1. PCM editor would go to show how compressed are commercial recordings ( classical, from premiunm brands, most of the time including audiophile labels ) compared to something that was allowed to be left intact. It would have been visible from across the room !
2. I will have to look up for the exact model #, but there is a Neumann mike with noise low enough to be on the same order of magnitude as air molecules impigning on its membrane. It can not get better than that. It is covered in the Neumann book ( Jubilee X0 years ? ) from approx 5 years or so ago. No, I do not have it or have seen it in flesh so far - but it does exist. This means it has a good chance of exceeding the 96 dB dynamic range. There might be others as well - but I am not familiar with them.
2a. Not true in all cases. Certainly not in the one cited. I am aware if and when pushing the level is detrimental to SQ - and act accordingly. It usually has to do with less than optimal analogue stages; ADC and DAC work just fine, only to "highlight" the cost cutting measures of the analogue parts of the recording chain.
3. I know VERY well how DSD works. By recording as hot as it goes the CONSTANT ULTRASONIC NOISE FLOOR is kept as low as possible - that much you should understand. Ultimately, it will take DSD256 - or even DSD512 - to allow for > 100 dB S/N up to at least 100 kHz ; with DSD64 and less so, DSD128, the ultrasonic noise can quickly become a problem if the recording level is low(er) than it could be. IIRC, you get 6 dB lower ultrasonic noise floor for each doubling of the sampling frequency, which also starts twice higher in frequency compared to half the sampling rate frequency. It is a tradeoff . Korg recorders I use (with TI ADCs ) are noise -wise decent to approx 50 kHz, then the noise starts going up - regardless if it is DSD or PCM mode(s). With faster DSD ( better processors ) , the need to push levels should get reduced. I am eyeing Mytek Brooklyn ADC ( a recorder ) at the moment; DSD256. But will only go for it if I get a spectral analysis of its actual performance up to at least 100 khz. Last resort is Mytek*s 30 days return policy - but I would prefer to know this important spec/fact in advance.
At least you're actually addressing the points now. Unfortunately we're still only half way there though, because you're addressing them with nonsense.
Let's get this out of the way quickly:
1. Audio editors such as Audition cannot measure the amount of compression applied.
2. So that's a "no" then, you don't know any mics which are capable of a dynamic range greater than 16bit. Why then, for a "truthful" recording, do you need more than 16bit when no mic can capture a "truthful" recording with greater than 16bit?
2a. You act accordingly when you become aware that your levels are detrimental? By that time it's already too late! And, if it's due to say analogue stages and not ADC/DAC then it's obviously off-topic!
3. Huh? It's a constant digital noise floor, it doesn't matter how hot your recording is, it won't affect the digital noise floor in any way, it's "CONSTANT"! The rest of your point is nonsense as well because at 100kHz there is nothing but noise! No music mic goes anywhere near 100kHz so even if there were some music content up there (which there isn't) it can't be recorded anyway.
It really is quite impressive how you manage to pile nonsense on top of nonsense, apparently ad infinitum. It's quite a skill, even if I were trying deliberately, I don't think I could keep it up for so long and certainly not while maintaining the illusion that I was being serious. And of course it is an illusion right, it's all deliberate? I mean, it's inconceivable that you could be so absolutely wrong about virtually everything and actually believe it all. Even just by chance you'd have to at least occasionally come across some actual facts which you found believable. How is it even possible to ONLY believe nonsense?
Edited by gregorio - Today at 2:34 pm