scintilla

Should I be concerned about OOB noise on my Holo May with Direct SDM? I thought it was beneficial to move the OOB noise further away from baseband for the DSD reconstruction filter?

Hi Miska, my desktop hasn't been up to the task recently and has embarrassed me a few times trying to have my date select music from Roon only to have it drop out or refuse to start because of the load. I've had it set to ASDM7EC 512+fs at 48x256 and poly-sinc-short-mp-2s for my daily listening to a 44.1/24 stream for quite awhile now. It wouldn't lift hard enough for DSD64 content from my library though without dropouts. DSD7 256+fs seems to work without dropouts on all content so far and DSD5v2 did stop on me a few times. What do you recommend that I settle on for broad use when I am listening to a variety of content in DSD and PCM at different rates so that I will optimize my SQ for the computing overhead and not have dropouts? I am on HQP 4.22.0. The last maintenance update wouldn't work on my 10.15.7 Catalina on a late 2012, iMac 3.4 GHz Quad-Core Intel Core i7 with 8GB running from an external samsung T5. much TIA.

Prolly because im on the west coast. I bet you have it Monday!

Mine arrived today!

There's another definite buy...

Nevermind, I grabbed the wrong image.

Does the new Red image 4.61 include NAA 5.0? I've been having a lot of stops running HQP 4.22 into the Red with image 4.60 and I can get it going again by accessing the preferences page and hitting cancel or OK, which seems to reset the connection. Hoping this new image stops the freezing.

I believe that the Atmos specification actually requires a certain minimum dynamic range and therefore the remastering required is restoring a lot of highly-compressed recordings that had much greater dynamic range available prior to the release master. Immersive audio is certainly a great strike back a the loudness wars, particularlay because these new releases are not designed for the airwaves, where compression helps with radio reach, but instead mostly for streaming where compression isn't helping anything or anyone profit. There is actually incentive to make them sound better in order to differentiate them and get more sales and streams... https://professionalsupport.dolby.com/s/article/Is-there-a-loudness-target-for-music-mixed-in-Atmos?language=en_US

No gotchas. It now has a very stable firmware, works seamnlessly and sounds way better than it has any reason to. Its a great product that has been largely undiscovered because of pandemic-related shortages for quite a long time. I absolutely love mine.

I suggest that you look into the Monoprice Monolith HTP-1 HT preamp, which provides up to 16 channels of Dirac, while handling all of the codecs for movies, etc. It is currently on sale and that might mitgate the cost of shipping down under.

I think for your case, Dirac is the way to go. Plus, Dirac allows for correcting multiple subwoofers with a Dirac Live Bass Control license and soon will also support Active Room Treatment too. These are good features that distinguish Dirac from other embedded RC solutions and may actually e a better way to go than building filters in Audiolense, particularly for Apple Music streaming. While I will have the ability to compare Dirac to Audiolense, I suspect that I may actually prefer Dirac because of the bass control and eventually active room treatment even if Dirac is not as accurate as Audilense in phase correction and time alignment. Different rooms and speakers benefit from different corrections, so I think which of them is best is going to vary quite a bit.

I ran new sweeps last week using a cross-spectrum calibrated EMM-6 and a Teac UH-7000 directly driving my amplifier. Forgot to turn system sounds off and thankfully the Revels are robust. 😬 I couldn't get the mic align to work in LSR3 on my laptop so I eyballed it and used LSR2 and after a few iterations apparently hit the gold spot. Although I bought Mitch's book almost 7 years ago, I just finished it in September. So, this was my first go at it post-book reading. I built double-length 130k tap filters and wound up with almost perfect IACC numbers for the first time ever; the step response was an almost perfect triangle and the channels tracked remarkably well with no changes to the default windowing or pre-ring compensation. There's no question that acourate is an amazing DSP toolkit. I will probably try Audiolense next just because. I am waiting for the next edition of your book that includes a full treatment of Audiolense and anything new for acourate users too. I couldn't imagine my system without DSP and have been using acourate for more than 10 years now and also Dirac as well for multichannel. I wish to compare my theater/multichannel set up with Audiolense filters vs. Dirac +DLBC and DART as I can drive my HT preamp from HQPlayer through HDMI from Roon. What a time to be an audiophile!

Hi Miska, I just ordered a Red and downloaded the two 4.60 images for it from your website. Where can I find instructions to load it once I get my unit? I gather that I will burn the image(s) to the internal card supplied with the Red and then have to ssh in to configure things? These images are NAA OS, yes? I was unclear what the .asc file is for. I have been using a Allo USBridge for a few years but it has become unreliable and requires constant rebooting and reactivation of the network audio daemon. I hope the Red provides a much more reliable endpoint.

HQPlayer is your friend. It was made for DACs like the May and can optimize your results. Do a trial.

I am using an RME ADI-2 Pro FSR for this purpose, although I play my records live rather than record them. The RME is capable of both DSD and PCM conversion, sounds utterly transparent and works beautifully for this purpose. Bonus is that it is also compact.