If you want to see in the form of graphs why the LP sounds better, you can try this software recording analyser.
http://www.lts.a.se/lts/masvis It shows you in graphs how the recording engineer and mostly the mastering engineers have done their job. It's interesting to compare different releases of famous and well known recordings, and what's happened over time. Bo-Erik On 15 Sep 2016 10:13, "David Pickett" <d...@fugato.com> wrote: What we are seeing is that large companies, who in the past would not have paid royalties to make a Soundfield type of microphone, which might have supported development of Ambisonics, are now jumping on the band-waggon of VR because they hope that there may be big money in it. I suppose also that the people in those companies who had a "not invented here and therefore a waste of time" attitude have now retired and corporate memory has forgotten the 1970s. One does not need to be a conspiracy theorist to see that "big audio business" ensured that Ambisonics went to the wall, and is now trying to make money out of it. With hindsight, one can see that it was the same with the analog/digital transition. In 1982, aided by poor quality control of LP manufacturing, the CD was supposed to provide "perfect sound forever"; and nowadays companies are trying to sell punters yet another incarnation of "Kind of Blue" and other classics in both hi-res AND expensive vinyl formats. It has been a salutary experience for me in the past year to buy musty-smelling LPs, manufactured in the 1960s, from second hand record stores at knock down prices of around 2 pounds (or 3 EUR) and to discover that they play on my old Thorens TD124 WITHOUT pops, clicks and crackles, and with a sound quality that is as good as, and in some cases, audibly better than the CD or Bluray-Audio reissues of the same recordings. David At 09:17 15-09-16, Dave Malham wrote: >Looks like this is going to be pushed at the AES LA show in a couple of >weeks - they have a nice picture of it in an advert in the newsletter >that's come out about the show. So, that means (at least) four commercial >sources of soundfield type mics now - only 41 years after I saw my very >first one at the London AES in 1975. > > Dave > > >-- > >As of 1st October 2012, I have retired from the University. > >These are my own views and may or may not be shared by the University > >Dave Malham >Honorary Fellow, Department of Music >The University of York >York YO10 5DD >UK > >'Ambisonics - Component Imaging for Audio' >-------------- next part -------------- >An HTML attachment was scrubbed... >URL: ><https://mail.music.vt.edu/mailman/private/sursound/attachments/201609 >15/739f611f/attachment.html> >_______________________________________________ >Sursound mailing list >Sursound@music.vt.edu >https://mail.music.vt.edu/mailman/listinfo/sursound - unsubscribe >here, edit account or options, view archives and so on. _______________________________________________ Sursound mailing list Sursound@music.vt.edu https://mail.music.vt.edu/mailman/listinfo/sursound - unsubscribe here, edit account or options, view archives and so on. -------------- next part -------------- An HTML attachment was scrubbed... URL: <https://mail.music.vt.edu/mailman/private/sursound/attachments/20160915/d066e845/attachment.html> _______________________________________________ Sursound mailing list Sursound@music.vt.edu https://mail.music.vt.edu/mailman/listinfo/sursound - unsubscribe here, edit account or options, view archives and so on.
