So, Mike - how many recordings do you capture in 384/24?
I top out at 2496, and only for exceptional quality opportunities; grind 'em out level goes 2448.
I know data storage is cheap,... not interested in larger files. By the time i offload a set of raw masters, I'm typically close to 6gb +-. Then I set up a duplicate set to edit, bumps up 12gb
Then come the combined stereo combination masters, another 6gb, bumping us up to 18gb.
Then come the split files from all of that, for another 6gb of 24bit, and added 1644 renderings.
I quickly and easily amount to 25 -> 30gb of data per show.
OK,... thats all well and good, as FLAC will bring me back by 1/3 or so,...
But, what really gets me is how long it takes to open a file of larger than 2496; my old Mac would throw up, and spin its color wheel for an extended spell, and nothing else would get done until the dang color wheel quits spinning.
Beside,... my old ears can't appreciate sinus draining clarity of such resolution. I have a loud tinnitus scream in my right ear, like someone screaming, 24/7, for 30 years now. And there isn't that much up at the dog notes level that I need to experience.
I messed around with some samplings of what has to be one of the worlds smallest violin, the Hutchins Treble Violin; rear row, far right, and in this same hall where they are posed; the Neurosciences Institute Auditorium in La Jolla, CA. To get an idea of scale of size, the regular violin is at rear row, center.
This is a musically friendly anechoic chamber, designed to study the effects of music on the human brain.
That small fiddle had to have a very special wire to make its strings, sourced from NASA, due to the need for tensioning far beyond the normal violin, in order for it to achieve the necessary high frequencies that the violin family has been missing for 400+ years. To restring that violin is an expense!
Before a concert, in an empty hall, except for myself and the violinist, we sampled it up to as high a note as he could achieve, which we both found it to go silent around 14.5khz. We could hear the hairs of the bow, and the friction noise they create, but we ran out of a musical high frequency response at that 14.5khz barrier. There are very few acoustic instruments that can reach that level.
Side-tracked and lost at the moment that I mentioned dead ears, and, not needing sinus draining sampling rates (and I got over DSD back around the mid-2k's, which is what I might have been running at the time of the sampling of the violin).
