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Pure Vinyl Club

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About Pure Vinyl Club

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  1. Tidal and Watermarking (and MQA) ?

    Just listen to these samples for comparison: Official release on Acoustic Sounds '2016 (24/192): http://store.acousticsounds.com/d/114115/Harry_Belafonte-Belafonte_Sings_the_Blues-FLAC_192kHz24bit_Download VS LP rip (24/192) (LP production 1958!): https://www.discogs.com/Harry-Belafonte-Belafonte-Sings-The-Blues/release/1520512 here listen to vocal (sibilants and speech articulation): 07B02 - God Bless' The Child (Test, OFF).aif 08B02 - God Bless' The Child (Test, 9.52).aif here listen to sax in right channel: 13B05 - Fare Thee Well-2 (Test, OFF).aif 14B05 - Fare Thee Well-2 (Test, 9.52).aif DR (Off release): foo_dr (OFF).txt DR (LP rip): foo_dr (LP rip).txt
  2. MQA is Vaporware

    Thanks for the comment. If you so praise the Metrum Adagio, then why did not you use it on the demonstration, but Zodiac Platinum (delta-sigma ...)?
  3. MQA is Vaporware

    Antelope Audio Pure2 + 10M Atomic Clock. 24/192...
  4. MQA is Vaporware

    Hi, FredericV. How could you play on Antelope Zodiac Platinum (which is not MQA) native MQA files? Please explain in more detail the whole process of listening ...
  5. MQA is Vaporware

    I can try. I think that there is such an opportunity.
  6. MQA is Vaporware

    Monetarily Questionable Agency aka MQA? I did not have the opportunity to read the entire topic, perhaps this information was already discussed here ... I apologize if I repeat, but I found this information interesting: "If you've wondered why 6moons hasn't yet formally covered MQA, you might have also wondered why not more hardware companies have signed up by now. After all, Dolby was massively embraced very quickly. Consider this information from an industry insider. Given three signed NDA, their contributions here are by necessity most generalized and terse to remain within bounds. Still, there's enough to spot a trend or attitude. "At the beginning we were informed about the fees for each product and the need for good administration. So we began what grew into a very serious amount in R&D and labor fees over two years to incorporate it. Not only was the MQA module of interest but our entire product range would be modified for the occasion. Once we received the definitive contract however, we discovered grave imbalances. Key points were that administration of MQA would include our entire dealer network and that they could penalize any error on our side (stating the incorrect amount of MQA modules sold) with an unlimited amount whilst for any errors on their end, we could maximally recoup 100 in our currency. On the technical side, we requested their decoder to develop proper unit-to-unit QC protocols as we have always done on our end. They only promised a few test tones. Those are insufficient to measure distortion, bandwidth, impulse response, linearity and noise to mention just a few. They seem to be very afraid to divulge more about their algorithm to us, their intended business partners. If we can't properly test our MQA-enabled product, how can we be confident to ship it around the world? Based on our listening tests, MQA can do well for cheaper converters. As converter quality increases, the need for MQA becomes less to eventually disappear. If your own DAC for example has perfect impulse response, MQA will only work 50% because now it needs to just correct on the recording end. Now the unfolding process is implemented simply to avoid copying and to create the profit model; not because it actually does anything. Had we seen the definitive contract upfront, we would never have wasted such a huge amount of money!"To rewind a tad, all business is about profit. That's the nature of the beast. Nobody goes into business to work for free or give stuff away. However, when business involves collaboration with other commercial entities, it's common sense to expect balanced contracts which are mutually beneficial to all parties concerned. This certainly doesn't prevent mercenary or one-sided tactics. However, if indications to that effect exist, why volunteer to give such enterprises exposure in these pages? Based on the above and similar reluctance to support the format elsewhere, MQA at this stage does not appear to be a good thing for the small boutique firms which make up the core of our sector. Hence we should refrain from further editorials on the matter until this situation changes. And don't expect widespread coverage on this. Anyone who is appraised of all the details to talk full shop and the kitchen sink has been contractually silenced by binding non-disclosure agreements. The best measure of change here should be the quickness and breadth whereby MQA appears in high-end digital hardware by more and more brands ... or not." http://www.6moons.com/industryfeatures/mqa/1.html
  7. Article: Dynamic Range Day

    Ok, I applied a steep filter of 30Hz and added a "brickwall" to all 16 / 44.1 files. I used this software: Here is the result of DR measurement:
  8. Article: Dynamic Range Day

    Here are screenshots of DR states from LP rip The Crusaders - Images (1978, USA). The whole process: from recording without RIAA (RAW) and to converting (SRC) to CD format): 1. The Crusaders - Images (1978, USA) (Raw) 2. The RIAA curve is applied and cut into separate tracks 3. Gain Output Levels (software): Side A - 3.39dB and Side B - 3.84dB 4. Gain Output Levels (software): separately each track 5. Conversion (SRC) of tracks to the quality of CD (16/44.1)
  9. Article: Digital Vinyl: Temporal Domain

    Under the means for synchronization, everyone who works in professional studios usually means only clock. Not a DAC, not an ADC, but only a clock (internal in interfaces or external Master Clock). And nothing more. I hope that you will not wipe your feet about this great man (Andrea Bocelli): Andrea Bocelli Closer to Home | Antelope Audio My good friends have this in the studio: TAS 180: Esoteric G-ORb Rubidium Master Clock Generator | The Absolute Sound
  10. Article: Digital Vinyl: Temporal Domain

    Yes, the Atomic reference oscillator is not a clock, but only a frequency generator (10MHz). It just gives more precision (accurancy) for the master clock (Isochrone Trinity).
  11. Article: Digital Vinyl: Temporal Domain

    Antelope Audio Pure2: Burr-Brown (TI) A/D converter PCM4222 (High-Performance, Two-Channel, 24-Bit, from 8kHz to 216kHz Sampling Multi-Bit Delta-Sigma Analog-to-Digital Converter)
  12. Article: Digital Vinyl: Temporal Domain

    It all depends on what kind of synchronization tools you use when registering an analog signal in digital domain and then reconstructing it (playing it back in an analog way). If you use a standard clock (quartz oscillator, possibly with the exception of the Grimm Audio CC1), then you can not completely solve the jitter problems even at a frequency of 44.1kHz. And a bigger problem will be when you use 96 or 192kHz. We use for recording in the studio Antelope Audio Audiophile 10M (10 MHz Rubidium Atomic Reference Generator, Frequency Accurancy better than 0.03 PPB (parts per BILLION)) and therefore we have no problems, even when we record on the frequency 192kHz.
  13. Article: Digital Vinyl: Temporal Domain

    "In fact, this is a popular picture with a chart showing ANALOG (signal from the best microphone), as a reference standard. And the loss (or lack of loss, as they represent -))), in the case of DSD) in the temporal domain of the impulse response and energy when trying to register and then reconstruct this signal with the help of various digital standards (48, 96,192 and DSD)."
  14. Article: Digital Vinyl: Temporal Domain

    Jud, I actually wrote with irony about this "popular" picture. Look again at the picture - there the peak of the DSD is even higher than the peak ANALOG ;-))
  15. Article: Digital Vinyl: Temporal Domain

    Here you are slightly incorrectly pointing to vinyl, although in fact here it is said about ANALOG (that is what a best microphone can register). Vinyl will never be able to repeat this result without loss - too much interference will occur in the way of the LP creation process. And even more distortion will be when trying to play LP on your TT. In fact, this is a popular picture with a chart showing ANALOG (signal from the best microphone), as a reference standard. And the loss (or lack of loss, as they represent -))), in the case of DSD) in the temporal domain of the impulse response and energy when trying to register and then reconstruct this signal with the help of various digital standards (48, 96,192 and DSD).