The SDG-master Mastering & Glassmastering Technology

The SDG-master Mastering & Glassmastering Technology

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.

EONDisc4In 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.

The Audio SDG-Masterglass Technology

The Audio SDG-Masterglass-Disc

The Top Quality as only Requirement




  • Description of the SDG-Masterglass-Disc Technology
  • The multiple advantages of the SDG-Masterglass-Disc
  • The multiple applications of the SDG-Masterglass-Disc
  • Why to choose an Audio SDG-Masterglass Disc?

References: BNF (Library of France), THOMSON, NASA...EDF, French Telecom,Avantis,...

Description of the SDG-Masterglass-Disc Technology

  • The informations are Plasma RF etched (RIE) in a tempered glass disc
  • the SDG-Masterglass-Disc: a Technology developed, patented, and commercialised by our company since 1988
  • Worldwide Exclusivity of this SDG-Masterglass-DiscTM

The Multiple Advantages of the SDG-Masterglass-Disc

  • Universality of the format (compatible on all players)
  • evaluative Support (CD>DVD>BD)
  • Professional Recording within an Incredible Quality
  • Mechanical, chemical et physical Resistance exceptional (shocks, scratches, vibrations, oxidation, humidity, UV, temperature, etc..)
  • Life Time much more Higher than classical CD
  • Ecologic and Economic (recopy, transfer or storage in special conditions unusable)
Glassmastering SDG-Masterglass Disc Technologie

The Multiple Applications of the SDG-Masterglass-Disc

  • Conservation of the Datas in severe environments
  • Metrology (Calibration Discs)
  • Long Term Archiving (legal archives, intellectual, cultural, medical, professional..)
  • Prestige Editions (Special Events, Luxuries)
  • ‘Audiophiles’ Editions Masters replacing CDR, DLT or other sensitive supports..

Why to choose the SDG-Masterglass Disc?

  • Handling resistant (scratches, sweat, shocks..)
  • Time Resistant (remains transparent and flat)
  • Lower Jitter and cleaner Pit Shape, better defined : Fidelity to the original Recording
  • Recording Flexibility (speed, track-pitch, , anti-Copy, ..)
  • Electrical Test supplied with each disc
  • Choice of decorations and reflector metals

Mechanical and Chemical Resistance

Comparison: SDG-Masterglass Disc CD/DVD
2 nm
30 nm
33 g
18 g
600 vickers
70 rockwell
maximum speed
36 000 rpm
4 000 rpm
number of falls 1m
350 000
8 10-6/*C
70 10-6/*C
test abrasion (Taber)
low temperature
-250 *C
-150 *C
high temperature
350 *C
80 *C
transformation point
550 *C
140 *C

Transparency, Flatness, Rigidity of this tempered glass are very important parameters for Life Time of the Datas

Time resistance

  • Ageing Tests: Arrhénius Law
  • Ageing Tests: 2 Test points chosen for an Extrapolation giving a certain Life Time..
  • Ageing Tests: ECMA Norm (ex: for CDR Average 30 years, but within the first years, one loose already some Discs, so Datas)
Disc Alterung Ambient Conditions
ECMA Norm Lebenserwartungs-Prognosen

Multi-backups and copies useless

Recording Fidelity

Classical Audio CD Century Audio CD

Lower Jitter (time clock pit jitter 13-15ns instead of 28-30ns for a Classical CD, 30-40ns for a CDR)





Form of etched pits (micro cups)



Bartholomée Statement

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 ... "
Wavelength 1 Wavelength 2


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
  • Visual Inspection for each Disc
  • Conformity Certificate supplied for every Disc

Choice of Decorations and Reflectors

Customised Decoration:

  • Serigraphy, Painting, Holography on epoxy, etc…
  • Protection and Reflector Materials :
    Aluminium, Brass-aluminium, Gold, Titanium, Chromium, Aluminium, Oxides.., Diamonds..
White Papers - Scientific Backgrounds

"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!

SHANNON, C. E.: A Mathematical Theory of Communication, The Bell System Technical Journal, 1948

Hicks, Christofer: An Investigtation Into Time A Mikroscopic View of the Digital Audio Conversion Process, MTSU

Ken Pohlmann, Applied Digital Audio, Introductory Binary Mathematics, McGraw Hill, 1995

Hicks, Christofer: What is Dither? MTSU

Ryohei Kusunoki: Non-oversampling Digital filter-less DAC Concept, MJ magazine from Nov. 1996 through Dec. 1997

Mike J. Story, Duncan McLeod and Martin Reynolds: Resolution, Bits, SNR and Linearity, dCS Ltd, Great Chesterford, 1998

Mike J. Story: Timing Errors and Jitter, dCS Ltd, Great Chesterford, 1998

M.N.Harris, R. Kelly, D.A.McLeod, M.J.Story: Effects in High sample Rate Audio Material, Tonmeistertagung, Karlsruhe, 1998

Mike J. Story: A Suggested Explanation For (Some Of) The Audible Differences Between High Sample Rate And Conventional Sample Rate Audio Material, dCS Ltd, Great Chesterford, 1997

Bob Katz: Jitteressay. Digital Domain, 2002

Nika Aldrich, Dither Explained, Cadenza, 2002

Brandon M. Schexnayder: Reshaping Digital Audio: DSD Encoding as a Viable Alternative to PCM, MTSU, 2004

Dominik Blech, Min-Chi Yang: Diplomarbeit: Untersuchung zur auditiven Differenzierbarkeit digitaler Aufzeichnungsverfahren, Hochschule für Musik Detmold, 2004

DCA (Doug Carson & Associates), Eclipse Data Technologies, Datarius, Singulus Mastering, M2 Engineering

Audio Research Group, Stanley Lipschitz, John vanderkooy, Audio Engineering Society, Verband Deutscher Tonmeister, Audio Precision, dCS Ltd., Digidesign, Fraunhofer IIS, Fraunhofer IDMT

Emil Berliner Studios, Master Digital Corporation, Mastering Studio München, Galaxy Studios, Bauer Studios, Super Audio Mastering, AbbeyRoad Studios

David F. Cox, Kenneth V. Noren and Anindya Bhattacharya: Asymmetrical Subranging R2R DAC in ULP, Albuquerque, 2002

Bert van der Wolf, dCS: DXD=Digital Extreme Definition, 352,8kS/s

Mark Levinson: Re-vitalizing Audio Industry: Music and Health, 2004

1-bir Forum in Japan, 2004: Super DVD vs. PCM and Your Health - Shunjiro Ohba and Mark Levinson Demonstrates the Surprising Difference

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:

Longévité de l’information numérique / Les données que nous voulons garder vont-elles s’effacer ? Academie de Sciences & Academie de Technologie, Erich Spitz, Franck Laloë, Jean-Charles Hourcade, Paris, 2010, Invitation pdf, Conclusion et Recommandations pdf, Résumé pdf, Présentation des auteurs du rapport.pdf

André Streicher am 12.01.201:1 Referat Digitale Archive: Universität zu Köln Institut für Historisch- Kulturwissenschaftliche Informationsverarbeitung WS 2010/ 11 Dozentin: Simone Görl M. A. AM1 Übung: "Strukturen der wissenschaftlicher Informationsverarbeitung"

Mikroverfilmung im Kulturgüterschutz

Long-Term Preservation Services, A description of LTP services in a Digital Library environment.

Digitale Agenda: Reflexionsgruppe zur Digitalisierung holt Meinungen über die Förderung des kulturellen Erbes online ein

A successful Kick-Off for the DCA Project: Digitising Contemporary Art for Europeana

Die neue Renaissance, Empfehlungen der Drei Weisen zum Ausbau des europäischen kulturellen Erbes im Netz, Zusammenfassung

Die neue Renaissance, Empfehlungen der Drei Weisen zum Ausbau des europäischen kulturellen Erbes im Netz, The Final Report

GIS-DON archivage numerique fonctionnement enregistrement optique

Jean-Marc Fontaine: Dégradations des disques optiques, Réponses pouvant étre apportées, Journée GIS-DON - 17 novembre 2009

nestor Handbuch 2.0

Ministererklärung zum eGovernment, einstimmig angenommen in Malmö, Schweden, am 18. November 2009

Javier Hernandez-Ros: European CommissionOnline consultation, "Europeana – Next Steps" Results, Member States' Expert Group on Digitisation and Digital Preservation 6th Meeting 19 May 2010

Wim van Dongen APEnet project, Europeana Hierarchical Metadata meeting, workshop on how to display hierarchical objects and their metadata in Europeana, Europeana office – The Hague – 16th of September 2010