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In Reply to: RE: Why not just play digital files? nt posted by Tre' on September 19, 2024 at 21:18:58
don't get it. for a seemingly unknown reason, MUSIC sounds more like itself, even if it were digitally recorded to LP. Famous Blue Raincoat and Brothers in Arms for example.
the newest versions of BT are exemplary in execution also.
...regards...tr
Follow Ups:
I had a guy at Mo-Fi tell me the reason to buy their LP of Alison Krauss Live (that was recorded digital) was that "You want my mastering".
Tre'
Have Fun and Enjoy the Music
"Still Working the Problem"
there are, and have been some mastering engineers of very high skill levels with superlative judgement.
Doug Sax
Robert Ludwig
Kevin Gray
Bernie Grundman
to name just but a few. now and then, the master tape was never given its due.
...regards...tr
"there are, and have been some mastering engineers of very high skill levels with superlative judgement. "
And what's to stop them from applying that skill and judgement when they "master" the digital release?
Tre'
Have Fun and Enjoy the Music
"Still Working the Problem"
the transcends the so-called perfection of digital. even with hi-rez files, there is a missing life-force factor in the sound. phono or tape just has a feeling of rightness, relaxation, and satisfaction missing from CD or streaming playback.
yes, digital mastering is a special skill and not the same as for vinyl. the closest I hear is SACDs made from analog master tape. and I was an early adopter of SACD and was greatly disappointed in Sony/Philips for not properly supporting the commercial product.
...regards...tr
"digital mastering is a special skill and not the same as for vinyl"
You just said a mouth full.
Mastering use to mean one thing but now it means something else.
In the old days the mastering engineer had one job, to make the LP sound as much like the master tape as possible. This is not an easy task. There is sonic degradation evolved in the process of cutting the lacquer, platting the lacquer and eventually pressing the vinyl record. A mastering engineer needed to know his equipment well and understand what those sonic losses will be. He needed to compensate for them to minimize their effect and have the final product (the record) sound as much like the master tape as possible. He was a guy in a white lab coat and not part of the creative team.
Then guys like Doug Sax came along and said that they could make the record "sound better" than the master tape. I call this "sweetening". The final tweaking of compression, EQ, etc. to "polish" the mix. So guys like Doug were doing this in addition to the actual mastering required when making LPs.
Mastering for digital (because there is no sonic degradation evolved in the process of copying a digital file to a digital file) is just the "sweetening"/"final polishing" part.
Tre'
Have Fun and Enjoy the Music
"Still Working the Problem"
it was that simple. i have heard Kevin Gray speak on this subject and it ISN'T.
...regards...tr
My post was intended to just be an overview.
Tre'
Have Fun and Enjoy the Music
"Still Working the Problem"
Sorry, I just could not resist asking the question from a long-time telephone collector. :> }
Later Gator,
Dave
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