[BoingBoomTschak]

> though some of Deutsche Grammophone's Archive Production records from even the 50s sound astonishingly good.

For what it is, i.e. a rock being dragged through a groove. But I'm very surprised to see this used as example, since orchestral music is the worst case scenario for vinyl: the reduced dynamic range makes good reproduction of those peaks simply impossible (labels like BIS would never have been able to engineer their magic such as on this CD - see the warning on the cover - https://www.discogs.com/release/16832175-Carl-Nielsen-Gothen...) and the surface noise really impacts the quieter moments.

Don't get me wrong, some CDs were brickwalled while the corresponding LP got a way saner master (e.g. Celtic Frost's Monotheist), but with similar masters, CD simply always wins as a medium. In this case, I digitize the LP while its surface wear is at its lowest.

[6stringmerc]

Very excellent citation and explanation - one of my main attractions to drum & bass over the years has been the amazing capitalization upon dynamic range possible with modern systems. Why would I listen to Sub Focus on vinyl when the corresponding digital file (even 320 kbps - not to even mention “lossless” being somewhat possible) does not suffer from physical interface complications? I’m glad you brought up mastering and the “loudness wars” who CB is absolutely great reading for those interested in audiophile related endeavors!