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About bluesman

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    Crusty Old Curmudgeon

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  1. Then again, that may be the dynamic of the original recording. Musical performance is not perfectly symmetric - it’d be pure coincidence if left-right balance were exactly 50:50 even if one or more performers (or their sound reinforcement or pan placement) had been dead center. You could try “remastering” it to balance content exactly, just to see if it sounds different.
  2. That’s exactly what I had in mind when I came up with the topic and approach! There are many pro tricks available to us too. And even those who won’t be doing this to their own files will benefit from knowing more about how recordings are made. The mid-side decomp is particularly useful and common, but there’s an endless stream of tweaks out there. Enjoy!
  3. I have Tracktion 7 on my Win10 PC and agree that it's well worth considering. Strengths include good VST instrument support and a simple one window GUI with logical work flow from left to right. As I recall, it does not have a separate mixer window and I missed that. I've also installed it on Linux boxes, RPi 3 and RPi 4. It's still a 32 bit RPi program, so it doesn't take advantage of the latest 64 bit Raspberry Pi OS (which means that it can't access more than 4 gigs of RAM). It works very well on my Ubuntu 20 media center.
  4. There are no raw tracks because the processing projects described in the article are done on stereo mixes. So there are 3 links to wavs in the article, and all 3 are stereo mixes of multiple studio tracks of individual instruments. The first is a mixed and normalized but otherwise unaltered segment with an acoustic guitar, a resonator guitar, and a harmonica. The second is a complete basic master track of these parts plus the vocal, and the third is a “remastering” of the second one using mid-side processing that added the delays, EQ etc described in the article. You could go back
  5. REALISM VS ACCURACY FOR AUDIOPHILES: “DOCTOR, CAN I PLEASE GET A PRESCRIPTION FOR BETTER RECORDINGS?” In the first article in this series, we discussed realism, accuracy, and reasonable expectations of each for audiophiles. The second part examined the real sounds of musical instruments, along with their variance, susceptibilities to alteration and distortion, and how these factors can affect the accuracy and realism of recorded performance. So you already understand some of the differences between realism and accuracy. You know enough about how and why the “same” instrumen
  6. Most headphone out jacks are purely analog and are driven by the DAC on the computer's MOBO. Several Mac models over the years have had a combination analog headphone jack and 1/8" optical output, as do Chromecast audio and a few other devices. This doesn't take a standard TOSLINK cable - it needs either a cable with an 1/8" optical connector on it or an adapter (cheap and easy to find). If you insert an 1/8" TRS headphone plug into those combo jacks, you'll get analog output. The Apple support page to which you linked above is from 2017, and it only identifies late 2014 Minis
  7. She said that accordionists really know how to push her buttons.
  8. What's the least heard sentence in the English language? "Be careful - that's the bagpiper's Porsche!"
  9. On the other hand, after an exhaustive search, I stumbled across a bagpiper with a healthy dose of redeeming social value despite being accompanied by an accordion. It's probably a pretty good test of system fidelity - but after a few minutes of tweaking, I've concluded that the best way to enjoy this is with the volume set to 0:
  10. It's OK with me! It's not exactly music to my ears. But if it's in the interest of science and education, I'm all for it.
  11. Although the drone of bagpipes is my absolute least favorite musical sound (and I'm stretching my imagination to consider it that), most music played on banjo or accordion is a close second - and I go nuts when having to listen to endless versions of Lady of Spain on the latter. My wife and I were on a cruise many years ago and were "assigned" to a table in the main restaurant with two other couples (very nice people with whom we got along very well). The first night we were all together, we finished dinner and decided to check out the various entertainment venues on the ship. On
  12. But that output amplitude is NOT the same value for every DAC that reads the same 0 dB FS digital signal - there is no specific "equivalent" full scale analog output voltage for a 0 dB FS digital signal because there is no consistent mathematical relationship of any kind between the digital signal being read by the DAC and the analog signal it creates from those digital instructions excepet for the spectral content. Every DAC design outputs the same analog waveform (+/- whatever distortions it intriduces) but at a level determined ONLY by its own design. Whether you think that the
  13. You really don’t understand this. 0dBFS (Full Scale) is the clipping point for a signal in a digital audio product. Rather than measuring from the noise floor up, digital signals are measured (or referenced) from full scale down. A 0dB FS (Full Scale) signal contains the maximum amount of digital information that can be used to represent the signal being defined. The output of a DAC driven with a 0dB FS signal should be at the full electrical potential of the device - this is the voltage drop across the load presented by the next stage’s input. There is no standard for this value
  14. ...which is exactly why AES 17-1998 is confusing many in this thread. Although entitled “measurement of digital audio equipment”, it is based entirely on measuring analog parameters at the ADC input and DAC output. The amplitude of a pure digital signal is determined by its coded content, which is read rather than measured. A 0 dB FS digital signal in a digital domain is defined as the highest level achievable by the EUT. For a 16 bit signal that would be the coded word 32768, which is what constitutes the signal that enters the DAC stage. A steady state sine wave or music waveform at 0dB F
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