volt hat. penz. ez is le van irva a linken :) majd elolvasod :) ha almat hasonlitgatsz kortevel (mas master) tokmindegy, hogy az alma meg a korte papiron vagy egy kepernyon van, kulonbozo lesz :)
ezek a reszek relevansak: #regensemvoltjobb
Different media, different master
I've run across a few articles and blog posts that declare the virtues of 24 bit or 96/192kHz by comparing a CD to an audio DVD (or SACD) of the 'same' recording. This comparison is invalid; the masters are usually different.
Better masters
The BAS test I linked earlier mentions as an aside that the SACD version of a recording can sound substantially better than the CD release. It's not because of increased sample rate or depth but because the SACD used a higher-quality master. When bounced to a CD-R, the SACD version still sounds as good as the original SACD and better than the CD release because the original audio used to make the SACD was better. Good production and mastering obviously contribute to the final quality of the music
The 'Loudness War' is a commonly cited example of bad mastering practices in the industry today, though it's not the only one. Loudness is also an older phenomenon than the Wikipedia article leads the reader to believe; as early as the 1950s, artists and producers pushed for the loudest possible recordings. Equipment vendors increasingly researched and marketed new technology to allow hotter and hotter masters. Advanced vinyl mastering equipment in the 1970s and 1980s, for example, tracked and nested groove envelopes when possible in order to allow higher amplitudes than the groove spacing would normally permit.
Today's digital technology has allowed loudness to be pumped up to an absurd level. It's also provided a plethora of automatic, highly complex, proprietary DAW plugins that are deployed en-masse without a wide understanding of how they work or what they're really doing.