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On 31 May 2004 15:53:51 GMT, ernstr@xs4all.nl (Ernst Raedecker) wrote:

>On 29 May 2004 13:18:00 GMT, "Ban" <bansuri@web.de> wrote:
>
>>We believe in the analog world, but the signal of the player is digital. And
>>digital is a go/no-go affair.
>
>Actually it is not. The moment the signal leaves the DAC, it becomes
>analog. Also the rest of the cd player is analog: the transport, the
>controller of the lense, the transformer, the circuit board, you name
>it. And all those analog elements influence the sound.

No Ernst, they do not necessarily affect the sound. Above a certain
standard, which seems to have been reached by many CD/DVD players
costing only a few hundred dollars, they do in fact all sound the same
- aside from some of the 'high end' ones which are so utterly
*incompetent* that they really do sound different! Remember, this is
now a very mature technology, the bugs were worked out more than a
decade ago.
--

Stewart Pinkerton | Music is Art - Audio is Engineering
 
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"TChelvam" <tchelvam@hotmail.com> wrote in message
news:c97ia7026lo@news3.newsguy.com...
> Over the weekend I added some damping material called Vibrastop which
> was mostly used in aviation industry to damp the circuit board and
> transport in my player. Most of damping done by remounting the circuit
> board by inserting some material between the chassis and the board.
> None of the materials were closer than 1 cm to the circuits itself.
> The board's edge itself was surrounded by the material giving a solid
> "thud" sound when knocked. Previously a light knock would give out a
> rattling sound.
>
> Result of listening test.
>
> The sound became more scaterred ( read separated) between instruments,
> Sound lacking bite ( read smooth), But i love the bass. Sharp, deep
> and sometimes longer, or maybe I am mixing with deep and longer but I
> think the timing is more precise. One thing is obvious, various
> instruments heard more clearly and telling several voices became more
> apparent.
>
> Now the only problem is I do not know whether it is an improvement.
> Fatigue factor almost nil but I would also find that the sound was
> like re-recorded with remixing done at increasing the level of all
> instrument to be even. BUT, it is different, and I do not like them.
> The vocal is much lower and the harshness is no longer there. The
> voice used to sound with a slight breaks or brittle previously but now
> it is more distanced and smooth (read flat) .
>
> All these simply because a little damping? Or is it because I am used
> to an inferior sound for it has been almost two years since any major
> change to my equipment? Or am I so confused that I do not know what is
> good sound ? To be fair to myself I have not made any comparison with
> other high end product to compare. I want to listen for a month or so
> and then remove the damping to revaluate again.
>
> Right now, I am just listening to my equipment and comparing it before
> and after damping. After all, damping should improve the sound right?.
> Or did the manufacturer already had taken in consideration of the
> microphonic of the circuit board in the design and any extra damping
> affects the sound negatively?
>
> Awaitng for your esteemed comments.

In the message I am replying to, I did not see the CD transport brand
identified, but the effects of resonance on components is mystifying but
real. When added to other [endless] variables and tweaks in hi-end audio, it
can become maddening. For some reported issues, there may be as many
(endless) honest solutions offered, but most will be based on the
hard-earned experience of the originator, based on a fixed set of
circumstances. Will they also apply to your circumstance (environment,
equipment, taste)? For your specific instance, experimentation and self
determination may be the only logical solution.

It is possible that the manufacturer of your component designed it to
perform to a set level just the way it came out of the box. This means that
any changes you make will affect the sound, improving certain aspects while
diminishing others. But what is accurate? Probably neither. Any tweaking
will be more effective to fine-tune something you are already pretty
satisfied with, but will not fix bad performance.
 
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Stewart Pinkerton <patent3@dircon.co.uk> wrote in message news:<i42vc.27224$pt3.9084@attbi_s03>...
> On Mon, 31 May 2004 16:19:35 GMT, "Chelvam" <chelvam@myjaring.net>
> wrote:
>

> >Oh yes! You would be surprised to know how many actually could hear the
> >improvement. See www.altavistaaudio.com and go to the testimonial part.
>
> That would be people who *claim* to hear a difference - not the same
> thing at all!
>
> >The other part on "measurements" , I would say physics is not an absolute
> >science.
>
> You'll injure yourself, sidestepping that far...............
>
Physics absolute science? Or do they call it perfect science? I am no
engineer but as a lay man I am cautious to all scientific study and
measurements. If scientific measurements is the gospel truth than ever
wonder why Formula 1 companies queuing to hire those acoustic experts
(I forgot the exact name but he one with headphones and constantly
listening in the Sub looking for movements) who work in US submarines.
They are hired to hear and tell if something is different in the
engine sound. It is a gift and a lot of training to hear what others
don't.


> >Perhaps, there is some element that is yet to be discovered by us.
> >Isn't it only recently scientists discovered the is another force besides
> >gravity. So maybe, there's is something else that exist but cannot be proven
> >simply because we do not know the existence of that element. I think the
> >measurement of inductance, resistance, capacitance developed over along
> >period of time.
>
> Actually, it developed over a very short period of time, and we don't
> need any new scientific discoveries to take two otherwise identical
> amps, one orifginal and one 'tweaked', and see if anyone can tell the
> difference under level-matched double-blind conditions. Now, if these
> mods really worked, that would be the best possible evidence that the
> designer could use to promote the product. Now, do you see one single
> solitary example of this being done? No? Ever wonder why?


> >On many occassions ( actaully on all occassions), I can't tell the
> >difference btw a $200 and $2000 power cord. But I can tell the difference
> >between a $10 and $200 interconnect.
>
> I bet you $10,000 that you can *not* tell the difference, when you
> don't *know* which one is connected.

Why is it we assume that tweaks should work for all equipments? I dare
to say tweaks only work for budget equipments. Some tweaks probably
work for certain type of music. Maybe the one with extreme highs and
lows. And it takes a few hours before deciding which one sounds
better. So it is no wonder many fail in the double blind test.

I can't tell the diff btw my cabletalk ($20) interconnect and the
expensive Monstercable immediately but after a few days of listening
my preference would be the MonsterCable. Tried all tricks yet I have
correctly preferred the more expensive one (reluctantly using the word
expensive perhaps better designed would be more appropriate). But if
you were to ask me to tell immediately which cable is being played I
would fail miserably. However, I am still unable to tell my preference
when compared with Monster cable and XLO. They are both identical
though the price difference was about 50%. So how do you explain that?
Is your $10000 bet under the abovementioned terms?

The way I pay attention to music is probably different form the way
you listen. Some listen for various instruments or whether they can
hear the back singers rather that the main voice.

My transport which was considered very High End many years ago, came
with its own built-in spike ( one pointed screw at the rear centre)
which supposedly affect the sound. If they got a reason for putting it
there, then Diamond racing cone's claim is believable.

Many tweaks do not work on High End products simply because there is
no room for improvement. None worked for my Amp not even the with
power conditioner if you want to call that tweaking too. But may
negatively.

One the other hand, the reason why I do not hear any diff btwn a $200
and $2000 powercord simply because my cheap equipment is not efficient
enough for it or it is already High End enough that have a proper
power supply built in. Maybe for a $200,000 speakers a $10000 speaker
cable would make a difference. I used MAYBE, because I know this is a
forbidden territory for me. I have never heard one and probably will
never own one.

There are four types of music lover. One those love music for music
and contend with their mini compo. The way they judge music is
different from others. They don't care how high end is the sound
output but as long they can reasonably hear what is being played they
are contend.

The second group is the one likes music and fancy loud and deep bass.
They will be contended with that and would not spend an extra penny
for the so called High End equipment.

And the third, who own expensive equipments just to satisfy their
status ego.

And fourth, the type who believe in the art of setting up the
equipment is to hear difference form one cable and another or a
speaker etc etc.. Their main objective is not to hear music but to
hear the difference. And in this category some will pretend/imagine
hearing the difference and others genuinely do hear.

Mr Pinkerton, with due respect , the fifth category is guys in audio
engineering believe everything is equal under measurement.

>
> > However, my friend who bought and the
> >guy who sold the cable claim they can tell the diff btw $200 and $2000
> >cable. I would like to believe them only if they could take the blind test
> >but they are pretty busy for such childish game. I hope you get my drift.
>
> Childish game? The only positive way to know if there really is a
> difference - you call a childish game? I think we know who is playing
> games here...................

Not me.


> >> Can't you remove the damping material and see if the sound changes back?
> >> Make sure you are listening at the same position, at the same level,
> >> from the same discs.
> >
> >That's the fun part. it is my friend's job to remove all the damping in a
> >month or so without my knowledge. Hopefully, he didn't pull a fast one by
> >removing that by now because as of yesterday, I was still hearing the so
> >called 'improvement'. Otherwise, I have to pay for the foolishness by
> >donating a free CD/SACD and one week free flow at Cheers equivalent on me.
>
> It's lot simpler than that - just get another, untreated, amplifier
Ø and compare the two.

My earlier answer applies to this as well. You can't tell the diff
immediately unless it is as obvious as black and white or day and
night. However, I am not claiming damping a miracle tweak. It sounded
differently and was seeking views from others. It maybe my eagearness
and expectation after spending one day to damp to hear something
different. Probably none. But this time I would say yes. The same way
I discovered that isolating your equipment from the speakers sound
affects the performance. Maybe that too is a myth.

Cheers.
 
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Stewart Pinkerton <patent3@dircon.co.uk> wrote in message news:<i42vc.27224$pt3.9084@attbi_s03>...
> On Mon, 31 May 2004 16:19:35 GMT, "Chelvam" <chelvam@myjaring.net>
> wrote:
>
> >"chung" <chunglau@covad.net> wrote in message
> >news:Wfsuc.26534$Ly.17558@attbi_s01...and also to what Tom wrote....
> >
> >> > I wonder whether one High End designer who is selling cotton or wool
> felt
> >> > damper for the circuit board for his amplifer misleading us?
>
> >> I can't think of any reason why damping a circuit board in an amp can
> >> possibly change the sound of the amp. What kind of improvements is he
> >> claiming, and does he have any measurements to back those up?
> >
> >Oh yes! You would be surprised to know how many actually could hear the
> >improvement. See www.altavistaaudio.com and go to the testimonial part.
>
> That would be people who *claim* to hear a difference - not the same
> thing at all!
>
> >The other part on "measurements" , I would say physics is not an absolute
> >science.
>
> You'll injure yourself, sidestepping that far...............
>
> >Perhaps, there is some element that is yet to be discovered by us.
> >Isn't it only recently scientists discovered the is another force besides
> >gravity. So maybe, there's is something else that exist but cannot be proven
> >simply because we do not know the existence of that element. I think the
> >measurement of inductance, resistance, capacitance developed over along
> >period of time.
>
> Actually, it developed over a very short period of time, and we don't
> need any new scientific discoveries to take two otherwise identical
> amps, one orifginal and one 'tweaked', and see if anyone can tell the
> difference under level-matched double-blind conditions. Now, if these
> mods really worked, that would be the best possible evidence that the
> designer could use to promote the product. Now, do you see one single
> solitary example of this being done? No? Ever wonder why?

It may depend on the program material. Not all music exercises all the
possibilities.
 
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On 6/1/04 12:26 PM, in article H62vc.30683$js4.27069@attbi_s51, "Stewart
Pinkerton" <patent3@dircon.co.uk> wrote:

> On 31 May 2004 15:53:51 GMT, ernstr@xs4all.nl (Ernst Raedecker) wrote:
>
>> On 29 May 2004 13:18:00 GMT, "Ban" <bansuri@web.de> wrote:
>>
>>> We believe in the analog world, but the signal of the player is digital. And
>>> digital is a go/no-go affair.
>>
>> Actually it is not. The moment the signal leaves the DAC, it becomes
>> analog. Also the rest of the cd player is analog: the transport, the
>> controller of the lense, the transformer, the circuit board, you name
>> it. And all those analog elements influence the sound.
>
> No Ernst, they do not necessarily affect the sound. Above a certain
> standard, which seems to have been reached by many CD/DVD players
> costing only a few hundred dollars, they do in fact all sound the same
> - aside from some of the 'high end' ones which are so utterly
> *incompetent* that they really do sound different! Remember, this is
> now a very mature technology, the bugs were worked out more than a
> decade ago.

Actually, the process of A to D and D to A has been developing rather
rapidly over the last 10 years especially. The chips are better, the
understanding of distortion in signals - in the process and in the recording
(or A to D ing) have all improved greatly - and has allowed the development
of some truly excellent D/A converters whose ability to convert CD's are
nearly as good as the D/D converters that made the CD's.

The point I think you *should* be making is that while there has been
tremendous progress, the main benefit is that yesterday's high end
technology (now in more modest CD players) is in many cases "good enough" to
give truly excellent sound, and many modest (<$800) CD players are right at
the limit of most recordings' fidelity.

If you have the benefit of access to good recording studios, you will find
the limits of their technology is high sample rate high bit rate PCM
(24bit/96kHz is where most mastering takes place and the A/D and D/A
converters are rather pricey at that level. I expect to see 192kHz as a PCM
standard before too long as well) - and some have DSD.

For the home studio - there is a very good D/A converter that is probably as
good as you will ever get for CD conversion and does an excellent job in
listening to the masters (24bit/96kHz) as well. Costs about $900 - the
Benchmark DAC1 - and will probably be all you would ever need for an
audiophile setup if ultimate transparency is your goal.

And, of course, there are some really nasty designs, though I suspect that
most of the brands talked about here aren't those.
 
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On Thu, 03 Jun 2004 16:11:06 GMT, Bromo <bromo@ix.netcom.com> wrote:

>Actually, the process of A to D and D to A has been developing rather
>rapidly over the last 10 years especially. The chips are better, the
>understanding of distortion in signals - in the process and in the recording
>(or A to D ing) have all improved greatly - and has allowed the development
>of some truly excellent D/A converters whose ability to convert CD's are
>nearly as good as the D/D converters that made the CD's.

Actually, real engineers are well aware that DACs have *always*
exceeded the performance of ADCs.

>The point I think you *should* be making is that while there has been
>tremendous progress, the main benefit is that yesterday's high end
>technology (now in more modest CD players) is in many cases "good enough" to
>give truly excellent sound, and many modest (<$800) CD players are right at
>the limit of most recordings' fidelity.

The reality is that the demands of 16/44 encoding were exceeded at
least ten years ago. Anything further is a mere 'numbers game' beloved
of marketing departments.

>If you have the benefit of access to good recording studios, you will find
>the limits of their technology is high sample rate high bit rate PCM
>(24bit/96kHz is where most mastering takes place and the A/D and D/A
>converters are rather pricey at that level. I expect to see 192kHz as a PCM
>standard before too long as well) - and some have DSD.

DSD is in most respects inferior to 24/96, and 24/192 is the basic
standard of 2-channel DVD-A, which is already with us.

>For the home studio - there is a very good D/A converter that is probably as
>good as you will ever get for CD conversion and does an excellent job in
>listening to the masters (24bit/96kHz) as well. Costs about $900 - the
>Benchmark DAC1 - and will probably be all you would ever need for an
>audiophile setup if ultimate transparency is your goal.

There are literally *dozens* of 24/192 DACs on the market, and the new
breed of 'universal' players such as the Pioneer 868/59 and Denon 2900
are excellent exemplars of this technology.

>And, of course, there are some really nasty designs, though I suspect that
>most of the brands talked about here aren't those.

Indeed not, that sort of incompetence tends to be restricted to the
so-called 'high end' brands such as Audio Note and YBA..........
--

Stewart Pinkerton | Music is Art - Audio is Engineering
 
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On 2 Jun 2004 23:24:43 GMT, tchelvam@hotmail.com (TChelvam) wrote:

>Stewart Pinkerton <patent3@dircon.co.uk> wrote in message news:<i42vc.27224$pt3.9084@attbi_s03>...
>> On Mon, 31 May 2004 16:19:35 GMT, "Chelvam" <chelvam@myjaring.net>
>> wrote:
>>
>
>> >Oh yes! You would be surprised to know how many actually could hear the
>> >improvement. See www.altavistaaudio.com and go to the testimonial part.
>>
>> That would be people who *claim* to hear a difference - not the same
>> thing at all!
>>
>> >The other part on "measurements" , I would say physics is not an absolute
>> >science.
>>
>> You'll injure yourself, sidestepping that far...............
>>
>Physics absolute science? Or do they call it perfect science? I am no
>engineer but as a lay man I am cautious to all scientific study and
>measurements. If scientific measurements is the gospel truth

You seem to be missing the point, which is that we're not talking
about measurements, we're talking about *listening* tests, where not
one single person has *ever* demonstrated an ability to hear 'cable
sound' despite much vocality and handwaving on this and other audio
newsgroups.

> than ever
>wonder why Formula 1 companies queuing to hire those acoustic experts
>(I forgot the exact name but he one with headphones and constantly
>listening in the Sub looking for movements) who work in US submarines.
>They are hired to hear and tell if something is different in the
>engine sound. It is a gift and a lot of training to hear what others
>don't.

You mean the sonar/hydrophone operator. And your point is?

BTW, in modern submarines, the identification of other submarines at
long range is done by machines, which are much more sensitive than
even the most gifted human operator. There is nothing mysterious or
unknown about acoustics and electronics here, and no 'magic' cables
are used in hydrophone circuits, even though they are at least 1,000
times more sensitive than the human ear.

>> >On many occassions ( actaully on all occassions), I can't tell the
>> >difference btw a $200 and $2000 power cord. But I can tell the difference
>> >between a $10 and $200 interconnect.
>>
>> I bet you $10,000 that you can *not* tell the difference, when you
>> don't *know* which one is connected.
>
>Why is it we assume that tweaks should work for all equipments? I dare
>to say tweaks only work for budget equipments. Some tweaks probably
>work for certain type of music. Maybe the one with extreme highs and
>lows. And it takes a few hours before deciding which one sounds
>better. So it is no wonder many fail in the double blind test.

Actually, *all* fail in a DBT.

>I can't tell the diff btw my cabletalk ($20) interconnect and the
>expensive Monstercable immediately but after a few days of listening
>my preference would be the MonsterCable. Tried all tricks yet I have
>correctly preferred the more expensive one (reluctantly using the word
>expensive perhaps better designed would be more appropriate). But if
>you were to ask me to tell immediately which cable is being played I
>would fail miserably. However, I am still unable to tell my preference
>when compared with Monster cable and XLO. They are both identical
>though the price difference was about 50%. So how do you explain that?
>Is your $10000 bet under the abovementioned terms?

It is under the usual level-matched double-blind conditions, the
standard being more than fifteen correct out of twenty attempts. There
is no set time limit.

>The way I pay attention to music is probably different form the way
>you listen. Some listen for various instruments or whether they can
>hear the back singers rather that the main voice.
>
>My transport which was considered very High End many years ago, came
>with its own built-in spike ( one pointed screw at the rear centre)
>which supposedly affect the sound. If they got a reason for putting it
>there, then Diamond racing cone's claim is believable.

Sure they have a reason - they are hoping that customers think it's a
'high end' tweak. That rubbish was started by YBA, and became
fashionable - like bi-wiring. Heck, I even have a set of Michell cones
myself - although they're just a table decoration now!

>And fourth, the type who believe in the art of setting up the
>equipment is to hear difference form one cable and another or a
>speaker etc etc.. Their main objective is not to hear music but to
>hear the difference. And in this category some will pretend/imagine
>hearing the difference and others genuinely do hear.

Nope, not one single person in the last five years, despite many
highly vocal *claims*, has been able to demonstrate any such ability
to hear 'cable sound'.

>Mr Pinkerton, with due respect , the fifth category is guys in audio
>engineering believe everything is equal under measurement.

Why do you mention my name in this context? When have I stated any
such thing? I am the sixth kind of audiophile, who really *does* trust
his ears, and does not need his eyes..................

OTOH, it's true that in every case where there is a *real* audible
difference, the reason for it is easily measurable.
--

Stewart Pinkerton | Music is Art - Audio is Engineering
 
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On 6/2/04 7:24 PM, in article c9lnjr0cqe@news1.newsguy.com, "TChelvam"
<tchelvam@hotmail.com> wrote:

>> I bet you $10,000 that you can *not* tell the difference, when you
>> don't *know* which one is connected.
>
> Why is it we assume that tweaks should work for all equipments? I dare
> to say tweaks only work for budget equipments. Some tweaks probably
> work for certain type of music. Maybe the one with extreme highs and
> lows. And it takes a few hours before deciding which one sounds
> better. So it is no wonder many fail in the double blind test.

This reminds me of a friend of mine that is a vinyl-head (doesn't own a CD
player - even. But with 500+ LP's why would you?) -- he said that the
degradation of a cartridge due to use is a subtle thing - and when he finds
himself not listening to music very much - he turns around and checks the
cartridge - in his case it means that something isn't right with it - and
off it goes for refurbishment or repair.
 
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"If you have the benefit of access to good recording studios, you will
find
the limits of their technology is high sample rate high bit rate PCM
(24bit/96kHz is where most mastering takes place and the A/D and D/A
converters are rather pricey at that level. I expect to see 192kHz as a
PCM
standard before too long as well) - and some have DSD.

For the home studio - there is a very good D/A converter that is probably
as
good as you will ever get for CD conversion and does an excellent job in
listening to the masters (24bit/96kHz) as well. Costs about $900 - the
Benchmark DAC1 - and will probably be all you would ever need for an
audiophile setup if ultimate transparency is your goal."

Many here think the red book cd 44/16 is all that is needed for the same
goal, as the contrary has yet to be shown. Studioes like higher rates
because of the headroom it gives them to play around in mastering.
 
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On 6/3/04 6:51 PM, in article pXNvc.2394$Sw.1505@attbi_s51, "Stewart
Pinkerton" <patent3@dircon.co.uk> wrote:

> On Thu, 03 Jun 2004 16:11:06 GMT, Bromo <bromo@ix.netcom.com> wrote:
>
>> Actually, the process of A to D and D to A has been developing rather
>> rapidly over the last 10 years especially. The chips are better, the
>> understanding of distortion in signals - in the process and in the recording
>> (or A to D ing) have all improved greatly - and has allowed the development
>> of some truly excellent D/A converters whose ability to convert CD's are
>> nearly as good as the D/D converters that made the CD's.
>
> Actually, real engineers are well aware that DACs have *always*
> exceeded the performance of ADCs.

'real' engineers? Is that a subjective judgement there, hmmmmmm? ;-)

ADC's are much more difficult to do properly, yes, but understanding and
improving the science has happened mostly in the last 10 years - the
previous 10 was just trying to get the technology and physical hardware to
work properly.

>> The point I think you *should* be making is that while there has been
>> tremendous progress, the main benefit is that yesterday's high end
>> technology (now in more modest CD players) is in many cases "good enough" to
>> give truly excellent sound, and many modest (<$800) CD players are right at
>> the limit of most recordings' fidelity.
>
> The reality is that the demands of 16/44 encoding were exceeded at
> least ten years ago. Anything further is a mere 'numbers game' beloved
> of marketing departments.

I would agree that the technical achievement had been reached aound 1995-96
time frame - the real achievement has been that the good chips have been
made affordable - and the coding and decoding have improved as well - so
that more and more is done digitally.

I wouldn't ay it is so much a 'numbers game' as that for very little money,
you can have a great deal of margin to the specs.

>> If you have the benefit of access to good recording studios, you will find
>> the limits of their technology is high sample rate high bit rate PCM
>> (24bit/96kHz is where most mastering takes place and the A/D and D/A
>> converters are rather pricey at that level. I expect to see 192kHz as a PCM
>> standard before too long as well) - and some have DSD.
>
> DSD is in most respects inferior to 24/96, and 24/192 is the basic
> standard of 2-channel DVD-A, which is already with us.

To each their own - 24 bit / 96kHz is the current standard for mastering -
the hardware is much more affordable and easier to use. More software is
available, too.

>> For the home studio - there is a very good D/A converter that is probably as
>> good as you will ever get for CD conversion and does an excellent job in
>> listening to the masters (24bit/96kHz) as well. Costs about $900 - the
>> Benchmark DAC1 - and will probably be all you would ever need for an
>> audiophile setup if ultimate transparency is your goal.
>
> There are literally *dozens* of 24/192 DACs on the market, and the new
> breed of 'universal' players such as the Pioneer 868/59 and Denon 2900
> are excellent exemplars of this technology.

Agreed. And it also takes a careful design to make use of all 24 bits, even
today. Fortunately, most companies can afford to hire engineers capable of
using them!

>> And, of course, there are some really nasty designs, though I suspect that
>> most of the brands talked about here aren't those.
>
> Indeed not, that sort of incompetence tends to be restricted to the
> so-called 'high end' brands such as Audio Note and YBA..........

Wow - you *do* like to fling mud around!
 
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Bromo <bromo@ix.netcom.com> wrote:

> This reminds me of a friend of mine that is a vinyl-head (doesn't own a CD
> player - even. But with 500+ LP's why would you?)

To also have recordings that are only to be had on CD?

And vice versa.

Hence, the fultility of eschewing one type of media over the other. (unless
ones goal is the elevation of hardware over that of recorded music)
 
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On 3 Jun 2004 23:36:39 GMT, outsor@city-net.com wrote:

>"If you have the benefit of access to good recording studios, you will
>find
>the limits of their technology is high sample rate high bit rate PCM
>(24bit/96kHz is where most mastering takes place and the A/D and D/A
>converters are rather pricey at that level. I expect to see 192kHz as a
>PCM
>standard before too long as well) - and some have DSD.
>
>For the home studio - there is a very good D/A converter that is probably
>as
>good as you will ever get for CD conversion and does an excellent job in
>listening to the masters (24bit/96kHz) as well. Costs about $900 - the
>Benchmark DAC1 - and will probably be all you would ever need for an
>audiophile setup if ultimate transparency is your goal."

Agreed - I only recently became aware of this remarkable device, which
does indeed appear to represent the bleeding edge of D/A technology,
and can safely be recommended for any system, however exotic. Finally,
one can use one of those gorgeous 'high end' transports without
worrying that the sound will not be as good as a $500 Sony DVD player!

>Many here think the red book cd 44/16 is all that is needed for the same
>goal, as the contrary has yet to be shown. Studioes like higher rates
>because of the headroom it gives them to play around in mastering.

Quite so, on both counts. Since there exist *no* master tapes with a
dynamic range higher than 80dB, there is certainly no need for more
than 16 bits (93dB) in the *distribution* medium, although 24 in the
*recording* medium are certainly useful for avoiding mic overloads and
allowing plenty of EQ.
--

Stewart Pinkerton | Music is Art - Audio is Engineering
 
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Stewart Pinkerton <patent3@dircon.co.uk> wrote in message news:<a_Nvc.14148$sI.1598@attbi_s52>...
> On 2 Jun 2004 23:24:43 GMT, tchelvam@hotmail.com (TChelvam) wrote:
>

Ok let's start again. I damped a low priced player and heard
differences that is not to my liking.

You are telling that is not possible. Despite the fact that all
electrical component do resonate.

Anymore debate on this is going to be a repetition of what has been
previously discussed in this group under various headings.

Cheers.

p.s. Opps.., I mixed up BT Openspace with another engineering
organisations.
 
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On 4 Jun 2004 00:54:05 GMT, Bromo <bromo@ix.netcom.com> wrote:

>On 6/3/04 6:51 PM, in article pXNvc.2394$Sw.1505@attbi_s51, "Stewart
>Pinkerton" <patent3@dircon.co.uk> wrote:
>
>> On Thu, 03 Jun 2004 16:11:06 GMT, Bromo <bromo@ix.netcom.com> wrote:
>>
>>> Actually, the process of A to D and D to A has been developing rather
>>> rapidly over the last 10 years especially. The chips are better, the
>>> understanding of distortion in signals - in the process and in the recording
>>> (or A to D ing) have all improved greatly - and has allowed the development
>>> of some truly excellent D/A converters whose ability to convert CD's are
>>> nearly as good as the D/D converters that made the CD's.
>>
>> Actually, real engineers are well aware that DACs have *always*
>> exceeded the performance of ADCs.
>
>'real' engineers? Is that a subjective judgement there, hmmmmmm? ;-)

Nope - a simple statement of fact, at least if we take it that we're
discussing electronics engineers rather than civils! :)

>ADC's are much more difficult to do properly, yes, but understanding and
>improving the science has happened mostly in the last 10 years - the
>previous 10 was just trying to get the technology and physical hardware to
>work properly.

Hooey - I was building ADCs and DACs in the early '70s, and even then,
Burr-Brown had a pretty good handle on the technology - although you
wouldn't want to be paying the price of a pair of *those* DACs in your
CD player (about the price of a VW Golf)! Nowadays there are at least
half a dozen companies, from giants like AD to 'back-street' outfits
like Wolfson, making excellent 24/192 DACs which *vastly* exceed the
requirements of CD replay. The science has not changed in the last ten
years, and there haven't even been any significant changes in the
engieering, with the possible exception of hybrid 'low-bit' solutions
such as the dCS RingDAC.

>> There are literally *dozens* of 24/192 DACs on the market, and the new
>> breed of 'universal' players such as the Pioneer 868/59 and Denon 2900
>> are excellent exemplars of this technology.
>
>Agreed. And it also takes a careful design to make use of all 24 bits, even
>today. Fortunately, most companies can afford to hire engineers capable of
>using them!

Actually, those engineers are well aware that it's *impossible* to
make use of more than about 21 bits in even the best available DACs,
when the full-scale output is the standard 2 volts rms.

>>> And, of course, there are some really nasty designs, though I suspect that
>>> most of the brands talked about here aren't those.
>>
>> Indeed not, that sort of incompetence tends to be restricted to the
>> so-called 'high end' brands such as Audio Note and YBA..........
>
>Wow - you *do* like to fling mud around!

Indeed - and it *needs* to be flung at such overpriced dross. At the
other end of the scale, the absolute pinnacle of D/A technology is
undoubtedly the remarkable Benchmark DAC-1, which sells for less than
a tenth of the price of say the Mark Levinson 'Reference' DAC, yet
massively outperforms it. Heck, it costs less than some people spend
on *cables*!
--

Stewart Pinkerton | Music is Art - Audio is Engineering
 
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On 6/3/04 7:36 PM, in article c9ocm70bmd@news1.newsguy.com,
"outsor@city-net.com" <outsor@city-net.com> wrote:

> "If you have the benefit of access to good recording studios, you will
> find
> the limits of their technology is high sample rate high bit rate PCM
> (24bit/96kHz is where most mastering takes place and the A/D and D/A
> converters are rather pricey at that level. I expect to see 192kHz as a
> PCM
> standard before too long as well) - and some have DSD.
>
> For the home studio - there is a very good D/A converter that is probably
> as
> good as you will ever get for CD conversion and does an excellent job in
> listening to the masters (24bit/96kHz) as well. Costs about $900 - the
> Benchmark DAC1 - and will probably be all you would ever need for an
> audiophile setup if ultimate transparency is your goal."
>
> Many here think the red book cd 44/16 is all that is needed for the same
> goal, as the contrary has yet to be shown. Studioes like higher rates
> because of the headroom it gives them to play around in mastering.

Also if you mater at higher resolution than what goes out the door there is
more room for error as well.

The same thing happens in printing.
 
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On 6/4/04 12:33 PM, in article Lv1wc.50499$Ly.48333@attbi_s01, "Stewart
Pinkerton" <patent3@dircon.co.uk> wrote:

>> For the home studio - there is a very good D/A converter that is probably
>> as
>> good as you will ever get for CD conversion and does an excellent job in
>> listening to the masters (24bit/96kHz) as well. Costs about $900 - the
>> Benchmark DAC1 - and will probably be all you would ever need for an
>> audiophile setup if ultimate transparency is your goal."
>
> Agreed - I only recently became aware of this remarkable device, which
> does indeed appear to represent the bleeding edge of D/A technology,
> and can safely be recommended for any system, however exotic. Finally,
> one can use one of those gorgeous 'high end' transports without
> worrying that the sound will not be as good as a $500 Sony DVD player!

Heck - use the DVD player as your source - use the TOSLINK to go to the
Benchmark and that to the preamp or receiver's "CD" input.

But you had better like your CD's recordings - good ones sound pristine, the
bad ones will be revealed in all their glory to be bad.

And, it is *not* the bleeding edge. You have to go to EMM labs (another pro
gear house) for that.
 
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Stewart Pinkerton <patent3@dircon.co.uk> wrote in message news:<Lv1wc.50499$Ly.48333@attbi_s01>...

> Quite so, on both counts. Since there exist *no* master tapes with a
> dynamic range higher than 80dB, there is certainly no need for more
> than 16 bits (93dB) in the *distribution* medium, although 24 in the
> *recording* medium are certainly useful for avoiding mic overloads and
> allowing plenty of EQ.

Agreed. The extra bits of headroom effectively allow you to move
dynamic processing (such as compressors and limiters) from the analog
realm into the digital realm. Software is cheaper than hardware, and
software has a neat feature called "Undo." Now, is 24 really
necessary? That seems a moot point since ADC's and storage bytes are
both getting cheaper and cheaper.

I know that on my lowly MiniDisc recorder, I have to give up at least
the upper 12 dB (2 bits) of dynamic range to provide sufficient
headroom for peaks. This is in a situation where I can't pay close
attention to the recording levels because I am busy making the music.

I worried about this until I discovered that my microphone doesn't
really have a 96 dB dynamic range -- probably more like 80 under
normal playing conditions.
 
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On 6/4/04 7:01 PM, in article c9quvi013pu@news3.newsguy.com, "Stewart
Pinkerton" <patent3@dircon.co.uk> wrote:

> On 4 Jun 2004 00:54:05 GMT, Bromo <bromo@ix.netcom.com> wrote:
>
>> On 6/3/04 6:51 PM, in article pXNvc.2394$Sw.1505@attbi_s51, "Stewart
>> Pinkerton" <patent3@dircon.co.uk> wrote:
>>
>>> On Thu, 03 Jun 2004 16:11:06 GMT, Bromo <bromo@ix.netcom.com> wrote:
>>>
>>>> Actually, the process of A to D and D to A has been developing rather
>>>> rapidly over the last 10 years especially. The chips are better, the
>>>> understanding of distortion in signals - in the process and in the
>>>> recording
>>>> (or A to D ing) have all improved greatly - and has allowed the development
>>>> of some truly excellent D/A converters whose ability to convert CD's are
>>>> nearly as good as the D/D converters that made the CD's.
>>>
>>> Actually, real engineers are well aware that DACs have *always*
>>> exceeded the performance of ADCs.
>>
>> 'real' engineers? Is that a subjective judgement there, hmmmmmm? ;-)
>
> Nope - a simple statement of fact, at least if we take it that we're
> discussing electronics engineers rather than civils! :)
>
>> ADC's are much more difficult to do properly, yes, but understanding and
>> improving the science has happened mostly in the last 10 years - the
>> previous 10 was just trying to get the technology and physical hardware to
>> work properly.
>
> Hooey - I was building ADCs and DACs in the early '70s, and even then,
> Burr-Brown had a pretty good handle on the technology - although you
> wouldn't want to be paying the price of a pair of *those* DACs in your
> CD player (about the price of a VW Golf)! Nowadays there are at least
> half a dozen companies, from giants like AD to 'back-street' outfits
> like Wolfson, making excellent 24/192 DACs which *vastly* exceed the
> requirements of CD replay. The science has not changed in the last ten
> years, and there haven't even been any significant changes in the
> engieering, with the possible exception of hybrid 'low-bit' solutions
> such as the dCS RingDAC.

I talked to my digital guys at work (as you can tell, I am an RF/analog
gEEk) - and they told me that while you are right - the majority of the work
has been done in bit handling in the last 10 (one said 20 years) - the
hardware topologies have had very little work done - one of the graybeards
said that the basics of D to A and A to D have been understood for 40+ years
(his entire career)!

So I suppose the real advances has been (as you said) the *price* of high
quality gear going down, not the techniques. Though the algorithms and
other software bits have made use of the extra power (you see the effects of
the HT RX, and the upsampling so you can play with the signals, etc.)

>>> There are literally *dozens* of 24/192 DACs on the market, and the new
>>> breed of 'universal' players such as the Pioneer 868/59 and Denon 2900
>>> are excellent exemplars of this technology.
>>
>> Agreed. And it also takes a careful design to make use of all 24 bits, even
>> today. Fortunately, most companies can afford to hire engineers capable of
>> using them!
>
> Actually, those engineers are well aware that it's *impossible* to
> make use of more than about 21 bits in even the best available DACs,
> when the full-scale output is the standard 2 volts rms.

Yup - the noise floor is waaaaaay too low - so substitute '21' for '24' in
my above sentence.



>>>> And, of course, there are some really nasty designs, though I suspect that
>>>> most of the brands talked about here aren't those.
>>>
>>> Indeed not, that sort of incompetence tends to be restricted to the
>>> so-called 'high end' brands such as Audio Note and YBA..........
>>
>> Wow - you *do* like to fling mud around!
>
> Indeed - and it *needs* to be flung at such overpriced dross.

Well, in the light of pro gear, they have a lot of justification for the
price to address, that¹s for sure. But then again, the 'pro audio' market
is *not* the luxury good markets.

I mean the same crowd that sees value in ML gear would see value in a high
end BMW or Mercedes - though there are cars that will do just as good, if
not better, in realistic driving conditions than them on the road for less.

> At the
> other end of the scale, the absolute pinnacle of D/A technology is
> undoubtedly the remarkable Benchmark DAC-1, which sells for less than
> a tenth of the price of say the Mark Levinson 'Reference' DAC, yet
> massively outperforms it. Heck, it costs less than some people spend
> on *cables*!

Isn't it a great piece of equipment? I think the real nice thing about it,
is that given a sufficiently well recorded, large CD collection, it is
totally justifiable, especially if you have no intention (like me) of
switching formats!

I also do a bit of home recording, and it would be nice to hear the master
in relation to the 'mix down' to 16/44.1 to make sure I got it right.

Also, it uses a new chipset (not Crystal, which has been used by most high
end 'dross' as you put it for the last round of development) - I would
expect other high end companies to follow suit - I don't know about them
keeping the price low, though!

I think that the other nice thing about this particulr desig is that the
distortion is so darn low as it is unmeasurable by the human ear - and even
at maximum output.

Oh well, I listened to it, but haven't scraped the money together to buy one
- yet.
 
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On 4 Jun 2004 23:15:30 GMT, Bromo <bromo@ix.netcom.com> wrote:

>On 6/4/04 12:33 PM, in article Lv1wc.50499$Ly.48333@attbi_s01, "Stewart
>Pinkerton" <patent3@dircon.co.uk> wrote:
>
>>> For the home studio - there is a very good D/A converter that is probably
>>> as
>>> good as you will ever get for CD conversion and does an excellent job in
>>> listening to the masters (24bit/96kHz) as well. Costs about $900 - the
>>> Benchmark DAC1 - and will probably be all you would ever need for an
>>> audiophile setup if ultimate transparency is your goal."
>>
>> Agreed - I only recently became aware of this remarkable device, which
>> does indeed appear to represent the bleeding edge of D/A technology,
>> and can safely be recommended for any system, however exotic. Finally,
>> one can use one of those gorgeous 'high end' transports without
>> worrying that the sound will not be as good as a $500 Sony DVD player!
>
>Heck - use the DVD player as your source - use the TOSLINK to go to the
>Benchmark and that to the preamp or receiver's "CD" input.

No, the point is that one can have the pride of ownership of a
beatifully crafted mechanism without having to worry about the sound
being inferior. Kinda like having a Patek Philippe Tourbillon watch -
even though in that case you *know* that a $10 Casio keeps better
time!

>But you had better like your CD's recordings - good ones sound pristine, the
>bad ones will be revealed in all their glory to be bad.

Well, that's the whole point of high fidelity, now isn't it? :)

>And, it is *not* the bleeding edge. You have to go to EMM labs (another pro
>gear house) for that.

Hmmmm. *Very* arguable, IMNVHO, as the technology in the Benchmark
unit exceeds anything I've seen touted by EMM (aside from number of
channels, of course!).

--

Stewart Pinkerton | Music is Art - Audio is Engineering
 
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On 6/5/04 12:10 PM, in article Nfmwc.48861$eY2.47832@attbi_s02, "Stewart
Pinkerton" <patent3@dircon.co.uk> wrote:

>> Heck - use the DVD player as your source - use the TOSLINK to go to the
>> Benchmark and that to the preamp or receiver's "CD" input.
>
> No, the point is that one can have the pride of ownership of a
> beatifully crafted mechanism without having to worry about the sound
> being inferior. Kinda like having a Patek Philippe Tourbillon watch -
> even though in that case you *know* that a $10 Casio keeps better
> time!

We both could go into the business of producing really imposing blocks of
machined 6061 Aluminum, with the fashionable clear alodyne pwople like these
days (we could, for an extra $750 offer black or grey hammertone) - and put
in something akin to the Benchmark....