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Lavry's point in that article is that all you need to perfectly encode audio is the 20-20,000 signal and sufficient headroom for noise-shaping. His preference for the maximum encoding frequency is somewhere around 60khz, far less than the 96 or 192 pushed by proponents of high-rez recording. I agree that there is an advantage to using 24/96 (& up) from a signal processing point of view, especially in recording projects like those you've described. However, on the playback end, a well-mixed/mastered 16/44.1 recording is enough to satisfy the practical limits of perception. As for perception as a neurological construct, we've still some ways to go. I've read some interesting studies on neuroplasticity and musicianship that indicate significant differences in how people respond to music beyond the specifics of physical reproduction of waveforms. Needless to say, cables et al. aren't relevant in interpreting this research.
Originally Posted by TwoTrack /img/forum/go_quote.gif Forgive me. I left off the response to Lavry. I believe Lavry has changed his views since 2004 and there are now editing tools that do with in 24/192 and 24/176 now so that is dated. As well there is new research that suggests harmonic overtones from extreme HF impact the audible band. I will try to find a paper. I believe Keith Howard has done some work in this area. |
Lavry's point in that article is that all you need to perfectly encode audio is the 20-20,000 signal and sufficient headroom for noise-shaping. His preference for the maximum encoding frequency is somewhere around 60khz, far less than the 96 or 192 pushed by proponents of high-rez recording. I agree that there is an advantage to using 24/96 (& up) from a signal processing point of view, especially in recording projects like those you've described. However, on the playback end, a well-mixed/mastered 16/44.1 recording is enough to satisfy the practical limits of perception. As for perception as a neurological construct, we've still some ways to go. I've read some interesting studies on neuroplasticity and musicianship that indicate significant differences in how people respond to music beyond the specifics of physical reproduction of waveforms. Needless to say, cables et al. aren't relevant in interpreting this research.