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RE: Just so you know where I am coming from...

Posted by jrlaudio (P) on October 20, 2013 at 20:50:31

In Reply to: Just so you know where I am coming from... posted by Tony Lauck on October 20, 2013 at 20:31:10:

Again I entirely agree, as you can see by the type of gear I work with routinely. However, in terms of good engineering practice it makes no sense to record frequencies as high as 60kHz and pass them on to the mastering house, or even the end user. This is junk.

However, the reason for having recording gear with this capability is actually to insure the highest possible stability within the bandwidth normally associated with audio. However that does not mean it is good practice to use all that extended bandwidth, if fact due to instability near any band limit no matter how wide it is poor practice to do so.

Personally, I will make the leap and state that I do not buy into the idea that ultrasonics in isolation have an effect on a listener in an acoustic performance. However as I mentioned, they can have a timbral interaction with frequencies that lie within the normal audio band, such as in an orchestra or pipe organ. You cannot perceive those ultra-high frequencies per se, however you can hear the effects of its interaction with others. And that can be recorded even if filtered, since it is an acoustic phenomenon and these effects from interaction fall within the normal audio band pass.

I suspect the "hard hitting" engineers you refer to don't understand the differences between dBu, dBm, dBVU and dBFS, or even dBTP, a very common problem. Where I have a real problem these days is in brick wall mastering, ARGH!

Edits: 10/20/13 10/20/13 10/20/13 10/20/13

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