John Curl's Blowtorch preamplifier part II

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@hhoyt, see post #9316

@squadra, yes I know, but the point is/was, you never know what the original format was.

@squadra, yes, sorry for that, I checked, FLAC is not a container (like .zip) my mistake.
Yes, after transcoding you don't know what the source was.
I have read about - but forgot the name of - a tool that could calculate/estimate the effective bit rate/depth. It was used to check if a file was true HD or just upsampled from a lower resolution. That seems like a useful tool, especially for the lossy M(arketing)QA format.
 

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Great statement, Dr. Cryptic! LOLOL

When they had the accident in Japan I was tempted to go into a local market with my Geiger counter. There is in reality an initiative to develop a handheld spectrophotometer for sussing out contaminated or maybe even mislabeled food. Recent secret diner studies still find almost 1/2 of the seafood restaurants have mis-identified fish, surprise surprise, it's usually cheap farm raised fish subbed for expensive wild varieties. Imagine the consumer having the means to do it on the spot.
 
Great statement, Dr. Cryptic! LOLOL
If it does work, I would be interested in seeing if HD files for purchase are indeed from HD sources, but I wonder how accurate it is...gotta study that AES presentation first...
Howie
Well, it doesn't seem to work in a case I've got at hand.
A year ago I downloaded a 24/96 version of Beethoven's "Emperor" Piano Concerto from a reputable British outlet, and did not like the sound. I had a look at it with a program called Music Scope, and it was obvious to me that the HD version was produced by manipulating the original recording. Shown in Att. 1 is the peak spectrum of the entire 1st Movement, with a very suspicious content past 20kHz.
I then wrote to the label that produced the recording and they confirmed that the only master they have is 24/44. They also said to take action against the outlet, etc.
I subsequently downloaded the said master, the peak spectrum of which is shown in Att. 2. The HD version has probably not been upscaled, but it was certainly upsampled, which this application did not identify (it reports "Clean").
Note that the master was recorded without using an AAF, which is almost a matter of routine with this label.
I got the money back from the British outlet, but it took them more than six months to remove the fake HD version from their website.

Regards,
Braca
 

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Of course that's the model. You would actually download signatures for pattern matching, I can't discuss the details but it involves some bizarre optical signal processing.

My knowledge of spectrophotometers is okay, but what the spectra of legit fish versus not is out of my depth. Pun intended. :)

I'd want to be using Apple hardware though so you know exactly what the image train is doing.
 
The most amazing drummer in the world is a 20 year old Japanse girl who still goes through college:

https://www.youtube.com/watch?v=jBPZDP2nBf4

She might have been from age 12:

https://www.youtube.com/watch?v=Vd-VxF0edl4

The most amazing in the world? Hard to see how that could be.

And, she wasn't the first child prodigy drummer, but maybe the most well-known since the advent of youtube. Long ago, I say a young lady in her teens who had been a student of Buddy Rich perform live. She was better than Senri, IMHO. Don't know what ever became of her though.
 
Buddy Rich was kind of a horse's behind, and it is always important to remember this drum solo schtick does not light up everyone's fire.

Sure, but he could at least keep time. And he was fast.

Part of the reason Senri impresses people is because she plays fairly fast. That's what reminded me of Buddy and his student.
 
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I have seen drum teachers in recent years "grade" students by beats per minute. Silly. I think Buddy Rich was a rare talent and a great band leader, and an egotistical horse's behind, but Joe Morello was a far mire musical drummer. These rankings just get silly. Singers, guitar players, drummers, pianists, carpenters, painters, how can you pick one to be "best"?
 
For domestic audio I can't see the point of ZFS. It doesn't give you a backup, just resilance for disks and few of use have enough music to need more than 2 or 3 big discs worth, at which point std raid works. What you need is an off-site backup, which I have.

ZFS IS useful if you have an array of dozens of disks, but that is not my use case.


you can also setup a backup offsite or onsite using ZFS send and receive.

ZFS protects against silent data corruption and bit rot, which is different entirely from disk failure.

http://www.zdnet.com/article/zfs-data-integrity-tested/

http://research.cs.wisc.edu/adsl/Publications/zfs-corruption-fast10.pdf
 
x2 at least for audio -- you really could use a local raid 1 (since TB are stupid cheap and audio files are small), and have a slow remote backup service for redundancy (Box, Amazon, etc).



George--thanks for the link!



We are talking about two different aspects / functions of ZFS.

You are talking about: Resilience again disk failure

I am talking about: resilience against and prevention of silent data corruption

Disk failure is mechanical.

Silent data corruption takes place at the file system level (most "modern" file systems are basically patched ancient architecture).

Part of the function of the copy is to check the data against itself. Some checksums function drastically different than others.

There is a reason why any kind of high value, mission critical data is stored on these types of volume managers.

If we are talking perfectionist 24-bit playback, it is a perfectly valid question to ask one to determine if their data is actually the way it was when they originally copied it to their disk.

Statistically speaking it's impossible for this to be so across the board, especially if the data is multiple years of age and was stored on hfs, ntfs, etc.

In a scientific debate of admittedly barely audible differences using state of the art playback equipment, it's not sensible or scientific to not consider this matter deeply.
 
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