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Barry et al, I now this is gonna sound paranoid, but could another reason 24/192+ be slow on the uptake is because it is ultimately selling the keys to the kingdom, the master tapes? I mean, with a Metric Halo LIO-8/ULN-8 sitting in my home, listening to your Equinox 24/192 recording...I have your master tapes directly!! You can't ever sell this recording again in another format, and I now have a digital copy of exactly what you have that might accidentally (or more likely for illegal profit) get out onto the 'Net. Just sayin....
"Keys to the kingdom"... Reminds me of the RIAA and MPAA trying to keep it in the DVR. No doubt, ted, that's source material at that point. Barry, the direction I got to thinking reading your post was how things were on the recording end in previous decades. Gear gets worse as time goes back, but is it possible that old practices that were tried and true have been replaced by a more technically convoluted environment, not only to mention, the shift in the music industry to being run by people who don't listen to music and who don't back the real process of making it. I've heard of studios not paying for good mastering, so an extension of that would be where management just doesn't direct enough attention or resources towards it.
...I liken to how porn basically drove the internet for the first 10 years...
Hi werd,Hmm. I wonder if 24/192 audio porn might be a way to stimulate ( ) high res sales.Best regards,Barrywww.soundkeeperrecordings.comwww.barrydiamentaudio.com
I will vote for audio porn.
To Barry's point, here is a poster child for the loudness wars and the dollars associated:Red Hot Chili Peppers: Stadium ArcadiumFrom wikipedia:The album was critically praised for integrating musical styles from several aspects of the band's career. The album gained the band seven Grammy Award nominations in 2007 including an award for Best Rock Album and one for Best Boxed or Special Limited Edition Package. Winning 5 out of 7 Grammy Awards. It was the most nominations that the band had garnered in their 25-year career....The album has sold seven million copies worldwide to date.Here is a spectrum analysis of the opening song.
^^^^^^^The engineering these days sounds like its coming from hiphop and trance dj's off their Mcintosh laptop.
From what it looks like hi rez files is just falling into a predictable evolution of music sales. The industry has been at it for years with higher bit rates. DvdA and SACD are past attempts at providing hi rez demands. The only thing is they came out at a very bad time. The market just wasn't prepared to bare the industry commitment like it is now. The last 10 years have been the age of mp3. Thankfully i think it has slowed down and now we are seeing a new age of file delivery. That being hi rez.
I would agree that 24/192 is slow on the starting. One of the things I attribute this to is the fact that a lot of the gear I've tried that is spec'd for 24/192 is not really up to the task.The demands on clocking accuracy go up at the 4x rates (i.e. 176.4 and 192k) as do the demands on analog stage performance at wide bandwidth. It would seem it is easier to purchase a "192" chip and drop it into a design than it is to actually create a design that does such a chip justice. I've heard all to many converters (including some pro units) where performance suffers at the 4x rates, rather than improving.At home, we see computer soundcards and other devices spec'd for 192k that also are not showing what can be achieved, outside of higher numbers on a spec sheet. (Of course, the matter isn't helped when certain "audiophile" sources are selling upsampled Redbook as "high res" files.)
...I think the evolution and growth of hi rez will piggy back technology. Downloadable files make it more attractive to people much like the Apple model. Having an Apple TV certainly changed our viewing habits. It can also make it more affordable for outfits like Barry's. You don't need a pressing plant, etc.
This reality really irks me much like upsampled Redbook masquerading as hi rez. Barry, how should the end user approach manufacturers on this subject? What are the right questions to ask or what specs should may be demanding?
Barry et al, I now this is gonna sound paranoid, but could another reason 24/192+ be slow on the uptake is because it is ultimately selling the keys to the kingdom, the master tapes?
Barry and others, here is a piece of verbiage on this I have come across in the past and I thought I would throw it out there as a theoretical counterpoint to hi rez:"Lets talk about sample rate and the Nyquist Theory. This theory is that the actual upper threshold of a piece of digital audio will top out at half the sample rate. So if you are recording at 44.1, the highest frequencies generated will be around 22kHz. That is 2khz higher than the typical human with excellent hearing can hear. Now we get into the real voodoo. Audiophiles have claimed since the beginning of digital audio that vinyl records on an analog system sound better than digital audio. Indeed, you can find evidence that analog recording and playback equipment can be measured up to 50khz, over twice our threshold of hearing. Here's the great mystery. The theory is that audio energy, even though we don't hear it, exists as has an effect on the lower frequencies we do hear. Back to the Nyquist theory, a 96khz sample rate will translate into potential audio output at 48khz, not too far from the finest analog sound reproduction. This leads one to surmise that the same principle is at work. The audio is improved in a threshold we cannot perceive and it makes what we can hear "better". Like I said, it's voodoo. "
A second interesting question is "what do people think of upsampled, faux hi rez?" Better, worse....?
