Interesting Article

Dweller,
http://forum.audiogon.com/cgi-bin/fr.pl?eanlg&1324518500&openfrom&19&4#19
This is a better thread.
I'm just say'n ✌️

Modern pressings can sound astonishingly great on heavier vinyl so I don't see new LPs as any sort of issue generally, and note that since I have hundreds of LPs from the 60's onward that I like to listen to from time to time, a turntable is the only thing that plays the damn things. I enjoy great sounding digital also, this most likely due to a good DAC re-clocking everything...maybe...but more to the vinyl point, you can's play LPs on anything else...you could make digital copies maybe, but life's too short for that sort of thing and the fiddly parts of vinyl are sort of involving anyway. The latest (May 25th) issue of the New Yorker has a cartoon of two dudes looking at a vinyl rig saying, "The two things that really drew me to vinyl were the expense and the inconvenience." Oh yeah...

In one of my favorite studios they A/D-D/A with a Burl Audio suite. The unmixed program material at this juncture of the process absolutely kills any high end digital playback equipment while maintaining the timing issues that tense my shoulders within seconds of digital playback as well as all the vinyl peccadilloes born from mastering, pressing, and affordable vinyl spinners.

All this without even considering the big money in mixing today goes to making a master that sounds its best when played through ear buds and laptop speakers. These guys are spending big money on multiple clocking devices and they're achieving this goal to satisfy their clients. The sonic difference from the original A/D-D/A is stunningly tragic. Many of these massaged masters are used to master the vinyl version of the release.

Also, consider the end user has little to no experience with non digital information and the ones that do will soon be gone. So, aside from the tactile and fashion that the vinyl resurgence has become how important can poor vinyl production be?