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originally posted by: Flyingclaydisk
a reply to: DictionaryOfExcuses
Just like a synthesizer will never replicate a symphony orchestra, regardless of how many stored routines it has, regardless of how many thousands more 'instruments' it might be able to imitate, regardless of anything.
Digital will always be a 'fraction' of analog.
Again, it's just pure math and physics. (think about it).
(and I work in electronics, very high end electronics).
P.S. - Anything outside of the wave form will be noise. Anything inside the wave form will be lost fidelity / bandwidth. It's like calculus, digital is just approximating a curve, just like we do with binary mathematics.
originally posted by: Flyingclaydisk
a reply to: madmac5150
Great album, but still way better on 24 track analog tape than it ever will be on some digital media.
In fact, still better on vinyl, than it ever will be on digital media.
Sibilance, the high-frequency noise burst that you get when the letters s, f, and t are emphasized, is a major issue that mastering engineers encounter. “Problematic sibilants typically fall in the 6 to 12 kHz range
“It's something I'm always aware of when I'm mastering a CD, because I often cut a vinyl master of the same project. But when I get something that's already been mastered, and we're doing a straight cut from that master, I'll watch the high end. I try to cut it as flat as possible, without causing any distortion. If I have to do any high-frequency limiting, I let the artist know and see how much we can get away with on this end before we ask someone to change their mix or remaster it
“Some vocalists learn to underpronounce the sibilant sound — that makes all of our jobs much easier,”
Make the bass mono when mixing for vinyl. Always and absolutely. With bass I don’t only mean the bassline. I mean all low frequencies – the bassline, the low end of your drums, percussion, any bassy effects, etc. No panning, no stereo effects. Make it mono.
With stereo bass content the needle has to do big vertical movements which easily results in skips. Also the record will have to be cut quieter.
While mixing, use m/s monitoring and a spectrum analyzer to spot any low frequency stereo content. Put special attention to any percussive sounds, bass stabs, bass guitar and such.
Has digital recording improved the frequency response of music, has it improved music in general...or has it degraded it??
and has a fuller sound.
originally posted by: Klassified
a reply to: Flyingclaydisk
Lets be honest here. Nothing can truly duplicate the original sound. It can only be copied.
Analog recording media has always sucked, and it still does. As much as I love the subtle crackles and pops of a virgin vinyl record, it sucks as a sound reproduction medium. Tape, as much as I love it, has its flaws too(hiss and stretching among others), but it's probably the closest approximation to the the original sound you're going to get with the analog medium.
The digital medium has the potential to be the best medium for sound reproduction ever. You know as well as I do, the only reason you can hear any difference between a properly done digital recording and an analog one, is because the digital recording is too clean, and because the present digital recording strategy is limited in its ability to pick up nuance and "ambiance", and even that statement is debatable. There are other factors, but I will leave it at that.
If I make two recordings, one digital and one open reel tape at say 15ips, and introduce the inherent tape imperfections into the digital recording, I'd bet money you won't know which is which. Audiophiles are usually audiofools. No offense intended to anyone in the thread.
This debate is old and has been had ad infinitum by people in the industry smarter than you and I put together. Listening to them makes my head hurt.
I have noticed that the response from digital amps is strange, I cant get them to interact with the guitar in the same way as an old clunker with a bunch tubes powering it.