Stimmt es, dass CDs nicht so gut klingen wie Vinyl?
Wenn das Ihr Geschmack ist, auf jeden Fall. Schallplatten sind wie eine rosarote Brille, die das Leben schöner erscheinen lässt, oder wie ein Sepia-Ton, der Ihren Schnappschuss "alt" aussehen lässt.
Wenn Sie das mögen, dann herzlichen Glückwunsch.
Wenn Sie hören wollen, wie die Musik ursprünglich geklungen hat - wie sie aufgenommen wurde (auf digitalen Bandgeräten seit 1975 oder so), wie sie von den Künstlern und dem Aufnahmetechniker angehört und von ihnen für die Veröffentlichung freigegeben wurde - dann ist die Vinylaufnahme natürlich objektiv, nun ja, "anders".
Lesen Sie diesen Artikel von einem Vinyl-Fan, wie sehr der Klang manipuliert werden muss, damit er in die Grenzen der Schallplatte passt. Bass-Kompression. De-Essing, um Zischlaute zu vermeiden. RIAA-Kurve.
Vinyl 101: How to Prepare Your Audio for Vinyl
Releasing an album on vinyl has become nearly essential for many bands these days. But it’s not just a matter of cutting your digital files straight to an LP. From a technical standpoint, all digital music is the same – a string of ones and zeros. Vinyl is a different beast, with some limitations that are inherent to the medium. Mastering your music for vinyl involves preparing the audio to avoid potential pitfalls, while maximizing what an analog LP does best – creating warm, natural, and realistic sounding music. The Basics A vinyl record is a plastic plate containing a single continuous groove that produces sound when tracked by a turntable needle. Every sound wave in your music – every vocal note and every drum hit – is represented by a microscopic squiggle inside the record’s groove. To accurately track and reproduce all those complex sounds is an astonishingly difficult physical feat. By the 1950s audio engineers had developed some clever tricks and workarounds to make this process a little easier, thereby delivering the full audible range of sound while maximizing the time per record side – hence the term LP, which stands for long-play. Those same processes developed more than half a century ago have become the industry standard for producing great-sounding records. Microscopic close up of record grooves by Tbraunstein, licensed under CC BY-SA 3.0, from Wikimedia Commons Deep Dive Into the Groove The range of audible sound goes from a low frequency of 20Hz up to about 20,000Hz (or 20kHz. Since vinyl has a frequency response from 7Hz to 50kHz and beyond, along with more than 75dB of dynamic range, you can be sure that your music will be accurately reproduced on your LP. That said, the physical limitations of the vinyl medium must be taken into consideration – the first of which is time. There’s only so much space on a record’s surface. Bass frequencies and volume level are two things that can eat up valuable vinyl real estate. That’s because a record groove is a literal recreation – an analog – of a sound wave carved into vinyl. Louder sounds are cut deeper, causing their grooves to become simultaneously wider as well. Wider grooves need more room on a record. The lower the frequency of a sound, like that killer bass track, the farther out the groove swings from side to side. The farther a groove swings out, the more space it requires in order to avoid crashing into the adjacent grooves. Ultimately, the more space the grooves occupy, the shorter the record. Physical space isn’t vinyl’s only limitation. A turntable’s stylus has to be able to accurately track within the groove. While it’s relatively easy for a stylus to follow the gentle, sweeping curve of bass frequencies, higher frequencies are translated into smaller, tighter curves. Think of a highway running through gently rolling hills – cruising along at high speeds is easy. Now imagine trying to maintain that speed on a tightly winding mountain road. Even the best driver would lose co
https://www.furnacemfg.com/vinyl-record-audio-preparation/
Für mich als ehemaligen Tontechniker gibt es nur ein Kriterium für eine Kopie: ist sie identisch mit dem Original? Kein Unterschied: eine gute Kopie. Unterschied zum Original: schlecht.
Also, wenn Sie meine Orthodoxie nicht stört: Vinyl-Kopien des vom Künstler genehmigten Originals sind anders. Und deshalb schlecht.