Thank you Dimitri! So John there is B&K explaining in 1964 why they chose 200Meg. They were making INSTRUMENTS and the sensitiviity (which is directly proportional to polarization voltage) had to be standards lab traceable.
There is life above 20khz 
I posted a nice link a few pages ago.
Good point about the manipulated highres material issued for audio-phools.
But 2L recordings are not such, and the DXD masters are of amazing quality, ESP. If NOT downsampled.
DXD files weight more than dsd because they are 24/352k vs 1/2,8mhz. Yep 1 bit.
I posted a nice link a few pages ago.
Good point about the manipulated highres material issued for audio-phools.
But 2L recordings are not such, and the DXD masters are of amazing quality, ESP. If NOT downsampled.
DXD files weight more than dsd because they are 24/352k vs 1/2,8mhz. Yep 1 bit.
Telstar, thanks for the 2L links.There is life above 20khz
I posted a nice link a few pages ago.
Good point about the manipulated highres material issued for audio-phools.
But 2L recordings are not such, and the DXD masters are of amazing quality, ESP. If NOT downsampled.
DXD files weight more than dsd because they are 24/352k vs 1/2,8mhz. Yep 1 bit.
Which of the downloads best illustrate the importance of life above 20kHz? Will these supersonics appear on the 96kHz downloads?
Broadband to Cooktown, the Centre of the Universe is still quite iffy.
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Anyone here took part in Meyer & Moran? What recordings did they use?
Audibility of a CD-Standard A/DA/A Loop Inserted into High-Resolution Audio Playback
Yus true BELIEVERS who spurn all NULL results from Blind Listening Tests (and even refuse to use anything that these evil Blind tests show to sound better) need not reply. I'm sure your prophet JC will pontificate at length
For sure, in all analog devices, mikes, tapes, vinyls. Even if it is in a low pass slope of 12/18dB/oct.
May-be the problem of CDs are the brick wall ?
May-be the problem disappear if you filter by a tweeter (by example) cutting around 16Khz with its natural slope ?
Sorry to say, it is the 2L samples that have been doctored. I'll go the next step, and dissect 384, 192, and 92 versions of the same track, one of the examples from that website. Also, I'll take the 384 version, downsample to 92, then resample that back up to 384 and post difference files -- to prove nothing significant is lost or gained.There is life above 20khz
I posted a nice link a few pages ago.
Good point about the manipulated highres material issued for audio-phools.
But 2L recordings are not such, and the DXD masters are of amazing quality, ESP. If NOT downsampled.
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Why am I confident? Because I've already done this exercise on other files, some time ago, and got effectively null results on doing a difference ...
Frank
Thanks for that. I guess the material wouldn't be out there, on-line, though ...
So, everyone "knows" that certain mic's are excellent, even though one can't see figures anywhere, "proving" it. How do the engineers know? Because, they listen on headphones to the result, and of course headphones have a much, much lower level of distortion than mic's, because otherwise this wouldn't make much sense, would it ...?
Talk about a dog chasing its tail ...
Frank
Meyer & Moran
It's a pity they didn't list the zillion SACDs they used so we could exclude them from our tests.
Note the test was also about 16b vs "zillion or 1 bit" and not only about supersonics.
Thanks for this George.
It's a pity they didn't list the zillion SACDs they used so we could exclude them from our tests.
Note the test was also about 16b vs "zillion or 1 bit" and not only about supersonics.
Read any of my articles. I show my measurements. Additionally, Jack Walton has built my circuits and repeated the measurements, which are all posted on his website.
I have three preamps in the house at the moment, ranging from 0.002% 2nd to 0.03% second at full output. All single ended, all tube, all with no loop feedback, no SRPP or White. The measurements are all published. You can also look at Morgan Jones's designs- again with published measurements. Ditto Allen Wright's circuits. There are undoubtedly many more.
So, yes, the idea that well-engineered tube circuits have audible levels of distortion is nonsense unless you're claiming to be able to hear those levels of 2nd harmonic (which totally dominate the distortion spectrum- all other harmonics are 20 or more dB lower). I would find such a claim... difficult to believe, in the same category as, "I can dead-lift 1000 kg with one hand!"
In a typical Telarc recording, it could be 10 meters or much more from the microphones to any musical instruments that have any content above 20 kHz.
Gee Dimitri are you saying that someone realized the same thing in 1967 surprise, surprise, surprise? I like the wording (BTW there is a bit of history about Johnson and Nyquist and near simultaneous discovery). I still find Nyquist's example and reasoning a wonderful model of clear thinking.
The 2L recording 'technique' is doing something very bizarre when putting down the DXD track: I'm looking at the Britten, Simple Symphony DXD track, and a half sample rate, ie. 176.2kHz, warble tone or whatever, is riding along, through the whole track. This goes up and down in amplitude, rising to only -40dB down at its worst! What the hell is that doing there?! This alone must do something to the processing, replay chain; perhaps because it's adding some sort of sparkle perhaps, by stimulating a distortion artifact??
Frank
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