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About JoshM

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  1. There’s a chasm in the audio market. On one side stand pro users. On the other stand audiophiles. Some companies straddle this line. But even then it’s common for such companies to clearly demarcate their equipment as “professional” or “hi-fi.” Some types of equipment are more likely to see products straddle this chasm. Certain speaker and, especially, headphone models appeal to pros and enthusiasts alike. DACs, however, are not such a category. Sure, companies like RME and Mytek have had some success bridging the professional/consumer divide, but they’re the exception that proves
  2. Thank you for the kind words, everyone. I have a few more interviews already recorded, including with mastering great Tim Young, known for his long association with The Clash and Van Morrison, among others. We ended up talking on three separate occasions, so I just need to edit it all down. I also just lined up an interview with excellent Andy Zax, archivist behind the recent Woodstock box and many amazing reissues, including personal favorite Judee Sill.
  3. On a sweltering Saturday in June three years ago, I trudged across the University of Michigan’s North Campus for a conference celebrating the 50th anniversary of The Beatles’ Sgt. Pepper’s Lonely Hearts Club Band. My wife and I were in the middle of packing up our life in Ann Arbor to move to Charlottesville, Virginia, and every bone in my body wanted to collapse on the couch that afternoon. But I wasn’t about to miss engineer and producer Ken Scott’s keynote address. Few engineers and producers have been behind the board for so many pivotal albums or worked with such a diverse ar
  4. Thank you, @Nikhil. Kind feedback like this is what makes me keep writing. I always hope my TBVOs give people joy by bringing them closer to the music.
  5. Thank you for all of the kind words, everyone. Each TBVO is a labor of love. This one felt special because of Withers’s passing, the fact that the great* Mr. Blackmon took the time to exchange dozens and dozens of messages with me, and the fact that there’s very little about Withers out there (no biography, etc.) relative to his stature as an artist (and even less about this album). *Blackmon’s guitar playing throughout Still Bill is beautiful, same with the Carnegie Hall set, the Watts Band’s Express Yourself album, etc. He’s just a wildly underrated guitarist, IMO.
  6. I’d recommend checking this post out: http://archimago.blogspot.com/2018/12/measurements-intel-i7-pc-and-raspberry.html
  7. Thank you, @The Computer Audiophile! I also wanted to let everyone know I’ve created a thread with a link to a spreadsheet to suggest future TBVOs and a poll to pick which of the current in-progress TBVOs I should finish next:
  8. When Bill Withers passed away this April at the age of 81, I put aside the other TBVOs I’d been plugging away at and turned to Withers’s work. Few artists have produced a three-album run as superb as the one that began Withers’s career: Just As I Am (1971), Still Bill (1972), +’Justments (1974). The list grows to four if you count Live at Carnegie Hall (1973), widely regarded as one of the greatest live albums of all time. Withers recorded five more albums, all for Columbia, before retiring from the music business in 1985. But none topped those first three, recorded for "The Black
  9. I followed the ASR attempt to establish agreed upon thresholds for a while, and it seems like it petered out. My sense of why that happened is that we can mean “audibility threshold” in two different senses: what humans physiologically can detect and what research has established listeners hear in audio reproduction. For example, the audibility threshold of distortion was stricter in the initial ASR threshold attempt than in Archimago’s recent experiment. So, over at ASR there seemed to be a mix of physiology, AES-type research, and random assertions used to support the “lenient” and “strict”
  10. I could be wrong, but I think Chris’s point is that if we take “beyond audibility“ seriously, then it becomes a checked box rather than a “moar please” issue. There’s no “even more inaudible.” I’ve said before that I don’t see the point of someplace like ASR continuing to measure DACs. According to its own standards, a bunch of $99 DACs are “perfect.” But I do think there’s a danger in reducing DACs to one or two numbers, dumping them into a graph, then saying that higher is better. That’s especially the case if it’s really “all DACs with distortion below 80 dBFS are audibly trans
  11. Hello Everyone, I have a new TBVO that should be posted soon on Bill Withers's Still Bill. When Withers died, I'd been working on several TBVOs. (At any given time, I have at least three or four in progress, since I typically have to hit the pause button at some point in each TBVO when I discover that I need another CD, should to get in touch with a mastering engineer, etc.) Since I don't have a strong preference on which one to proceed with next, I thought I'd put it up to a vote. I also wanted to create a spreadsheet where you can nominate an album (or second, third,
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