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RE: High Resolution - Fact or Fiction?

When I record cassettes I like to make only one pass over them, especially when they are old. So I don't know how loud they are recorded. I tend to keep the gain down, thereby wasting one or two bits, which are precious with a 16 bit format, but not so with 24 bits where the limit is more likely to be headroom in analog circuitry, etc... Some of the cassettes are original recordings made on metal tape using Dolby C. These have up to 70 dB of S/N ratio, which is roughly comparable to what you get with 16 bits where you have left headroom to ensure a clean recording. So I think it useful to capture the analog signal at 24 bits.

In the end, I release this material in 44/16. The original 88/24 recording gets converted to 88/32fp for editing and mastering. The levels get normalized at this point so there are no more wasted bits. Then I downsample to 44/32fp and finally dither to 44/16. There is usually an audible difference between the 88/32fp and the 44/32fp due to the lower sampling rate. There is usually a further audible difference between 44/32. Some cassettes were professionally recorded and I have access to duplicating cassettes. Others are production copies, but not high speed duplicated. Still others are not so professionally recorded and can need all manner of work. There are also the occasional dropout and glitches that need digital repair. It is a delight when I get a clean tape that needs nothing more than a flat transfer and splitting into tracks, but this is not the norm.

In this work I am not concerned with disk space. When I am done I keep the original 88/24 transfer, the 88/32fp master and the 44/16 final. Sometimes I keep additional 88/32fp versions if I think that some rework may be necessary. The cost of disk space is insignificant compared to the value of my time.



Tony Lauck

"Diversity is the law of nature; no two entities in this universe are uniform." - P.R. Sarkar


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  • RE: High Resolution - Fact or Fiction? - Tony Lauck 07:08:26 04/11/14 (0)

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