<html><head><meta http-equiv="Content-Type" content="text/html charset=utf-8"></head><body style="word-wrap: break-word; -webkit-nbsp-mode: space; -webkit-line-break: after-white-space;" class=""><div class=""><div class=""></div></div><blockquote type="cite" class=""><div class=""><div class="">On Feb 11, 2020, at 13:28, Bob Katz via ProAudio <<a href="mailto:proaudio@bach.pgm.com" class="">proaudio@bach.pgm.com</a>> wrote:</div><div class=""> J. R. Stuart and P. G. Craven, “The Gentle Art of Dithering” J. Audio Eng. Soc., vol. 67, no. 5, pp. 278–299, (2019 May.). DOI: <a class="moz-txt-link-freetext" href="https://doi.org/10.17743/jaes.2019.0011">https://doi.org/10.17743/jaes.2019.0011</a>he points out on page 290 the number of decimators and upsampling filters that occur in typical chip-based converters. And that these stages are not dithered. And that there are fewer of these stages when the converters are used at a higher sample rate. Smoking gun.... </div><div class=""><div class="">BK<br class=""></div></div></div></blockquote><div class=""><br class=""></div>If you look at the specs for converter chips themselves, you will see that the noise and distortion figures are higher when used at the multiple rates (88.2, 96, 176.4, 192) than they are at 44.1 or 48kHz<div class=""><br class=""></div><div class="">“Smoking gun" indeed.</div><div class=""><br class=""></div><div class=""><br class=""></div><div class="">-CZ<br class=""><div class=""><br class=""></div><div class=""><br class=""><div class="">
<div style="color: rgb(0, 0, 0); letter-spacing: normal; orphans: auto; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px; -webkit-text-stroke-width: 0px; word-wrap: break-word; -webkit-nbsp-mode: space; -webkit-line-break: after-white-space;" class=""><div class=""><a href="http://www.zmix.net" class="">http://www.zmix.net</a><br class=""><br class="">http://www.allmusic.com/artist/chuck-zwicky-mn0000126243</div></div>
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<br class=""><div><div class=""><br class=""></div><div class=""><div class="">
<div class="moz-cite-prefix">On 2/11/20 1:28 AM, James Johnston via
ProAudio wrote:<br class="">
</div>
<blockquote type="cite" cite="mid:CAO2qRdPAazFEjNCLjXNfMiY38_2Hy+DF6tMo6z2PD4cJ6zBVjg@mail.gmail.com" class="">
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<div class="">I must say that I am sorely tempted to see if I can get
somebody to whip up an app that measures effective bandwidth
of a PCM track at any common sampling rate.<br class="">
</div>
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<br class="">
<div class="gmail_quote">
<div dir="ltr" class="gmail_attr">On Mon, Feb 10, 2020 at 10:15
PM mark whitehouse via ProAudio <<a href="mailto:proaudio@bach.pgm.com" moz-do-not-send="true" class="">proaudio@bach.pgm.com</a>>
wrote:<br class="">
</div>
<blockquote class="gmail_quote" style="margin:0px 0px 0px
0.8ex;border-left:1px solid rgb(204,204,204);padding-left:1ex">
<div dir="ltr" class="">Following on from our discussion of around 18
months ago,
<div class="">I know in Australia there were moves to get some kind
of "truth in marketing" </div>
<div class="">in regards to High sample rate recordings.</div>
<div class="">And promoting the differences in standards that are now
available. </div>
<div class=""><br class="">
</div>
<div class="">Essentially a standard that could be understood by and
promoted to consumers, musicians etc.</div>
<div class=""><br class="">
</div>
<div class="">It doesnt seem to have gone far and when you see things
like this</div>
<div class=""><a href="http://archimago.blogspot.com/2013/07/list-suspected-44-or-48khz-pcm.html" target="_blank" moz-do-not-send="true" class="">http://archimago.blogspot.com/2013/07/list-suspected-44-or-48khz-pcm.html</a> </div>
<div class=""><br class="">
</div>
<div class="">It makes you wonder if things will improve.</div>
<div class="">Is there any consensus on getting this acknowledged? </div>
<div class=""><br class="">
</div>
<div class="">regards</div>
<div class="">Mark <br clear="all" class="">
<div class="">
<div dir="ltr" class="">
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<div class="">To upload files to our server,
Please click the following link and
follow the steps on the Hightail
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<div dir="ltr" class="gmail_attr">On Fri, Jun 15, 2018 at
8:25 AM Mark Waldrep <<a href="mailto:mwaldrep@aixmediagroup.com" target="_blank" moz-do-not-send="true" class="">mwaldrep@aixmediagroup.com</a>>
wrote:<br class="">
</div>
<blockquote class="gmail_quote" style="margin:0px 0px 0px
0.8ex;border-left:1px solid
rgb(204,204,204);padding-left:1ex">In the interest of
exploring the issue of perceptibility of high-resolution
vs. Redbook versions of the exact same file, I've posted
on my blog page today "The High-Resolution Audio
Challenge". I've prepared 6 of my AIX Records native 96
kHz/24-bit PCM masters as A and B versions. One is the
original high-res master and the other is a Redbook
downconversion. You are welcome to download the files and
play them. Please do not share them outside of the group.
I'm conducting a casual survey to see if people can detect
differences. I don't claim this will be definitive.
However, I've always complained that previous tests failed
because the source materials weren't actual
high-resolution files. This removes that flaw. These are
the real deal. The conversion was done using triangular
dither and noise shaping.<br class="">
<br class="">
You can find the article at <a href="http://www.realhd-audio.com/?p=6197" rel="noreferrer" target="_blank" moz-do-not-send="true" class="">http://www.realhd-audio.com/?p=6197</a><br class="">
<br class="">
Mark Waldrep, Ph.D.<br class="">
AIX Records and author of<br class="">
Music and Audio: A User Guide To Better Sound<br class="">
<br class="">
<br class="">
On 6/14/18, 3:13 PM, "Stephen Morley" <<a href="mailto:proaudio-bounces@bach.pgm.com" target="_blank" moz-do-not-send="true" class="">proaudio-bounces@bach.pgm.com</a>
on behalf of <a href="mailto:stephenmorley@iprimus.com.au" target="_blank" moz-do-not-send="true" class="">stephenmorley@iprimus.com.au</a>>
wrote:<br class="">
<br class="">
I can record DXD and the downsample in Pyramix, or
else at 192/24 and then downsample to 44/24<br class="">
-------- Original message --------From: James Johnston
<<a href="mailto:audioskeptic@gmail.com" target="_blank" moz-do-not-send="true" class="">audioskeptic@gmail.com</a>>
Date: 14/6/18 8:56 pm (GMT+10:00) To: <a href="mailto:proaudio@bach.pgm.com" target="_blank" moz-do-not-send="true" class="">proaudio@bach.pgm.com</a>
Subject: Re: [ProAud] Wow. 384/32 LPCM! <br class="">
Just make sure the content is identical on both.<br class="">
<br class="">
On Thu, Jun 14, 2018 at 2:36 AM, Stephen Morley <<br class="">
<a href="mailto:stephenmorley@iprimus.com.au" target="_blank" moz-do-not-send="true" class="">stephenmorley@iprimus.com.au</a>>
wrote:<br class="">
<br class="">
> Hi James,I could send something, but not until
next week when I return<br class="">
> from leave.Stephen<br class="">
> -------- Original message --------From: James
Johnston <<br class="">
> <a href="mailto:audioskeptic@gmail.com" target="_blank" moz-do-not-send="true" class="">audioskeptic@gmail.com</a>>
Date: 13/6/18 8:53 am (GMT+10:00) To:<br class="">
> <a href="mailto:proaudio@bach.pgm.com" target="_blank" moz-do-not-send="true" class="">proaudio@bach.pgm.com</a>
Subject: Re: [ProAud] Wow. 384/32 LPCM!<br class="">
> I'll repeat my request:<br class="">
><br class="">
> Send me some recordings at 24/192 and a similar
one at 44/16. I can and<br class="">
> will measure the actual "information" present,
via SFM and bit depth.<br class="">
><br class="">
> _______________________________________________<br class="">
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><br class="">
<br class="">
<br class="">
<br class="">
-- <br class="">
James D. (jj) Johnston<br class="">
Independent Audio and Electroacoustics Consultant<br class="">
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<br class="">
-- <br class="">
<div dir="ltr" class="gmail_signature">
<div class="">James D. (jj) Johnston</div>
<div class="">Independent Audio and Electroacoustics Consultant</div>
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<br class="">
<fieldset class="mimeAttachmentHeader"></fieldset>
<pre class="moz-quote-pre" wrap="">_______________________________________________
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If you want good sound on your album, come to
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