You aren\'t the only one - I also listen primarily to 24bit sources because I enjoy the added resolution and can tell the difference. Sometimes its obvious, sometimes not so much - depends on what you\'re recording. I also do some mid/side recording and the m/s>stereo mixdown definitely benefits from the higher bitrate. Same thing goes for any processing like EQ. I\'ve been recording 24bit since 2001, maybe early 2002, and have just started to torrent 24bit sources since the "user base" has finally begun to grow.
The argument for 96k and higher sampling isn\'t as significant. I think the main issue is that PCM decoding typically uses a very sharp low-pass filter to eliminate some high frequency nasties and at 96k its threshold is pushed way out of audible range. There are also some arguments that involve spacial cues, imaging, etc.
both you and mike make some good points which I enjoy discussing on the forum.
m/s recordings are great; I wish more people would utilize this technique. I\'ve experimented with an alternate use with the m/s decoder and plugged in (soundboard-audience) > stereo mix. you can download one here:
http://www.archive.org/audio/etree-details-db.php?id=5822.
I don\'t own a figure8 mic so I can\'t do it the standard way.
I also record live 24bit multitrack. Because mixing involves automating individual levels as much +24db and adding plugin effects, it\'s nice to know that a bounced mix utilized full bandwith. but at the same time the difference is still very tough to discern. Here\'s a hidden gem on lma. looks like only 2 people downloaded it:
http://www.archive.org/audio/etree-details-db.php?id=5716BTW: best Cosmic Spaceway Rhyme, full of emotion, nice tempo.
Ok I have a taping question.
When running in M/S how does 1 set his/her levels ?
Are the levels supposed to be even or because of the pick patterns should the levels be run differently ?
I nevr really understood this technique. I can now do it but haven\'t so far. I did run the Blumlien (2x fig8\'s) for the Breakfast at StrangeCreek I think the recording sounds pretty good but probably should have been closer then 65ft or so.
I run them even. You essentially set your levels from your M (left) channel - the S (right) is usually lower. When I adjust one, I make the same adjustment on the other.
Set up one mic fig 8 and the other cardioid/hyper. Position the mic like :
http://homepage.ntlworld.com/chris.burmajster/Coincident.htm Face the cardioid mic toward what your trying to capture. Record your levels the same way you always do (high as possible without clipping). I prefer to encode m/s using a plugin after the show; this way you can decide what sounds best by adding or subtracting gain with respect to the other channel. adjust all levels so you\'re not clipping or too low. I use the waves plugin. The left channel is the "m" channel and the right is the "s" channel.
go with what sounds best, you\'ll know when you go it right.