Platinum is still a million, so if we're judging by record sales, I'm technically correct. Here's a good article about the recording of Synchronicity. CLASSIC TRACKS: The Police 'Every Breath You Take' |
What is the prefered version of GitM? This is what I got... Track 1 - 97.7% Track 2 - 97.7% Track 3 - 97.7% Track 4 - 97.7% Track 5 - 97.7% Track 6 - 97.7% Track 7 - 97.7% Track 8 - 81.2% Track 9 - 87.2% Track 10 - 97.7 % Track 11 - 89.4 %
My US DADC Stamper contains the Denon and BMG levels. Nice sounding disc. So be aware two DADC's with the stamp on the hub exist, for the earlier DADC, it should have the laser font on the hub if one is searching out the Japan levels
At one time or another I've preferred the 38XB based, D32Y based and the WG. Although I've narrowed it down to either of the former 2 (and that's likely where it will stay), you can't go wrong with any of them. Note: I've never heard the US Denon
Based on the chart and purely on numbers, I'm gussing that the D--Y's are up my ally. Will try to track it down. Thanks for the response.
Thanks for confirming this. A friend lent me his D25Y Ghost In The Machine this week and I ripped it to compare the EQ on it to my DADC. As was reported earlier in the thread, the EQ is slightly different, but I noticed something when comparing them that caught my eye. Most of the D25Y tracks have compression. Here's an example of how the DADC and D25Y compare. I have normalized each to 0dB. The track used for both is Demolition Man. DADC D25Y
Hi, The 38XB mastering is very low in volume - perhaps even too low at times. I do not believe fair to compare it against other to determine "compression" [Are you referring to Dynamic Range compression?] . Seems to me the 38XB was throttled and the D32Y based is more indicative of the albums true levels. I'd like Plan9's input here whether supporting or rejecting my assumption. BTW the 38XB based mastering gets better and better as more wattage is applied so it's great for setups with a lot of power. Especially on tracks like Darkness and Secret Journey.
Yes, I am referring to dynamic range compression. And the level of a given CD has absolutely nothing to do with its compression, Rick.
Yes it appears a few peaks are limited on the D25Y. Not only that but the polarity is reversed compared with the DADC!
Yeah, I noticed the reverse polarity. The good news is that the cheaper, easier to find version is not compressed on any of the tracks of the DADC. Again, most of the tracks are compressed on the D25Y. I can't say the 38XB/DADC requires a lot of power, Rick, as sure sounds great on my 100W Yamaha amp. And I don't need to turn it up much more than the D25Y.
Depends on the amp/speakers pairing. But yeah, the highest peak for the 38XB is at 55% so it could have been boosted by 44% without the need for limiting and it would have been "full-res".
I understand that is true, but I was just sharing my experience. I wouldn't want someone not buying the DADC because they thought they didn't have enough power, you know? They sure could have done that, but as things stand, I'll take the DADC over the D25Y anyday.
I have two US pressings of GITM. Matrices: DIDX-000002 2 +++ +++++ (stamped into clear hub: *D*) and DIDX 2 101A1 I prefer the first, with all peak levels at 97. The second, which is the same as the early Japan for Japan 38XB just doesn't have enough bass for me - even when turned way up.
I have 4 copies of GITM: WG for US, early DADC, Japan(Denon) for US and US Denon. The US Denon has a stamp date of 05/89 and is my preferred version.
By the way I’ve just figured out that Ghost in the Machine as well as Synchronicity were digital Sony PCM 1610 mix downs. Every single cd, including the MFSL, 1993 and the 2003 remasters of those albums have 100% the same playback speed on all those discs. With an analogue Tape this is virtually impossible even on the same machine two times in a row. GITM and SYNCH also have straight cut offs in the 20khz range, including on the 24/96 vinyl rips I have. Seen very often on early CDs (made with PCM 1610 a 1630)
Nice catch on both accounts. Sure enough, on my US Ted Ghost and Ludwig Synchronicity. Surprised I didn't catch it when I was doing transfers of them.
Yet another win for early digital being able to sound pretty damn great. I have to say I don’t know how all of those early Japanese discs sound like. I’ve just heard the Standard European releases. For SYNCH the only exception is that SHM CD which is out of synch with all of the other version. That would imply that it was sourced from an analogue copy tape, it also contains more hiss than the others. It sounds still pretty good though. I also found an old article where Dave Collins, the mastering engineer of Message in a Box, was talking about those albums being Digital mixes. I have to dig out that article from the internet though. If I find it again I will post it here