Just resetting the comment section for Summer Tour.
This entry was posted on Monday, June 27th, 2016 at 3:33 pm and is filed under Uncategorized.
You can follow any responses to this entry through the RSS 2.0 feed.
Both comments and pings are currently closed.
That Fee didn’t seem real then and still doesn’t. Dreaming music. 2nd set was fierce thru Ghost. Xeyed No Quarter Light Ghost. Fuckin A right. No Quarter gotta be the best cover selection of 3.0, right? Gets me straight jacked every single time. Trey brings those power chords crashing down I wanna rip off my h as and throw it at someone.
All things being equal, 24 bit and 16 bit audio files will have no perceivable difference.
The bit refers to bit depth which is how dynamic range is stored. Dynamic range is essentially the “loudness” range. In other words, the window of loudest to quietest noise in the file. 16 bit has plenty of room to capture these volumes, from the ear-piercingly loud to below the quietest sound humans can hear (not to mention, below the ambient hum of even the best stereo equipment). 24 bit is highly recommended for recording (gives you more headroom, lower noise floor which can come in handy during mastering) but is a complete non-factor for playback, according to science and stuff.
The 16 bit clipping issue for LP appears to be an artifact of resampling 48kHz to 44.1 kHz which can introduce higher intersample peaks. This easily avoided by giving ~2 db of headroom to the source (48 kHz) file.
If you re-encode your 24/48 files to 16/48, you should be able to avoid the clipping altogether.
Also, if you think you can hear the difference between a (properly mastered) 16 bit and 24 bit file, you can’t. Or at least, I won’t believe you until I see a screen shot of an ABX test result. (FYI, Foobar has this plug-in.) Not that anyone should care whether I believe them or not.
There is a difference between measurable and perceptible difference. #placeboEffect