"Jeff Findley" wrote in
message
"Arny Krueger" wrote in message
. ..
Author's profile:

David Satz. B. Mus. degree, 1973, New England
Conservatory (Boston); teaching assistant to Rudolf
Kolisch. Played in orchestras and chamber music groups;
recorded zillions of concerts and recitals. Moved to New
York in 1981. Recording engineer, mainly remastering Red
Seal LP recordings for CD, at RCA Studios; Grammy award
for "Best Historical Album", 1995. Programmer and
instructor of Windows programming (C, C++, C#).
Translator (German to English) and editorial nit-picker
of technical and sales literature for Schoeps GmbH. Comment:

David Satz" wrote in message
ups.com
"

"
Chris Hornbeck wrote:
"

"
Within the last few years [ ... ] I've found that I can
make a transfer from vinyl to CDR that I can't really
tell from the original, other than the cleaning rituals
[ ... ]
"

"
Chris, I just would like to say that you've come up with
the most (perhaps only) meaningful, realistic, practical
comparison method between LP and CD that I've ever heard
of.
"

"
Back in the 1980s when people used to buy the LP and the
CD of the same album, play them both and compare the
results, they weren't really comparing the two media.
Instead, they were comparing the (generally quite
separate) mastering decisions--EQ, limiting,
etc.--behind the two products, plus the particular
characteristics of their LP and CD playback equipment.
"

"
Of course LP playback equipment varies far more in its
audible sound quality than CD playback equipment does.
But your method eliminates that variable completely, and
the mastering decisions of a commercial CD aren't a
factor, either.
"

A guy I work with used to work at a CD plant and from
what he understands from working there, the type of media
used to deliver the master to the CD plant could make
some difference. If the media was digital, then the CD's
pressed would be exact digital copies, but if the media
was analog, that meant that what the plant got was going
to be an "AAD" CD with the additional possibility that
the CD plant's analog to digital conversion might not be
as good as what could be done by a recording/mixing
studio.
SPARS Code
http://en.wikipedia.org/wiki/SPARS_Code

Once the CD's were cut, they'd sample a few and play them
in both a "low end" and a "high end" CD player. The high
end CD player would actually report error
detection/correction information and a certain amount of
errors were allowed in the final product, but I think
they only allowed errors which were able to be corrected
by the CD player.

That sounds similar to what I've heard from people who worked at CD plants.
The idea of people in CD plants mastering CD intended for wide-scale
distribution is a bit scary.