Of course that is all true, but a certain person could simply have acknowledged it when it was put to him much earlier in the thread! Instead of pretending not to understand what people were getting at...In general while it is known that large level signals with random phase alignment in the bass region creates problems during vinyl cutting it and that a lot of processing obviously take place in the cutting lathe/system, it seems to be possible to avoid the usual "brute force" summing approach, but it apparently needs special care and sometimes compromises (you can´t get everything at the same time; running time has often to be reduced as already mentioned).
I remember that Stan Ricker mentioned in an interview from 2005 with a german small circle magazine:
"The DMM system is to restricted to cut low frequency content with random phase alignment and large levels.
Imagine for example a Rudy van Gelder recording where the piano is at center position the bas in the left and the drums in the right channel.
Due to the signal processing of the DMM system all low frequency content would be summed up at center and the according result wouldn´t reflect the original recording and the musical "sensibilty" would be destroyed."
(quick translation by me, so don´t blame another one)
Means imo in reverse that - although special care is needed - that "bass summing" isn´t unavoidable in every case.
This was me over 100 comments ago:
The reply could simply have been "Yes", or "In the main, I agree, but what I am disputing is...". It was not to be. Eventually, the "Word Salad" link rather gave the game away, and then everything was sweetness and light.I'm not sure what the point of this 'challenge is'..? Ultimately, all it says is that it is possible to create a recording that is compatible with cutting a vinyl record directly. That is, the recording is of a genre that is not too dynamic, or the producers are prepared to compromise on the level/duration of the record, or the necessary 'mastering' (avoiding out-of-phase bass, limiting high frequency energy, keeping dynamic range within limits, etc.) has been considered during the recording rather than leaving it to a technician or mastering person to apply as an afterthought. Why is that so remarkable?
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