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MQA at CES


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But the only correct recording is the Nielsen one to compare. The idea is that old 16 bit redbok should sound better with MQA applied on a non MQA DAC than if the same record has no MQA attached.

For the other tracks delivered in 24/352.8, they at least has to be converted to 16/44.1, and then compared with the 24/44.1 MQA file.

Still, not a good test, as you need original 16/44.1 and the same recording also in MQA codec. Agree ?

 

If you look at the file sizes you can see that the Nielsen MQA has the same size like a MQA from a DXD master. So it can be argued that they made first a transfer from the DAT tape to DXD and then applied the "magic" MQA process.

 

Matt

"I want to know why the musicians are on stage, not where". (John Farlowe)

 

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On the subject of disparaging that which we do not know, Joel on the Meridian forum posted this intriguing tidbit :

"I'm slowly reading through the "MQA at CES" thread on CA now. It's a tough one, because there are mistakes. Also Jussi (developer of HQPlayer who posts as Miska and knows a LOT about DSP) knows a lot more about DSP filters than me. However, I think he has made a mistake in assuming that MQA uses the same apodizing tech as Meridian's previous filter. More later..."

 

Can you provide a link to this post?

Thanks

 

Matt

"I want to know why the musicians are on stage, not where". (John Farlowe)

 

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Read the paper I attached earlier. It isn't a filter like other Meridian products.

 

Can you explain without to much scientific language what they do in the first step with the original recording?

Thx

Matt

"I want to know why the musicians are on stage, not where". (John Farlowe)

 

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Thank you both,

but if I am right this has nothing to do with the Decoding/Undecoding which follows later.

Is it possible to have this "B spline filtering" in a software player like HQplayer to get the same benefits?

 

Matt

"I want to know why the musicians are on stage, not where". (John Farlowe)

 

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