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Digital Drive Upsamplers, DACs, jitter, shakes and analogue withdrawals, this is it. |
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Digital Drive Upsamplers, DACs, jitter, shakes and analogue withdrawals, this is it. |
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In Reply to: The potential of different recording formats posted by Ralph NLD on September 15, 2009 at 00:39:54:
There are many errors in this post. First of all, when 3M made the first digital recorders back in the late 70s/early 80s, they only made enough machines for the top studios then shut down production. They figured that they made the best for the best and didn't see a solution for the rest. So not everyone had those machines, was recording to digital, or had digital recording figured out yet. When Sony, Otari, Studer and Tascam came out with their a bit later, analog was still king. Analog continued to dominate the market until the 90s, when people started going to Alesis and Tascam modular digital multitracks based on S-VHS and Hi-8 transports respectively. We had early Digital Audio Workstations from New England Digital and what would later become Digidesign, but they were not replacing multitracks on a large scale. Then we had hard drive based modular recorders and DAWs take over later.
I would argue and could list many, many 16/44.1 recordings that sound incredible. Some of them were done on ADAT, now the toilet paper of recording industry. You cannot make blanket statements, pro or con, about recordings because they were analog or digital, DSD or 16-bit. It is all up to the artist, the song, the engineer, the room, the mix, the master, etc. It is all about synergy. It's all about the technician being able to do a job with what he has, capturing the magic performance. Performance has more to do with it than anything actually.
As far as high-res goes, that may or may not be the future. Creating high-res files for download is mental masturbation for the majority of the recordings made today. The majority are not recorded in 24/192, because of the performance limits of digital audio workstations. There are only a handfull that can record in DSD, and nearly all DSD recordings become PCM at some point of the production, being ressampled over and over and over and over again. If like indie music, classical and jazz, hi-res is great. If you like anything else, you are hosed.
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- RE: The potential of different recording formats - harecroding@sbcglobal.net 06:55:29 09/20/09 (0)
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