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In Reply to: RE: 24/192 tracks to their 16/44 counterparts posted by Roseval on September 26, 2016 at 04:19:20
The format does not cause the compression. The mastering engineer does.
Alan
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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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