opaqueice;404219 Wrote: 
> 
> Let me make my position clear.  First off, I'm quite convinced that
> hi-res is audibly different from redbook only under totally unrealistic
> conditions.  For 2-channel music, redbook is simply good enough.  That
> said, there's nothing wrong with overkill - particularly if it's easy
> to do.  And for mastering and recording 16/44 does -not- suffice.  So
> there's clearly a need for hi-res standards and gear, and it's fine
> with me if there's a consumer market for it.  It makes people happy,
> secure knowing they're listening to the best money can buy and
> technology can do - and I have absolutely no problem with that.  I'd
> even do the same myself if it wasn't too much hastle.
> 
> But I object strongly whenever anyone tells anyone else that hi-res is
> better for home stereo, and/or that they need to spend lots of money
> upgrading their system and buying hi-res versions of music they
> probably already own.  It's BS.  The correct advice is "it's almost
> certainly not going to make an audible difference, but you can never be
> sure, and if you want the absolute best and can afford it, go for it. 
> And often when music is in a hi-res formats more attention is payed to
> sound quality during mastering, so you might end up with better
> sounding recordings."

44.1KHz/16-bits can produce some stunning recordings - if they're done
properly.

IMV there's more to be gained from engineering current CDs
better/properly than by just upping all the sampling rates and bit
lengths.  96KHz/24-bits (or whatever) might make the engineering
process easier, but it's not going to help if engineers insist on
compressing all the music into a few levels at the top end of the bit
range.


-- 
Patrick Dixon

www.at-tunes.co.uk
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