Originally Posted by v5v
Buddy, it's obvious I've forgotten more about audio than you'll ever know. You blatantly refuse to understand the fundamentals of the technology, but you're talking to ME about getting an education?
If you wanna stay deliberately ignorant, who am I to argue? If you ever decide to get a clue though, start with the definition of theorem, what a transformer does, and how digital sampling works. Until then there's just nothing for us to discuss.
I know planty about the technology. Then how can you explain the fact that people are moving towards higher resolution recordings and playback systems? Because there are those that can hear the differences.
There was a leading "expert" in the audio industry that was amongst the first to make digital converters for the mastering community. He made a public statement YEARS go supporting the argument that 16/44 was good enough and that anything more than that wasn't necessary. He later came out publicly and stated that he was wrong. And the company he works for and designs DAC is now supporting 24/96 and is starting to use 24/192. Now, he believes that DSD is not necessary. However, there are those that have been involved with PCM based recordings for many years that are moving towards DSD as DSD is improving. Seriously, grow up and get off your high horse about it.
If a company can convert analog tapes to 24/96 or 24/192 and the user can hear a significant improvement in the sound quality, then there are those that will buy it. On an iPad device? The converters used are amongst the cheapest obtainable as are the surrounding output stages and it's the same with Android devices and Windows devices since they aren't using top end converters and output stages.
I don't even know why I'm bothering discussing this with you. You are stuck in this idea that there is no difference. Sorry, there is and it's all dependent on a partular product design. Some 16/44 are being designed where they can rival analog, but they are also getting 24/192 even better. I had a discussion with someone that works over at Dolby labs regarding their True HD product and they told me that there is an audible difference in 24/96 to 24/192 in their labs which is why True HD supports 24/192 whereas DTS HD Master doesn't, it only does 24/96.
Converter chips are also getting better, but output and input stages are also getting better as are clocking. Clocking has a tremendous affect on whether a converter will work well or not.
All I can say is, the audio community and the recording community and the folks that design and build these converters are pushing the envelope and the speaker/amp/preamp/cable mfg are further testing and designing products to improve sound quality so we can hear these subtle differences in a high res recording. It's just the way it is.
Some people 16/44 on a cheap stereo using cheap speakers and a cheap DAC is "Good enough", but for others that are in the recording industry doing live reference quality recordings say it isn't.
If I can hear a difference between two recordings at two different resolutions and the higher resolution is better, then I will be so inclined to buy it. It all depends on the equipment used and how well they set the equipment being used. NOT all converters sound the same.
Go talk to these studios that are now using converters in their recording studios that handle up to 24/384 and DSD 128. They aren't switching to higher res converters because of marketing.
Abbey Road Studios, Bauer Studios, Benny Andersson's RMV Studio, Classic Sound, CMC Studios, Collegium Records, Danish Radio, DEX Mastering, DPA Microphones, Echopark Studios, Galaxy Studios, Hana Music Montreux, Helsinki Music Centre, Lindberg lyd, Magne Furuholmen, Master Touch, McGill University, Moscow Music Conservatory, NDR Hamburg, NHK, NRK, QVC shopping channel, Real Sound, Royal Danish Opera House, Royal Opera House London, Sidney Opera House, SK Works, Slovak Philharmonic Orchestra, SoundWorks/Jeff Sheridan, Spanish Radio, St Petersburg Philharmonic Orchestra, Stock Fish Records, Swedish Radio, Telarc International, Timbre Music, Ultimo Productions and the Warsaw National Philharmonic Orchestra.