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RE: Is MoFi and the likes

Posted by flood2 (A) on April 16, 2025 at 14:14:24

In Reply to: RE: Is MoFi and the likes posted by Goober58 on April 16, 2025 at 11:48:08:

Yes, I am saying that the digital file is identical in that specific case - AP produced an SACD at the same time as the UHQR. That digital file is the one used by Ume for the standard 33rpm reissue.

"Remastering" doesn't necessarily mean that anything actually changes - take the Classic Records reissue of Kind of Blue by Bernie Grundman. The story goes that apart from pitch correcting the first side, Bernie pretty much did a straight transfer without EQ because the tapes were in such excellent condition and the brief was to give an experience as close to the Master as possible.
AP acquired the metal work from Classic Records when they bought it out so, from Chad's own mouth, the AP 2x45rpm UHQR and 33rpm UHQR are identical to the Classic Records "remastering". Any differences you might hear between the two editions are down to the mechanical anomalies that get transferred during the new 33rpm cut, plating/stamper duplication, QRP pressing quality and playback equipment. Each lacquer cut is in itself a unique sonic experience because the lathe rotation speed stability, the tape wow/flutter are all subtly variable. When you playback a digital file it is reproducing exactly the conditions at the time of the transfer.

The Impex reissue of Getz/Gilberto has the same dropouts and blemishes as the AP version because that it is the state of the master. For me personally, I don't find that acceptable to listen to or pay for if I can enjoy a blemish free version on an earlier edition. I also don't appreciate hearing tape wow. I wish the Plangent process was applied to a digital transfer. To each their own though.

The Tone Poet reissue of John Coltrane Blue Train is the same master for the digital release and the TonePoet vinyl - I compared the two and the dynamic range and frequency response are identical. No additional compression was used for the digital release and the peak level was well below FS. So playing the Tone Poet vinyl edition is just a more troublesome way of playing the CD IMO!

LP is the most lossy - don't forget that as the groove radius decreases, the HF output is rolled off due to the groove wavelengths decreasing. Most styli are oversized and can't trace the inner grooves accurately - the SLC is 7um, the Ortofon Fine Line is 8um, FG/Replicant is 5um, Shibata 6um. You need 5um or less to trace 20kHz on the inner grooves and even finer as the amplitude goes up. So the Ogura PF 3um or MicroLine are the only two that meet that requirement.
That's even before you factor in alignment issues, antiskate problems, azimuth problems, vibrations and everything adding distortion to the signal.

45 rpm would sound better overall partly because of the higher rotational speed improves the HF retrieval with the normal styli in common use and secondly because the higher rotational speed reduces the distortion due to tracking error by a factor of 1.35 which improves phase consistency between channels and therefore better sonic imaging. The subjective improvement in the bass is possibly also related to the bearing rumble shifting up in frequency and potentially being masked more by the signal being played. Interestingly I have read an interview with some (pop) cutting engineers from The Exchange (in an article in HFNRR) who said they preferred the sound of 33 and thought it had a better bottom end. They would cut at both speeds and let the client decide for themselves. I don't take their opinion seriously .....

CDs sound like s@#$ if they have been poorly mastered which many are unfortunately. An incredible number from the 80s, 90s and early 2000s all have clipped waveforms because the morons mastering them set the gain to hit 0dB even before they start compressing the hell out of the master.

Regards Anthony

"Beauty is Truth, Truth Beauty.." Keats

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