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  1. There is a design principle, particularly of software and even more particularly of GUIs, with the acronym POLA - principle of least astonishment. I sometimes think that designers of control and software systems for automobiles have a Department of Most Astonishment. I picture them standing on the other side of a two-way mirror with an intercom setup, waiting until a tester in a model of a new car pounds his fist on the dashboard and screams "Son-of-a-BITCH!" Then they smile and walk away, knowing their work is done.
  2. Speaking of admiring creativity: People objected that the dual-mono test would affect soundstage height. Several mechanisms have now been discussed, and not a single one requires two different channels. Now you propose that 2 speakers with differing material are needed to detect filter ringing, and intermodulation and harmonic distortion. What possible mechanism would you suggest for this? I'm very happy to hear cogent criticism of the proposed method, or have people try it out versus sequential listening and see where they have more success. But rank speculation just wastes time. So please provide a reasonable mechanism (you or anyone else), preferably with some support, or let's drop it.
  3. I take it you did not read the linked article, since that's exactly what it says.
  4. Seems as if the least hassle regarding having everything else on the head unit work would be with the Fosgate system.
  5. I suppose you can find this for any car, but... https://www.torquenews.com/1084/subaru-slapped-another-lawsuit-have-you-had-starlink-problems
  6. In addition, see the following: https://theproaudiofiles.com/width-height-depth-in-a-mix/ This explains why we might tend to perceive vocals, particularly higher range vocals, as located at a greater height than a bass drum or kick drum. Note that neither this nor reverberation requires different information from left and right channels, i.e., mono will serve just as well as stereo to give these sorts of height cues.
  7. Is your info on the spreadsheet? That's the first step.
  8. Here's a question: How is information about vertical position embedded in differences between left and right channels? By the way, thought of another way to create an impression of height on a mono recording: Reverberation, natural or as an added effect, creates the impression of an overall larger (therefore higher) space. With that in mind, listen to the famous Coke can "percussion" on "God Only Knows" from Pet Sounds.
  9. It doesn't seem to support 2.0 that well yet. 😉
  10. In other words, the software allows you to use both methods and compare results. So which do you perform better at, @Lee Scoggins - the test you've suggested or the one I suggest?
  11. Jud

    iFi foe fum

    Is upsampling to, for example, DSD256 what you would describe as putting greater demands on the analog filter?
  12. Already did. Though informal, a statistical analysis showed people lost detailed information about things like the harmonics that distinguish two acoustic guitars from each other under such a scenario with statistical significance level of p=0.06. So you create a dilemma: Short enough to remember more accurately, too short to pick up the fine details that people believe distinguish good systems from each other. There is also academic research that shows in the ABX situation, the "B" sample replaces the "A" sample in the brain's echoic memory store, so you can't even accurately recall what notes were played in the "A" sample, let alone fine details. See for example http://deutsch.ucsd.edu/psychology/pages.php?i=209 . So go ahead and tell me all about the possibility of a bit of missing soundstage information when using simultaneous playback. I'll take it over the vagaries of (lack of) acoustic memory any day.
  13. That might well be the case, but I know it wasn't with the Beatles mono recordings, and I'm fairly certain it wasn't with Pet Sounds. I also wonder whether it was the case (my guess is no) on the Phil Spector mono recordings I have.
  14. Jud

    iFi foe fum

    Or you can upsample non-MQA material with Audirvana+, HQPlayer, or some other program (preferably to DSD, since IIRC according to Miska, the available sigma-delta modulators aren't great).
  15. It *is* listening directly to both, rather than listening to one while trying to remember another. I agree with what you say about the procedure being more fuss than the vast majority of people want to go to. But I wasn't after "easy," I was after "What will eliminate most variables from the comparison other than the absolute sound quality of the MQA versions (encoded and decoded) versus the mathematically lossless versions (Redbook and hi res)?" And I agree fewer people will mean less of an impression on the MQA folks, and though I regret that, I can't help it, since as I say, I wasn't formulating this process to appeal to the greatest number of people. I am hoping community-minded folks will make reasonable length (say 30 seconds) samples of tracks available for testing in the various resolutions needed, to eliminate some of the fuss and bother for the rest.
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