CDs, Vinyl, High-Res files, Oh My.

^^ I would not be surprised to find out the LP was mastered at United. While they can do fine pressings, their mastering tends to be lifeless and bass-free.

When I was mixing a project from analog tape for CD, I found I had to be careful- on the tape things like ambient effects would be too loud, but on the CD they would be hardly audible. It made it really tricky to do the mix! The bass was different too. I don't like that aspect of digital- I like the 'you get what you hear' thing- makes mixing a lot easier...
 
Audioseduction said:
Robert Dennard was the inventor of ram: random access memory, the device was patented in 1968 by Dennard. Jay Forrester was a pioneer in early digital computer development and invented random-access, coincident-current magnetic storage.
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George, is this your style of humor?? Very odd, if otherwise as it's not related to the topic.
 
I think the industry, much to our chagrin, might be hesitant when releasing a digital Master file to the public. Otherwise we could EQ and create our own versions and pass around the EQ'd version (for free) as part of fair use. (i.e. I can take a picture of a famous and valuable painting and share it with you with no recourse of copyright.)

I would be excited and surprised that any of these digital files are the identical copies of the masterfile.
 
atmasphere said:
^^ I would not be surprised to find out the LP was mastered at United. While they can do fine pressings, their mastering tends to be lifeless and bass-free.

When I was mixing a project from analog tape for CD, I found I had to be careful- on the tape things like ambient effects would be too loud, but on the CD they would be hardly audible. It made it really tricky to do the mix! The bass was different too. I don't like that aspect of digital- I like the 'you get what you hear' thing- makes mixing a lot easier...
Click to expand...

Yes, I have found that I need to be careful even when making a CD copy of a vinyl LP too and with similar concerns. I spend about 30 to 45 minutes just running through my editing, checking and adjusting EQ if needed, levels, dealing with ambient noise, you name it. In fact on initial transfer I found it best to drop levels to below "0" and then do all the leveling work (bringing them up) in editing. It's easier to raise levels than it is to deal with clipping or subtle artifacts you don't hear until your ready to finalize or worse, after you finalize. If a level is just subtly high on a few seconds in one track the whole thing is a miss and you will not detect it while monitoring the transfer. Takes extra time, but worth it for a good transfer. It just comes with the fact that analog and digital are mutually exclusive worlds. What amazes me is that many record companies and such trying to just push vinyl units out the door don't seem to know or care about that which explains the bad sounding vinyl pressings we run into time to time. It's like they just think they are copying a vinyl record to cassette (analog to analog). I do miss those days when all I had to worry about was the input level.
On the other hand, the work is worth it when you want a portable version of an LP that sounds better than the store-bought CD.
 
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