[Mike Rivers[_2_]]

On 2/9/2017 6:17 AM, wrote:
I'm talking about additinal processing in the
mastering chain that would definitely cause
an audible difference in a direct-cut Vinyl to
direct-cut CD shoot-out.

Do you want to conduct an experiment, or do you want to make a record?

Back in the heyday of Direct-to-Disk LP recordings (Eck Robertson and
Uncle Dave Macon _always_ recorded direct-to-disk), recording the
acetate master directly from the performance was a bit of a novelty. But
it was always backed up by anything that would record - analog tape,
digital tape, another disk cutting lathe. But this was before the days
of the CD, so that wasn't likely to have been a direct backup. And,
today, the A/D converters in my $300 USB interface sound better than the
PCM-to-videotape, DAT, or DASH machines that they had back in the day
anyway. Better, even, than the converters in my CD recorder that I got
in the 1990s for the same reason as John mentioned - so when running the
PA for a show, I could hand a performer a CD when he got off stage.

The thing about D-2-D projects is that there wasn't much music that
could be played straight through by the whole band or orchestra without
any edits, overdubs, re-takes, or alternate takes. Players and listeners
expected closer to perfection.

You could certainly do an experiment today if you had the facilities,
and a CD and phonograph disk playback would certainly sound different,
but which one sounds best would be subjective.



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