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Showing 1 of 22 conversations about:
rastus
1391
Nov 1, 2018
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An actual 11.2 DSD studio recording from Blue Coast; “Recorded in DSD256 and mixed through analog console to DSD256”: https://bluecoastmusic.com/Meghan-andrews/fire-single#.W8aozKQpDYU
“This is a single song bundle including all (8) formats: DSD256, 128 & 64, 19224 WAV & FLAC, 9624 WAV & FLAC as well as CD Quality 4416 WAV.”
ElectronicVices
2937
Nov 2, 2018
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rastusAh shit... love me some tracks in multiple formats. Do you know if they were all encoded during the same mastering session on the same gear?
rastus
1391
Nov 2, 2018
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ElectronicVicesIt does not specifically say; but by stating recorded in DSD256; all others are thereby converted from. A fair test then of the formats; in studio conversion; to the extent your rig accepts. In a word, exquisite, the artist & recording.
ElectronicVices
2937
Nov 4, 2018
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rastusI only ask as I've got a couple of different test sets that were all encoded during the same mastering session in different formats and at different bit rates. I use them to see if my friends can tell a difference between CD quality and the various high res formats. Thanks for sharing!
rastus
1391
Nov 16, 2018
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ElectronicVicesWhy don't we get more higher quality recordings?...
Why don't more professional audio engineers record above CD quality?
Saturday, October 20, 2018 - 11:51 "This is a question that has perplexed many of us who record in high resolution audio. Sure, our focus is on DSD / one bit recording... but why are most audio engineers recording at 44.1 or 48? You think it would be easy to move to PCM 9624 or 192. Heaven forbid anyone should move to recording in DSD! It's not a simple answer. One problem to point out is our education system. Sadly, our audio schools don't teach students to record in higher resolution formats. Maybe if there was more demand and more spoken about it directed to mass consumers, we might see a change.... just as there was for headphone demand and vinyl surging. Generally, students and schools are on limited budgets. While cost of disc space is going down, multitrack recording still requires a lot of space and management. In recording at 44.1 sampling rate, a song can require 10-100x the space on a hard drive than the final 2 track mix. Add to that multiple takes and overdubs and that album starts to add up. Then there's the time to backup. We then need to consider managing the computing power which can cause issues with sound if not sufficient. While in school, students tend to be more focused on plugins rather than learning microphone techniques (which are also expensive). Most plugins work at 44.1 or 48K sampling rate. A new engineer is inclined to collect and purchase plugins that work for the lower sampling rates. Also to note.. many plugins are not made for higher sampling rates. When becoming a professional these new audio engineers are inclined to do what they're used to and bring in the lowere resolution plugins. Anyone recording and mixing in DSD knows the challenges we face. We've modified our behaviors to work in a format that pleases our ears. Try teaching DSD recording to a PCM engineer... even the best... and you'll find roadblocks and complaints of how hard it is to record in DSD. Those of us who learn to record in DSD do it for love of sound. :) Here's a new single at Blue Coast Music recorded live to DSD256. Meghan Andrews sings a classic.. "I'm on Fire". You'll receive 8 different formats to in the download. Try them out. You'll know why we choose DSD." https://bluecoastmusic.com/meghan-andrews/fire-single#.W8t3DflKiig
https://dsd-guide.com/why-dont-more-professional-audio-engineers-record-above-cd-quality#.W-8evuhKiUl
Saturday, October 20, 2018 - 11:51 "This is a question that has perplexed many of us who record in high resolution audio. Sure, our focus is on DSD / one bit recording... but why are most audio engineers recording at 44.1 or 48? You think it would be easy to move to PCM 9624 or 192. Heaven forbid anyone should move to recording in DSD! It's not a simple answer. One problem to point out is our education system. Sadly, our audio schools don't teach students to record in higher resolution formats. Maybe if there was more demand and more spoken about it directed to mass consumers, we might see a change.... just as there was for headphone demand and vinyl surging. Generally, students and schools are on limited budgets. While cost of disc space is going down, multitrack recording still requires a lot of space and management. In recording at 44.1 sampling rate, a song can require 10-100x the space on a hard drive than the final 2 track mix. Add to that multiple takes and overdubs and that album starts to add up. Then there's the time to backup. We then need to consider managing the computing power which can cause issues with sound if not sufficient. While in school, students tend to be more focused on plugins rather than learning microphone techniques (which are also expensive). Most plugins work at 44.1 or 48K sampling rate. A new engineer is inclined to collect and purchase plugins that work for the lower sampling rates. Also to note.. many plugins are not made for higher sampling rates. When becoming a professional these new audio engineers are inclined to do what they're used to and bring in the lowere resolution plugins. Anyone recording and mixing in DSD knows the challenges we face. We've modified our behaviors to work in a format that pleases our ears. Try teaching DSD recording to a PCM engineer... even the best... and you'll find roadblocks and complaints of how hard it is to record in DSD. Those of us who learn to record in DSD do it for love of sound. :) Here's a new single at Blue Coast Music recorded live to DSD256. Meghan Andrews sings a classic.. "I'm on Fire". You'll receive 8 different formats to in the download. Try them out. You'll know why we choose DSD." https://bluecoastmusic.com/meghan-andrews/fire-single#.W8t3DflKiig
https://dsd-guide.com/why-dont-more-professional-audio-engineers-record-above-cd-quality#.W-8evuhKiUl
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