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bluesman

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Everything posted by bluesman

  1. I just added a 4 TB Toshiba N300 as a local backup drive in my Windows 10 PC. My 4 TB Asustor NAS is my working storage unit for images and music, with online backup. But I decided I needed a local backup in addition to the RAID on my NAS and there's an empty HDD slot in my HP Pavilion desktop. So I got a new 4TB Toshiba N300 yesterday and dropped it in, only to discover a clearly audible mechanical hum as soon as it powered up. I tried isolating it with polymer washers to no avail, and moving it to the second open drive bay had no effect either. It was low enough in frequency and sufficie
  2. Many OSs have a smart invert feature in the accessibility settings that will give you a dark mode but not change images. I just tried it on my iPad with AS and it works great. But it also turns dark modes into light - so you either have to turn it on and off for different apps or leave it on with all your apps in light mode.
  3. I just imported a simple FLAC file into DaVinci, and it works VERY well! It will edit during playback and gives amazingly precise control over timing of edits (including gain changes). You can export an edited copy of the original and preserve the source file unaltered. Unfortunately, it will only decode FLACs - it does not encode FLAC exports (yet). So we're limited to exporting edited FLACs as wavs and converting them back to FLACs using other software (an easy enough task). Similarly, you can edit and export audio from videos.
  4. The way you state that is not quite correct and could easily be misinterpreted. You can’t alter the data in a music file while it’s playing, but you can obviously turn the volume up or down ad lib without damaging or changing any audio file. What cannot be done “on the fly” or reversed after saving the changes and closing the file (not the program - the file) is destructive editing, eg normalizing, equalizing, compressing, and otherwise altering the waveform itself. There are some nondestructive audio editing programs. But most (like Audacity, Ardour, and the other wide
  5. The solution that jumps out at me for future pollsters using the function as it is now is to start with the disclaimer “For [Roon] Users Only” and the simple instruction to participate only if you use / engage in / own / have experience with the focus of the poll. FWIW, Chris, Survey Monkey will let you create qualifying questions that will terminate the poll for those who don’t meet inclusion criteria (instructions here). I don’t know what code powers the AS poll function, but it’s often easy to add this feature.
  6. For me, the unasked question of most importance is whether I was surprised at the number of changes, oversights, errors, omissions, and inconsistencies in a product whose most endearing characteristic (at least for me) has been its sophisticated, coherent, and user friendly nature from inception to now. The answer is a resounding YES! I think a lot of us who consider Roon to be our default music management system are both shocked and dismayed that 1.8 contains a healthy dose of the unpleasantness we left behind in migrating to it from other programs. Roon has been my main music m
  7. It’s probably easier to use JRiver, as you suggest above, Kal. Connect multiple AVRs or other renderers to the source PC and each will show up as a separate JRMC zone. Group the desired device zones and they’ll play simultaneously. Voicemeeter Banana is a cool piece of software that’s very useful for audio file processing, combining and distribution. But it’s a very long run for a short slide, and one of its major shortcomings for audiophiles is its inability to play, record, or convert FLACs. It does give you up to 5 separate virtual output busses that are selectable from the “
  8. I bought the last flux capacitors, too. They’re now my preamp’s output couplers - the SQ is amazing!
  9. No need - the tube glow powers the solar panels in our inside walls. The panels power the tubes. I assembled large arrays of piezo mic capsules that generate power from the vibration of my speakers, and I’ve achieved perfect coupling. So there are no losses and we use no fuel to heat and light the place, cook etc. The only downside is the need to play music or videos 24/7/365 to keep it all going. The day I stop the music, I’ll drive my Chevy to the levee and proclaim it to be Don McLean day.
  10. If I didn’t know better, I’d be afraid that you’re being serious. Besides, our HT rig uses 4 KT100s in each of its 11 channels. We never installed heating in the house, so we used the money we saved to have theater seats made. We then discovered that we don’t need any lights on the main floor. And those solar panels in the walls generate all our electricity. Most importantly, the tube glow turns out to be very romantic lighting.
  11. The added tube life from air conditioning exceeds the associated HVAC costs. You obviously haven't priced good KT88s recently. The hiss is just analog dithering.
  12. The added maintenance cost is easily offset by the drastic reductions in our heating bills. 🤪
  13. First and foremost, impedance is frequency-dependent resistance. A single quoted figure with no reference frequency is probably useless in identifying potential negative interactions, since the preamp's output impedance probably rises at the very lowest frequencies and OI is almost always quoted as the resistance at 1 kHz. If it reaches a very high value by 50 Hz or lower, it can result in attenuation of the lows in proportion to the rise in impedance by frequency. This can be as much as 6 to 10 dB in extreme cases, but such cases are as rare as hens' teeth. So in summary, a ver
  14. I fear you've been as careless in this quote as I was yesterday. I assume you mean "...most Vacuum Tube preamplifiers". And many modern tube preamps have very low output impedance. Prima Luna's DiaLogue preamp has an OI of 256 Ohms. Here's the Prima Luna info page on this. All tube preamps with cathode-follower output stages have very low OI, e.g. 200 Ohms for the classic Audio Research LS8. Many modern tube preamps also have low OI, e.g. 300 Ohms (600 Ohms on the balanced output) for the current LS28. FWIW, ARC recommends 20K ohms minimum load and 2000pF maximum capacitance. Other excell
  15. The functional difference between amp input impedances of 10 kOhms and 20 kOhms is zero for most preamp/amp combinations. Instead of saying "...the difference in load between 20 kOhms and 100 kOhms is negligible as far as the source is concerned", I could just as correctly have said that the difference in load between 10 kOhms and 100 kOhms is negligible with a source impedance of under 1 kOhm. Specialty pieces may have different requirements, but for the vast majority of amps and preamps you can buy today, I'm, pretty certain that this is true and correct. Neither a project ampl
  16. What I meant to say instead of "almost all modern preamps have output impedances >20 kOhms" was that "almost all modern amplifiers have input impedances >20 kOhms". This is supported by my next sentence in that post: "Once it gets above this, an increase to any practical amount will not affect gain significantly because the marginal load on the source is already so low at 20 kOhm that even an increase to 100+ kOhm won't change gain". Sorry about the error - I was on my way out the door when I saw the post that precipitated this response and I was careless in entering it because I was i
  17. You do not need to buy a new preamp under any circumstances. FIrst, almost all modern preamps have output impedances >20 kOhms. Once it gets above this, an increase to any practical amount will not affect gain significantly because the marginal load on the source is already so low at 20 kOhm that even an increase to 100+ kOhm won't change gain. Of course, there are exceptions. This is why their website clearly says that Axiom "... can easily readjust the gain ratio for you at a cost of $35" if it becomes necessary. But a new amplifier is not likely to make it necessary - and if it is,
  18. Interesting! I just found that one this morning when I posted, and I only listened to the first minute or so. You're obviously correct. Here's the FLAC as converted from the MP4: and here's a graphic example of what's missing when you normalize it to show the emperor's new peaks: Obviously. this one's not very useful. Mea culpa!
  19. Here's a very interesting 43 minute video demonstration that should be useful in evaluating equipment. This one compares the 10' Fazioli (another of the world's best pianos) with the Bosendorfer Imperial and the Steinway D in the same studio with the same pianist: Here's one comparing Clair de Lune on an 1896 Bechstein with a 1905 Blüthner (two more world class pianos and examples of stellar restorations): I download these comparisons as videos if the SQ is decent and convert the sound tracks to FLACs using VLC, so I can use them for component and
  20. I've never heard (or even seen) Marten speakers, so I dn't have direct experience with them. But from the specs and descriptions, it seems clear that the sonic characteristics of these two are different. Without hearing them both, it's probably impossible to compare and contrast them at all. One has a rear firing damped passive radiator, the other does not. One has "ceramic drivers" and the other does not. As discussed above, the stated frequency response curves are quite different, etc, etc etc etc. I've bought and built several speaker systems over the years that had damped
  21. The download is Redbook (16/44.1). Each instrument was recorded separately in 32/44.1 but the final master was mixed to 16/44.1 format. I recorded each of the 6 instrumental tracks as a 32 (float)/44 wav using Ardour. I then opened them in Audacity exactly as recorded, normalized the gain on each one, applied a little DSP (eg compressed the bass a bit in the first chorus, because it’s playing the melody and I thought it needed a little punch), touched up the gains for solos, and panned the instruments to create a soundstage. Then I mixed them down to a Redbook master. Th
  22. Rudolph the Redbook Demo is a garden variety CD quality track. To see what the Pi would do, I made a few recordings at 24/192, which works fine on a fan cooled Pi 4, as long as you don’t try to use loopback monitoring in real time. But I make all of the band’s demos (for learning new tunes etc) the way I made Rudolph - it’s easy, effective, and requires no special or costly stuff.
  23. FIne compound will only remove a tiny bit of the outer layer - it won't remove enough plastic to level the depth of a big scratch or groove. Most fine surface marks don't impede playback. Scratches on the playing side may look terrible - but most cause no problems in playback unless the scratches are really deep, really wide, or coincidentally follow the data spiral exactly. I've been amazed at the sorry looking CDs that friends play without issue. On the other hand, fine polishing compound might remove surface dirt that blocks the laser from accessing the data layer. But there'
  24. Thanks for the observation. That's why I try to spell out the full terms the first time each is mentioned, adding the abbreviation to be used in parentheses, e.g. "digital audio interface (DAI)". Perhaps I've assumed more than is justified about many of those on your list - I'll try to be more consistent with up-front definitions. TTYL 🤪
  25. THE VALUE PROPOSITION IN AUDIO: ROLLING YOUR OWN IS AS EASY AS PI Recording and working with audio files on a simple Raspberry Pi DAW ‏Yes, a Raspberry Pi can record music well. My album (right) was the original project, but Covid closed the club last Feb. So I made this FLAC (download) master in Audacity after normalization & mastering from 6 stereo 32/44 wav tracks recorded in my home studio on Ardour with a $100 M-Audio DAI. The same Pi 4 did everything, even monitoring for near zero latency & no need for correction of any kind. I’m playing all the instruments.
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