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sapporo

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  1. Was there anything more about the drivers before editing the interview?
  2. If “operations” by software on the original file bits are never lossy why boast of 32, 64 and even 80 bit accuracy?
  3. So my understanding is : as long as the OS and the application do not perform lossy operations on the file bits there isn’t really any issue of sound quality. The SQ is encoded in the original bits carried down to the DAC, right? PS. Is Replay Gain always a lossy operation? TIA
  4. What does it mean that some software delivers good sound quality? Assuming a contemporary laptop computer with SSD disks and powered from its battery, what other technology aspects can deteriorate the sound? And how can a player software deal with it? For simplicity sake let's assume no up/resampling , volume or other operations on the original bits are taking place. The "bitperfect" original data stream is passed to the DAC. Thank you for any enlightenment on the issue.
  5. Good news about 3.5 . My question is about the Replay Gain-- is it a mathematically lossless operation with Audirvana? Any bits get lost while applying RG?
  6. I tested the Grey and now have the Graphite. Much prefer the latter for home. For a pro environment it doesn't matter.
  7. This is the sort of English up with which I will not put.
  8. Jazz at the Pawnshop was recorded with Nagra IV at 38 cm/s (second machine for reel changes). Two main mics Neumans U47 using ORTF setup, some extra mics. This recording ( I have the SACD) inspired me to get my own Nagra Seven and two AKG C414. Jazz at the Pawnshop - what's the big deal? | Steve Hoffman Music Forums
  9. I really have no problem with hi-res audio for home users. And I still have a collection of SACDs, gathering dust in times of Tidal. I just think that there are so many more important factors in sound quality of music reproduced at home. First is loudspeakers and the room. Moving to good speakers and doing some acoustic adaptations can be a paradigm shift in home music reproduction. Then the quality of the master. I find many tracks from 50-60 years ago much better than a vast majority of today's releases, hi-res or no. Then the electronics, but with a smaller impact than the previous two. And of course, first of all, good music and the company to share the experience with.
  10. I use SEAS. Very happy with them. 100 Watt continuous, 250W peak, 1500Hz crossover.
  11. There is a niche-- selling measuring mics to studios for their recordings. Neuman, AKG -your time is over. As I wrote earlier, best mics go up to 50kHz. Agree. I use silk dome tweeters.
  12. The above quoted acoustics research says that a small percentage of people can "hear" ("feel" is a better word, mechanism unknown) pure tones at SPL>90 dB up to 24kHz. This is old hat and has nothing to do with reproduction of music. The 48kHz codec covers even that most bizzarre of audiophile scenarios. Pump the 24khz pure tones' volume up to 130dB and maybe half of population will "hear", or die trying. Going back to audio, AES had a meta-analysis paper on high resolution, attached. In conclusions (4.4) we find: "As previously mentioned, many proposed causes or factors in perception of high resolution audio could not be confirmed nor denied and warrant further investigation". Funnily, the paper also suggests training of test subjects . Training to spot "unknown causes"? For now, redbook is my thing. And for the few lovers of 24kHz pure tones at SPL>90dB -- 48khz should do. AESmetaHR.pdf
  13. My bad. Of course a human cannot perceive the highs above 20 kHz firstly due to the auditory apparatus construction, never mind the attenuation by air or walls. I must have been still thinking about the audiophile bats.
  14. Bruel&Kjaer are measurement mics. The Sanken is "the first 100kHz microphone in the world used for recordings". Most likely the only 100k. It's an omni. The one quoted engineer uses it for orchestra pickups. See the FR chart. AMT ribbon tweeters-- forgot about those. As many pros as cons. In the end it's also a taste thing, I dislike the sound. Anyhow, all those high harmonics recorded via Sanken and heard only by bats will be dispersed and attenuated by the room's walls, unless the listening position is exclusively near-field. The Monitor Audio Studios have mixed reviews, but again, it's a matter of taste and preferences. Monitor Audio Studio review | What Hi-Fi?
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