MOTM

This is the industry I came from and as a side note, your opinion about
96k is shared among many people and is brought to evidence by the
lackluster acceptance of DVD-A.
 
 
 
 

-----Original Message-----
From: Chris Walcott [mailto:cwalcott@...] 
Sent: Tuesday, October 29, 2002 4:18 PM
To: MOTM-l (E-mail)
Subject: RE: [motm] Re: OT: Tales from an Audiophiles Crypt


In the November issue of Electronic Musician there is an article on
"Bridging the 96k Gap".  Very interesting article.  The thing that
struck me was that two highly regarded engineers (can't remember their
names) said that there very little difference between a track recorded
entirely at 24/96 from a track that was recorded at 24/48 and upsampled
to 24/96.
 
For me this is good news as I'm not about to upgrade my studio to
support 96k.  The cost would be enourmous.  Instead I can buy a stereo
24/96 interface (edirol makes a usb one for under $300, MOTU makes one
for about a grand) for monitoring and do my pre-mastering at 96k in the
DAW.
 
- chris

-----Original Message-----
From: paulhaneberg [mailto:phaneber@...]
Sent: Tuesday, October 29, 2002 3:25 PM
To: motm@yahoogroups.com
Subject: [motm] Re: OT: Tales from an Audiophiles Crypt


Although these individuals had no trouble recognizing the higher 
quality of 24 bits over 16 bits, they could not hear an appreciable 
difference between the standard 44.1 kHz sample rate used by CDs and 
the higher 96 kHz and even 192 kHz sample rates.

I have read some equipment reviews which raved about the improved 
quality of higher sample rates, but these were not double blind 
studies.  Personally I think the reason some higher sample rate 
converters sound better is the quality of the filters, not the rate 
of conversion.  For instance my Apogee Special Edition converters 
sound way better than my Digidesign converters both at 44.1 kHz.


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