tag:blogger.com,1999:blog-13703245.post8420553422337481545..comments2023-05-20T06:21:31.447-04:00Comments on Shamino's page: xiph: 24/192 Music Downloads ...and why they make no senseShaminohttp://www.blogger.com/profile/18083421322796364263noreply@blogger.comBlogger2125tag:blogger.com,1999:blog-13703245.post-56817820326542990852014-03-14T16:35:38.800-04:002014-03-14T16:35:38.800-04:00You are correct. The intermodular distortion is n...You are correct. The intermodular distortion is not the result of mastering at high bit-rates, but of trying to actually record and preserve ultrasonic frequencies in the final mix presented to the end-customers.<br /><br />The distortion is an artifact of your playback technology not being able to respond in a linear fashion to such a huge frequency range, not of problems with the recorded material itself. It will primarily manifest itself if you get a playback device capable of ultrasound and try to run such a signal through normal amplifiers and speakers. They will either filter out the ultrasound (eliminating any theoretical advantage) or will introduce distortion in the audible frequencies.<br /><br />If you read the article in detail, it talks about different ways to eliminate the distortion. One way is to get better amplifiers and speakers that can reproduce ultrasound without creating distortions in the lower frequencies. Another is to just filter out the ultrasound and not try to reproduce it at all. Another is to filter out those frequencies during the final mix-down so they never get into your recording. Another is to filter them from the mix and record using existing 44KHz sampling. The author's point is that all three will sound the same, but the latter approaches will cost a lot less, meaning you will be able to spend that money on other more effective ways of improving what you hear.Shaminohttps://www.blogger.com/profile/18083421322796364263noreply@blogger.comtag:blogger.com,1999:blog-13703245.post-47177555624001792172014-03-14T14:27:53.355-04:002014-03-14T14:27:53.355-04:00I agree for the most part, except for the part abo...I agree for the most part, except for the part about the intermodular distortion. Most modern mastering is done at 24/192 so that is where the distortion is going to occur. The mastering engineer can try to filter it out then or leave it in. If it is in the audible range at that point, it will still be in the audible range when it is downsampled. My point is I don't think 24/192 would ever sound worse than 16/44. Best bet is to record/mix/master on 2" analog and listen on vinyl :PDrewnoreply@blogger.com