[bmiamihk]

Even though that Guitar Noir is really 24.96 it still can be sounding bad not because of the recording but the music itself. Joking.
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I am listening to Guitar Noir from iTrax and have to admit, the sound is very solid. It is recorded on true 24/96 equipment, which is seldom really done. No hitches in the sound, no pauses but just a full spectrum of sound and nuances. 

 

[helledie]

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More reviews anyone.  DX100 and ??

 
Greatly appreciated

 
DX100 + Spiral Ear Ref 5 = epic setup. This dap is amazing - it is also fantastic with my He-500.

 

[hicham]

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Strange observation...
I am using this USB OTG cable to add another 64GB of storage. Though it works nicely, this happened:
- I switched the DX100 off (power down)
- eight or nine hours later, I took the DX100 from the shelf and was wondering why the external SDcard/USB adapter (see picture) felt rather warm to the touch.
- I checked the battery... and it was completely empty, i.e. the DX100 booted and then shut down automatically.
 
Any ideas? Is it the USB On-The-Go thing, which causes this battery drain? It can't have anything to do with the OS (Android) as it was not running. A DX100 firmware or hardware issue? Or would this happen to any device, as soon as an external storage is connected via USB OTG? Even if the device itself is completely turned off?
 

 
I noticed the same thing and I will add that my card reader, having an LED indicator, had its LED remaining ON even after I powered down the DX100, hence the power drain.  It appears that the DX100 doesn't cut the power supplied to the USB drive through the OTG cable when fully shut down.  My solution to this is to unplug the OTG cable when the DX100 is powered down.  I will notify iBasso of this problem.  Maybe they can fix it by firmware although it appears to be hardware related.

 

[Pudu]

It may be related to the USB standard. Most devices continue to supply power to USB drives even when they are 'turned off'.

 

[bobeau]

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I am listening to Guitar Noir from iTrax and have to admit, the sound is very solid. It is recorded on true 24/96 equipment, which is seldom really done. No hitches in the sound, no pauses but just a full spectrum of sound and nuances. 

 
I thought almost all recording was done today on 24/192 or better?  It's just that most is down-sampled to Redbook at the end of the mastering process to be used on CDs.
 
Alot of the issues with some of the hi-rez music out there is it is indeed just upsampled Redbook.  And then sometimes you'll get something like DVDA poorly converted from 5 channel to 2 channel (an example of this is Yoshi Battles the Pink Robots, missing a bunch of front/rear info), but a lot of it is DVDA 2 channel transfers.  Some of the better ones are current remasters from the originals where no compression/limiting is used.  I am talking mostly about mainstream stuff though.

 

[Fulcanelli]

Dont think so, could be wrong but I think most studios see it as a waste of disk space going up that high, its normaly 24 bit at 48 or 96,  (32 in the audio engine), before being redbooked.
There isn't a lot of 'buy in' that 192 is worth it or even needed.
 
 
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I thought almost all recording was done today on 24/192 or better?  At least since the early 80s.  It's that most is down-sampled to Redbook at the end of the mastering process to be used on CDs.
 
 

 

[jamato8]

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I thought almost all recording was done today on 24/192 or better?  It's just that most is down-sampled to Redbook at the end of the mastering process to be used on CDs.
 
Alot of the issues with some of the hi-rez music out there is it is indeed just upsampled Redbook.  And then sometimes you'll get something like DVDA poorly converted from 5 channel to 2 channel (an example of this is Yoshi Battles the Pink Robots, missing a bunch of front/rear info), but a lot of it is DVDA 2 channel transfers.  Some of the better ones are current remasters from the originals where no compression/limiting is used.  I am talking mostly about mainstream stuff though.

No, much is done at 16/44.1 or so. A good recorder and setup for even 24/96 is around 250 thousand and while there is a little to be gained from 24/192, it is not often recorded at that. Even Linn has been caught just upsampling and they promised to correct this. ?? Frustrating. I don't like to throw my hard earned money out there and be deceived. and while buyer-be-ware, has been quoted in the past, it is just a little harder for many when it comes to digital recordings and trust that they are what they say they are. As you know. 

 

[bobeau]

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No, much is done at 16/44.1 or so. A good recorder and setup for even 24/96 is around 250 thousand and while there is a little to be gained from 24/192, it is not often recorded at that. Even Linn has been caught just upsampling and they promised to correct this. ?? Frustrating. I don't like to throw my hard earned money out there and be deceived. and while buyer-be-ware, has been quoted in the past, it is just a little harder for many when it comes to digital recordings and trust that they are what they say they are. As you know. 

 
Again, maybe this is just my perception for typical commercial stuff recorded at high-end studios, but the impression I get from CA earmarks most things being originally recorded 24/192+ ever since the technology became prevalent, the issue is always pointed to how the recordings were tailored during the mastering process.  Even if the music is only intended to be mastered down to Redbook the intention is to keep the integrity of highly-multitracked recordings.  I'm not even aware of any prosumer ADC interfaces that can't do this resolution, so I'm wondering why it would be so expensive at the higher end.
 
Do you have any reference/links that show otherwise?  

 

[jamato8]

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Again, maybe this is just my perception for typical commercial stuff recorded at high-end studios, but the impression I get from CA earmarks most things being originally recorded 24/192+ ever since the technology became prevalent, the issue is always pointed to how the recordings were tailored during the mastering process.  Even if the music is only intended to be mastered down to Redbook the intention is to keep the integrity of highly-multitracked recordings.  I'm not even aware of any prosumer ADC interfaces that can't do this resolution, so I'm wondering why it would be so expensive at the higher end.
 
Do you have any reference/links that show otherwise?  

I have spoken with a couple of producers but because of the sensitivity of the matter, they don't want to be quoted by name. It causes very bad feelings to out companies that are not recording in higher resolution but turn around and sell them as such. 

 

[bobeau]

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I have spoken with a couple of producers but because of the sensitivity of the matter, they don't want to be quoted by name. It causes very bad feelings to out companies that are not recording in higher resolution but turn around and sell them as such. 

 
Okay.  Not my impression at all from lurking on CA where several recording engineers participate and various members do detailed waveform analysis on the hi-rez masterings themselves with printed outputs for all to see.
 
For anyone who is curious: http://www.computeraudiophile.com/f13-audiophile-downloads/, http://www.computeraudiophile.com/f14-music-analysis-objective-and-subjective/
 
EDIT: I do see some comments about how pop music is still frequently recorded in 24/44, so perhaps I stand corrected on that.  My impression must be shaped by alot of mainstream stuff that was originally mastered for the purpose for DVDA.

 

[jamato8]

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Okay.  Not my impression at all from lurking on CA where several recording engineers participate and various members do detailed waveform analysis on the hi-rez masterings themselves with printed outputs for all to see.
 
For anyone who is curious: http://www.computeraudiophile.com/f13-audiophile-downloads/, http://www.computeraudiophile.com/f14-music-analysis-objective-and-subjective/
 
EDIT: I do see some comments about how pop music is still frequently recorded in 24/44, so perhaps I stand corrected on that.  My impression must be shaped by alot of mainstream stuff that was originally mastered for the purpose for DVDA.The 

The question is also, when the really got the precision for 24 bit, which wasn't in the 80s and on the analogue, just because you convert it to 24/192, most of the time means nothing as there is not that much information on the tape but we can end up paying more thinking we are getting something more than there really is. 
 
This all goes back to the DX100 being able to utilize true 24/192 and trying to find such music, that is of this quality and of the type an individual wants to listen to. 

 

[DannyBai]

Anyone want to chime in and GUESS how the RxMK3 and solo will compete with DX100?  
I'm quite tempted to get it, but would like other DX100 owners to deter me otherwise.  

 

[Anthony1]

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Anyone want to chime in and GUESS how the RxMK3 and solo will compete with DX100?  
I'm quite tempted to get it, but would like other DX100 owners to deter me otherwise.  

Thats the $64k question... might be able to answer it in a week or so fingers crossed.

 

[AnakChan]

Okedoke, I should be able to provide initial first impressions after having a couple of days burning in the Rx Mk3. Note though, my sources will be different (iPhone/iPad ALAC -> CLAS+Rx Mk3 vs DX100's FLAC 24/192).

 

[turokrocks]

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Okedoke, I should be able to provide initial first impressions after having a couple of days burning in the Rx Mk3. Note though, my sources will be different (iPhone/iPad ALAC -> CLAS+Rx Mk3 vs DX100's FLAC 24/192).

 
This is going to be interesting....will be waiting.