Connecting turntable into computer

You can connect using various components depending on which way you want to hookup. If you have a stereo amplifier or stereo receiver or an audio/video receiver with a PHONO input, then you do not need a Phono-Preamp. If you have none of these components, then you will need a Phono-Preamp. You also need some cables to connect up components and you also need some software to record on the computer. There are also today some other options such as a USB turntable which connects to the computer with a USB hookup. These devices are available for around $150. One newer turntable has a built-in iPod port so you can go from vinyl to iPod. To connect a component type (unamplified) turntable, WITHOUT A RECEIVER, to your PC sound card, you will need a separate phono preamp . There are two reasons for this: 1. Low output - Turntable Phono cartridges put out a much weaker signal - 6 millivolts or so - than the other standard components of a stereo system do, which typically put out 300 to 500 milli-volts or more.

A sound card line-in is simply not matched for the low output of phono cartridges. That is why you have special phono only inputs on your receiver. 2. Equalization - this is the process of weakening (compressing) the low frequencies and strengthing (stretching) the higher frequencies. This is how vinyl records are recorded and what makes it possible to squeeze the wide range of sound within the narrow grooves of a record. If that signal were to be played back directly, you would have a totally unnatural sound - screechy highs and no bass. To be played back correctly, the sound has to be restored to it's normal state during playback - the reverse of equalization has to occur - and that is the purpose of a phono pre-amp which fixes the problem by boosting the weak signal and "flattening" the frequency response. The audio input connection on your computer: The audio input connection on a desktop computer is typically a 1/8" mini-jack on the back panel, labeled Line-In, usually marked with a light blue color, close to where the speakers are connected to a similar type of jack (usually marked with a green color). The Line-In connection is sometimes marked with the symbol Line-In symbol where the arrow points inwards, which is not to be confused with the speaker output marked with the symbol Speaker symbol where the arrow points outwards.

  

To record from the connected audio equipment, you typically select the sound source named Line-In in the Sound Recorder: Sound source selection * Laptop or notebook computers Laptop Most laptop or notebook computers only have one 1/8" mini-jack input connection, marked Mic or Microphone, usually marked with a red/pink color, close to where a headphone can be connected to a similar type of jack (usually marked with a green color). To record from the connected audio equipment, you typically select the sound source named Mic or Microphone in the Sound Recorder: Sound source selection If your laptop or notebook (or its docking station) has a blue colored Line-In connection as well, then it is preferable to connect the audio equipment to that connection.

In that case you typically select the sound source named Line-In in the Sound Recorder software. The plug that goes into the input connection of the computer, has to be a stereo 1/8" mini-plug, similar to the one for the computer speakers: Stereo plug Note that the stereo mini-plug has two black plastic rings at the tip and this is not to be confused with a mono plug that has only one black plastic ring at the tip: Mono plug Using a mono plug to connect the audio equipment to the computer, typically results in sound coming in on the left channel only. The audio output connection on the audio equipment What the audio output connection type on the audio equipment is, depends on the kind and model. It is usually marked Play-Out, Line-Out, Audio-Out or something in similar wording

 

*
RCA connectors This type of connector is most times found on modern audio equipment, like on this JVC cassette deck: * Mini-jack connectors This type of connector is most times found on portable players. Connecting a traditional turntable (vinyl record player) To record from vinyl records, you will need a (pre-)amplifier connected in between the turntable and the computer. The signal strength of the turntable output is too weak to be connected to the computer directly and besides that, the pre-amplifier applies so called RIAA correction on the signal. If your home audio set does not have a pre-amplifier built-in, or if it has no Rec-Out, Line-Out or Audio-Out output, then you can buy a separate turntable pre-amplifier. Your home audio set will have a pre-amp built-in, if it has a Phono input connection to connect the turntable to and a Rec-Out output connection to connect to the computer.

Turntable The Rec-Out connection on the amplifier must be connected to the computer. This is the same connection that is usually connected to a cassette or tape recorder to record on tape the traditional way. It is especially important to select the right type of cartridge (pick-up element) that is installed on the turntable, with the phono selector switch on the amplifier. Consult the manual of the turntable for the right type, for example MM (Moving Magnet) or MC (Moving Coil). Selecting the wrong one will influence the sound quality and the Click and Crackle filters in the Sound Editor may not be able to filter clicks or scratches in recordings. Do not forget to also connect the ground-wire from the turntable to the amplifier. This eliminates hum, picked up by the sensitive pick-up element on the turntable. What if I only have headphones or speaker outputs? Some audio sets like boom boxes don't have audio output connectors other than for headphones or speakers. The signal strength of these outputs is most times higher than desired for the input on your computer and their signal strengths depend on the volume control setting for that output. Special care is therefore required to connect such outputs to your computer. Before you connect the headphones or speaker output to the computer, make sure to set the volume control on the audio equipment at zero first! * Headphones output connection If your audio set has a headphones output connector, then it is preferred to use that one as opposed to the speaker connections.

You will have to experiment with the volume control level for the headphones connection, to see which level results in the best recording quality. The headphones volume control on the player, in combination with the recording volume control in the Sound Recorder, determine the end-result. As a rule of thumb the recording level peak meters in the Sound Recorder should hover in the yellow zone near the top, during the loudest fragments. To achieve this, set the volume control in the Sound Recorder window at approximately 75% of the full scale. Then playback something loud and slowly increase the volume control of the headphones output, until the recording level peak meters reach the yellow zone. Setting the headphones output volume too high will result in distorted sound, no matter how low you set the volume control in the Sound Recorder window. RCA Stereo To 3.5mm Stereo Mini-Jack Adapter.

 

If you're planning to record your LPs onto Recordable CDs on your computer, this is the adapter you need. Many other adapters are for a 1/8 in. mini-jack, which is .013 inches too small. A 1/8 in. jack will fit, but the electrical contact will not be solid, and it will jiggle and likely fall out. This is a true 3.5 mm mini-jack, the correct size for your computer sound card. To record an LP onto a computer will require a phono-stage circuit with RIAA equalization. Going directly from the cartridge to the soundcard will not produce a correct signal.

Using turntable beat mixing

DJ turn tables are the key tool used by club DJs. One of the best and most well known type of DJ turn tables is the Technics turntable. What is beat mixing using a Technics turn table? When playing music off records being able to change the tempo of tracks is essential to keep the dance floor moving. One record's tempo can be changed to match the other and allow the rhythmical sections (I mean the drums) to overlap. This pitch adjustment of the records beats per minute (BPM, tempo) is possible on the legendary Technics turntables the SL1200 and SL1210. What is the basic equipment I need? The basic equipment list in order to start practicing to mix is this: 2 x Turntables (get good direct drives like Technics turntables the SL1200/1210 or Vestax PDX 2000) 2 x SlipMats 2 x Needles for the Turntables 1 x Mixer 1 x Set of Headphones A stereo system



What Turntables do most DJs use? The Technics SL1200 and SL1210 turntables are standard club DJ equipment around the world. Using powerful electromagnets (direct drive)to rotate the heavy platter mean that these turntables offer the best performance for DJ-ing and make beat mixing easier. All direct drive turntables offer better DJ performance than belt drive models.New DJs are always advised to get good direct drive turntables if they can afford it and buy a cheaper mixer instead. Once you get a set of these turntables you won't need to ever upgrade and can expect decades of reliable performance. I own a pair of Technics SL1210 turntables and haven't had a problem despite constantly carting them round to parties and clubs while gigging. Being a DJ is synonymous with playing music off records. In many ways being a skilled operator of Technics turntables IS being a skilled DJ. The next section will deal with the fundamental skill of dance music DJ-ing. Using turntables and beat mixing with them. Beat mixing: Beat mixing is using the pitch adjustment on your Technics turntable to match the tempo (BPM) of the next track with the one you are currently playing. Matching the tempo is done by listening to the next track through the headphones and comparing it to the track currently thumping the dance floor. The best way to compare is to start the next track in time with the current one and listen to see if the beats are getting ahead or slipping behind. If the track is too fast, slow it on the platter. If it is too slow, then speed it up by giving it a push round in the center of the record to keep the two tracks in time. Each of these adjustments should be accompanied by a small change in the pitch slider (faster or slower) so that the overall tempo of the tracks get closer.

At first it is difficult to hear if the tracks are going out of time. If you get off your ass and do some practice then you can quickly train your ear to pick out the speed difference every time. Don't be discouraged at first if you can't hear any differences between the tracks. Just have a go, remember you have a 50% chance of getting it right. If you are a total novice then read on to the next section where I will explain beat mixing with turntables in more detail. Basic beat mixing in detail, using your Technics turntables properly: The best way to learn beat mixing from the beginning is to try to get two identical records. Two identical records won't go out of time if the pitch is set the same. If you don't have two the same try listening carefully to some of your tracks and pick two that have clear rhythmical sounds. This would mean a big bass kick sound at the start of a bar and clear snare sounds or high hat sounds marking the other beats in the bar. You should also try to select tracks that start straight into beats and not strings and other ambient sounds. How to do your first mix step by step: To start, first set one record to play and "cue" the next record up. Make sure the cross-fader is over to the side that has the playing track so that no sound comes out of the speakers from the cue channel. Cue the new track by putting the needle at the start of the record at letting it play before stopping it at the first sound. (this cue channel should be coming out of your headphones). The turntable platter should be rotating underneath the record now. Here is a picture showing you how to hold the track ready to drop.

This first sound you grab like this should be the first beat of the first bar of the track. You should hold this beat so that the sound in the groove (in the vinyl) is underneath the needle and when you move your hand the beat sounds slowly through your headphones. The tricky part now is to start this beat at the same time as first beat of the bar of the currently playing track. If you do this correctly the beats should overlap as both tracks play. Dropping a cue track in time with the track playing out is not easy and does require some practice to get the hang of. Remember, tracks that have different tempos once started will drift out of time with the beats getting less crisp. This means that when you are starting out take your time isten carefully ... did you hear the kick or snare in your headphone first or was it slightly behind? Imagine the diagram above and get a mental picture of how the beats relate to one another. If the cue track is getting behind speed it up by giving the record a push round the middle like this. When you are adjusting the pitch to match tempos speed up or slow the record down with your left hand and keep your right hand on the pitch adjustment slider. To slow the cue track down, gently slow the platter by touching the side like this. Remember to adjust the overall tempo using the turntables pitch adjustment after you make these changes. This means that the 2 tempos should get closer and closer together. When 2 tracks are closely matched they will take a while before they get out of time. The key thing is to train your ear to recognize the slight difference in timing of the beat between the track playing out and the cue rack in your headphone. A good trick to help you do this is to pick a beat to compare - say the 1st beat (in a bar) for both tracks and listen in each bar for this beat only. You'll be trying to hear if the beat in one track is hitting before the other.

Understanding Turntable Basics

Understanding the sources of feedback, distortion and tracking errors will help you to improve your own stereo system. Many of the strategies available to you are very inexpensive to execute. THE HOLY GRAIL of setting up and tweaking your turntable is to make it ACOUSTICALLY DEAD. It is a mechanical pickup system. The job of the cartridge is to translate vibrations into sound. You want it to read only the vibrations caused by the stylus getting moved around by the groove. You don't want to pick up the vibrations in the record itself, or the platter, or the tonearm, or the plinth (deckplate) that it's mounted on. Waves interfere with each other. Waves can cancel each other out. For that reason, when your turntable is exposed to and transmits vibrations from the floor, you'll get more than just feedback and muddiness. Fine details also get washed out. When you have finished a major upgrade or even a small tweak, you'll be able to play records that you're already familiar with, and realize that you're hearing more individual notes than before.

Additionally, bass notes will be much tighter and more clean. Mid-range and high notes become much more distinct. When you've isolated and improved your system to the point that it's really sensitive, you'll hear that each note has a beginning, a middle and an end. And, that's when digital copies of the same music start to sound really bad by comparison. Choosing a Turntable. Direct Drive vs. Belt Drive. Direct drive turntables have the advantage of a quick-start system. You can turn the motor off or hold the platter still with your left hand, put the needle down where you want and quickly get back up to speed. Putting the needle down with the platter sitting still allows greater accuracy and confidfence, and minimizes damage to the record and needle, as well as the harsh noise associated with unstable needle drop. However, to allow quick startup, most direct drive turntables have unusually light platters, allowing greater resonant feedback. They can also transmit more noise from the motor and bearing. Speed can be more unstable, causing greater wow and flutter. A notable exception is the Technics/Panasonic SL1100 and 1200 series turntables. They are particularly heavy, stable and quiet, as direct drive tables go. The SL1200 series is the club DJ's number one choice, and is also perfectly acceptable for audiophile playback (with an "audiophile" cartridge, not a club DJ cartridge). Belt drive turntables, on the other hand, force users to put the needle down with the platter spinning, which requires patience and skill, or a cueing mechanism that drops smoothly. Turntablebasics offers super-viscous silicone fluid for this purpose. Belt drive tables also allow greater platter mass and speed stability. Disadvantages include the propensity of the belt to stretch and harden over the years, hindering both tension and grip. Happily, turntablebasics offers a wide selection of new turntable belts.



Anti-Skate Mechanism. The spinning of the record naturally puts a centripetal force on the stylus, causing the tonearm to want to fly to the inside of the record. This force can cause an imbalance in signal strength between the right and left channels, as well as make groove-skipping more likely. Anti-skate mechanisms come in two styles: those that have a visible assembly of string, pulley and weight that produce a torque on the tonearm shaft that pulls it back to the outside of the record; and those that present only an adjustment knob next to the tonearm base. Some tonearms have no anti-skate mechanism at all. My Grace 714s have no anti-skate, and I have to keep the balance knob leaning toward the right channel to compensate. The heart of the matter: how to properly adjust the mechanism? Some test records have blank bands at 3.5 inches and inward to the inner groove, to calibrate the anti-skate mechanism. The mass of the weight, or the notch on the bar where you attach the weighted string, or the adjustable dial, should be modulated until the tonearm sits still while riding on this blank band, at about 3.4 inches from the center, instead of floating toward the inside or outside. If you don't have a test record with this feature, then use a record with a blank side. One LP that is currently available that has a blank fourth side is Adore by the Smashing Pumpkins.