Wavelength

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About Wavelength

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  1. All, Update... https://support.microsoft.com/en-us/kb/3176495 This update has changes that fix some of the problems with USB and Windows 10 Anniversary edition. Thanks, Gordon
  2. All, Warning Microsoft damaged the USB drivers in Windows 10 Anniversary edition and everyone is complaining about BAD SOUND. We have contacted the Windows Sound group and they are aware of the problem. Thanks and you can go back to your regularly scheduled programming! Gordon
  3. dịch vụ kế toán trung tâm đào tạo kế toán AZ Theme - Wordpress Theme | Website Templates | Design Website thành lập doanh nghiệp Biareview.com - Your View Your Choice tư vấn luật Diêu Tử, Phù Diêu Tử là nhân vật thần tiên sống trong lòng hắn, nghe nói năm đó Quan Gia được hắn chỉ bảo, lúc này mới đi vào quân ngũ, thành vị chủ đứng đầu thiên hà, nếu mình có thể được hắn chỉ bảo, sự nghiệp Lý gia nhất định sẽ lên tầm cao mới. Người thường như mình mà được hắn hóa phép, nếu như làm hắn vui, hắn sẽ tự tay luyện cho mấy viên đan dược, khiến cho sức khỏe dẻo dai, sống lâu cũng nên.

     

    Tiếc thay Phù Diêu Tử cả ngày chỉ ngủ, tiểu đệ của hắn là Mãvậy không thể để miệđó, song đó chỉ là việc trong thời gian ngắn, hiệu bu

  4. Richard, Nice post thanks. Toast the AQJB as Richard calls it adds 0.12ohms of resistance to the VBUS. If the attached device drew the maximum current of 500ma then the VBUS drop would be a maximum of 60mV. I don't really see how that would effect bass on any device. Thanks, Gordon
  5. I have been working with low voltage triodes since the late 1970's. In college I would fix early Corvett radio's which used 6GM8 tubes. I don't know of anyway to use any tube at 11.1V and not run into major problems. The 6111 being most similar to the 12AU7 require at least 50v on the plate. I will preface this, that I have never heard or seen the ALO reviewed here. Thanks, Gordon
  6. I have been working with low voltage triodes since the late 1970's. In college I would fix early Corvett radio's which used 6GM8 tubes. I don't know of anyway to use any tube at 11.1V and not run into major problems. I will preface this, that I have never heard or seen the ALO reviewed here. Thanks, Gordon
  7. Chris, I did read the article. What I am commenting on is the numbers you are showing. Do you know were the money is or is this article basically a condensed version of what is already on the net? I would like to see a real article with some direct information from the streaming companies, labels and artists. Really who ever is making the lion share of the money is probably not going to want to talk. I only see it from the Artist side as those are the only people I work with. Well a bunch of mastering engineers, but they get paid usually by the artist these days. As for iTunes, that has not really been the case from the Artists I have talked to. They may not like the quality of AAC/AAC+, but the money has rolled in from day 1 and it reaches a large audience. Allot larger than most of the smaller bands had before. Thanks, Gordon
  8. Chris, But is this what he actually received or the label? Did you actually talk to them? I asked a few friends who I build guitar amps for and basically this is what they are saying: So I looked up David Lowery, there is a stream of articles about how the artist are not being paid. This one was the best out of the ten I read: What Cracker’s David Lowery gets right (and wrong) about Spotify and Taylor Swift | PandoDaily It get's even more complicated with older contracts. Think of it this way... when some of these smaller, medium and even large artists were still doing albums or even the first 10 years of CD's, they had no idea that music was going to go to downloads and then streaming. Do you think their contracts had any provisions for this? Hell No and do you think the labels are going to find them and offer up money for this? Sure maybe bands that actually want to spend the $500 an hour to have some lawyer go after what is rightfully theirs but in most cases the band or artist is just going to take the hit. I watched Willie Nelson the other night and he said I guess there is a bunch of this in his new book. Chris I think the way you are looking at this is all wrong. You should really actually talk to some artists and see what is really happening. Ok back to work, Barenaked Ladies tour starts on the 5th of June(http://barenakedladies.com/splash). Come out and see them, I made the amps for the band and what they used to record their new album Silverball. Thanks, Gordon
  9. Jud, I have talked about this at length on forums and really there needs to be more justification for the findings. In most cases applications that are more clean and take less CPU usage seem to sound better than those who don't. Also programs that take advantage of more memory without crippling the OS seem to sound better. I have the following setup now that I am using to get more information about this sort of differential: MacBook Pro (multi boot OSX/Windows/Linux): USB Analyzer->USB Cable->TEK USB Compliance tester differential probe + I2S decoder->DAC or USB to SPDIF converter-> Prism dScope III I am able to see complete data path before during and after the setup as well as compare the I2S & SPDIF to the source for various applications, cables, do compliance testing etc... Problem is this takes a ton of time. Thanks, G.
  10. Ted, Thanks for clarification, sometimes I write to engineers and not to humans Gordon
  11. Ted, First I2S is not a native connection. It was never intended to go outside of any devices. It also is best to keep the distance from point A-B to be as small as possible. But here is the big problem with this statement. DSD does NOT work over I2S, it works over DSD which is very different interface. DSD has a DATA-L and a DATA-R and a bit clock. I2S on the other hand multiplexes the L/R data onto one pin and has a Word Clock which differentiates the two from each other as well as a bit clock. Therefore the I2S feed is going through DoP no matter which interface you choose here. Also since the DAC is upsampling, converting whatever, the input jitter is going to have little to no effect on the overall sound. The fixed master clock is going to have the most impact and that is going to be the same no matter what. I think the big problem with reviews of digital equipment is that everything associated with sound is lumped into "jitter". The reason for differing sound in interface types and more goes much further than just jitter. Same reason different applications sound different, even though the bit stream is 100% the same. Thanks, Gordon
  12. Chris, Always loved these guys. Met the team when I was in college at my first AES show in NYC. Also thanks for the pics of some of their older speaker models. Those KEF drivers bring back memories of college, the B110 mid bass (used in the LS3/5A), B139 bass drivers were to die for. I made transmission line speakers using the B139 in college. Hey come out to Ohio and we will show you the pick and place lines we have out here. They just updated paste optical scanners to make sure the paste does not move off the pads and cause errors. Also each PCB is optical checked and it's pretty cool how we can still make stuff here at the same prices as moving them to the far east. Thanks, Gordon
  13. Chris, Great interview! I know the whole rock star thing is so crazy from my experience starting with ELP in 1980 and now with NAMM exposure to our work with Barenaked Ladies. It's kind of funny how in the end they are just normal people. ~~~ First as someone who does a lot of PRO audio work. Doing everything at 192 is still kind of silly. It does not down sample to 16/44.1 very well. The use of 176.4K makes so much more sense. Second I think a lot of people are confused by Pono. The two pieces (online store and the hardware) seem to be clumped together and people are not realizing that the music they download can be played by any hardware. I have had so many really crazy emails since last week its almost funny. Many of the questions were "How do I plug the Pono Player into my DAC?". Many think this is the only way to playback the music they bought on the online store. But all these files are FLAC so they can be played back by most playback software (though not iTunes). I may suggest to the Pono people a little more explanation would go a long way. Thanks, Gordon
  14. Mitch, Great article, thanks for the in depth look at this. In college, one of my projects was electronic xover. I took a VAX11/780 (dating myself) that would measure the drivers and determine the xover points which then I could use to make the xover. But an interesting part of that study was one about amplifier usage. I was using a modified Dynaco Mark III for the base and then my stereo push pull EL34 amp (not an ST70) on the midrange and a SET triode connected EL34 for the tweeters. I went back and forth and so much more and we talked about the design with a ton of people then it was realized that between 150-8KHz that you really had to use the same amplifier. The reason was that the differential in sound between the amplifiers was greater than the differential in sound of the drivers or the electronic xover. The differential in sound of say a SET transistor amp and a PP transistor amp is going to be huge. Same for tube stuff... @ RMAF this year we showed plasma tweeters which had their own electronic xover and driver. The same thought went into this that my papers had back in college. Some real thought has to be made here and people who think midrange starts at 1KHz are all nuts. Remember open E string on a guitar is 80Hz!! Middle C is what like 260Hz on a piano and A over middle C is 440Hz. Most of the vocal range happens way before 1Khz. I think if you are looking for a more accurate system you may want to take a look at the amps. Thanks, Gordon