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Skip Pack

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  1. Not DSP. I have tried DSP in the past, but I could always hear a slight degradation in the sound even if the frequency corrections sounded correct. It could well have been user error, but I can't quite generate the energy to have another tilt. Most recently I have used this device from Nelson Pass: FR EQ (1).pdf Before that I was using a line-level low-pass shelving filter based on this article: Not_So_Bright.pdf The Pass active filter works very well. I will be adjusting the response frequencies and levels as I move forward. This is a much more widely useful tool than just for full range driver systems. WRT the rest of your comments. I think much of the objective/subjective debate would be ameliorated, at least, by rigorous psychoacousitcs work funded by I'm not sure whom.
  2. This 'resonates' with my experience. (horrible yet apt choice of verbs). I have mild tinnitus, not bothersome, and am 77 years old. I'm generally happy that my hearing works as well as it does, though it's hardly perfect. For many years I have worked to profile system response from about 600-2500khz, and your suggested source of this 'brightness' makes a lot of sense as at least a partial cause of my experience. I'd be very interested to learn of research looking to correlate mixing/mastering environments to the situations where the resulting released music looks like it contains such a peak.
  3. Hello John, Hope you are having a good day today and not working on the decoder. I'm happy to note your recent comments on the various issues in recordings that cannot be fixed in a systematic way. I have always felt that the recording, mixing, and mastering chains invovle a lot of sub-optimal components and practices that are widely variable and idiosyncratic across time and at any given time. I look forward to the next release and am eager to start runnning my test cases which are, deliberately, very different stylistically than yours. Skip
  4. Love options! One listener's 'enhancement' is likely to be another's . . .
  5. ADM has also stood for Atomic Demolition Munitions, i.e. nuclear landmines. An acronym we would prefer to neither hear nor think about.
  6. I think it's useful to break down the value components here as Chris commented upon for himself. 1) The base music in its, in most cases, original form. Tracks in the same order based on the original mixes. Often remastered, Sometimes remixed. 2) Alternate channel configurations. Mono -> Stereo -> Surround -> Immersive 3) Outakes, alternate versions from other releases, live versions. 4) Videos, probably live performances in most cases. 5) Supplemental information enhancing understanding and the subsequent listening listening/viewing experience. 6) Gratuitous information, pretty much filler, not adding anything or much other than page space. 7) Decoration -- ebellished packaging beyond what is required to effectively deliver and protect the content for the buyer and subsequent owners/users. Naturally, the mix of values each individual will place on each of these components will vary wildly. I won't go over mine in this post, but I will say that my outlook has varied steadily over my life. I am a 76-year-old who has been a music lover since I first became aware of music, and a nascent audiophile from perhaps 6-7 years old when my father assempled a mono sustems building a speaker with University/JBL drivers, a Garrard changer and Fisher/Scott electronics. I will say that I don't mind good looking stuff, but uniformity in packaging matters a lot to me and my use scenario is capturing files for replay form digital storage, perusing the information, probably just once, and then putting it in storage. Skip
  7. Slightly off to the side, but extremely relevant: https://www.diyaudio.com/community/threads/worst-audio-threat-of-all-times-woatoat.402059/ I think this discussion supports the position that the phenomenon you have been addressing is more a broad form of (mal)practice that has shifted over time and and has many, somewhat different, manefestations. If that is the case, an end product that provides the "most useful" balance with flexibilty would be the best outcome, and is likely to be harmed by focusing on specific instances to the detriment of the optimum balance. An interesting discussion, in any case. Skip
  8. I think I misled in my first post here. Yes, I have been working on a 3 or 5 system, but my sense is that just two good wide/full range single driver speakers, possibly with a well coordinated sub might be a very good solution in the Immerse 360. The quality of the crossover particularly with respect to inter-driver spacing is critical when you are that close to them. I'm sure the really good 2-way standmounts can do a great job, but I imagine any number of speakers that sound very nice (with little surround effect) at 6+ feet may not work so well as close as they need to be in your remarkable environment.
  9. This discussion ties in directly with an audio direction I have been pursuing for perhaps 9-10 months now and expect to spend at least another year on (with EOL implications, I'm 76 years old) Heretofore, I've had large speakers, and do believe that they have been historically the easier path to good sound given adequate room size. I am a DIYer but that has been the case for all my audio(phile) experience (1969 to present). Initially my move to smaller speakers was motivated by my recognition that growing difficulties would arise in construction and movement of large heavy speakers, and the likelihood that we would move into a smaller residence with lower maintenance requirements for I and my wife. As I started this adjustment, I was also following Chris' immersive environment explorations and concluded that there was a thread worth pursuing -- full-range/wide-range drivers. Doing without crossovers, at least in the 100hz to 10khz range removes alot of the complexity in achieving coherence particularly when considering lateral and speaker distance configuration. My current target involves 3-5 fullrange speakers using a Schiit Syn preamp. I built and have been using two Markaudio Alpair 11MS drivers in small Nostromo cabinets, so I will build 1-3 more to fill out the installation after I get the Syn. The Nostromos are much, much better dynamically than I expected. A long-term goal for 25 years has been playing stereo through three channels with better-than-simple-summing center-channel upmixing. Bringing my discussion to this thread -- I can't help but think using high-quality modern widerange drivers in sealed 'boxes' with an appropriate subwoofer could be the ultimately most coherent configuration for the Tigerfox environment. Perhaps Rick has heard of or actually listened to such as system in his booth? Skip
  10. https://www.yahoo.com/entertainment/david-lindley-multi-talented-guitarist-174645482.html Amazing player of the family of slide guitars/variants. Check out the Jackson Browne -David Lindley concert CDs, 'Love Is Strange". Particularly 'Running on Empty'. I am saddened.
  11. Posted 4 hours ago I like the V9.9Y snippets - I have no objections. I feel no harshness. Maybe HQPlayer PCM to DSD conversion filters that? I hope the next release will not change much. I second Bogi's comments. I particularly like the decay characteristics in V9,9Y Skip
  12. The newer sort of fullrange speakers using drivers like the Markaudio Alpair MS or MAOP as well as the newer coincidents may be particularly suited avoiding the multiple driver spacing issues which the proximity may exacerbate.
  13. I'm curious to know if you have a sense of which groups/artists/producers/labels might fit one of your 'versions' (algorithmic or parametric) better versus another group of source material fitting another approach. If such loose correlations are detectable, the differences might inform either progress toward either a semi-optimal compromise solution, or multiple tailored solutions selectable as options in the software. Skip
  14. Looking at your elaboration here, I am prompted to make a couple of comments: 1) Everyone knows the old saying: "If your only tool is a hammer, every problem wants a nail". I have thought for a long time that the modern tools of note are the sine wave and the gaussian distribution. 2) I became less comfortable with A/B tests long (25-30 years?) ago. We have to use them, and they do provide useful direction, but I now refuse to commit myself to a conclusion/characterization until I have listened for several weeks. And, I trust those conclusions more if a good bit of the time that listening is with my internal "audiophile analyst" mode turned off or way down. Sadly, I can't control that, hardly at all, but it does happen. Appreciate your monumental efforts, Skip
  15. Thank you for your reply. Some elaboration of my path, as I see it now, makes a lot of sense. My first goal is to get an operational feel for two channel DRC and become comfortable doing competent measurements and initially developing house curves and understanding the best compromises to ameliorate LF room issues and system EQ. After that, I think the next step would be more sophistedcated DRC as shown in Mitch's video. I see this as getting a firm footing. After that, I have always wanted to explore 3 channel music reproduction. Trifield is a proprietary implementation of Gerzon's efforts to synthesize a center channel effectively. @bitlab has developed a configuration in Camilla DSP that I want to head to. That, will require a multichannel usb dac to work with moOde, so I see that purchase coming. After that I can see applying DRC to the three speakers. After that, who knows? Atmos is fascinating, but I don't see me building speakers and other equipment for too many more years. I'm 75, so I'm not building large speakers any longer. So that's my current outlook. I'll probably go fairly cheap until I think I'm capable of getting the benefit of the better tools. Thanks again!
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