i'm your bass creator;331202 Wrote: 
> What would you have to listen out for to be able to determine the
> difference between a lossy version and a lossless version of electronic
> tracks?

It doesn't really matter about the type of music because that
instrument positioning argument is pretty much pants.  It's based on a
misunderstanding of how joint stereo works, which is a bandwidth-saving
technique employed primarily by lossy encoders, but also by some
lossless encoders such as APE (this last bit is a clue to how much it
impacts sound).  These are some of the REAL artifacts of lossy
encoding, in descending order of easiness to hear/obnoxiousness:

- Warbling.  Let's say you have a long sequence of rapid-fire
percussive noises.  Typically faster than drums, like applause and
sometimes castanets.  Each sound may be imperceptibly time-shifted, but
collectively, it'll sound like the audience is clapping underwater.

- Ringing.  You'll hear this on brass instruments and piano, maybe
others.  It will just sound more metallic than it should.

- Pre-echo.  Another form of time-shifting.  It basically makes
percussive sounds softer.  Like the drums have been stuffed with
pillows.

- Hissing, etc.  There are lots of lesser artifacts that actually sound
pretty natural, and you very likely won't spot them just listening to
the compressed version.  The only way you can really spot them is the
carefully compare against the source, preferably in a double-blind
test.  Be warned that if you just do A/B testing, your brain WILL
imagine differences between tracks, and your knowledge of which track
is lossy will lead you to erroneously believe you've spotted a
difference.

Hope that helps.


-- 
CatBus
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