Maximum Dynamic Range Of Vinyl

In the video below ian uses a record he mastered to demonstrate the inaccurate readings produced by.

Maximum dynamic range of vinyl.

Here lp actually wins over cd. Vinyl can still push music to the limits of its dynamic range 55 70db but it often shies away from doing so in order to maintain sound quality. But right now i m talking about signal to noise ratio and dynamic range. The tt dynamic range meter doesn t work on vinyl.

That s why snare drums cymbal splashes and other loud instruments have so much more punch in vinyl recordings. The dynamic range of digital audio systems can exceed that of analog audio systems. When i cut a master for vinyl and a cd master from the same digital master tape they sounded pretty much the same except for the noise floor. Relative dynamics is the difference in db between any two points in a waveform.

As implemented the bit depth of cd and dvd digital audio formats accommodates a higher dynamic range than vinyl is capable of. Pcm of any flavor has a flat response to fs. The maximum peak level of analog recordings such as these is limited by varying specifications of. The only signal that can exist between the bits of a cd is drowned out by random noise from the vinyl surface grain.

Dynamic range is the difference between the loudest signal and the noise floor. Lp s difference between maximum to average is around 11 56db compared against the cd recording at 11 11db and even the digital rip at 11 35db. It turns out the dynamic range meter that folks are using to measure different releases doesn t work accurately on vinyl records or at least according to mastering engineer ian shepherd. Another significant impact of finite quantizing resolution is finite dynamic range.

Yes vinyl was noisier. There s very little compression so the loudest parts of those sounds often. Vinyl s dynamic range is dependant on frequency because vinyl doesn t have a flat maximum output curve. The loudness war or loudness race refers to the trend of increasing audio levels in recorded music which reduces audio fidelity and according to many critics listener enjoyment increasing loudness was first reported as early as the 1940s with respect to mastering practices for 7 singles.

Consumer analog cassette tapes have a dynamic range of 60 to 70 db. These releases on the other hand deliver music at its optimum sound level dynamically leaving the listener to decide on the playback level. Analog fm broadcasts rarely have a dynamic range exceeding 50 db. For the first time consumers could purchase a recording in a medium whose dynamic range exceeded that of 20 000 professional tape machines.