To me digital sounds «antiseptic «
To me digital sounds «antiseptic «
with digital there is the antiseptic aspect which is the default for most digital. one solution is to graft on a tube output stage....many choose this route. and there are degrees of that approach and degrees of coloration.I would agree when it comes to some -- not all -- streaming.
At audio shows digital often sounds like that, too.
It is impossible for me to imagine how the term would apply to my CD playback.
and even staying away from streaming and files and sticking with discs seems to be more natural tonality friendly without breaking the bank. more meat on the bones.
so throwing around generalized labels misses the mark.
but agree at it's base level it has antiseptic artifacts.
To me digital sounds «antiseptic «
I would agree when it comes to some -- not all -- streaming.
At audio shows digital often sounds like that, too.
Did you forget the miseries we listened from vinyl in shows before digital? No one would dare to play a non audiophile recording, any other pressings were terrible.
Yes it sounds good but it is only speech. There are many other examples of good recording quality on CD.I agree CD playback has a sound to it that I find unnatural but some streaming releases like this one sound quite natural:
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I too "discovered" this recently on Vinyl! Despite its old recording (as far i know first stereo), but sound like new equipment!I listened to Siegfried (Solti Ring cycle) on 4-track tapes over the past three nights. Just incredible sound and music. It does not make you think about audiophile stuff, just the music.
I listened to Siegfried (Solti Ring cycle) on 4-track tapes over the past three nights. Just incredible sound and music. It does not make you think about audiophile stuff, just the music.
Some people argue that the origin LPs released by RCA Living Stereo, Mercury Living Presence, Decca SXL, EMI (HMV and Columbia) are superior to any of the subsequent reissues, and this is reflected by how much some collectors are willing to pay for these titles. If this is the case, the 4-track (and 2-track for the older titles) are often superior to the original LPs, but usually at a fraction of the price. The original EMI Andre Cluytens Ravel set of 4 LPs in good condition are now going for more than £1000, whereas the individual tapes can be found for around US$20 each. The Beethoven violin concerto with Oistrakh and Cluytens now go for more than £1000 in good condition, whereas I found an NOS, still sealed copy of the four track tape, issued at the same time, for $100. In my experience, RCA and Everest tapes have the highest quality, but I have been impressed with the DGG tapes from the 1960s and how much better they sound compared to the original LPs. If you like the original RCA shaded dog sound, the tapes will give you that sound without the noise, distortion and compression of the LPs. The Everest tapes are at an entirely different level compared to the original LPs. And you can be reassured that the entire production chain was in analogue, and with all tube equipment ! In my experience, these tapes are often the best commercially available version of their respective recordings, unless you can get hold of a master tape copy. Commercial 2-track tapes are another level higher, since these were produced in far smaller quantities and can be astoundingly good. The tape I am showing here, which I bought for $15, is one of the best recordings I have in my collection, even taking into consideration the 300-odd titles in master tape copies.Can I ask why 4-track tapes?

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