I can understand. I was really into photography gear about 8 years ago. I was considering getting a $6000 Leica M9, a technically inferior camera to the other full frame cameras at the time like the Canon 5DMKIII or the Nikon D800. A Leica 50mm lens (the simplest lens as far as construction goes) goes for around $2000. Of course, I didn’t do it, but I wanted to.
Yeah TBF I mainly listen to music on my TV speaks. Cans are for digging into something and especially good for nice minimally processed live recordings. Studio stuff can be processed too much so it sounds good across setups
If you’re curious try this out: http://abx.digitalfeed.net
The test is flawed in my opinion because the samples are pop/rock, which generally has a narrow dynamic range, but it’s still interesting.
How do they sound? Hmmm…. Da price tag basically what 3 minutes with Lola costs.
Truuu! Putin style
ok, I am using my Sennheiser earphones plugged into my 2020 iMac for diz.
The samples sound identical…
I’m not really a high res dude. I suppose it helps when mastering / transferring cuz there is more info there to noodle on. Most of those are bogus anyhow. Just repackaged up res of standard lower bit rate masters. Also just seems goofy to expand Inaudible bands to capture what is mostly noise even in the best recs.
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yeah, it makes sense to record in 24 bits because it makes clippi9ng less of a risk…
Many tests suggest that standards rez vs high rez generally are identical, when mofos to phase invert experiments etc. The data contained in the extra resolution is often inaudible noise.
That being said, improperly dithered 24 bit audio can get MORE shitty when downsampled to 16 bit.
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Yeah, high res is bullshit. 16 bit audio has a theoretical dynamic range of 96 decibels. An orchestra approaches 100 db at a normal listening distance and I just read that a whisper is roughly 30 decibels. That’s a 70 db range. Why would anyone need 24bit. And who needs 96khz or 192 kHz? Even if it was possible to hear those frequencies, why would you want to?
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It makes sense to record at a higher sample rate, I mean, I understand preferring to work in 96khz/24bit for editing and final mastering
But you should just forget stuff down properly to 44.1/16bit for actual playback
Because that way, you know that you did a decent job in the dithering rather than trusting the listener’s equipment to do it…
Even when you can “natively” play back high Rez stuff, it can get downsampled on your system at some point.
Just dither down to 44.1, 16 bit… if the rec is already good sounding, it will be absolutely fine and pristine.
Possibly the bat chimera hybrids that gave us covid jamming to high res eagles reissues.
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The actual engineering behind the rec is a much more important factor.
Hell, even 192kbps compressed mp3 or AAC often sounds identical to uncompressed audio to most people.
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Even with 128kbps mp3, I’m guessing that you need to be in a very silent room to be able to differentiate it from lossless on a consistent basis.
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Yeah, simply nothing of value gets lost if it’s recorded properly in the first place.
@ElGordito even compressed OGG ultra low bitrate stuff sounds pristine on your rig?
Performance> Recording > Mastering > bit rate and resolution for sure.
If your face is jacked taking a better picture of it isnt going to help.
Then again even recs that are mostly noise bringing me joy like the Hofmann occult crack torch music from that nazi guy
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With Hoff and da Plate it’s also about the articulation and the microrubatos. That’ll carry over in even da worst sounding recs.
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Oddly enough was listening to da plate’s pictures at exhibition. That recording sounds way better on planars. So many interesting things going in there.
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Absolutely. I think Pletnev’s most impressive playing, overall, is the 2000-2006 era, especially the Carnegie Hall recital and those c. 2004 Tokyo concerts with the Chopin 24 Preludes. Not a die-hard Pletnev fan, at all, but he has many absolutely astonishing recordings and certainly has his own distinct personality.
I wonder if that pedo scandal was a setup, it conveniently ruined his teaching prospects (he just got a teaching appointment in Switzerland) and opera conducting career.
Probably got too big for sum of Russia’s musical mafia?
Rach’s 1920’s acoustic recs are miraculous. But we better not forget that those recs WERE state of the art for the time.
And by the 1930’s ribbon mics, we really started getting a natural sounding piano tone, something which is often lost in “hyper realistic” in-your-face recs starting from the 60’s and 70’s.
@ElGordito too bad nobody really uses ribbon mics on piano anymore…
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I always thought the plate was set up too. He was pulling in good checks at the time and seems like the type of grizzled russian mofo that would tell the wrong dudes to go fuck themselves. Also the real bad dudes have levine cosby episodes where like a thousand people are like “yeah that dude diddled my fiddle and here is the evidence” not so much with plate.
Suppose its possible one really really good looking kid turned him pedo but highly suspect.
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Most of the people in the industry are degenerates, the question is, why did this particular pedo get busted?
Timing was awfully convenient too.
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