RE: arsclist Tubes will not die

["McDade, Rob (SLSA)" <McDade.Rob@xxxxxxxxxxxxxx>]

Tube guitar amps beat the hell out of solid state ones any day!!

> -----Original Message-----
> From: Premise Checker [mailto:checker@xxxxxxxxxxxxxxxxxxxxxxxxxxxx]
> Sent: Thursday, 14 November 2002 9:21
> To: ARSC List
> Subject: arsclist Tubes will not die
> 
> 
> From the Transhuman news list:
> 
> ---------- Forwarded message ----------
> Date: Wed, 13 Nov 2002 17:40:20 +0100 (CET)
> From: Eugen Leitl <eugen@xxxxxxxxx>
> Reply-To: transhumantech@xxxxxxxxxxxxxxx
> To: transhumantech@xxxxxxxxxxxxxxx
> Subject: [>Htech] Re: Tubes will not die (fwd)
> 
> ---------- Forwarded message ----------
> Date: 13 Nov 2002 08:56:29 -0800
> From: James Rogers <jamesr@xxxxxxxx>
> To: fork@xxxxxxxx
> Subject: Re: Tubes will not die
> 
> On Tue, 2002-11-12 at 20:07, Jon O. wrote:
> > 
> > James, this is a JOKE! Perfect CD reproduction? 
> > 
> > How can you say this -- one is bits and one is vibration. 
> They both have 
> > their limitations, but a CD sampling rate is similar to a 
> Mega Pixel 
> > rating on a digital camera. It isn't the thing, but a 
> representation 
> > of the thing. So is a CD. I suppose you can tell me that a 
> 20 mega pixel
> > digital camera is just like "seeing" photo and 512 bit 
> sample of music on a
> > CD is equivalent to the live production. 
> 
> 
> The best analog recording formats (which are actually digital when you
> get down to it) have less signal fidelity than an ordinary 
> Red Book CD. 
> You can record Red Book audio that maintains perfect fidelity 
> WELL below
> the noise floor and beyond the frequency range of vinyl, so a perfect
> reproduction of any signal there is trivial.  I would humbly suggest
> that you study up on sampling theory, signal processing, and 
> other bits
> of relevant trivia.  You are seem to be demonstrating a classic
> misunderstanding of how sampling actually works.
> 
> That said, it is quite possible to record the full 3D sound stage that
> humans hear in a live performance setting and deliver it on two tracks
> of audio with no meaningful loss of information.  For practical
> engineering purposes we don't generally maintain this level of
> correctness in a recording because the benefit isn't worth the effort,
> but it has been possible to do with relative ease for at 
> least a decade.
> 
> Human audio range maxes out at about 24-bits, and for 
> practical purposes
> doesn't extend below 20-bits. It doesn't take that many bits 
> before you
> essentially hit the noise floor of the universe and the 
> reasonable limit
> is a fair number of bits fewer.  Analog audio systems max out at about
> 12-bits.  In the average environment that hasn't been acoustically
> engineered, you'd be lucky to get 10 honest bits in playback.  It is
> simple to measure and calculate the number of bits equivalent that are
> required to equal the fidelity of an analog system.  Note that with a
> few exceptions, most popular genres of music are 
> intentionally mastered
> into 8-12 bits of real resolution, so even the resolution of Red Book
> audio isn't being fully used in most cases.
> 
> There was a time many, many years ago when A/D converter design was
> sufficiently bad that your average 16-bit CD audio converter had lower
> fidelity than high-end analog.  These days even the crap consumer gear
> has converters that approach the theoretical limits for 
> 16-bit signals,
> which is far beyond anything analog can do (by a few orders of
> magnitude).  There are a few good reasons to RECORD with analog media,
> but for playback there isn't any good reasons.
> 
> -James Rogers
>  jamesr@xxxxxxxx
> 
> 
> 
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