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About Me

Found 7 results

  1. Need help in making a decision. Just asking for input, and this is a very important crossroads. The FeralA filters are now 'perfect'. They work for everything presented, only 3 adjustments, and possible to bring it down to two -- both are dB type adjustments with narrow ranges. There is also the calibration for decoding itself, but that also has been generally very stable on non-normalized consumer material. Everything presented is cleanly decodeable, even the ABBA stuff, Carpenters and other previous 'problem children.' There was a discrete change which opened up the full solution. It is of similar form to the previous filter design, but a major 'hole' was patched. My reality: I recognize that I know that the audience is limited, and that not many people are truly enthusiastic, many probably not believing in the problem, even now... Should I publish the filters or not? I know that there aren't very many DolbyA decoders out there, but there are indviduals who have strong marketing/sales abilities, and I have none. It is very possible that with proper marketing support, someone could make a LOT of money on the filter designs (improved sound for everything, easy to adjust), but I also want to 'fix' the music. I really don't mind if someone makes money on this design, but it doesn't seem right that 2-3yrs (probably 8yrs total) of part time work would be monetized by someone else, without supporting the person who did the work... Note: I don't care about money -- but I do care about fairness. I like helping people, but there is a certain morality (or lack of) by some people in this world... What do I do? This is NOT rhetorical -- the filters are NOW perfect, I can create true DolbyA material from almost any pop FeralA stuff, often first iteration. Anyone could use the filters now.... John
  2. The first 2 Uriah Heep albums issued by HDtracks have DR - 4. Most tracks DR is 3 - 4. I'm not UH fan so I won't despair. Out of curiousity - do you know any albums with DR lower than that.? And on the other hand what are the highest DR albums you know.?
  3. Not the format. Discuss - with these websites in mind: http://no-more-loudness-war.blogspot.com/2014/10/welcome-to-safe-haven-to-discuss-issues.html https://www.audiostream.com/content/high-resolution-downloads-nevermind and https://www.facebook.com/2016SaveOurMusicNoRemasters/
  4. Just downloaded Tchaikovsky Symphonies at 24/96 with Yevgeny Mravinsky conducting the Leningrad Philharmonic Orchestra via Qobuz. I had an 320 MP3 of an older CD and expected better sound from the new files. After 2 seconds it was clear that this remastering suffered from increased compression. The quiet parts have been lifted substantially destroying the tension Mravinsky builds. The whole thing sounds blown up and out of proportion. The MP3 has a DR-value of 11, the 24/96 file DR9. Stay away from the 24/96 version and make sure you find the old CD-transfer. Much better music.
  5. Peak Limiting but No Compression: How Much? Ok, I'm willing to sit at the table and discuss this loudness thing fairly. What if, in the name of lending a master a little more 'beef' for those listening on pocket devices or in noisy environments, peak limiting plus makeup gain, and peak only, at the mastering stage, and no dynamic range comp, were used to achieve the same result? 2dB of peak limiting, 4dB? 6? 8? I guess it would depend on the songs, and or genre, style of music, right? And this is in addition to any compression used at the mixing stage, or in session - just enough to even levels during laydown.
  6. Given the loudness wars, I cannot imagine it is impossible to restore some of the dynamic range in a compressed recording. I understand that when music clips, or when you're using the top 2 MSBs in the 16bit word, you're not going to be able to recover resolution as you expand DR, but something better than nothing is surely possible. I would pay good money for such a filter.
  7. If you haven't tripped over this yet...this guy has a mission, and we all stand to benefit if it all works out, when the Loudness War is over. Worth at least a look, and a bit of support: Dynamic Range Day It's targeted at the music recording and production side of the world, which is of course where the war is after all, but as Audiophiles, we are the "victims". Figured a bit of C/A support just might help. March 28, 2014 is Dynamic Range Day.
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