Here at Angry Metal Guy, we get a lot of common comments and questions. I am creating this document to make things a bit clearer. It will be added up from time to time.<\/p>\n
Q:<\/strong> What is this “DR” thing you keep prattling on about? Q:<\/strong> How can you complain about production and DR when you’re using lossy files? However, this does not have the effect on Dynamic Range measurements that critics would expect. I ran a series of experiments where I ripped albums as lossless files and converted them to 320 kB\/s, 256 kB\/s, 224 kB\/s, 192 kB\/s, 160 kB\/s, and 128 kb\/s mp3s respectively. Rather than lowering<\/em> the DR, file compression increased it.2<\/a><\/sup><\/p>\n
\nA:<\/strong> DR stands for dynamic range which is the ratio of the softest to the loudest sounds occurring in a piece of music. Generally speaking, the greater the range, the deeper and more complex the music sounds to the human ear. Inversely, the lower the dynamic range the more everything sounds flat and uniform with little overall variation.<\/p>\n
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\nA:<\/strong> In controlled settings, the human ear does not hear the difference between a lossless<\/em> file and a 320 kB\/s mp3, as what is being compressed is the information that often exists beyond what you can hear. Furthermore, according to one study I read,1<\/a><\/sup> in controlled studio environments with ‘audiophile’ level equipment, individuals could not tell the difference between lossless files and mp3 files as compressed as 160 kB\/s. It is at 128 kB\/s that the human ear apparently becomes capable of telling the difference between the files.<\/p>\n
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