One does not have to invoke digital jitter in this case to have differences: the two recording paths were totally different. Different microphones, the first path was totally digital, the second was analogue recorded to tape, then replayed for digitisation for the CD master. I would have been staggered if they sounded identical; the tape manipulation would have added a whole lot of distor..., sorry, analogue warmth to the sound. No chance for sounding identical ...
One does not have to invoke digital jitter in this case to have differences: the two recording paths were totally different. Different microphones, the first path was totally digital, the second was analogue recorded to tape, then replayed for digitisation for the CD master. I would have been staggered if they sounded identical; the tape manipulation would have added a whole lot of distor..., sorry, analogue warmth to the sound. No chance for sounding identical ...
I understand Frank I was pointing out that everything from stem to stern has an impact. And most don't think about the production quality; their thinking stops with the mastering and it's all the same after that point in time.
There's issues at every step in the recording and producing of an LP/CD. For CDs, even the plant the disc was pressed at makes a huge difference. Jitter is easily introduced even at the manufacturing level. And many times, you can't assume that all the discs of a given recordings are pressed at the same plant.
Yes - I've listened to enough CD test pressings at Winston Ma's to know this. You'd think that bits are bits (and so did I) but it seems not. The reason FIM CDs sound so good is the obsessive attention to detail to every single step of the process. Even within a plant, one pressing machine can deliver CDs that differ from another "identical" machine.
Yes - I've listened to enough CD test pressings at Winston Ma's to know this. You'd think that bits are bits (and so did I) but it seems not. The reason FIM CDs sound so good is the obsessive attention to detail to every single step of the process. Even within a plant, one pressing machine can deliver CDs that differ from another "identical" machine.
The simple answer is that the better quality disks are easier to read than others, the transport doesn't have work as hard electrically to pick up the "bits", less disturbed power supplies, less interference of the mains and level of RF, the effects ripple out like those from the proverbial stone dropped in the pond ...
I always think that I have achieved my objective when the audience forgets about the gear and listens to the music. Not the smartest thing to do as a manufacturer, but I'm a music lover first.
I'm sure that September is too long to wait. I'm trying to confirm a Genesis event during the opening event for Angie's new store - which has been "opening soon" for the last 3 months!
I'm sure that September is too long to wait. I'm trying to confirm a Genesis event during the opening event for Angie's new store - which has been "opening soon" for the last 3 months!
I know. Glad she's changing the site as it was horrific (IMO), but hey who am I to say. If you do arrange this, will you let me know? I'd love to be there!.
I was pointing out that everything from stem to stern has an impact. And most don't think about the production quality; their thinking stops with the mastering and it's all the same after that point in time.
