Vinyl's not dead yet. The market for records has never gone away, and chances are good that you still have some albums tucked away that you can't part with but no longer listen to.

If you miss those tunes, here's good news: you can easily make clean digital copies of them. In fact, if you can plug a cable into a socket, you can convert your vinyl recordings into MP3 files. And here's even better news: You can handle all the importing without expensive or complicated software and hardware.

The hardware

To conduct my conversion testing, I grabbed my copy of Greatest! Johnny Cash (circa 1959, from Sun Records) and a turntable. My computer and a phono preamp rounded out my equipment list.

You'll need a phono preamp to boost the volume (or level) of the audio coming from the turntable and to compensate for the RIAA curve, a form of equalization built into records since about 1950. Though you can import audio from a turntable without using a phono preamp, it isn't advisable. The level is likely to be very low, and the sound very tinny.

For this project I connected a turntable directly to my PC and to a stand-alone phono preamp, but if you still have a turntable attached to your stereo, you don't need to buy a separate preamp: Stereo receivers that support a turntable have a phono preamp built in.

If you want to use your stereo instead of a separate preamp, you can connect the receiver's Aux or other line-out jack to the line-in jack on your sound card. If your PC and stereo are in separate rooms, however, a stand-alone preamp may be the simplest way to bring your turntable and your PC together.

If your computer lacks a line-in port and has only a microphone jack for sound input, consider investing about £50 in an external sound card like Creative Labs' USB Sound Blaster Audigy 2 NX or Griffin Technology's PowerWave.

The external card will provide a line-in port with the correct level; and because it's isolated from the other electronics in your system, it could yield cleaner sound. Don't link your sound card to the speaker outputs on your receiver: If you do so and then turn the volume up, you are liable to do serious damage to your sound card.

For my tests, I tried out a couple of phono preamps separately: Memorex Products Inc's MX-SP2 Stereo Phono Pre-Amplifier, and TCC's TC-750 Audiophile Phono Preamp (both under £40).

Both of them come with a stereo RCA cable for connecting the preamp to your turntable. The TC-750 also includes an RCA-to-stereo MiniPlug adapter for linking the preamp to your sound card. Those connections are fairly easy to figure out.

In addition, most turntables have a ground wire: The TC-750's sturdy steel case has a thumbscrew you can attach the ground wire to, but the Memorex's case doesn't. To eliminate the obnoxious ground loop hum I heard when working with the Memorex, I connected the turntable's ground wire directly to a case screw on my computer.

Overall, the TC-750 delivered richer, fuller audio, with more-distinct highs and crisper bass. That's important because the better the audio is when you capture it, the better your final output will be.

Audio Magix's Audio Cleaning Lab 2005 utility comes with filters that are capable of substituting for a preamp, according to the vendor, so I tested them, too. Though the filters worked - more or less - the resulting audio was noticeably flat, with fake-sounding bass.

Magix did a poor job of documenting this filtering capability: I wasted considerable time trying to figure out how to forgo the preamp. For superior-quality sound and better control, you should invest in a hardware preamp.

And while you're shopping, buy yourself a record-cleaning brush. The less dust you leave in your LPs' grooves, the less noise you'll have to clean up after importation.

The software

Once I had all the hardware set up, I was ready to fire up a couple of programs and bring the Man in Black into the digital age. I looked for reasonably automated applications that do the job from end to end: importing the album side, splitting the tracks, cleaning up the audio, and saving separate digital audio files.

I tested (besides Magix's Audio Cleaning Lab) Microsoft's Plus Analog Recorder (part of the company's Plus Digital Media Edition), and Pinnacle Systems' Clean 4.

Of the three, Plus Analog Recorder made importing and cleaning up the easiest, and it also did the most complete job of labelling files with artist, album, and title information.

If you own a disc-burning suite like Ahead's Nero 6 or Roxio's Easy CD Creator 6, try the sound editor bundled with it before you purchase anything else. Many such suites have basic tools for importing and enhancing analogue audio.


In most audio software, a waveform window sits in the middle of the screen. It contains a squiggly line that represents the sound you're listening to. The waveform looks high-tech, but you can safely ignore it, especially at the outset of your import process.

You do have to pay attention to the audio level on the line-in, by watching a pair of level monitors (one each for the left and right channels). Start recording a test file and look at the monitors: you want the loudest sections of the song to reach the yellow section, but not to break into the red.

If the audio software doesn't have a volume control, you'll have to find your computer's line-in level control (the way to access this varies with different operating systems and sound systems) and adjust the line-in volume until your recording comes in at the level you want.


After recording an entire side of an album as a single .wav file, you have a choice: If you want to preserve the experience of listening to vinyl, including any pops, clicks, and crackle, you can burn this raw audio file directly to CD.

Alternatively, you can use your software to filter out as much of the noise as possible, and then divide the large file into individual tracks and convert each of them to a compressed audio format such as MP3.

Microsoft's Plus Analog Recorder offers the fewest cleaning options (they consist of simple check boxes for 'Reduce Pops' and 'Reduce Hiss'), but they work quite well. Analog Recorder automatically marked individual tracks; and when the split between songs wasn't right, I found that moving the markers was easy.

Pinnacle's Clean 4 wasn't as successful at detecting where songs began and ended, so I wound up making lots of corrections to songs' start and end points. Doing this wasn't particularly difficult, though.

Clean 4 offers a laundry list of audio effects and features, including reverb and 'Add Brilliance', but they're wrapped in a cluttered interface reminiscent of something from Star Trek.

One example: You have to click the 'Process This Title' button to execute any effect - but it blends with the rest of the controls because it has the same gunmetal-grey skin as everything else in the window.

Interface issues aside, the filtering in Clean was excellent. With minor manual adjustments, it removed most of the crackling and clicks from my audio without trashing the quality, although it did knock just a bit of the high end out of songs.

Between Clean 4 and Plus Analog Recorder, I'd call my results a toss-up: The finished product from each program sounded pretty good. I can't say the same for Magix Audio Cleaning Lab 2005: its audio improved when imported through a preamp, but I was consistently unimpressed.

Naming names

The next-to-last step consisted of adding the information about songs that appears in music-management software and digital audio players. Of the three programs, Plus Analog Recorder let me do the most extensive tagging of my tracks before exporting them: it let me add labels for artist name, album title, and track title.

Clean 4 permitted me to identify just artist and track title, and Magix allowed me to save the track title as the file name but offered no way to specify artist or album. Virtually any digital music management program, such as ITunes or Musicmatch, can add this ID3 data to music files.

The last step of my testing was to save songs as individual files. Plus Analog Recorder saves files in Windows Media Audio format by default, and you must use Windows Media Player to burn songs to a CD.

But you can purchase an MP3 Creation Pack (a $10 third-party plug-in) that lets you save files as MP3s. Clean 4 requires an upgrade before you can export to MP3 more than 20 times. Magix limits your MP3 exports until you register the program and download a free upgrade.

Today, you don't have to be an audio engineer to give new life to your favourite vinyl. After investing a few quid and a few hours of your time, you'll have a bunch of oldies (or rare imports) to add to your playlists.

And when you can listen to those songs on your PC, burn them onto mix CDs, or load them into a digital music player, you'll find that they are soon back in heavy rotation.

Analog audio import tools

Our favourite software for converting LPs into digital files is surprisingly simple and inexpensive.

Magix Audio Cleaning Lab 2005
Price: £20
Pros: Program's main functions are a snap to use; filters are easy to try out; includes demo videos.
Cons: Audio sounded mostly over processed and flat; the filters that substitute for the preamp are hard to find; no simple way to enter ID3 tags before burning MP3s.

Microsoft Plus Digital Media Edition
Price: £15
Pros: Analog Recorder's wizard-style interface is easy to use; excellent detection of track splits; best handling of track information.
Cons: Limited (though effective) cleaning tools; no direct recording to audio CD; MP3 encoding requires extra purchase.

Pinnacle Systems Clean 4
Price: £25
Pros: Software provides top-notch audio quality if you're willing to experiment with its many filters.
Cons: Has an interface only a sci-fi fan could love; poor detection of tracks; crippled without an extra-cost update.