Mnyb wrote: > Since I assumed you are a recording pro. Definitely not a recording pro, just some experience with pro gear and installations.
> Would not air be good at absorbing ultrasonics? While absorbtion definitely goes up pretty steeply with frequency, it is still less than 1-2 dB/m even at ultrasonic frequencies, so not an issue in a studio but somewhat of an issue in a big concert venue. > Do the captured audio exceeds 20kHz ie merit a higher samplerate at > playback to be "the whole signal" Especially with wind instruments, you do get some energy above 20 kHz, but not huge amounts - cymbals do produce a fair bit of higher frequencies. > if can be heard or not is another matter? Indeed. If something is not audible, it is not audible. :) > Another matter would be choice of recording equipment microphones for > example I can only speculate that for example microphone companies > pretty much assumed the 20-20k spec or less ? Sometimes vintage mikes > are used for the euphonics they produce , but is not that that another > potential block for finding a good test sample? Many studio mics, while starting to drop at 20 k, still pick up a reasonable amount of stuff up to 25-30 k. > I mean even if the studio used the latest and greatest 24/192 AD > converters other parameters could make it so that there is nothing to > sample in the first place >20kHz ? > You could probably make a similar argument for noise and the need for > more bits beyond >16 if the whole thing fades into random background > hiss at -80dB the extra bits is not going to do anything fore you. Absolutely. The only reason people in the pro audio world use higher sample rates is to be able to use softer low-pass filters, but once the signal is in the digital domain and modern digital filters can be used, it is not an issue any more. 24 bits gives you more headroom and flexibility in the dynamic range when recording, but once the signal has been normalized, 16 bits is more than enough. > NOTE: i'm discussing consumer delivery formats , there are other very > good reasons to produce and mix in very high rates as you may want to do > things with the signal so the use of 24bits or 32 bits in the studio is > a separate topic . But they are easily confused in all these discussions > . Exactly. You need headroom when processing, but once the processing is done, no benefit is gained by hi-res. "To try to judge the real from the false will always be hard. In this fast-growing art of 'high fidelity' the quackery will bear a solid gilt edge that will fool many people" - Paul W Klipsch, 1953 ------------------------------------------------------------------------ Julf's Profile: http://forums.slimdevices.com/member.php?userid=42050 View this thread: http://forums.slimdevices.com/showthread.php?t=101201 _______________________________________________ audiophiles mailing list audiophiles@lists.slimdevices.com http://lists.slimdevices.com/mailman/listinfo/audiophiles
