Shop Pro Tools. Shop All Patio & Garden. Shop all Shop All Patio & Garden Patio Furniture Outdoor Shade Patio & Outdoor Decor Sheds & Outdoor Storage Grills & Outdoor Cooking Outdoor Heating Garden Center Outdoor Power Equipment Outdoor Lighting Plants, Flowers, Trees. Curve Crush Fine Fragrance Body Mist for Women, 8 fl oz. The best gear advice always comes from those who use it the most. That's where you come in! Let the pro audio world hear your voice with a review of the SPL Phonos RIAA Phono Preamplifier - Red.Once you submit your review, please check your email and verify your address to have it posted.
Featuring low impedance and a low pass filter, the ART DJ PRE II phono preamplifier is an ideal interface to stick between your turntable and audio system.
ART DJ PRE II Phono Preamp
The DJ PRE II is a high quality phono preamp designed for your home and studio. It acts as an interface between your turntable and your audio recording system. The analog input capacitance can be switched between 100pf and 200pf to optimize your phono cartridge response. A switchable low cut filter removes rumble while leaving the audio pristine. The front gain trim control and signal/clip LED allow you to optimize the preamps gain for a wide range of input sources. The built-in low noise phono preamp circuitry is highly accurate and precisely conforms to the RIAA standard. The Line Output jacks are low impedance and can work with any sound card. Housed in an all aluminum black anodized case, the DJ PRE II can be powered by a wide variety of external supplies. If you need to amplify and EQ your vinyl records to interface with your audio workstation, sound card, or main monitor system, the DJ PRE II gives you flawless audio reproduction in a rugged and reliable package. Includes power adapter.
The DJ PRE II is a high quality phono preamp designed for your home and studio. It acts as an interface between your turntable and your audio recording system. The analog input capacitance can be switched between 100pf and 200pf to optimize your phono cartridge response. A switchable low cut filter removes rumble while leaving the audio pristine. The front gain trim control and signal/clip LED allow you to optimize the preamps gain for a wide range of input sources. The built-in low noise phono preamp circuitry is highly accurate and precisely conforms to the RIAA standard. The Line Output jacks are low impedance and can work with any sound card. Housed in an all aluminum black anodized case, the DJ PRE II can be powered by a wide variety of external supplies. If you need to amplify and EQ your vinyl records to interface with your audio workstation, sound card, or main monitor system, the DJ PRE II gives you flawless audio reproduction in a rugged and reliable package. Includes power adapter.
Features:
- High accuracy/low noise preamp
- Switchable low cut rumble filter
- Variable preamp gain
- Signal present/clip indicator
- Selectable cartridge loading
- RCA preamp outputs
- Heavy duty extruded chassis
- Designed and developed in the USA
- High accuracy/low noise preamp
- Switchable low cut rumble filter
- Variable preamp gain
- Signal present/clip indicator
- Selectable cartridge loading
- RCA preamp outputs
- Heavy duty extruded chassis
- Designed and developed in the USA
Specs:
- High accuracy/low noise preamp: 9V Battery (included)
- Switchable low cut rumble filter: 3.75x2.5x1.5 inches (90mm x 63mm x 40mm)
- Variable preamp gain: 1lb (454g)
- Signal present/clip indicator:
- Selectable cartridge loading:
- RCA preamp outputs:
- Heavy duty extruded chassis:
- Designed and developed in the USA:
- High accuracy/low noise preamp: 9V Battery (included)
- Switchable low cut rumble filter: 3.75x2.5x1.5 inches (90mm x 63mm x 40mm)
- Variable preamp gain: 1lb (454g)
- Signal present/clip indicator:
- Selectable cartridge loading:
- RCA preamp outputs:
- Heavy duty extruded chassis:
- Designed and developed in the USA:
zZounds is an authorized dealer of ART products.
Open Box/Warehouse Resealed: Open Box/Warehouse Resealed gear is typically a customer return. This inventory includes all parts, components, manuals (hard copy or downloadable). However, the packaging may be slightly compromised and thus not in absolutely perfect, this item is in unused condition like our new inventory. This inventory is a great value. This inventory will include a Full Factory Warranty.
- Just remember our 100% satisfaction guarantee, Fast and Free Shipping and 30-Day Money Back Guarantee.
I'm about to begin archiving my collection of 3000+ records into 24 bit / 96kHz files for preservation, digital playback, and studio production work. I've come across one or two references to sidestepping the phono stage EQ and doing the RIAA equaliztion on the computer to achieve a more transparent recording.
![Pro Tools Riaa Curve Pro Tools Riaa Curve](https://static1.squarespace.com/static/54d696e5e4b05ca7b54cff5c/55021246e4b0781cf3b85ed3/55021256e4b0781cf3b891c2/1383641446003/1000w/Linkedin-Message.jpg)
This is a software package designed expressly for that purpose:
Pure Vinyl
And this is a second company that sells software as well as phono preamps without RIAA conversion for this purpose:
The New Way For Vinyl Recording
A few quotes I've found relating to the idea and methodology...
The RIAA playback equalization curve functions much like an integrator with a 75 microsecond time constant. This is also known as a pulse stretcher, and you will notice that your click waveforms have tails on them.
You might try plugging your turntable directly into the iMic to record a track, and then do your declicking right away. Then you can feed the declicked file to the Griffin software for RIAA equalization. This will avoid the phenomon of pulse-stretching of clicks by the RIAA playback curve.
Doing the RIAA equalization in the Griffin software will have the effect of amplifying the quantization noise and distortion increasingly below 500 Hz. But the human ear has decreasing sensitivity to low-level sound with decreasing frequency, so this may not be a problem. I do not own an iMic nor use the Griffin software, so you might try a transfer both ways, and see which you prefer. The RIAA curve can be done more accurately in the digital domain, in most cases, compared to the analog domain.
Right off the bat I'm very dubious about the above person's advice as the Griffin iMic and software is FAR from pro studio quality. (the iMic is a cheap A/D converter for macs that plugs into the mic input)You might try plugging your turntable directly into the iMic to record a track, and then do your declicking right away. Then you can feed the declicked file to the Griffin software for RIAA equalization. This will avoid the phenomon of pulse-stretching of clicks by the RIAA playback curve.
Doing the RIAA equalization in the Griffin software will have the effect of amplifying the quantization noise and distortion increasingly below 500 Hz. But the human ear has decreasing sensitivity to low-level sound with decreasing frequency, so this may not be a problem. I do not own an iMic nor use the Griffin software, so you might try a transfer both ways, and see which you prefer. The RIAA curve can be done more accurately in the digital domain, in most cases, compared to the analog domain.
But then I found one other person talking about the same thing:
Software RIAA equalization can take a bit more effort (at this time) than a 'conventional' phono pre setup (more work on the hook-up side), but there are many advantages to doing it this way. For instance, a balanced input mic pre and low output moving coil cart will provide zero audible hum (if the TT is wired correctly, that is). No capacitors in the signal chain (at least not the ones required in a phono preamp); just clean, straight-wire gain. Perfect channel phase and RIAA amplitude match (no analog component tolerances to deal with). I've noticed some information going around that suggests that using software RIAA EQ throws away resolution from your audio interface, but this isn't a factor in a real-world situation, if the EQ is done properly.
Problem is the two people above are the ONLY ones I've ever heard making mention of this and I've spent days searching here and elsewhere and haven't seen any first hand experiences with it. So my question is, with all else being equal (great turntable, tonearm, stylus, proper isolation, interconnects, top notch A/D converter) would going this route truly provide the absolute best quality encodings?
There's no doubt that many audiophile phono stages are prized as much for their unique 'coloring' of the sound as they are for their low noise floor. Since I am looking for the most transparent archiving possible taking one piece of hardware out of the signal chain makes sense to me (at least in theory).
Many thanks in advance for any light you can shed on this subject. I'm an absolute newcomer to the high end audio domain and while the theories put forth on the websites above are compelling, I don't have enough real world experience to separate the hype from the facts. (they are after all selling software/hardware)
This is going to involve literally hundreds of hours of effort and I would prefer to do it only once!