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Old 5th February 2014, 05:08 PM   #11
PMA is offline PMA  Europe
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So it goes.

We need high quality and consistent data to say anything about audibility of passives.
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File Type: png New test lin.PNG (902.4 KB, 258 views)
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Old 5th February 2014, 05:13 PM   #12
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I've run some checks and ripped the test track just now as a check and control on a different PC to try and see what was going on. The 19.2kHz is a puzzle BUT it seems to be present on the original CD.

Here are three spectrums of three different CD's. The third is the one in this test. I can't explain what that artifact is in this case, but it genuinely seems to be present on the original CD. All three CD's were ripped under identical conditions using "Exact Audio Copy" and imported into Audacity to view the spectrum. I have coincidently seen that same effect on my Acer laptop when using it to record via its A/D convertor and that anomaly pointed out to me some weeks ago. That was proved at the time beyond doubt to be an artefact of the Acer. There is no such issue with the Dell used to do the three rips above.

Why there should be a similar line on this particular CD I can not answer.

The good news is that I feel the thread and test is still very valid.

Your comments on the file in post #1 are still needed
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File Type: jpg Rip of Disc 2.JPG (190.7 KB, 235 views)
File Type: jpg Rip of Disc 3.JPG (202.7 KB, 227 views)
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Old 5th February 2014, 05:13 PM   #13
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I'll be back shortly... feeding time
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Old 5th February 2014, 05:19 PM   #14
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Quote:
Originally Posted by Mooly View Post
I've run some checks and ripped the test track just now as a check and control on a different PC to try and see what was going on. The 19.2kHz is a puzzle BUT it seems to be present on the original CD.
Would you post a sample of original data, like 20 - 30s.
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Old 5th February 2014, 06:18 PM   #15
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Quote:
Originally Posted by PMA View Post
Would you post a sample of original data, like 20 - 30s.
You should have it now
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Old 5th February 2014, 06:25 PM   #16
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Quote:
Originally Posted by Barleywater View Post
Glad that was helpful.

A little more specific:

Attachment 398016

In the above, cue points have been added labeled "Nasty" and "Normal"

Track starts out nasty. At 2nd cue point sound is relatively normal. Then goes nasty, normal, nasty to the end.

"Normal" sound is characterized by better low end, less garble smear, and less metallic. Metallic in nasty regions is more than just unmasking by having less low end.

Not at all subtle.
This is a hugely interesting result

Can I just be sure what are meaning. Track starts nasty... OK. How long does that "nasty" last ? You have marked a point around 40 seconds in. Is it OK up to that point or does it start nasty and gradually get better ?

Sorry... I'm just not 100% clear what you meant there
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Old 5th February 2014, 09:55 PM   #17
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Not picking up on Barleywater's nasty and nice cues, but this is the sort of track I use for assessing at the finer end of tweaking a system capability - a normal setup will show "Brittle, garbled, metallic" very easily here.

What I aim for is to be able to play this at room pounding levels, particularly the chorus section where all the instruments come in, and the sound to remain fully consistent, that none of the above adjectives apply. There is plenty of reverb, which is often hard for systems to reproduce correctly, creates a messy sound when the system is not up to scratch. So - from my POV this is very good material for testing, particularly overall system integrity.
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Old 5th February 2014, 10:17 PM   #18
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Actually, I'm running the track on repeat, and the more I listen to it the better I feel it is for testing, the high frequency and low level content is near ideal for sorting out the finer aspects - you should be able to run this at deafening levels, and get more out of it each time ...
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Old 5th February 2014, 11:00 PM   #19
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Three tracks I use for testing are Leann Rimes - Soon. The Corrs - Somebody for someone. Mandisa - Unrestained (this is a gospel piece if that's not your thing).

All three tracks obviously use a reasonable amount of compression, but they all start off slow and build up towards the end with lots of layered voices/instruments. They are all recorded well and sound great when delivered on a system with excellent clarity and resolution. Some bits of some of the tracks will take your ears off, the sibilants on Soon for example, if the treble isn't doing what it should and the forward highly compressed nature of Unrestrained will blow up in your face if the speakers are too forwards . All three tracks should throw a huge sound stage, with pin point central images if done right. The bass should never draw attention to itself.

I like your track Mooley, I'm not 100% sure what the point of the thread is. I guess we all have different ideas of what a perfect test track is, but I find yours a bit depressing if that's important. We all probably have different things that we like to hear done 'right', but I think most people would agree however that one thing we probably all like to hear is massed voices and heavily layered instruments within a very spacious mix. I don't much mind the genre providing it can do that.

Then there are other tracks that just sound really good, but aren't necessarily that demanding of a system, like Stacy Kents interpretation of Isn't it a lovely day.

One thing I'd point out Mooley, is that your track is apparently 48kHz, which clearly isn't native to the CD it is on. Maybe this is why you're getting a spike at high frequencies, if some processing somewhere is going on.
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Old 5th February 2014, 11:15 PM   #20
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Different types of tracks highlight different things - I use plenty of 'terrible' recordings, things which sound hideous on 95% of systems, because they emphasise precisely what a system is doing wrong. Like using a small, intense, highly concentrated light source on a PCB, to see exactly where there is a break in a trace - it can't be seen otherwise, yet something is definitely wrong ...
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