[SurroundSound] Re: Bit Rate Resolution, Sampling Rate, Upsample, and Lossless vs. Lossy ....

I don't even know where in the the thread that 1970's analogue tape
recording was mentioned but perhaps it was in making the point that
96/24 and indeed 192/24, go a long way to capture that "sound" where
perhaps (caveate - to my ears) RBCD never did and lossy never will
do.
Cases in point, DSOTM, WYWH - 70's analogue tapes that do sound better
at higher res to most folks - see all the discussion on this last
year.

Mastering to me is just where in the master chain that you define -
that you stop messing with the original signal. DSOTM was case in
point. The Guthrie mix appeared to adjust the digital masters at multi-
track source (kind of later denied) and ended up with a pastiche of a
mix which many folks on this forum complained about, perhaps you too
if I remember Brian?

Perhaps the reason that, and this is a generalisation, knowing some
awful analogue mixes, some analogue recordings are so cherished is
because care had to be taken of qualiity (of recording) over quantity.
My TEAC X-1000M (not the best R2R) cost around $1500/£1000, twenty
years or so ago which would be, 5 times more at the equivalent cost
today. This was a stereo master mix-down machine for the normal
impoverished studio. Today my HTPC can handle 48 track mix down like a
multi track machine and costs less than a grand and still do the mix
down - it means that track quality is not a priority and so studio
skills are now aimed at getting sounds out of little boxes and ear
buds not hi-fi nuts like us.

As a Stevenism (Sorry Steven I'm becoming one of your supportesrs so I
joke) 96/24 gives and un-filtered bandwidth of 48khz before any of
the Nyquist/Shannon laws apply. Therefore 22khz is there if it's not
removed.

So to my point; I'm a firm believer in digital too (listen to early
digital like "Swing of delight" [what bitrate/frequency?] by Devadip
Carlos S on CD and vinyl) but as ever source is so important, and
perhaps this is what drives the great sound debate more than anything
(apart from DNR which has set hi-fi back years). Some of my favourite
listens are AoQ's R2R recordings that have such a pure simplicity
( Simon & Art BOTW) that they make some of the latest HR downloads
sound sterile. But guess what - these are simple source recordings
taken with lots of care.



On Jun 21, 12:20 am, Britre <britre...@gmail.com> wrote:
> > I cut out all the quoting just to keep my comment clean so to speak....
>
> In relation to the Dire Straits, I have a first pressing vinyl, this is a
> good master to begin with and I and I am sure many others would follow it
> is a nicely mastered albumto begin with, high in detail and dynamics. I am
> sure when carried over to RBCD and/or SACD the lack of surface noise
> may allow other noise good or bad not heard before or not masked by
> mechanical reproduction.
>
> I must say that to boldly state a late 1970's analog tape recording has
> more detail just because it is on a 96/24 capable format is a bit obtuse.
> You may be hearing things you never heard before because..... Well you
> never heard them before and in the process of transfer and filtering and
> yes mastering the digital brings out certain things you pleasure stronger.
> But I suggest this, the original tape and vinyl photocopy through diferent
> techniques can and will be more detailed with effort. Your 96/24
> reproduction on the otherhand will never sound any better than it does
> currently. You can never extract more s/n or frequencies above 22 khz or
> lower than 20 khz. Are they there? Don't know but you will never know
> because digitally it has been formatted to sound the way someone else
> intended it to be not letting it fly free and see where it goes crappy or
> not.
>
> Food for thought and in this case Steven is nuts on.

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