科学与数学people.xiph.org编辑精选
用 24 位/192kHz 格式分发音乐没有意义
There is no point to distributing music in 24-bit/192kHz format.
2012 — 2019，它一次次回到首页
黑点是上首页（≥ 50 分）的那次投稿，空心点是没冲上去的投稿，点越大分数越高。
导读
Xiph.Org 的 Monty 撰写的长文，用声学原理和盲听测试论证：24-bit/192kHz 格式对音乐发行毫无意义，人耳根本听不出超过 44.1kHz/16-bit（CD 规格）的音质差异，高规格发行更多是营销噱头。文章还顺带澄清了采样定理、混叠、抖动等常见误解。
为什么经久不衰：它用严谨的科学方法戳破高保真音频的营销神话，多年来反复引发讨论，至今仍是理解数字音频原理的最佳科普之一。
HN 评论精选
提升音质最有效的投资是房间声学处理，而不是纠结格式和器材。
说实话，看到大家花时间纠结那些可疑的“调音”技巧来提升音质，我就很烦躁——而大多数音响系统里最薄弱、也最容易改进的环节其实是房间本身。当有人问我该把钱花在哪提升 Hi-Fi 或家庭影院时，我几乎总是回答“换块厚地毯”或“在墙上放点吸音的东西，哪怕只是个书架”。除此之外，我会说：别再为你以为听不到的东西疑神疑鬼了，好好享受音乐吧。
sjwright查看英文原文
I must say I get rather irritated when people spend time worrying about dubious 'tweaker' methods to improve their audio, when the most under-performing component of most people's sound equipment also has the lowest-hanging fruit: The room itself. When people ask me where they should spend money to improve the quality of their hi-fi or home theater system, in nearly every case my response will be something like "get a thicker rug" or "put something on this wall to absorb sound reflections, even if it's just a bookshelf." Beyond that, I'd tend to say something like "stop being so paranoid about what you think you can't hear, and enjoy the damn music."
一位前音频工程师反驳称 48kHz 采样率会丢失三角铁等乐器的高频泛音，导致音质受损。
这篇文章里很多内容听起来很科学，但可惜大多离真相很远。我是前音频工程师，学过数字和模拟音频工程，这个话题过去 15 年已经被争论烂了。以三角铁为例：它的音色由约 5kHz 的基频和大量极高频泛音构成，其中大部分泛音在 20kHz 以上，而正是这些泛音让它听起来像三角铁。所以三角铁是最难数字化录制的乐器之一，录出来总是很难听。理论上人耳听不到 18kHz 以上的声音，但能听到极高频泛音对较低频率的影响。
cmer查看英文原文
There's a lot of scientific-sounded content in this, but unfortunately most of it couldn't be further from the truth. I'm an ex-audio engineer and studied digital and analog audio engineering; this has been debated to death over the last 15 years. Digitally recording a triangle is the best example of why 48kHz is very limiting. The distinct sound of the triangle constitutes of a high fundamental frequency, ballpark 5kHz and of many very high-pitch harmonics. Most of these harmonics are above 20kHz. The harmonics are what makes it sound like a triangle, not the frequencies below 20kHz. This is why the triangle is one of the hardest instruments to digitally record. It always sounds like crap. In theory, it's true that the human hear can't hear above ~18kHz, but it can hear the influence of the very high pitch harmonics on a lower frequency. EDIT: here's more data backing what I said http://www.cco.caltech.edu/~boyk/spectra/spectra.htm EDIT 2: typos, frequency mistake
主修听觉技术的读者认为文章部分正确，但 24-bit 和更高采样率在制作环节确有价值，说高规格更差是错的。
他提的很多观点有道理，但……192kHz 对聆听来说确实过度，但对后续编辑处理并非如此。16/24-bit 同理，不过 16 和 24-bit 的差异其实可以听出来。44.1kHz 不是个糟糕的采样率，但它需要非常陡峭的抗混叠滤波器，而这类滤波器听感不佳，多一点余量确实有必要。关于互调失真的说法完全是胡扯——你根本不会那样重采样，而是全程用 192kHz 数字处理。说 192/24 比 44.1/16 更差纯属扯淡，它是否有用是另一回事。
Derbasti查看英文原文
He raises a lot of valid points. However... 192 kHz is clearly overkill for listening. Not so for further editing of the data. Same goes for 16/24 bit, however, the difference between 16 and 24 bit is actually audible. 44100 is not a bad sampling rate, but it necessitates very sharp aliasing filters, which are audibly bad. A bit more headroom is well needed there. That bit about intermodulation distortion is complete bogus. He talks about problems when resampling high-fs audio data. However, you would never do that. You would digitally process 192kHz all the way. Only your loudspeakers or ears would introduce a high-pass filter, and a rather bening (flat) one at that. There is certainly no aliasing going on there unless you resample (wrongly). Intermodulation distortion is not the fault of the sample rate. I mayored in hearing technology. Calling 192/24 worse than 44.1/16 is total BS. How useful it is is a different debate.
真正伤害音质的是母带制作中的响度战争式动态压缩，而非采样率或位深。
损害音质最严重的元凶是过度的（动态范围）压缩，它正在毁掉一切。我相信所有有自知之明的人都会同意压缩损害音质。推荐阅读：维基百科的“响度战争”词条。（注：这里指动态范围压缩，不是 MP3 那种数据压缩。）
hatsunearu查看英文原文
The single worst thing that harms audio quality is excessive compression. It's ruining everything, I'd say. Heck, I'm sure everyone who knows their worth would agree that compression harms audio quality. Recommended reading: https://en.wikipedia.org/wiki/Loudness_war edit: compression as in dynamic range compression, not data compression like mp3 in audio
业内人士证实音频圈充斥伪科学和安慰剂效应，很多“音质差异”纯属主观。
这篇文章说到我心坎里：成为程序员之前，我在家乡一家新开的录音室做音频工程师。音频圈里的错误信息和伪科学多得离谱，那是个靠参与者的无知和安慰剂效应生存的邪教式行业。我有不少朋友迷信 What.cd 上的 24/192 FLAC 黑胶转录，还花几百美元买发烧级电源插座。不是说高端器材没有差别，但太多所谓的“好”只是主观感受。
some-guy查看英文原文
This article hits close to home: before I became a programmer I worked as an audio engineer at a fledgling studio in my hometown. The amount of misinformation / junk-science in the audio world is preposterous. There's a religious-cult of an industry that feeds off the ignorance and placebos of its participants. I have many friends who swear by their What.cd 24/192 FLAC vinyl rips and spend hundreds of dollars on audiophile AC wall outlets. Not to say that there are no differences in high-end audio equipment, but so much of what's "good" is subjective.
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