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RichP714

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RichP714 last won the day on August 24 2020

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About RichP714

  • Birthday 07/14/1962

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  1. "There is nothing which I dread so much as a division of the republic into two great parties, each arranged under its leader, and concerting measures in opposition to each other. This, in my humble apprehension, is to be dreaded as the greatest political evil under our Constitution." ~John Adams
  2. “Those who can make you believe absurdities can make you commit atrocities” ~ Voltaire
  3. Lyrics Hi Huh, I Hyper Hyp, hyper mediocrity... You don't need to, emerge from nothing You don't need to tear away Feels good, looks good Sounds good, looks good Feels good, too Feels good, too (uh-huh, that's right) Feels good, too (uh-huh, that's right) You don't need to, emerge from nothing You don't need to tear away You don't need to, emerge from nothing You don't need to tear away You don't need to, emerge from nothing You don't need to tear away You don't need to, emerge from nothing You don't need to tear away Uh-huh, that's right Uh-huh, that's right You don't need to, emerge from nothing You don't need to tear away You don't need to, emerge from nothing You don't need to tear away You don't need to, emerge from nothing You… Source: Musixmatch
  4. This is confusing to me because the data structure for standard CD audio compact discs IS redbook..... as for SACD, much has to do with the master tapes; if they were digital (remember when most mixing boards switched to ADC from analog, back in the late 80's or so), then they have that redbook brick wall filter eliminating any content over 44.1kHz; re-mastering and re-pressing that content onto SACD will NOT restore any content above 44.1kHz; it's just not on the master anymore.
  5. That would be great, IF the tracks are level matched within 1/4 dB and from the same master (and the master is 92/24) btw, most of the evaluations I've read about that could repeatedly discern a difference came down to artifacts belying the source type; i.e., the type of dithering used can have artifacts that can be taught how to listen for, and observers could identify a medium by its artifact signature just a bit more accurately than would happen by random chance. In my opinion, that's not an objective evaluation of sound quality, it's rather a learned response to different artifacts
  6. I don't know how to tell for certain; too bad digital files don't seem to have a header for information; that could replace liner notes and album art, and give info re mastering. ALl I know is that some of the early hi def files were mastered from Redbook CD, and even though there was NO additional content beyond the brick wall filter, many people STILL heard an improvement. Thaqt reminds me off the double blind evaluation of speaker wire that also had a sample using coat hangars for wire, and the coat hangers were preferred by many listeners
  7. One thing to wAtch out for is re-mastering of the original to the individual formats; it's impossible to discern whether a noted difference is due to the playbqack technology or the re-mastering of the original (you've experienced a bit of this already, when you noted differences in playback level). Conversely, if the original is only available at bitrate X, then even higher bitrate playback will be limited to the original bitrate. Those two things make it impossible for a consumer to make an accurate appraisal of each format. The MOST accurate comparison I've seen is that one done by the AES, and they had appropriate material to work with. Good luck!
  8. Just when we got used to the fact that Polar bear fur is NOT white (it's clear), now this: https://www.aao.org/eye-health/tips-prevention/your-blue-eyes-arent-really-blue
  9. I liked the kominski method
  10. Me too, I don't really know what the authors think about the controversy though
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