Watts Up...?
Jun 18, 2019 at 2:36 PM Post #1,486 of 4,668
Hi Rob. I quite like the recordings from this boutique studio in Hilversum, Netherlands: https://www.soundliaison.com

They pride themselves on their very high quality recordings. Those I have downloaded (usually FLAC 96 kHz) all sound exceptionally good. Recently I noticed they record the originals in DXD 352,8 kHz. I wonder, in view of your explanations above, if they have irretrievably damaged the timing values that can be recovered by DAVE, because they have recorded in DXD?

It would be a shame. They have some great artists and some great albums.
 
Jun 18, 2019 at 2:38 PM Post #1,487 of 4,668
Hi Rob. I quite like the recordings from this boutique studio in Hilversum, Netherlands: https://www.soundliaison.com

They pride themselves on their very high quality recordings. Those I have downloaded (usually FLAC 96 kHz) all sound exceptionally good. Recently I noticed they record the originals in DXD 352.8 kHz. I wonder, in view of your explanations above, if they have irretrievably damaged the timing values that can be recovered by DAVE, because they have recorded in DXD?

It would be a shame. They have some great artists and some great albums.
 
Jun 18, 2019 at 3:21 PM Post #1,488 of 4,668
That's exactly why I stopped buying «audiophile recordings» long ago. Sound quality is definitely excellent (→ Soundliaison above), but the available music is limited to traditional sounds – old Classical, traditional and easy-listening Jazz with focus on female vocals, traditional Blues, Folk, Country, Singer-Songwriter tunes, Pop and Rock with a focus on acoustic instruments... No experiments allowed.

Of course I understand that audiophile recordings are primarily meant for demonstrating how accurately instrument timbres can be captured. Unfortunately that makes them boring for someone with musical preferences like me.

BTW, I don't see how DXD could «damage» a recording, in comparison to lower-resolution PCM. In fact it is PCM.
 
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Jun 18, 2019 at 4:10 PM Post #1,489 of 4,668
Hi Rob. I quite like the recordings from this boutique studio in Hilversum, Netherlands: https://www.soundliaison.com

They pride themselves on their very high quality recordings. Those I have downloaded (usually FLAC 96 kHz) all sound exceptionally good. Recently I noticed they record the originals in DXD 352,8 kHz. I wonder, in view of your explanations above, if they have irretrievably damaged the timing values that can be recovered by DAVE, because they have recorded in DXD?

It would be a shame. They have some great artists and some great albums.
You're confusing DXD with DSD. 352.8 DXD is just superhigh res PCM. No damage to sound source. Enjoy.
 
Jun 18, 2019 at 4:44 PM Post #1,490 of 4,668
That's exactly why I stopped buying «audiophile recordings» long ago. Sound quality is definitely excellent (→ Soundliaison above), but the available music is limited to traditional sounds – old Classical, traditional and easy-listening Jazz with focus on female vocals, traditional Blues, Folk, Country, Singer-Songwriter tunes, Pop and Rock with a focus on acoustic instruments... No experiments allowed.
Try this album.
https://trptk.nativedsd.com/albums/TTK0006-paper-motion
 
Jun 18, 2019 at 5:48 PM Post #1,491 of 4,668
Thanks for the link, Ragnar! It's the proverbial exception to the rule.

Actually I'm pretty well served in terms of good recordings within my preferred genres. Especially with Contemporary Classical and Jazz I find a lot of audiophile-grade recordings, some of them in hi-res. And e.g. Radiohead generally offer high recording quality. The Beatles' Anniversary Editions (in 24/96) are worth mentioning as well.

Since a few weeks I'm subscribed at Bandcamp, and I'm fascinated by the creative diversity there. Recording quality isn't always great, but most of it can be fixed to a degree making for a satisfying listen. But I also found audiophile delight beyond typical audiophile euphony. My album of the month – at least. I hope you (don't) feel shocked. :innocent:
 
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Jun 19, 2019 at 3:39 AM Post #1,492 of 4,668
You're confusing DXD with DSD. 352.8 DXD is just superhigh res PCM. No damage to sound source. Enjoy.
Yes, I did confuse the two. I always thought DXD was a version of DSD suitable for editing. Did not realise that it is not, itself, DSD based. Thanks for clarifying.
I'm still curious whether DXD aids or otherwise the effectiveness of the WTA in DAVE.
 
Jun 19, 2019 at 3:47 AM Post #1,493 of 4,668
Sound quality is definitely excellent (→ Soundliaison above), but the available music is limited to traditional sounds – old Classical, traditional and easy-listening Jazz with focus on female vocals, traditional Blues, Folk, Country, Singer-Songwriter tunes, Pop and Rock with a focus on acoustic instruments... No experiments allowed.
Hi Jazz. In the case of Sound Liaison, think there is some quite experimental work if you dig into their catalogue. For myself, I don't find that much really good Blues/Folk/Jazz/Country elsewhere that I have had enough when I come to an audiophile site. Of course, everyone's taste in music is an incredibly personal choice and YMMV.

One thing I do love about Rob Watt's audio engineering is what his products can do for my large RBCD collection -- it is quite magical at bringing out the audio quality of recordings even 50 years old, without the need to pine after audiophile re-masters etc.
 
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Jun 19, 2019 at 4:52 AM Post #1,494 of 4,668
One thing I do love about Rob Watt's audio engineering is what his products can do for my large RBCD collection -- it is quite magical at bringing out the audio quality of recordings even 50 years old, without the need to pine after audiophile re-masters etc.
I absolutely agree. It's stunning how «hi-res» 44.1 kHz sounds through the M Scaler. In fact I always could live with RBCD via DAVE, but now with the M Scaler it sounds better than 96 kHz and even 192 kHz recordings without it.
 
Jun 19, 2019 at 3:28 PM Post #1,495 of 4,668
One of the biggest thing i noticed about other DACs compared to Chord is that they make everything in the music sound the same volume. Chord has contrast and depth so it makes those redbook files sound amazing. Not sure what technical reasoning is behind it but i enjoy it immensely.
 
Jun 19, 2019 at 7:14 PM Post #1,496 of 4,668
One of the biggest thing i noticed about other DACs compared to Chord is that they make everything in the music sound the same volume. Chord has contrast and depth so it makes those redbook files sound amazing. Not sure what technical reasoning is behind it but i enjoy it immensely.
Yeah noticed that as well. Sound of the Mojo is also way more lively compared to my laptops DAC, with a lot stronger vocals and instrument presence. The only thing my laptops onboard sound has going for it (with 2 Jitterbugs), is that it's smoother in attack than the Mojo
 
Jun 20, 2019 at 6:14 AM Post #1,497 of 4,668
It’s interesting talking about how good redbook can be through BluDave. It has certainly resurrected a good many CD’s I had no longer listened to. I particularly like the way it reproduces auditorium acoustic and even studio acoustics on distant instruments (where needed for the balance of the mix). When considering ‘absolute recording quality’ I am reminded of an old school blues recording of Lightnin’ Hopkins I have from Prestige Profiles. I have others of him and some are Hi-Res but none come close to this CD unfortunately. I was so impressed by it that I started trawling the Internet looking for a Hi-Res version to see if it could be bettered but alas I drew a blank. Still, my curiosity got the better of me and I decided to contact the mastering studio to find out the process and hardware used for this job. Unfortunately Fantasy Studios went into receivership about 18 months ago. I eventually tracked down the mastering engineer Joe Tarantino with an email address and wrote congratulating him on such a fine mastering and asking the process he used. Joe was kind enough to respond and I hope he doesn’t mind me reproducing his notes here:

"Thanks for the kind words. I used a Studer A-80 for playback. There were no test tones on the Hopkins master tapes so I use STL for alignment. I adjusted the azimuth by ear. I mult the channels to mono and adjust for optimum clarity. The A-D converter was Apogee (which was state of the art back then) into ProTools where I used IZotope plug-ins for eq and compression. I tend to be very light handed in this area. I like to keep the integrity of the original mix. To my knowledge there are no Hi-Res files."

The reason I highlight this is that I find it quite interesting that the best old school blues recording I own in terms of sound quality was achieved by going straight to Red Book 44.1/16bit rather than Hi-Res 24bit and then dithering to 16bit. What it notably retained in this recording is State of the art imaging on many tracks and beautifully rendered acoustic on distant studio percussion, something we all know BluDave majors on reproducing. Not all the tracks are equal as they were recorded in different sessions from 1960-1964. If any of you like simple authentic blues then you may like this album. Prestige Profiles - Lightnin’ Hopkins 025218580823

Thanks again to Joe Tarantino for preserving the quality of these recordings. If only all mastering engineers showed such a light hand on the tiller maybe we would have more of these gems.
 
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Jun 20, 2019 at 12:24 PM Post #1,498 of 4,668
No I am afraid once timing errors are introduced then it's impossible to recover. In the case of DSD it's down to the delay through the modulator - small amplitude transients (like a step waveform, or Heaviside function) have a longer delay than large signal step waveforms. And it's impossible to repair this kind of damage.

Rob, I'm trying to reconcile something I've read with what you've written here. First, let me caveat that my limited understanding of the relationship of DSD and PCM is based on various articles and YouTube videos, not based on experience working with the data itself (beyond listening to it!) -- primarily those of Andreas Koch.

Now, Andreas has written that DSD (which I believe is just a Sony/Philips marketing name for Delta-Sigma modulation, aka PDM) is the raw (digital) material from whence PCM is created. Thus, all PCM "begins life" as PDM/DSD:

clip_image002.gif


If that's true, and that's the still the way it works... then I'm curious how timing errors in the DSD aren't also present in the resulting PCM.

  • Is it perhaps a result of the decimation "collapsing" the errors into more accurate, neighboring samples? (I can easily see how this could be the case, but you'd still have a chance that you'd also be collapsing good timing into bad timing, no?)
  • Is it some side-effect of the conversion from PDM to PCM?
  • Is there more to the story that Andreas glossed over?
  • Am I just not following what you guys are both saying? (totally possible...) :dt880smile:
Please note I'm outside my depth on all of this and I have mad respect for you and the work you're doing. I'm just trying to fit all these conceptual puzzle pieces together!

Thanks so much!
 
Jun 21, 2019 at 10:28 AM Post #1,500 of 4,668
Rob, I'm trying to reconcile something I've read with what you've written here. First, let me caveat that my limited understanding of the relationship of DSD and PCM is based on various articles and YouTube videos, not based on experience working with the data itself (beyond listening to it!) -- primarily those of Andreas Koch.

Now, Andreas has written that DSD (which I believe is just a Sony/Philips marketing name for Delta-Sigma modulation, aka PDM) is the raw (digital) material from whence PCM is created. Thus, all PCM "begins life" as PDM/DSD:

clip_image002.gif


If that's true, and that's the still the way it works... then I'm curious how timing errors in the DSD aren't also present in the resulting PCM.

  • Is it perhaps a result of the decimation "collapsing" the errors into more accurate, neighboring samples? (I can easily see how this could be the case, but you'd still have a chance that you'd also be collapsing good timing into bad timing, no?)
  • Is it some side-effect of the conversion from PDM to PCM?
  • Is there more to the story that Andreas glossed over?
  • Am I just not following what you guys are both saying? (totally possible...) :dt880smile:
Please note I'm outside my depth on all of this and I have mad respect for you and the work you're doing. I'm just trying to fit all these conceptual puzzle pieces together!

Thanks so much!

No worries - we are dealing with a complex situation. Moreover, absolutely nobody talks about the issue of timing errors with respect to amplitude on a DAC or ADC, so if the professionals that spend their life working on this and don't see the issue, then enthusiasts have no chance!

Firstly, let's clear up a few things. Delta-sigma modulation, which all modern ADCs rely on, are two types - n-bit, and one bit or DSD. No high performance ADC uses 1 bit - they are all n-bit, typically 5 bits. And this is because of fundamental limitations of 1 bit modulation.

A delta-sigma ADC takes an analogue input (and for this discussion this can have the value between -1 and +1) and via the quantizer will truncate the value. A simple n bit modulator will say have 5 levels - +2,+1,0,-1,-2. A 1 bit modulator will have -1 and +1 as the only output. The input will of course be different to the quantised output, and a subtractor is used to compare the analogue input to the quantized output. The output from the subtractor is fed into a noise shaper, which is a set of integrators, amplifying the error. This amplified error is then added to the input signal, and is fed to the quantizer.

Let's say the input is now 0. With DSD, the output will be (say) +1. The subtractor will then be (input - output) or 0 - +1 or -1. This is then fed to the noise shaper, and the output will tend to go negative - then the next output from the quantizer will be -1. This in turn creates an error, and the modulator goes thru a sequence of +1,-1+1,-1... in order to create the input of 0. Everything is fine, the modulator is stable. But what happens when the input gets higher say +1? Then the output is fixed at +1, and the noise shaper will demand greater than +1 - but it can't. So then the integrators clip or saturate, and all hell breaks loose - it goes unstable. So to minimise this, the input is limited to + or -0.5; but the modulator will still want to use +2 as a overhead value, and it can't have this, and so the modulators gain is being curtailed. This creates modulator noise floor modulation, and it is inescapable.

But an n bit modulator will always have headroom - so when +1 is the input, then +2 is allowed, and the modulator will choose +2,+1 or 0 as its next value - so the modulator state is signal invariant - that means the modulator gain or stability does not vary with input signal, and so will not suffer from modulator induced noise floor modulation (it will suffer from other forms of noise floor modulation but that's another story). Because an N bit modulator has headroom, then we can use dither to linearise the quantizer.

But we aren't yet talking about the timing issue. So with DSD, if the signal goes from 0 to +1, then the OP will go to +1 immediately. So no OP delay. If it goes from 0 to +0.001, then there will be a delay, and the time it takes to respond will depend upon the gain of the modulator - which principally depends upon the rate of oversampling and the design of the noise shaper.

Now with an N bit modulator we can dither the input to the quantizer, and this can reduce the transient timing with amplitude error dramatically, as the timing error brecomes random - sometimes too early, sometimes too late, which is fine. 1 bit DSD is impossible to dither correctly, as the modulator will go unstable.

Clearly, the faster the modulator works, the better it behaves; also how effective the dithering also improves the issue; with pulse array I can eliminate the issue entirely, with the appropriate order of noise shapers (that is number of integrators - it's one reason why I have huge levels of noise shaping), the design of the modulators, and the appropriate setting of the number of elements (the value of N for an N bit modulator) and the oversampling rate (another reason why I run at 30 times faster than conventional noise shapers).

The davina project ADC will not suffer from this issue (completely impossible with DSD), nor will it have any measurable noise floor modulation (impossible with any current ADC), with together with the elimination of aliasing from decimation, will make it rather unusual...
 

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