Downloads - MP3, 16-bit FLAC or 24-bit FLAC? Pristine Classical downloads come in up to three possible formats: High-quality MP3, normally encoded as a variable bit rate file at extreme settings using the LAME codec CD quality FLAC, identical in replay to our CD master files at 16-bit 44.1k Hz sampling resolution Studio master FLAC, the full 24-bit master file, upsampled to 48k Hz for extra compatibility Each recording is priced according to length, with a price code shown on each page and all prices in the left hand margin. Note that at the time of writing we're in the process of adding CD- Quality FLAC downloads for all Pristine Audio recordings. Studio Master FLACs will only be available for selected downloads. Please read these notes carefully and try out our test files before purchasing a download in an unfamiliar format. MP3s MP3 files came as single, long files to by-pass any track gaps, but can be split using a cue splitter or burned directly to CD with track points inserted on the fly. See our help files for further information, hints and tips. CD Quality FLACs FLAC files came split into individual tracks, encapsulated in a single ZIP file for easy download and storage, with playlists included. Some software has FLAC playback built in, other software can have it added. Finally, a few programs, i Tunes included, require a quick and simple file conversion to play them. See our help files for further information, hints and tips. Studio Master FLACs These are delivered in the same way as our regular 16-bit FLACs. However, our final masters are always prepared at 24-bit resolution (we work at 32-bit or higher when remastering) and this is what we offer here. In order to add compatibility with DVD video replay the final master is upsampled to 48k Hz, which neither adds nor detracts from the audio quality. Please ensure you either have the computer sound card capability.
i Pods are the most ubiquitous music-playing devices on the planet, but are they the best sounding? Not exactly. i Pods tapped into the boom of the MP3, and with i Tunes and its own AAC encoding system, Apple quickly grabbed control of the lossy audio world and never let go. That position is what makes a recent statement from the chairman of the A those 24 bits can represent 16.7m discrete loudness values. By contrast MP3s are compressed by an algorithm that throws away parts of the sound that long laborious testing determined could not actually be heard. ( Pub quiz fact: the song used as the comparator for each attempt at the algorithm was Suzanne Vega’s Tom’s Diner.) But the key question for hi-res audio is: can listeners can actually hear the difference? To attempt to answer that question, the Guardian recruited Linn Records, purveyors of high-resolution music since 2007 and.
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