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Skip Pack

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Everything posted by Skip Pack

  1. I agreed with @PeterSTs comments on the dynamics with the sense that, while they were still an issue, they have steadily improved with the frequency balance was good the the clarity was distinctly better than the input. With this last group of snipps, I think the improved dynamics are a jump in the clarity department as well as sounding richer and more vital. Not helpful vocabulary, but I think this is the first time 'Orange Colored Sky' has not had gross problems either in the normal sections or the ridiculous blasts. It all sounds like music you could hear someone perform in real life this t
  2. Hello Mario, Good to hear that you and PlayClassics are continuing your work. Could I try out the duo recording? Thank You, Skip
  3. I'm another. I have communicated with John more by PM. I fear that the 'dancing about architecture' effect is maginfied in multi-sided conversations, so I hope that the vocabulary I and John use one-on-one will be a little clearer than including the word/thought set of a larger group of participants.
  4. One thing that popped into my mind was a suggestion for a new category of test music. In the snippets, at least, I don't hear and example of solo accoustic piano with the long-tail reverberations that a piano is capable of producing with it's tonal range and pedals. You may well be using selections of this music but not including them in the snippets we hear, but It seams to me that you this music may illuminate the effects and balances you are addressing at this point. If you think such example might help, those of us following your efforts could suggest specific performanc
  5. Talk about closing a polygon, in this case a triangle. I live in Hollister, California, about 12 miles from Gilroy, CA, home of the famous KFAT mentioned by Bill here. I also grew up on a farm (mostly canning tomatoes) and farmed myself until I moved on to 30+ years at a scientific software company. We were Goldsmith Seed customers, and I may have met Bill in the late 70's through a connection there. Move back to the to pieces that Gilbert Klein wrote for you. I enjoyed them thouroughly. Also bought his book and enjoyed that too. His tales were even more outrageous than what he heard on KFAT a
  6. To me, the improvements from G to H are distinct. What you describe as 'graininess' I would call 'congestion' that gets in the way of the upper midrange.
  7. John, I listened to the snippets and ran my own set of test files through 2.2.3C, and feel they are the best yet partidularly with respect to the textures on the low bass. Your comments about the 20hz to 40hz range being important makes sense to me as they probably affect everything up to 160hz to 320hz qute a bit. I like bass, but I don't have a setup that really goes much below 35hz, and I am content if that seems right. While many may want even lower frequencies to be present and correct, very few have systems that will play them correctly or even audibly. The joy of music is fully availab
  8. typo above -- I processed the files in v.2.2.0F
  9. John, WRT the bass eq, I've run 5 albums (that don't fit the musical character of your snippet collection) through 2.0.2F (bare fa outgain+6), and the bass is good. By good, I mean ever so slightly less than I would consider perfect and what you would consider a bit more than you like. To me that is within a range of vairiability that a user/consumer should reasonably be considered to handle/accomodate on their own. The notion that I might need to experiment with post-eq a bit is fine with me. Regarding what I hear -- I think I would like it if the fundamental of tones
  10. I reviewed them this morning, and I believe they are the best yet. I think your impression is correct.
  11. Yes, absolutely. While John's focus, analysis, and development center on FeralA, I think that what he describes as FeralA is likely to be the conflation of any number of recording, mixing, and mastering practices that arose with the release of the CD as a popular distribution format. Naturally, remastering music previously released on vinyl led to issues, particularly where an analog signal processor used on the source material is either unavailable or very expensive leading to 'crafty' efforts in the digital domain. It's my suspiscion that the decoder changes any number of effect
  12. I don't see how it could be otherwise. I worked for a scientific software company for 33 years it sure sounds normal to me. Too early? Probably. But I don't know how you make that judgement and balance against the lack of broader ourside input. I see the decoder as a tool I may well apply to a huge number of albums. The ABBA/Supertramp/Genesis . . . axis seems to be a music grouping were the upper-mid, lower HF range is prominent by its intrisic character. Add to this the abundance of multi-tracking and the use of solid state while that design practice was still under rapid d
  13. I have been experimenting away for the past two weeks or so and used 2.1.1F on CD rips from about 7 groups/artists. In all cases, I realized improvements to varying degrees. John's snippets contain variety, but are missing racous/rowdier music. Among my selections were Toots and the Maytals 'True Love', and Albert Collins and the Icebreakers 'Live in Japan', for example. My usage scenario is probably somewhat different than some, perhaps most others. I'm converting all the songs from an album using a script using the da-win process since my cpu cannot run da-avx. Each song takes p
  14. At the risk of being at least partially off-topic, I recall attending a Burning Amp in around 2014 (I'm a regular attendee), and a group had coded the DSP to do Trifield, and it worked very well. They were reluctant to share how they were doing it, unfortunately, but there are (or at least were) real IP issues. The only other Trifield I've heard was Meridian's which I think is still the only way to buy a product that does. I've never been able to compare Trifield and AVR Dolby Pro Logic on 3CH. I suspect that Trifield is better. Just doing the processing to have 3ch PCM is the first step. Pl
  15. Hello Tim, Thanks you for this overview. I had noticed the CamillaDSP thread on DIYAUDIO and my attention was peaked when I saw that it was being hooked into the next moOde audio release (v.7.1). I'm a happy moOde user. I have a very modest understanding of some ot the things a package like C_DSP can do but not a full understanding for the uderpinnings. I suspect a good document/naive users' guide could make it a tool I could use to my benefit, though never at a expert level. Are you aware of such a guide/tutorial. On thing I would love to do is put together the string
  16. I have to say, that on my playback, headphones and speakers, the newest files I've processed using the newest release defaults, and the snippet from this Tuesday (newdemo.flac), all sound better to me than files done in earlier releases. I am not about to claim that I have the 'truly truthful' system or ears from the center of the audiophile universe. Fairly sure I don't have either. I do feel John is on the right track, and getting very close. I look forward to what I think is coming.
  17. Similar to 'Builder's Tea". Another British expression for very strong black tea: 'stiff enough to trot a mouse"
  18. Big step up on the snippets. The lower frequency fundamentals now seem to fit their harmonic envelopes much better. Eager to play with the new release. Skip
  19. Thank you Bogi! that nailed it. Onward with my (i x J x k) exploration.
  20. Hello John, Thanks for the latest version, it looks very promising. I have successfully decoded (with no eq) two files using five different calibration levels and 4, 6, and eight passes, all using da-win, as I must. When I try post equalization I get the following: _______________________________________ PS C:\Users\Skip_Active\Music_Processing\working\BBoys\Surf's Up\4EQ> da-win --input=in.wav --output=out.wav --info=1 --equalizer --pi=1k --pi=v3 --pi=hf3 da-win : PI switch help information: At line:1 char:1 + da-win --input=in.wav --output=out.wav --in
  21. It's also worth noting that each of our environments adds a great deal of complexity to our attempts to understand what we confront here. I have been primarily using digital source material from files, initally via Squeezebox, since late 2005. My system, mostly DIY, has evolved and become more or less improved to suit my old (now 74) ears. I am generally focused somewhat away from the material John has used for development and testing, but I'm a fairly eclectic music lover. My question here is, 'Have I developed my current system to ameliorate the very issues that John is addesing
  22. I will second John's comments immediately above. I have just rerun the Albert Collins album Live in Japan that I commented on a week or so back. John replied then about this effect (sounding better without -14.x pass) and I have just run a 4 layer versus 3 layer decode and the three layer with -24.5 being the lowest is clearly nicer. I will also add that the IM reduction makes for a nice improvement -- current line is: da-win --input=$outfile --overwrite --output=$newout --info=0 --cdd --fcs="3,-44.5,fcx=g" --floatout --fz This is the best yet decode I have done, and I
  23. Look also for congestion from around 600hz up to say 4Khz when multiple voices and instuments are playing. I now view the process here (goal) as removing the screechiness/congestion while not reducing the vitality/richness. John has cited excess 'boominess' as a feralA issue, and he is probably right, but I do want bass (and bass harmonics) to still be nicely audible. Might just be a personal preference of my old ears. Skip
  24. In my most recent effort using V1.6.2E, working on Albert Collins -- Live in Japan, I used the following command line to get a very significant improvement: da-win --input=$outfile --overwrite --output=$newout --info=1 --fcs="2,-33,fcf=G" --as=5 --fz I believe the '2' setting for the number of passes results in 3 passes being executed. I tried seven variants, and the larger number of passes result in a super-cleaned result that was bland an uninvolving. I reduced the number of passes and used what the document suggests is a milder initiator to reach this set of command
  25. I have been trying John's work since his first free release this year, Initially I was just creating an environment where it could process all the files from a CD (long previously ripped) then coming back to it every few releases. I quickly realized that it was going to take a lot of time getting a feel for how varying controls would affect the sound, and how they worked in combination. The frequency of John's discoveries and bug fixes kept me from engaging in a serious effort to learn how to use it systematically and predictibly. Fast forward to sometime in August, and I started
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