Vinyl Record Pressing Plants Struggle To Keep Up With Demand

An anonymous reader writes The WSJ reports that the revival of vinyl records, a several-year trend that many figured was a passing fad, has accelerated during 2014 with an astounding 49 percent sales increase over 2013 (line chart here). Some listeners think that vinyl reproduces sound better than digital, and some youngsters like the social experience of gathering around a turntable. The records are pressed at a handful of decades-old, labor-intensive factories that can't keep up with the demand; but since the increased sales still represent only about 2 percent of US music sales, there hasn't been a rush of capital investment to open new plants. Raw vinyl must now be imported to America from countries such as Thailand, since the last US supplier closed shop years ago. Meanwhile, an industry pro offers his take on the endless debate of audio differences between analog records and digital formats; it turns out there were reasons for limiting playing time on each side back in the day, apart from bands not having enough decent material.

Comments

not lossless

[itzly]

Vinyl is the only consumer playback format we have that's fully analog and fully lossless

The article itself gives plenty of examples why vinyl isn't lossless, and it's easy to name a few more.

Re:not lossless

[FalstaffsMind]

My daughter is into vinyl and I understand why. It's not necessarily about sound quality, although songs produced for MP3 are clearly produced differently. They are optimized for ear bud listening as opposed to being played on an old pair of floor speakers. The sound tends to be unabashedly electronic and lacks the lushness of old recordings. What really make vinyl attractive is the experience of going to the record store with friends, leafing through the albums and finding one you want. Then taking it home, and listening to it with your friends, not just the hits, but the whole album. You become a fan of a band, and not just songs. Then there is the album art. Back in the day, that was part of the reason you bought a record. Album art was an expression of the band just as much as the music was. I think a good analogy is the people who prefer books to reading on a Kindle. Sure, it's the same text, but for many people, there is something undefinable missing when they read on a Kindle. There is something about the cover, the turning of the page, the smell. And that undefinable something makes it better.

One word:

[Exitar]

Hipsters.

Some

[Chas]

Some listeners think that vinyl reproduces sound better than digital

And some people buy Gold-plated Monster cables and Macs too. It just proves there's a sucker born every minute (at least).

some youngsters like the social experience of gathering around a turntable.

That's mainly because most youngsters' "social experience" has been limited to school (see "Lord of the Flies") and texting. Actually, y'know, MEETING UP with someone is a HUGE novelty these days. The turntable's just incidental.

Put your money into speakers

[retroworks]

Ah, yes.... I rather vaguely remember a series of experiments I attended a couple of decades ago. My colleagues and I participated in several hours-long, herb-fueled, analysis sessions comparing cassette tape, CDs, and vinyl, with and without equalizers. We listened in sessions controlling for acoustic, heavy metal, synthesizer, etc.. I'm pretty sure the committee's conclusion was "put the money into the speakers". But I think we forgot to write it down anywhere.

Warmth and Vinyl compression and more

[doginthewoods]

Having been around mastering engineers and lathes "back in the day", and during the change over from tape to digital, I can contribute a couple of points: 1 -tubes - for a long time lathes, and mastering consoles used tubes which naturally warm up sound. Tubes handle even harmonics differently from solid state. Mastering consoles also used stepped EQ's - that is, instead of a continuously variable resistor, they used a gang of military spec resistors on a rotary switch, and some mastering engineers swore the stepped mastering consoles sound better. 2 - LPs come compressed- way back it was discovered that the needle couldn't track lows and highs well - the needle would skip and bounce, so the RIAA came up with this compression / restoration scheme that rolls off the top and bottom during the cutting process, and restores it in the amplification process. That is why you LPs will sound thin if they are not plugged in to "phono in". That input has the RIAA curve circuitry built in, while the other inputs are "flat". With the development of laser beams in place of a needle, tracking is more accurate, but, because of the cutter. the RIAA curve is still needed. 3 - and one other thing and that is tape. Almost all LPs are made from recordings made on magnetic tape, and tape saturation will warm up a track. The signal alteration during the recording process - from microphone to console (desk) and through signal processors, to multi track tape machine to 2 track mix down, then over to the mastering lab to be mastered and made ready for the cutting lathe - a master cut onto acetate, then metal copies of that are made for the pressers, which use injection molded vinyl to create the finished product, is way different. Today, it's microphone into a digital recorder of sorts - Pro Tools, Cubase, even Garage Band, etc., then completely produced and mastered and outputted in digital. The only issue is file format degradation if the end product winds up as an MP3 or 4.

Re:Not really missing vinyl

[hey!]

I grew up in an urban, blue collar neighborhood in the 60s; we didn't have much (any) exposure to live music. But my mom had that depression era better-yourself ethic, so she amassed a fairly complete record collection of classical "standards", and bought a pretty good component stereo to play them on. But I never saw her listen to any of them. Having these meant we were cultured people to her, but she was too busy getting things done to waste time sitting around listening to music.

I on the other hand had plenty of time, and listened to everything. When I was older I saved up my paper route money and bought a high end audio-technica cartridge, then began adding to the record collection.

When I was sixteen I got a job at the hospital which paid good money; 20 hours a week at $3.75/hr which was good money back in 1977. I took my new found wealth and bought my very first opera tickets. I remember sitting in the audience and being shocked when the music just came out of nowhere, without the preliminary low hissing and popping I associated with the start of music. But that was nothing to what followed.

The music had color, depth and dimension I'd never imagined music having. Even though by then I had a pretty good sound system, what came out of it was a washed-out echo of the real thing. It was one of the most memorable experiences of my life. I can't describe it, except to say that if music coming off a vinyl record was a strong cup of coffee, then live music would be shooting cocaine directly into your veins.

That experienced killed my budding audiophile tendencies. To this day if I had a thousand dollars to spend on music, I'd spend it on performance tickets rather than upgrading my sound system.

As for CDs, they seem to be all over the place to me. Early on there were a lot of bad CDs because of bad engineering. Some were released with their vinyl oriented RIAA equalization intact, which is just plain dumb. People like to argue about technology, but I think recording engineering is an often overlooked factor in what comes out of your speakers. I have an MP3 album of the original cast recording of "Hair", and it sounds great over a good pair of earphones. It's not because of some kind of magical MP3 pixie dust, it's because the original recording was done so competently. If something is missing in the original master tapes, no amount of lossless encoding and copper-free speaker cables will conjure it back.

Re:Not really missing vinyl

[Solandri]

The little "steps" in digital audio are so small and so fast, that no one can hear them.

No, those steps don't exist. The digital sample is basically the minimum information needed to code the original smooth analog signal. The DAC takes that minimum digital info and can convert it back into the complete and smooth original analog signal.

You're thinking of the digital signal as discrete but continuous steps in time. It's not continuous. It's an instantaneous measurement of the analog signal at regular time intervals. The digital signal at any point in time says nothing about the signal immediately before or after that point in time. The DAC "fills in the gaps" by interpolating a smooth and analog signal. If the frequency limit is half the sampling rate, that interpolation is perfect and there is only one unique analog solution to any set of digital samples. And that unique solution is a perfect reproduction of the original analog signal (within the frequency limit).

Watch the first 10 min of this video. It explains it technically, graphically, and experimentally using an oscilloscope and both analog and digital signal generators.

Tick (1.8 sec), TICK (1.8 sec), tick (1.8 sec)

[dpbsmith]

Different technologies have different characteristics, and I guess one has to use one's personal weighting function. I had a pretty good system (AR turntable, top-of-the-line Shure cartridge, electrostatic earphones) and I love digital audio and honestly don't know how anyone can stand vinyl.

I used a dust bug, I used a DiscWasher, I treated my records very carefully, but there always came the dreaded moment when I would hear: "tick." And at that point, I'd always tense up, and only relax 1.8 seconds later if I didn't hear a second "tick." Three consecutive "ticks" 1.8 seconds apart would seriously interfere with my enjoyment of the sound. My success rate on removing them by cleaning was very low--more often then not, the cleaning attempt (even with the best D4 fluid etc.) would simply add a very delicate, light background crackle.

And I am not even talking about tape hiss, surface noise, warp wow, rumble, and a little trace of 60 Hz hum that I never could quite get rid of. And ugh, getting to the end of a symphony and having the big loud glorious coda come up in the inner groove (vinyl was pretty good at the outer edge, but no-kidding-obvious-problems in the slower-moving inner grooves).

And taking the occasional bad pressing back to the record store and arguing with the store clerk about exchanging it.

And changing the darn record every 20-30 minutes... and feeling guilty if I left it unattended and came back later to find it had been playing the end-groove for hours.

Even with a good tonearm and lightweight cartridge, vinyl does not sound as good on the tenth playing as it did on the first.

Digital audio may have its faults and if people enjoy the characteristics of vinyl, there can be no dispute about tastes. But to me the positives outweigh the negatives--by about a factor of ten.