Pono

[jwarv]

I ran a search on this topic and found no instances. So, I figured I'd start a thread.

Is there anybody here who records at 192/24 with a view to getting on Pono? And if so, how are you set up for it?

I know there's lot of opinions on this so feel free to chime in.

And...go!

Jason

[Mark Bliss]

The wording of your post leads me to believe you are just baiting yet another debate thread on the issue of bit rate/sampling rate and audio fidelity. If that's true, my hope and thought is FLOP "YAWN!"

If I am wrong about that, and you are truly interested, I would suggest starting with an explanation of what Pono is and what its about. The vast majority of people probably have no clue, and only a few will search and research the subject.

As for me, knowing where this discussion is going to lead, as it always does, I will simply offer the opinion that not only higher than typical but very high fidelity is already accessible, and right at peoples fingertips and they have broadly made their choice. The rare few who truly care are in a tiny minority and perhaps its best they accept that they should do what pleases them and quit trying to sell it to the masses.

Neil Youngs proposition at SXSW reveals that while perhaps well intentioned, its a business venture that has overlooked the above, and therefore unlikely to win over a large enough audience to go far. Best of luck to him and his backers, but the ability to produce high res audio already exists, and the audience isn't buying. The success of Apple and MP3 is about portability. The consumers who have made it so universally popular could care less about hi fidelity.

Compressed files of squashed music with completely unrealistic sub bass content will continue to dominate the consumer market for the foreseeable future in my opinion, and I will continue to shun it and live in my little cave of a musical world.

And for the record. I'm fine with that.

[chibear]

+1 to Mark's reply

I can't think of how Pono will fly considering the way the industry has evolved over the past 50 years. It would take a true 'paradigm shift' in the industry and the marketing of it, which, while the term is often bandied about by pseudo-intellectuals, almost never happens in reality.

[jwarv]

Well put, mbliss. Duly noted: http://www.ponomusic.com/#faq

No, I'm not interested in debating. I just have an awareness that there seems to be controversy with this issue. My question is sincere, since I'm intrigued by the potential of making better sounding music. Or, at the very least, hearing better sounding music.

So, if anybody out there has actually made home recordings at 192/24 I'd appreciate knowing their setup and how it has worked out for them on playback. And if, in their opinion, it's even worth it at this juncture.

Jason

[bbdrmz]

I haven't... My understanding is that film makers may want this high of resolution, but normal music listener's could care less, or not really notice the difference.

[jwarv]

I haven't... My understanding is that film makers may want this high of resolution, but normal music listener's could care less, or not really notice the difference.

You're probably right. All the people interviewed in Young's promo video were industry pros who have a trained and critical ear. They are keenly aware of the nuances that went into their productions. I've only recently discovered how "un-listenable" music can be after having an issue with high frequencies in my car.(See this thread: http://forums.acoustica.com/bbs/viewtop ... =4&t=14969) Now I'm cursed with over-sensitivity to it in most recordings. I can only imagine people who do it for a living in high end studios.

The rest are blissfully unaware.

[Mark Bliss]

My question is sincere, since I'm intrigued by the potential of making better sounding music. Or, at the very least, hearing better sounding music.

Fair enough, and apologies as needed. The related debate gets old.
This recent example from here in the Mixcraft forum is one of the tamer and fairer discussions on the subject:
http://forums.acoustica.com/bbs/viewtop ... =4&t=15277

I think the questions one needs to ask himself can be simplified and reduced to the bare bones here. First of all, without getting into the hyper expensive pro-grade level, most available hardware tops out at 24/96. Next, do you have the complete chain, mics to monitors, and every little detail in between at even 24/96 level capability, combined with the acoustically treated recording space, dead quiet environments, etc, etc, etc to take advantage of it?
And honestly, is anything we are recording even remotely at the level that any of this makes sense?
(I've tried recording at maxed out rates on my meager equipment and it didn't improve my performance one detectable bit! )
And what are you playing all this extreme effort back on in the end?

So tell me Jason. What are you listening to now, and what are you playing it on? Seriously, I am curious.

[jwarv]

No sweat. To answer your question...

As far as what I listen to, aside from my mixes, it's a hodgepodge of largely radio, but also mp3s on disc, commercial CDs and homegrown CDs by myself and others. And the majority of my music listening takes place in my little Toyota Yaris via the factory stereo system. So, I think I'm at a disadvantage with regards to the proper environment. Therefore, I record with a view to how it sounds there, ultimately. What I've discovered as a result is that if I mix and "master" to get it passable in my car, it sounds decent everywhere else. I also use a Philips/Magnavox boombox for monitoring and occasionally hear my stuff on other systems and am usually pleasantly surprised.

I guess for someone who is interested in better sounding music, I don't put a whole lot of effort (or money) into it. I've found this comfortable lane that I sometimes think I should move out of and actually do for a while, but tend to swerve back in and pop it into cruise control.

Actually, forums like this inspire me to continue to progress. Even if it's small measures. I appreciate being able to bounce things off fellow recording artists who understand the joys and occasional frustrations of home recording.

Thanks,
Jason