or Connect
New Posts  All Forums:

Posts by jcx

there turned out to be some problems - Meyer-Moran relied on "Hi Res" source that was marketed as such - later examination of spectrographs showed some of their "Hi Res" source was upsampled from 44.1   naturally critics want to dismiss the whole study on the grounds of some of the source being mislabeled/marketed by fraudsters   others are amused that the naïve subjectivist audiophile reviewers hadn't pointed it out previously based on their uncontrolled listening...
actually I believe some have pointed to Loudness War dynamic level compression equivalent to clipping does add harmonics and IMD at high levels that can challenge mp3 codecs - perceptual lossy data compression codec algorithms often perform better on more "musical" source   if you are indirectly referencing mp3 18 kHz low pass filtering then even few youngsters are liable to notice or prefer music with an extra 2 kHz extension to 20kHz
our ears are less sensitive to the far ends of the audio frequency range so more power is needed there to give the same sensation of loudness as at our more sensitive regions of hearing
actually my take is that there is little relation between "sonic performance" of amps and audiophile popularity - the company above had a long history of sales, good reputation in pro audio but needed to expand consumer sales to remain in business with their US manufacturing cost structure   so the over the top, heavy, expensive casework, even the fact of high "audiophile" pricing, became selling points that made the difference in sales without circuit changes   the...
really doesn't follow from any realistic understanding of the audio market - accurate amplification is way behind "story", "fashion", casework - bling connectors, knobs really are called "jewelry" by the industry insiders the "zero feedback" is totally a product of marketing - as I mentioned above negative feedbak is happening in tubes: SET and Cathode Followers - the local/global distinction doesn't exist in the math, you fail your uni EE classes if you don't get...
just not in commercial music production - http://seanolive.blogspot.com/2009/10/audios-circle-of-confusion.html
the 1st order difference between amps that do actually sound different in controlled listening is frequency response - both of the raw amp and as mentioned form higher output Z interacting with loads that aren't flat Z with frequency - like most headphones except Orthos   and a fact some may not like is that a cathode follower has 100% local negative feedback - with the consequent "harmonic multiplication" that goes with linear negative feedback around a slightly...
"dB" is always fun in audio - many conventions, assumptions, possible confusions dBu in Audio is dB re 1 mW for a 600 Ohm system, Unterminated, quite a mess of arbitrary assumptions but it really is "the standard" and 0 dBu ~ 0.775 Vrms https://en.wikipedia.org/wiki/Line_level +14 dBu is ~ 4 Vrms, pro studio equipment may use that, though not as a clipping level, with the expectation that +22-4 dBu can be handled by pro analog line level equipment defacto desktop consumer...
yes, people consuming  technology with a century deep history across many Scientific and Technology disciplines  that want to ignore all of the engineering and controlled listening tests that make up Psychoacoustics, recording tech from mic to physical acoustics of rooms, performance spaces, to commercial music recording, mixing/mastering, EE of their equipment would be fine as long as they are clear they are just relating their feelings   but some seem to want to deny...
New Posts  All Forums: