miketlse
Headphoneus Supremus
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'misspoke' is normally used by politicians as a synonym for 'lied'.
The New Chord Quartet M Scaler Discussion Thread
Reactcore
Headphoneus Supremus
Rob means 75A current running inside of the combined circuits.
I’m “currently” unsure what to think about this.
Ards
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Any sense of what the wattage draw would be for 24/7 uptime?
Reactcore
Headphoneus Supremus
Considering 1v, 75A makes 75W.
But im sure this much is only drawn on 4M and only while playing/processing.. like HMS
Found it.
So the first big box seems to be 24V ~3,2A.
This explains the small cables in the back. An alternative psu should be very easy to find (without the RF-filtering). We‘ll see if Chord sells them separately (I doubt it).
The second part (main scaler box) 24V input, 1V 75A out.
So the first big box seems to be 24V ~3,2A.
This explains the small cables in the back. An alternative psu should be very easy to find (without the RF-filtering). We‘ll see if Chord sells them separately (I doubt it).
The second part (main scaler box) 24V input, 1V 75A out.
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Reactcore
Headphoneus Supremus
Ive found another article on this Russian site:
https://next-hifi.ru/obzory/new-4-million-taps-digital-processor-m-scaler-quartet/
And put it through a translator.
Link to the by Speaker Shack taken Interview.
The main digital developer is Chord Electronics Rob Watts, the creator of this new device that should change our idea of what a digital processed track is capable of at playing music. We give some of the transcript of this interview. You can find a full translation in Russian on our telegram channel.
Rob Watts:
Welcome to our stand, in front of you M Scaler Quartet.
The speaker shack:
Quartet?
Rob Watts:
Yes, it's a quartet. Because the digital signal reconstruction processor is based on a 4 million count-long filter.
The speaker shack:
Please tell us more about this development.
Rob Watts:
This project was a challenge for me, a solution to difficult problems, but also a scientific study. It began immediately after the release of Hugo M Scaler and went on for about six years. One reason the process was so long is technical complexity, a lot of difficult but solvable obstacles that had to be overcome to understand the different, previously not-to-have been, subtleties of working with interpolation filters.
The weighting factors (filter outputs, taps) change the pulse characteristic of the digital filter so that the analog signal can be recovered. I wondered how many equations were needed to allow the original form of the sound wave to be perfectly reconstructed.
Get a continuous analog signal that is identical to the original one, before discretization. The difficulty is that as a result of the processing in the output signal, the transition processes are stuck in time: they start a little earlier, and our hearing notices this. The brain and hearing processes information temporary and from that it understands the timbre, tone, character of the sound of the instruments, their spatial location. If the information in time contains errors, we do not get the full perception. The height of the tone, the timbre, the attack and the fainting of the notes are the most important information, without it there is no music. And my work is aimed at playing music.
The speaker shack:
Yes, Rob, I did a little experiment two to three weeks ago. I had a Hugo M Scaler processor in the audio system, along with the Hugo TT2, and I took out the M Scaler to understand what the role of the CPU is before the CAP. The impressions are as if some of the information was missing, especially from the spatial picture. The sound scene was narrowing a little, but that's enough to see how the tools that were on the left edge of the scene seemed to have pushed up to the center. So I listen to you and understand what it's about. Your processor makes exactly the sound image that was originally written.
Rob Watts:
It is! Ideally, the task of an interpolation filter is not to add new information. We must keep the information content that was originally there. Without information distortion. In practice, however, all interpolation filters are distorted in one way or another. Our algorithm WTA, which works with the signal in the timing area, can be configured. Make it possible that the signal loss is hardly noticed by the hearing.
So I'm conducting thousands of auditions to set it up to restore the signal as accurately as possible.
The speaker shack:
Yes, as I said at home I felt it all. It's amazing how much your processor's presence changes things. I can only imagine what four FPGAs in Quartet are doing against one in Hugo M Scaler.
Rob Watts:
In fact, there are five.
The speaker shack:
Ah in total 5, 4 more than in the previous M Scaler. Thats super-high end level.
Rob Watts:
So far, the price has not been determined, it is too early. But it has a lot of achievements. Five FPGA's (with programmable logical integrated circuits), 2 million lines of microcode in them. The power unit supports currents up to 75A. The external power unit is of my own development with the most intensive filtering, interference suppression and more.
https://next-hifi.ru/obzory/new-4-million-taps-digital-processor-m-scaler-quartet/
And put it through a translator.
Rob Watts is raising the bar
Four million equations in the new M Scaler Quartet processor.
At the Munich exhibition, Chord Electronics showed the first sample of a second-generation digital based signal resolution device which in the near future will join the Choral high-end component series Dave and CD transport Blu Mk II as well as enhancers Prima, Etude, Foscoller Symphonic.Link to the by Speaker Shack taken Interview.
The main digital developer is Chord Electronics Rob Watts, the creator of this new device that should change our idea of what a digital processed track is capable of at playing music. We give some of the transcript of this interview. You can find a full translation in Russian on our telegram channel.
Rob Watts:
Welcome to our stand, in front of you M Scaler Quartet.
The speaker shack:
Quartet?
Rob Watts:
Yes, it's a quartet. Because the digital signal reconstruction processor is based on a 4 million count-long filter.
The speaker shack:
Please tell us more about this development.
Rob Watts:
This project was a challenge for me, a solution to difficult problems, but also a scientific study. It began immediately after the release of Hugo M Scaler and went on for about six years. One reason the process was so long is technical complexity, a lot of difficult but solvable obstacles that had to be overcome to understand the different, previously not-to-have been, subtleties of working with interpolation filters.
The weighting factors (filter outputs, taps) change the pulse characteristic of the digital filter so that the analog signal can be recovered. I wondered how many equations were needed to allow the original form of the sound wave to be perfectly reconstructed.
Get a continuous analog signal that is identical to the original one, before discretization. The difficulty is that as a result of the processing in the output signal, the transition processes are stuck in time: they start a little earlier, and our hearing notices this. The brain and hearing processes information temporary and from that it understands the timbre, tone, character of the sound of the instruments, their spatial location. If the information in time contains errors, we do not get the full perception. The height of the tone, the timbre, the attack and the fainting of the notes are the most important information, without it there is no music. And my work is aimed at playing music.
The speaker shack:
Yes, Rob, I did a little experiment two to three weeks ago. I had a Hugo M Scaler processor in the audio system, along with the Hugo TT2, and I took out the M Scaler to understand what the role of the CPU is before the CAP. The impressions are as if some of the information was missing, especially from the spatial picture. The sound scene was narrowing a little, but that's enough to see how the tools that were on the left edge of the scene seemed to have pushed up to the center. So I listen to you and understand what it's about. Your processor makes exactly the sound image that was originally written.
Rob Watts:
It is! Ideally, the task of an interpolation filter is not to add new information. We must keep the information content that was originally there. Without information distortion. In practice, however, all interpolation filters are distorted in one way or another. Our algorithm WTA, which works with the signal in the timing area, can be configured. Make it possible that the signal loss is hardly noticed by the hearing.
So I'm conducting thousands of auditions to set it up to restore the signal as accurately as possible.
The speaker shack:
Yes, as I said at home I felt it all. It's amazing how much your processor's presence changes things. I can only imagine what four FPGAs in Quartet are doing against one in Hugo M Scaler.
Rob Watts:
In fact, there are five.
The speaker shack:
Ah in total 5, 4 more than in the previous M Scaler. Thats super-high end level.
Rob Watts:
So far, the price has not been determined, it is too early. But it has a lot of achievements. Five FPGA's (with programmable logical integrated circuits), 2 million lines of microcode in them. The power unit supports currents up to 75A. The external power unit is of my own development with the most intensive filtering, interference suppression and more.
FunkyBassMan
500+ Head-Fier
@Rob Watts
If there's any room to consider new features, the pro audio industry (like me) would LOVE an AES/EBU output to drive our monitors, which pretty much always have digital inputs these days (the top-end ones).
If there's any room to consider new features, the pro audio industry (like me) would LOVE an AES/EBU output to drive our monitors, which pretty much always have digital inputs these days (the top-end ones).
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FunkyBassMan
500+ Head-Fier
New fact: Quartet has a 10 band EQ
Any idea if it's 10 fixed or variable frequencies?
Rob Watts
Member of the Trade: Chord Electronics
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No the hardware has been fixed now. But you wouldn't be able to listen too it properly as pro monitors don't support 768kHz.
You'd be better off using a DAVE to the analog inputs. A scaler of any kind can't fix the limitations of regular SD DACs.
flyte3333
Previously known as Em2016
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Lol really?
From a DAVE into some cheap ADCs & DACs of the DSP monitors (if he has digital inputs, likely DSP crossover....) ?
There is nothing 'better off' about this.
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Uhh, I was referring to a regular analog input that doesn't go through an ADC, if that wasn't extremely obvious.
flyte3333
Previously known as Em2016
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As I wrote: if he has digital inputs, likely DSP crossover....
JamesonM
Member of the Trade: F1 Audio
Is the intention for the full filter, 768kHz output to be proprietary/exclusive to Chord DACs, or would other DAC/active speaker manufacturers be able to add a dual-BNC inputs to accept the full signal from M-Scalers? Even if the DA stage is inferior to Chord’s, it would be interesting to see other DACs and active speakers that can take advantage of the M-Scaler without that limitation.
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