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At its best anyone think....

Discussion in 'audio' started by Tim F, Oct 7, 2018.


    YNWOAN 100% Analogue

    “Perfect sound forever” - isn’t that true?
  2. serendipitydawg

    serendipitydawg Dag nabbit!

    I don't think digital mixing was possible in those far off days
  3. john & Jake

    john & Jake Jake was smarter than me

    I would be willing to bet that my Marantz CD player would be beaten on sound quality by a Rega turntable in a similar price bracket.
    It's not the cost of the Turntable necessarily but the simplicity of the LP playback versus the complexity of the CD chain.
    With all the processes of CD manufacture and then the playback, the music doesn't stand much of a chance.
    Bouncing a laser off a shiny pit and measuring how much doesn't get scattered to the four winds is not a serious way to listen to music.
  4. Ian M

    Ian M pfm Member

    You’re right. I omitted to say that you you be comparing your turntable with a proper digital source, not CD.
  5. duckworp

    duckworp pfm Member

    When a mastering engineer creates a master the vinyl and digital master are not noticeably different. If an overly compressed master lacking in dynamic range is created it will be created for both vinyl and CD. If anything the vinyl master will be more limited due to the inherent relative physical weaknesses of the format (reduced dynamic range, reduced bass potential at 33rpm). A vinyl master will be prepared digitally on pro-tools and be based on the digital master. The only exception is when a vinyl reissue occurs with no associated digital release. But still, the last used digital master will still be the source.

    Don’t forget The Loudness Wars began in the analogue era, back in the 60s when mastering engineers were encouraged to make a track louder to stand out on the juke box and the radio, though digital studio techniques made it more possible to push the process to the extremes we hear now.
  6. darrenyeats

    darrenyeats pfm Member

    With sincere respect to Werner, from a same low-DR final mix the vinyl version will not only score better in DR and look more dynamic (yes this can be explained with an all-pass filter) but it sounds IMHO more dynamic too (cannot be explained with an all-pass filter).

    As I've written before, if something looks, measures AND sounds more dynamic, then it does suggest something substantial (but not necessarily all positive) is happening during the transfer to plus playback of vinyl. And, honest question, what other indicators should we use?

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