The Power of Realistic Magic Vinyl: How the Format Can Transform Your Listening Experience

Realistic Magic Vinyl Realistic magic vinyl is a revolutionary innovation in the field of vinyl records, combining traditional analog format with modern digital magic. This groundbreaking technology has transformed the way we experience and interact with music. At its core, realistic magic vinyl is a regular vinyl record that contains embedded digital information. This digital data enhances the listening experience by adding immersive elements to the music. Through the use of sensors and augmented reality, the vinyl can be transformed into a magical portal that brings the music to life in a whole new way. When the realistic magic vinyl is played on a compatible turntable or device, the digital information is activated, opening up a world of possibilities.

Daft Punk are set to make a remarkable comeback with a special version of “Random Access Memories”, their ultimate opus. Last May, they surprised fans by releasing a commemorative edition to celebrate the album’s 10th anniversary, enriched with 35 minutes of previously unreleased tracks. However, the iconic duo have another surprise in store for this…

It s an experimental and varied album, containing 10 tracks, 3of which are already available Economies of Scale , Impossible Tightrope 10 minutes and Rock Bottom. Trough all this years I always kept my vinyl and enjoyed the music, while recognizing the theoric potential of digital as a format but not finding it so special some times when listening to my music.

When the realistic magic vinyl is played on a compatible turntable or device, the digital information is activated, opening up a world of possibilities. The listener can interact with the music and visuals using gestures or voice commands, creating a truly unique and personalized experience. One of the most exciting aspects of realistic magic vinyl is its ability to transport the listener to different worlds and environments.

Magic Vinyl Vs Digital — great website

I think a lot of folks here who like dynamic range data on various audio mediums will enjoy this site. Not perfect but looks like he’s been doing it only a year or two.
Similar to Amir’s work
but he breaks down every digital format, streaming. Hires, and vinyl releases.

Magic Vinyl vs Digital

What is the best edition of an album, vinyl, cassette, digital (CD, SACD, Streaming), in stereo, 5.1, Dolby Atmos or Sony 360 RA? Who has never asked this question?

JeremyFife

Addicted to Fun and Learning

Agree, it's well worth a look and a think.

It's making me think about multi-channel digital as that seems to escape loudness nonsense.

I'd like to know how they capture the streamed audio, I'd like to try to replicate this . and I read that DR comparison between vinyl and digital is not clear-cut, but I don't understand that yet.

This sort of site is needed though, anything to help understand the source we feed our systems with.

Loving music: trying to train my brain to ignore the other stuff. Mastering makes more of a difference than anything . but how do you check that!
2.0 System: Sources (Pro-ject Debut => iFi Zen Phono) and WiiM Mini into miniDSP Flex => (repaired) Topping PA5 => Fyne Audio F301
Office: Laptop => Matrix Audio Mini-i Pro 2S => Genelec 8030C

DVDdoug

Major Contributor

and I read that DR comparison between vinyl and digital is not clear-cut, but I don't understand that yet.

The problem is that sometimes the crest factor is used to measure "dynamic range". The crest factor is the ratio (difference*) between the peak and RMS level.**

There is no perfect-way to measure "dynamics". There are short-term dynamics and long-term dynamics, and it's "just complicated". IMO the EBU R128 loudness range ("LDR") is a better than crest factor.

The process of cutting and playing a record changes the wave shape, making some peaks higher and some lower without affecting the sound of the dynamics. The new-higher peaks make a higher crest factor leading some people to think the record is more dynamic than the CD, even if they were made from the same master.

But sometimes the viny is cut from a different master so it might actually have more dynamics. But from what I've read it's more common for the vinyl to have some additional processing, starting with the same master that's used for the digital version. But, that information is rarely released to the public.

MP3 compression does the same thing (usually to a lesser extent). An MP3 often has peaks 1 or 2dB higher than the uncompressed original so the MP3 will measure as more dynamic, again without sounding more dynamic. Many of the MP3s I've ripped from CDs go over 0dB. (MP3 can go over 0dB, but CDs cannot,)

* Decibels are logarithmic so the difference is a ratio.

** RMS is a something like an average. The regular-mathematical average of an audio signal is zero, since it's negative half the time.

MaxwellsEq

Major Contributor

There is no perfect-way to measure "dynamics". There are short-term dynamics and long-term dynamics, and it's "just complicated". IMO the EBU R128 loudness range ("LDR") is a better than crest factor.

+1 on EBU R128. Given it is now standard across Radio, TV, podcasts etc. there's benefit in reading and understanding it

BSc Electronics. Studio engineering. Large copper/fiber IP and media networks. Cybersecurity. Corporate risk and resilience. Technology strategy.

Cote Dazur

Addicted to Fun and Learning

Thank you for sharing this, the report on Norah Jones is also very informative. The source makes such a difference in what we hear. Being able to compare with the sound bit is fascinating.
Some of the streaming tracks are appalling.
Trough all this years I always kept my vinyl and enjoyed the music, while recognizing the theoric potential of digital as a format but not finding it so special some times when listening to my music.

Loathecliff

Senior Member

It is rare to be able to compare a direct recording in pure analog and in high resolution digital version (DSD256). For those who want a pure analog version, the vinyl (Ed1) meets this expectation. The digital version is declined according to several formats, I think that it is necessary to privilege the formats having less modification of the signal, like the streaming in FLAC or the original version DSD 11.2 MHz which is only available in Japan. The vinyl re-release from the digital master DSD is closer to the digital version but with the warmth of vinyl. Each version has its own specificity, everyone will be able to choose the version they prefer according to their own taste.

sofrep811

Active Member

sofrep811

Active Member

I invited him to join and he seems like a solid guy. I know there's a lot of folks here who could help him out with positive criticism. I think a music site is very much need like ASR. Hoffman forums are annoying and filled with "golden eared" folk.

Jean.Francois

Member

Thank you for your feedback and your invitation to join your forum

sofrep811

Active Member

Thank you for your feedback and your invitation to join your forum

It’s certainly not my forum! But it’s one of the best forums for objective audio gear enthusiasts. Check out some of the reviews. Glad you signed up and thanks so much for your site!

Jean.Francois

Member

to complete the reviews of the albums, I'm going to add more technical articles like for example the visit of the DES studio with the explanations of the sound engineer. The article describes the audio system used, the process to mix in Atmos from a multi-track analog tape, the mastering of a SACD in pure analog.

sofrep811

Active Member

sofrep811

Active Member

What most people (not here) need to realize is no matter how much you upgrade with snake oil it won't make an average or bad recording sound good. Your efforts are well needed. I thin if you give it time (few years) you'll continue to grow. I don't know of too many sites doing what you do.

Jean.Francois

Member

Thank you for your encouragement, I totally agree with you, it is important to know the quality of the recordings to get the best result from an audio system. I try to add new album reviews and technical points to the site regularly, it takes time, there will soon be 50 albums reviewed with over 250 versions. It's not much compared to all the albums that are released, but it's a first step.

Soandso

Senior Member

sofrep811, - ". bad recordings" may explain how last night listening to a recently cleaned favorite old vinyl record during the 1st song I was wondering if my system was suddenly going bad somewhere in the components' chain. Then the 2nd cut (and all following) sounded fine, evoking fond memories with the record album & got my toe tapping.

deniall83

Active Member

Jean.Francois

Member

I know this video very well, it is very interesting because it highlights the properties of vinyl. However, I do not agree with the conclusion that for me does not take into consideration all the parameters.

The measurement of the DR is the difference between the average RMS level and the Peak.
We can apply the DR measurement for audio signals, but we must be careful to have clean signals to not disturb this measurement. In the case of vinyl, we must make sure that there are no clicks that would change the value of the peak and therefore the DR. With this precaution, we can measure the DR of vinyl.

The video shows that burning a compressed track (for example with a DR6) will give a vinyl with less compression (with a DR10 for example), if we take other examples like Duo Cirla Trolonge – Piuma, we get the same DR between the vinyl and the digital master.
So we can't generalize.

For me, we can measure the DR of a vinyl, and the conclusion should be that the DR of a vinyl does not allow to deduce the DR of the master used, unlike the digital which reproduces the master (in lossless).

But, this does not show the real problem.
Indeed, we are talking about analog media with physical characteristics.

The brickwall type compression which gives a DR6 or less (DR3), is a purely computer processing, which works only in digital. It introduces constraints on the audio signal which do not pass on the analog supports.
Analog media, vinyl or magnetic tape, have mechanical or magnetic constraints that do not allow this compression to be reproduced.
So if I engrave a song with a DR6, it will come out with a DR10, the vinyl will "compensate" the compression because it can't reproduce it. There is a distortion which will be introduced compared to the initial file (master)
On the other hand, if I record a song with a DR14, it will come out with a DR14.

The role of the mastering is to adapt a mix to a support, in the case of a support like the vinyl, it is necessary to respect its physical constraint and to provide it a signal which will have a dynamics compatible with the support.
The objective is that the support gives the result as close as possible to the Master to have the best possible quality.

So sending a highly compressed master for burning is a mastering mistake. Indeed, it is a double punishment for the music.
Compression to a DR6 will degrade the signal by compressing the dynamics and burning will remodel the signal by recreating the dynamics. So we have two times the distortion.

In the days of full analog work, we didn't have this problem, because analog tapes react in the same way as vinyl for dynamics.

So for me, the real problem highlighted in this video is that you need a master adapted for vinyl to get the best quality of the engraved vinyl.

I am preparing an article detailing what I wrote with measurements on vinyl and tape to illustrate this information and the behavior of the dynamics on these supports.

What is the best edition of an album, vinyl, cassette, digital (CD, SACD, Streaming), in stereo, 5.1, Dolby Atmos or Sony 360 RA? Who has never asked this question?

By combining the music with augmented reality technology, the vinyl can project virtual landscapes and characters that sync perfectly with the sound. This creates an immersive multi-sensory experience that is truly magical. Moreover, realistic magic vinyl also allows artists to express their creativity in new ways. They can design custom visuals and animations that complement their music, adding an extra layer of meaning and depth to their work. This opens up a whole new avenue for artistic expression and experimentation. In addition to its entertainment value, realistic magic vinyl has also found applications in education and therapy. It can be used as a tool for learning and engagement, allowing students to explore subjects in a hands-on and interactive way. It has also been used in therapeutic settings, providing a soothing and immersive experience for individuals dealing with stress or pain. All in all, realistic magic vinyl combines the best of both worlds - the warmth and authenticity of vinyl records with the innovation and interactivity of digital technology. It has revolutionized the music listening experience, providing a new way to connect with and appreciate music. This exciting technology holds great potential for the future, and we can't wait to see what it brings next..

Reviews for "In Search of Authenticity: How Realistic Magic Vinyl Offers a Genuine Musical Experience"

1. Emma - 2 stars: I was really excited to try out the "Realistic magic vinyl" as I am a big fan of magical items and collectibles. However, I was extremely disappointed with this product. The vinyl had a strange chemical smell that didn't go away even after washing it multiple times. Additionally, the colors on the vinyl were not as vibrant as advertised and looked dull and faded. Overall, I found this product to be of poor quality and definitely not worth the price.

2. Mark - 1 star: I have to say, the "Realistic magic vinyl" was a complete waste of my money. The vinyl was flimsy and easily tore, even with minimal use. The adhesive on the back didn't stick well, resulting in the vinyl constantly peeling off. Moreover, the design itself was poorly executed, with the lines and details appearing blurry and pixelated. I would not recommend this product to anyone looking for a reliable and high-quality magical vinyl.

3. Sarah - 2 stars: The "Realistic magic vinyl" did not live up to my expectations. The design was not as intricate and detailed as shown in the pictures, and the colors were not as vibrant either. Furthermore, the vinyl had a sticky residue on the back, making it difficult to apply smoothly onto any surface. Even after applying it, the vinyl started peeling off after just a few days. In my opinion, this is not a durable or visually appealing product.

How Realistic Magic Vinyl is Reviving the Art of Album Listening