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Ben Leggett
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1. "Uncompromised studio quality" has more to do with conversion flexibility, forwards compatibility than it does some "holy grail" of SQ. 2. Whether or not you can hear the difference depends heavily on a) your equipment (most people's is subpar) b) the kind of music you're listening to c) how that music was recorded and mixed and d) whether you've trained your ears to be sensitive listeners or not. and I personally suspect 3) Just like there are "supertasters" out there, there are also "superlisteners" out there. and 4) "good enough" is not a constant baseline in analog reproduction, and never has been, be it sound or vision. What was "good enough" in 1950 is not "good enough" now, and what's "good enough" now isn't going to be "good enough" in 2050. Who cares if you can hear the difference between "good enough" and "absolutely uncompromised"? If there's no significant downside to the latter then the relative quality of the former becomes moot, as does the former itself. I have FLACs in my music library. I don't give a crap about what bitrate they are or how heavily they're compressed because I don't have to. I can encode them to any format I want without worrying, be it MP3 or Apple's format du jour or Microsoft's own special format. I don't have to worry if in 10 years all those 160kbps files I can't re-encode sound lackluster compared to the new baseline, like all those 128kbps files from the 90's. As tech changes, so does people's expectations, and I suspect also their ability to perceive relative quality differences. It's called change, and adaptation. It happens. The question is not "why FLAC", the question,as tech and perceptions change over time, is increasingly "why not"?
Toggle Commented Jun 22, 2012 on The Great MP3 Bitrate Experiment at Coding Horror
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Jun 21, 2012