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Volpeon :drgn_verified: :drgn_smol: (volpeon@is-a.wyvern.rip)'s status on Monday, 16-Sep-2024 22:34:18 JST Volpeon :drgn_verified: :drgn_smol:

32bit, 384kHz Ultra-High Resolution - The Next-generation Premium DACjust 192kHz more, bro. i promise bro, just 192kHz more and we will fix audio bro. bro... just 192kHz more. please just 192kHz more. 192kHz more and we can fix audio. bro c'mon just give me 192kHz more i promise bro. bro bro please i just need 192kHz more

In conversation about 8 months ago from is-a.wyvern.rip permalink
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  Haelwenn /элвэн/ :triskell: (lanodan@queer.hacktivis.me)'s status on Monday, 16-Sep-2024 22:36:14 JST Haelwenn /элвэн/ :triskell:
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  @volpeon audio with freqs so high even dogs can't.
  
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  Haelwenn /элвэн/ :triskell: (lanodan@queer.hacktivis.me)'s status on Monday, 16-Sep-2024 22:38:42 JST Haelwenn /элвэн/ :triskell:
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  - Haelwenn /элвэн/ :triskell:
  @volpeon At least https://en.wikipedia.org/wiki/Dog_anatomy#Hearing says 16–40 Hz to 45–60 kHz, so 120+ kHz is the appropriate sample rate for dogs.
  In conversation about 8 months ago permalink
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    Dog anatomy
    
    Dog anatomy comprises the anatomical study of the visible parts of the body of a domestic dog. Details of structures vary tremendously from breed to breed, more than in any other animal species, wild or domesticated, as dogs are highly variable in height and weight. The smallest known adult dog was a Yorkshire Terrier that stood only 6.3 cm (2.5 in) at the shoulder, 9.5 cm (3.7 in) in length along the head and body, and weighed only 113 grams (4.0 oz). The heaviest dog was an English Mastiff named Zorba, which weighed 314 pounds (142 kg). The tallest known adult dog is a Great Dane that stands 106.7 cm (42.0 in) at the shoulder. Anatomy Muscles The following is a list of the muscles in the dog, along with their origin, insertion, action and innervation. Extrinsic muscles of the thoracic limb and related structures: Descending superficial pectoral: originates on the first sternebrae and inserts on the greater tubercle of the humerus. It both adducts the limb and also prevents the limb from being abducted during weight bearing. It is innervated by the cranial pectoral nerves...
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  Haelwenn /элвэн/ :triskell: (lanodan@queer.hacktivis.me)'s status on Monday, 16-Sep-2024 22:40:22 JST Haelwenn /элвэн/ :triskell:
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  - :suya:
  @newt @volpeon Sample rate well beyond 40 kHz definitely doesn't, it's sampling 101.
  
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  :suya: (newt@stereophonic.space)'s status on Monday, 16-Sep-2024 22:40:23 JST :suya:
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  - Haelwenn /элвэн/ :triskell:
  @lanodan @volpeon dammit i wrote an explanation here a few times why hi-res audio makes sense. Don't wanna look it up, but trust me, it kinda does make sense.
  
  In conversation about 8 months ago permalink
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  Haelwenn /элвэн/ :triskell: (lanodan@queer.hacktivis.me)'s status on Monday, 16-Sep-2024 22:56:15 JST Haelwenn /элвэн/ :triskell:
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  - :suya:
  @newt @volpeon And pretty much all you put only applies to (pre-)production audio.
  Meanwhile for distribution it doesn't fucking matters, it's like saying you'd want movies in higher res than the display you're going to use them on.
  
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  :suya: (newt@stereophonic.space)'s status on Monday, 16-Sep-2024 22:56:16 JST :suya:
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  - Haelwenn /элвэн/ :triskell:
  @lanodan @volpeon you're wrong. Fuck it, I'll throw you a bone.
  
  First, the reason why CD Audio used 44.1kHz instead of plain 40kHz is because low-pass filters fucking eat shit. You just can't cut out >20kHz frequencies in analogue, so there's some space to work with.
  
  Second, aliasing is actually a thing. E.g. when you sample sound at 44.1kHz rate (or 48kHz if you're classy), higher frequencies might alias into the audible range and you will get shit instead of the sound you wanted to record. More on Wikipedia (https://en.wikipedia.org/wiki/Aliasing).
  
  Third, oversampling leads to higher sound quality because it allows dithering to remove sampling noise (aka quantisation error). There are several tricks that allow pushing most of that noise into the upper inaudible frequencies, leaving stuff below 20kHz more or less noise-free. Also, more on Wikipedia (https://en.wikipedia.org/wiki/Dither).
  
  Fourth, going back to DACs, higher resolution DACs work basically with the same principle but in reverse, allowing to reproduce signals closer to the original. Btw they aren't even 384kHz PCM. Most ADCs and DACs today are DSM (like in DSD format) and operate at 2.8224MHz or a multiple of that with 1-bit sample size. Again, more on damn stupid Wikipedia (https://en.wikipedia.org/wiki/Delta-sigma_modulation).
  
  TL;DR you probably should think about hi-res audio not as a means to listen to bat sonar or dolphin orgasm screams or whatever but as a form of anti-aliasing. Sorta similar to MSAA for graphics.
  
  There, you made me do this. I hope you're happy now.
  In conversation about 8 months ago permalink
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    Aliasing
    
    In signal processing and related disciplines, aliasing is the overlapping of frequency components resulting from a sample rate below the Nyquist rate. This overlap results in distortion or artifacts when the signal is reconstructed from samples which causes the reconstructed signal to differ from the original continuous signal. Aliasing that occurs in signals sampled in time, for instance in digital audio or the stroboscopic effect, is referred to as temporal aliasing. Aliasing in spatially sampled signals (e.g., moiré patterns in digital images) is referred to as spatial aliasing. Aliasing is generally avoided by applying low-pass filters or anti-aliasing filters (AAF) to the input signal before sampling and when converting a signal from a higher to a lower sampling rate. Suitable reconstruction filtering should then be used when restoring the sampled signal to the continuous domain or converting a signal from a lower to a higher sampling rate. For spatial anti-aliasing, the types of anti-aliasing include fast approximate anti-aliasing (FXAA), multisample anti-aliasing, and supersampling. Description...
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    Dither
    
    Dither is an intentionally applied form of noise used to randomize quantization error, preventing large-scale patterns such as color banding in images. Dither is routinely used in processing of both digital audio and video data, and is often one of the last stages of mastering audio to a CD. A common use of dither is converting a grayscale image to black and white, so that the density of black dots in the new image approximates the average gray level in the original. Etymology The term dither was published in books on analog computation and hydraulically controlled guns shortly after World War II. Though he did not use the term dither, the concept of dithering to reduce quantization patterns was first applied by Lawrence G. Roberts in his 1961 MIT master's thesis and 1962 article. By 1964 dither was being used in the modern sense described in this article. The technique was in use at least as early as 1915, though not under the name dither. In digital processing and waveform analysis Dither is utilized in many different...
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    Delta-sigma modulation
    
    Delta-sigma (ΔΣ; or sigma-delta, ΣΔ) modulation is an oversampling method for encoding signals into low bit depth digital signals at a very high sample-frequency as part of the process of delta-sigma analog-to-digital converters (ADCs) and digital-to-analog converters (DACs). Delta-sigma modulation achieves high quality by utilizing a negative feedback loop during quantization to the lower bit depth that continuously corrects quantization errors and moves quantization noise to higher frequencies well above the original signal's bandwidth. Subsequent low-pass filtering for demodulation easily removes this high frequency noise and time averages to achieve high accuracy in amplitude which can be ultimately encoded as pulse-code modulation (PCM). Both ADCs and DACs can employ delta-sigma modulation. A delta-sigma ADC (e.g. Figure 1 top) encodes an analog signal using high-frequency delta-sigma modulation and then applies a digital filter to demodulate it to a high-bit digital output at a lower sampling-frequency. A delta-sigma DAC (e.g. Figure 1 bottom) encodes a high-resolution digital input signal into a lower-resolution...
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  :suya: (newt@stereophonic.space)'s status on Monday, 16-Sep-2024 23:01:00 JST :suya:
  in reply to
  - Haelwenn /элвэн/ :triskell:
  @lanodan @volpeon oh... sure, for distribution and casual listening 16bit/44.1kHz (or 48kHz) is enough. 24bit will make it more than plenty.
  
  However, some dudes are picky and wanna be sure that their music came straight from the mastering table.
  
  Now, if you wanna really have a good laugh, torrent trackers are full of 192kHz/24bit _VINYL_ rips. Afaik vinyl can give you maximum range of around 72dB, which translates to roughly 10-12bits of sample size necessary. Why would someone do this? For shits and giggles, I guess.
  
  In conversation about 8 months ago permalink
  
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  Haelwenn /элвэн/ :triskell: (lanodan@queer.hacktivis.me)'s status on Monday, 16-Sep-2024 23:09:38 JST Haelwenn /элвэн/ :triskell:
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  @newt @volpeon Meanwhile I feel like if you'd really want better than CD, then you'd need to get the project files, which could actually allow things like "hang on, I want to hear this guitarist more" similarly to how you sometimes can on live stages.
  
  > Vinyl rips
  
  I feel like that's due to the brainworms of vinyl being higher quality than CD for likely just pure nostalgia reasons.
  
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  :suya: (newt@stereophonic.space)'s status on Monday, 16-Sep-2024 23:20:05 JST :suya:
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  - Haelwenn /элвэн/ :triskell:
  @lanodan @volpeon ok so...
  
  There are many reasons to want better than CD. First, if you're talking about ripping real physical CDs (nuts!), quality of those rips varies wildly. So just looking for higher res files will save you from awful experience of listening to CD read errors (happened to me a few times).
  
  Then there is the fact that LOUDNESS WARS were a thing, and many CDs (nuts!) suffer from that. Avoiding CD rips or CD quality rips can also save you from this.
  
  That last part is also the reason why many buy vinyl instead of physical CDs when preferring physical media.
  
  Also, there is this special kind of schizophrenics who just encode various shit into upper frequencies for lulz. If you know Aphex Twin, he's among them. This is the real sonogram of a real Aphex Twin track.
  In conversation about 8 months ago permalink
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  :suya: (newt@stereophonic.space)'s status on Tuesday, 17-Sep-2024 01:15:48 JST :suya:
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  @amerika @mar77i @volpeon @lanodan oh true that. These things can't be digitised.
  
  In conversation about 8 months ago permalink
  
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  ≠ (amerika@annihilation.social)'s status on Tuesday, 17-Sep-2024 01:15:49 JST ≠
  in reply to
  @newt @mar77i @volpeon @lanodan
  
  This was 90s advice too. Production gear is your amplification and microphones. Much too important to leave up to digital...
  
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  :suya: (newt@stereophonic.space)'s status on Tuesday, 17-Sep-2024 01:15:50 JST :suya:
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  @amerika @mar77i @volpeon @lanodan oh that's a bad idea. Working with sound in fully digital form is much easier. You probably want to have a high-res ADC as early as possible in your pipeline.
  
  In conversation about 8 months ago permalink
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  Martti (mar77i@gleasonator.com)'s status on Tuesday, 17-Sep-2024 01:15:51 JST Martti
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  @amerika @volpeon @lanodan @newt That hint of sunk cost fallacy... wonderful. 😂
  
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  ≠ (amerika@annihilation.social)'s status on Tuesday, 17-Sep-2024 01:15:51 JST ≠
  in reply to
  @mar77i @volpeon @lanodan @newt
  
  I don't own any such gear, but when tasked with production, I definitely prefer high-end and analog.
  
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  ≠ (amerika@annihilation.social)'s status on Tuesday, 17-Sep-2024 01:15:52 JST ≠
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  - Haelwenn /элвэн/ :triskell:
  - :suya:
  @newt @volpeon @lanodan
  
  Then why do people value high-end gear?
  
  Answer: room sound and gear sound are real things.
  
  In conversation about 8 months ago permalink
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  :blobcathug: (jain@blob.cat)'s status on Tuesday, 17-Sep-2024 02:18:38 JST :blobcathug:
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  @amerika @gray @mar77i @volpeon @lanodan @newt music become louder... loudness is measureable and can be normalized, i call this BS
  
  In conversation about 8 months ago permalink
  
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  ≠ (amerika@annihilation.social)'s status on Tuesday, 17-Sep-2024 02:18:39 JST ≠
  in reply to
  @newt @mar77i @volpeon @lanodan @gray
  
  More on pop tardation:
  
  https://science.slashdot.org/story/18/01/15/231230/is-pop-music-becoming-louder-simpler-and-more-repetitive
  In conversation about 8 months ago permalink
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    Is Pop Music Becoming Louder, Simpler and More Repetitive? - Slashdot
    
    dryriver writes: The BBC has posted a very interesting article that investigates whether people claiming all over the internet that "pop music just isn't what it used to be" are simply growing old, or if there actually is objective science capable of backing up this claim of a "steady decline in mus...
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  :suya: (newt@stereophonic.space)'s status on Tuesday, 17-Sep-2024 10:03:55 JST :suya:
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  - Haelwenn /элвэн/ :triskell:
  - :suya:
  @lanodan @volpeon OH NOES IMMA BAN MYSELF :ablobhammer:
  
  lmao
  In conversation about 8 months ago permalink
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  Aeder (aeder@stereophonic.space)'s status on Tuesday, 17-Sep-2024 10:06:43 JST Aeder
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  - Haelwenn /элвэн/ :triskell:
  - :suya:
  @newt @lanodan @volpeon The most pathetic part has to be that if you check that thread no one from that server was even part of it.
  
  In conversation about 8 months ago permalink
  
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