Vinyl is the favorite topic of conversation among today's HIFI audiophiles. As long as vinyl records are mentioned, audiophiles basically open their mouths to come: vinyl records are analog sounds, and the sound is better than CD records and streaming music! Some audiophiles even say, "I will only listen to vinyl records in the future, and I will not buy CD records anymore", it is precisely because the craze of vinyl records has swept the audiophile circle that record companies have seen a business opportunity and reopened the vinyl record production line, so one after another vinyl records have been listed, after all, how can there be a reason not to make money? Even domestic audio exhibitions have launched commemorative vinyl records. The audiophile circle has a whole chain of disdain, listening to vinyl records and disdainful audiovisual CD records, listening to CD disdainful audiovisual digital streaming music/digital music files.
Gradually, however, some audiophiles came out and said, "Why does the sound of vinyl now sound more and more like the sound of a CD?" The implication is that there is not much difference between the two! Because they all believe that the music production process is basically digital, but the medium used to distribute the music is vinyl records, which makes the analog audio medium of vinyl records attach a kind of "original sin." So the question is, if the intermediate link involves the processing process of digital audio, and finally it is released in the form of vinyl records, is this digital flavor or analog flavor? I advise you enthusiasts who are extremely obsessed with vinyl records and blow vinyl records into the sky when they open their mouths to be careful when they speak! Of course, when you know the truth, I think most people will take the idea of "I think it sounds good, no matter how much it is!" Okay! Since that's fine, don't open your mouth and say that vinyl is analog sound, analog smell or something, you just need to think good!
However, for veteran vinyl players, in order to pursue "analog sound", they will consult a large amount of materials and collect records made in a purely analog way through various means. On the other hand, in order to satisfy audiophiles' pursuit of analog sound, some record companies produce music in a purely analog way, release vinyl records, and even record music in a more extreme and direct way, adopting a direct to Disc (also known as "D2D") way to record music. But in today's era of digital production as the mainstream, there are still companies that are willing to take a fever approach to making records, just for the purpose of pursuing "fever".
The main contents of the topic include the following:
First, when did vinyl records start with "original sin"
Second, throw away the opening machine of all evils
第三、Direct To Disc Recording与Direct Metal Mastering
Fourth, the 2001 AES Audio Engineering Conference was revived for attendees
第五、黑胶唱片“复兴”，给了Direct To Disc Recording一次重生机会
第六、当今部分采用Direct To Disc Recording制作的黑胶唱片
The DN-023R digital recorder was introduced by DENON in 1972 and was used for commercial recording purposes
Steve Marcus "Something" and Sutomu Yamashita "The World of Sutomu Yamashita" were the world's first commercial recording albums to be released on digital recording, vinyl recordings, both released in 1971
The Smentana Quartet performs "Mozart's String Quartet Ops K.458 and K.421", the first album recorded with DN-023R
When did vinyl start with "original sin"
In fact, I mentioned this matter at the beginning of the feature, the so-called "original sin" of vinyl records is because audiophiles think that the analog audio information stored in vinyl records is the closest to the real analog sound that I hear. But in fact, vinyl records are only carriers, and digital processing is involved in music production, not a purely analog process, which makes vinyl records carry "original sin". When did these vinyl records with "original sin" begin?
Let's turn the clock back to the late 60s of the last century, when Japan's NHK radio station developed a 2-channel digital voice recorder. DENON rented a digital tape recorder from NHK Radio for recording tests. During the recording testing phase, DENON produced two albums, "Something" by Steve Marcus (record number Nippon Columbia NCB-7003) and "The World of Sutomu Yamashita" by Sutomu Yamashita (record number Nippon Columbia). NCC-8004), both released in 1971, these two albums became the first commercial albums to be released on vinyl by means of digital recording, and the albums were marked with PCM digital recording.
During the testing process, Dr. Takeaki Anazawa of DENON said, "We got a lot of ideas for improving the system from these experiences." Finally, in 1972, DENON introduced the DN-023R digital tape recorder, and the first commercial recording made using the DN-023R was performed by the Czech Smentana Quartet performing "Mozart's String Quartet Works K.458 and K.421" (disc number Nippon Columbia NCC-8501), released in 1972. Since then, 6 commercial albums have been recorded using DN-023R.
In 1977, DENON developed the DN-034R, which was not only much smaller, but also had higher digital audio specifications. After the DN-034R was released, DENON took it to Sound Idea Studios in New York, USA, to record a series of jazz music designed by Jim McCurdy. By 1982, when CD records were officially released, DENON had released more than 400 commercial albums with digital recordings.
On the other hand, in 1978, Telarc audiophile production company purchased SoundStream's digital recorders to record the album "The Cleveland Symphonic Winds", which was described by the World Book Encyclopedia Yearbook as "the bass drums that the world can hear" because of its powerful acoustics, referring to the loud bass drums in the Hoerst suite in the album. In the same year, Telarc also recorded two classical albums, Stravesky's "Firebird" conducted by Robert Shaw / Borodin's "Polonaise Dance" (disc number Telarc 80039), Loren Maazel's Mossorgsky "Picture Exhibition" and Remsky Korshakov's "Night on a Barren Mountain" (disc number Telarc 80042), which became the most popular audiophile albums among audiophiles.
In addition to these two record labels, record labels such as DGG, EMI, DECCA, etc., which we are familiar with, have begun to use digital recordings in the 70s of the last century, and then release music albums in vinyl format. For example, DGG recorded Kramer's Caikovsky Violin Concerto/Sad Nocturne/recording in 1979 and DECCA recorded the 1979 Vienna New Year's Concert......
Before the introduction of CD carriers, digital recordings began to be implemented in the field of music recording, but because vinyl records were one of the mainstream music carriers at that time, digital recordings had to be converted into vinyl records after D/A conversion before they could be released. After the launch of CD carriers, for a long time, record companies released both CD records and vinyl albums at the same time, with the aim of satisfying the needs of the two consumer groups. For audiophiles, these records are listened to with relish, exclaiming that "the analog sound is so good".
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To be continued