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JediJoker

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About JediJoker

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    Hopeless Romantic

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  1. Confirmation, but no explanation. "Thank you for your understanding," of which we have none, thanks to Sony. Wonderful!
  2. Were these units mainly for decoding dbx Discs?
  3. Poppycock. Utter elitist nonsense. You're completely disregarding undeniably real music that does not and, in some cases, cannot exist in a real space. Maybe it's wrong to call the best of such recordings "high fidelity," but the history of recorded music is littered with excellent examples thereof. If you choose not to appreciate a great recording because it's not "real music played in a real space," that's your loss and I pity you.
  4. Is this possible? I can't find a way to do it in the UI.
  5. To my knowledge, this is the first report of a CD layer being ripped this way. Not sure how that happened...
  6. Is that because you converted DST to DSD? Otherwise, I don't see how that's technically possible. The disc limit is 4.7GB.
  7. No. Like the CXU before it was based on Oppo BDP-103D architecture, the CXUHD is based on Oppo UDP-203 architecture.
  8. I haven't looked into this, although I'd guess it's to do with the hyper-aggressive noise shaping required - can you summarize the data or provide a link (whichever is more convenient, either way)? Thanks! If you can stomach a long read, Lynn Olson goes in depth in these two parts regarding delta-sigma and DSD.
  9. Subjective rose-tinted glasses aside, there are objective data on DSD that paint a not-too-pretty picture of the format. The criticism comes from a place of scientific knowledge, not ignorance, and is therefore justified in my mind. That said, I have and enjoy quite a number of SACDs (especially multichannel), which I am happy to be able to rip with my Oppo. Optical discs are not long for this world.
  10. I don't think FAT32 is a gating factor, neither is the size of the thumb drive. I do believe it's a red herring. I've used sticks of various sizes, formatted as both FAT32 and ExFAT, and all of them have worked without incident. I would suggest that if you're having issues, the problem lies elsewhere.
  11. This is not part of the process when using ISO2DSD. No editing of the files on the stick is necessary.
  12. I think that has a lot more to do with your DAC than anything inherent to the file.
  13. The industry is slow to catch on, but loudness normalization is the new normal across all major streaming platforms (SoundCloud excepted), with varying loudness targets from around -11 LUFS to -23 LUFS. This normalization is on by default and, in some cases, cannot be defeated. The average listener won't even know it exists, let alone where to turn it off. As with Apple Music streaming, this is also true of iTunes local file playback: SoundCheck, Apple's loudness normalization algorithm, is enabled by default. The upshot is that a track compressed to -6 LUFS would be turned down by a whopping 10 dB by SoundCheck (-16 LUFS target), making it sound weak and anemic compared to a track at -16 LUFS. Hence, the louder -6 LUFS track is no longer competitive against the -16 LUFS track, and in fact sounds at least quieter if not worse in other ways. This is what Ian Shepherd was getting at with the "sound loud" vs. "be loud" statement: the -6 LUFS track is loud, but doesn't sound loud when played back with loudness normalization.
  14. That's just BS. Good-sounding records with healthy PLR sound good on anything, including tiny speakers. Try a phone shootout sometime with a dynamic mix that has been mastered two ways: 1) sympathetically and 2) "competitively." In a loudness-matched blind ABX test, the sympathetic master will win every time. All this will become moot once artists, engineers, and executives realize that their squashed records no longer compete in the streaming marketplace. I think Ian Shepherd put it best: "Do you want your music to sound loud, or just be loud?"
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