Vinyl vs Mp3
It is surprising how a format with as many drawbacks as vinyl was, is held in such high regard. I imagine that partly because of handling it with my hands, I can understand that, but what I don’t understand is how there are still people who defend the sound quality of vinyl over a CD or an mp3.
There is a lot of talk about the sound limitations of an mp3, that if it masks some frequencies with others and if it is not capable of reproducing the treble or bass well … the bass? for the love of God! If there is an audible deficiency, why would it be on the frequencies that need the least amount of information to register? The truth is that in a low quality mp3 such as 128 or 160Kbps, deficiencies in the treble can be noticed, but I personally am unable to hear any difference between a 192Kbps and a WAV.
Vinyl
But let’s go back to vinyl and detail a few flaws of this legendary format, some known, but others mostly not so much:
– Clicks and Pops: Vinyl is conducive to charging with static electricity, which causes small audible discharges in the form of pops. Static electricity in turn traps dust, which can also be heard in the form of clicks and other noises.
– Abrasion of the groove: The needle, in each reproduction, literally sanding the information contained in the groove. In other words; The more you click it the worse it sounds.
– Angular speed (this is my favorite): The vinyl rotates at a constant angular speed (45 or 33 rpm), but the needle travels the groove at a variable linear speed, leading to loss of quality as the needle goes approaching the center. To be more precise, there is about 5o0mm per second on the outside of the disc and about 200mm on the inside. Nobody pays attention to this because the loss is gradual but if you take a record that starts and ends with the same “cymbals” and quickly jumps the needle from the beginning to the end, you will hear a clear loss of treble.
– Stereo image loss: Due to physical limitations of the vinyl, the L channel as it leaves the deck, has added 20% of the R channel signal and vice versa.
– Foreboding Echo: The longer the recording, the more the grooves have to be tightened, and the closer they are, the more the sound coming from “the next round” can be appreciated in a “foreboding echo” effect. The reverse is also true, hearing the sound of the past groove if the disc suddenly falls silent. It is not that it is the worst defect since it is only heard in large volume changes but there it is. Add and go.
– Feedback: The sound at high volume, vibrates the needle while it sounds, thus trapping these vibrations and transmitting them back to the amplification system to be caught again in an infinite regulation creating the typical low hum. Fascinating!
I could go on but, only with those in mind, the only explanation that fits for those who still defend the sound of vinyl is that they base their opinion on the legends and romanticism that are implicit in a piece of circular plastic. Music professionals, please use your ears to hear.
