as you can read in the article by Michael Fremer here:
http://www.musicangle.com/album.php?id=924&rpage=3, all the records in both boxes were pressed in our GZ Vinyl plant in the Czech Republic and also cut here by the new DMM mastering system. We tried not to change the sound of supplied files in most cases, our task was (is) only to adapt them to limitations of cutting technology and playback systems.
I prepared the high-res digital files and settings for our cutting guys (you can call it pre-mastering) for all titles in the first box except one record which was cut from DDP files (44.1/16). Try to identify the one
Regarding the second box, at least 9 of them was prepared by me if I remember correctly. Also I think that Mr. Fremer should eat his CD sandwich as he promised...
If anybody is interested, the names of cutting guys were: Vesely, Svoboda, Fatka, Omacka, Vorel and Kovanda (in order of importance and number of plates cut for this project). Other pre-mastering guys for the rest 6 titles were: Syrovy, Kreisinger and Vorel. I think they should be named here, because they also contributed to the success of these box sets.
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We use PrismSound Orfeus units as D/A & A/D converters for all our three cutting lathes (two DMM and one lacquer).
Our mastering system converts all imported audio files to double precision floating-point numbers and all the math calculations and audio processing is done in this format. Then the audio is converted to 32-bit numbers and sent to Orfeus through a FireWire interface. Analogue outputs of Orfeus have dynamic range of 115 dB (acc. their web page). So the cutting heads are supplied with analogue signals converted from all digital formats (any sampl. freq. up to 192 kHz and 32, 24 or 16-bit), but always with resolution higher than 16-bits.
