Modern pop and funk productions rely heavily on dynamic range compression during mastering. However, 24K Magic was mastered with remarkable restraint. Tom Coyne left headroom. A 24-bit file can reproduce the album’s softest moments (the intro piano of “Too Good to Say Goodbye”) at -30dB without any quantization distortion. A 16-bit file, at that same low level, starts to lose resolution—the digital equivalent of grit.
Handled by Shampoo Press & Curl (Bruno Mars, Philip Lawrence, and Christopher Brody Brown), with additional work by The Stereotypes . Bruno Mars - 24k Magic -2016- -24-96 FLAC-
The album is a high-fidelity time capsule of '80s and '90s funk, soul, and R&B. Its superior sound quality earned it the Grammy for Best Engineered Album, Non-Classical Saint Audio Modern pop and funk productions rely heavily on
In 16-bit, the 808 kick drums hit hard but can sound boxy. In 24-96 FLAC, listen to the spatial decay of the reverb on the handclaps. The sub-bass (dropping down to nearly 30Hz) is tactile. You feel the pressure wave, rather than just hearing it. The hi-hats, played live instead of sequenced, have a metallic sizzle that doesn't turn into digital hash. A 24-bit file can reproduce the album’s softest
Listening to 24K Magic in 24-bit/96kHz FLAC is akin to taking a blanket off the speakers. The track was recorded with high-end vintage gear to emulate a specific era, and the Hi-Res format preserves that analog warmth in a digital container.
The groove here relies on a syncopated swing. High resolution preserves the transient response of the drum kit. The kick drum has a "thud" followed by a "bloom." The snare drum has a crack, then a ring. Standard resolution truncates the end of these sounds. 24-96 lets them finish.