JotaroKujo
Head-Fier
For the past few months I've been playing around with Sox filter settings, some pre-defined on Archamigo's site which emulate Dacs like Chord, Wadia etc and some of my own, including some that emulate settings from various DAP's I own.
While playing with different filter settings I decided to use Grok, Musk's Ai LLM to analyze the settings and give me feedback to their characteristics. I ended up with 10 settings which offer a good mix between Analytical/Clarity, to Warmish etc.
Afterwards I made a script to implement them on the fly with Squeezelite. Changing between filters is a snap, and I made the names/identifiers pass through to LMS so I can see which player has which filter selected.
Here is how it looks with Material Skin for LMS
Here is a snippet of the analysis of each filter per Grok.
Sound Characteristics: Hi-Fidelity
Frequency Response: Flat to 21.8 kHz—full audible range with a razor-sharp cutoff. No treble loss, maximum detail.
Transients: Very sharp; linear phase adds minor pre/post-ringing, potentially “clinical” on transients (e.g., crisp drum hits).
Imaging: Excellent—precise timing yields a wide, detailed soundstage.
Tonality: Neutral, analytical, highly detailed. Best for hi-res or complex genres (e.g., classical, jazz).
Sound Characteristics - Top-Tier Clarity
Frequency Response: Very flat up to 21 kHz, with a steep drop-off beyond. Preserves nearly all audible frequencies (up to 20 kHz) with minimal treble roll-off, ensuring crisp highs.
Transients: Sharp and precise due to the steep filter. You’ll hear clear, defined attacks (e.g., drum hits, plucked strings), but with some pre- and post-ringing (inaudible to most, though it can subtly “smear” transients on analytical gear).
Imaging: Excellent spatial accuracy and soundstage width, as linear phase maintains timing across frequencies. Instruments stay well-separated.
Tonality: Neutral and detailed, favoring clarity over warmth. Suits analytical listening (e.g., classical, jazz).
Sound Characteristics - Dynamic
Frequency Response: Identical to fast linear phase—flat to 21 kHz with a steep cutoff. Highs remain clear and extended.
Transients: Punchy and immediate. Minimum phase eliminates pre-ringing (echoes before transients), emphasizing the initial attack (e.g., snare drums, guitar plucks feel more “in your face”). Post-ringing remains but is less noticeable.
Imaging: Slightly less precise than linear phase due to phase shifts across frequencies, but still coherent. Soundstage might feel more “forward” than wide.
Tonality: Energetic and lively, with a focus on impact over smoothness. Suits rock, electronic, or dynamic genres.
Sound Characteristics: Balanced and Musical
Frequency Response: Rolls off from 15.4 kHz, attenuating upper treble (e.g., cymbals less sharp). Moderate transition allows minor aliasing past 20 kHz (inaudible).
Transients: Smooth with slight pre/post-ringing due to linear phase. Attacks are clear but not as sharp as steeper filters.
Imaging: Very good—linear phase preserves timing, giving a wide, accurate soundstage.
Tonality: Warmish with a relaxed top end, still detailed. Suits acoustic or vocal-heavy music.
Sound Characteristics: Warm and Smooth
Frequency Response: Starts rolling off earlier (around 18–19 kHz), slightly softening the uppermost treble. Still covers the audible range (up to 20 kHz), but with a gentler slope, allowing some aliasing beyond Nyquist (inaudible to most).
Transients: Smoother and less aggressive than fast roll-off. Attacks are less sharp, reducing ringing artifacts, which can make percussion or transients feel more “natural” or relaxed.
Imaging: Maintains strong soundstage and timing due to linear phase, though slightly less pinpoint than fast roll-off due to the softer filter.
Tonality: Warmer and more forgiving than fast roll-off, with a subtle reduction in treble “bite.” Great for vocals, acoustic music, or fatiguing recordings.
Sound Characteristics: Warm and Punchy
Frequency Response: Rolls off from 16.5 kHz, softening upper treble (e.g., cymbal shimmer reduced). Wide transition allows some aliasing past 20 kHz (inaudible).
Transients: Punchy yet smooth—no pre-ringing, with moderate post-ringing softening edges. Drums and attacks feel “natural” and forward.
Imaging: Decent but not pinpoint; minimum phase shifts timing slightly, narrowing soundstage vs. linear.
Tonality: Warm and engaging, with a relaxed treble. Good for pop, rock, or casual listening.
Sound Characteristics: Relaxed
Frequency Response: Rolls off from 18–19 kHz, softening the top end. Allows some aliasing past 20 kHz (typically inaudible).
Transients: Relaxed yet impactful. No pre-ringing, with a gentle roll-off smoothing out sharp edges—think “laid-back” drum hits or guitar strums.
Imaging: Less precise than linear phase due to phase distortion, but still musical. Soundstage feels intimate rather than expansive.
Tonality: Warmest of the bunch, with a mellow treble and natural flow. Ideal for fatigue-free listening (e.g., pop, folk, older recordings).
Sound Characteristics NOS
Frequency Response: Flat to 22.05 kHz (at 44.1 kHz source), then a hard drop. No pre-Nyquist roll-off mimics NOS’s unfiltered passband, but aliasing occurs above Nyquist (e.g., 22–44 kHz mirrored back), potentially adding subtle distortion or “sheen” to highs—inaudible to most but part of the NOS charm.
Transients: Sharp and immediate, with no pre-ringing (minimum phase). Post-ringing is minimal due to the zero-width transition, giving a punchy, unprocessed feel (e.g., crisp drum hits, guitar plucks). Closer to NOS’s stair-step output than linear-phase filters.
Imaging: Decent but not precise—aliasing and phase shifts slightly blur spatial cues, narrowing soundstage vs. filtered designs. Still coherent for a “vintage” vibe.
Tonality: Warm, organic, slightly veiled highs. Midrange stands out (e.g., vocals, instruments). Less analytical, more “analog-like.
Sound Characteristics VHQ-LPhase
Frequency Response: Flat to 21.8 kHz (at 44.1 kHz), capturing the full audible range with a razor-sharp cutoff at Nyquist. No treble roll-off until the limit, ensuring maximum detail.
Transients: Extremely sharp and precise, with minimal pre/post-ringing due to the steep transition. Drum hits, plucks, and attacks are crystal-clear, though ringing might add a subtle “clinical” edge (inaudible to most).
Imaging: Outstanding—linear phase preserves timing across frequencies, delivering a wide, accurate soundstage. Instruments are perfectly placed, ideal for complex mixes.
Tonality: Neutral and transparent, with no coloration. Highs are airy, mids detailed, bass tight—textbook audiophile sound.
Sound Characteristics VHQ-MPhase
Frequency Response: Identical to the linear phase version—flat to 21.8 kHz with a steep drop at Nyquist. Full treble extension, no early roll-off, all audible detail preserved.
Transients: Punchy and immediate—no pre-ringing, with minimal post-ringing due to the tight transition. Attacks (e.g., snare drums, guitar strums) leap out with a “live” feel, slightly less refined but more visceral than linear phase.
Imaging: Very good but slightly less precise than linear phase—minimum phase introduces phase shifts, subtly narrowing soundstage and softening spatial edges. Still highly coherent.
Tonality: Neutral with a hint of dynamism—highs are crisp, mids vibrant, bass impactful. Less analytical, more “musical” than linear phase due to the transient focus.
While playing with different filter settings I decided to use Grok, Musk's Ai LLM to analyze the settings and give me feedback to their characteristics. I ended up with 10 settings which offer a good mix between Analytical/Clarity, to Warmish etc.
Afterwards I made a script to implement them on the fly with Squeezelite. Changing between filters is a snap, and I made the names/identifiers pass through to LMS so I can see which player has which filter selected.
Here is how it looks with Material Skin for LMS
Here is a snippet of the analysis of each filter per Grok.
Sound Characteristics: Hi-Fidelity
Frequency Response: Flat to 21.8 kHz—full audible range with a razor-sharp cutoff. No treble loss, maximum detail.
Transients: Very sharp; linear phase adds minor pre/post-ringing, potentially “clinical” on transients (e.g., crisp drum hits).
Imaging: Excellent—precise timing yields a wide, detailed soundstage.
Tonality: Neutral, analytical, highly detailed. Best for hi-res or complex genres (e.g., classical, jazz).
Sound Characteristics - Top-Tier Clarity
Frequency Response: Very flat up to 21 kHz, with a steep drop-off beyond. Preserves nearly all audible frequencies (up to 20 kHz) with minimal treble roll-off, ensuring crisp highs.
Transients: Sharp and precise due to the steep filter. You’ll hear clear, defined attacks (e.g., drum hits, plucked strings), but with some pre- and post-ringing (inaudible to most, though it can subtly “smear” transients on analytical gear).
Imaging: Excellent spatial accuracy and soundstage width, as linear phase maintains timing across frequencies. Instruments stay well-separated.
Tonality: Neutral and detailed, favoring clarity over warmth. Suits analytical listening (e.g., classical, jazz).
Sound Characteristics - Dynamic
Frequency Response: Identical to fast linear phase—flat to 21 kHz with a steep cutoff. Highs remain clear and extended.
Transients: Punchy and immediate. Minimum phase eliminates pre-ringing (echoes before transients), emphasizing the initial attack (e.g., snare drums, guitar plucks feel more “in your face”). Post-ringing remains but is less noticeable.
Imaging: Slightly less precise than linear phase due to phase shifts across frequencies, but still coherent. Soundstage might feel more “forward” than wide.
Tonality: Energetic and lively, with a focus on impact over smoothness. Suits rock, electronic, or dynamic genres.
Sound Characteristics: Balanced and Musical
Frequency Response: Rolls off from 15.4 kHz, attenuating upper treble (e.g., cymbals less sharp). Moderate transition allows minor aliasing past 20 kHz (inaudible).
Transients: Smooth with slight pre/post-ringing due to linear phase. Attacks are clear but not as sharp as steeper filters.
Imaging: Very good—linear phase preserves timing, giving a wide, accurate soundstage.
Tonality: Warmish with a relaxed top end, still detailed. Suits acoustic or vocal-heavy music.
Sound Characteristics: Warm and Smooth
Frequency Response: Starts rolling off earlier (around 18–19 kHz), slightly softening the uppermost treble. Still covers the audible range (up to 20 kHz), but with a gentler slope, allowing some aliasing beyond Nyquist (inaudible to most).
Transients: Smoother and less aggressive than fast roll-off. Attacks are less sharp, reducing ringing artifacts, which can make percussion or transients feel more “natural” or relaxed.
Imaging: Maintains strong soundstage and timing due to linear phase, though slightly less pinpoint than fast roll-off due to the softer filter.
Tonality: Warmer and more forgiving than fast roll-off, with a subtle reduction in treble “bite.” Great for vocals, acoustic music, or fatiguing recordings.
Sound Characteristics: Warm and Punchy
Frequency Response: Rolls off from 16.5 kHz, softening upper treble (e.g., cymbal shimmer reduced). Wide transition allows some aliasing past 20 kHz (inaudible).
Transients: Punchy yet smooth—no pre-ringing, with moderate post-ringing softening edges. Drums and attacks feel “natural” and forward.
Imaging: Decent but not pinpoint; minimum phase shifts timing slightly, narrowing soundstage vs. linear.
Tonality: Warm and engaging, with a relaxed treble. Good for pop, rock, or casual listening.
Sound Characteristics: Relaxed
Frequency Response: Rolls off from 18–19 kHz, softening the top end. Allows some aliasing past 20 kHz (typically inaudible).
Transients: Relaxed yet impactful. No pre-ringing, with a gentle roll-off smoothing out sharp edges—think “laid-back” drum hits or guitar strums.
Imaging: Less precise than linear phase due to phase distortion, but still musical. Soundstage feels intimate rather than expansive.
Tonality: Warmest of the bunch, with a mellow treble and natural flow. Ideal for fatigue-free listening (e.g., pop, folk, older recordings).
Sound Characteristics NOS
Frequency Response: Flat to 22.05 kHz (at 44.1 kHz source), then a hard drop. No pre-Nyquist roll-off mimics NOS’s unfiltered passband, but aliasing occurs above Nyquist (e.g., 22–44 kHz mirrored back), potentially adding subtle distortion or “sheen” to highs—inaudible to most but part of the NOS charm.
Transients: Sharp and immediate, with no pre-ringing (minimum phase). Post-ringing is minimal due to the zero-width transition, giving a punchy, unprocessed feel (e.g., crisp drum hits, guitar plucks). Closer to NOS’s stair-step output than linear-phase filters.
Imaging: Decent but not precise—aliasing and phase shifts slightly blur spatial cues, narrowing soundstage vs. filtered designs. Still coherent for a “vintage” vibe.
Tonality: Warm, organic, slightly veiled highs. Midrange stands out (e.g., vocals, instruments). Less analytical, more “analog-like.
Sound Characteristics VHQ-LPhase
Frequency Response: Flat to 21.8 kHz (at 44.1 kHz), capturing the full audible range with a razor-sharp cutoff at Nyquist. No treble roll-off until the limit, ensuring maximum detail.
Transients: Extremely sharp and precise, with minimal pre/post-ringing due to the steep transition. Drum hits, plucks, and attacks are crystal-clear, though ringing might add a subtle “clinical” edge (inaudible to most).
Imaging: Outstanding—linear phase preserves timing across frequencies, delivering a wide, accurate soundstage. Instruments are perfectly placed, ideal for complex mixes.
Tonality: Neutral and transparent, with no coloration. Highs are airy, mids detailed, bass tight—textbook audiophile sound.
Sound Characteristics VHQ-MPhase
Frequency Response: Identical to the linear phase version—flat to 21.8 kHz with a steep drop at Nyquist. Full treble extension, no early roll-off, all audible detail preserved.
Transients: Punchy and immediate—no pre-ringing, with minimal post-ringing due to the tight transition. Attacks (e.g., snare drums, guitar strums) leap out with a “live” feel, slightly less refined but more visceral than linear phase.
Imaging: Very good but slightly less precise than linear phase—minimum phase introduces phase shifts, subtly narrowing soundstage and softening spatial edges. Still highly coherent.
Tonality: Neutral with a hint of dynamism—highs are crisp, mids vibrant, bass impactful. Less analytical, more “musical” than linear phase due to the transient focus.
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