![]() ![]() Played the entire LP, recording it at that level. Visually inspected the LP to locate a loud section, played it, set digital level at -6 dB. Played and recorded tones on a test LP to ensure frequency response & channel balance.Ĭonnected the output of my phono head amp directly into a digital recorder (Tascam SS-R1 or sound card). When I captured my collection of about 1,000 LPs, here's how I did it:Ĭleaned the record with a Nitty Gritty record cleaner (makes a huge difference).Įnsured the tonearm & cartridge was properly aligned and head amp load settings were correct. ![]() I could import the FLAC files and check the LUFS level on each track, then using the Loudness Normalization tool in Audacity (which utilizes the EBU-R128 volume detection method) to bring the LP rip to the same perceived LUFS? My question is then, why isn't anyone discussing normalizing to an appropriate LUFS, instead of the peak dBFS? For instance, I own a digital copy of Khruangbin's Mordechai as well as the LP. #Mp3 normalizer reviews proThe latter two methods were interesting, and I had come across RMS normalization in Pro Tools, but never understood what it did. However, I came across this article which explains the three different methods for normalization: peak, RMS, and EBU-R128. I assume this is why some don't care for it. Additionally, this adds an additional layer of processing to the digital capture. While one can meticulously groom the waveforms to remove them, some are still liable to be present and can then affect the normalization process. The problem with normalization, and peak normalization in particular, is the presence of artificial peaks from record noise (i.e. The lower capture volume seems important to avoid clipping/distortion and remove any added THD+N from the soundcard itself, although the noise floor of the LP is most likely much higher than that of the soundcard.
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