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Upsamplers, DACs, jitter, shakes and analogue withdrawals, this is it.

Hmmm...

Let's be tactful, and say that the gold/polyolefin "appeared" to convey a greater amount of detail.

I made gold CDs of Arturo Delmoni's "Songs My Mother Taught Me," and I treated 50 of those to cryogenic processing, and they sounded so good. I never had the money to do polyolefin. Which was IIRC like $3.65 per pressed CD, as opposed to 65 cents for aluminum/polycarb. Or IIRC $1.60 for poly Gold.

Back in the day, I did that 3-CD demo many times, at times for important music business personages... and the funniest reaction was when one immensely important music biz person, on blind listening, definitely preferred the aluminum/polycarb.

I asked him why he preferred that, and he deadpanned "Because it put me farther away from the music"(which he obviously had not been grooving on).

My lips are sealed; it would be a low blow to the producer and the artist and the engineer to name them.

Gold has a unique atomic composition--its outer ring of electrons has a gap in it that forms a perfect resonant trap for the frequency of the photons of Cobalt Blue light, so: the color Gold is "White Light minus Cobalt Blue."

It is also the case that gold is uniquely ductile. You can hammer out a 1-inch cube of gold, and it will cover a football field--very thinly.

It's the ductility of gold that enables it to "wrap" more closely around the rims or brinks of the pits in a CD. In comparison, aluminum is more like icicles, with spurs hanging over into space rather than conforming to the plastic substrate.

The thing about polyolefin is that it has a lower modulus of elasticity with a different Q factor, and so it has superior self-damping, and therefore it "flutters" less as it spins, and therefore needs less help from the Laser Read Correction circuitry.

amb,

jm



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