In theory this does seem a reasonable strategy. But in practice, it not only is a fast track to sound engineering despair, it is also a great way to create distorted master recordings that will suck big time for all time.

I think it's best to leave the responsibility for good quality Dolby/DTS-compressed sound with the companies that make money on them: DOLBY & DTS. Let them invest their time and R&D money in continuing to improve their processes (which they have done to a greater or lesser extent.)

Better to create the highest possible quality masters so that future technologies might represent them more effectively, rather than distort the masters to compensate for the failings of contemporary technology.

But wait. How about this?!!? We create TWO sets of masters! [Er, well, three, if we include DD AND DTS and the "real" master. Uh, well, FOUR if we include SDDS. .. And so it goes....]

Again, this sounds good in theory; but film studios (and recording companies) have enough trouble just properly storing and keeping track of ONE master. (And do a shockingly poor job of that.) It seems to be more than they can do to manage ONE set of master recordings.


[This message has been edited by boblinds (edited February 10, 2003).]