I’m currently using an Audio Technica AT PL120. It’s working pretty well for me. No complaints at all. It has a built in pre amp for use in receivers that don’t have a phono setting. It came with a decent cartridge, but I’m planning to upgrade soon. It was around $200 when I got off of Amazon Dec. 2009.
My budget is $100-250.
Help him out!
The new release from Ryan Adams & The Cardinals. Solid double LP of stuff from the Easy Tiger sessions. Red (but king of purplish) and blue vinyl records. The album sounds great and it’s been put together with nice packaging and art design.
There’s something here for everyone. Some tracks would sound at home on a Whiskeytown release, while others are straight up rock songs (there’s even a little jam band noodling on one track, if you’re into that sort of thing). My only (minor)criticism is that some tracks share very similar guitar riffs. But, I guess if it ain’t broke, right?
On a side note both discs on my copy are labeled incorrectly, but that’s just an example of one of the idiosyncrasies.
Every novel is a license to obsess. To fixate on a subject—chess, comic books, Yiddish, the Khazars. To go overboard; to pluck the beeswax stoppers from the ears, cut the restraints, and freestyle madly toward the siren subject that is calling from the shore.
Vinyl records, for example. Early on, I decided to make a used-records store on Telegraph Avenue one of the key settings of my novel in progress. Okay, maybe “early on” is an under-exaggeration. Maybe it would be more accurate to say “the entire novel is just a pretext for spending as much time and money as I possibly can in used record stores.” (A similar rationale doubtless underlies my projected next novel, the epic Tacos Al Pastor.)
At some point in the course of my thrilling, exhaustive and necessarily prolonged research among the crates and cratediggers, I encountered Wax Poetics, the greatest magazine in Known Space (sorry, Atlantic). Beautiful, well-written, intensely curated, WP articulates a hip-hop based theory of the history of black music on vinyl, 1950-1980. Borges argued that every writer creates his or her own precursors, that a great writer like Kafka retrospectively alters the way we read his predecessors. This is the line taken by Wax Poetics toward postwar black popular music; as if hip-hop were the root, and soul the flower; hip-hop the constellating line that draws an animal in a scatter of stars.” —Michael Chabon discusses how, while researching “Telegraph Avenue,” he revisted music he hadn’t listened to in decades.