During the mono era of LP pressings the cutters were less good than what were used even from 1932 for 78s.
The myth of good sounds from mono LPs is much overdone. It was the best that could be done at the time with tiny amplitude signals in the groove - by definition these were low res.
The LP was the musical disaster that occurred between the 78 record and the CD. The mono tape recording has really only come into its own since digital methods allowed a decent representation of what was originally recorded rather than what could be cut into mono microgroove vinyl discs.
Rather like comparing prints with film negatives. The negative can be reproduced with amazing faithfulness in the digital format if still in good condition, whereas any print can only hint at it. That is why the negative remains the reference point rather than any print ever made for modern reprints or digital sending. Same with tape or metal masters versus vinyl pressings ...
ATB from George
I joined B&W's Society of Sound and one of the downloads on there now is a selection of tracks from the new mastering - in 24/48 as opposed to 24/96 of the actual releases. They are good, they are very good. But then again she was brilliant!
I am thinking of splashing out on this one.
