By the way there are a couple of very obvious reasons why some records (or CDs for that matter) sound better than others and there’s not too much you can do about it. Those two things are (1) Absolute Polarity and (2) overly aggressive dynamic range compression. For the former you can switch Polarity for each record and pick the one that sounds best. Or employ a Polarity switch. Otherwise, you get what you get. News flash! At least 50% of audiophile records are actually in inverted Polarity. Alas, even in Audioland there are no standards for Polarity. Who dropped the ball on that one?
For overly aggressive dynamic range compression, the only recourse one has really is to search out earlier issues of the recording that weren’t compressed as much. Otherwise you’re what they refer to as shirt out of luck. Of course, there are many other reasons why some records inherently sound better than others, e.g., they were made back when vacuum tubes were used in the tape recorders and mastering process, the engineers were superior, the recording venues were superior, etc.
No matter how much you wind up with in the END you would have had EVEN MORE if you had started out with MORE. - old audiophile axiom, the Law of Maximization 😢
For overly aggressive dynamic range compression, the only recourse one has really is to search out earlier issues of the recording that weren’t compressed as much. Otherwise you’re what they refer to as shirt out of luck. Of course, there are many other reasons why some records inherently sound better than others, e.g., they were made back when vacuum tubes were used in the tape recorders and mastering process, the engineers were superior, the recording venues were superior, etc.
No matter how much you wind up with in the END you would have had EVEN MORE if you had started out with MORE. - old audiophile axiom, the Law of Maximization 😢
