Do we really need anything greater than 24/96? Opinions?
A little off topic: I bought a Korg MR-2000S studio recorder to digitize my vinyl collection. I made several test recording all PCM 24 bit: 44.1, 48, 88.2, 96, 176.4 and 192 kHz. I then compared the recordings to the original vinyl and each other. I could not hear a discernible difference between the 24 bit 96 khz recordings and the original vinyl. I also could not hear a difference between the 96, 176.4 and 192 khz recordings. I could hear a difference between the 44.1, 48, 88.2 and 96 khz recordings. So I recorded all my vinyl in PCM 24 bit 96kHz. So for me 24/96 is fine. |
As the components and parts that support the given A to D converter chip are upgraded by a knowledgeable person, with good powers of discernment, the missing differences come back on line and are noticeable. Korg is not there to make you a reference grade piece. A knowledgeable audio tech with aspirations in high end and the will to do so, can get int your Korg, analyze it, and then correct the circuit to bring those missed differences back on line. The Korg is not a perfect black box, it is a faulted complex device, like all of them, from everyone. Right now, one good guess in the right direction, is that the seldom found Ayre A to D converter is likely to be among the very best. https://www.analogplanet.com/content/analog-digital-converter-shootout-which-sounds-best |
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It all starts from the source (mastering process) regardless of format. I have recordings in DSD that easily trumps their low resolution counterparts. Some of the 24bit XRCD’s I own are simply outstanding, in contrast the 16bit/44.1kHz file of same track sound lifeless. Why bother debating, just find the best recording of your favorite artist and enjoy! |
