Remastering a CD release for Vinyl is a wonderful opportunity to remain as honest as possible to the original mixes and masters, whilst having the benefit of returning to analogue in order to create a truly higher sample rate; albums are generally cut from digital files of 96kHz at 24bit - significantly higher than the 44.1kHz at 16bit on the CD-DA medium. Up-sampling the files digitally would create a larger file but no change whatsoever in the frequency range and the 8 lower bit values would essentially be empty. Passing the signal through pristine converters and valves will produce analogue harmonics above the original frequency range so is an integral process in this remastering. Whilst the difference is indeed subtle it also allows for some slight colour enhancements with EQ and to be vinyl ready ensuring the frequencies below 125Hz are not ultra-stereo for the cutting lathe. So these are "mono-ized" somewhat to guarantee phase alignment in the sub-frequency range. My HARRISON 32C EQ's are then adding some subtle 90Hz over an octave and a 13k shelf to open up the top end for vinyl.
Importantly the audio has already been "brickwall limited" and I believe it's fundamentally importantly to avoid doing this repeatedly, so the optimum use of my analogue Quad Eight CL22 Limiters is a perfect solution. These are out of the Alfred Hitchcock Theatre at Universal Studios in Hollywood and they are wonderful...and incredibly quick; fastest attack time of .002 milliseconds. Yes, that's 2 microseconds and is essentially equal to 96 ÷ .002 samples (that's 0.192 of a single sample geeks) so the use of another aggressive digital soft-clipping limiter is unnecessary. I am always trying to stay out of the way of the music. The remastering shouldn't be heard in my opinion, so as to stay faithful to the original mixing and mastering engineers - and the artist(s) of course. Barney McAll's website is here.