[Danny T]

I've been trying to find some info on this subject. Some things have
come to light in another thread but here is a question that has been
ringing in my ears. I have to propose it with reference to tape since
that is where my brain still dwells for the most part.

Is there anything like bit rate that might affect music in the same
way that say high bias verses normal bias tapes did i.e. normal bias
was better for power rock tracks and high bias was better for detail
such as classical or 15 vrs 30 ips?

[Arny Krueger]

"Danny T" wrote in message

I've been trying to find some info on this subject. Some
things have come to light in another thread but here is a
question that has been ringing in my ears. I have to
propose it with reference to tape since that is where my
brain still dwells for the most part.

Is there anything like bit rate that might affect music
in the same way that say high bias verses normal bias
tapes did i.e. normal bias was better for power rock
tracks and high bias was better for detail such as
classical or 15 vrs 30 ips?

The artifacts of MP3 coding with too-low of a bitrate or poorly-chosen
parameters can be very complex. Tape bias was relatively simple. For
example, a piece of music might be artifact-free from end-to-end except for
a few seconds where it is changed, perhaps garbled a little.

[Mark]

On Mar 1, 4:34*pm, "Arny Krueger" wrote:
"Danny T" wrote in message



I've been trying to find some info on this subject. Some
things have come to light in another thread but here is a
question that has been ringing in my ears. I have to
propose it with reference to tape since that is where my
brain still dwells for the most part.

Is there anything like bit rate that might affect music
in the same way that say high bias verses normal bias
tapes did i.e. normal bias was better for power rock
tracks and high bias was better for detail such as
classical or 15 vrs 30 ips?

The artifacts of MP3 coding with too-low of a bitrate or poorly-chosen
parameters can be very complex. Tape bias was relatively simple. For
example, a piece of music might be artifact-free from end-to-end *except for
a few seconds where it is changed, perhaps garbled a little.

I found the best way to learn to hear artifacts is to create a version
where the artifact is really bad and then you can train yourself to
hear it. Encode some music with a really low MP3 bit rate and compare
that to the original and your ear will become "trained" to hear the
artifacts.

Mark

[Arny Krueger]

"Mark" wrote in message

On Mar 1, 4:34 pm, "Arny Krueger"
wrote:
"Danny T" wrote in message



I've been trying to find some info on this subject. Some
things have come to light in another thread but here is
a question that has been ringing in my ears. I have to
propose it with reference to tape since that is where my
brain still dwells for the most part.

Is there anything like bit rate that might affect music
in the same way that say high bias verses normal bias
tapes did i.e. normal bias was better for power rock
tracks and high bias was better for detail such as
classical or 15 vrs 30 ips?

The artifacts of MP3 coding with too-low of a bitrate or
poorly-chosen parameters can be very complex. Tape bias
was relatively simple. For example, a piece of music
might be artifact-free from end-to-end except for a few
seconds where it is changed, perhaps garbled a little.

I found the best way to learn to hear artifacts is to
create a version where the artifact is really bad and
then you can train yourself to hear it. Encode some
music with a really low MP3 bit rate and compare that to
the original and your ear will become "trained" to hear
the artifacts.

That's a working plan. One can also control the percentage of artifacts by
cancelling out, or adding more of the origional signal in an encoded file
using DAW software.

ABX testing can also be a learning tool.

Again, check the Hydrogen Audio forum for one of the largest stash of wisdom
and conversation with people who are experienced with MP3 and other lossy
and lossless compression techniques.

[Danny T]

On Mar 2, 7:43*am, "Arny Krueger" wrote:
"Mark" wrote in message







On Mar 1, 4:34 pm, "Arny Krueger"
wrote:
"Danny T" wrote in message



I've been trying to find some info on this subject. Some
things have come to light in another thread but here is
a question that has been ringing in my ears. I have to
propose it with reference to tape since that is where my
brain still dwells for the most part.

Is there anything like bit rate that might affect music
in the same way that say high bias verses normal bias
tapes did i.e. normal bias was better for power rock
tracks and high bias was better for detail such as
classical or 15 vrs 30 ips?

The artifacts of MP3 coding with too-low of a bitrate or
poorly-chosen parameters can be very complex. Tape bias
was relatively simple. For example, a piece of music
might be artifact-free from end-to-end except for a few
seconds where it is changed, perhaps garbled a little.

I found the best way to learn to hear artifacts is to
create a version where the artifact is really bad and
then you can train yourself to hear it. *Encode some
music with a really low MP3 bit rate and compare that to
the original and your ear will become "trained" to hear
the artifacts.

That's a working plan. *One can also control the percentage of artifacts by
cancelling out, or adding more of the origional signal in an encoded file
using DAW software.

ABX testing can also be a learning tool.

Again, check the Hydrogen Audio forum for one of the largest stash of wisdom
and conversation with people who are experienced with MP3 and other lossy
and lossless compression techniques.

Yes- thanks for that link. There is a lot there to read - indeed