Sure the format itself is largely driven by the music track format (which is why you still address CD-ROMs with "minutes" and "seconds" even though it's meaningless there) but then so is Spotify.Ī decent amount of the albums in the TLMC were ripped and uploaded to Japanese P2P programs, a large amount of these rips were ripped "losslessly" with EAC, but they had the "normalize" option turned on in the settings, which adjusts the volume of the rip if it's above or below a certain threshold, basically ruining all the work EAC put into getting a bit-exact copy. You also have a table of content at the beginning of the session to easily seek to individual tracks.īesides the fact that it's disc shaped and read in a spiral I don't find many similarities with vinyls. You also have subchannel data that contains things like position in the track and other metadata. Then on top of that you have a cross-interleaved Reed–Solomon coding. This provides very basic error correction and ensures that you never have very long stretches of zeroes. On top of that the data is written using 8-to-14 modulation (every 8 bits of data is written using a unique 14 bit pattern on disc). I don't really agree with that, or at least it only makes sense to me if you're willing to go at a level of abstraction so high that makes it relatively meaningless.įor one thing CDs store digital data, zeroes and ones, not analog like a vinyl. >The design is nearly identical to what one would get if one simply literally (almost) digitized a vinyl record. at the time, or because the resulting analog wave was close enough to not be noticeably different. Most listeners would never hear the random errors because they either are below the noise floor of the amplifier tech. Yes, the limits of late 1970's technology had a huge impact on the overall design, but at the same time the design also took advantage of the fact that audio when being played back in real time is reasonably tolerant of a small level of error resulting from the read-off of the disk. It had to handle data rates that were incomprehensibly massive for the time, so only the most insanely basic error handling was feasible. > built with technology from the late 1970s. Even the method of manufacture is essentially a clone (audio CD's are "pressed" just like vinyl records are "pressed", just in different pressing machinery). The most significant shift is that vinyl records read from outside in, while audio CD's read from inside out. The design is nearly identical to what one would get if one simply literally (almost) digitized a vinyl record. In many respects, an audio CD is more like a vinyl record than a data storage format.
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