Quality aspects of ADC, Does quality gear makes a difference? Options

[ktf]

Hi all!

Background information (safe to skip )
Currently I'm preparing a large archival operation: my musical society has a collection of recordings on compact cassettes from 1980 to 1990, about 140, which I think have to be digitalized to protect them from deteriorating. I have found a nice tape deck (Nakamichi DR-3) but it has to stay at the office of the executive committee. A friend of mine has a nice ADC for this job, a quality portable mixing console with USB out, but it cannot stay at the office as it is more or less public and he doesn't trust everyone there. However, it is too much hassle to bring it every time, as I think this operation will cost about a year: 3 recordings a week. So, I guess I'm stuck with my own ADC: a Creative X-Fi Surround 5.1 USB-card, which is not really made for the job, but I can at least leave it at the office, as it isn't that valuable.

On-topic
That friend of mine that offered me his portable mixing-console with ADC argued that with a cheap ADC all little nuances and details would vanish, so I should look for another solution than using my Creative ADC. That made me think: i'm much more a theoretician than he is, so I was wondering, what makes a high quality ADC? I know the working principle of several ADCs, I can't imagine which link in the chain would be capable of 'erasing details' anyway. How does a non-linearity in an ADC sounds like in practice? And jitter? I guess uncorrelated, random jitter could sound like 'more noise', as it is random. To me it seems a low-quality ADC doesn't add anything but noise and a non-linearity, let alone it could remove things from the signal.

In short: what could a low-quality ADC do with the signal except adding noise? Probably I'm far too short sighted, can anyone enlighten me?

[2Bdecided]

Cleaning and demagnetising the heads, matching the azimuth to the tapes, using the correct Dolby setting, and setting the recording levels correctly are so much more important than all of this I can't begin to comment

ground loops, and interference to the sensitive and maybe not adequately screened* electronics in the DR3 are also killers!

* - we have mobile phones now, and PCs, and ... - don't get them too close. Most cassette decks don't like them at all.

Cheers,
David.

P.S. and for goodness sake rationalise your work flow - three tapes a week with the equipment dragged in from different locations or left in an unlocked office?!
P.P.S. consider how you process and store the results, and make access easy for others when you're finished, and make sure your digital copies don't vanish any time soon.

EDIT Google finds this about your sound card...
http://ixbtlabs.com/articles3/multimedia/c...ound-51-p2.html
...not the best, but not the worst. Probably more than good enough for almost any cassette. Most important: listen critically to the results.

This post has been edited by 2Bdecided: Apr 6 2011, 15:21