ruffrecords said:I am not sure what to make of this article. A lot of what he says is true. The only debatable part is why the cut in bass. The only obvious error I found was in his misunderstanding of the RIAA curves.
Cheers
Ian
Ding ding ding we have a winner.... I think I addressed this back in the '80s (in my audio mythology column) when people were complaining about "harsh" early CDs where many were rushed out without any sweetening or consideration for the flatter path, just printed from existing master tapes.pucho812 said:It all has to do with the low end requirements needed to cut vinyl properly and that a huge portion of "pre 1991" cd's were made from masters that were originally eq'd for vinyl.
Several vinyl recordings owe their popularity to being difficult and capable of showcasing a system (1812 overture comes to mind).... 8)Remember "Music fans use their equipment to listen to your music; audiophiles use your music to listen to their equipment." - old truism
JohnRoberts said:Several vinyl recordings owe their popularity to being difficult and capable of showcasing a system (1812 overture comes to mind).... 8)
JR
Actually it's too much left-only, or right-only bass modulation that is a tracking issue, but center panned mono bass is less problematic. Some vinyl cutting lathes have an inductor shorting L and R channels together to force mono at low frequencies. Digital media has no such concerns and arbitrarily wide frequency response.pucho812 said:too much of the boom and the needle jumps off the vinyl...
It's really poorly correlated bass that makes the needle jump out; mono bass results in lateral excursion only, out-of-phase bass results in vertical excursion only. Excessive vertical amplitude may result in zero-depth of the groove, so the needle just goes anywhere (generally to the center, due to centripetal force).JohnRoberts said:Actually it's too much left-only, or right-only bass modulation that is a tracking issue, but center panned mono bass is less problematic.
Commonly known in Europe as "elliptical EQ", because it was monitored on an X-Y scope, showing a beautiful 45° (NE-SW) Lissajous when things were "right".Some vinyl cutting lathes have an inductor shorting L and R channels together to force mono at low frequencies.
While Neumann was working on the concept in the 1950's,abbey road d enfer said:A major improvement occured when Neumann and Studer worked out the preview head system, where the pitch was "predicted" by analysing the signal coming from the sync (record) head before the actual repro signal hit the cutting head. That way, loud passages had a larger pitch than quieter ones, often permitting 25-30% more content.
Look ahead is always useful for managing dynamics.gridcurrent said:While Neumann was working on the concept in the 1950's,
Larry Scully is usually credited for the achievement, which RCA Victor and Columbia quickly adopted.
You can read about it in the December 1956 edition of "High Fidelity Magazine".
Studer was a late comer to the preview tape machine party.
emrr said:Central point is the growing group of hifi audio nuts who think music spectral content should look like pink noise, and are re-EQing ('de-mastering' as the call it) to that curve with 'breathtaking' result. No apparent interest in studying tue reality of music production.
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