Mike Kemp (designer for SADiE, Sintefex, Focusrite and JoeCo among others) responded to my Facebook posting of these videos. He said (with permission):
"Pretty good basic stuff, nice to see it demonstrated so well. I didn't think I'd watch it all, but it was interesting, and, let's face it, audio has always floated my boat, so to speak.
A couple of points I'd mention.
Of interest to mastering engineers is the "Gibbs effect" overshoot on "square" edges. Not may people realise that an analogue channel designed to cope with peak digital sine waves will see these larger signals on sharp edges, especially common in computer generated or edited signals. From memory I seem to recall that these peaks are up to almost 20% above the sine wave peak. Many analogue channels can distort on these before they get to analogue volume controls if programme is mastered close to the 0dBFS mark. I don't suppose that'll stop people wanting the loudest digital file possible though!
Another point is regarding dither: It's probably true that with 16-bit audio the dither effect is inaudible on programme recorded near the peak level, as stated by the presenter. But that doesn't stop people turning up the volume on the fade-out or quiet passages and hearing the horrible distortion of undithered audio. I recall this used to show up particularly badly on sustained piano notes left to fade naturally. And it's probably one of the things that gave the first decade or so of CDs such a bad name. At that time there was a lot of badly designed gear and inexpert operators."
"I too query the characterisation of "the best professional analogue machine with noise reduction" to "13-bits of resolution". IIRC the noise floor on our Studer 24-track was something like 70dB below operating level, and you could push to +10 over operating level with limited (but quite nice) distortion, and another 6dB or so if that was your whim (or you were stuck with VU meters!) Add 15dB of Dolby A and the s/n ratio was getting on for 100dB, which could be compared with 16-bit. And 24-track with its 1mm track width was noticeable worse than 16-track with at least twice the track width, giving another 3- 4dB of s/n. Half inch mastering gives you another few dB, enough to turn off the Dolby."
"BTW, I said "At that time there was a lot of badly designed gear and inexpert operators.". Actually, I bet there is even more badly designed gear (and algorithms) about now, and even more inexpert operators. But at least the top end is now very good, and many of the best people have learnt from the mistakes of early digital recording."