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Author Topic: 24/192  (Read 3359 times)

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Offline MakersMarc

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24/192
« on: March 29, 2020, 09:31:03 PM »
Who can hear 24/192? Can any human. And my DAC only does 24/96, am I even missing anything? Trying to decide whether to kick down for 24/192 downloads of the GD ‘76 box. I want to support the Band but no more fucking box sets, no room.😂
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Offline jerryfreak

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Re: 24/192
« Reply #1 on: March 29, 2020, 11:01:26 PM »
ill pay you $100 if you can demonstrate via blind abx that you can hear a difference between 24/48 and 24/192
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Offline noahbickart

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Re: 24/192
« Reply #2 on: March 30, 2020, 08:53:08 AM »
I makes me feel better about my audiophile street cred when I see lots of fancy lights go on on my dac.

When using dynamics and eq plugins there might be a slight advantage to higher sample rates.

But no, listening normally even on a fancy system, I can’t hear the difference
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Offline KenH

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Re: 24/192
« Reply #3 on: March 31, 2020, 10:43:44 AM »
I think the 24/192 GD releases sound *amazing*...  so smooth and detailed.
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Offline Gutbucket

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Re: 24/192
« Reply #4 on: March 31, 2020, 11:49:48 AM »
^ Which has a strong correlation to the work put into them, and a weak correlation to the sampling rate of the release
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Offline KenH

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Re: 24/192
« Reply #5 on: March 31, 2020, 12:01:14 PM »
^ in your opinion...  I hear what I hear, and I don't see how the work of mastering (besides offering the higher sample rate) is any different, from, say 2mastering 24/96...  it's just a different setting on the AD conversion unit, which produces a better result, imho.
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Offline Gutbucket

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Re: 24/192
« Reply #6 on: March 31, 2020, 12:20:21 PM »
maybe
musical volition > vibrations > voltages > numeric values > voltages > vibrations> virtual teleportation time-machine experience
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Offline Gutbucket

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Re: 24/192
« Reply #7 on: March 31, 2020, 12:32:12 PM »
Not disputing whether they sound amazingly smooth and detailed..
but questioning attribution of those aspects without clear evidence and multiple variables in play.

We do not know the details of the mastering.
As Noah mentions, it's not necessarily just a different output setting.
musical volition > vibrations > voltages > numeric values > voltages > vibrations> virtual teleportation time-machine experience
Better recording made easy - >>Improved PAS table<< | Made excellent- >>click here to download the Oddball Microphone Technique illustrated PDF booklet<<

Online EmRR

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Re: 24/192
« Reply #8 on: March 31, 2020, 01:00:21 PM »
ill pay you $100 if you can demonstrate via blind abx that you can hear a difference between 24/48 and 24/192

The only place I've ever been able to hear it has been in a John Arthur designed pro mastering room on a set of Dunlavey SC-V's driven by Pass Labs amps.  A room that convincingly acts like a big set of headphones when you're in the sweet spot.   I'd win that bet in that room.  Elsewhere, very doubtful. 

There are lot of layers to parsing the value of it, most of it is on the mixing and processing side, delivery mot as much.  But then you get into what the converter sounds like, what the system is like, the room, etc.  Lots of C-hair level nuances that may all add up to something.....or not.....
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Offline noahbickart

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Re: 24/192
« Reply #9 on: March 31, 2020, 01:25:21 PM »
What’s the frequency response of the original tapes? There’s no way there’s any musical info above 20khz. In which case, 44.1khz is all you’d need. I don't know about you, buy I'm 43. I can't hear over 20k and probably never could.

I’d wager that there’s no more than 80db of dynamic range there either. In which case the 16 bit version is plenty good.

I get why it makes sense to record (even from the master tapes) at 24/192. I'd do that too. But for playback?

I download the 24/192 and then do my own 192>48 conversion. That's good enough for me.

I have a problem with the Phish releases on this level as well. Why should content which came from a 16/48khz DAT tape ever be sold at 24bit?
« Last Edit: March 31, 2020, 02:09:19 PM by noahbickart »
Recording:
Capsules: Schoeps mk41v (x2), mk22 (x2), mk3 (x2), mk21 & mk8
Cables: 2x nbob KCY, 1 pair nbob actives, GAKables 10' & 20' 6-channel snakes, Darktrain 2 & 4 channel KCY and mini xlr extensions:
Preamps:    Schoeps VMS 02iub, Naiant IPA, Sound Devices Mixpre6 I
Recorders: Sound Devices Mixpre6 I, Sony PCM m10

Home Playback: Mac Mini> Mytek Brooklyn+> McIntosh MC162> Eminent Tech LFT-16; Musical Fidelity xCan v2> Hifiman HE-4XX / Beyerdynamic DT880

Office Playback: iMac> Grace m903> AKG k701 / Hifiman HE-400

Offline KenH

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Re: 24/192
« Reply #10 on: March 31, 2020, 02:13:49 PM »
Have any of you actually heard any of the 24/192 GD releases ?  Granted, I haven't done an A/B comparison, but they're the best I've ever heard...

IMHO, it's the sample rate that I think makes all the difference.   44.1/48 kHz vs 192 kHz _should_ make a difference, and be closer to the analog masters themselves.
« Last Edit: March 31, 2020, 02:23:21 PM by KenH »
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Offline Gutbucket

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Re: 24/192
« Reply #11 on: March 31, 2020, 03:00:02 PM »
In what ways should it be closer to the analog source?

What leads you to believe playback sample rate makes all the difference?

musical volition > vibrations > voltages > numeric values > voltages > vibrations> virtual teleportation time-machine experience
Better recording made easy - >>Improved PAS table<< | Made excellent- >>click here to download the Oddball Microphone Technique illustrated PDF booklet<<

Offline Gutbucket

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Re: 24/192
« Reply #12 on: March 31, 2020, 03:03:00 PM »
The only place I've ever been able to hear it has been in a John Arthur designed pro mastering room..

I'd love to experience that room!
musical volition > vibrations > voltages > numeric values > voltages > vibrations> virtual teleportation time-machine experience
Better recording made easy - >>Improved PAS table<< | Made excellent- >>click here to download the Oddball Microphone Technique illustrated PDF booklet<<

Offline KenH

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Re: 24/192
« Reply #13 on: March 31, 2020, 03:05:30 PM »
Analog waves are a continuous, smooth curve.  Digital samples are steps, like a basic calculus concept.   The more samples, the more you approximate the continuous smooth curve of the analog sound wave.   The extreme analogy on the opposite spectum is MP3 sound with less samples per second (and even then each sample is compromised with omissions in each sample).
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Offline aaronji

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Re: 24/192
« Reply #14 on: March 31, 2020, 03:19:15 PM »
Except that's not how it works for a bandwidth limited source sampled at the Nyquist frequency...

 

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