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Found 20 results

  1. Why are there debates if "bits are bits"? Can you hear a difference in streaming audio software? Bits are Bits! Foobar2000 was lighter on its feet, more accurate tone/timbre, quieter, and had better timing of decays. There are a delicacy and precision about its sound. JRiver had a “fatter” sound with more bleeding edges and smeared textures. It sounded flatter (by a good margin) and more veiled in a thicker, unnatural warmth.
  2. This a separate thread because this doesn't apply only to the DHNRDS, but the general state of the old recordings originally created/mixed down in the 1960s through early 1990's... First, the original 'Harsh digital sound' complaints didn't come from only one cause, as there were at least three reasons (not in the order of impact): 1) Early state of 'digital audio' technology. 2) Unexpected signal detail that was partially covered up by complex dynamics in vinyl production 3) Different final/production mastering for digital media vs. analog media. I believe that items 1 and 2 have been well understood all along, and the relative magnitudes of items 1 and 2 have been discussed for 30+yrs. Item 3 has been underestimated or ignored in the public/consumer arena. This is a real problem, and has varying magnitude depending on the exact difference. I dont' know enough about the final mastering (I am not speaking of mixing the material, I am writing here about the two track stereo being prepared for distribution), to know all of the steps, but there are some deviations between the handling of digital vs. analog material. --- This discussion is not solely intended to shill for the DHNRDS -- that is NOT the goal here, but maybe to explain why the 'love' for vinyl and other analog media had been sparked and even sustained for so long. There are definitely recordings which cannot sound as good as they should, some are simply NOT available in their natural form. Instead, some material is still mostly available in the 'harsh digital' form unless on vinyl or properly mastered tape. For an example of the 'natural' Carpenters sound -- refer to the link below -- it must be removed in a few days, but it is here for illustrative purposes. TRY to find a natural sounding Carpenters distribution... You might have problems doing so -- unless you have vinyl or a VERY VERY special digital copy. Even the Carpenters 'singles' on HDtracks is NOT DolbyA decoded!!! It does NOT have the natural sound. (I haven't been able to 100% accurately decode the Carpenters until recently, only possible once I found the correct inverse equalization...) I APOLOGIZE FOR THE MP3s -- believe me, they are better than any normal digital release of the same material!!!! www.dropbox.com/sh/g7bye8uii2ashq1/AACyGhV4R5FYZXDFlAz3HNFoa?dl=0 --- I have listened to a LOT of CDs made from older recordings, both CDs mastered/produced in the early days of digital, and CDs/digital produced more recently, and it is extremely clear to me that the differences can be enumerated as below: 1) No DolbyA decoding, substituted by EQ 2) No DolbyA decoding, not substituted by EQ 3) Additional manipulation, incl compression. In recent years, becoming much more prominent starting in the middle 1990s, and even more egregious in the 2000's and beyond, dynamic range has been deemphasized as a desirable trait, and loudness seems more important to the distributors. This dynamic range matter is well understood, and even some of the motivations for decreased dynamic range are understood -- it is the other items that I am writing about here. Actually, this missing step of DolbyA decoding, and the oassociated decrease in high frequency dynamic range MIGHT have been a contributing factor to the current 'loudness wars' and the consumer toleration for decreased dynamic range! --- Here is the scenario that has happened REPEATEDLY in the past: DolbyA Recording -> EQ -> distribution to consumer Instead, the following should have happened: DolbyA Recording -> DolbyA decode -> distribution to consumer One my ask: Why did this happen? I have no firsthand knowledge, but just existance proof. It has taken some time to collect the information, but there might be several causes: 1) Material already in digital form, archived by LOC (Library of Congres) procedures that make NR decoding before archiving an optional step. 2) Insufficient metadata/documentation and/or missing calibration tones making the decoding effort inconvenient. 3) Time/cost of realtime limited for HW DolbyA decoding, much slower & inconvenient than copying digial files directly. When looking at these items above, and the fact that distribution moves a commodity around, ti is not an artistic endeavor from the standpoint of the business people, I'd suspect that there is sometimes an explicit financial decision to do EQ to attempt to hide the DolbyA encoding instead of the actual decoding operation itself. EQ can be done digitally fast, while decoding actually takes 1:1 time on recording vs. time to decode. Mentioning the details of the problem again: when the mastering was done by the distributor, instead of DolbyA decoding, they did an EQ operation like this: Recording -> EQ -> distribute instead of Recording -> DolbyA decode -> distribute... So, what the remastering does is this: distribution copy -> inverse EQ -> DolbyA decode -> 'better sound results' The problem is that the original EQ isn't documented, and also the ongoing problem was that I didn't realize how precise the EQ needed to be... ---- What is my goal here -- mostly to do what I can do to resurrect the old recordings. These recordings are important to history and will NOT be heard correctly unless correctly and accurately processed.... John
  3. Hi, i've been diving into digital audio lately and came to this problem. All of my music is replaygained, meaning the RMS values are -18dB (foobar 2000). I have it set up in gain + clipping prevention mode. If i play a song thats louder without RG, well, it sounds louder. This means both my dac and my amp have to have some volume (voltage) overhead (at the same knob position in the amp case). My gear is Schiit Magni 2U and Modi 2U. The DAC can put out 1.5Vrms max. Is there any way to atleast approximately calculate what RMS voltage numbers should i expect from my dac and then from the amp with -18dB replaygained music? I have done some small calculations, using this calculator and some basic equations. -18dB RMS signal should be 0.125 voltage gain ratio, so 0.125 times 1.5Vrms is 0.1875Vrms. If i watch peaks in foobar, most songs peak like 5-7dB under 0, which corresponds to 0.45-0.55 voltage gain ratio. Again i multiply that by the dac's max Vrms and continue down the chain with my amps and whatnots. Am i doing it right? I know there is a lot of relative subjects in this, but i am trying to get atleast approximate (+-1Vrms) number at the end of the amplification chain. Thanks a lot Dave
  4. I just read an interesting idea that got me thinking. The idea is that life has a digital component and an analogue component. The digital component is the nucleic acid genome (A/T/G/C). The analogue part is the cytoplasmic soup. The proposal is that life originated completely in the analogue domain, and later the digital component (the nucleic acid) evolved to better control reproductive inheritance. (Sound familiar?) Kind of makes you wonder what the DAC is: Is it the ribosome, or the collection of non-replicase proteins, or ...? OK, so it is off-topic, but I am getting kind of tired of magic cable threads.
  5. Let's suppose I have a recently purchased DAC with a lot of different choices for the digital interfaces. Is there one that is (likely to be) much better than the others? Or is there one that is (likely to be) worse? I am asking in terms of theoretically the best/worst and also in terms of typical implementations (say with a $5k price cap). I hear a lot about noise, ground loops, jitter, etc. but it isn't clear to me if there are clear differences across brands in these effects or in SQ overall. Choices include: USB WiFi (I use Apple AirPlay from iTunes currently) Toslink Ethernet (I have CAT 6 cable runs) HDMI Thunderbolt Coax I will leave out bluetooth....
  6. Hello All I'm kind of new here, coming over from Kirkville... I did a search, but I didn't find a good previous discussion, sorry if this is a sort of rehash post. I am a bandcamp member, and I like it. However, there are some popular artists who don't use that site. First and foremost, I am looking for higher quality files, at least FLAC files. I am basically looking to download a couple of singles from some artists whom I probably would not buy their whole album. Mostly, I am finding the various sites cater to a particular type of genre. Since I am in the States, there are some sites I cannot access. I am familiar with beatport. I haven't tried 7digital yet, but I know that they have started a U.S. version. I'm still waiting for Qobuz. Can anyone think of any other reputable sites? Much obliged.
  7. I am trying to understand some things about the sound from my system. First my system: Windows 10 pro 64 bit i7 4930k on an Asus Rampage IV Black Ed with 32gb of G.skill ram ar 2133mhz Sound Blaster Zx sound card connected via optical to my Logitech z906 speaker system. I've had this setup for almost 4 years now. I ask this question because I have noticed a few things with the sound quality when comparing and from of a discussion elsewhere on using optical. The primary is that the sound coming from my speakers is amazing. I've had people over that have decent home theater systems in their living rooms and they are amazed at the sound my system produces. My MB also has onboard optical out but I have noticed that it sounds much better coming from my sound card than my motherboard using optical out regardless if I am using the DTS or Dolby codecs or not. It also sounds much better than using just the analog cables. All this especially at higher volumes and better quality audio tacks. FLAC is the best so far but that comes as no surprise over optical. I have also tried other sets of speakers although they've only been pairs of speakers (that are considered higher end), but they just don't compare to using the z906's in my system. So why does it sound as good as it does when comparing to other systems or even with better (supposedly) speakers on my system?
  8. For anyone who wishes to reassess the whole, or parts, of Martin Colloms' substantial Stereophile '92 write-up. So, to begin, extracted from the beginning of Page 2 : Nowadays, how do you think « the audio industry » is currently measuring up to Colloms' :
  9. Well, mainly insights concerning DACs I will take from interviews of Ken Ishiwata. Plus, his Japanese colleague, Ryuichi Sawada—because he too speaks authoritatively with reporters. Okay, I've already delayed starting this Thread, which may help readers, for nearly a week since coming across Ken's Polish Q&A and it's English email exchange. Let's just begin : « As you are well aware, DA converters (IC Chips) have changed so much from the time of introduction… Today, you can have very high specification DAC to fulfill all High Resolution Audio formats!! However, do they sound good??? That’s the pertinent question… Personally, I love old non-CMOS DAC like old Philips types (BiMOS) but unfortunately you won’t get those anymore and they are not compatible with new High Resolution Formats… If we can keep everything in Analog, then of course we would stick with Analog but, as you know, that’s not possible… DSD is indeed very popular but not many people know why… In my opinion, it’s related to your first question about DAC IC! Every DAC commercially available nowadays are using delta-sigma conversion for PCM… In other words, you are not getting same DA conversions we used to have with PCM!! Therefore, if you feed DSD signal to such DAC, then you bypass the delta-sigma stage!! Of course it sounds better!!! As you were remarking, Less is More applies here!!! » Yeah, I've left out the questions because I find them overlong, fatiguing. English isn't our first language So you can picture the man, here's a photo of Ken during a presentation (which I had once projected the CS4397 flowchart...) : More relevant quotes for your consideration another time
  10. Likened to Shakespeare, usually, performed subpar—that is ! Simply, people consume Spotify... And YouTube, but not always : Point being, can one really judge DSD just because the music system is « playing » a DSD file ? Even with—for starters—obvious or not, « transcoding » to PCM and... So, who's aware (when watching film at, at best, 1080p) like Theseus :
  11. Although I study widely, my living in New Zealand, ironically, isolates what Hi-Fi products I can buy from local dealers. And from studying Marantz, I'm reminded today (while referring to the video below in trying to answer another Thread) of their Mr « Quality Control » Ryuichi Sawada recommending anti-vibration WellFloat : :[video=youtube;C9st-sqxgz4] And I find that 6moons has « syndicated Polish article » of C.E.C. ASB3545WF rebadge : Thus, in Singapore for example, I see Musiclink AV is selling original G-Clef...Well, search for yourself if you're interested
  12. Hey folks Recently got a RME HDSPE AIO PCI-E card to play with. Trying to output digital AES/EBU to an external DAC. My question is related to AES/EBU digital cables. Does it really matter - the digital cable? I mean just a decent cable will do? Or should I start to look at MIT reference or Valhalla or Cardas or other boutique cable? Reason I ask is that the card has a rather average looking breakout cable to output digital AES and if a high-end cable is used between this and the external DAC, I don't see how the high end cable can extract more details because of this limiting breakout cable. That is assuming the more expensive digital AES/EBU cable is in fact much better overall than the breakout cable section that came with the PCI-E card if you know what I mean... Or does digital only care about signal going from A to B (B being the DAC) in a timely manner. Should I upgrade the breakout cable? Figured this sub forum would get more attention than the others. But let me know if this is the wrong place to start this thread. Cheers Nk7
  13. I'm in need of a USB analogue to digital converter that works at 24/96 to record on my computer. The E-MU 0404 USB would be perfect but is no longer available. Is there a similar product in the $100-$150 U.S. price range I could consider? Thanks in advanced.
  14. Wondering if anyone here knows the reason behind this. Is it he that the hardware (mainboard, dac chip, other) is missing the ability to pass through the digital, is it Windows Phone 8 OS that doesn't have th functionality (strangely, as Windows can do it), or is it just an app that is required to implement it (couldn't be that simple, could it)? I am happy with the build quality of my Lumia 920 and happy with how WP8 is progressing (I'm Windows all around - work, home, HTPC, Surface tablet, etc.), but the inability to simply pass the digital to the microUSB so I can use an external DAC is just unacceptable. Anyone? Thanks!
  15. Anyone know of any good sites that offers buying DSD/FLAC files from abroad ie. outside the US? I tried to order from AcousticSounds.com and they don't allow it where I live.
  16. Aqua Acoustics Quality Formula DAC XHD (Latest Version!!!) Original Box Included. World wide shipping is available. Dealer Demo Unit, Under 30 hours listening use. ASKING PRICE: $11,000.00 Negotiable. I can Accept Bank Wire, Paypal (Buyer Pays all Fees) Personal Collection. Company Site: www.phantom-audio.com We have dropped Distribution simply because we are unable to meet Aqua Sales Target. This is a one time offer to grab up an excellent Audio Gear! This is our Demo Unit, In excellent condition no visible scratches or dents or marks! Comes with Original Manufacture box. Can Ship world Wide with Fedex. buy with confidence my feedback speaks for it self. DAC Retails for 17,000 US Dollars.
  17. Hi, I'm selling a Resonessence Labs Invicta V2 (with the ES9018 chip on the headphone card and additional frequency rate LEDs on the front) purchased new in July 2013 directly from resonessencelabs.com, in superb condition. It's a terrific DAC / source / amp combo. Here's Resonessence's own description on their web page : "Exceptional Value Engineered with more conveniences than a standard DAC Adaptable for home use or in the recording studio. Designed by the chassis designers at IMWorks, and Resonessence engineers intimately familiar with the exceptional ESS Sabre DAC. Designed, produced, and manufactured in Canada. Provides endless hours of high-fidelity audio playback. Minimal amounts of noise and distortion and accurate frequency response Flexible I/O SD card reader for seamless high-resolution sound enjoyment without a computer. No computer, no noise added into the loop. RCA + XLR analog outputs. High-speed USB, Toslink, BNC, AE5. Supports all major audio inputs and outputs Two headphone amplifiers that deliver pristine sound quality." It's in excellent condition bar a few specs of dust that found their way between the OLED screen and the protective cover. There are a few bumps on the Apple remote that is sold with it. It no longer is covered by the warranty. You'll still receive the original invoice, and a letter certifying the transfer of property in English or French. The internal power supply can easily be switched to your country's voltage. I can ship to anywhere in the world, but will give strong priority to European buyers. If I have to send it outside of Europe, you may, depending on certain conditions, have to pay customs taxes. It will be shipped from Paris. Price is 2400 euros. Price includes Paypal but not shipping fees. I am new to these forums but I've participated to head-fi regularly for several years under the same pseudo. If you have any question, don't hesitate to ask me - I'll answer as rapidly as I can !
  18. For sale is a lightly used, Yulong P18 Power Processing Center in Black. Selling a very nice, fully-funcitonal, Yulong Sabre P18 Power Processing Center in Black. It has 4 power outputs, including 2 for Digital and 2 for Analog devices. It really provided a noticeable difference in my audio setup in combination with Audioquest Jitterbugs. Yulong P18 Features: Enormous ferrite core, wound with 11 AWG Pirelli wire Vishay 8uf X2 MKP common-mode filter Vishay Sprague Y2 differential-mode filter Vishay transient voltage suppressor used to avoid sudden impulsive signal noise LITTLEFUSE varistor (VDR) used for absorbing voltage surge Double layer parallel wide traces on PCB with 20 oz copper 11 AWG Pirelli wire used for internal wiring Schurter IEC inlet socket Cooper IG8300 receptacles Specially designed aluminum enclosure provides electromagnetic shielding Separate output levels for digital and analog equipment Phase and grounding error LED indicators 10 x 7.5 x 2.5 in (25.4 x 19.05 x 6.35 cm) 5lbs Includes: P18 unit and new 6' power cord. Asking $250. I'll cover PP fees; buyer pays shipping cost
  19. Mint, as new, AQ Vodka Ethernet cable. 2.5 feet. Original box and end clips. $185 I did comparisons with Supra, Blue Jean, and stock cable and this far exceeded all of them regarding clarity, PRAT, and richness. Selling because I bought an Antipodes DX3 to replace an SOTM sms-200 and SonicTransporter, and now only require 1 Ethernet cable.
  20. HiDiamond Reference USB for sale (1.5 meter) Pricing $380 HiDiamonds outstrip manufacturer digital cables by far in tone, detail, staging, three dimensionality and dynamics, which is why they don't come on the market very often. Check the user reviews of HiDiamond Reference USB at Audiogon forums. See my feedback here, Audiogon and eBay (rodrigoeliedson)
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