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Jud

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  1. While there are undoubtedly still plenty of bugs, we've had four versions of the software in a month or a so, so I don't think we can say there hasn't been support in the sense of development to fix various bugs or defects. I agree there hasn't been a lot of communication. Some of this is probably a function of what still appears to be a small team, some of simply not wanting to get into fruitless arguments with users saying "I dislike X about the program that is not going to change (or change quickly), respond!" I'm hoping (and reasonably confident, as it has happened in the past
  2. Precisely the opposite, I would think. Trying to keep a product going with one-time sales to a small but competitive niche market doesn't seem likely to succeed over the long haul, thus the subscription model. But of course we can kibitz all we want. It's Damien's decision, with which we're all free to agree or disagree.
  3. Nope. 🙂 Two reasons: - I use my computer for many things, and generally want to maximize performance. I think this probably is opposite to the intent of programs like Fidelizer that want to quiet the system. - I'm on the W10 Insider Developer track, which means I install a new beta build of W10 about once every week or two. Monkeying with the current installation with something like Fidelizer or anything else that modified Windows could lead to unpredictable results. Besides, I'm very happy with what I'm hearing (though of course I may not know what I'm miss
  4. Different people will of course have different impressions of the sound, and this is just mine personally. Yesterday I was listening to the new Rostam album (like him, like the album) from Qobuz. Rostam is a producer, and it's a well-produced album. To me it sounded ungodly good - some of the dynamics/percussion entries were actually a little shocking. (I dislike a too-polite "hi fi" sound that smooths everything.) I haven't compared r8brain upsampling (which I'm using) to SoX, nor Studio to 3.5, because I'm just not that much into A/B, but I can't recall being this impressed with
  5. I like to look at this slightly differently: Does it raise the noise floor enough to make it more difficult, less comfortable, to perceive very low level musical details that would otherwise be audible?
  6. So can we get something out of the recording chain that sounds reasonably close to real life or not?
  7. So is it the engineers working at the microphone companies who after decades are not competent to make a product that will come anywhere near working for its intended purpose? What measurable differences are there between what you would hear at the venue and the mic capture? If it's a live performance using mics, amps, and speakers, why doesn't running the same mic output through a different but well designed amp and speakers give me a very reasonable duplication of that performance? You mentioned it won't sound as "echoey," so is it the producers who haven't over decades of record
  8. It does seem somewhat remarkable that you can assert both this and that we are doing all the right things concerning audio reproduction so confidently.
  9. "Instruments without harmonics"? The more purely percussion stuff I can perhaps understand being described that way (their sounds are dominated by inharmonics), but vocal and piano?
  10. There are binaural (even binaural "dummy head") recordings. And of course generations of fine engineers have worked on miking techniques. Are they doing so poorly after all this time?
  11. Any article references for the difference this makes?
  12. IEMs? In that case everyone's anatomy still varies, but you've got the same situation with live performance, we're all listening through our own ear anatomies.
  13. So you've been commenting on Oohashi without reading the paper?
  14. Which is pretty interesting, since at least with headphones we ought to have a chain that's damn near perfect in all the measurables considered important (or more accurately, that I've seen discussed as important).
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