Viewing profile — speak_on

Just to wrap this up. Is your professional opinion that techniques like antialiasing/oversampling/etc and any sample rate above 44.1 kHz are essentially an industry-wide scam and t…

This is a more philosophical take… And I totally agree with you. I mix at 16/44.1 just for the record. I do not buy into the idea of gold plated connectors or 96 kHz mixing. My poi…

Hm, no. The discussion was never about analog artifacts vs AD conversion artifacts. Both are present. And not sure why you use "artifacts", do you not believe the artifacts are rea…

Ha! OK I take that back. Firstly, it's an amazing experience to randomly interact with people like you - I love and use your software. Hats off and thanks for what you offered to t…

I don't. Do you? I am not a researcher. Saying that, do you have a double-blind study handy on MP3 256 vs 320 actual audible differences? If not, can you yourself hear the differen…

Other than the top engineers in the industry. This is a discussion that always ends up in the "double-blind study" vs actual real engineers working in the industry.

Got it. Grammy voters love Collier's mixes. What about Tony Maserati? He can clearly tell the difference between 44.1 and 88.2. If your argument is that these engineers can't hear …

Ok dude, you obviously never recorded anything. Twelve mics on a drum kit, 60 tracks of rhythm guitars, several bass guitar layers, vocals, backing vocals, electric organ, percussi…

The central point is that AD conversion can and will introduce artifacts. DA process wil intrduce more artifacts. The "imperfect" is a huge range and AD/DA converters play a role i…

Genereally very low for a single track? What about 200 tracks? Badly written synthesis, or badly recorded live instruments, or bounced and re-bounced dozens of times... we are not …

Mixing process often involves hundreds of tracks, and if each introduces aliasing, this can become a problem. Some engineers do swear by "the final mix is 16/44.1 so why mix at a d…

OK, so we are entering the stage of "can you provide a double-blind study link". I can look it up, I am not a researcher. Here is one: https://qmro.qmul.ac.uk/xmlui/bitstream/handl…

Absolutely! All these examples have imperfect audio paths - that is the point.

If you are looking for studies, this one comes to mind: https://www.researchgate.net/publication/289039184_The_audib... A quick search returned this PDF with a nice diagram of what…

Would you agree that a trained human could identify artifacts produced by an imperect conversion process? If you lean "yes", then that's your answer: AD/DA is not a Rust function p…

The artifacts produced by pure 44.1 kHz convertion are aliased back down to lower frequencies. It's not about a theoretical human ear, it's about the actual physics of AD/DA conver…

(I commented on this topic above/below in more detail.) Even with not-so-great hearing you would still be able to identify the difference (ie artifacts are pushed down, not up). Lo…

As I responded below, you are confusing math with physical reality. A true 44.1 kHz converter can't realistically capture frequencies ~18-20 kHz due to the limitations of filters u…

44.1 is "enough" only in theory. This assumes a physically impossible steep filter. Realistically, frequencies around 20 kHz will create audible artifacts (aliasing). So yes, a tra…

The most impactful for noticing the difference? Again, I would argue it's the trained ear. If you have plenty of mixing experience then all these details add up, and a treated room…

At a minimum, anything above 16/44.1 requires far more than just files: monitors, a treated room, listening position, DAC, etc... but most importantly - a trained ear. That last on…

Yes, it would flag an outbound connection from the Python process.

Worth mentioning the "supercollider-vscode" extension - makes Supercollider dev experience much smoother than it was a decade or so ago.

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