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ARQuint

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About ARQuint

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  1. I think it would be entirely up to the individual participant whether or not to volume match. Since we're not looking for a "winner" here but differences, leaving those few files that are a little louder or softer as is might actually help with identification.
  2. I disagree. I know I've said this before, here and elsewhere, but I'll say it again: The audiophile pursuit is "about" that point of intersection between art and technology. I think that's a key take-away of bluesman's series of articles, no matter what your taste in music is. To elaborate on an example that bluesman mentioned, Berlioz specified that a cornet play the obbligato in the "Valse" movement of Symphonie fantastique, as did Stravinsky for one of the two brass in the ensemble for L'histoire du soldat. Assuming that the conductor has followed the composer's instructions and
  3. Interesting question. The 30 instruments were recorded one after another over 2 days, using the same recording set-up. When I measure the average level from the listening position for each one minute Sibelius excerpt, mostly they are pretty close—but some are a few dB different. This is to be expected. Oliveira is playing 30 different instruments and some are "louder" than others: the "size" of the sound is an important characteristic of each individual violin—and why one player might decide to pay 5 million for one Stradivarius but not for another. I think it would be a big mistake to adjust
  4. There were. I found 13 answer sheets, and these were the results: 3/12 correct 4/12 5/12 6/12 6/12 6/12 7/12 7/12 8/12 8/12 9/12 (violinist) 9/12 (violinist) 12/12 (audiophile) I don't pretend that this goes much beyond "anecdotal" but one other part of the experiment was interesting to me. The subjects were actually presented with two differently randomized series of files, the first encoded as 16-bit FLAC and the second as 145 kbps MP3. My "star"—the audiophile who got 12/12
  5. Part 2 is, if anything, more spectacular than Part 1. It illuminates the recording arts, the art of listening, and to me—the meaning of the audiophile pursuit. It got me thinking again about a project I started a few years back, and have mentioned here once before. In 1998, the Chicago-based rare instrument dealer Bein & Fushi was responsible for the project of gathering in one place 30 of the world's most prized violins—15 Stradivaris and 15 Guarnieris. The instruments were photographed and each one played by the American virtuoso Elmar Oliveira. He was recorded by Mark Levins
  6. Are you a renter? If so, ignore the following. But if you're a condominium owner, you should consider this kind of approach. When we moved from the suburbs to a condo in the city, I despaired of ever again being able to listen to music loudly, at any hour. But I can and I do. My listening room has one surface that's contiguous with a neighbor—the floor. (We have a 2-level unit, so all the walls and ceiling are adjacent to our own space.) I took up the carpet and replaced the carpet pad that sits on the concrete slab with something like this https://www.acoustimac.com/so
  7. Cookie Marenco is a respected engineer and producer with 5 Grammy nominations. She has recorded Brad Mehldau, Ladysmith Black Mambazo, and Mary Chapin Carpenter and uses her real name. It's highly doubtful that "Ishmael Slapowitz" has any qualifications as an audio professional and has exactly one criterion for who is worthy in the field and who isn't. Most, me included, recognize that Slapowitz gets his jollies by riling people up and is here for his entertainment value. But I also feel it doesn't reflect well on AS for an especially conscientious and generous member of our industry like Mare
  8. People requested Grateful Dead songs at Bar Mitzvahs? Who knew?
  9. Along the same lines, I highly recommend a program on the Channel Classics label (a hybrid multichannel SACD, no less) with Paolo Giacometti playing an identical all-Ravel program on two pianos, a modern Steinway and a restored 1888 Érard - the brand that Ravel used at home when composing. The differences in the performer's approach to the same music on the two instruments—tempo, pedaling, dynamics, etc—is very interesting. [The title of the 2-SACD set is Compared. The catalog number is CCS SA 31612]
  10. I'll add my thanks for an illuminating, solidly argued, and beautifully written treatise on a central issue of the audiophile pursuit. The discussion of concert halls, in particular, underscores that the use of the terms "imaging" and "soundstaging" are relevant to accurately describing our experiences with equipment and recordings. I've heard performances at the Musikverein, Concertgebouw, and Symphony Hall in Boston—and, like bluesman, I've heard hundreds at the Academy of Music and Verizon Hall because I live in Philadelphia. Musical memory is, to put it mildly, imperfect so employing the
  11. Thanks for reading the Ideon review. It's an excellent product and the small group of guys responsible for the company is, I think, what High End audio is all about, or should be. One function of an audio component review is to provide information for a potential purchaser so that the person can decide if the product is worth investigating. That of course includes an assessment of SQ but also basic data that can be presented pretty dispassionately: How big? How heavy? How expensive? How many inputs? What's the DAC chip set? And a lot of other data, even with a magazine like ours th
  12. Kind of like "Perfect Sound Forever"? I'm pretty confident that even recording professionals who have had positive things to say about about MQA (people like Bob Ludwig, Peter McGrath, George Massenburg, Morten Lindberg) would cringe at Veth's preposterous statement. One of the things the pandemic has reminded me about the audiophile pursuit is that no technology is a substitute for the real thing. The musical organizations I patronize offer streamed performances in lieu of cancelled concerts and I find I have little interest. It's not remotely the same as being in the
  13. He definitely sensed an angry tone, as I noted before - even if you know you were more exasperated than angry. No, you personally didn't savage the poster—but it did seem he was being ganged up on. Now, as I just noted in a response to K.O. if the poster actually did know what Vaporware has been about for the last 4 years...well, he should have known what he was getting in for. Trolling is trolling.
  14. Well, you did (politely, I should add) ask why I don't just ignore this thread. That Vaporware is kind of an echo chamber for a group of people that feel pretty much exactly the same way. Not unreasonable to conclude that Alrx drew that conclusion and decided to depart. Again, that's assuming he didn't know what Vaporware was about. I don't like trolling from either side of the aisle...
  15. I don't know. Do you? On this thread? That would be interesting. If so, he certainly would have known what to expect!
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