Setup guide · vinyl-check docs

vinyl-check measures through your turntable. Every click it counts and every grade it suggests passes through the stylus, the cartridge, the phono stage and the converter first. A record measured on a well-aligned budget USB turntable gives repeatable, meaningful results. The same record on an expensive but misaligned deck does not: mistracking and inner-groove distortion look like crackle, a tilted cartridge looks like a channel problem, and a slipping belt looks like a bad pressing.

So the setup comes first, and following it matters more than the price of the equipment. This guide suggests three chains, from entry level to high end, explains the alignment basics, shows how vinyl-check’s alignment mode checks them with a test record, and ends with a checklist for every session.

Product names below are examples, not recommendations or requirements.

The measurement chain

record → stylus and cartridge → tonearm → phono stage (RIAA) → A/D converter → vinyl-check

Link	What goes wrong	How it shows up in vinyl-check
Stylus	dirt, wear	crackle everywhere, distortion on loud passages
Cartridge and arm	tracking force, anti-skating, VTA, azimuth, overhang	one channel distorts first, crackle on loud music, poor crosstalk
Drive	speed, belt slip, motor noise	speed and wow & flutter findings, rumble, lines in the silent groove
Phono stage	gain, loading, hum, subsonic filter	level warnings, mains hum, a distorted resonance curve
Converter	clipping, 16-bit noise, dropouts	clipping warnings, a high chain noise floor, a “dropout” mark on the recording

vinyl-check records bit-exact from the audio device: no resampling, and on Linux no sound server. What the converter delivers is what gets measured. On macOS and Windows the same rules apply through PortAudio, see recording on macOS and Windows.

1. Entry level: USB turntable

A USB turntable has the phono stage and the converter built in and appears as a USB audio device. Examples are the USB versions of common entry-level decks from Audio-Technica, Sony, Denon or Teac.

What to check

It is recognised. On Linux, arecord -l lists it (often as “USB Audio CODEC”, device hw:CARD=CODEC,DEV=0). On macOS it appears as “USB Audio CODEC”, on Windows as “Microphone (USB Audio CODEC)” or “Line (USB Audio CODEC)”. In the turntable profile, vinyl-check lists the capture devices it finds.
Sample format. Most USB turntables deliver 16 bit at 44.1 or 48 kHz. Choose 48 kHz if it is offered, under Settings → Audio interface (which only offers the rates the device reports) or with rate = 48000 in the configuration; on Linux arecord --dump-hw-params -D hw:CARD=CODEC,DEV=0 lists what the device can do. 16 bit / 44.1 kHz is always enough to detect clicks and pops; stylus and alignment matter far more than the converter.
Gain. Usually fixed. Tick Level not adjustable on the device in the turntable profile. vinyl-check then skips the advice to change the gain and the warning about the clip when the stylus touches down. Clipping in the groove is still reported. Some fixed-gain decks clip a few samples on loud records, and the defaults are tolerant of that: clipping in the first and last five seconds is ignored, below 200 samples it only appears in the technical data, and only above 500 clipped samples in the groove is there no grade, because then the recording itself is faulty.
Tracking force and anti-skating. Use whatever your deck lets you adjust (counterweight scale, anti-skating dial). A digital stylus force gauge is cheap and more precise than the counterweight scale.
Stylus. Replace a worn stylus. A conical stylus is fine; a worn one is not.
Placement. A solid, level surface, away from speakers and footfall.

Limitations

A higher noise floor and more detector hits in the silent groove. On real hardware, an entry-level USB chain produced several hundred detector hits per minute in the silent groove of the test record, and a high-end chain a few dozen. That is the click floor of the chain, not of the record. vinyl-check measures it during alignment and stores it in the turntable profile.
Cartridges in this class often have about 18 dB channel separation. The standard alignment targets (≤ −25 dB crosstalk) are too strict for them, so choose a target preset that matches the cartridge’s data sheet (Settings → Targets).
Grades are most meaningful when you compare recordings made on the same turntable, for example before and after cleaning.

2. Recommended: turntable, phono preamp and audio interface

This is the reference setup. A separate phono stage and an audio interface with line inputs give adjustable levels, 24-bit resolution and a lower noise floor.

Phono stage

Match it to the cartridge: MM at 47 kΩ with the recommended capacitance, MC with the recommended load.
Prefer a phono stage without a subsonic filter, or with a switchable one. The resonance measurement sweeps down to 10 Hz. A filter that cuts below 20 Hz distorts the result. A chain that is flat to about 20 Hz and −3 dB at 5–6 Hz has proven fine.

Audio interface

Use the line inputs, not microphone or instrument inputs.
Record at 24 bit / 48 kHz (Settings → Audio interface, or sample_format = "S24_3LE" or "S32_LE" and rate = 48000 in the configuration). 48 kHz is the rate the detector was tuned at, because its analysis windows are defined in samples. For click and pop detection alone, 16 bit / 44.1 kHz is always enough; 24 bit adds headroom for setting levels and a lower noise floor for the alignment measurements (crosstalk, silent groove). On macOS and Windows, also set the device itself to 24 bit (recording on macOS and Windows).
96 kHz works, but files double in size (about 35 MB per minute) and analysis takes longer. Grades are best compared at the same rate.
Choose the pair of inputs the phono stage is connected to under Settings → Audio interface → Inputs (for example Inputs 3 / 4). Some interfaces only record with all their channels open; then also set capture_channels to their channel count in the configuration, for example capture_channels = 4 (with input_channels = [1, 2] for the pair, if you configure everything in the file).

Levels

Set the interface gain so that the 1 kHz reference tone of the test record reads about −20 dBFS (see level calibration). Loud music then peaks well below 0 dBFS.
As an example, a cartridge with 6.5 mV output into a phono stage with 38 dB gain delivers about 0.5 V (−3.5 dBu) on the reference tone and about 2 V (+8.5 dBu) on the loudest test band.
After calibration, do not touch the gain again. Note the setting in the alignment run (field Input level).

Grounding and hum

Connect the turntable’s ground wire to the ground terminal of the phono stage.
Use balanced cables from the phono stage to the interface where possible, and keep audio cables away from power supplies.
Ground loops (computer, interface and amplifier on different outlets) show up as mains hum at 50/60 Hz and 100/120 Hz in the technical data and in the silent groove of the test record. A quick check: run the computer on battery and see whether the hum goes away.
On a Raspberry Pi, use the official power supply. Give the interface its own power if the Pi’s USB port cannot supply it.

3. High end

Everything from the recommended setup applies. In addition:

Low-noise phono stage and interface. A good chain calibrates below about −85 dBFS with the stylus raised, and an entry-level USB chain calibrates around −70 dBFS. The lower the floor, the more quiet passages can be measured.
Fine stylus profiles (fine line, micro ridge) reward precise azimuth and VTA, and expose small errors.
Protractor for overhang and zenith that matches your arm’s geometry (Baerwald, Löfgren or Stevenson).
Record weight or clamp. Without one, warps can put strong subsonic content (10–17 Hz, around −46 dBFS in one test) on the recording. vinyl-check ignores it when it looks for test bands, but the stylus still has to follow it.
Stricter targets. The Lab strict preset uses what measurement labs expect from very good drives. Presets with manufacturer data cover individual cartridges.
Test pressing approval. In engineer mode, measure pressings against the digital master of each side (WAV, FLAC or AIFF). See the user guide.

Example setups

Two common ways in, with complete turntables you can buy today. Each one becomes a good measuring chain once it is aligned as described below; the “worthwhile upgrade” column names the step that improves the results most for the money. For detecting clicks and pops, 16 bit / 44.1 kHz is always enough, so the converter specification is not the deciding factor.

Prices are approximate street prices in Germany (October 2026), specifications are taken from the manufacturers. Both change; check current data before buying. MicroLine (ML) is a fine-line stylus profile.

Turntables with a built-in USB audio interface

The simplest chain (setup 1): one USB cable to the computer or Raspberry Pi.

Turntable	Price (approx.)	Cartridge as supplied	USB recording	Worthwhile upgrade	Assessment
Pro-Ject Debut Carbon RecordMaster HiRes	€651	Ortofon 2M Red	PCM up to 24 bit / 192 kHz, DSD256; adjustable recording level	2M Blue stylus	Best built-in digitisation: carbon arm, acrylic platter and by far the best A/D converter of this group.
Audio-Technica AT-LP5X	€368–390	AT-VM95E, elliptical	16 bit / 44.1 or 48 kHz	VMN95ML stylus, simply plugs on	Best value: solid 7.3 kg direct-drive deck and a very easy path to a really good MicroLine stylus.
Audio-Technica AT-LP120XUSB	€268–290	AT-VM95E, elliptical	16 bit / 44.1 or 48 kHz	VMN95ML stylus, simply plugs on	Cheapest serious option. Mechanically a little simpler than the LP5X, but with the ML stylus very strong at digitising used records.
Pro-Ject Debut RecordMaster II	€298–449	Ortofon OM5e, elliptical	16 bit / 48 kHz	OM20 or OM30 stylus	Good belt drive with a heavy metal platter and three speeds; the supplied OM5e is entry level only.
Thorens TD 202	from €444	Audio-Technica AT95E, elliptical	USB-B; no convincing hi-res specification	complete AT-VM95ML or another ½-inch cartridge	Decent classic hi-fi deck, but compared with the cheaper LP5X no better value, technically or in its cartridge.
Dual DTJ 301.1 USB (minimum)	from €229	AT-3600, conical	USB; no hi-res specification	complete AT-VM95ML	Usable starting point with direct drive and an adjustable S-shaped tonearm. The AT-3600 is the weakest link; the VMN95ML stylus alone does not fit its body.

Turntables with a built-in phono preamp, into an audio interface

A compact variant of setup 2: the turntable’s line output goes into the line inputs of an audio interface (for example from MOTU or RME). The interface gives you adjustable levels and a lower noise floor; the phono stage is built into the turntable.

Turntable	Price (approx.)	Cartridge as supplied	Drive and tonearm	Connection to the interface	Assessment
Pro-Ject Primary E Phono	€250–279	Ortofon OM, spherical entry-level stylus	belt drive, 8.6″ aluminium arm	switch to LINE; RCA → two line inputs	Good simple mechanical basis, but not yet a high-quality cartridge. For serious digitisation, upgrade at least the stylus or the cartridge.
Audio-Technica AT-LPW50PB	€310–350	AT-VM95E, elliptical	belt drive, sensor-controlled motor, carbon tonearm	line out → interface line in	Insider tip. With a VMN95ML stylus it becomes a very strong digitising combination for about €470.
Pro-Ject T1 EVO Phono	from €399	Ortofon OM10, elliptical	belt drive, one-piece aluminium arm, 8 mm glass platter	line out → interface line in	Clearly better equipped than the Primary E; the OM10 is already decent and easy to improve with a better OM stylus.
Pro-Ject T2 Super Phono	€569–649	Sumiko Rainier	9″ aluminium arm, 1.7 kg glass platter, adjustable anti-skating	high-quality built-in phono preamp → interface line in	Best mid-range all-in-one of this table: drive, cartridge and especially the more elaborate internal phono stage are clearly above the cheaper models.
Technics SL-1500C	€1,199	Ortofon 2M Red	ΔΣ direct drive, 2 kg aluminium platter, height-adjustable S-shaped arm, auto lift	line out → interface line in; phono stage can be bypassed completely	Mechanically the best choice: extremely stable speed, a very good tonearm, open to almost any MM cartridge in the long run. A 2M Blue stylus is the obvious upgrade.
Cambridge Audio Alva TT V2	from €1,499	Cambridge high-output MC, elliptical	direct drive, POM platter, removable headshell	switchable line out → interface line in	Highest-quality all-in-one out of the box: a good MC cartridge and a very low-noise internal phono stage. For digitising alone clearly more expensive than the T2 Super Phono or the LPW50PB with a MicroLine stylus.

Recording on macOS and Windows

On the Raspberry Pi and other Linux systems vinyl-check records with arecord straight from the ALSA hw: device. On macOS and Windows it records through PortAudio (the Python package sounddevice, installed together with vinyl-check on these systems), with the same rules: the chosen rate and sample format, no resampling, dropouts counted and marked. If the device cannot record at the chosen rate without a converter in between, the recording does not start, and the message says what to change.

Settings → Audio interface. This is where the desktop app is set up; no configuration file is needed.

Recording device lists the audio interfaces first, each with its number of inputs and the rate it runs at now, for example Studio Interface · 20 inputs · 96 kHz now. Microphones (built-in, USB, headsets), phones used as microphones and virtual devices (video calls, routing software, Stereo Mix) are listed under Other inputs. Automatic takes an audio interface with at least two inputs (on Windows an ASIO driver first, then a USB device) and never one of the other inputs. The device of the active turntable profile, if it has one, takes precedence for recordings and level checks.
Sample rate offers the rates the device reports (44.1 to 96 kHz, and 176.4 or 192 kHz where supported). Until you save, vinyl-check uses the rate the interface runs at now, so it does not switch the interface under other programs. If you choose another rate, the page says that the interface will be switched while recording.
Bit depth: 24 bit for interfaces, 16 bit for devices that only offer 16 bit (most USB turntables).
Inputs lists the pairs of the device (Inputs 1 / 2 … Inputs 19 / 20): choose the pair the phono stage is connected to.
On Windows also WASAPI exclusive mode and Use ASIO drivers (see below).
Test opens the device with the values in the form for one second, without saving or recording, and shows the peak level per input or why the device refused (rate, bit depth, inputs, device busy). Save keeps all values shown, so later recordings stay in the same format even if another program changes the interface’s rate. Back to the configuration file removes them again.

Changes apply from the next recording or level check, without a restart, and are refused while one runs. The section works the same on a station; there the configuration file stays the base, and values saved in the interface take precedence over it.

In the configuration file. The device is stored as <audio system>: <name>, for example Core Audio: USB Audio CODEC or ASIO: Studio Interface; this name stays valid across restarts and re-plugging. device in the configuration takes the same form, or just a part of the name (device = "Scarlett"). The format keys are the same as on Linux: rate = 48000 and sample_format = "S24_3LE" for 24 bit (or "S16_LE"). channels, capture_channels and input_channels work as described above; PortAudio can open just the first channels of a device, so capture_channels is only needed when the inputs you use are not the first ones (for example capture_channels = 4 and input_channels = [3, 4]).

Settings at a glance

Key	Default	Meaning
`audio_backend`	`"auto"`	`"alsa"` (arecord), `"portaudio"`, or `"auto"`: arecord on Linux when it is installed, PortAudio elsewhere
`wasapi_exclusive`	`true`	Windows: open the device exclusively, past the Windows mixer; shared mode if that is not possible
`asio`	`"auto"`	Windows: use ASIO drivers where installed (listed first, chosen automatically); `false` = WASAPI only

macOS (Core Audio)

Sample rate. When a recording or level check starts, vinyl-check switches the interface to the chosen rate, as Audio MIDI Setup would. Other apps using the same interface follow. If the interface does not support the rate, the recording does not start. Core Audio never resamples for vinyl-check.
Bit depth. In Audio MIDI Setup, choose the input format with 24 bit (for example 2 ch 24-bit Integer 48.0 kHz) if the interface offers it. Core Audio hands the samples over as 32-bit floating point; vinyl-check turns them back into the converter’s integer values exactly.
Microphone access. macOS asks once whether vinyl-check, or the terminal app it was started from, may use the microphone. This covers every audio input, USB interfaces included. Without permission macOS delivers digital silence instead of an error, and vinyl-check shows a note after a few seconds of level check. Allow it under System Settings → Privacy & Security → Microphone and restart vinyl-check.
Input volume. If Audio MIDI Setup shows an input volume for the device, set it once (usually to the maximum) and set the level on the interface or the phono stage. Do not touch either after calibration.

Windows (WASAPI and ASIO)

Which entries. Windows offers every device through several audio systems. vinyl-check lists the ASIO drivers first and then the WASAPI entries, each marked with its audio system (ASIO: …, WASAPI: …). An interface with an ASIO driver is recorded through ASIO; WASAPI serves devices without one, such as most USB turntables. MME and DirectSound are not offered and are refused, because they always pass through the Windows mixer, which resamples.
ASIO (default where a driver is installed). Studio interfaces come with an ASIO driver, which gives direct access to the converter. vinyl-check asks the driver for the chosen rate when the recording starts. Many drivers keep the rate set in their control panel or dictated by an external clock; then the recording does not start, and the message says to set the rate there or to choose the driver’s rate under Settings → Audio interface. ASIO drivers often offer all inputs of the interface: choose the pair under Inputs. With many drivers only one program can use the interface at a time. If a driver misbehaves, switch off Use ASIO drivers (or set asio = false): vinyl-check then uses WASAPI only. Switching ASIO back on takes effect after a restart.
WASAPI exclusive mode (default, wasapi_exclusive = true; the fallback for devices without an ASIO driver). vinyl-check opens the device exclusively: the samples come straight from the converter at the chosen rate and bit depth, past the Windows mixer and its effects. The device must allow it: Sound settings → More sound settings → Recording → the device → Properties → Advanced → Allow applications to take exclusive control of this device. While vinyl-check records, other programs cannot use this input. In exclusive mode the device must offer the chosen bit depth; if it only offers 16 bit, choose 16 bit under Settings → Audio interface (the page marks bit depths the device does not offer).
Shared mode. If exclusive mode is not possible (the device is in use, exclusive control is not allowed, or it does not offer the bit depth), vinyl-check records in shared mode and says so in the recording status. Then the Windows mixer sets the format: choose Default Format on the Advanced tab with the same rate as in vinyl-check, and 24 bit (for example 2 channel, 24 bit, 48000 Hz (Studio Quality)). A different rate is not converted; the recording does not start.
Turn off enhancements. Turn off Audio enhancements for the device (Settings → System → Sound → the device, and the Enhancements or Advanced tab in the classic dialog), including noise suppression, automatic gain control and voice effects. In shared mode they change the signal.
Recording level. On the Levels tab, set the level once (usually 100) and leave it alone after calibration. Set the actual gain on the interface or the phono stage.

System sounds and other programs

Turn off system sounds (macOS: System Settings → Sound → Sound Effects; Windows: sound scheme No Sounds) or send them to another output. Interfaces with a loopback or a mix of the computer’s playback on their inputs would otherwise put them into the recording.
Close video calls and other recording programs that use the same interface. They can change its rate or take it over.
Keep the computer awake while recording, and a laptop on its charger. When the device delivers no audio for five seconds (sleep, a pulled cable), vinyl-check ends the recording with a message.

Linux with PortAudio

Linux records with arecord by default. To record through PortAudio instead, for example on a desktop with PipeWire or JACK, install the system library (libportaudio2 on Debian and Ubuntu) and pip install "vinyl-check[portaudio]", then set audio_backend = "portaudio". Prefer the device entries with (hw:…) in their name: default, pulse and sysdefault go through the sound server, which may resample.

Turntable alignment basics

Work in this order. Each step depends on the ones before it.

Step	What it is	Tool	What vinyl-check measures
1. Level	platter horizontal in both directions	spirit level on the platter	indirectly: crosstalk asymmetry
2. Overhang and zenith	stylus position along the arc, cartridge angle in the headshell	protractor for your arm geometry	not directly; tracking distortion across the side
3. Tracking force	downward force on the stylus, as specified by the cartridge maker (upper half of the range is a good start)	stylus force gauge at record height	tracking reserve on the +12 dB ramp
4. Anti-skating	counters the inward pull of the groove	anti-skating dial	which channel distorts first on the 315 Hz ramp
5. VTA / SRA	arm height, which sets the stylus rake angle	arm height adjustment	intermodulation distortion (SMPTE 60 Hz + 4 kHz): lowest value wins
6. Azimuth	cartridge tilt seen from the front	headshell or arm adjustment	crosstalk left → right versus right → left
7. Check	everything together	test record	all findings with targets

What the findings mean

Anti-skating. In a stereo groove, the inner wall carries the left channel and the outer wall the right. Too much anti-skating pushes the stylus against the outer wall, so the left channel distorts first. Too little anti-skating means the right channel distorts first. When both channels break up within 1 dB of each other, the anti-skating is balanced. If both break up early, check the tracking force or the stylus.
Azimuth. Crosstalk should be low (≤ −25 dB for a good MM cartridge) and equal in both directions (difference ≤ 3 dB). A larger difference means the cartridge is tilted.
VTA. Change the arm height in small steps, make one run per setting and keep the one with the lowest intermodulation (target ≤ 3 %).
Arm/cartridge resonance. Effective arm mass and cartridge compliance set the resonance frequency. The target is 8–12 Hz: below 7 Hz, warps excite it, and above 15 Hz it reaches into the music.
Speed and wow & flutter. Measured on the 3150 Hz band. Targets: speed within ±0.5 %, weighted wow & flutter ≤ 0.1 % (2σ). Too slow often means a slipping belt. Too fast points to the motor control (for a synchronous motor, its supply frequency).
Balance and response. Channel balance within ±1 dB, frequency response within ±2 dB, and 100 Hz against 1 kHz within ±1 dB. The last one checks the RIAA accuracy of the phono stage.

Alignment with vinyl-check and a test record

Test record

vinyl-check is built around the band layout of the Analogue Productions AAPT 1 test record (two sides: a 1 kHz reference, left-only and right-only tones, sweeps, a 100 Hz tone, an SMPTE two-tone, 3150 Hz for speed, a 315 Hz anti-skating ramp, pink noise, a vertical resonance sweep and a silent groove).

The analysis finds the bands by their signal, not by their position or by time marks. Pauses, spoken announcements and the order of the bands do not matter. Test records with comparable bands (for example a 1 kHz reference, 1 kHz on one channel only, or 3150 Hz) may be recognised in part. Bands that cannot be assigned are listed as such. Only the AAPT 1 has been verified, and support for further test records is on the roadmap.

Turntable profile (first alignment)

Open Turntable check and choose Add turntable. The assistant has five steps, and you can leave and resume it at any time:

Create the profile. Enter a name, the cartridge, the capture device, tracking force, anti-skating, record weight, whether the level is fixed, and the target preset.
Calibrate the chain. Switch the turntable on, let the platter spin and keep the stylus raised. vinyl-check records 25 seconds and stops by itself. This measures the noise of the electronics.
Test record, side 1. Start the recording and lower the stylus at the beginning of the side when GO appears. The recording stops in the run-out groove and the analysis runs automatically (about 1–2 minutes). Side 1 holds the reference tone, crosstalk (azimuth), frequency response, VTA and wow & flutter.
Test record, side 2. Side 2 holds the anti-skating ramp, pink noise, the resonance sweep and the silent groove.
Review and accept. If something is flagged (anti-skating, azimuth, speed), fix it first and record the affected side again. Then accept.

From then on, every recording made with this profile uses its values:

Profile value	Effect
Capture device	a recording only starts if exactly this device is connected
Chain noise	tells “stylus up” from “stylus in the groove”
Reference level	pops are counted relative to the measured 1 kHz level instead of a fixed −20 dBFS, so loud and quiet chains are graded alike
Speed	skip detection and comparisons look for the real revolution time
Click floor	clicks and crackle the detector finds in the silent groove; quiet-passage figures are shown above this floor
Sensitivity	detector setting for this turntable (0.5 is the calibrated point)

Re-align starts a new alignment, and the previous values stay valid until you accept the new result. Re-align after changing the stylus or cartridge, after moving the turntable, and after changing the interface.

Runs: adjust and compare

An alignment run is one setting of the turntable. Create a run with tracking force, anti-skating, VTA, stylus hours and input level (the fields start with the values of the last run, so change only what you adjusted). Record side 1 and side 2.

To try a change, create a new run, record only the side that measures it (side 2 for anti-skating), select both runs and compare them. ▲ marks the better value. Differences below 0.3 dB or 10 % are within measurement scatter.

A good order at the turntable: measure the tracking force with a gauge first, then set anti-skating on the ramp, and finally confirm with the resonance band.

Live measurement

The live measurement works without recording. Five times per second it shows the test tone, level and distortion (THD+N) per channel, the channel image and balance or crosstalk, plus the distortion trend of the last 60 seconds. It is made for the anti-skating ramp (side 2, band 1): change the anti-skating, play the band again and watch which channel crosses 3 % first.

Targets

Targets are data, not constants. A target preset defines, for each figure, what counts as ok, check and problem. Built-in presets: vinyl-check standard, DIN 45500 (literature values of the withdrawn standard), Lab strict (values measurement labs expect from very good drives) and presets with manufacturer data for individual cartridges. You can copy and edit presets under Settings → Targets and choose one per turntable profile. Findings are evaluated against the preset when they are displayed, so switching presets takes effect immediately and no new analysis is needed.

Level calibration

Chain noise (stylus up). The turntable profile does this in step 2. Outside the assistant: platter spinning, stylus raised, Calibration (stylus up), 20–30 seconds, Stop. A value louder than −65 dBFS is rejected, which usually means the stylus was down.

Recording level with a test record. The 1 kHz reference tone (side 1, band 1) should read about −20 dBFS (±4 dB). The loudest band, the anti-skating ramp at +12 dB, then still has about 8 dB of headroom, and groove noise stays well above the converter’s own noise at 24 bit. The live measurement shows ok / too loud / too quiet for the reference tone together with the value of the last run. The run comparison warns when the reference tones of two runs differ by more than 1 dB.

Recording level without a test record. Use Check level and play the loudest passage of a record. The meter must not turn red. Leave about 6 dB of headroom. A clipped recording is useless for comparisons.

Fixed-gain USB turntables. There is nothing to set. Mark the profile as fixed level.

After calibration, leave the gain alone. Both modes, record checks and alignment, use the same setting.

Your first recording

Create the record. Under Record check, search your Discogs collection or enter artist and title by hand.
Choose side, condition and speed. Condition is uncleaned, after wet cleaning, after dry cleaning or other. Add the cleaning method if you like, and a copy label (Copy 1, Copy 2) if you own the record more than once. Set 33⅓ or 45 rpm (the skip detector depends on it).
Check the level and start the recording. Lower the stylus and record the whole side, including lead-in and run-out groove. vinyl-check stops by itself once the stylus has circled three times in the run-out groove (at least 30 dB below the loudest music, after 60 seconds at the earliest). The analysis starts automatically.
Make two uncleaned recordings before cleaning. Comparing them shows how much the measurement scatters on its own, and only improvements beyond that are real.
Clean, record again, compare. See the user guide.

Checklist before every session

Every few weeks, or after any change to the turntable: play the test record again (a new run) and compare it with the last one. Re-align the profile after changing the stylus, cartridge, interface or location.