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#106 |
Grand Sorcerer
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#107 |
The Dank Side of the Moon
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#108 | |||
Somewhat clueless
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Remember, dBs define a (logarithmic) ratio between 2 quantities (in the case of dynamic range the ratio between the largest and smallest amplitude signals that can be represented), not an absolute value. Quote:
Having said all that, I certainly agree that 16 bits @ 44.1 kHz sampling rate is plenty for a delivery format - as you say the real benefit of 24bit/192KHz is to prevent accumulation of errors through the editing process. /JB |
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#109 | ||||
Grand Sorcerer
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#110 | |||
Somewhat clueless
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dBs of dynamic range are not to be confused with sound pressure dBs - they're both ratios, but ratios of different things. Just because a source has 144dB of DR, it doesn't mean you have to play it at 144 dB of sound pressure level (which would indeed damage your ears)! Quote:
![]() /JB |
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#111 |
Somewhat clueless
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The anti-aliasing filter comment was just an aside - it doesn't really affect the discussion in any way. In practice you can get close enough to the theoretical 22.05 kHz to exceed normal human hearing, so your point stands. The aim was to be able to capture 20kHz, and the 44.1kHz sample rate gives a bit of a window for the anti-aliiasing filter roll-off.
/JB |
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#112 | |
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And the increased dynamic range compression, needed to fit the louder music into CD format, was not usually a problem for this group because we want to hear the soft passages as distinctly as the loud passages, while running on the treadmill, over the ambient noise, without riding the volume control, so, hey, even better. Last edited by ApK; 02-01-2016 at 09:52 AM. |
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#113 | |
Grand Sorcerer
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Let's say you have a 1600x1200 (4:3) monitor at 24 inch. You could use a 3200x2400 monitor to create 4x the working space (and squint yourself to hell, probably), or you could do a 200% scale, and create a working space that is effectively the same as 1600x1200, but much sharper. |
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#114 | |
Grand Sorcerer
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A jukebox contained many singles. The jukebox would play on a set volume, and artists/producers wanted their specific single to stand out. To achieve this, the vinyl was, as it's called, 'cut hotter'. Don't ask me what this process entails; I have no knowledge of analog music production. With CD's, this was not possible: a CD was mastered, and it was done. At the time, there was no way to edit digital music to 'cut a hot CD', but as digital processing evolved, this became possible. A CD can be made A LOT louder than vinyl before distortion sets in. I have some music that I only have for completionists sake; to keep everything from that artist complete. A CD that would play at 95-100 dB on a reference system with a dynamic range of 5 is no fun to listen to. There are no dynamics left, and setting the CD to a lower volume doesn't fix that. Dynamic range that is lost can't be gotten back; compare it with blown out whites or blocked up parts in a picture. (OK, a RAW-file can help somewhat, but the results will never become optimal again.) |
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#115 | |
Somewhat clueless
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![]() With 16-bit sampling of an analogue signal, the input maximum amplitude range is divided into 65536 (2 to the 16th power) levels, and the value of the input signal at each sample point is approximated by the nearest level. With 24-bit sampling, you're dividing the input range into 16777216 (2 to the 24th power) steps, which clearly gives a much more accurate representation of the sampled signal. This process is known as quantisation, and the differences between the 'real' analogue input values and their quantised approximations ('quantisation error') effectively adds some noise, which is known as 'quantisation noise'. If we have smaller steps, we have, on average, less quantisation error per sample, and hence less quantisation noise. /JB |
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#116 |
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This thread has taken an interesting twist.
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#117 |
Fanatic
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Here is a site to check an album's dynamic range:
http://dr.loudness-war.info/ As someone who has listened to Rush and am a fan, beginning with them on Vinyl all the way back to their Fly By Night album. I definitely notice the noise and mess of a song like this one: https://www.youtube.com/watch?v=wLNfkVsW1Ck here is the dynamic range chart of the song http://dr.loudness-war.info/album/li...m=vapor+trails |
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#118 |
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#119 |
Grand Sorcerer
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And to go even further down the digression rabbit hole...
The bel (named for Alexander Graham Bell) is a base-10 logarithmic unit for measuring ratios. The decibel (dB, tenth of a bel) is a convenient unit of measurement since 1 dB is approximately the just noticeable difference (JND) in sound intensity for a normal person. Changes in sound intensity of less than 1 dB are imperceptible. When discussing dB in audio you need to take into account whether you are referring to voltage or power (sound intensity). A CD uses 16-bit samples, which indicate the voltage of the signal. Adding a bit doubles the number of possible voltage levels. This is a log10(2)=0.3 bel (3 dB) increase. However, power increases with the square of voltage (for a fixed load resistance) which means that dB of sound intensity are double dB of voltage, or 6 dB per bit. |
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#120 | |
Grand Sorcerer
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He says so in the video on this page: https://xiph.org/video/vid2.shtml "It *might* have been more important if the CD had been 14 bit, as originally planned.... maybe." |
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