phbart

"Fortress of Solitude is the new Botanicus".
 
A Netflix Original Series.

At his age, JW shouldn't be eating too much sauce because it might increase his uric acid. So he told his cook "no more sauces". And the poor cook heard "no more sources". And here we are, with no more sources...

At his age, JW shouldn't be eating too much sauce because it might increase his uric acid. So he told his cook "no more sauces". And the poor cook heard "no more sources". And here we are, with no more sources...

JW told his cook he doesn't like SAUCE. The cook heard "source" instead and simply spread the word. That's why...

JW told his cook he doesn't like SAUCE. The cook heard "source" instead and simply spread the word. That's why...

At his age, JW shouldn't be eating too much sauce because it might increase his uric acid. So he told his cook "no more sauces". And the poor cook heard "no more sources". And here we are, with no more sources...

JW told his cook he doesn't like SAUCE. The cook heard "source" instead and simply spread the word. That's why...

Well, yes... but...
 
Anyway, we can go on forever with this, like the old "analog vs. digital" debate. The point is that the extra money they charge us for those high resolution releases is definitely not worth the "benefits" we get (because there aren't any, for listening purposes). For one, the music is not even mastered to the dynamic range that 24bit has to offer. Hell, it's not even mastered to the full dynamic range of 16bit audio. The second video goes into much more detail about this and other matters. I particularly found it fascinating.

Nice little nugget of info from MM on the FSM board regarding STM source music on the S II/III set!  Yet another example of the meticulous care Mike has demonstrated with these projects, especially when it means going back and vastly improving a work that has been done previously, in this case a couple times!
 
 
https://www.filmscoremonthly.com/board/posts.cfm?pageID=5&forumID=1&threadID=134366&archive=0
 

I think you're trying to compare apples and oranges here. 
 
You don't measure your hearing capabilities the same way you measure your visual capabilities. And digital video, not only is far more complex than digital audio, it's also treated in many ways differently than digital audio is.
 
I'd like you to take your time to watch these two videos here from the Xiph.org website. It's made by an audio engineer and he explains things nicely and in a very didactic way. In the second, he goes more on the digital audio part, and that's how I'm convinced that 44.1kHz/16bit for listening purposes is more than enough.
 
Video 1: https://xiph.org/video/vid1.shtml
 
Video 2: https://xiph.org/video/vid2.shtml
 
It's subtitled in various languages, btw.

Juse a few corrections:
 
Sampling frequency has nothing to do with bit depth or bit rate.
 
Frequency is a rate, so saying "frequency rate" is like putting butter on butter.
 

For listening purposes, 44.1kHz/16bit is more than enough. Anything more than that is just useful for production only (recording, editing, mixing, restoring... and what have you).
 
For instance, take whatever 96kHz/24bit (or higher resolution) music you have and make a down-rez to 44.1kHz/16bit using, I dunno, Adobe Audition, or even the ancient Cool Edit Pro (which is where Audition came from) by just setting any optimal setting, no dithering needed. And good luck telling the difference... 😉

For listening purposes, 44.1kHz/16bit is more than enough. Anything more than that is just useful for production only (recording, editing, mixing, restoring... and what have you).
 
For instance, take whatever 96kHz/24bit (or higher resolution) music you have and make a down-rez to 44.1kHz/16bit using, I dunno, Adobe Audition, or even the ancient Cool Edit Pro (which is where Audition came from) by just setting any optimal setting, no dithering needed. And good luck telling the difference... 😉

Not on Earth, maybe. But did you consider the fact that the electrical signals from the microphones on the recording sessions leaked, traveled millions of miles into space and was captured by alien spaceships and stored on 384kHz 32bit resolution, but the aliens sold it to Sony Music?
 
Side note, I watched "Contact" a few months ago. 😁

Words that have a profound effect on me: "24 track 1st generation tapes".
 
 

Not on Earth, maybe. But did you consider the fact that the electrical signals from the microphones on the recording sessions leaked, traveled millions of miles into space and was captured by alien spaceships and stored on 384kHz 32bit resolution, but the aliens sold it to Sony Music?
 
Side note, I watched "Contact" a few months ago. 😁

@SyncMan last week.
 

Not really. It has a really dull and flat sound compared to the 1996 release. The SACD doesn't improve things very much either. The only "use" for me was the then unreleased tracks and the correct and/or alternate performances of some sections compared to the 1996 release.

Happy 87th birthday, Maestro! Thanks for teaching me what film music really is. Long life to you!

Happy 87th birthday, Maestro! Thanks for teaching me what film music really is. Long life to you!

You're quite hooked on that.
 

Next thing, Sony will have the labels' existing inventory of their licenced releases confiscated and destroyed.

I wonder if this has anything to do with it: 

https://www.digitalmusicnews.com/2019/02/06/sony-music-umg-class-action-lawsuits/
 

With a hook.

Hook is on the hook. ☹️