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RE: PONO: What it is REALLY about

"I understand what you are saying with a gun to your head you could not tell the difference between a CD produced from a 44.1K capture and one downsampled from a 192K file. I know this from making CDs from my own 192 and DSD recordings."

Not my experience at all. I start with 176/24 downsample to 44/16 and the result is not at all the same. And it's not the playback chain either, because I use software SRC to upsample the 44/16 back up to 176/24 before playback so I compare files in the same format. The original sounds better. This is true no matter what settings are used with the 64 bit iZotope SRC. I have also tried direct capture at 44/16 vs. 176/24, but the differences are even greater. (This doesn't prove much, except that the ADC works differently at 44/16 than at 176/24, which is almost universally true with inexpensive sound cards, since they tend to have poor quality DSP firmware in their chips.)

The problem appears to be quite simple, even cassette tape has better resolution in some respects than 44/16 digital. (This does not apply to signal to noise ratio.) I am talking about cassette recordings made from live microphone feeds or reel to reel master tapes, recording on metal tape cassettes.

When I started doing cassette transfers about 8 years ago my friend who has an archive asked me to convert the tapes at 96/24, which was the highest resolution format that my sound card had at the time. My reaction was that this was BS, since cassette tapes were poor quality, despite owning two Nak players, the best one a CR-7. I was hoping to prove him wrong, but a few listening tests proved him right. 44/16 is incapable of capturing and reproducing the sound on a cassette tape, not to mention an LP or master tape.



Tony Lauck

"Diversity is the law of nature; no two entities in this universe are uniform." - P.R. Sarkar

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