drmatt wrote: 
> All fair points about capability of humans. But the capability of the
> machines is much higher, so in my view why not master at 24 bit anyway?
> 

To make the absurdity of this suggestion more clear, why not master at
48 bits?  Unlike 24 bit mastering that triples the file size with  no
audible benefit, this only doubles it. 

Why not force people to drive 20 mph when  freeways are capable of 60
mph?  Why not pay $36 for $12 movie tickets? 

> 
> The "massive" increase in data storage is utterly trivial actually 
> 

That's what I said, given that only a few tracks are being recorded. 

Trouble is, a great deal of work is done with far more active tracks. In
professional recording and live sound, 24-32 channels is an average to
small console. That means that situations where 24-32 or more active
channels are in play.  32 tracks of 16 bits for recording a 1 hour
session is 81 gigabytes. Why not make it 3 times larger with no audible
benefit?  

> 
> and if it helps one engineer avoid clipping or pull a badly levelled
> track out of the noise it's probably worth it.
> 

I suspect that some production houses with poorly trained and
inexperienced staff may go this route. Saying that you record everything
at 24/96 is actually a tacit admission of a lack of skill and/or
carelesness. As I pointed out in a recent post, there might be 24 dB of
overhead in a 16 bit recording. Not enough?  Maybe a little more
attention to the job at hand might help.

> 
> Speaking as a photographer I love how my 8 bit per component jpgs look
> on my screen, but I don't think twice about shooting in 14 bit per pixel
> raw because the latitude you gain on post shooting exposure adjustment
> is huge.

Equating photography with audio is well knokwn sign of not understanding
the vast differences between audio and video media and technology. 

I mix, record, and edit both, and I know that the wise man wears
different hats when he switches between those horses.


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