"There is a strong suspicion in the audiophile community that LP reissues are commonly mastered from a CD source. What this means is that, instead of traveling to a record label’s tape vault, finding the original master tapes and a machine that can play them, and going through the painstaking and expensive process of transferring that tape to a mastering disc in order to press LPs, the starting point is actually a CD. And the LP pressing is essentially an inferior copy of that CD. In these cases, the “warmth” you associate with the vinyl record is completely up to the distortions added by the playback process."
This is an interesting read, but I can’t imagine why anybody would remaster from a CD source when calling up the original tapes is such a pleasure. I’m sure it’s true that people do that, but honestly: why on earth? I mean I guess there are people who have stopped having fun making records and are just getting them out there as part of their overall business picture or whatever, but when we remastered All Hail West Texas, the impact of that first track off the reels coming through the big mastering-facility speakers was just such a MOMENT - holding the reel box with handwriting on it from ten years ago, looking at the crossed-out stuff and the notes about frequencies and so on, hearing the sound in the awesome EQ job that Alex Newport had done back then. It’s not just that an artist is doing wrong by his audience if he’s doing a half-assed remaster: he’s missing one of the best parts about being an artist in the first place, which is getting to do cool stuff and make cool things. All that “what this means” stuff: that’s one of the fun parts of the job. Finding the tapes? Locating the right machine? How is that anything but a joyous expedition into the nuts and bolts of music? Get your priorities straight you artists.
Does Vinyl Really Sound Better? | The Pitch | Pitchfork