Thanks, zfe,
But I am confused. I want both channels to change polarity. If you have not experimented with this you might be in for a surprise. There is no standard for absolute polarity through the chain. Incorrect polarity can sound akin to imagining the sound of singing with the lungs taking in air instead of expelling along with other effects.
So, since I am confused, please put it simply: would the change in polarity only occur after a power cycle or as it was performed when the request is made with the command to umanager?
Would it matter which RS232 input is being used?
Thanks and take care,
The change in polarity only occur after a power cycle.
I am next to certain that it does not matter.
Well,
I have certainly failed the test.
Better to know than to wonder!!!
Back to finding another solution.
Thanks, zfe.
I have certainly failed the test.
Better to know than to wonder!!!
Back to finding another solution.
Thanks, zfe.
Yes, I have crossed myself off the list, too.
Funny, it just might be liberating. Luckily I have been happy with the sound of my system so maybe I can just sit back and relax.
Humbling, nonetheless!
I am confused.
Are there two separate ways to give umanager commands that effect when the command is used?
Do I understand, say for changing filters, if one uses F7 instead of set mode = soft that the command is implemented during playback?
I must have missed this in the manual.
Someone clarify, please.
Are there two separate ways to give umanager commands that effect when the command is used?
Do I understand, say for changing filters, if one uses F7 instead of set mode = soft that the command is implemented during playback?
I must have missed this in the manual.
Someone clarify, please.
In one word - yes.
In a few words - anything done by 'set' is done once to set parameters when next the DAM powers up. The 'runtime' commands work instantly 'during play'. A good summary of the runtime commands is the status output you get on powering up - L being the sample rate (or lack of lock onto a sample rate in the case of 000), V is the volume, I is the input, F is the current filter and, hopefully soon, your (in)famous P for phase.
Best way to deal with it is a separate micro controller that is programmed to send your Volume, Input, Filter and (soon) Phase changes via IR or Bluetooth - thus giving you a DAC/Preamp. Well thought-out by the designer....may he continue to bless us diy'ers with his output (stage) 😋
If you do not want to wait for the firmware update for polarity switching during playback and are using a filter with public available coefficients (e.g., the stock filters of the DAM), you just need to add your favorite filter where you multiplied the coefficients with -1. The easiest way doing so is to multiply the multiplayer with -1.
If the FIR1 filter has a dedicated FIR2 filter do this only for FIR1 (as -1 * -1 = +1 😉)
The disadvantage, you then only can install two, instead of four, different filters.
If the FIR1 filter has a dedicated FIR2 filter do this only for FIR1 (as -1 * -1 = +1 😉)
The disadvantage, you then only can install two, instead of four, different filters.
Dear zfe,
YOU are one clever fellow!
I do only use two filters so your solution is brilliant.
Now to see if I can do this ...
THANKS and take care,
YOU are one clever fellow!
I do only use two filters so your solution is brilliant.
Now to see if I can do this ...
THANKS and take care,
Well,
I am obviously not bright enough to figure out how to do this.
zfe, is this something fairly simple or complicated? How do I open up an .skr file for starters. Can you direct me to a post where this is explained?
Sorry to be a pain ...
Should mention I am using oneoclocks package. Can one convert an .skr to a .txt? What would one use to do this?
I am obviously not bright enough to figure out how to do this.
zfe, is this something fairly simple or complicated? How do I open up an .skr file for starters. Can you direct me to a post where this is explained?
Sorry to be a pain ...
Should mention I am using oneoclocks package. Can one convert an .skr to a .txt? What would one use to do this?
Last edited:
As soon you have the .txt file it is fairly simple (some copy paste and very few editing).
I am not aware of any tool for converting a .skr in a .txt file. It would not require magic to reverse engineer the .skr file (the essential things are there just as binaries). But the easiest would be to ask oneoclock for the .txt file or even for providing the final thing you need.
THANKS again, zfe. In fact, I cannot thank you enough.
I sent a note to oneoclock.
AND before the time period for editing has passed I get a response from oneoclock offering to modify them for me.
As I said to him, I feel like one lucky fellow to have the help of the two of you.
Makes one wonder what is the best part of this hobby? The pleasure one receives from listening to music or the camaraderie of other audio hobbyists.
I am intensely grateful.
I sent a note to oneoclock.
AND before the time period for editing has passed I get a response from oneoclock offering to modify them for me.
As I said to him, I feel like one lucky fellow to have the help of the two of you.
Makes one wonder what is the best part of this hobby? The pleasure one receives from listening to music or the camaraderie of other audio hobbyists.
I am intensely grateful.
Last edited:
For those interested oneoclock's reworking of his filter pack to give the previous "minimal" and "soft" filters "normal" and "inverted" versions, as suggested by zfe, works well.
After my embarrassment I will take some time before making any polarity pronouncements.
One should ask for a copy if interested. I would suspect he would be glad to give one. He is a very kind man. I am very grateful to him.
One thing for those as limited in understanding all of this stuff as I - all you have to do after making connection to the DAC with your terminal manager (I am using tera term) is simply type in the filter you want: F4, F5, F6, F7 and enter. I felt for sure it had to far more complicated than that and pestered oneoclock with numerous emails before I finally figured it out. But it is that easy.
Modified the hotkeys to reflect this and all is simplicity.
Not sure about this aspect - I know when you cycle the DAC it will return to the default value in umanager whether this is the case with going in and out of tera term I have not been able to verify with my ears. If someone knows for sure please say something.
Much gratitude to zfe and oneoclock.
After my embarrassment I will take some time before making any polarity pronouncements.
One should ask for a copy if interested. I would suspect he would be glad to give one. He is a very kind man. I am very grateful to him.
One thing for those as limited in understanding all of this stuff as I - all you have to do after making connection to the DAC with your terminal manager (I am using tera term) is simply type in the filter you want: F4, F5, F6, F7 and enter. I felt for sure it had to far more complicated than that and pestered oneoclock with numerous emails before I finally figured it out. But it is that easy.
Modified the hotkeys to reflect this and all is simplicity.
Not sure about this aspect - I know when you cycle the DAC it will return to the default value in umanager whether this is the case with going in and out of tera term I have not been able to verify with my ears. If someone knows for sure please say something.
Much gratitude to zfe and oneoclock.
I've it up. You will never catch it in a blind test. Please explain why there would be a difference?
//
//
I do not hear any differences, but I've had some thoughts about the phase inversion topic. One effect that might occur would be dependend on what kind of speaker you use.
For a symmetric, periodic signal (e.g. a sine wave) you will not be able to distinguish anything. The output is identical, up do a "delay" of half of the period length.
For the other extrem, a single pulse signal, something could happen.
If the speaker moves away from you it can reduce the pressure at most to vacuum (hypothetically). If it moves towards you there is no such obvious limit in generating pressure.
Now a signal of 140dB (at your ears) equals a pressure variation of about 200Pa (at your ears), the atmospheric pressure is about 10000Pa.
The pressure of a point shaped source propagate by a 1/(r^2) law ... the one of a plane source would stay constant.
So the appearance of a (potential) problem may depend on the speaker.
Something near to you and planar (e.g. a headphone with big "speakers") will not have to generate high pressures an the above effect will be minimal if existent at all.
A speaker some meters away with a nearly point shaped source (small tweeter) might run in different performance between push and pull.
For a symmetric, periodic signal (e.g. a sine wave) you will not be able to distinguish anything. The output is identical, up do a "delay" of half of the period length.
For the other extrem, a single pulse signal, something could happen.
If the speaker moves away from you it can reduce the pressure at most to vacuum (hypothetically). If it moves towards you there is no such obvious limit in generating pressure.
Now a signal of 140dB (at your ears) equals a pressure variation of about 200Pa (at your ears), the atmospheric pressure is about 10000Pa.
The pressure of a point shaped source propagate by a 1/(r^2) law ... the one of a plane source would stay constant.
So the appearance of a (potential) problem may depend on the speaker.
Something near to you and planar (e.g. a headphone with big "speakers") will not have to generate high pressures an the above effect will be minimal if existent at all.
A speaker some meters away with a nearly point shaped source (small tweeter) might run in different performance between push and pull.
The issue of polarity is rather complicated. I came across the following article about this topic (see link below). It might not answer all questions (I have more questions now after reading it) but it unfolds the complexity of the polarity issue. I guess those who do not hear differences when switching polarity are lucky ones, and those who do ... are lucky ones too.
SoundStage! Max dB - Audio Signal Polarity - A Look Behind the Curtain (10/1999)
Observation: Some high end digital equipment allows switching the polarity 'on the fly'. I think it makes sense to explore the issue further w.r.t. having this function in dam1021.
SoundStage! Max dB - Audio Signal Polarity - A Look Behind the Curtain (10/1999)
Observation: Some high end digital equipment allows switching the polarity 'on the fly'. I think it makes sense to explore the issue further w.r.t. having this function in dam1021.
Last edited:
I know with the phonograph and switching polarity between MC cartridge and input of phono amp there was usually a best setting.
My speakers are horns with first order crossovers and I sit approx 5 meters away from them; they have plenty of room to converge. Crossover components were selected by measuring in the room with REW for flat room response
This is not produce a drastic change and one does have to train themselves to hear it. Only way I know how is to listen to both polarities at length and learning the effect.
Once one becomes attuned to it it is easy to hear on most records. It is entirely possible with multi channel recordings that different people might have different BEST settings. This would depend on what is most important to you. If the vocals and, say, a saxophone were recorded in opposite polarity; if one is very attuned to the voice then this is likely where they will make their choice, which setting makes the voice sound more natural. Or it could be the saxophone.
You might try this - as you listen to your collection - there is a record that doesn't sound "good" to you - you have listened to a string of records that did sound good but this one is just a little strange - try reversing polarity and listen if this makes a difference.
Many people have probably no idea what the basic "polarity" of their system is. Just takes one inverting component. I do not think most manufacturers make this clear. So many folks are listening to inverted polarity as a matter of course. More often than not most records are the same polarity but there are a significant number that are not.
Clark Johnsen, who discovered this effect, found it interesting that all of Harry Pearson's reference disks were the same polarity. Wonder how many records were left out of this because of nothing more than reversed polarity? Not that I paid much attention to Mr Pearson's record choices but that is interesting.
Then there is the story of XTC (British rock band) releasing a CD, I think it was SKYLARKING, with inverted phase and the band along with many of their fans were disappointed by the sound of the disk. Most of these people are listening on mid-fi systems, at best, that are probably pre-packaged assemblages but I bet they were neutral in polarity. They heard this and eventually the CD was re-released with the polarity reversed.
I pay no attention to what the basic polarity of my system is since I know I can change it.
I do think this takes a little time to get acclimated. Worth the effort. (at least I think it is)
Now for a controversial statement - I am finding with the oneoclock filter pak per zfe's suggestion that records that I thought sounded better inverted with umanager settings seem to also sound better with the oneoclock/zfe filter pak. Now I know that casts great doubts yet again on my ability to discern this effect but I figured I had to own up to it.
Perception is a mysterious thing, I know. Where does it come from? At this point I am still becoming acclimated and hope I get a better idea of my own perception. I readily admit that my assumed ability to hear the difference could easily be my imagination. I know there is a difference because I hear it with the phono set-up. It should be just as audible with digital.
My speakers are horns with first order crossovers and I sit approx 5 meters away from them; they have plenty of room to converge. Crossover components were selected by measuring in the room with REW for flat room response
This is not produce a drastic change and one does have to train themselves to hear it. Only way I know how is to listen to both polarities at length and learning the effect.
Once one becomes attuned to it it is easy to hear on most records. It is entirely possible with multi channel recordings that different people might have different BEST settings. This would depend on what is most important to you. If the vocals and, say, a saxophone were recorded in opposite polarity; if one is very attuned to the voice then this is likely where they will make their choice, which setting makes the voice sound more natural. Or it could be the saxophone.
You might try this - as you listen to your collection - there is a record that doesn't sound "good" to you - you have listened to a string of records that did sound good but this one is just a little strange - try reversing polarity and listen if this makes a difference.
Many people have probably no idea what the basic "polarity" of their system is. Just takes one inverting component. I do not think most manufacturers make this clear. So many folks are listening to inverted polarity as a matter of course. More often than not most records are the same polarity but there are a significant number that are not.
Clark Johnsen, who discovered this effect, found it interesting that all of Harry Pearson's reference disks were the same polarity. Wonder how many records were left out of this because of nothing more than reversed polarity? Not that I paid much attention to Mr Pearson's record choices but that is interesting.
Then there is the story of XTC (British rock band) releasing a CD, I think it was SKYLARKING, with inverted phase and the band along with many of their fans were disappointed by the sound of the disk. Most of these people are listening on mid-fi systems, at best, that are probably pre-packaged assemblages but I bet they were neutral in polarity. They heard this and eventually the CD was re-released with the polarity reversed.
I pay no attention to what the basic polarity of my system is since I know I can change it.
I do think this takes a little time to get acclimated. Worth the effort. (at least I think it is)
Now for a controversial statement - I am finding with the oneoclock filter pak per zfe's suggestion that records that I thought sounded better inverted with umanager settings seem to also sound better with the oneoclock/zfe filter pak. Now I know that casts great doubts yet again on my ability to discern this effect but I figured I had to own up to it.
Perception is a mysterious thing, I know. Where does it come from? At this point I am still becoming acclimated and hope I get a better idea of my own perception. I readily admit that my assumed ability to hear the difference could easily be my imagination. I know there is a difference because I hear it with the phono set-up. It should be just as audible with digital.
I want to power up the Shift registers with salas shunt regulator with about 5.5V
Now since there is an precision tracking supplies which I believe the Positive +4V is generated by the negative power supply input.
Now since its important to track the supplies so we need to power only one supply that is negative.
I want to take out the 8L05 and 9L05 and power the pins directly from a salas 5.5V output.
Any suggestions how to do this or is it possible to do that?
https://hifiduino.files.wordpress.com/2015/01/dsc04901.jpg
Now since there is an precision tracking supplies which I believe the Positive +4V is generated by the negative power supply input.
Now since its important to track the supplies so we need to power only one supply that is negative.
I want to take out the 8L05 and 9L05 and power the pins directly from a salas 5.5V output.
Any suggestions how to do this or is it possible to do that?
https://hifiduino.files.wordpress.com/2015/01/dsc04901.jpg