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Magnaryder

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About Magnaryder

  • Rank
    TO-18 Transistor
  • Birthday 04/30/1957

Personal Information

  • Gender
    Male
  • Location
    Bucyrus, Ohio
  • RealName
    Ray W Campbell Jr
  • Occupation
    Director TWFD/ Co-owner WeeBee Transit

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  1. Magnaryder

    new to site...

    Welcome aboard! Tri-Power.... Chevy or Pontiac? ray
  2. Magnaryder

    Roy Clark passes away at 85

    Pickin' and grinin'....Roy and Buck Owens. Damn what talent!! ray
  3. Magnaryder

    Happy Veteran's Day

    Thank you to my brothers and sisters who answered the call to serve. Enjoy YOUR day. ray
  4. Magnaryder

    What does the W stand for?

    Could be Wendell ray
  5. Magnaryder

    30 Days of The Dead

    DeadHeads and fans of the Grateful Dead rejoice!! Here is a link that Lee(PackRatt) sent me to download the 2010-2017 (so far) 30 days of the Dead tracks. While it's just MP3 files it still should be pretty cool. http://deadroots.net/content/30-days Enjoy! ray
  6. Magnaryder

    PDRs stuff

    Perry I’m interested in your thoughts on the Raysonic CD player. I’m looking to add the odd component that not only compliments my system sonic synergy but is also on par with my other gear in industrial design(eye candy). I was knocked off my feet when I first saw BrianTs Raysonic at CarverFest 2011/12. I’ve wanted to get one provided the sound compliments the EAR/Fosgate/Spatial/Yggdrasil cool I’ve got going on now. Ping me off list please. ray
  7. Magnaryder

    PDRs stuff

    Very nice Perry. I'm remaking/redoing/changing around my living room and like what you did there. Thanks for posting it! ray
  8. Magnaryder

    Bands/Albums you used to love, but now.... Not so much.

    I have a 45 minute commute to work and can’t understand why radio has the same songs in an endless rotation. There are so many worthy songs from all of these great bands that get no airplay. Would it be too much of a bother to put some in now and then? That said, Pink Floyd, Zepplin, The Who, the list goes on. ray
  9. Damn nice Kevin! ray
  10. Magnaryder

    C-1 or M-500t

    Better to beg forgiveness than ask permission ray btw, great buy on both
  11. Magnaryder

    Best looking Carver gear?

    Lightstar ray
  12. We're glad you had a great time. CarverFest is the premier audio event of its kind in North America. Alot of work has been done by the Senior Members over the past 12 years to perpetuate the event and make it what it is today and we appreciate you participating. ray
  13. Magnaryder

    Does Bob have a brother?

    IIRC Bob indeed has/had a brother that lived in California. Bob mentioned going to see him due to an illness. Recalling the event(it's been 10 years)Bob met up with Tim deParavicini on that trip and they came up with another tube circuit design and the bias we used in the 2011 amplifier. ray
  14. Magnaryder

    Bob and MQA

    From the BobFather The Emperor’s New Encoding: My Futile Quest to Authenticate MQA Human perception is easily fooled into imagining differences that don’t stand up to empirical proof. MQA (Master Quality Authenticated), a new Tidal Music streaming audio format, takes its place alongside mystic resonating aura crystals, magnetic bracelets and countless other miracle schemes: It is much ado about nothing…for fifty cents extra per download! It’s not what reviewers heard several years ago. It is provably smoke and mirrors. I assert that MQA is perhaps the biggest hoax, the biggest prevarication, the biggest deceit ever foisted off on the music listening public. To prove it, I set out to use science instead of subjective listening to determine the extent of differences between MQA and a standard CD of the same song. The results were beyond disappointing to anyone hoping for, as Robert Harley extolled in a recent The Absolute Sound editorial, a “paradigm shift”. First a Bit of Background. Late in 2014, following an Audio Engineering Society convention, Bob Stuart, co-founder of Meridian Audio, demonstrated a new lossless format called MQA to key audio journalists, using specific musical tracks and equipment in controlled listening sessions. Writers were told that MQA was a new digital system that eliminated “time smear,” increased clarity, encoded signals better than the Nyquist-Shannon Theorem (which is indisputably the fundamental underpinning of all of digital audio) and could stream songs using a slow roll-off filter that let through important ultrasonic frequencies, allowing music to sound better. There was some consensus among journalists that it sounded better than conventional CD tracks (see the Original Flavor MQA Was Tastier sidebar at right). At the 2017 Consumer Electronics Show, Tidal officially unveiled Tidal Master with MQA, a new “tier” above Tidal Hi-Fi, which they claimed would “fundamentally change the way we all enjoy music”. I personally applaud Tidal’s efforts to wean listeners off MP3… as well as offer a more generous artists’ royalty policy (Tidal is partially owned by rapper Jay Z). But getting involved with MQA I’m not so sure about. Learning About MQA. As an amplifier and speaker designer, I am often asked to address audio clubs. A dealer asked if I would be including an MQA decoder in a future preamp. I had heard of MQA, primarily due to Robert Harley’s The Absolute Sound editorials, but paid little, if any, serious attention. But now I wanted to learn more. My first thought was to contact Robert E. Greene, a reviewer who had written about my new loudspeaker, and a seasoned veteran of things audio. Surprisingly, Robert had no specific technical knowledge of the MQA process that he could pass on: I was left to my own devices. So, I read reviewers’ and tech writers’ blogs, watched several videos on MQA and even waded through the 2014 AES Convention Paper 9178 that had launched the “new” technology. It claimed “improved time/frequency balance” using “loss-less buried-data signaling within the channel to carry instructions, metadata and authentication” and “innovation-rate concepts” for reducing temporal blur. What gobbledygook, I thought. The patents that had been filed were of little additional help (see the Patent Medicine sidebar on the next page). It was time for some serious testing. The Null Test. She Don’t Lie. Now, it’s difficult to view an audio waveform on even the finest electronic test equipment and know much about the music it represents. Beethoven looks the same on an oscilloscope as Mozart. Making mean assertions about MQA using standard tests would immediately get batted down by cynics. Luckily, there is an incontrovertible way to compare two version of the same audio. Done properly, the Null Test is the perfect mathematical proof that two audio signals are identical. Also called a Difference Test, Null Testing demonstrates that two audio streams are identical when the difference signal is exactly zero. On the surface, this is quite simple: Just mix two signals together while flipping the polarity of one of them. If the result is pure silence, the two signals are equal, bit by bit. Actually, in the digital domain, this is more complicated that it might first seem. If two waveforms are off by just one sample — even at mind-boggling sample rates like 768 kHz — the null test won’t be valid. I turned to a very expert colleague, Ronald Brandt, to do the actual Null Test. Tidal Master Track (MQA) and non-MQA Tidal Hi-Fi tracks were downloaded from the web; the identical songs were accessed from “traditional” 16-bit/44 kHz compact discs, and 24-bit/192 kHz versions. Ron is meticulous and left nothing to chance. He spent far more hours in a Digital Audio Workstation program, recording, editing, eliminating timing drift and signal inverting than he did doing the actual comparison. After all this effort, he created a digital transfer recording of the resulting null that totally bypassed analog stages. Before we go any farther, let’s make sure you understand what we mean by “null”. Null difference testing consists of combining two different signal sources with identical levels, but out of phase by exactly 180 degrees. If the two signal sources are 100% identical, no sound will be heard — they’ve perfectly cancelled each other out. If sound is heard, the two signal have different properties and the differences are what’s audible. Null testing is absolutely indisputable. It’s pure mathmatics at work: 1 plus minus 1 equals zero. Ron begain with CD and Tidal MQA versions ofsome different genres of musical material. Both versions of the signals were then fed to both a Meridian Explorer 2 and Mytec Brooklyn DACs, MQA versus CD. MQA-on versus MQA-off. Care was taken to make sure the null was evaluated at the loudest part of recording where the brick wall limiter applied to the master was being ridden quite hard. Then the actual null test was performed on the same test equipment. Any differences between the CD and MQA versions would result in a waveform consisting only of those differences. The null test results are not visually exciting, but VERY conclusive. The two versions of Emmylou Harris yielded……a tiny but inaudible difference (the fuzzy parts of the blue lines). BOTTOM LINE: MQA was the same audio signal that was contained in the original signal source. By “the same”, I mean that it yields an approximate –70 dB null when compared to the original source. Personally, I am unable to hear a difference between them once the null is –50 dB. At –70 dB, even a passing bat would not be able to hear any differences. Why My Attorney Had to Review This Before I Published It. There is no enhancement and nothing special with Tidal Master MQA. If you listen to the streaming of a stock song and compare it to an MQA streaming of the same song, they sound the same. The experiences reported by reviewers was an early version of MQA “doctored” with cross-talk cancellation. The signal available to the public contains none of that. It’s just an ordinary copy of the original. It does not work by getting rid of “pre-ringing”. It does not work by “turning Shannon/Nyquist on its head,” though several knowledgeable people that should know better. It is a pass-through with simple noise shaping (nothing new in itself) that reduces the apparent signal-to-noise ratio in a way that is good. MQA is a paradigm shift only in the sense that it allows Tidal to violate the listener’s privacy. I regret that the reviewers and audio journalists have been unwittingly caught in a big hoax — what they heard did indeed sound different. My fear is that customers now will think they are getting something very special like the sound the reviewers experienced and wrote about., but what they are really getting is nothing significantly different from the original. By that measure, MQA is a hoax and a big lie! Bob Carver • Fall 2017 side bars below Original Flavor MQA Was Arguably Tastier. What you hear when you download a Tidal Master-encoded song is definitely not what audio reviewers heard during initial demos and wrote about a year ago. The original sample tracks — I call them “MQA-1” — were clearly stated to be “on loan” with instructions to return them to the company or destroy the files when finished. Or journalists heard MQA in the presence of the master, Bob Stuart, who gave a wonderful demonstration. I was fortunate enough to get access to some of these files. I had been struck by journalists’ exclamations of great sound and I had to agree when I critically listened to MQA-1. Each writer spoke of greater stage depth, clarity, and a more immersive listening experience, often with greater detail and realism. It was spooky because 35 years ago, a previous generation of highly respected audio writers had used all but identical language to describe a technology I developed. Based on the descriptions, I concluded that MQA-1 used a mild form of my Sonic Holography, a psycho-acoustic analog circuit and not at all digital. I set out to dissect MQA-1. Hacking the digital side would have required the combined efforts of the CIA and the FBI; it was far beyond my ability. But hacking an analog signal is another, simpler matter. I found out with virtual certainty why MQA-1 sounds better than the original stereo audio file it uses an audio psychoacoustic circuit known as acoustic crosstalk cancellation. It was easy for me to hear because I have spent many years of my life designing and listening to exactly such a signal. While most people are unable to identify it, they do hear the results. Acoustic crosstalk cancellation will, if implemented and demonstrated artfully, almost always sound better than straight stereo. It allows our ear-brain to hear things the way we hear live sounds in real space and in the real world. Acoustic crosstalk cancellation is not new. My implementation, called Sonic Holography, became the largest selling product at Carver Corporation, both in unit volume and revenue volume. The critical take-away here is not a back-pat for something I once perfected. Rather it’s the fact that MQA-1’s “enhanced sense of depth, space and clarity” were far more likely to have come from the proven signal processing phenomenon of crosstalk cancellation than due to magic filters and bit depth tricks. Signal processing should be an optional process — like the on/ off Sonic Hologram Generator button on my old preamps — not anonymously concealed in the encoding. and... MQA Patent Medicine. Available on-line from the Patent Office, the first MQA-related patent shows a simple folding technique that trades bits for bandwidth. Folding is old hat, a simple scheme to trade signal-tonoise for extended bandwidth. This is done by reducing the bit depth from 24 bits to 13 bits, a huge hit for the signalto-noise ratio. What Stuart does is compact a 96k sample-per-second, 24-bit file down to only 13 bits. Worse, when it’s un-compacted without the benefit of an MQA decoder, we are forced to listen at a mere 48k samples per second. Bottom line, Stuart has taken a perfectly good hi-resolution file of 24/96 and made it substandard at 17/96. And that’s if you pay extra! If you don’t pay extra, you are forced to listen at 13/48…probably worse than MP3, and substantially worse than CD quality at 16/44! The second patent shows how to use Digital Management to recover the audio file using an MQA decoder. We get a 13- bit, 48k samples-per-second-file (13/48) for the standard price and we don’t need an MQA decoder. Now, by paying extra we get to hear the file (though a hardware or software MQA decoder) at the “improved” 17 bits — but still substantially less than the 24-bit, hi-res file it started out to be. Meridan calls this Versatile Music Distribution and it’s worth a lot of money in terms of music rights and artists’ royalties if MQA were to catch on. Versatile maybe. Intrusive definitely. The remaining seven bits are used to keep track of each customer through a variety of interrogations of their computer including its IP address, time and place of streaming, time and place of any download (forbidden, and a felony in the US), computer registration and the computer’s owner! And of course, whether or not the customer has paid for Tidal Master or not. And you were just worried about Google and Facebook getting all your personal information…yikes!
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