Themis;376470 Wrote: 
> Bah, never mind.
> It's just that I find it unbelievable, that, after all these years, a
> lot of "researchers" (especially audio engineers) spend so much time
> and energy trying to convince everybody around that redbook 16/44.1 is
> the best recording/reproduction method possible, and that any attempt
> to go "better" is useless. 
> It is, and it will always remain unbelievable to me. And a sad way to
> do research. Sorry. :(
I think you're painting with a wide brush. I don't think that "redbook
16/44.1 is the best recording/reproduction method possible, and that
any attempt to go 'better' is useless". Very few people would support
16/44.1 as a recording or mastering format.

Why is it good to use hi-rez for recording and mastering? It is a fact
that any processing done causes rounding errors and when multiple
effects are applied these rounding errors can become significant at
16/44.1. Why would we not use hi-rez for recording and mastering?
Significantly, not much to say about this. On balance, you'd have to be
dumb to use 16/44 in a studio because there are real advantages and no
real drawbacks.

The story as a playback medium is somewhat different. Whether you
believe 16/44 is transparent as a playback format or not there are real
drawbacks to hi-rez (compatibility, cost and DRM, plus availability).
These drawbacks shift the onus onto hi-rez believers to justify hi-rez
for playback. People satisfied with the cheap, universally
compatibility, non-DRMed, high-availability format (red book) don't
have to justify their preference.
Darren


-- 
darrenyeats

SB3 / Inguz -> Krell KAV-300i (pre bypass) -> PMC AB-1
Dell laptop -> JVC UX-C30 mini system
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