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John Dyson

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  1. This release got good feedback so far. There appears to be fewer eccentricities. The only complaint so far is that the bass might be a little weak, and I understand that. There will be a release tonight (already built - probably V4.0.1A) with the requested mods. 1) The bass at 75Hz will be 3dB stronger (and that is A LOT.) - I have troubles comparing and judging LF. 2) Q of final EQ at 150Hz will be moved from 0.8409 to 1.18. 3) The highs at 15kHz to 20kHz will be about 1-2dB stronger. Got good feedback on clean ness of sound, and sound qualitie
  2. V4.0.0C is ready. This new version has a response balance VERY similar to raw FA, but without the phase & dynamics distortion garbage. V4.0.0C does NOT sound like previous decoder versions. The goals had changed on this version, and there is no atttempt to correct mastering -- which I didn't realize that was what I was trying to do. (I really wish someone in the industry would have helped!!!) If there are still minor response issues, there are two simple places that can be changed into simple 3 choice knobs. Sometimes, I think there is too much bass, sometim
  3. After lots of testing, double checking and small revisions -- the results now match the general sound of the FA raw versions, but without the hiss, intermod, etc. It does seem (by my comparisons with otherwise provably unmodified recordings) that there is a general trend to give an artificial HF boost to recordings, probably at mastering time. There is usually a simple EQ to bring recordings back to sane, but again -- by default, the next release decoder produce EXACTLY the same general FA freq response balance without the FA distortions, hiss, etc. THERE IS NO ATTEMPT OF REMOVING THE S
  4. Still working on the release. The general sound will be identical to the FA RAW in many ways, and it is very close in the testing. It can decode RAW FA to bee old pre-FA vinyl very very closely (better in the sense of immediate/present sound, but not with any extreme change in dynamics.) Freq characteristics are also identical. There are still very minor differences (inaccuracies) in the dynamics for the 6kHz and 12kHz region. Matching the results requires repetitive A/B comparisons, and when moving a building block to soften the dynamics in one region can have effects in other areas.
  5. Still working on the release. Finding every little nit. The clarity is showing to be outstanding, it is far far more detailed than most have ever heard WITHOUT false 'enhancement'. Response balance still might be imperfect, but recent private tests have been very positive. This new version has a seeming order of magnitude more detail than previous versions, but without false enhancements like often used 'elsewhere'. Testing and review is very intense, and any nits are being corrected -- then restarting the tests with a new version increment. Like always, every ver
  6. More REALLY REALLY good news... After a lot of experimentation and reverse engineering, I found that the lower MF and LF ranges do NOT use normal EQ at all. This is one reason for the improved, but still distorted stereo image on previous versions. Also, the bass was somehow not 'full' enough. The new LF/MF EQ fully uses the matrix EQ scheme. Even the alternative EQ recordings (some old Carpenters, some ABBA, some Linda Ronstadt) use an alternate matrix based on the same scheme. This resolves the incomplete or slightly dissatisfying EQ on the 'bass heavy' recordings al
  7. Yesterday, was doing searches DEEP into my archives, and found some ripped early Carpenters LPs. Been bouncing between the Carpenters LPs, Anne Murray FA examples, and early ABBA LPs. I know that the set isn't fully representative, but checking the archives for more interesting nuggets. So far, found some serious errors in the previous bass beahvior (very serious omissons) and a few other minor things. Progress is being further made. I realize that the decoder has been much trickier than I had originally thought - but it IS getting better!!!
  8. Been working hard on trying to stabilize the final EQ -- my hearing has been playing tricks again and there are NO specifications or objective basis of comparisons available right now. This FA encoding is obviously a trade secret, and there are no legally available documents available describing the encoding method of consumer recordings. There is NO WAY that access to documents containing trade-secrets would be acceptable for development decisions. This project is totally clean WRT patents and trade secrets, and development has done EVERYTHING possible to avoid infringements
  9. As long as MQA is interpreted as 'Adulterated' instead of 'Authenticated', and openly disclosed as such -- it bothers me just a little less. The term 'Authenticated' has an implication of accuracy or near-perfection. The term 'Authenticated' is so misleading that it is almost certainly deceiving, and could be reasonably interpreted in some ways as a lie. On the other hand, the term 'Adulterated' is actually an accurate claim. Still, this doesn't address the fact that MQA is nonsensical for the consumer After being repeated so many times, in so many ways, and with the MQA ad
  10. It is also important to note that the 'authenticated' aspect of MQA is totally meaningless. The music industry has been selling adulterated materials since the middle 1980s'. Those who were around back then might remember the lamentations about the 'digital sound'. This new processing happened during the transition to CDs (digital distributions) and later on was imposed on new vinyl distributions also. (This 'digital sound' has ZERO to do with 'digital', but is actually additional ANALOG processing. That specific change in sound could NOT be done in software or even with HW digital
  11. V3.5.8 is ready. TOTALLY reworked EQ. TOTALLY more clean sound. Much less compressed sounding output. Even though the sound is more smooth, there is actually a LOT less compression on the output. That HF intensity should be gone, yet the HF should seem to be extended further. Vocals more forward, different output matrix (basically different output mastering.) https://www.dropbox.com/sh/i6jccfopoi93s05/AAAZYvdR5co3-d1OM7v0BxWja?dl=0 (This took a long time to do because my hearing came back, and was really upset with the highs on earlier rel
  12. As I have written, the vocals are too buried. There are methods to bring vocals forward, butI don't like adding things unless really needed. I have pulled the modification that was already in reserve, and added it. (about 9 lines of code addition.) The positive side effect is that the frustrating variation of post decoding bass EQ is almost totally gone. (Actually, it does appaear to be entirely gone - makes using the decoder much easier again). The most important positive effect is that vocals are much more forward without any other perceptable change. As
  13. After all of this work, and some more testing, I still believe that the vocals are a little buried. I think that others agree with it also, but otherwise the response balance appears to be reasonably good. Since we have no specs, we have to base the processing on what sounds correct instead of knowing the correct answers to begin with. There is a remedy for the buried vocals, but like anything, it is best not to 'just add it' when not sure that it is the best thing to do. During the 5minutes after addding the very minor change, it seems like the vocals (e.g. Anne Mur
  14. Some ABBA stuff has been added to the public demos. . Because of a hearing disability, mastering is difficult for me. However, these results just might be closer to the response balance closer to what is normally expected for ABBA. Even if these decodes have flawed EQ, they DO show the extreme cleanness of the decoder. Since the decoder is so clean (better than physically possible in normal HW techniques), that almost any sane EQ will not normally expose any distortion created by the decoder itself. ABBA Album snippets: https://www.
  15. Got most of the ABBA catalog decoded, will be providing snippets soon. Supertramp has been done for several days, but Supertramp snippets just don't make any sense. Same with Brubeck. Since it is a natural recording, with no real processing, it provides a good baseline about the performance of the decoder. I might be able to find a song or two from Brubeck that a snippet might be useful. A lot of recordings don't 'do much' until 40 to 60seconds from the beginning. I dont' have time to trim the recordings for each snippet. Because of the settings tha
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