Only taste in good post.
- Dr3d Sl3d
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As THD recommended, I looked at the grooves of Pink Floyd's The Final Cut, mastered by Doug Sax, and was astonished by the very tight packing of the extremely dynamically modulated grooves, thanks to his good engineering and the magic of the 1980 Sontec Compudisk* disc cutting automation computer. Packing grooves allows for more program on a given side, or, in the case of short programs, it results in higher fidelity, since more of the program would be able to be located in the faster disc radii of the pressings, rather than closer to the label, where, even with a heated cutting stylus, the presence of especially 8 kHz and above becomes more and more diminished, due to tracing distortion (i.e., pickup styli not following the busiest wiggles of treble that is overly-bunched together) and even self-erasure (i.e., cutting stylus wiping out what it carved just before, due to the relatively slow passage of the workpiece beneath it)...
http://www.analogplanet.com/content/leg ... assed-away
One of the best features of The Mastering Lab is the transformerless, all-tube console eq and cutting amps, made by Doug's brother, Sherwood Sax. TML will remain open for business. But the master has left the building.
* originally designed and built by Gerry Block (http://www.sandel.com/sandel-leadership/) and Burgess Macneal (of ITI Audio / Sontec)