Quote:
Originally Posted by cswright
I came in here looking for this...... Sigh mine does it across all of disc C
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Then the copy is defective (seems a lot of people have various defects with this album, especially labelling) and should be returned/replaced.
CDs used to have defective pressings too, but not as often.
Quote:
Originally Posted by Lorentzen
We should create a thread in the correct forum, where all the vinyl masters can teach all of us a thing or two - I have a lot of cool records that I love to listen to (incl. BTCS) but I can't really REALLY tell the difference between a CD and vinyl which could have been nice because I'd appreciate it even more
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Well you do need the proper equipment. You can sometimes find a local audio store (like the one I was talking about earlier) which has demo equipment where you can bring in your vinyl or CDs or what have you and give them a listen to get a 'reference point'.
However, if the vinyl copy has been pressed from a CD-quality digital master then you might as well be listening to the CD IMHO. It defeats the main purpose of getting it in this format and isn't worth the effort.
I know Lillywhite used to love his analog tape and so the 'core 3' albums would have been recorded on tape. Stephen Harris was probably the same way (Busted Stuff). Glen Ballard would've probably done Some Devil and Everyday in some kind of digital, it sounds like it. Stand Up was in digital but who cares, and BW is more than likely in some kind of digital format.
The great thing about analog tape is that it should retain every detail you're recording instead of sampling it into digital as was explained on page 1. If you go straight from a tape to an LP with no digital conversion in the lathe then you've theoretically preserved as much as possible. Dave Frusciante is a big analog proponent and so all their stuff is recorded to tape -- pick up Stadium Arcadium on vinyl to hear the difference between the 'loud' CD.
So if you get BW on vinyl you're probably getting (SHOULD, hopefully be getting) the 24-bit 96kHz/192kHz master copy played back through the cutting lathe. This would give an obvious sonic advantage over 16/44.1 CDs and is still acceptable -- most 'new' releases you buy on LP would be the same thing, hi-res digital converted to analog. Personally I'm a fan of keeping it all on tape as much as possible.
Quote:
Originally Posted by bigredjeff
i have a question i hope one of you can answer - some of the vinyl I have sounds "fuzzy" on my system, i.e. seems like there's some distortion/fuzz, esp on the vocals. BWGK suffered from this (as did Umphrey's McGee's LPs), but the 40 yr old Aretha Franklin LP i was listening to yesterday had no such issues, nor did the re-issue of Siamese Dream or VU's Loaded, which sounded fantastic.
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Are you hearing it near the end of a side?