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Ursprungligen postat av
Oakenshield
Bara väntade på ett dylikt svar. Om du hade någon kredibilitet från början så försvann den genast exakt där. Och mig behöver du inte lära någonting om A/D-resolution. Det går inte att gravera djupa basfrekvenser på en LP?? Galenskaperna har tydligen inte något slut...
Jag förstår inte folk som har ett behov av att argumentera mot fakta. Det enda du gör när du argumenterar mot fakta är att outa dig själv som knäppgök.
CD-skivan har mycket bättre ljudkvalitet än en LP. Detta är fakta. CD-skivan är faktiskt det musikdistributionsformat som haft någon större spridning som haft bäst ljudkvalitet hittills. Den har avsevärt bättre ljudkvalitet än sin föregångare LP-skivan och bättre ljudkvalitet än sin efterföljare, streamingtjänsten.
Och alla som tycker att digitalt är skit och har köpt någon nyare LP kan ju känna sig blåsta, då ingen studio har använt analog inspelningsteknik på decennier, så innehållet på en LP-skiva tillverkad de senaste årtiondena är en försämrad mastering av den digitala inspelningen.
Avslutningsvis kan du få några citat från kända musikproducenter om övergången från LP till CD från en
artikel som enkelt kan hittas med sökmotor.:
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When [Bob] Clearmountain mixed vinyl albums for Columbia Records, he says the label required the test pressing of each LP to play on an old, cheap turntable without skipping, or it would have to be mixed again. Too much bass in one speaker could make the needle skip out of the groove, as would too much sibilance — a harsh “s” — in a singer's voice.
Clearmountain says that when he heard the vinyl test pressings of the albums he'd worked on in the studio, he always felt the same way: depressed.
“I'd just listen and go: 'Jesus, after all that work, that's all I get?' It was sort of a percentage of what we did in the studio,” he says. “All that work and trying to make everything sound so good, and the vinyl just wasn't as good.”
Not only did records provide only a sliver of what he'd done in the studio but they also came with plenty of sounds that hadn't been there in the first place: ticks and pops.
“If you're a musician like Bob and I,” Ludwig says, “and you get to do a mix and you listen to it and you love the way it sounds, and then it's transferred to vinyl and suddenly it's got noise and ticks and pops, for me that's an extremely unmusical event.”
“The great thing for me about digital, about CDs, was that I could do things that I could never do for a vinyl record.”
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Scott Metcalfe, director of recording arts and sciences at the Peabody Conservatory of Johns Hopkins University, says the move to CDs was especially beneficial for reproducing classical recordings.
“Really in every way measurable, the digital formats are going to exceed analog in dynamic range, meaning the distance between how loud and how soft,” he says. “In the classical world, [that means] getting really quiet music that isn't obscured by the pops and clicks of vinyl or just the noise floor of the friction of the stylus against the [LP] itself.”
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“I think some people interpret the lack of top end [on vinyl] and interpret an analog type of distortion as warmth,” says Jim Anderson, a Grammy-winning recording engineer and professor at New York University's Clive Davis Institute of Recorded Music. “It's a misinterpretation of it. But if they like it, they like it. That's fine.”
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Ben Blackwell, head of vinyl operations at Jack White's Third Man Records in Nashville, says that he thinks some people prefer vinyl because it tells the world something about who they are. “It's like the kid walking around with a copy of The Catcher in the Rye in his back pocket,” he says. “Does he really connect with it or does he think it's making a statement?”
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“Every way you can measure it, digital is going to be superior,” Metcalfe says. “It really does come down to the preference of the end user.”
Or, as Kees Immink says: “Some people like marmalade and some people like mustard. If people like to listen to vinyl, do so, enjoy life. But don't say that the sound is better.”
