The Neumann cutting lathes do not digitize the signal going to the record. Later production Neumann units used extensive microprocessors to control the cutting process, but the music signal sent to the disc was all analog.
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Perhaps I have posted incorrect information and the newer Neumann's do not employ a digital delay loop to drive the cutting heads. Some recent reading that I did suggested that the digital delay loop at the cutting stage is still employed on all new albums (albeit possibly at a higher sampling rate than was the case in the late 80's); perhaps that is not true. Zaikesman: I'm not actually sure why the digital delay was/is used, but it obviously is quite a common practice. Some evidence of that is here: http://www.positive-feedback.com/Issue3/ricker3.htm in an interview with Stan Ricker. and here: http://dongrossinger.com/don/newarchive3.html If I presented incorrect info about the Neumann, I certainly apologise for that. Perhaps Onhwy61 can elaborate. |
Zaikesman, go to this link and scroll down to the section about disc cutting. It's a reprint of an article by Robert Runstein. It will tell you everything you never even imagined goes into cutting a record. It's not that you need a delay, but you need to preview the signal going to the cutting head. |
Thanks guys, I will check out those articles. I assume if "previewing" is a necessity and that it's made possible by a delay, then the delay must have been implemented by analog means in older lathes, which would of course degrade the signal as well. But since the most common method of analog delay before digital was magnetic tape -- also what the source being mastered from was -- the whole thing begins to seem a bit convoluted. What I immediately wonder is, why not simply use a pair of spaced playback tapeheads to play the mastertape, with the first one generating only the preview signal and the second, later-arriving one going directly to feed the cutterhead's amplifier? But I will read... |
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