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Old 23rd December 2019
  #81
Lives for gear
 

Quote:
Originally Posted by monomer View Post
I'm more cynical about the audiophile market.
I'm sure that if 24/96 becomes anything like a standard it will become useless to audiophiles as a way to differentiate themselves from the commoners.
I don't want to generalize too much and i think there are some sensible audiophiles out there. But the majority? I think they just like to show off.
Maybe, but at that point, even they have to accept that is the pinochle. I consider myself a audiophile, videophile, perfectionphile and I am overly happy with 24/96 files. Maybe, JUST maybe I'd support the desire of 24/192k or some DSD stuff.

But dude, LOL how much further can they go ?


Quote:
Originally Posted by monomer View Post
You don't seem to have an idea of what Nyquist-Shannon theory of sampling actually is.
The samples themselves are ideed quantized, but why do you think the timing of the wave information contained in the samples is quantized?
I actually never said that. Sorry, maybe I was less clear than I should be ? I'll explain what I mean. But at the same time, what makes you think they are not ? The wave information can only adhere to the resolution of the session at best. Can it not ? I admit this part I care about less, and is not what I am referring to being a problem, and I admit I know less about it for sure, BUT I do think the wave information can only start and stop its information being recorded at intervals corresponding to the resolution of the session. This means, though you personally might not notice it, lets say your in a 44.1k session, as you record things, say words, hit percussions, etc.. if you happen to deliver a instance of audio between one of the 44.1 thousand places within second that it has to adhere to, then it by the nature of its law has to nudge it to the next closest sample in its resolution universe. This will be a larger jump of "auto nudging" when at 44.1 vs 96k, as 96k has over twice as many places the wave information can start/stop at, therefore equaling a smoother feel timing wise, even if just subconsciously.

BUT - What I was really saying that is unarguable is a smoother delivery at editing/nudging audio around after the fact. This is important to me. As I don't quantize, but I have a magical knack at nudging audio of live recordings around if they got too far off, but I keep them natural sounding. This my friend, if you don't know, when working in Pro Tools (which makes it superior to other DAWS that don't) you can edit/nudge down to a sample level. So the higher sample rate the session, the more nudging points I get. THIS creates the power I like. And I really can tell. (lets not forget for the same reason, reverb tails (if reverb was created from a plugin) sound way better at 96k as well.)

So summary is, I can set up a smoother timing at 96k that someone can at 44.1 if I got every hat chopped down to a tiny clip only as long as its actual sound - due to I have twice as many places to nudge the audio clips. And this works for any audio clips.

Not important for most, I know, and most probably can't tell a difference. But my question is why give that up if the negative side effects are literally none ? No thanks, I stay in 96k as I feel the universe I have within is more free to move.