MINe 109 wrote:
In article ,
Steven Sullivan wrote:

Jenn wrote:
And yet, to my ears, the best LPs surpass CDs in their reproduction of
acoustic music.


That's too bad for you, given how much easier it is to find works on CD than
LP these days.
But in any case, you do realize that this is all you'll ever be able to say,
right? IT's the
answer you always end up giving, no matter how much about digital to analog
is explained to
you. It's no sort of *rejoinder*, it's simply a statement of preference that
says as much, or
more, about YOU as it does about the formats. If you think LPs sound better
than their CD
counterparts, but still want to hear 'LP sound' on CD, I suggest you
carefully record your LPs
to CD. That way the euphonic distortions you're enjoying so much,a nd which
are missing on
well-made digital recordings, will be rendered in an exremely faithful, yet
far more
convenient and damage-proof, format.

I hope you sneered as you wrote that. I don't remember you being such a
bully-boy. Maybe there's something about Jenn that encourages your
brutal propensities.

*You* hope I sneered, but *I'm* the brutal one? Amazing. It's like you guys don't
even read what you write sometimes.

As for Jenn, she's been posting her 'it doesn't matter what you say, I HEAR IT' non-argument
for months on rahe.

"Best LPs" is not "all LPs." And, fortunately for classical musicians, there is still an
enormous number of little-worn classical lps out there, many of recordings that will never
receive a proper cd release.


"Best LPs' is just another subjective call, unless there's some objective yardstick. But
certainly my suggestion applies just as well to vinyl or shellac or wax cylinder that has yet
to be released on CD. Go for it.


As for archiving LPs, why limit yourself to CD format? Get an Alesis Masterlink or similar
device, encode at 24/88.2 or 24/96 and enjoy all those overtones that can fit on LP but not
on CD.

As for 'overtones' beyond 20 kHz -- 1) what evidence have you that you
can *hear* them 2) what evidence have you LP would reproduce them *accurately* and without
significant distortion and 3) what
makes you think they'd remain that way after one or two passes of a stylus?

Btw, you don't need an Alesis Masterlink to do excellent recording at higher sampling rates
and bit depths than Redbook. A $150 M-Audio soundcard will do. Higher bitdepths are useful
to prevent audible errors if you plan to do digital cleanup of the messy LP, while higher
sampling rates are simply pointless for this application, though they can be useful if you
suspect that antialiasing filters of your Redbook chain are introducing audible artifacts.
But then you'll need something that can play back at the higher sampling rate..