There is no point to distributing music in 24-bit/192kHz format.

Post by Anechoic » Mon, Mar 05, 2012, 11:16 PM UTC

brigade wrote: post #119

sjwright wrote: post #78

I must say I get rather irritated when people spend time worrying about dubious 'tweaker' methods to improve their audio, when the most under-performing component of most people's sound equipment also has the lowest-hanging fruit: The room itself. When people ask me where they should spend money to improve the quality of their hi-fi or home theater system, in nearly every case my response will be something like "get…

I'd disagree, at least among the people I know: they all have cheap HTIB systems and the single biggest, most cost-effective improvement you can make from there is to buy better speakers. Then you can worry about your room.

Post by k-mcgrady » Mon, Mar 05, 2012, 11:17 PM UTC

moondowner wrote: post #63

k-mcgrady wrote: post #54

Earlier quoted context omitted.

There are two reasons I don't think this will happen: 1. People would use the tracks to create custom remixes which they would then distribute. What happens when a remix becomes more popular than the original track? Artists generally have to pay other artists to remix their songs (usually via royalties). 2. Creativity. When an artist creates something they want you to hear it the way it was intended. Allowing you to…

Regarding remixing. Artists usually don't "pay" each other, but return the favor - if it's the right term to say. E.g. artist A remixes a song of artist B and artist B in turn does the same for artist A. Or if they are all on the same record label artist A does a remix for artist B and later B makes a collaboration with A. I've noticed this in electronica/edm music artists at least. And another important remark: some…

Post by shabble » Mon, Mar 05, 2012, 11:19 PM UTC

newman314 wrote: post #18

nwhitehead wrote: post #8

Earlier quoted context omitted.

The article doesn't suggest only using 48kHz for recording and mixing. I don't think the author would disagree that recording triangles is difficult. He would argue that once you've decided what final audible frequencies you want to present to the listener, the best way to distribute them is at 16-bit 44.1/48kHz. It's a compelling case.

What if you want to sample the song later? That's one thing I find concerning with the move to digital. With analog media, you can go back, re-record and get an improved result (provided the source is good) but District 9 (which was shot on Red One) will never have improved quality other than resampling because the source is set to a particular digital format with associated data quality.

Post by marcusf » Mon, Mar 05, 2012, 11:20 PM UTC

Anechoic wrote: post #99

sjwright wrote: post #78

I must say I get rather irritated when people spend time worrying about dubious 'tweaker' methods to improve their audio, when the most under-performing component of most people's sound equipment also has the lowest-hanging fruit: The room itself. When people ask me where they should spend money to improve the quality of their hi-fi or home theater system, in nearly every case my response will be something like "get…

Agree one-hundred percent about the room (although the prescription isn't always as simple as "get a thicker rug" etc). The other issue regarding high-frequency sound reproduction is that in most cases, the loudspeaker won't be outputting much beyond 22-25 kHz (assuming very good quality loudspeakers, cheap consumer grade units might struggle to hit a -6 dB point at 18 kHz) and even for the speakers that have usable…

Post by eatmyshorts » Mon, Mar 05, 2012, 11:22 PM UTC

Anechoic wrote: post #43

cmer wrote: post #12

Earlier quoted context omitted.

Stripping frequencies above 20kHz negates the effect on the lower frequencies since those lower frequencies are not "modified" by the higher ones. The human hear can actually hear the very high harmonics when they're combined with a lower fundamental frequency. For example, the human hear will hear a 30kHz frequency if it's fundamental is 10kHz. If it's played at 44.1kHz, the 30kHz frequency is gone and all you'll he…

For example, the human hear will hear a 30kHz frequency if it's fundamental is 10kHz You are going to have to provide me with a citation to back that up because that goes against everything I've learned and experience in 17 years of working in acoustics.