I'll try giving it a go today,...
No fiddling with DBT for this,
Interesting that the very tools that have great potential to be genuinely useful in this area, are poorly done in enough ways to be aggravating to use - I'm thinking of DiffMaker here, which has to be the worst piece of software I've experienced in many years.
Hi Frank, I recently discovered this VIRTUAL DJ SOFTWARE - Download VirtualDJ Home FREE due to a DJ friend obtaining a dedicated hardware controller for this DJ software.
The thing I like about this player software the ability to instantly and seamlessly crossfade between two 'same but different' recordings.
To this end I have set up a few keyboard mappings to allow instant A/B crossfade, play/pause, rewind, etc. (I can give the command lines if you like).
I have no reference as to the sound quality of this DJ app, but so far it sounds good enough to me on Toshiba X505 18"" laptop's speakers (Harmon Kardon no less !)
So far I have used Virtual DJ to compare Omicron and Pi recordings.
I am also using Virtual DJ to compare loopback recodings made via my Edirol UA-25EX usb soundcard.
Virtual DJ playback quality is sufficient on the laptop speakers to enable differentiation of recordings of different/modified loopback RCA-RCA cables.
Interesting comment about Foobar ABX rooting the sound....didn't pick it, I will take a closer listen next time I boot up my Stax HP rig.
Dan.
Scott
I read it, I agreed and commented here:
I linked to the 'terminated bridge' article (from the time that people cared to explain and write the derivation of formulae you like
) as an info. Maybe this method that does not need a directional coupler can help on the subject.
I can’t work on this before I finish characterizing all test equipment I have.
George
PS
No Dan.
The shield of the cable going to Scope Ch2 does not ‘touch’ the jig at the Current viewing Port.
It is connected at the other end only-through the scope case- to the gnd of the source.
The ‘return’ of the load is brought to the scope by the inner conductor of this cable.
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You're reeeeally stretching it to try and defend your absurd claim.
I used the term "rope lay" to simply describe the "twists within twists" that is the fundamental characteristic of Type 2 litz, which is responsible for causing each individual strand to occupy all radial positions from the center outward and to ameliorate both proximity and skin effect, which is the whole raison d'être of litz wire.
Yes, I source my litz wire through Scott. And the litz wire he sells is all of the "rope lay" Type 2 variety. I'll let him know that it's not considered to be litz wire and that he's engaging in false advertising.
se
John, a little bird told me some time ago that you're working on a new tape repro electronics. If that's true?
Best,
Anyone ever notice, when you are listening to your favorite song, you don't really notice the fidelity?
Also. I have yet to hear any system, no matter the price, reproduce the sound you get from an old strat, playing around the 12 fret, through an old fender amp with its power tubes being over driven. It is quite magical live, it is NEVER reproduced. Maybe all those hundreds of 5534's used in the recording process?
Also. I have yet to hear any system, no matter the price, reproduce the sound you get from an old strat, playing around the 12 fret, through an old fender amp with its power tubes being over driven. It is quite magical live, it is NEVER reproduced. Maybe all those hundreds of 5534's used in the recording process?
I can enjoy a $2 crappy radio.Huh, not so , every song is my favorite song , fidelity has to be good ........
There are 2 type of mentalities:
#1 listens for musicality (in the sense of the original performance)
....(notes, timing, harmony, etc.)
#2 listens for musicality (in the sense of the playback fidelity)
My neighbor has a couple of Grammy's for recording. His wife is a successful singer, eclectic stuff. He listens to his demos in the car, because that's what he knows and has learned as a tool. I always invite him over, but he feels it will mess with his ears. Most all the other musicians I know, do their critical listening the same way or with those monitors above the console. non are that interested in the fidelity. Some of these people have played recorded with Stevie Wonder, Annie Lennox, Joe Cocker, Ringo Starr. the list goes on.
So what our we getting out of our fidelity? Reproduction of bad audio couth?
So what our we getting out of our fidelity? Reproduction of bad audio couth?
Been there done that, he or most in that industry listens that way because that's their reference and market, let him use your speakers with the fried tweeter for mixing, the song becomes a hit, then everyone and his dog would be lining up for your fried tweeter speaker special ..
Nothing to do with accuracy or fidelity, in fact few of them would know what to do if their monitors were accurate, hence the garbage you see in most studios..
I see.
John, if I might ask - looking back at your works for MoFi and Wilson and with all the experience gained with phono stages, would you do anything differently today?
I'd like to build 8 channels of PB electronics for A-80 some day to transfer recorded material to digital (non profit/no funding) and, although I think I've paid enough attention to all the details you've published here before, I'm always interested to learn more.
Best,
It will sound best on the lowest denominator, by design, I guess today ear buds must be some kind of reference also.
A side note, I was able to break my 14 year old out of ear buds, finally got her to use a decent Pr of headphones, initially she did not like, after an hr or so of use, she called me to say how much she loves it and could not believe the difference, cant wait to get her a really good Pr ...
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