MULTI-track vs. MULTI-channel and the SACD!?
Yes, this is the Living Stereo SACD.
(BTW, how to delete the earlier version of my last "double"-post. They differ by 2 or 3 mispellings???)
So, as I suspected, there was NOT enough tracks to work with to create the muti-channel 5.1 SACD version of the sound. In other words, the "5.1" sound requires more DATA to describe than pure "2-channel" stereo sound. The engineers would need to ARTIFICIALLY and ARBITRARILLY CREATE the
6-channel sound. ARBITRARILLY, because who cares if they produced the 5.1 sound where you'd hear violin playing 10" (inches) farther to the left than it was in real life during the recording session. They would use special effects like "delays", "reverbarations", and some proprietary tricks, which we'll never know about. All this is naturally intuitive and logical! ...
BUT I am not quite at home yet because of:
Originally Posted by soundboy
If you are talking about those SACDs, some of them were indeed recorded in 3 channels (left, center, and right). However, due to the playback technology of the time, these recordings were limited to 2 channels and they were remixed from 3 channels to 2 channel stereo. With SACDs, the original intent of the recordings can be realized by the multi-channel capability of the format. Since SACD requires a dedicated 2 channel stereo mix, these Living Stereo SACDs offers the original 2 channel stereo mix and the 3 channel multi-channel mix as original recordings intended.
Why "dedicated 2 channel stereo mix"? Don't they start from the scratch (using only multi-tracks) to produce the "5.1" sound? As You said in the previous post, that in the case of the "Dark Side of the Moon" they created SACD 2.1 and SACD 5.1 INDEPENDENTLY!? So it means they did NOT use the "2-CHANNEL" stereo mix. Perhaps there are several approaches here. I am not considering recording in "5.1" now, but using recordings stored on OLD analog tapes created, say before 1975. Definitely, I am missing something here.
Actually, how many tracks, ON AVERAGE PER SONG, they used to create the album. If they used only, say 27 tracks for the whole album, it means they used on average only 3 tracks (27/9 = 3), per SONG. And 3 tracks per song would mean that we have the same situation as with the Living Stereo SACD.
Here is my understanding of creating a MULTI-CHANNEL sound.
Let's assume that we produce just ONE song.
The sequence in the production of a MASTER TAPE is:
recording many tracks (say 10)==> overdubbing ==> mixing ==> mastering
(Here the word "mastering" is used improperly, but let's apply it just one song.)
Now let's assume that the MASTER tape is recorded on an (physically) ANALOG (reel) tape (which is still preferred medium among the "producers").
So the MASTER tape contains:
(a) 10 SEPARATE tracks
(b) a whole song obtained by mixing-in the separate tracks
(perhaps not all the tracks were used, ..)
Assume that this master tape (analog) was created in 1973.
WHAT kind of "sound" could one get from the tape?
Well, the answer is: depends on what you want.
Do you want MONO, STEREO, 3-channel, 4-channel (quadrofonia), or "5.1"
(or 6.1, 7.1, 8.1, ...). Is it possible?
Now "5.1" in what format/encoding/decoding? SACD, DVD-Audio, DTS (CD)?
I imagine, that we need a special tool called "black box" (processor) which would TRANSFORM the sound from the analog tape into "multi-channel" sound stored in SOME FORM on a modern type media (computer disc, optical, ..).
Notice that the song is given IMPLICITLY by 10 tracks and this is the DATA the "black box" would be working on. (I dot know whether the "black box" would also need the whole sond stored explicitly on the analog tape.) We have 10 degrees of freedom while MANIPULATING those 10 tracks in such a way to get the "5.1" sound. The "black box" (processor) is reading those 10 tracks (it means it is reading IMPLICITLY the "whole" song). Then an engineer using the console of the "black box" and joggling around with the tracks and utilising any acoustic tricks produces, say MONO, STEREO, 3.1, 4.1, or 5.1 sound, which is DIGITALLY ENCODED and stored on some modern medium. ("Digitally" because of 0s and 1s.)
General idea would be:
analog master tape ==> BLACK BOX ==> multi-channel digitally ENCODED sound on some medium
This ENCODING MUST BE SPECIFIC, i.e. SACD, DVD-Audio, ..., in order to be IMPLEMETED.
Now let's focus on "5.1" discrete sound and consider only the SACD encoding/format, i.e Sony DSD system. So, in this case, this "black box" (advanced electronical unit) is called: "Sony DSD black box" (or more probably Sony DSD processor).
We have created:
"a DIGITAL REPRESENTATION ENCODED according to Sony's DSD" system-format (stored on some optical medium) of an original song stored on an analog tape (medium)"
This is the FIRST DIGITAL MASTER copy of the ORIGINAL ANALOG MASTER copy on an analog tape.
Where could one read about this stuff?