+ Reply to Thread
Page 8 of 9 FirstFirst ... 6789 LastLast
Results 71 to 80 of 88

Thread: Class D come of age - Coherent amplification

  1. #71
    Join Date: Mar 2017

    Location: London N2

    Posts: 1,271
    I'm Edward.

    Default

    Quote Originally Posted by Macca View Post
    It could well be the imperfect unfold causing the issue, but an MQA file is still larger than a red book file I think. I also think they do eq it to make it sound slightly different, although with a proper unfold that should not sound 'bad'.
    It was not bad as such, just that the Redbook version was 'nicer'. There was a passage in particular that Adam and I concentrated on, the Redbook won the day. But of course, by definition, the two versions were different. The Redbook was either downsampled from the higher res version (that the MQA version was folded from) or they were different masters. Beyond that, even though I've tried to understand the maths behind MQA, it is all beyond me (thank gawd).

    Quote Originally Posted by montesquieu View Post
    Yes but really any machine-instigated dicking around with the signal is unwanted, full stop.
    Well purism of course is a honourable pursuit Tom and I for one would always try to stick to that road when I can (e.g. liking NOS Dacs). However recently I have been 'dicking' around with DSP room filters and the results so far are very encouraging.

    Just to be provocative (and also friendly!) isn't implementing an RIAA curve on vinyl tantamount to 'dicking around with the signal'?
    Source: Tidal/Roon
    DAC: Metrum HEX, Chevron Paradox, Perreaux

    Amp: Sugden Masterclass 2018 spec, Radford Revival STA25 V,
    Speakers: Tannoy Eaton, Kudos Cardea


  2. #72
    Join Date: Feb 2010

    Location: Berkshire, UK

    Posts: 3,613
    I'm Tom.

    Default

    Quote Originally Posted by Edward View Post
    Just to be provocative (and also friendly!) isn't implementing an RIAA curve on vinyl tantamount to 'dicking around with the signal'?
    The RIAA curve is a global standard (set in the US) which sets out the precise way a recording needs to be processed to get it to fit in a groove playable by a stylus.

    Without encoding in this way (effectively, reducing the amplitude of bass frequencies by particular proportions around a particular frequency) then a standard groove width would be impossible (or at least a standard groove width that had a decent frequency range). Of course once encoded on the record, in order to be played back this encoding has to be decoded, or 'equalised' by boosting bass frequencies in an inverse curve to that applied when the master stamper was prepared.

    Some kind of signal encoding was applied to 78s as early as the 1920s, and throughout the era of 78s and early LPs, every company - Columbia, HMV, Victor, Parlophone etc - had their own version in the form of different turnover and rolloff points. Some early preamps had controls that allowed these to be varied by record label.

    The situation was standardised under RIAA (Recording Institute of America) auspices in 1956 and became a global standard (turnover point and rolloff amount). This in turn allowed phono preamps to be standardised too, so nearly all modern ones don't have options to vary the parameters of the curve.

    Some specialised ones such as the Slee Jazz Club do, however, and these can be used for archiving or for direct playback of early cuts that use pre-RIAA encodiing/equalisation.

    Anyway, it's not really dicking about, to answer your question as it's inherent in all vinyl replay and, in modern times, standardised.
    Main: Speakers 'RFC' Tannoy Canterburys / custom crossovers with Tannoy ST50 supertweeters; Amp - Silvercore 833C monoblocks; Pre EAR 912; Vinyl: Thorens TD124 MkII + Ikeda IT345-CR1 9 inch and Ikeda IT-407 12 inch tonearms; Cartridges Stereo - Miyajima Madake, Miyajima Takumi, Ikeda 9TT, SAEC/Excel C3; Mono - Miyajimas - Zero 0.7, Premium 1.0, Edison '78' 4.0 conical, and Shure M44 strapped for mono with several Expert Stylus conicals for different eras of 78s; Phono stage and SUT from EAR 912 + Miyajima ETR-Mono SUT; Esoteric Sound Re-Equalizer for equalisation of early mono and 78, switchable in from tape loop; Digital: Audio Note CDT2/II transport, heavily modded AN Kit DAC + Mutec MC3+USB.

    Study: Speakers - Tannoy DC6; Amp: Pass Aleph 'Mini'; tube preamp - Gate Audio tube; Vinyl: Technics SL10 with Pickering TL-3; Phono Stage from Gate Audio preamp; Digital - Trichord Genesis III CDP + Arcam rBlink.

  3. #73
    Join Date: Mar 2017

    Location: London N2

    Posts: 1,271
    I'm Edward.

    Default

    Playing devils advocate here Tom, MQA are trying to establish a global standard as well, just as RIAA did all those years ago. But imo MQA is a solution to a non existent problem.

    Thanks for details of RIAA.

    Looking forward to having a listen to the Silvercores soon btw.
    Source: Tidal/Roon
    DAC: Metrum HEX, Chevron Paradox, Perreaux

    Amp: Sugden Masterclass 2018 spec, Radford Revival STA25 V,
    Speakers: Tannoy Eaton, Kudos Cardea


  4. #74
    Join Date: Feb 2010

    Location: Berkshire, UK

    Posts: 3,613
    I'm Tom.

    Default

    Quote Originally Posted by Edward View Post
    Playing devils advocate here Tom, MQA are trying to establish a global standard as well, just as RIAA did all those years ago. But imo MQA is a solution to a non existent problem.

    Thanks for details of RIAA.

    Looking forward to having a listen to the Silvercores soon btw.
    It's not a non-existent problem if you are a giant copyright owner worried about the amount of digital content out there they don't have control over. Rights management - cui bono?

    Just tell them to naff off!
    Main: Speakers 'RFC' Tannoy Canterburys / custom crossovers with Tannoy ST50 supertweeters; Amp - Silvercore 833C monoblocks; Pre EAR 912; Vinyl: Thorens TD124 MkII + Ikeda IT345-CR1 9 inch and Ikeda IT-407 12 inch tonearms; Cartridges Stereo - Miyajima Madake, Miyajima Takumi, Ikeda 9TT, SAEC/Excel C3; Mono - Miyajimas - Zero 0.7, Premium 1.0, Edison '78' 4.0 conical, and Shure M44 strapped for mono with several Expert Stylus conicals for different eras of 78s; Phono stage and SUT from EAR 912 + Miyajima ETR-Mono SUT; Esoteric Sound Re-Equalizer for equalisation of early mono and 78, switchable in from tape loop; Digital: Audio Note CDT2/II transport, heavily modded AN Kit DAC + Mutec MC3+USB.

    Study: Speakers - Tannoy DC6; Amp: Pass Aleph 'Mini'; tube preamp - Gate Audio tube; Vinyl: Technics SL10 with Pickering TL-3; Phono Stage from Gate Audio preamp; Digital - Trichord Genesis III CDP + Arcam rBlink.

  5. #75
    Join Date: Mar 2017

    Location: London N2

    Posts: 1,271
    I'm Edward.

    Default

    Oops - I meant a non existent problem from the consumer's perspective.
    Source: Tidal/Roon
    DAC: Metrum HEX, Chevron Paradox, Perreaux

    Amp: Sugden Masterclass 2018 spec, Radford Revival STA25 V,
    Speakers: Tannoy Eaton, Kudos Cardea


  6. #76
    Join Date: Jan 2008

    Location: Forest of Dean, Glos

    Posts: 10,748
    I'm Jerry.

    Default

    Quote Originally Posted by bungalowbill View Post
    You certainly have. Still using the Lyngdorf SDA2175 you sold me and the A1 FBP Pre. ��
    Ha!
    Excellent.
    Nice bits of kit, good that you are still enjoying them!
    Jerry

  7. #77
    Join Date: Jan 2008

    Location: Forest of Dean, Glos

    Posts: 10,748
    I'm Jerry.

    Default

    Quote Originally Posted by Edward View Post
    Just to be provocative (and also friendly!) isn't implementing an RIAA curve on vinyl tantamount to 'dicking around with the signal'?
    Yes.
    But it would sound rubbish if you didn't dick around with it.
    Jerry

  8. #78
    Join Date: Feb 2010

    Location: Berkshire, UK

    Posts: 3,613
    I'm Tom.

    Default

    Quote Originally Posted by jandl100 View Post
    Yes.
    But it would sound rubbish if you didn't dick around with it.
    More concise than my version but just as accurate!
    Main: Speakers 'RFC' Tannoy Canterburys / custom crossovers with Tannoy ST50 supertweeters; Amp - Silvercore 833C monoblocks; Pre EAR 912; Vinyl: Thorens TD124 MkII + Ikeda IT345-CR1 9 inch and Ikeda IT-407 12 inch tonearms; Cartridges Stereo - Miyajima Madake, Miyajima Takumi, Ikeda 9TT, SAEC/Excel C3; Mono - Miyajimas - Zero 0.7, Premium 1.0, Edison '78' 4.0 conical, and Shure M44 strapped for mono with several Expert Stylus conicals for different eras of 78s; Phono stage and SUT from EAR 912 + Miyajima ETR-Mono SUT; Esoteric Sound Re-Equalizer for equalisation of early mono and 78, switchable in from tape loop; Digital: Audio Note CDT2/II transport, heavily modded AN Kit DAC + Mutec MC3+USB.

    Study: Speakers - Tannoy DC6; Amp: Pass Aleph 'Mini'; tube preamp - Gate Audio tube; Vinyl: Technics SL10 with Pickering TL-3; Phono Stage from Gate Audio preamp; Digital - Trichord Genesis III CDP + Arcam rBlink.

  9. #79
    Join Date: Aug 2009

    Location: Staffordshire, England

    Posts: 24,146
    I'm Martin.

    Default

    Quote Originally Posted by Edward View Post
    IWell purism of course is a honourable pursuit Tom and I for one would always try to stick to that road when I can (e.g. liking NOS Dacs). However recently I have been 'dicking' around with DSP room filters and the results so far are very encouraging.

    Just to be provocative (and also friendly!) isn't implementing an RIAA curve on vinyl tantamount to 'dicking around with the signal'?
    An NOS DAC is technically less accurate than one that oversamples, so less purist. DSP is correcting the frequency response anomalies caused by the room and/or loudspeakers. So arguably purist.
    Martin



    Current Lash Up:

    Technics SLP1200 CD Player * Nelson Pass DCB1 Pre amp / Krell KSA50S Power amp * JM Lab Electra 926 loudspeakers *


    'You fool! To think that your ape-brain could contain the full knowledge of the Krell!'

  10. #80
    Join Date: Mar 2017

    Location: London N2

    Posts: 1,271
    I'm Edward.

    Default

    Quote Originally Posted by Macca View Post
    An NOS DAC is technically less accurate than one that oversamples, so less purist. DSP is correcting the frequency response anomalies caused by the room and/or loudspeakers. So arguably purist.
    Good grief Martin, you are like my wife - telling me I've got everything the wrong way round. You are both correct of course!
    Source: Tidal/Roon
    DAC: Metrum HEX, Chevron Paradox, Perreaux

    Amp: Sugden Masterclass 2018 spec, Radford Revival STA25 V,
    Speakers: Tannoy Eaton, Kudos Cardea


+ Reply to Thread
Page 8 of 9 FirstFirst ... 6789 LastLast



 

Posting Permissions

  • You may not post new threads
  • You may not post replies
  • You may not post attachments
  • You may not edit your posts
  •