With digital technology is basically made for rectangular signals. The quality of the signal depends on how fast and how clean the 0-1 transition is and how stable is behaving this signal. The individual electronic components, however, have their own noise, lethargy, sensitivity to temperature, magnetism, electricity, etc. These sensitivities are so different that they can only deal in detail.

The matter is complicated by the signal from this single bit compiled by the given by the different codes for various electronic parts to the useful signal. These segments give a short signals of differing intensity and jitter values. These differences make the adjustability of the signal difficult. The signals have a rectangular shape rather than by a temporary slowdown beginning one overshoot with ringing.

In practice, it looks like that if you away from the end of an audio or video file one seconds pause trims and stores, this is mapped by file according to the signal quality conditions of the plant. This phenomenon manifests itself through the narrowed dynamic headroom, loss of detail in sound and colour. Especially in the post these are also obscured by accumulation of quantization noise.

The SDG-master digital mastering facility was built so as to ensure an uncompromising quality comes about. It has resorted to unusual technical solutions to "cost no object" basis, which can be found in any currently known systems.

The main technical solutions are:

special superconductor magnetic filter system in the self-construction with

low temperature soldering, anywhere in the signal path and into the

special power supply in the self-construction,

separate clock-skewing system for audio and

Video and graphics circuitry, and for

RAM and CPU in the self-construction of individually controllable time-power

application specifically designed for extremely high speed and low noise level designed components,

non-contact soldering with infrared and hot air.

The result is an extremely clean square wave output signal. By using the system a resampling of the input signal is possible, through which he can be freed even brought along a portion of the quantization noise, which has accumulated during the post-editing.

Through this facility we have achieved a quality that the standard optical disc technologies without loss of quality can no longer play. Therefore it is necessary now to take the glass mastering technology under the microscope and to rebuild according to the SDG-mastering facility, the glass mastering facility.

Recording Fidelity: Extract of the Glass Disc“SDG-Masterglass Disc and its Psycho-Acoustical Improvements” by Nicolas Bartholomée (famous french sound engineer)

"... By listening the glass disc it offers an absolute extraordinary transparency, emphasizes details, which does not appears by listening the normal disc.

The glass disc offers a nobility stamps heat immediately close the vinyl yet its sampling rate and resolution have not changed from the normal disc. Since I have the chance to hear all our masters in frequencies much higher sample set with unmatched resolutions (192kHz / 24 bit), listening to the glass disk is similar to tapping with its resolutions, with enjoyment of his unparalleled warmth.

The glass disk is a dynamic progression of a lot more subtle than those seen a listening to a normal disc and we are often forced to change the level of listening to a disc.

Even in the passages "Forte", the sound stills not aggressive for the ear, it remains fluid and graceful ... "

Recording Flexibility; Possible Customizing in mastering for every SDG-Masterglass-Disc:

Etched Unique Number

Anti-Copy Protection for every disc

Optimisation of many parameters as: Linear Velocity of the disc, Track-pitch,…

The Weight of the SDG-Masterglass Disc which is higher than a classical CD, is giving another dimension with handling and a smoother inertia for the reading stability

Electrical Tests

Electrical Test made for each Disc while 1/1000 for classical CDs, only statistical test

"White Papers" are usually structured like this:
1. 1. Detailed explanation of theories as interpreted according to personal taste, as the author of the original can not defend,
2. 2. Prior art, which suffers from the symptoms of the common theories
3. 3. Presentation of his own theory, with indication, why are all the other stupid,
4. 4. Evidence of his own theory, which because of their ignorance of others, devoted exclusively to combating certain symptoms,
5. 5. Bibliography in order to build a semblance of broad gauge and objectivity.

This method does not, we pursue! It carries many risks, come to wrong conclusions, interpret miss someone, possibly insulting, what do we really want to avoid.

Let us honour the representations are already known to specialists, we close the contacts short to eliminate subjectivity and fill any knowledge gaps. Please read the listed documents, you can clear up by sound scientific knowledge. Then, visiting on the Internet known institutes, companies and studios.

Take you questions directly to the scientists, designers, sound engineers or mastering engineer. You will be fascinated by the equipment arsenal of studio overwhelm almost limitless post-production facilities. Your information will be up to date, raised at the latest. Then, (below), we shall meet again!

And then you ask about something that does not depend on the development of theories and many years: over glitches. From zero to one we had to switch from the outset. They will lead some very entertaining conversations! Perhaps also on the health of many professionals. And now about Long Term archiving: