But isn't Amir's point rather straightforward, though? I'm not sure we need neither simulations nor blind tests here. It's a simple question of logic. In acoustic music settings, min to max dynamic range may reach 110-120 db in the presence region (there will always be a higher noise floor in the bass region). I can attest to that, from my experience of singing in a semi-professional choir which frequently performs with orchestras: Within the same piece, it can go from very very low - whispering at a level which is barely audible - to super loud. I've occasinally snuck out my iPhone with a good quality SPL meter app during practice, and I've measured peaks of 118-119 db from where I stand among the basso. This kind of dynamic range rarely gets reproduced in the home, neither by our systems nor by the recordings.
So assuming one has:
a) a very quiet room
b) a system which is capable of playing extremely loud
and
c) electronics with a very low noise floor,
I can see the point of hi-rez recordings with a dynamic range of up to 120 db. 120 db is not continuous, of course, it's about very short peaks.
If either a, b or c doesn't apply, I can't see any point in hi-rez. And even 90 db of dynamic range can be plenty loud, I think. But for the ultimate of fidelity? Sure, why not.
So assuming one has:
a) a very quiet room
b) a system which is capable of playing extremely loud
and
c) electronics with a very low noise floor,
I can see the point of hi-rez recordings with a dynamic range of up to 120 db. 120 db is not continuous, of course, it's about very short peaks.
If either a, b or c doesn't apply, I can't see any point in hi-rez. And even 90 db of dynamic range can be plenty loud, I think. But for the ultimate of fidelity? Sure, why not.
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