ok, here are my conclusions based on experience and not being an
expert in anything.
I base this on using my rme multiface which has some interesting
features. The problem lies with not how a a/d handles the coding of a
digital recorded signal rather in how a d/a plays it back.
The problem with mastering for warblers or any high pitched high
energy sound is not a problem with the price you pay for your
equipment but rather in how these critters (that being digital
devices) work.
I ran my warbler on line out of my good d/a converter and back into
the line in of my a/d converter. I am confident that these converters
are well designed and accurate devices and for now just take my word
on that unless you find a flaw in what I did.
I can monitor the playback level of the d/a separate from the a/d and
in these high energy sounds they were not the same. In order to not
hit overload on the line in on re-record from line out to the line int
and avoid hearing distortion I had to drop the gain a full 10 db on
this recording.
What makes this real interesting is that when I playback my recording
on the first original recording which is at -1 db, I get no distortion
and obviously if I am listening to it, it did go through a d/a
process. As soon as I try re-recording that digital data by going to
analog and back to digital I get distortion unless I am at -10db.
The conclusion I am forced to reach is that any d/a coversion becomes
a "lossy" format and all rules of being able to digitally sample a
sound based on 1/2 the sample rate per frequency are null and void if
you do not stay in a digital domain. Therefore, if you wish to record
your sounds to a cd and they contain such sounds as warblers make sure
you stay digital once you enter digital and never try to return to
analog and go digital a second time.
I welcome anyone to tell me I am nuts as my results are based on
experience and not the math behind it or any education about it.
Rich
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