Ah sciatica. That is something I don't want again. And I don't want ANY of what Marce has had to go through in last 18 months. As I know neither did he...
There are no exact rules. I don't see why not post any comments and discuss. It's simply at 24/96 recording that has been downsampled by various means to arrive at CD quality.
This was done in part in response to some expression(s) that there is no benefit to hi-res above CD quality, and in part in response to some requests for some examples of hi-rez to listen to.
Some possible questions to discuss might be: (1) Is there ever anything more audible in hi-res formats at all? (2) Is there anything more audible in hi-res formats that some listeners might want, or can we be confident that CD is fine for any practical consumer use?
EDIT: Also, if there are concerns that the samples should/could have been different in some way, that may be easy to fix with some new samples. I have a triangle, other HF producing hand percussion and some guitars sitting around that might be used to produce hi-res samples with extended HF information and wide dynamic range. Production of somewhat effected sounds is also possible.
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Gabapentin can be used to help reduce side-effects from discontinuation of morphine. Also, doctors feel it is safe to try for nerve pain because it is non-addicting and it does help some people. However, it can cause depression and suicidal thoughts as it's own side effect, especially at high doses. If that happens, or if it doesn't work and you are suffering enough, doctors tend to assume you will come back for further evaluation.
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OK, here we go then. I just took the files at face value and played them on the PC using initially some half decent Philips ear buds. I then swapped over to Sony MDR -V7's all the while just making notes. I didn't use any A-B testing between tracks, just kept listening one over and over and then comparing to others in random order and seeing if differences emerged.
This is what I wrote:
16A Hard to pin this one down. Transients are good. Maybe to good ? I've just swapped headphones. This sounds a 'expanded' as if some non linear process is at work.
16B This sounds processed. A bit thin and the decay seems unnatural.
16C Good attack and decay. HF detail seems enhanced audibly i.e. processed.
16D Similar. Maybe slighter 'leaner' but perhaps more natural decay to the transients. With the swap of headphones this is becoming favourite.
16E This one is good. Other headphones and its less good. HF detail seems missing in the decay on the right channel. Not lower amplitude but lower resolution.
16F Compared to A this one sounds processed. The baseline seems to move up and down.
24 This sounds similar to D but slightly more expansive.
What a relief.
Doctors, you can't kill them, but don't want 'm alive.
Lawyers on the other hand.
I've all but come of it now after 5 weeks, and will have my last tablet Christmas day. Not a fan of all these medicines, now on codine and paracetamol, iron tablets and to combat all that and the bowel chopping up they did, Laxido, life's just one big laugh, but no catheters, ever so some good points😀
Can I just check. We are supposed to listen to Left and Right seperately on each file or is it mixed to sound right in stereo with the two mics?
There is are no rules about how to listen. Two mics were used for some variety, and because one has smoother frequency response at HF as well as off axis, and the other mic is lower noise, but is subject to HF frequency response variations due to the larger diaphragm size as compared to HF wavelengths in air, and also has a less well controlled frequency response off axis.
The two mics can be listened to individually or together as desired, or however one may find to be most revealing for any listening evaluation of interest.
The two channels were not "mixed" per se as that would involve making some judgement calls about normalizing or matching peak levels, or average levels, etc. Recording levels were set to maximize dynamic range while trying to avoid clipping. Despite that, I think there may have been a brief clip, but probably not audible.
For playback equipment that has a balance control, it would be fine experiment with adjustment of it to see what sounds best in terms of stereo balance or just to focus on a single channel.
I will post a jpg to show how that can be done in Windows if using Windows Media Player or similar, and if not using a recording program such as Audacity that may already have channel balance capability, or which may even be able to split the stereo file into to separate mono files that can then be listened to in both speakers at once.
For Windows, go to control panel, sound, highlight the playback device and select properties, go to the second tab that says level, then click on balance.
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Scott,
I've run 10 or more Borbely dacs, phono, line stage etc over the past 15 years , some left on continuously for years . They all run J74's at 24 volt rails, they are cascoded in his better designs, but the simpler ones run output stages straight off the rails, idss 8 to 10 ma with no source resistors. Never lost or had a problem with 24 volts on them.......... is it dissipation or voltage breakdown that is of concern? Nelson said previously they don't breakdown until their over 40 volts, but are there slower, non-immediately destructive, factors working on the dies at 24 VDC?
I've run 10 or more Borbely dacs, phono, line stage etc over the past 15 years , some left on continuously for years . They all run J74's at 24 volt rails, they are cascoded in his better designs, but the simpler ones run output stages straight off the rails, idss 8 to 10 ma with no source resistors. Never lost or had a problem with 24 volts on them.......... is it dissipation or voltage breakdown that is of concern? Nelson said previously they don't breakdown until their over 40 volts, but are there slower, non-immediately destructive, factors working on the dies at 24 VDC?
Just sayin' the data sheet has min gate to drain breakdown - 25V. When the output swings to +20V that's 44V gate to drain. Looking at things from a general purpose point of view one could not do this and guarantee reliability.
Thanks Scott,
You bring up another problem with opamps. Even with an 8 pins DIP socket to octal pin adapter they just don't make good substitutions to do tube-IC rolling. 🙂
ES
You bring up another problem with opamps. Even with an 8 pins DIP socket to octal pin adapter they just don't make good substitutions to do tube-IC rolling. 🙂
ES
Try subtle gain variation with op amps. Even if this means potting down to get what you need. For example you might find the very cheap MC33078 perfect at g=1 and excellent at g=10. Then a shock that g=2 is worse than either. As it will cost nothing to belive it have a go.
I think the need for unity gain stable is the root of this. Not all are is another story, as is inverting gain and class A when lightly loaded or with CCS class A SE.
Try high gains ( 100 ). These will sound very like valves and offer you design possibilities. They might sound more dynamic. When a phono stage this is often a very nice surprise. As the bass needs most amplification when RIAA sometimes very silly gain works just fine.
Happy Christmas.
I think the need for unity gain stable is the root of this. Not all are is another story, as is inverting gain and class A when lightly loaded or with CCS class A SE.
Try high gains ( 100 ). These will sound very like valves and offer you design possibilities. They might sound more dynamic. When a phono stage this is often a very nice surprise. As the bass needs most amplification when RIAA sometimes very silly gain works just fine.
Happy Christmas.
Mooly, thank you for posting all that. However, I am a little puzzled by some of the observations. I wonder if you would be willing to tell us what DAC or sound card you are using?
It was the inbuilt sound card of a Dell Vostro 3750 set for a flat response. I don't know what the chip set is, sorry.
The impressions are how they came across to me. I did put a fair bit of effort into listening attentively though and replayed some many times in succession to gain an impression. I didn't use Foobar or any such A-B comparator.
The impressions are how they came across to me. I did put a fair bit of effort into listening attentively though and replayed some many times in succession to gain an impression. I didn't use Foobar or any such A-B comparator.
It looks like Dell says it uses a Realtek ALC272/ALC269 HD/ALC269Q-GR driver: Support for Vostro 3750 | Dell US
Some Realtek specs for ALC269 are here:
Realtek
Realtek says 98 db S/N A-weighted, among other things. However, it appears that data sheets are only available under some non-disclosure agreement.
For any readers not familiar with it, A-weighting is described here: https://en.wikipedia.org/wiki/A-weighting
I'm just wondering if you might have heard things a little differently using a different DAC and headphone amp. You described trying some different earbuds and headphones, with some difference there.
For one factor of possible interest, the 24-bit file was recorded with very low noise mic and electronics and could exceed the dynamic range of the Realtek part, if the noise floor is considered a limit.
Anyway, in a couple more days, allowing some time for the holiday lull, after people have had a chance to post any impressions they want, I will post the downsampling options used.
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Thanks for the info Mark 🙂
Now this is where listening tests get interesting... and it sounds like I've not come up with what you were perhaps expecting. Remember you have the advantage of 'knowing' what the files are and so perhaps that clouds your view of what you think the replies should be.
The files are what they are, and the results I posted are as they appeared to me under the conditions I set for listening.
My experience of all the listening tests I have run is that unfortunately, although a lot of effort goes into preparing them, response and interest can be very limited, disappointingly so in many cases.
So come on guys, give Mark's samples a whirl and see what you make of them.
Now this is where listening tests get interesting... and it sounds like I've not come up with what you were perhaps expecting. Remember you have the advantage of 'knowing' what the files are and so perhaps that clouds your view of what you think the replies should be.
The files are what they are, and the results I posted are as they appeared to me under the conditions I set for listening.
My experience of all the listening tests I have run is that unfortunately, although a lot of effort goes into preparing them, response and interest can be very limited, disappointingly so in many cases.
So come on guys, give Mark's samples a whirl and see what you make of them.
I suspect that is usually the case a few volts clips most PA's, I was thinking of fault conditions which probably do not damage the FET's while driving the output so hard the audibility is irrelevant. They work for most audio applications but do not as advertised just sub for any op-amp in any socket.
I was kind hoping to hear something or other from maybe Dan and/or bear. Fellows usually not unwilling to be vocal.
Now, I do understand that Hi-Rez tambourine may not be the most musical sound. They usually sound better to me with a dynamic mic, or something more of that nature.
But, the idea in this case was to find something with a lot of HF extension, and dynamic range. Is Hi-Rez indistinguishable from CD quality in such a case? If nobody says otherwise, presumably it must be quite rare for anyone to be able to hear a difference?
Samples are here, in case the old post is hard to find: https://www.dropbox.com/s/com1gxi2eqjxwyl/Tambourine.zip?dl=0
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