I've been involved in a few sample-rate shootouts and comparison sessions.
Those several experiences showed, to my ears, some subjective merit to
recording at 96K.
Another listening test was between DSD and a PCM-decimated version of the
same recording. These were exquisitely recorded acoustic music sessions,
presented at a mastering studio called Airshow in Boulder CO. The DSD
sounded better. But it's not the same signal path. To listen to the PCM,
you have to listen through a PCM converter. (a DSD D-A converter is simply
a lowpass filter, very simple electronically). So there's a variable --
which PCM converter?
At any rate, I record at 48/24 except I record 96K for some FX work. I wor=
k
in film and video. Material rarely if ever goes to CD. I would second the
earlier comment about conversion time; this can be significant and is a
reason to choose your sample rate carefully.
24 bit makes a big difference when you're boosting quiet material. Even
capturing the noise of the recorder with more bits is good.
-jeremiah
On Tue, May 18, 2010 at 9:30 PM, Paul Jacobson <> wrote:
>
>
>
> On 19/05/2010, at 1:15 PM, Dan Dugan wrote:
>
> > John is a good friend, but he also is in the business of selling
> higher-sample-rate recorders...note the weasely "appear to reconstitute."=
No
> real data to support the claim.
>
> There is an interesting paper from a manufacturer at the other end of the
> chain - dcs http://www.dcsltd.co.uk - entitled "A Suggested Explanation
> For (Some Of) The Audible Differences Between High Sample Rate And
> Conventional Sample Rate Audio Material" This appears to have been presen=
ted
> to the AES NY in 1997.
>
> www.cirlinca.com/include/aes97ny.pdf
>
> Again no real data to support the claims, but at least this paper explore=
s
> some possible mechanisms which might explain the improvements in sound
> quality many people claim to hear with "hi-res" recordings.
>
> cheers
> Paul
>
>
>
--
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jeremiah moore | SOUND |
http://www.jeremiahmoore.com/
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