a decade, and the professional version is used in many mastering studios. At $29, it’s a steal, and will save you hours of time.

OW says: I’ve always liked Sound Studio 3 for the Mac. Simple, easy to use, but also powerful. $60.

Now here comes the more complicated parts...

The simplest way to digitize vinyl is to buy a generic audio cable as the link between your preamp and ADC. If you’re already a DJ, this likely means running a cheap (less than $5) cable from your DJ mixer to your computer soundcard. Assuming that mixer is connected to something like a 1200 that you already own, this will almost assuredly sound better than the Numark or Crosley USB turntables that seem to be popping up everywhere these days.

Note: It may be tempting to buy one of these cheap, plastic USB turntables since they combine #2-5 into a single machine. And frankly, if you just want to digitize records and you don’t care that much about how the final product sounds, this may be the way to go and you can stop reading now.

For those who want a higher level of sound quality, keep reading.

The basic principal of capturing sound is to ALWAYS start at the origin and work from there. There is no need to spend any extra money on a special, high-end ADC if there’s a weak link in the chain PRIOR to getting there. That’s why the kind of cartridge, turntable, and preamp you use are relevant.

To put it another way: you can’t get gold from lead; you need to start off with gold (the record you want to digitize) and hope the rest of your chain doesn’t tarnish the sound too much.

If you want to get serious, start at the beginning.

1) Are your records clean? There are all kinds of options out there, from robust vacuum designs like the VPI 16.5 to Groov Glide, to DIY designs involving ultrasonic cleaners. This may sound excessive, but remember: most of your records are at least a decade old, if not 50, and if you bought them used, who knows where they’ve been and what they’ve been exposed to? Dirty records = dirty sound. So make sure your records are as clean as you can get them before a stylus ever gets into those grooves.

2) Stylus/cartridge. These are a matter of personal choice. There may be objective quality differences between brands and models, but ultimately, it comes down to what’s pleasing to your own ears and people will have their subjective preferences.

BIB: My personal recommendation is Ortofon Concorde style cartridges – I use the Nightclubs for archiving, and have the elliptical (E) styli for LPs and the spherical (S) styli for 45s.

OW: I would second the Nightclub E but, as BIB notes, you may want to change styli (same cart, different needle) for 45s. In my experience, a “loud” 45 played with an E stylus is prone to bad distortion. I use my Nightclub to digitize LPs but often switch to a Shure White Label for 45s (I don’t own a separate S stylus for the Nightclub).

3) Turntables.

BIB: Technics 1200s are the kings. If you’re willing to spend $200 or more, it’s absurd to buy anything else. The “warmth” that audiophiles talk about getting from other turntables is nothing but resonance that reinforces midrange frequencies in a way that pleases the ear, but isn’t accurate. Like EVERYTHING record related, the Japanese have the game on lock and Technics are no exception.

OW: I think 1200s are a perfectly good choice and if you’re a DJ, you already know this. But if you’re NOT a DJ? I think there are other options, especially if you’re willing to spend time on Craigslist or eBay or browsing thrift stores and swap meets. There’s many good medium/high-end consumer turntables made in the ‘70s and ‘80s to be found under $200. This is a great research resource.

Ultimately, if you want to take the guessing game out of it? Look for a used 1200 under $250. Can’t go wrong with that. Me though? I’m fiending for one of these.

4) Preamps.

Preamps pose a unique challenge in the digitizing realm. Professional grade, stand-alone phono preamps are practically nonexistent and instead, you’re often left with either overpriced audiophile models and cheap, high-school-electronics-class designs.

There are some wonderful phono preamps built into some home stereo receivers from the 1970s, but these come with their own problems having to do with crosstalk and voltage, because there are so many other components within an analog stereo receiver (AM/FM radio, inputs, 50 watt speaker amplifiers, etc.). Current, analog DJ mixers are likely the best choice for anyone serious – particularly because they offer XLR or TRS balanced outputs, which keeps the noise floor low and dynamic range high.

BIB: I personally use an Allen & Heath Xone 02, just for the phono section, but only because it’s the best thing I’ve found so far. I’m hoping to build out a balanced Bozak (link) phono preamp sometime this year – they were the gold standard for design in DJ mixers for discos of the 70s and 80s, and are revered for their phono preamps.

I really wish that I could give a more solid recommendation for a dedicated phono pre, but the only phono pre I'm remotely interested in is a rackmount unit that the homie Thes One had custom-built by Manley.

OW: I used to use my Rane TTM56 as a preamp and from what I’ve heard, Rane builds very good preamps into their DJ mixers. But when I decided to separate my digitizing set-up from my DJ set-up, I needed to put the Rane back and look into a stand-alone preamp. The overwhelming recommendation I got was for the Radial J33 (which Thes One also uses when he’s not running sound through his custom Manley pre).

I’ve been happy with it so far and what’s nice is that you can plug headphones into it and you’re likely to get better sound from that than a stock computer soundcard (you can’t adjust volume though). I’ve had some people recommend the Rolls V29; it’s inexpensive but I’ve never test-driven one.

4.5) Cables.

Remember that your sound signal chain has to travel down wiring and the quality of wire matters as much as every other part of the chain.

BIB: My absolute highest recommendation goes to Redco Audio, who lets you design your own cables at very affordable prices, down to the length, connector style, and cable quality. I probably have over 50 cables from them, and know many studios who count on them regularly.

5) ADC.

Unlike preamp choices, the consumer options here may seem staggering but don’t be fooled. The vast majority of ADCs on the market are not worth your $200. Why? Because even though they most often have the exact same chipset that’s used in Protools HD systems, most are fraught with the exact same problems that plague your laptop’s soundcard – unstable and insufficient voltage rails, interference, and shoddy manufacturing. Avoid M-Audio, Tascam, MOTU, or others unless you plan on having it modded.

BIB: There are two companies making quality, affordable audio interfaces that sound great – Apogee Digital and Echo Audio. I personally use the Duet, and it’s wonderful, stable, and is truly the best you can find for less than a grand (at which point I’d start looking at RME, Lynx, and other Apogee products).

OW: I bought a Duet, partially on BIB’s recommendation, and have been very happy with it. The versatility is excellent - you have multiple ways to cable it (XLR, 1/4”) and the jog wheel lets you adjust both input levels and headphone volume. They’re not cheap - even used, expect to shell out around $250-350 - but if you’re serious about stepping up your ADC, it’s worth the added cost.

In conclusion:

The cost-differences here are dramatic depending on how you want to play it. An all-in-one USB turntable will run you about $100 or less. The set-ups both of us use will set you back at least $700-1000+. If you are going to trick it out, just remember: the strength of the digitizing chain is a linear process. You have to make sure your starting components are strong before worrying about the end; investing in a Duet or Echo would be one of your last purchases, not your first.


Thursday, March 4, 2010

LAMONT DOZIER + RICHIE HAVENS: BACK TO THEIR ROOTS
posted by O.W.


Lamont Dozier: Going Back To My Roots
From Peddlin' Music On The Side (WB, 1977)

Richie Havens: Going Back To My Roots
From Connections (Elektra, 1980)


One of my best moments in a club came back in the '00s when I was at APT during a night that Chairman Mao was spinning. I had never heard Lamont Dozier's "Going Back To My Roots" before and I was just marveling at now just how good the song was, but that incredible change in the arrangement that drops around the 6:30 mark. It was so unexpected and sublime, one of those songs that really only could work as well as it does when you give it time to unfold on a dancefloor. Simply incredible.

Not surprisingly, it drew the attention of other artists. The best known cover is by Odyssey but...I don't know...I think I found the vocals to be too disco-cliché. Richie Havens' version however won me over with that intro piano (I'm a sucker for good piano intros) and though Havens has a rougher voice than Dozier's it works well here. The "reprise" section is missing but otherwise, I find this almost as pleasing to play out.

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JUNIOR PARKER: SWEET AS HONEY
posted by O.W.


Junior Parker: Lover to Friend
Your Love's All Over Me
From Honey-Drippin' Blues (Blue Rock/Mercury, 1969)


Bluesman Parker is already responsible for one of the funkiest blues tunes I know, his cover of the Beatles' "Taxman." However, I had totally forgotten about this '69 album until my recent move and I was reacquainted with two of its outstanding cuts. What I like about both of these songs, especially "Your Love's All Over Me," is how they lean more to the R&B side than being traditional blues tunes and both open with waiting-to-be-looped basslines (any producers out there looking to mess with either of these, holler and I'll send you a higher quality version. This might be a tad too simple though; your call).

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FAREWELL TO RON BANKS
posted by O.W.


Banks is the middle man, literally

I'd be remiss in not noting the sad passing of the Dramatics' Ron Banks. At this point, most of the original founders have all died in the last ten years and I don't think a single one of them made it 60.

I don't have a long post to write here - I can't say I really knew the Dramatics' catalog as deeply as that of other groups though obviously, I'm up on their big hits. I did find it fascinating that they were a Detroit group yet signed to the star of the South: Stax/Volt. Wonder if Gordy ever got pissed about that though by the early '70s, he probably had his hands busy with moving Motown to L.A. anyway. In any case, here's two songs I picked out in memmoriam: one being the Dramatics' first hit (and one of their most enduring), "Whatcha See Is Whatcha Get" and I decided to pair that with a killer reggae cover of one of their other songwriting gems, "In the Rain," done by the Debonaires (thanks to Hua for putting me up on that single).

RIP, Ron.

The Dramatics: Whatcha See is Whatcha Get
From Whatcha See is Whatcha Get (Volt, 1972). Also on The Best Of.

The Debonaires: In the Rain
From 7" (Tobin, 197?)



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Wednesday, March 3, 2010

THE HOLY GHOST POSTS: RELIGIOUS SOULS
posted by O.W.



Religious Souls: The Condition the World Is In
Rich Man
From Sinner Man (Artist's Recording, 197?)

Religious Souls: Jesus People
Life Is A Vapor
From Change Me Lord (JCL, 197?)

The Kingcannon Family: Jesus Is Mine
Our Father's Children
From Unity (Arroyo, 1985)


I've been meaning to write up the Religious Souls for about 4.5 years and the only reason I took this long was partially because I was hoping (now and then) to find a way to reissue their records (alas, I'm poorly equipped and a couple of the labels I initially approached took pass). But should tell you how much I think this group is fascinating. Song for song, the Religious Souls (aka the Kingcannon family) are, in my book, one of the best gospel soul groups to have ever been recorded. It's not like other gospel albums where there's one or two soul or funk songs interspersed with more traditional gospel styles; every cut on their albums is seeped in R&B/funk aesthetics, with incredibly rich arrangements and a real gift for falsetto vocals. If it wasn't for the relatively poor recording/engineering quality (and obscurity) of their first two albums, I have no doubt these would be stone-cold classics. As it is, they're barely known about as it is (though apparently, my man Lyrics Born knows about 'em).

I had the great privilege to interview Bishop Reggie Kingcannon, who was one of the core of the group and got some of the story behind the group. They began originally in the late '60s and early '70s, one of the many groups likely inspired by the success of the Jackson 5 (though they rocked seven in their clan). However, before they had a chance to record, David Kingcannon (who played guitar) had a "calling" to join the ministry, seemingly ending their record ambitions.

Though not originally from the Colorado area, they ended up Denver when patriarch Rev. Earl Kingcannon took over as pastor of the Pentecostal Faith Temple Church of God In Christ in Denver and when the family performed in concert there, they came to the attention of Brother Al, self-billed "America's #1 Gospel DJ" who broadcast on at least four stations: KBRN (Denver), WSUM (Cleveland), WHKK (Cincinnati) and WPFB (Middleton, OH) and he convinced the group to let him exec produce their debut album, Sinner Man.

9 of the 10 songs on their debut were written by members of the Kingcannon family and they recorded the LP at Music Plant Studios in Denver and I'm assuming Brother Al took it back to Cincinnati where he had it pressed at the custom plant, Artist's Recording Company. As you can hear on the two songs I picked off, the arrangements and vocals are superlative; their content might have been gospel but at their musical core, this was a soul group, through and through. According to Reggie Kingcannon, the group's drummer, it was the family's matriarch, Willa, who did much of the music, with daughter Sarah handling the female lead and sons Reggie and David handling male leads (plus sister Lavern on the bass guitar and I'm assuming the 7th family member, Betty, was on background).

Somewhere in that midst, they recorded their second album, Change Me Lord, this time for JCL (Jesus Christ is Lord) Records, in Henderson, TN, home to Clyde Beavers' Beaverwood Studios. Unfortunately, their second album suffers from two distinct problems. First of all, the engineering was terrible; you can tell from how the vocals are mic-ed and how unbalanced the mix is (if you listen hard, you can hear the organ in the back of "Life Is a Vapor" and I can't believe they intended to bury it that far back in the mix). Second, the pressing was also low, which means that in order to get the recording loud enough to listen to, you have crank the volume up and that bring its own problems, especially when digitizing from vinyl. Yet, despite all that, the same musical strengths of their first album are still all here.

Unity came out in the mid-80s, by which time, the group had decided to ditch the Religious Souls' moniker and instead just record under their own name. They had at least one album during this era, Unity, much of which is kind of schlocky '80s pop/rock but the first two songs on the album still had some of that old magic, just updated with more "modern" production.

Should have shared this with ya'll years ago but better late than never. Enjoy.

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Saturday, February 27, 2010

THE HOLY GHOST POSTS: EDDIE ROBINSON + ART REYNOLDS + STERLING GLASS
posted by O.W.


Eddie Robinson: God's Love Song
Absolutely Beautiful
From You In My Life (Ren Unlimited, 197?)


It's not all about the funk. This Eddie Robinson LP is a stunningly smooth, mellow and soulful gospel album, filled with electric piano and Robinson's own dulcet croons (oh yeah baby, let's get down and...pray). And then there's this very simple edit I put together:

The Art Reynolds Singers: Down Here Lord/How Did It Feel?
From Tellin' It LIke It Is (Capitol, 1966)


This album - a hit on the gospel circuit in its day - is best known for "Jesus Is Just Alright" but the two songs that drew my attention were the slower, dramatic "Down Here Lord" and the more upbeat, uptempo "How Did It Feel?" both of which benefitted from that strong choral presence. However, something about the arrangement in both songs sound so much alike that I figured I'd just combine them into one and the end result, in my humble opinion, works quite well.

On a similar tip is this tune:

Sterling Glass and the Metropolitan Singers: Thank You Lord
From Jesus Never Fail (Glori, 1973)


Straight out of Waterbury, CT, Glass and the Metropolitan Singers offer up a beautifully arranged and executed song here. That pianist is straight killing it (uh, in a spiritual way). Interestingly, this album got reissued in the mid-80s on Nashboro; I wonder if it was a decent seller in its time.


Elsewhere:

I just wrote up the 3 Titans' "College" as a Song of the Day for NPR.

And my latest blog post for Fania is on Ricardo Ray's "Lookie Lookie" and the origins of Latin boogaloo.

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Friday, February 26, 2010

THE HOLY GHOST POSTS: VIOLINAIRES + CARLTON COLEMAN + THE WILLIAM SINGERS
posted by O.W.



The Violinaires: Groovin' With Jesus
Put Your Hand in the Hand
From Groovin' With Jesus (197?)


One of the best known gospel funk songs out there is the appropriate titled "Groovin' With Jesus" by the venerable Violinaires. This Detroit-founded group has a long, deep history - Wilson Pickett was once a member and the Rolling Stones apparently wrote for them. This comes out of their early '70s catalog (and if you've ever perused the gospel section at a record store, you know how prolific they could be) and they're very clearly experimenting with some secular flavor. Frankly, I have yet a hear anything even remotely on this level, at least in terms of how well it kicks that '70s funk sound. Humble Pie and the Lifesavas knew the real.

I included a second song off the same album...one that you would have assumed might kick a little break based on experience but no. Yet, this is probably one of the best versions of the song I've ever heard. Despite the opening drum break on other versions, they tend to slide in campy country rock and the Violinaires keep their version quite soulful throughout.

Rev. Carlton Coleman: Rockgospeltime Pt. 2
From Rock Gospel Time (Brunswick, 1970)


Coleman is probably best known in soul circles for having worked with James Brown on the novelty cut, "The Boo Boo Song". By 1970, Coleman...no longer "King Coleman" but Rev. Carlton Coleman, was on Brunswick and recorded one of the more eclectic albums for that label (which is saying a lot). That LP was a mix of long (and I do mean long) monologues about Coleman's unique "Rock Gospel Time" philosophies with a few really funky cuts, among them "Share It" and this mostly instrumental jam, "Rockgospeltime Pt. 2"

The William Singers: He Lifted Me
From He Lifted Me (Checker, 1973)


Thought I'd finish off with another Checker release (the studio seemed to be encouraging these kind of gospel-meets-funk fusions), this one from the William Singers. I think it's safe to say this cut, in particular, borrows heavily from Chicago's dense music scene with a classic funky blues riff powering the cut.



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