Report Loudness War v2 in Music Composition & Production Posted December 8, 2009 Sorry for quoting you Harmony but you always know your game and you make good points. I've heard plenty of arguments against recording at 24/96 or even 24/48 simply because the final target will most likely be 16/44.1. 100% on this... If anyone thinks compression messes with a tracks sound (when in regards to loudness) try dithering and making alias freqs *shutters* so I target 44.1 & 16 bits as end result too. Similarly I've heard of people wanting to record at 24/96 but end up settling for 24/88.2 because of the even-number sample rate conversion down to 44.1, for whatever that's worth. 24 bit 96Khz, I hear, is what most AES members are calling "Transparent Tape Analog". I personally stay within the 88.2 as well because of the even sampling break down and lack of odd sampled dithering in the back end. ... if we're not bound by CD Red Book standards, we can record and distribute at higher bit/sample rates. MP3, OGG, FLAC, etc. can handle it so I read the authors statement as one of a hope that we could lose those boundaries. In that sense, I share that hope. This is how the MP3 revolution CHANGED EVERYTHING. Think of one of your friends who still has a CD player for all of their personal media (besides maybe in the car). iPods and Portable MP3 players are the new standard, and what is wonderful is their only format standard is the codec (which means yes, your MP3 player is only as good as the codec that decodes your MP3 data) So Red Book format doesn't mean shit anymore! Hooray, we can make 32bit MP3 @ 96KHz. But are the samples you are using to make your track. are they 32 bit as well? No, probably 24, at most. Do we even need a dynamic range that big (32bit)? ... If you do you should probably look at your engineering skills and rearrange how you do it. As for 96khz/88kHz... This is a silly point because AD-DA conversion taught us why we need 44.1 (in case you don't know: human ear hears 20Hz to 20kHz; And in digital in order to keep alias frequencies from appearing you have to double the sample rate... so double 20kHz you get 40kHz, then add the Low Pass Filter Roll Off Curve and you get 44.1kHz. So now you know why red book says 44.1kHz). So if we think about it like a movie, in one second you get 44,100 frames shot by your eye / ear (24 fps in film, 29.97 in color TV) so if we up this to 88,200 are you going to notice a difference? If you do I want to know what you are doing on this forum and not working as world famous mastering engineer. But, there is always one. As for the MP3, FLAC, AAC, OGG, WMA, etc. anyone who records at the resolutions discussed prior, and then formats the end result into this is undoing all the frequency work! So to those I ask WTF!? In the end even lossless encoding is still "Taking data out of the original file" no matter how you cut it! So now you are relying on the codec inside the decoding app to do the just as good a job, the data isn't there but you're hoping that it will be though. If we stay on the path of PCM for our digital audio, resolution is a moot point, unless the player at the consumers end is as resolute as the tools we used to make the audio. DSD baby. DSD. Then encoding won't even matter. As for loudness... *chuckles* bigger bit depth then dither... go 64 if you need it during the mix. But when you master, master for 16. Thats all I got for that.