Gear Review - Behringer UCA202

I was overjoyed when I bought my MacBook Air last year. Ultra-low voltage CPUs had finally grown to respectable speeds and I had become tired of my old HP. In the first year of my MBA program I found it too cumbersome and too heavy to bring to class and never did. But at under 3 pounds, the Air was barely felt in my backpack and a joy to use in class. The only problem was I lost my ability to rip vinyl as the Air's have no line input.

This is a problem I have wanted to rectify for a long time now. Sadly, ADC's are not cheap. The commonly used EMU 0404 and Tascam 144 MKII are both $150, not terribly expensive but not affordable. Another unit that interested me is the HRT Linestreamer+. Michael Fremer of analogplanet.com recently used it to record samples for his cartridge shoot-out and I thought the samples sounded great. What's best, it only sports one RCA line input and a USB output; seemingly made for needledroping. Unfortunately the price on that unit is a terror-inducing $350.

After a bit more shopping around I discovered the Behringer UCA202, providing me line-in recording for a price of only $30. But is a $30 recording device really worth $30? According to NwAvGuy, maybe so: http://nwavguy.blogspot.com/2011/02/behringer-uca202-review.html

I've had my new toy for a few days now, and my impressions are very positive. My Satisfaction rips were done with the UCA202, so for the purposes of this blog, comparing sound samples to better inform collectors, the UCA202 performs spectacularly. The noise floor is non-existent and it is fully compatible on Mac or Windows with the popular free recording program Audacity. Even when putting the UCA202 under a higher stress test, namely ripping vinyl and conducting listening tests comparing the rip with vinyl playback, the unit performs admirably. Recording at the unit's maximum 48k 16 bit resolution, and with the volume set as high as it will go without clipping, I had a very hard time distinguishing the needledrop from real vinyl playback. However, at 44.1k and with the volume set slightly too low, the needledrop exhibited a touch less snap in the drums and the tight rumble of the bass sounded a hair flabbier. So remember, experiment with your settings to find what works best for you and your equipment.

An annoyance that must be mentioned is that the input level of the UCA202 is fixed. This means you must have a volume control somewhere in your chain if using this ADC. A home theater receiver, integrated amp, or headphone amp will do the trick.

I would also like to reiterate that he resolution is capped at 16-bit 48-khz. I believe this resolution adequate for vinyl ripping (were not mastering a multi-track album here!), but I know of some enthusiasts who must have 24-bit 96-khz recordings.

Bottom line, this is a great ADC. I feel comfortable archiving any of my records with the UCA202. I am happy I did not unnecessarily overspend on an overqualified unit. If you want your needledropping ticket for a twelfth the price of a Linestreamer+, this is the way to go.

Collector's Consultation - Originals vs Reissues (with Rolling Stone's Audio Example)

When purchasing vinyl, collectors are turned on by owning a copy of an original pressing. Knowing that what you hear is what people first heard on that fateful album release day is a warm feeling. Some records were instant hits and people lined up around the block to get a copy Day 1, while other albums, such as the Nick Drake catalog, took many years to gain in popularity resulting in the originals becoming a rare treasure. The problem is, these records are getting old and finding them in good shape is hard. With vinyl, condition is everything. A record previously owned by someone who may not have set the cartridge up correctly, or used a budget stylus made of something less desirable than diamond, will never regain the power of a fresh copy. Hearing a noisy background that sounds like a campfire is a dead giveaway that the record you hold was "well-loved," even if the surface is scratch-free.

The alternative to hunting down clean original pressings? Reissues. The problem is, some reissues are not made well. One clue to a bad reissue is shrink wrap packaging. Often (but not always) when I open up a modern vinyl that comes in shrink wrap, the thing is warped. I believe this is evidence of packaging the record too soon, before it has had a chance to cool from the press. On the other hand, every time I buy a record in a perforated bag (every RTI pressing I have come across is packaged like this), I get a nice flat record.

Another thing to be wary of are albums cut with a CD Master. Vinyl collectors love the wide dynamic range that is usually found on old vinyl and absent from many modern CDs. For an excellent explanation of what I'm on about here, please refer to this YouTube video:
http://www.youtube.com/watch?v=3Gmex_4hreQ
A good resource to check before dropping cash on a new record is the Dynamic Range Database:
http://www.dr.loudness-war.info/
Many users upload the dynamic range info of various CD and Vinyl releases. If the vinyl has a significantly wider range, chances are the source is a different from the CD.

Say you have the option to buy a clean original or a new reissue, and they are the same price. No brainer right? Why risk the reissue when you know it was cut from a 40-50 year old tape and may still have gone through a digital stage? The originals are guaranteed all-analog and cut from the master tapes in prime condition. Consider the listening comparison I have here today, the song "Satisfaction" by the Rolling Stones. The first clip is recorded from an original, blue-label US pressing of Hot Rocks, while the second clip is recorded from the 2013 Hot Rocks clear vinyl reissue, confirmed to be digitally (albeit DSD) mastered.

Satisfaction Original US:
http://www.filefactory.com/file/2506hb6yjjxt/1971_wav

Satisfaction 2013:
http://www.filefactory.com/file/5tnvsk08klwt/2013_wav

The conclusion here is to not fear the reissue. You're getting a clean, new piece of wax, and sometimes the mastering is expertly done. Anything pressed at RTI or QRP, or is sealed in a perforated bag, or makes some effort to convince you that the record inside was made with care such as listing the name of the mastering engineer should be a safe bet. I also recommend to not fear digitally mastered vinyl. In fact, lots of classical vinyl from the 80's proudly proclaimed the fact that a digital stage was used and those records sound immensely superior to many all-analog recordings.

Do not judge until the record is under the needle.

Los Angeles Location - High Fidelity

As the name implies, High Fidelity is one for the audiophiles. It was founded in 2011 by former Classic Records label head and High Resolution Technologies founder Michael Hobson. The store is filled with out-of-print Classic Records jazz and classical LPs. There are plenty of new and used records of the highest quality from all genres (with the exception of DJ vinyl like hip-hop and electronica). Expect to find the most collectible, best sounding issues in top condition. Although there are some lower prices used LPs, don't expect any bargain bin treasure finds. The guys here really know their stuff and everything is priced accordingly. Only serious collectors or those ready to upgrade their beater gear and replace their scratchy $1 records need apply.

Also for sale is, of course, HRT's full line of their excellent sounding DACs. If you often listen to CD or vinyl rips from your computer's on-board sound card then I urge you to listen to what an external DAC has to offer. Depending on a few variables, including the listener's "palate," the benefits can be dramatic or barely noticeable. I recommend you bring your laptop in and see if High-Fidelity will let you have a listen before purchase. Also, if you use full-size headphones I would recommend against the DAC + Amp combos and go for separate units.

High-Fidelity features an oversized stereo "listening station" that's closer to an audiophile's living room wet dream than the iPods found in most other music shops. Excellent sounding, no-gimmick speakers and turntables are sold. Beautifully presented art adorns the walls. Michael's store conveys his philosophy to the enjoyment of music playback: it's top quality or bust. If you find yourself here you probably feel the same.

High Fidelity is located on 1956 North Hillhurst in Los Feliz

highfidelityla.com

Collector's Consultation: Miles Davis' Sketches of Spain MFSL vs Classic Records

Sketches of Spain is one of the most beautiful albums I have heard. The five tracks on offer here sound unlike anything Miles had done previously or will put on record, which is typical of Miles who preferred to push things ever forward and never look back. Like Kind of Blue, it's one of those records that many music fans own even if they aren't into Jazz. The music here is not what one thinks of when the topic of Jazz is brought up; This session is heavily influenced by classical Spanish music. Miles' strident horn takes the place of the lulling guitar in "Concierto de Aranjuez" to make it his own. Midway into the piece, a cool-as-ice bassline punctuates an inflection in the music as the castanets fade away.

Certainly an album worth owning, but which copy? Today I'll be analyzing two audiophile reissues, the Classic Records vinyl release and the MFSL Hybrid SACD (soon to be released on LP).


Clips of both releases are here for your own comparison

Classic Records
https://soundcloud.com/sallison87/solea-classic-clip/s-riGcD

MFSL
https://soundcloud.com/sallison87/solea-mfsl-clip/s-w50Jz


The Classic Records release boasts immense detail and clarity. Miles' trumpet cuts through the mix with intensity and crystalline sharpness. The drum in the beginning of the clip sounds like it is right next to you. The highs are fantastic, and while the bass is clean it sounds pushed back in the mix.
The MFSL release is a bass-ier, more balanced listen. Stereo imaging is more prominent. Miles sounds more even with the rest of the orchestra, but also sounds a little "tamed." The drum in the beginning of the clip sounds like it is further away and has a slight echo, like a "concert-hall" sound


Conclusion: The MFSL sounds soft, balanced, and presents all musicians equally. In contrast, the Classic Records sounds sharp, up-front, fast, and emphasizes the highs in order to boost detail and highlight Miles. Both are excellent releases.

Collector's Consultation: Reprise Labels

Last week I found one of my favorite Frank Sinatra albums in a dusty used bin, "Sinatra - Basie." It's a meeting of two giants and the music on display here is sublime. What I love is that this isn't a Sinatra record or a Basie record, but a vastly successful blend of the two talents to create a unique sound. For example, the opening track "Pennies from Heaven"is as much about the orchestra and Sax solo as it is about Sinatra's vocals and the song is all the better for it. Sinatra records are about Sinatra; the band is there for support. But not here, where the band plays a prominent role to add variety to the sound.

"Sinatra- Basie" is a record I had an eye for in used bins because while I did have a copy for a long time it wasn't in the best condition. Great news is that this new copy I found was in much better condition than my previous copy! Score! But I noticed something else. The label looked different than my previous copy:

After a little research I discovered that my new copy, with the Blue/Green label, is an early 60's original pressing of the album while my old copy, with the Tan/Orange label, is a late 60's repress. And the sound? The original is leagues ahead of the repress. The two biggest differences that instantly strike me is that bass is bigger, fuller, and enveloping in the original while the bass in the repress is thin and forgettable. Second, the stereo imaging is far better in the original, while the repress sounds more mono-like. The original is warmer, bigger, more spacious, and a much more enjoyable listen.


Conclusion: For reprise albums, collect the original early 60's Blue/Green labels and avoid the represses.

Los Angeles Location: Origami

The Echo Park / Silverlake / West Hollywood areas of Los Angeles are teeming with quality record stores. One of these is Origami Vinyl, part record store, part music label, and part live music venue. If live music is your thing Origami has you covered. The second story is reserved strictly for in-store events like bands on live music nights. Origami also features signings and sells tickets to concerts.

The records on display are mostly new releases from modern bands with an emphasis on punk. Don't come here if you're looking for classic rock, hip-hop, jazz, or classical. Origami is a record store that focuses on today's music and where music is heading, not where it's been. Origami is all about featuring the newest sounds in Los Angeles and even has a "Locals Only" record bin to dig through.

Origami is located on 1816 West Sunset Ave and is open from "Noon 'til Late"

origamiorigami.com

Los Angeles Location: Touch Vinyl

Touch Vinyl was established on July 1st 2012 and is owned by Sebastian Mathews. Located on Sawtelle Blvd, aka "West Little Tokyo," it packs about 8,000 records in its 650 sq ft space. Selection is excellent for new releases in modern rock, hip-hop, and electronic. You can also expect to find a good selection of used classic rock and jazz. Collectors items are always posted on the walls and during my visit included a sealed MFSL Beatles White Album.

Touch Vinyl is very audiophile friendly; Sebastian's in-store turntable is an enviable VPI model with a Dynavector 20X2 cartridge and the appropriate amps and speakers to suit this gear. Sebastian will gladly place any used record in the store on this set-up while you lounge in his bean-bag chairs and have a free cup of coffee or tea before purchase. Or if you chose, there is a digital and analog headphone listening station in the corner of the store for more private monitoring.

Live music is available on some nights, and as far as i know Touch Vinyl is also the only that offers strong support for cassette tapes!

Touch Vinyl is located at 1646 Sawtelle Blvd and is open from Noon to 9 every day.

www.touchvinyl.com

Introduction

California Vinyl is a blog documenting my journey of visiting every vinyl record store in California. Extensive details and photos of each shop will be provided to give my readers a good idea of the vibe of each store before they visit. My goal is to provide a comprehensive guide for California vinyl collectors wanting to find new places to shop.

Along the way I will write about albums, sound quality comparisons of certain pressings, news in the vinyl world, and gear reviews.

Welcome to the blog!