A novel way to massively improve the SQ of computer audio streaming

[feelingears]

10 hours ago, austinpop said:

Let me be upfront and say - this is just a theory. But here it is in a nutshell:

1. Optimize the data path for maximum signal integrity, by improving the clock quality as far upstream of the DAC as practical

...

But one of the experiments that will be very interesting will be when Roy adds sCLK mods upstream of the iso-CAT6 in his server. At this point the key comparison will be between the full chain with and without the iso-CAT6 isolator. In other words - if there are superior clocks upstream of the iso-CAT6 isolator, does its presence still improve SQ - or does it degrade SQ?

 

We shall see.

 

Maybe you mean as many good clocks all along the way upstream from the DAC? FWIW, Audiostream.com just ran a review on SotM's USB decrapifier by Steven Plaskin suggesting that the best clock closest to the DAC with the best power supply possible yields the best sonic results. (This has been my experience too, although only based on my very limited testing in my systems.)

 

I'm not suggesting you're wrong @austinpop, I'm pointing out Plaskin's point of view as we all explore these relationships further. We're all waiting for the ISO Regen vs SotM USBultra cage match, if only due to the price difference.

 

[feelingears]

@Always.Learning Nice work listening and reporting on the combinations. 

 

It was useful to read the comparisons.  Do you listen for any combination that seems to add up to more than the sum of the parts? 

 

 Totally subjective question, I know, but I feel that if your system is resolving enough (and yours seems to be!), you will hear subtle improvements as tipping the scale one way or the other for what you like to hear in an audio system.  At least, that is my experience.  It seems to me that the right cable with the right component and power supply (and power cables) add up to a lot. 

 

I suppose all of this is just tuning a system to taste, so I'm curious if you have any thoughts to share about that. Thank you.

 

 

[feelingears]

2 hours ago, Always.Learning said:

@feelingears  Thank you for the compliment!

 

My process for improving my system is multi-pronged.

 

First, I try to listen to a lot of music, in a lot of different contexts. I personally attend a good deal of chamber music concerts, recitals, jazz concerts, and the occasional pop or rock concert. I try to listen to other people's systems and have been fortunate to develop friendships with folks who care about audio in Puget Sound.

<...snip...>

Last and not least, I try to remember that it's about the music. In the right context, I can get goosebumps listening to my crappy car radio. You don't need megabucks to get goosebumps, you just need to be mindful and open to experience. 

 

Those are some of the key things that come to mind -- hope you find it useful. 

 

Uh-oh. I'm in Puget Sound, too... And yes, point 4: gotta hear things at home! Thanks for the detail. I enjoy reading people's thought process in this hobby. 

 

What I was getting at with my question is if/how you've tuned your sound based on your comparative listening. Your earlier post suggests that you have a somewhat orderly approach to listening to your system. As a brief example, I observe/analyze changes to my system by how one change sounds (generally only after break-in, not before) in the bass, upper-bass/lower-mids, high mids, and treble/extension. Timbre, too. Soundstage is secondary. (All the usual things, right?) 

 

Often I get an improvement in one (treble/air) at the cost of another (bass clarity/definition/presentation/edge & decay/etc.). So I've kept changes that have compromised the sound as little as possible top to bottom. In this process I've found, as I asked/suggested, that a combination of small improvements can add up to more than the sum of the parts (to use a worn but apt phrase). Maybe this is because I compromise the areas that matter less to me while amplifying the changes that do? And maybe all this is just natural tuning for the room you have.

 

So, curious what you've found, in part because you have a lot of "variables" to tweak!

 

 

[feelingears]

8 hours ago, Always.Learning said:

Through the years, my analog system has generally bettered my digital system in each of the above areas, though of course it all depends on the quality of the recording, source file, vinyl pressing, etc. 

 

In the last year, however, I feel that digital has made great strides, and with the help of CA, and this thread in particular, digital is sounding better than ever, rivaling vinyl in general and sounding better in some respects, though yielding a different presentation.  

 

+1 My digital chain is finally sounding like a sibling of my vinyl chain. And I agree with your points although for me, the awareness or sense of the sound is mixed in with my definition of musicality, which I'd define as a blend of all your points (timbre, substance, etc.). And I listen over time too, which is perhaps where I feel I hear/feel the additive nature of complimentary components despite mood and attention swings.

 

[feelingears]

Akin to what @austinpop said about assembling hardware (vs. software), I'm leery of HQP's apparent complexity and user unfriendliness despite (or because of) my work in software. But this is audio so one is always exploring or tempted to try more. So, begging everyone's pardon, but would someone please point me/others to a good "HQP for Dummies" post or set of instructions, anywhere? Something user-friendly and more "forgiving,"  if such a thing exists?

 

(Also, HQP is a one-man show is it not? I wish there were more "there, there" as a going concern.)

 

Thanks in advance.

@seeteeyou You just beat me to the punch, but I'll have to see if any of those speaks to HQP (and speaks in "Dummies" dialect). 

[feelingears]

On 12/13/2017 at 1:11 PM, Johnseye said:

 

My point was that complex is to be expected and complaining about what a spaghetti mess it may be or how it's not simple is contrary to the entire thread.  I didn't mean to come off condescending,  I just think that we as consumers have been programmed by companies like Apple to accept a simple one button solution.  Complex doesn't mean it's not good.  Complex to me means I have options, there's a lot involved and it's customizable. 

 

Just $0.02 FWIW:

 

I'm a very satisfied iTunes/Apple Lossless user. In my system I've compared it to USB via mRendu with LMS/Minimserver, USB direct via several cables du jour, three decrapifiers, and Uptone power, and probably a few others including software like Amarra 4, BitPerfect, etc. I still prefer S/PDIF coax, so that's what I use until one of you fine folks finds a cost-effective, non-spaghetti combo that is worth the effort to change.

 

iTunes wins for me and ease of use is a part of that equation. My system has never sounded so fabulous, and so rather than buy all these clocks and crap, I got me some new, big speakers. And, just because I use and "prefer" iTunes doesn't strictly mean I "like" iTunes...

 

But I follow this thread because I respect the exploration y'all are, shall we say: pioneering. Good on ya. Thanks and back to our regularly scheduled deconstruction of audible electronic esoterica... 

[feelingears]

@Johnseye I should've said that like others have posted here, I'd prefer to audition now before buying anything after my bout of (fun and rewarding but costly) gear experiments over the last couple years. Your posts about your Audio Alchemy DAC almost got me to pick one up from AA at $1,500 (+ps), but I had to stick to my guns. So much good stuff–wish it were easier to hear it all.

 

Cheers.

[feelingears]

Sadly, no. Because of all the power supply postings and my own power-listening experiences, I now consider an emphasis on power in a component's design philosophy as essential. Based on what I've read about the design of the DDP-1, your review and others suggests to me that the DDP-1 is likely to be underrated. So I'd love to hear one. (You don't happen to live near Seattle, do you?)  

[feelingears]

18 hours ago, austinpop said:

I'll leave you with an intriguing thought. Do extreme optimizations on the PSU axis reduce the impact of clock optimizations? Roy's latest findings (over on head-fi) with the Zenith SE suggest this might be a distinct possibility. The Zenith SE does not have any heroic clock optimizations that we know of. What it does have are extreme PSU optimizations. The fact that Roy found it equalled or surpassed his reclocked server - at least in some areas - is highly intriguing. 

 

Thank you @austinpop! I would say this has been my experience, as I alluded to in my side comments about the Audio Alchemy DDP-1. I've found power cable and other power related "tweaks" to be essential to tuning my system, especially on the low end. Anyway, excited to see where we go from here. 

[feelingears]

9 hours ago, aggielaw said:

 

Interesting!  Silver has long been known as much for its "speed" as for its tendency for brightness.  Perhaps this explains why the "pace, rhythm, and timing" audiophiles sometimes discuss is usually excellent with silver cables.

 

+1 – Just my $0.02: I'm solidly in the PRaT camp and have enjoyed the positive effects of silver in the last two years of cable and DAC comparisons (extended, subjective listening sessions with repeated reference tracks). Not all changes were positive across the frequency spectrum but a large degree of silver opens up the top end while preserving the quality of the bass presentation in my Naim system. I use ZenWave copper/silver blended (?) interconnect and DC cables; thanks to other CA posters for steering me this way! On that note, anyone here have a spare JSSG'd DC cable (for Uptone LPS-1) they'd be willing to sell? I have no DIY chops, whatsoever. ☹️Local pickup in Seattle includes beer! 

[feelingears]

Although admittedly not quite fair, I'll throw one vote in here for "new does not always equal better."

 

I have a purchased JSS360'd DC cable that I just received and put on between my LPS-1 and a W4S Remedy. The new cable was to satisfy my curiosity here since I have zero solder-skillz. I'm not ever sure I spelled solder correctly, and at this point I haven't any time to even dabble, anyway, so thanks to the vendor for bringing this to market quickly.

 

To be fair, as an experienced believer in burn-in, feel free to disregard me as I haven't burned in the cable more than four hours. But it's no contest: while the new cable has some notable detail up top, the incumbent Zen Wave silver cable is easily a couple steps ahead up and down the freq spectrum. After three hours, I had had enough of the thin, glare-ish "digital" sound and put Zen Wave back in. Ahhh, immediately back to the full, evenly detailed and cohesive smooth analog sound I've grown fond of. 

 

YMMV. Someday when I get an LPS-1.2 and move my LPS-1 to my office rig I'll throw the new cable in and see if it smooths/fills out after a hundred or two. It's only fair, after all.

 

[feelingears]

24 minutes ago, sandyk said:

 

How does the gauge of wire compare with both types  ?

 

Will have to dig a bit to compare. This seems to be a consistent factor with cables in my experience.

 

BTW the new Audience Forte power cable is 10 gauge I think and it’s a top to bottom winner in my system where others have sparkled up top but consistently ruined the bass when used with a Naim Hi Cap.