Hi ejr,
Yes, this was a big problem when DSD first came out. The DSD versions were noticeably different in energy across the audible frequency spectrum. It can also happen in reverse. As Bob Carver advertised, a lot of early CD's were heavily compressed, not just in dynamic range but also stereo separation compared to LPs. A lot of the "bad sound" of digital could be directly attributed to really bad mastering engineering and practices.
We also tend to hear any difference as improvement. Much like haircuts. :)
So the idea is to compensate for the original A/D step. This is done by measuring the blurring of the AD converter itself, and then applying a compensating algorithm to the Digital multi-track masters. As far as i know, the process for going from analog to digital is to first convert each track individually to digital. So whether or not we start from analog or digital doesn't really affect the process.
Only after multi-track masters are fully digitized can re-mastering begin.
Of course, some recordings are far simpler. A lot of great 1950-1960 orchestral recordings were multi-track, but by multi we mean 3.
Best,
Erik
Yes, this was a big problem when DSD first came out. The DSD versions were noticeably different in energy across the audible frequency spectrum. It can also happen in reverse. As Bob Carver advertised, a lot of early CD's were heavily compressed, not just in dynamic range but also stereo separation compared to LPs. A lot of the "bad sound" of digital could be directly attributed to really bad mastering engineering and practices.
We also tend to hear any difference as improvement. Much like haircuts. :)
So the idea is to compensate for the original A/D step. This is done by measuring the blurring of the AD converter itself, and then applying a compensating algorithm to the Digital multi-track masters. As far as i know, the process for going from analog to digital is to first convert each track individually to digital. So whether or not we start from analog or digital doesn't really affect the process.
Only after multi-track masters are fully digitized can re-mastering begin.
Of course, some recordings are far simpler. A lot of great 1950-1960 orchestral recordings were multi-track, but by multi we mean 3.
Best,
Erik