I think Neve was referring to harmonics of music up there, vibrating the skin if not the eardrums.
What I'm saying, and I think Mike Gray is also saying, is that I doubt THAT'S what's up there with
the older beloved recordings, because mics, transformers and tape couldn't pass those frequencies.
I also forgot to mention that most LP cutting guys low-passed well into audible frequencies to save
their cutterheads from blowing out with intense upper-octaves energy. Remember that the RIAA boosts
upper treble frequencies by large amounts, as do all electrical pre-emphasis curves, to one degree
-- Tom Fine
----- Original Message -----
From: "Mark Durenberger" <[log in to unmask]>
To: <[log in to unmask]>
Sent: Tuesday, March 25, 2014 9:27 AM
Subject: Re: [ARSCLIST] Fwd: [ARSCLIST] "Why Vinyl Is the Only Worthwhile Way to Own Music"
> One refers to Rupert Neve's thoughts on why coherent super-audible response is useful if not
> Someone else on the list may know where his paper was delivered...I have the audio of his remarks
> for anyone interested.
> Mark Durenberger, CPBE
> -----Original Message-----
> From: Gray, Mike
> Sent: Tuesday, March 25, 2014 8:03 AM
> To: [log in to unmask]
> Subject: Re: [ARSCLIST] Fwd: [ARSCLIST] "Why Vinyl Is the Only Worthwhile Way to Own Music"
> Seconding Tom's comments - what exactly *is* that energy above 20kHz?