is it possible to make digital audio sound like vintage vinyl

sam here for some reason i could not see my public post until now?

i use the word vintage vinyl because to my ears new remastered vinyl sounds different and here’s how i can describe it

vintage vinyl = stereo + stereo depth perception. (soundstage}

new remastered vinyl = stereo + mono depth perception.

digital audio = stereo + mono depth perception.

digital audio + vintage vinyl frequency impulse = stereo + stereo depth perception

stereo depth perception is a made up word i use to describe what i’m hearing. and this is what i like about vintage vinyl. i’m not talking at all about tone just stereo depth perception. if new vinyl had stereo depth perception i would be very happy.

if the master tape is transferred to digital it should have stereo depth perception and it doesn’t?

if i transfer vintage vinyl to digital it does have stereo depth perception ?

this tells me the record company did something on purpose to convert the stereo depth perception to mono depth perception on both the digital copy and the remastered vinyl?

if i import vintage vinyl into izotope rx5 software and use the automated phase button both the left and right channels will now have the same phasing and i no longer have stereo depth perception and the audio sounds just like new remastered vinyl. if i import digital audio and do independent phase correction one channel at a time using auto phase correction, 99% of the time the phasing will be different for each channel and if then process the audio that way i will now have stereo depth perception just like vintage vinyl. and if i use the auto phase on both channels together the phase is always the same giving me mono depth perception.

when i check digital audio run through the impulse file with foobar2000 using the convolver dsp filter 99% of the time the left and right channel phasing is different and when i check the original commercial digital file before applying the impulse and the phasing is always the same?

here is the 1 second impulse file i created using vintage vinyl frequencies extracted at 32 / 88 wav for the convolver dsp filter for foobar2000 in case anybody wants to run there own test. i used the surface noise intro to pink floyds us and them before the music starts as the source 1973 1st press harvest label with the volume turned all the way off (0) for some reason when dealing with frequencies i lose the sound if there is any volume at all. here is a photo of my impulse settings for foobar2000 conolver dsp filter https://postimg.cc/sBtCffpY
here is the download link for the impuse file i'm calling digital vinyl http://pc.cd/Gcl7

Why would you want to? When you can just buy a quality turntable paired with a quality cartridge and play a vinyl record....I don't understand all the fuss and major expense to get something (digital) to sound like something else (analog) when that something else (analog/vinyl) can easily be had the conventional way.  Don't get me wrong, I love my cd player and transport and my dac, but analog or vinyl it Is not...not even remotely close, and I don't care because I can just throw on a record to get it, much easier imo. 

sam here at 58 years old i grew up on vintage vinyl and am very familiar with the sound of vintage vinyl however when i switched to cd in the 90’s i never thought about it until many years later when i heard a vintage vinyl rip of styx the grand illusion on youtube and all the memory’s came back so i grabbed my cd version to compare and sure enough the vintage vinyl version seemed to turn on a switch in my brain that the cd version did not? i now realize what i was experiencing was the hypersonic effect and digital audio with mono depth perception will not create this effect in the brain ? and i believe it was designed that way friends. and new remastered vinyl to my ears does not create the hypersonic effect because of the mono depth perception

No, you don’t. The s/n, FR, and resolution of a hi-res digital file far exceeds that which can be pressed to LP. No information is "discarded."

This statement is problematic. LPs since the 1960s have had bandwidth to 40KHz and beyond- I suspect that is one reason they are still around, as they have the widest bandwidth of any format.


Recent advances in pressing technology (mostly at QRP) have allowed the pressings to be considerably lower noise, rivaling Redbook. Most of the surface noise of an LP is produced during pressing; almost  none from mastering.


Phono sections themselves can be responsible for ticks and pops without the help of the LP; this is due to poor HF overload margins; and that due to the fact that many designers don't take into account the simple fact that cartridges are inductors and tonearm cables have capacitance. If your phono section can't deal with the resulting resonance, it can make ticks and pops independently of the LP surface.


Tradeoffs, but not 'far exceeds'...

I am still going to go with "far exceeds". Note I used hi-res digital as my comparison point:

• 24/192 sampled is capable of 80KHz bandwidth at 3db. Practically no one is going beyond 40Khz.
• While LPs "may" have bandwidth out to 40Khz, the best cartridges are down what 30? 40db?  Some of the best "rated" cartridges are down that much at 30KHz (or less)
  
• Those 1960's LPs, what was the bandwidth of the tape machines feeding them at 40KHz. Combine that with cartridge frequency response.
  
• That high frequency response also comes about via RIAA equalization, i.e. pre-emphasis on high frequencies

• There is, to my knowledge, not one valid example of human's being able to perceive in any form, frequencies over about 22-24Khz. Those frequencies can cause subharmonic distortion of speakers though. That 22-24Khz is for young ears too.
  
• While QRP is impressive, it's still not remotely in the range of 24/192, especially if you rolled off the bandwidth of 24/192 to match vinyl.

That RIAA equalization is of course akin to "compression", akin to basic Dolby noise reduction.

As has been pointed out, digital copies of vinyl can be nearly indistinguishable if not indistinguishable from the direct vinyl output. I don't think anyone would say vinyl sounds like digital though, not even if the mastering is exactly the same.


The big variable is crosstalk, and even that varies considerably from system to system and out of phase crosstalk can do some interesting things acoustically.

I personally don't think the OP is on the right track for recreating vinyl from digital. My main impression of the applied filter the op uses is reverb, which will give a more 3 dimensional feel to the music, a not uncommon mixing and mastering technique. However, I don't think the exercise of recreating vinyl from digital is unwarranted. One can consider something like crosstalk a format limitation, but one could also consider it a mathematical function that may be beneficial.