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tailspn

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  1. The short answer to your first question of a 32 bit PCM being better than a 24 bit is no as a delivery product. As explained in this Sound Devices article: https://www.sounddevices.com/32-bit-float-files-explained/ 24 bit PCM fixed point supports a dynamic range of 144dB, where the best of acoustic recordings rarely exceed less than half that dynamic range. 32 bits float (actually 64 bit fixed point in the best Digital Audio Workstations (DAW)) is supported for post processing digital signal processing (DSP) math bit growth during processing. Upon post processing (channel mixing and balancing, and/or sweetening) completion, files are truncated down to 24 bit fixed point for delivery, or 32 bit floating point for archival and further processing. 32 bit content files are typically floating point, but can also be fixed point. Both 24 bit and 32 bit deliverable files are always fixed point, to be operable within a DAC. Tom
  2. Well, as it turns out, there's no valid supported WAV file format structure (BWF or WAV) supporting 5 or 6 channel 32 bit 352.8KHz PCM. There is of course support for 24 bit FLAC of the same sample rate in either 5 or 6 (5.1) channel. It's no problem to make, or play (in JRiver at least) this 32 bit surround file, it just won't load into our AWS delivery servers. The format is unsupported, returning an error stating unsupported file header. For those set upon playing this 32 bit 5 channel WAV file, I'll send you a direct Dropbox link if you purchase the same FR741 5 channel FLAC from NativeDSD.com. Just send me a mail at [email protected]. Fair enough? Thanks, Tom
  3. It's produced, and on the AWS S3 delivery server. I'll check to see if NativeDSD intends to offer it for sale. Thanks
  4. An acoustic recording has virtually no content above 22 bits, The value of 32 bits is in the post processing digital manipulation to support math processes without truncation. Since I did not master this RR Beethoven, I've very limited knowledge of the post processing production processes involved. But I doubt they extend much beyond 24 bits.
  5. Hi Darryl, hope you got your power back! BWF (Broadcast WAV) is simply a WAV file with the ability to support metadata: https://en.wikipedia.org/wiki/Broadcast_Wave_Format It's not proprietary, but it is produced from a Merging Technologies packaging format transporting PCM (in this instance WAV) files. The MTFF file I receive is one continuous WAV file, like a DSD ISO file on a SACD, where the track timing information is a separate data block that runs the players display. The Merging Album Publishing application I use simply slices the continuous WAV file into Tracks, and adds the data buckets in each track that will contain the metadata. Metadata is added later from a file made by Ted Brady. In this instance, the only reason for offering these BWF tracks in addition to the FLAC tracks (created through the same Album Publishing application) is to offer the full 32 bit PCM file depth of the edited master. Tom
  6. Reference Recordings inquired of Soundmirror about the recording and post production processes listed in the booklet, and found the Pittsburgh Symphony (who owns the recordings copyright) wrote the booklet. It appears they worked from notes from Soundmirror, who only specified the recording format. Reference said they would correct the booklet in conjunction with the PSO to show the recording was post processed in DXD, and reissue. NativeDSD has decided to also offer the 32 bit BroadcastWAV version of the DXD, which I produced from the Soundmirror supplied 32 bit source, and have uploaded it to native's AWS delivery server. It will take a few days to appear on the site for selection, as the site is not currently programmed to offer multiple DXD deliverables. Tom
  7. Hi Firedog, That it is. Actually, except for the fact that it is a 24 bit depth (the highest bit depth FLAC supports), it IS the master! Enjoy, Tom
  8. Hi Firefox, Please read again the first paragraph of the referenced post, it is unambiguous and correct. Neither NativeDSD, nor I, write album booklets, so I can not comment on it or its content. The DXD MTFF(WAV) edited master files delivered to NativeDSD, as are all RR Fresh! recordings, were two (stereo and surround) 352.8KHz 32 bit PCM files. They were produced from the multiple concert and patch session takes recorded in DSD256, and post processed in DXD (352.8KHz/32 PCM) by Soundmirror. For the record; except where I'm credited in the label album booklet as Mastering Engineer, I do not alter the music content sent to the NativeDSD label FTP. Under the NativeDSD High Resolution Program, I produce ADDITIONAL deliverable file formats as described in my post, from the label music content. Tom
  9. Hi Kal, Yes, the deliverables production process is entirely dependent on the labels production process, and format types supplied to NativeDSD. If the file(s) delivered have not been post processed in PCM, the NativeDSD HRP produces the multiple DSD bitrates using HQPlayer Pro, and no DXD file is produced and offered. If the label supplied file(s) have been post produced in PCM (DXD), then Pyramix Album Publishing is employed for all but the DSD512, and a DXD FLAC also offered.
  10. Hi, Reference Recordings Fresh series are recorded by Soundmirror, and all but a portion of one album are recorded in DSD256. All these recordings are subsequently post processed, including editing, in DXD on a Pyramix DAW. The resulting DXD file is the album's edited master, which is uploaded to NativeDSD's ftp label server. The two stereo and surround DXD edited masters are in the form of proprietary continuous 32 bit WAV files known as an MTFF (Merging Technologies File Format), which includes the track timing markers. These 32 bit PCM interstage edited masters are then run through Pyramix Album Publishing, producing the individual separate tracks in PCM 352.8KHz/24 FLAC, DSD256, DSD128, DSD64, plus a PCM 352.8KHz/32 WAV copy. I use that DXD/PCM 352.8KHz/32 WAV to produce the DSD512 in HQPlayer Pro. SInce the edited master IS the original generation of the assembled/edited takes and post processed sweetened recording, the Pyramix Album Publishing process of producing the deliverables is the most direct and least invasive process available. Whether the DXD FLAC, or the highest bitrate DSD that a customer's DAC can support is chosen, it is IMO, completely dependent on the customer's DAC type and conversion process. For DAC's who directly convert a PCM sample based stream of digital values, like a ladder DAC, then the DXD FLAC is optimal. For DAC's with Sigma-Delta modulator conversion, by and large, the DSD format is optimal. Regardless of the format chosen, I believe for now, this is the definitive Beethoven 9 reading for both artistic value, and certainly sound quality. I say for now, for while delayed from session recording in November last year, I'm hopeful the Budapest Festival Orchestra recording of this Ninth Symphony will occur yet this year. Thanks, Tom
  11. As I described in my previous post, all NativeDSD deliverables were produced from the label supplied 32 bit 352.8KHz PCM (DXD) edited master(s). There was no modification of the levels of the edited master(s). The full scale peak levels in all the Pyramix Album Publishing produced DSD deliverables were below the maximum +3.1 dB specification. The max FS peak of the DSD FLAC was +0.02 dB. The HQPlayer Pro produced DSD512 peak FS level was 0dB after three passes. HQPlayer Pro has subsequently been revised, removing the soft limit feature above 0dB for DSD production. In the future, NativeDSD DSD512 deliverables will conform to the DSD 3.1 max peak FS specification.
  12. Hi flkin, filters and modulators are only employed when converting from one format to another, or within a format, one rate to another.The DSD512 recording of Higher has already been converted from its 352.8KHz 32 bit PCM edited master to .dsf DSD512 files, so no decoding is required. The recording will play like any other DSD .dsf file in a DAC capable of playing DSD512.
  13. Hi Guys, I'm only the mastering engineer at NativeDSD, so please don't shoot the messenger. I thought it may be useful to give some background on the production of the DSD512 of Higher. I received from Anderson Audio the stereo and surround MTFF files (Merging Technologies File Format) of this album as a 32 bit DXD (358.2KHz PCM) file. From it, in addition to producing the DXD FLAC and DSD64, 128, and 256 deliverables, I also had to make a 32 bit WAV file. This was required so as not to reduce the bit resolution when inputting into HQPlayer Pro, because the FLAC is limited to 24 bits by specification. All of this was performed in Merging's Album Publishing (AP), and took about four hours, including metadata tagging created by Ted Brady. The 32 bit WAV was then used as a source file for HQPlayer Pro, to produce the DSD512 using the Jussi recommended poly-sync-xtr-lp filter and ASDM7EC type modulator. Due to several less than 0.5dB over-modulation hits, not seen in the AP logs due to as Jussi explains: "When you start with PCM that is close or at 0 dB peak, the lower the sourcerate and higher the output rate (conversion factor), the higher theinter-sample overs are also. Many PCM productions have a problem thatthey are normalized to 0 dBFS peak. But the problem with this is thatthe peak sample sitting at 0 dBFS rarely happens to coincide to theactual highest signal peak. When this is then reconstructed at higherprecision the actual waveform can reach +3 dB higher than highest samplevalue. And this is already before any digital clipping is involved! Thisto some extent also applies to lower DSD rates like DSD64 for example." Because of those overmodulation hits, not discovered until the DSD512 production process is completed, the DSD512 production took three passes, and about nine hours. Based on previous DSD512 production sales, and considering the popularity of this album, we're forecasting about twenty-five DSD512 sales, or about twice the average. I'm certain knowing this, you can do the math. Thanks, Tom
  14. Yes. NativeDSD converts DSD64, DSD128, DSD256, and DSD512, as well as a DXD FLAC individually, only from a labels DXD (PCM 352.8KHz 24 or 32 bit) edited master (regardless of whether the album was DSD or DXD recorded). The DSD64, DSD128 and DSD256 deliverables are all first generation modulations from the DXD edited master, created through Merging Album Publishing. The DSD512, also a first generation modulation, is created from the same DXD edited master through HQPlayer Pro. The exception is the very small number of label projects (Yarlung, Eudora, Just Listen etc.) who send DSD edited masters in the original recorded DSD bit rate, which have not been post processed in PCM (DXD). I create the missing bitrate DSD deliverable bitrates using HQP Pro. While these are technically second generation modulations (for the other than delivered DSD master), it's a process less injurious IMO to a DSD > DXD > DSD conversion sequence. The deliverable DSD bitrate used to record is actually the session master. Tom
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