JezA;442987 Wrote: 
> If you were trying to reproduce a photograph that had originally been
> taken on a not very good camera, would you use another not very good
> camera, or would you get a better result using the best optics you can?
I'd use a camera that was good enough. To continue your analogy,
transferring vinyl LPs to digital is like making a copy of a photo in a
newspaper. A standard 35mm SLR with a decent lens is more than adequate.
Recording vinyl LPs at 24/96 is akin to using a Hasselblad medium format
- it's unnecessary and adds nothing.

JezA;442987 Wrote: 
> There are some very fine recording engineers, such as Doug Sax, who
> would disagree with you about the superiority of red book cd vs
> analogue. http://www.airshowmastering.com/newsimg/1.pdf
I never claimed redbook is superior to top-end analogue (eg. high speed
1/2 track tape). As far as I can tell from the article you reference,
that's what Doug Sax is talking about. But we're discussing transferring
vinyl LPs here, not 30ips master tapes.

Robin Bowes;442997 Wrote: 
> JezA wrote:
> 
> > BTW, cliveb, just as you argue that other people hear what they want
> to
> > hear, perhaps it is also true that you don't hear what you don't want
> to
> > hear!
> 
> Absolutely, which further demonstrates the value of DBT.
I am acutely aware that my own expectations that I won't hear a
difference could be just as destructive as someone else's expectation
that they will. I've said as much on previous occasions on this forum.
That said, I like to feel that the first time I did a listening
comparison between 16/44 and 24/96 recordings of an LP I had an open
mind.

Of course, for the skeptic who isn't expecting to hear a difference, a
DBT doesn't help - their expectation of no difference will survive the
constraints of a DBT.


-- 
cliveb

Transporter -> ATC SCM100A
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