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Found 19 results

  1. mordante

    Iron Maiden hires

    I would like to extend my Iron Maiden collection. Right now I only have "number of the beast". Now I just saw that HDtracks has dome hires Maiden albums. But I'm not sure if I should buy the hires downloads, or the CDs. I use CDs in my car. Also can I expect the hires albums to sound better compared to a CD that I'd rip to my nas. Tips are welcome. Also HDtracks has very little music I'm interested in. A bit disappointed by their collection.
  2. lamasioux


    Ok, Im a reader and I don't post. But i must gloat. Apparantely I have won the HDtracks/Audioquest giveaway. The Social Media Director for HDtracks informed me today that i have been the lucky recipient and I have already received the cash value amount for HDTracks purchases. I will also be receiveing a DragonFly DAC (My wife is completely baffled what is a dac i supposed to do.) Needless to say im "jazzed" and am grateful for the advice and direction that Computer Audiophile has provided. Over the past year I have invested heavily in my music collection and have equipped the house with 5 Sonos components. I get all my new music from HD tracks in high res format. I signed up for the contest through this site. I really appreciate all the knowledge that is posted here. Thank you Computer Audiophile and HDtracks!
  3. Just purchased the debut album at this (previously unavailable) sample rate. To my ears, this sounds like the album should be sounding in high-def. I was underwhelmed by the HDTracks 24/96, and think this version makes the 24/96 version sound like a redbook cd. http://www.e-onkyo.com/music/album/wnr28538/
  4. Wow, Megadeth's latest album, Super Collider actually has a much higher DR on the HDTracks download than on the CD. Now that's how HDTracks should be. Not just a 24bit version of a brickwalled mastering, but a true audiophile mastering in 24bit. Guess Mustaine must have something to do with this since it's their first album on his own label. HDTracks: DR Peak RMS Duration Track -------------------------------------------------------------------------------- DR11 0.00 dB -11.75 dB 4:16 01-Kingmaker DR11 0.00 dB -11.59 dB 4:12 02-Super Collider DR11 0.00 dB -11.35 dB 4:11 03-Burn! DR10 0.00 dB -11.10 dB 3:58 04-Built For War DR11 0.00 dB -11.91 dB 4:12 05-Off The Edge DR11 0.00 dB -11.91 dB 4:46 06-Dance In The Rain DR11 0.00 dB -11.85 dB 3:51 07-Beginning Of Sorrow DR12 0.00 dB -12.83 dB 4:28 08-The Blackest Crow DR11 0.00 dB -12.06 dB 4:28 09-Forget To Remember DR11 0.00 dB -12.49 dB 3:47 10-Don't Turn Your Back... DR11 0.00 dB -12.44 dB 3:10 11-Cold Sweat -------------------------------------------------------------------------------- Number of tracks: 11 Official DR value: DR11 CD version: DR Peak RMS Duration Track -------------------------------------------------------------------------------- DR6 0.00 dB -6.61 dB 4:16 01-Kingmaker DR6 0.00 dB -6.35 dB 4:12 02-Super Collider DR5 0.00 dB -6.20 dB 4:11 03-Burn! DR5 0.00 dB -5.93 dB 3:58 04-Built for War DR6 0.00 dB -7.01 dB 4:12 05-Off the Edge DR6 0.00 dB -6.72 dB 4:46 06-Dance in the Rain DR6 0.00 dB -6.66 dB 3:51 07-Beginning of Sorrow DR6 0.00 dB -7.59 dB 4:28 08-The Blackest Crow DR6 0.00 dB -6.79 dB 4:28 09-Forget to Remember DR6 0.00 dB -7.40 dB 3:47 10-Don’t Turn Your Back… DR6 0.00 dB -7.26 dB 3:10 11-Cold Sweat (Thin Lizzy cover) -------------------------------------------------------------------------------- Number of tracks: 11 Official DR value: DR6
  5. Computer Audiophile Users get 25% off on to the sun and all the cities in between, from City of the Sun, using code CPUCITY on HDtracks. Flamenco with brainy post rock - and, just FYI, the former has the upper hand." - Paolo De Gregorio, The Deli Magazine "I have put “City of the Sun” in my library of top 25 albums that I use to audition and review high-end audio gear" - Malcolm Gomes, Canada HiFi Magazine "Their rise from NYC subway buskers to selling out local venues and going on a cross-continental tour through the US and Canada in the few years they’ve been active is hugely impressive and should make the release of to the sun and all the cities in between a success." - Nick Cusworth, Heavy Blog is Heavy "it's easy to forget that a true high-resolution title starts as a high-resolution recording, and reminding us of just how good an audio recording can be. Couple that with a first-rate set of musicians, careful engineering using a binaural microphone system, and the result is City of the Sun - to the sun and all the cities in between, a tour-de-force of acoustic guitars" - Harris Fogel, Mac Edition Radio "There is youthful joy here, a dance of some gifted musicians with their instruments, and the one-of-a-kind camaraderie that comes with being in a band together, and making music from soaring souls" - David Robinson, Positive Feedback Beginning their journey in scattered regions of the world and coming together performing in the subways and streets of New York City, City of the Sun draws its roots from across the world as well as across the genres. On their debut album, experience music that will leave you in trance. A mix of modern post-rock ambience and frenetic flamenco style guitar work, to the sun and all the cities in between crosses the generational gap and proves you don’t need vocals to captivate. City of the Sun is John Pita, Avi Snow and Zach Para. With two guitars, a box, and bells, they create a sound that is far greater than the sum of those parts. Their music has been called “a reinvention of acoustic music.” It's instrumental and worldly, sweeping from widescreen post-rock dynamics to gypsy jazz syncopations, "they define experiential music." Formed in NYC in early 2010, the trio has blazed a trail through the city playing everywhere from street corners and lofts as Sofar Sounds alumni, to sold-out hotspots like Rockwood Music Hall, Brooklyn Bowl, Mercury Lounge, and The Gramercy Theatre. They've shared stages with a diverse array of artists including Rock & Roll Hall of Fame member Marky Ramone, Matisyahu, Gregg Allman, and Greensky Bluegrass. City of the Sun has also traveled abroad to perform for exclusive TEDx showcases and TED Talks. Part of the Chesky Binaural + Series, all recorded with a single microphone, the band appears right before you with this spacious, lush and multi-dimensional recording. Now headphone users will hear the same three-dimensional sound and imaging as audiophiles have for the past 25 years with Chesky Recordings. Also these new Binaural+ Series albums capture even more spatial realism for the home audiophile market, bringing you one step closer to the actual event. You will hear some of the most natural and pure music ever recorded.
  6. Artist | HDtracks - The World's Greatest-Sounding Music Downloads I was under the impression that some of these recordings (especially those released on SACD) were 24/96 original recordings. Can anyone tell me if I am dreaming this up? I would certainly jump for some later Rattle/BPO recordings (i.e. his Bruckner 9th, which I do believe to be 24/96) were the studio master downloads available.
  7. Duplicate Post - Could I request the Admin to delete this post. Thank You
  8. I just discovered this site which is based in the UK. They have 16-bit, lossless .flac downloads of zillions of popular albums for $1.95 as well as numerous 24-bit albums as well. I noticed they have a 192/24 album for $10.95 by Neil Young--Harvest, that HDTracks gets $24 for. Is this too good to be legal? I have bought some of their tracks and they seem to be legit.
  9. Hoping someone here has already taken the plunge with the new HDTracks WB America collection... Please tell us what you think of this set if you have it and have listened to it. Thank you
  10. I purchased "Take Me To Tomorrow", which I thought was a very odd choice of first John Denver offering on HDTracks. Not a good track listing, not a good-sounding recording, but since none of Denver's RCA stuff has ever been available in hi-def I thought I'd give it a spin. Generally unimpressed, unfortunately. This is perhaps the first HDTracks title I've not been able to notice a night-and-day difference with (compared to the cd). Granted, the cd I'm comparing it to is a Japanese remaster done pretty well, but still I thought I'd hear a good difference. Perhaps the soundstage is a bit more detailed, reverb is more defined, and the sound is overall a bit more 'present' than on the cd, but I thought this would be better. I also listened to another JD cd I have, where everything's been remixed from the original masters. Even on this cd the vocals don't sound too great, a bit distorted and not full-bodied (although the instruments definitely sound better, including ones that were never heard in the original mixes). So I guess a remastering of any/most of his RCA-period material won't likely yield great results, despite the improved sample rate or remastering engineer. Oh well.
  11. My family loves this song. They are not interested in my audiophile longings and my system. Was very excited and bought this single from HDTracks to impress them. Daughter walked off in the middle of the song. Wife commented - it sounds better in the car. I was of the same opinion. Seriously I thought something has gone wrong with the setup - switched to some reference recording - system was alright. Yup it was just $3 - usually I would not give a damn - It was the first time I ever mourned the loss of a $3. I think I felt cheated - I would have rather given that money away to a homeless person. What a waste! Hopefully HDTracks will review new material before putting it up on their website to sell. I love Computer Audiophile and feeling weird that my very first post is a rant.
  12. It was there available for download, Nov. 1 but has since disappeared.
  13. Tom Petty had released a lot of new remastered albums from mostly the original studio masters. Mastering is done by Chris Bellman at Bernie Grundman Mastering. (Grundman have kept a lot of original old tape machines - probably one of the few studios with the appropriate gear to do a proper job) Ryan Ulate supervised it. Looks like Tom Petty is still using ATC loudspeakers in his studio. HDTracks have all the newly remastered albums in high resolution. Even better is that they appear to be all remastered to get more dynamic range than is normally done for mass market. Basically they are how Tom likes it to sound to him on ATC speakers once he is finished working on the production with his sound engineer.
  14. I'm a fan of movie scores, and Jurassic Park was the very first film score I ever bought. So I'm happy to see the expanded release HDTracks has made available at 192/24. I posted some images on another forum, but some might appreciate them here. And maybe can add to what we have here.This is the track High Wire Stunts 192/24. The Wave view reveals a small amount of clipping, not a ton but does say the audio is a little loud. But I don't know what the original mastering looked like in comparison. The spectrum view reveals the most prominent information going up to 30khz. There appears to be some high frequency noise....(horizontal lines) most of it is outside of hearing range, but it may indicate some kind of sound processing placed on the music. The Frequency Analysis shows that this is NOT an upsampled conversion. Information extends far beyond the 22050 Hz CD limit to to about 93000 hz. Again between 28000 hz and 55000 hz we see those spikes of high frequency noise.
  15. What Up Yo. Now they have reissued both 1998's "Yield" and 1996's "No Code" on Vinyl...and were both mastered for the new vinyl reissues by Bob Ludwig, but there are no notes or information on the source of these digital files that are available from HDTracks (are there ever? This is a massive issue I have with HDTracks) Quickly, the soind quality has improved (I bought both No Code & Yield from HDTtracks) on both albums, I can testify to that. To compare the original CD release of Yield with this new 24/192 version, I loaded all 13 tracks from the 16bit/44.1KHz .AIFF files losslessly ripped from the original 1998 CD. Then loaded all 13 24bit 192KHz .AIFF files from the 2016 HDTracks release so I could compare. Adobe Audition 2017 was running on my MacBook Pro 2016. I Ran an HDMI cable from the MBP to my Onkyo Receiver, using the receiver as the master clock. I listened to each album through my Shure SE535 earbuds, which were plugged into my Onkyo reciever. I listened to both albums direct, with out any EQ settings, changing sampling rates. Etweem tracks. The bass on the new releases enhanced and deeper as should be the case. Frequency is at 40 Hz were audible providing a nice thump to Jack Irons bass drums and deep sound to the Jeff Ament's bass guitar track. When comparing this with the original CD there was a very apparent difference between the two in terms of bass and the highs in the album. The vocals were a little bit more upfront, bringing a bit more clarity to Eddie Vedders vocals. A bit more. The album did not need a lot of work, this was obvious going between the tracks from 1998 to 2016. However the equipment and technology now available is leaps and bounds more sophisticated than was available in 1998 anyway, so a nice remastering would have accentuated quite a bit more of the original catalog master...that's my belief anyway. The issues are that once the songs got heavier the audio lost detail as it would have clipped had they not hard limited the tracks on the new release to -.1 db. I have included 4 images: 2 images of Given To Fly 2 images of Do The Evolution The first image is from the 1998 cd The second is from the 2016 HDTracks versions. These wave form images themselves are very telling of what to expect. Personally I find the fact that the frequencies are obviously being cut when they reach the higher decibels disturbing. This could have easily been avoided, but more importantly should have been avoided. The album is in fact a 24-bit 192KHz Version of the album. It has not been sampled from a 16 bit 44.1 kHz master. However when looking at the extra headroom in the 192KHz version, The 96 kHz version would've easily sufficed. There is simply no information above 96 kHz or 48 kHz to be specific. But it's the clipping that bothers me. No I have not heard the new vinyl version of this album, but I suspect a proper rid of that album would provide superior high-resolution digital file then to what is offered here. That along with the fact that Pearl Jam has not officially announced any CD or digital versions of this album becoming available, which is why when your notes would be so crucial and critical here. I have read online that these digital files are most likely the files used to make the vinyls, but I cannot authenticate that information. Overall I'm giving this a three out of five because of the clipping that would have occurred and was intentionally bypassed by hard limiting the sound files here. Look at the comparison images yourself and you can see exactly what I'm talking about. As far as the quality of the music, I am extremely happy to say yes it sounds better there is clarity and detail in this album I have not heard in the 20 years I've been listening to it. Both Stone Gossard and Mike McCreadys guitar work on this album sound wonderful. There's a punch to even the snare drums and given to fly does indeed fly except for the fact that when it gets towards the end of the song, information begins to start missing when the music hits the sound wall.
  16. Found at HDTracks Title: Mussorgsky: Pictures at an Exhibition / A Night on Bald Mountain Artist: London Symphony Orchestra | Malcolm Sargent Genre: Classical / Orchestral Label: Everest Release Date: 2006 This one any good? Is there a better performance / recording?
  17. I Love Mr. Franti and Spearhead's studio albums. Yell Fire is a must own for almost any music fan. They keep it real and get political, but somehow have a message of hope. I wanted to get something live. Thought I'd get a Hi-res version. Ouch. I still love to listen to this and it doesn't sound bad for a live album, but looks upsamped.
  18. One of my favorite recordings of Tchaikovsky's complete 'Nutcracker' ballet--the 1972 EMI with Andre Previn and the LSO--has just appeared on HDtracks. This is another of EMI's recent hi-res remasterings of older catalog material for SACD release (though this particular recording hasn't been released yet on SACD outside of Japan). Looks like EMI did a good job here! Russell
  19. Jason Breckling

    Are we just kidding ourselves?

    I want to believe in high res audio as much as anyone. I want to believe I haven't wasted a fair bit of money at HD Tracks and Linn Records. I believe I've even heard the difference, through a carefully constructed A/B test, between 44.1k/16bit and 96k/24bit files. In the end though, there are a lot of questions I just can't reconcile. First, there is the fact that a great many people don't have amplifiers, preamplifiers, or speakers that will reproduce a signal beyond 20k. There has been some interesting and thoughtful discussion on this point, so maybe this isn't an issue. I’ll let that one go for the moment. Then there's the bit depth. I'm finding it interesting that the s/n ratio on most really good amplifiers is in the 94 - 106db range, which is no where near the 144db required to take full advantage of the s/n of a 24 bit recording. Do amplifiers even exist that have a noise floor that low? If the weakest component in the chain is still too noisy to hear the advantages of the file format, does it make a difference? This is of course setting aside the fact that the best microphones in the world (AKG C12, Telefunken 251, Neumann U47, etc...) are limited to 20k on the high end and have s/n ratios in the 70's (db). Then there is the rest of the signal path (mic preamp, eq, compressor, console, etc...). If any one of these is not up to the capability of the file format, doesn't the idea of calling the end product "high res" fail"? I know there are people who believe that high res is snake oil and that anyone who believes they hear a difference, is fooling themselves. I'd like to hear from the other side though. How given all of these facts, is it still possible for high res audio to provide any benefit at all? To be clear, I am not questioning the value of the format, so much as I'm wondering if the equipment isn't keeping us from ever being able to hear it.