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In Reply to: RE: Higher "Rez" Seems to Offer Lower Overall Quality posted by jaydacus on September 25, 2016 at 08:59:36
DVD-A and SACD failed? Well that is BIG news to the folks still producing them and the consumers still buying them. ANY audiophile format is going to "fail" on a mass level. Failure means ceases to exist. So Eh, WRONG.
So you side step the fact you are a thief.
And again, so you list your system, and provide no specifics about comparisons between CDs and 24 bit and DSD downloads.
File under, "Worthless Opinion Pretending to be a Grand Definitive Statement". Which is what audiophiles specialize in.
Follow Ups:
I simply expressed an opinion based on an observation that I had made. I was perfectly open to opposing opinions, observations, and maybe a change of perspective based on new evidence and farther guided experimentation.
It was not my intention to enter into a digital dick measuring contest, but that was where you decided to take it. Thank you for all of your constructive sneers and criticisms. I will go on and listen to what actually sounds good. You are free to enjoy your confirmation bias, wishful thinking, and theory trumps real world experience fueled superior technology to your heart's content. You have earned it. Enjoy it.
Shaking down the consumer? A 96/24 download of, say, a 3 mov't concerto runs about $7 to $8. And one isn't forced to pay for tracks he or she doesn't want.
What 96/24 download have you compared with its CD incarnation?
Are you sure they were derived from the same master?
I'm asking this because Redbook is a very popular format.
Hence is must sound good everywhere.
Most of the time this translates into substantial dynamic compression.
As 24/192 is not a popular format, it might have the original dynamics.
The Well Tempered Computer
The format does not cause the compression. The mastering engineer does.
Alan
The format is correlated with the market. People who pay premium prices for 24/192 recordings are likely to have premium quality systems that are properly voiced and capable of full dynamic range. They are likely to appreciate the dynamics of live music. Accordingly the mastering engineer (on his own or as directed by the producer) is much more likely to choose to use less compression when working with high quality recordings.
Technically, there are valid reasons for mass market production of highly compressed music. Compression increases subjective loudness without requiring high power playback. This can make for better sound on inferior systems. Compression also eliminates musical dynamics that may be inappropriate, as a result of an inferior musical performance, which is typical of popular music with players chosen for sex appeal rather than musicianship.
So there is a cause and effect relationship here, but it's a complex one involving marketing.
Tony Lauck
"Diversity is the law of nature; no two entities in this universe are uniform." - P.R. Sarkar
I listen mainly to 16/44 and I have a premium quality systems that is properly voiced and capable of full dynamic range. I appreciate the dynamics of live music. Most recordings that are available from 16/44 to 24/192 are usually derived from the same master
Alan
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