Great... and no one has thrown TOS#8 at you there. What a surprise.
My buds? Really?
I very much doubt anyone would bother if that was the only reason (assuming that anything was actually uploaded).
So far it looks more like your ego got hurt because of them ignoring your posts. Or did they remove posts too?
Well, according to that saga those quality values were arbitrarily given in purely informal way (all but V1 here and V1 here). Not very scientific if you asked me.
Well, it actually matched the reality based on my years of experience testing lossy codecs in general, and MP3 in the specific. Taking the graph out without any other data to back an alternate reality is not proper. Lossy codecs do approach an asymptote as bitrates increase:
What was your method of listening using foobar? By that I mean did you isolate short segments of only a few seconds? If you listen to even 30 seconds before switching your echoic memory is gone and you'll be much less perceptive. If you limit it to 5 seconds, and switch between them you may get some results. Yes, this is not how you'd listen and you'll hear differences that in normal listening you'll never hear. But it sets a best possible baseline for your hearing.
That's wrong, though. This what the SILK part is while CELT is Vorbis' successor.
Average population does poorly on detecting compression artifacts so in that regard, you are fine.
There is. You need to start compressing content to much lower bit rates initially where the artifacts are obvious. Once there, you gradually climb up in bitrate. Applaud is hard to encode as are pure voices. Solo guitar strings are also hard.
If you want to keep it to 30 second snips, I'd suggest setting bitrate ridiculously low so it's easy to pass in foobar. Then increase it a step at a time till you don't hear it.
Sound Cloud is the only one I know of using Opus.
Agreed. Also having control over the conversion- dither, input level etc- is important. Archive in the highest bitrate and depth. Streaming is always dependant on the weakest link in the signal chain and whether the DAC is resampling or not.In my case the primary reason to never use lossy rips of my CDs comes down entirely to flexibility. If I want to put a ton of music on my phone and don't have the room - then I can choose to convert to 128kbps AAC (or if an MP3 only player to that). If I bring my iPod along... then I can decide a better compromise. If one of my CDs gets damaged... then I can burn a bit-perfect copy. A great deal of the time I listen to music (in my car) I'm listening to 320kbps AAC... because it doesn't play any lossless formats - despite paying extra for the Mark Levinson upgrade.
Any improvements made to lossy encoders (although at this point they're basically perfected) I can take advantage of by simply throwing everything in dBpoweramp batch converter. If I'd ripped everything to a lossy codec in the first place - I'd ether be comitted to that, having to re-rip 800 CDs again, or having a 2nd generation lossy of a lossy encoding to listen in a specific situation.
I guess if it doesn't make any sense to some people to only make lossless rips... does it make any sense for the studios to keep the original masters? They have the CDs right?
