deaconblues
500+ Head-Fier
- Joined
- Jun 2, 2005
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Haha, I love that CD vs Guitar Hero comparison for Metallica's Death Magnetic. It's a sad day when we have to turn to video games for the higher quality version of an album.
Originally Posted by LFF /img/forum/go_quote.gif Please elaborate. |
Originally Posted by Acix /img/forum/go_quote.gif It's important to go from experience instead of telling people what they theoretically can and can't hear. |
Originally Posted by haloxt /img/forum/go_quote.gif When I said DSP on 44.1khz I mean some really crazy DSP inside the source/dac that'll take 44.1khz and add ultrasounds into it. Higher than 24khz may be inaudible, but what happens to my headphone drivers when they try to play it? Won't it affect its ability to play the audible frequencies etc. And by modding headphones I mean making the earcups so screwed up that they can produce ultrasounds when only 22khz max is coming from the drivers. Why, you might ask? I don't know, just wondering if Ultrasone headphones are called Ultrasone for such a reason |
Originally Posted by haloxt /img/forum/go_quote.gif A winamp DSP could take 44.1khz and turn it into 192khz with random ultrasounds before feeding it into the dac. |
Originally Posted by haloxt /img/forum/go_quote.gif And it's interesting what you said about analogue injecting tape bias, maybe that is what made analogue so pleasurable. |
Originally Posted by haloxt /img/forum/go_quote.gif Wow we got three recording pros in one thread ^^. It would be a great service to mankind if someone could figure out a way to convert 44.1khz music to have the same kind of "hypersonic effect" effect as 192khz. Assuming, of course, that the hypersonic effect is real. It would be a mighty blow against the loudness wars (without even having to lift a finger against recording companies) and you would deserve a nobel prize. |
Originally Posted by gregorio /img/forum/go_quote.gif I'm not sure what you mean by "hypersonic effect" in 192kFs/s. There is no hypersonic effect that I am aware of. Also, higher sample rates and/or higher bit depths have nothing to do with the loudness wars. In fact, the more compressed the signal the fewer digital bits are required to encode it. You have to realise that in general on a CD, probably at least 6 of the 16bits contain nothing more than noise. When looking at a completely brick walled CD, probably more than 10 of the 16bits contain nothing more than noise. So all 24bit is going to give you is another 8bits of noise. 192kFs/s is theoretically capable of capturing frequencies up to about 90kHz (as opposed to about 40kHz using 96kFs/s). The only thing which is in those higher frequencies is noise, as no studio microphone can pick up anything anywhere near 90kHz and no consumer speakers or cans can reproduce frequencies in that range either. 192kFs/s is a real red herring! G |
Originally Posted by Acix /img/forum/go_quote.gif Some of the studio monitor speakers will go easy above 20 Khz. Like the ADAM and the Yamaha monitors. Most of the hp's in the last ten years will go above 20Khz too. High end analog device has a good potential to go from 20Khz to 50Khz, and higher than 50Khz. If in the device specs, there is no reason to believe that they are big fat liars. So yes, there is equipment that goes above 20 kHz and even if you don't hear the frequencies up there, you still benefit from it by hearing much more smooth and pleasant sound. |
Originally Posted by mbd2884 /img/forum/go_quote.gif All I know it's quite amazing that even for Classical music, the Karajan Beethoven released in 1963 sounds better than Barenboim's recent 2005 releases. I'm not talking that I prefer Karajan's style, it's the recording itself also. Seems to me the issue over recording is widespread across all genres, not just pop and rock. Although my Trance stuff continues to be decent quality it seems. |
Originally Posted by gregorio /img/forum/go_quote.gif Over compression is not usually a problem with classical music. The chances are, if there is a real quality difference between the two, that a lot more time and effort went into the Karajan recording than for the Barenboim recording. There are excellent recordings/mixes and poor recordings/mixes in every genre and over compression is just one of almost countless ways in which a recording can be made poorer quality. G |
Originally Posted by Publius /img/forum/go_quote.gif von Karajan was an insanely megalomaniacal conductor who also dictated many aspects of recording, production, etc. I remember hearing about a "von Karajan sound" that is somewhat well known - a relatively sweet, refined production style - that I understand is relatively consistent across his entire recording history. That said, did you know that several modern DG releases use extensive brickwall limiting? |