firedog;461463 Wrote: 
> Unfortunately for your post about "you can't hear the difference" -
> 
> I can - and so can lots of other people.
> 
> BTW, there are high res files available for legal download from sites
> like HDTracks and Chesky that are in 96k and above. So obtaining hi-res
> isn't dependent on ripping from a CD. DVD-A also exists. Some artists,
> such as Neil Young, are releasing their music in hi-res formats.
> 
> I'm sorry you can't hear the difference. Maybe your stereo isn't good
> enough, or your ears aren't. I'm over 50 and the difference is often
> striking. It isn't just a matter of high frequencies, but many other
> aspects of how music sounds.
> 
> If you want to believe the high school physics about why "we can't
> hear" anything outside of what a 16/44.1 CD can reproduce, go ahead. But
> the truth is that psychoacoustics (what we hear) is way more complicated
> than that. Do a little research and you'll find academic and engineering
> papers that show otherwise. 
> 
> Quote from Robert Hartley at Avguide.com: 
> 
> "Bob Stuart (degree in psychoacoustics) has shown in a series of AES
> papers why 16-bit/44.1kHz is insufficient to encode all the information
> humans can hear. He bases this thesis on models of human hearing that
> are generally accepted in the psychoacoustic literature.
> 
> Secondly, although 44.1kHz sampling is perfect in theory for encoding a
> signal with a bandwidth of 20kHz, in practice 44.1kHz is too slow
> because of the requirements it puts on filter design. The anti-aliasing
> filter needs to have no attentuation at 20kHz and more than 100dB of
> attenuation at 22.05kHz. Such steep filters introduce time-domain
> distortions. See the AES papers of the early-to-mid 1990's by Mike
> Storey.
> 
> Third, there's been a suggestion that although we can't hear sine waves
> above 20kHz, we can detect the steepness of transient signals that
> implies a bandwidth greater than 20kHz. We use these steep transient in
> localizing sounds. Part of the HDCD process (the patent application
> makes for fascinating reading) encodes in the hidden information channel
> indicators that a signal's transient leading edge is less steep on the
> 44.1kHz/16-bit signal compared with the high-res original from which the
> HDCD-encoded compatible signal is derived. A conjugate process in the
> decoder restores the transient's orignal rise time."
> 
> If you're happy with standard CD's, that's great. But don't tell the
> rest of us what we can and can't hear. And at least admit the
> possibility that maybe standard CD's aren't the best medium we have
> available, and hi-res adds something we can perceive.

I think mr Stuart's research shows that  circa 20bit 55k ? would
suffice, so choosing 24/96 gives the music producers some slush margin.
Consequently his own brand of Equipment ( Meridian ) don't do 192kHz
other in the players, downconverting to 96k before sent to speakers or
processors.
As 192kHz would only double the processing power needed and hog
bandwidth with no obvious gain in sq.

Firedog: keep in mind that recording and playback are different
animals.
The filter problems are worts in recording, in fact all things are
accentuated in recording AD is *much* harder than DA .

Even people that say 16/44.1 is enough does not doubt that recording
and producing in 24/96 is the way. Just that for playback purposes
16/44.1 is ok.
In fact in most cases it is.

Imho, many audiophiles have bougth the mythos that 24/96 is going to
save their favorite analog recording, this is bull in most cases a
better master and transfer would do that regardless of output format.
It is possible if they get their hands of the original 24 or 48 tracks
and remix it from ground up digitally.
But no in most cases good old 16/44.1 is better than the old analog
tape.

But I find that the few DVD-A's that are truly  recorded at 24bit from
the mic stands and onward has an edge here.


-- 
Mnyb

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