![]() While professional editing, mixing, processing, equalizing and level shifting usually use more data bits for computation (24 bits linear, 32-bit floating point or now 48-bit linear), 16 bits is more than enough for unlimited fidelity as a release format. Plenty of CDs sound awful, especially today, but that's not the CD's fault. As a medium, the 16-bit 44.1 ksps (kilo-samples per second) CD is capable of more dynamic and frequency range than music itself, but what comes off of course is only as good as the producer decides to put on it. It's no better than whatever sound people choose to put on it. If aa CD doesn't sound fantastic, that's because you've got a flawed recording, not a flawed medium. My 30-year-old CDs still sound incredible, and lost to history after video replaced music in the late 1980s for most people's home entertainment is that CDs still offer the best possible sound today, still representing a completely transparent window to the original recording.ĬDs as a recording medium are completely uncompressed, unadulterated and bit-for-bit accurate, even if you boil them or drill a hole through them.Īny flaws, like with any medium, are because people rarely record well enough to them to use all the range of which CD is capable. Philips dubbed the Compact Disc as "Perfect Sound Forever," and they weren't kidding. Other record companies hoped it would all go away, wanting us to pay money for more of the same old LPs instead of new CD players and having to dual-inventory recordings. ![]() Sony and Philips each owned large record companies as well as electronics divisions, so they had everything to gain. The Compact Disc was developed in concert by Sony, who handled the DSP, and by Philips, who had experience with optical discs. Eagerly anticipated since the digital audio revolution in recording studios in the late 1970s, Sony announced the CDP-101, the world's first Compact Disc player, on October 1st, 1982.
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