John Curl's Blowtorch preamplifier part III

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But sharpness still shouldn't be an issue? Just something that might require getting used to over time until it is no longer a distraction

The sharpness issue is a kind of low level distortion, IMHO. It wasn't on the master tape and it shouldn't be encoded on the CD if a top mastering lab used the best ADC available (such as with Bob Ludwig's work). If a very well implemented Sabre dac is fed a CD rip that has been converted to DSD512 by HQplayer, it can to sound detailed but not artificially or excessively sharpened (as you refer to the perceptual effect). Some kinds of very low level distortion in dacs don't sound at all like electric guitar distortion or like old solid state amp clipping. Perceptually, it can simply sound overly sharp. That the sharpness effect is due to distortion can be shown by the fact that the effect can be nearly all the way attenuated while maintaining relaxed, yet detailed sound. That is why I reject the claim that $200 or $500 dacs that measure pretty well sound as good as any dac can ever sound, they don't. What THD number tells you detail is retained, but over-sharpness is almost completely absent? None, IMHO. We don't measure that, so far as I can tell. Just like we don't measure reverb tail or room ambiance reproduction accuracy. It is a dynamic effect, not captured in static ENOB testing, or by THD measurement. Same with the 'sharpness' effect. Doesn't mean we couldn't figure out how to measure it, we probably could. Just like we could probably do lots of things we don't do.
@ScottJ - see Mark's post - he is absolutely correct - I'm pretty sure too that the sharpness is distortion that many forgive just like you did - as something to get used to - you will never get used to this distortion - it stops people's interest in sitting down to listen as they find it is not relaxing anymore
 
With all due respect, this is only an opinion and speculation.

Sorry, guess I forgot to pepper that with enough IMHO's. Yes, you are correct, the matter has not been formally studied, that I am aware of anyway. While we are waiting for that to happen, I would recommend acquiring a very well implemented Sabre dac capable of DSD512 playback and HQplayer (or maybe even better, T&A DAC8 DSD and HQplayer, except perhaps DAC8 is getting a little long in the tooth). You can be enjoying well reproduced music while the rest of us are over here arguing.

EDIT: Unfortunately, I don't know of a Sabre dac I would recommend for that. I am working on one now while waiting for AK4499 though. I am finding distortion associated with the LDO regulators commonly used for AVCC in PRO series dacs. Some things can be done to reduce the distortion, but still not quite as good as a good opamp buffer like ESS recommended way back in one of their few public documents: http://www.esstech.com/files/4514/4095/4306/Application_Note_Component_Selection_and_PCB_Layout.pdf
A few things they recommend in the document can be audibly improved upon somewhat, but the basic opamp AVCC regulator idea is a good one, when it can meet AVCC current drive requirements that is.

All the above, IMHO, of course.
 
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Yea, who knew - revelations abound 😎

Note the use of the term "Psychoacoustic experiments" in the research paper - it doesn't mean that they are testing for imaginings/delusions.

It's often seen on audio forums this confused use of the term trying to equate it to delusions - it simply reveals their lack of knowledge of what they are talking about.

It includes both psychological and physiological aspects of sound perception so it does run on both sides of the fence.....does it not?
 
How about a rough poll of people who use their computer as source & who feel that their CD gives a better, more interesting sound - using modern DACs?


I use a computer as a source and it does exactly what is says on the tin and delivers bits to the minidsp. No mess, no fuss and can search around 10k albums without waddling across the room to my CD racks. Boringly efficient.



Vinyl is more fun, but many steps back in fidelity.
 
Regarding ABX, I think I know even better than MMerrill (and my opinions is even more extreme than his). Why? Setup an ABX test and I can show you that I will beat you (or anyone that you champion if you can't hear) at every turns. If I could show it to you, who do you think should be the final arbiter?
Have you done it before?
But I don't want to have too many topics to discuss either 🙂
Right, you still have some questions to answer such as when and where you've observed people who prefer the boosted low frequency.
 
Another thought came to me about this sharpness question. With some DACs, this 'sharpness' seems to have reached to a point that begin to be, may-be, in excess.
I do apologise, I didn't realise you were referring to distortion. So, according to Mark and Merrill, you meant to say "with some DACs distortion seems to have become excessive" Does that mean they used not to have so much distortion, or have you words and meaning become distorted?
 
"Nothing new"....mhm....true as good ol´ syn08 is trying again the playbook of eristics.
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I've heard voices that I respect for their known public work and results, which raised some legitimate questions about the Meyer and Moran experiment (in particular about the material used for testing) although even those don't invalidate the results, from any practical perspective (since HD material was almost non existent at the time, virtually all SACD material was up sampled from the original master recordings (sometimes tapes) so the CD vs. SACD comparison was, from any practical perspective, fair.

However you, Jakob(x), are the last entitled to criticize Meyer and Moran (or anybody else's work, for that matter), since you never produced any form of testing results that would show you are qualified for criticizing other people work. Until you decide to show some results, you are really just another (to me, subjectively annoying) Internet voice with an agenda and an axe to grind.

In your position, I would feel very uncomfortable to watch my shills, of the mmerrill99 kind, perpetrating tons of BS, staying mum about, while fighting those attempting (even if occasionally naive) to run some foobar tests, but hey, that's the good ol' syn08 without any agenda to promote.

And that's about it, this useless debate stops here, any further comments are directed to /dev/null. Now, Jakob(x) has the last word.
 
I use a computer as a source and it does exactly what is says on the tin and delivers bits to the minidsp. No mess, no fuss and can search around 10k albums without waddling across the room to my CD racks. Boringly efficient.

Vinyl is more fun, but many steps back in fidelity.
You've compared your CD playback to the same CD ripped to disk?
OK, that's one vote - really need to set up a poll on this to get more votes.
 
With speakers, you add your room reflections, room modes (standing waves), reverberation time, possible echoes to the recorded sound. You hear original concert hall acoustics + your room. Original "travel in space of the sound waves" is already captured in the recording. Of course imaging and space information through headphones is unnatural - L/R ping-pong, missing head comb filter effect, however at least you do not add reflections, standing waves, reverberation and echoes of your listening room that are genuine and valid just for your room.

The sound waves don't really exist, I mean, they travel...and they don't expand but propagate. The "possible echoes to the recorded sound" is the masking, right? At the original concert in the original hall I'd probably hear no masking.
All the problems related to reflections/standing waves/reverberation are related to the listening room which is not the concert hall but...
 
It includes both psychological and physiological aspects of sound perception so it does run on both sides of the fence.....does it not?
It depends where you get your definitions, is Wikipedia any good? PMA was probably right:


"The term "psychoacoustics" also arises in discussions about cognitive psychology and the effects that personal expectations, prejudices, and predispositions may have on listeners' relative evaluations and comparisons of sonic aesthetics and acuity and on listeners' varying determinations about the relative qualities of various musical instruments and performers. The expression that one "hears what one wants (or expects) to hear" may pertain in such discussions."
 
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