24bit 乐趣 [复制链接]

Diagrams
These diagrams illustrate the technical superiority of the LP and therefore also provide a good illustration of the audible differences: (please click for a larger view):


x-axis = time axis / y-axis = frequency axis / colour = level (white = loud / black = quiet)
The diagram on the left shows the frequency distribution of the original master at 192kHz/24Bit.


The diagram on the right shows the signal that was re-recorded digitally, played by the LP. It is easy to see that the LP is capable of reproducing even the highest frequencies. Overall the playback on the LP is almost identical to the original!


On the CD the high frequency portions, from which our hearing can deduce the finest detailed information, are totally cut off.

These three diagrams show the grand tutti of the 2nd movement of our Shostakovich recording.

Background information on the production process
ARTISTIC FIDELITY is the name of the transmission system developed by ACOUSENCE that combines the best technologies in 50 years of audio recording, whether analogue or digital, into a pioneering complete product. At the end of the process the classic vinyl LP remains as the ideal medium for sound and musicality. The ARTISTIC FIDELITY LP is a very modern sound carrier in the best sense that sets new standards for high quality enjoyment of music and does this with the all the popular characteristics of the analogue record.

ARTISTIC FIDELITY in detail
The recordings are always made in concert halls with performers of the highest quality and usually in live conditions in order to obtain both artistically high quality results and a degree of intensity and atmosphere in front of the microphone.
The technical transfer chain begins with the best microphones, be they tubes or transistors, with or without transducer, but simply the right one for each purpose. The amplification of the microphone signals is carried out by a microphone amplifier that we have developed ourselves and that has the highest musical precision. The multi-track recording is made digitally in 192kHz/24Bit. Direct Metal Mastering (DMM) is used to cut the LP. This is now clearly the superior technological process with regard to detail resolution, fine dynamics, overall dynamics and signal to noise ratio thanks to the highest copper quality and it therefore transfers the quality of the sound and musicality of the master onto vinyl in the best possible way.

Analogue signal transfer and digital recording
Analogue technology is used at the decisive nodes in the production process, the conversion of the airborne noise into electrical power using the microphones and the microphone amplifier, the creation of the sound and the final musical result at the mixing desk and the cutting of the LP master because this technology is still superior in these processes.
The recording of the electrical signals, on the other hand, should join these nodes together in the most ideal manner. The recording is ideal if the playback delivers an exact copy of the signal from the recording. The latest digital technology at high sampling rates of 96kHz or even 192kHz allows the achievement of this ideal more perfectly than the best analogue tape recorder ever could, even under optimal working conditions. Conventional sampling rates of 48kHz or even 44,1kHz are, however, absolutely taboo as these rates already mean a first stage of data reduction and would therefore reduce the final LP product to absurdity.
The converters, which convert the analogue vibrations into digital signals, were selected in extensive listening tests and behave ideally in this sense. The format 96kHz/24Bit is sufficient in order to store the information of each individual microphone. At the analogue mixing desk the various individual signals are then combined to a higher information density, which is why the format 192KHz/24Bit is used for the stereo master. In the end this delivers exactly the same initial signal as the analogue mixing desk even with the most complex, highest quality, analogue initial signals.
The cutting machine for the LP thus receives the sum of the initial signal from the microphone almost without recording loss. Analogue tape, on the other hand, could provide interesting sound effects but would substantially falsify the recorded signal.
ACOUSENCE – the acoustic experience
We have now created a sound carrier that is completely faithful to our label philosophy ‘music as an acoustic experience’: the intensity and atmosphere of the best music paired with an unbelievably vivid and natural reproduction of the sound corpus in a space, great dynamics and the particular appeal of the black disk, but above all else the highest level of artistic fidelity.

DIGITAL MEDIA
CD
Today, the CD is the standard among audio media and is likely to remain so for some time. This is why our main production revolves around CDs. As described above, these benefit from our highly intricate production techniques. The latest recordings in particular probe the limits of what is feasible in CDs from a technical and musical point of view.

DVD+FLAC
High Resolution Audio: The DVD+FLAC Disc
DVD+FLAC Disc contains high resolution audio with 24 Bit/96kHz in two different formats: As a directly playable DVD and as FLAC files for the Media Player or Computer.
DVD can be played on all DVD players, wherein it can be run like a normal CD; no menu structures, which need a screen for their display.
Moreover, the disc contains the music in form of files in the widely circulated and popular FLAC format. These files can be read from any DVD ROM drives. FLAC stands for the abbreviation of “Free Lossless Audio Codec”. Corresponding to the concept that the comfort of the playing of music files is linked to the highest playback quality; not only the NO lossy data reduction as in case of MP3 and other similar formats, but also the significantly better audio quality as compared to the CD. These FLAC files can be played on a series of Hifi Media / network players or it can even be directly played from a Software media player on a PC or MAC.
Meanwhile all DVD+FLAC sets contain a second DVD(-ROM) with 24Bit/192kHz FLAC files and are called DVD+FLAC192 (formerly known as "Special Edition"). There are two versions available:
1. DVD+FLAC192
2. DVD+FLAC192 "Comparison Kit" - This version includes the standard audio CD version, too.
Advantages of high resolution audio with 24Bit/96kHz or 24Bit/192kHz


Image 1 – spectral display of a music passage over the time:
24/96 -Version above
CD-Version below

Love for music and the fascination for its efficacy centrally determine the operations at ACOUSENCE. Conventional digital signals cannot reproduce the musical procedures and natural sound structures over the time in a way, as it is felt by humans at the time of direct hearing of the music. A 24 Bit/96kHz digital signals offer significant advantages as a result of double effects. On the one hand, hardly any signals are truncated in higher frequency areas (see image 1), and on the other hand, the digital-technological broadening of impulse-like signals and subsequently the luting and veiling of fine musical and tonal details is almost not existent. (Image 2). In all, this attracts the attention to itself in a natural, musical and richly colored sound pattern. Experience the fascination of music in a new dimension!

Image 2 – area within which energy of an impulse is scattered, depending on the sampling rate (CD=red, 24/96=yellow)

SACD

We have not yet produced any SACDs at ACOUSENCE to date because we were initially far from convinced of the musical result when we performed our own experiments using the DSD (Direct Stream Digital) recording procedure for SACD, not to mention a strange tone colouration and unnaturalness in the timbre and tone structures of individual instruments. External productions that we have heard so far also gave no occasion for us to believe that anything else could be achieved with this medium at all.
As can be read in various professional articles written by ACOUSENCE's label chief, Ralf Koschnicke, temporal resolution plays a very significant role in music transfer, and in this respect, the DSD recording method of SACDs is open to criticism. Although the transmission range in this method is not sharply restricted by filters, as with a CD, the high frequency noise inherent in the system starts at 20 kHz already, so that the signal parts that are so essential to the musical fine structure are easily masked by signal noise, which ultimately leads to a similar result as the one effected by filtering in a CD.  
The concept behind the sound carrier itself, however, continues to be very interesting; it is simply a breeze to operate and presumably the SACD is indeed the last, honest-to-goodness sound carrier that we will get for the foreseeable future - if not for ever. New experiments have now been performed, in particular on the basis of the current theoretical considerations with regard to the relevance of the HF information for musical accuracy, that were aimed at having the signal noise, if it cannot be avoided in the first place, start as high up as possible (with respect to the starting frequency) and thereby having all parts of the useful signal above the signal noise, if possible, at least at CD-level, that is -90dB. We have succeeded in doing so by recording the sum output of the analogue mixer directly via DSD converters by the EMM Labs company in DSD format and by using the dynamic range, which is significantly higher compared to conventional PCM audio, up to the limits of the allowed SACD specifications in the process. Incidentally, it became very clear that the temporal resolution of detail suffers considerably and that the strange tone colouration mentioned above occurs already if the level is only 8db lower, for example.
Now that our first SACD has been mastered, the results are convincing all around. The chosen method in particular - recording in 4fs (24bit/192kHz) multi-track, analogue mixing, then converting it very puristically 1:1 in DSD on the SACD - appears to be the ideal way for this format. Based on the experience made, pre-production in DSD is just as inexpedient – for that, the 64fs DSD of the SACD is simply unsuitable due to the noise problem –  as the commonly used path via PCM digital audio in 48Khz or even 44.1kHz – in that case, the resolution is limited far below the potential of the SACD already.
On the two figures shown below, one can see a passage from our "DER SYMPHONISCHE RING“, digitalised both times for the purpose of graphical representation in 24/192 PCM but sent down the DSD ADDA route first. The measuring range is calibrated to 90dB=Black.

Normal DSD AD converter input level:


DSD AD converter input level that is 8db higher (this is how the SACD is mastered now):


For comparison, here is the version for our DVD+FLAC and FLAC downloads, digitalised in 24/192:


Just as the higher input level now results in the fact that even the high frequency components are largely not affected by noise, the acoustic result is just as impressive! 8dB, which appear to be so insignificant, alter the sound and the temporal accuracy immensely.
The passage displayed here shows the furious battle between Siegfried and the dragon. While the elemental forces can fully unfold in the specially mastered SACD, just like in the high-resolution 24/192 PCM version, the sound does not open up in the conventionally mastered DSD version as the sound level rises, and thus the utter brutality, which is fully intended here, cannot really develop to its full extent. Instead, the sound becomes ever smaller and more washed-out as the complexity of the overtone mix increases (higher volumes create more overtone components). One can literally hear how the fine structure that is found in the high frequency component is "drowned".

Wagner DER SYMPHONISCHE RING，Jonathan Darlington，Duisburg Philharmonic Orchestra，24bit ／192kHz

Shostakovich Symphony No.15 and Mozart Haffner，Jonathan Darlington，Duisburg Philharmonic Orchestra，24bit ／192kHz

印证Acousence的说法

Shostakovich Symphonies No.15 and No.3

Beethoven Orchester Bonn / Roman Kofman, Czech Philharmonic Choir Brno / Petr Fiala.

24 bit 88.2kHz

演录都不错

Barb Jungr - Love Me Tender，24bit 96kHz

录音没啥可挑剔，演唱水平嘛见人见智。

偶不喜欢。

MOZART Violin Concertos - Marianne Thorsen & TrondheimSolistene，192kHz 24 bit.

With this recording we wish to present a fresh version of the most elegant violin concertos in the history of music. While respecting the origin and tradition of this music, we have sought a new and dynamic musical experience rooted in our present time. To us, Mozart is as solid as rock, as soft as snow, and as clear as ice; this recording embraces the listener in a sonic world that invites to participate actively in the experience, in close and mutual interaction with the soloist and the orchestra. Only in this way can we genuinely express our love of Mozart's music.

Recorded and produced in DXD (352kHz/24bit).

K.218相当精釆

24bit／96kHz


唱片公司不用介绍了吧。


Astor Piazzolla，Tango之父。


Salvatore Accardo & Orchestra da Camera Italiana，Accardo宝刀未老，Orchestra da Camera Italiana也不是等闲之辈，演录俱佳。

24bit／88.2kHz


还是那句：唱片公司不用介绍了吧。


Stravinsky作品：The Song Of The Nightingale，The Firebird，Rite of Spring，Eiji Oue - Minnesota Orchestra。


LP重播一定比数码重播好？好歹藕也玩了三十多年LP，笑笑.......

黑胶数字化，藕也玩。









黑胶24bit数字化，藕也玩。