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In Reply to: RE: dvda still sounds best in my system posted by fantja on January 24, 2016 at 11:58:22
The analog section is wonderful. I use to have a pass labs preamp for 2 channel but sold it because the Cary sounded just as good.
The digital section is buggy. It has drop outs via optical and coax for video and will cut off the first part of track with a cd player. HDMI locks on to the signal much better so I have been able to live with it.
For what I paid for it, it should work better but I have found a way work around the digital section that is buggy. If you can find one cheap it would be a good value.
Follow Ups:
The future of music is streaming. DVDA will soon be gone. Cds and sacd's will also disappear. If you are planning for the future don't forget about streaming. Streaming with Tidal from a MacBook Pro to a really good dac (Audio-GD Master 7) is about as good as I have ever heard. Based on 25 years in a recording studio and 20 more years as a consultant to two high end audio stores in Chicago. I love vinyl and I have almost stopped listening to it. Prefer streaming
Alan
Are you crazy?
Until MULTICAST stacks and IPV6 are all implemented worldwide, there will be NO high rez streaming, least of all uncompressed PCM, "Unix sockets style".
Luckily, DVD-A is by far the best support.
The only problem is the players are no good, car systems are rubbish, and we had to kick out rubbish compression stuff like Dolby or DTS out first.
Do you have any idea how difficult it is to AUTHOR DVD-A?
I know only one guy in that field who is any good.
"NO high rez streaming"
Classicsonlinehd-ll streams up to 24/192. Thought you guys call 24/192 HiRez
Alan
I could smell something resembling an enormous RACKET taking place.
I didn't have to look far.
There is a big difference between broadcast audio such as over DVB, DAB and various analogue networks, compared with IP networks.
I've been involved in both.
I decided to look up the whole subject because we were the first in the world to stream live rock concerts in stereo over IP.
Again it was a proprietory software and codec.
TODAY it is dead.
We were also some of the first to have gigabit ethernet in the home over optic fibre.
The same problems emerge each and every time.
Streaming is a subject which revives every few years, and is nothing new at all.
The only new faces are the marketing hacks.
It had its "big day" just before the hi tech bubble and crash some 15 years ago.
Everyone and their dog wanted to be in it.
Nothing remains of the ruins of that hi tech bubble experiment,- Only stores like AMAZON which have absorbed gigantic losses over those years, and then became predatorial like all the others.
The main criticisms come back every time it reappears:-
TCP/IP UNICAST is not a satisfactory method of stream delivery.
The network overhead is high and there is no guarantee of audio quality.
The more streams there are, the more it fails.
Between digital audio and analogue broadcast is a whole world of quality.
When digital fails there is silence or things get so corrupted or downgraded it's useless.
Just look at the total FAIL of DAB in Europe if you don't believe me.
FM Stereo has continued, precisely because the degradation is gradual and supported by RDS.
You can cope with hiss and noise in a car, miles from anywhere, but DAB becomes gobbldeegook then stops, just like Digital TV.
UDP is unsatisfactory because of packet loss.
All attempts to make RTP, UDP and RTSP to work reliably have failed.
Streaming can really only use RTSP, as the image above shows.
The proper solution as I explained above is moving to IP multicast, and IPV6.
Nobody even wants to introduce IPV6 despite the internet creaking under its own weight.
Multicast is going to end up in the same minefield as pits satellite multicast against terrestrial broadcast.
Warner - AOL couldn't do it, neither could the French Jean-Marie Messier and Vivendi universal.
MASSIVE FAIL.
The explanation of the resistance of the entire music industry can be found in the "racket" model below,-
based on "Adaptive bitrate streaming in lossless and high-definition" using a dedicated player software.
What is one person's "lossless" is just yet more marketing b..llox to claim things which aren't true.
I saw at least one person (Prof Mark Waldrep) who explains the music quality racket in common sense terms.
The vast majority of all content is not and can't be even close to CD quality.
http://www.realhd-audio.com/?p=4249
I merely underline the software and subscription model weaknesses here.
Ie. you are being ripped off, and there's as usual multiple means of doing it form competing tenders.
Who's to protect who, and when will the DRM, SACEM and all the other lobby police be banging on my door telling me what I'm allowed or not allowed to do.
This time they have everything on me, locked up in THEIR database for which I have no right of correction for ever.
They've been doing that for 30 years, starting with the compact cassette then the DAT haven't they?
Using a proprietory software approach means you will be permanently locked into THEIR solution, which usually is out of date before it even hits the market.
Do I really want the police to come and knock down my door, because they find I give a copy of music for someone else to evaluate (?) plus I they have all my details on their (who knows how secure database), unprotected from the kind of hacking that brought down Sony, and then who knows where (?in Singapore, really a place known for its human and IP rights?!)
The whole industry is full of b..llx and disinformation, just read some of the EULA, because you are losing your right to do anything with the so called "HD" or "HR" or whatever they want to call it, because
HI REZ or HD it is NOT.
"The contents on and in this installer and the software ("Software") are protected by Copyright and other rights 2015, OraStream Private Ltd ("OraStream") and its associated or related companies.
By using, loading, downloading or un-wrapping this package or the Software you agree that you will only use the Software for private, non-commercial use on a single computer by a single user in accordance with these terms.
You shall not sell, export, hire, deal in, export, distribute or make available or supply by way of trade or make any other unauthorized use of the installer and Software without a license from OraStream Private Ltd and its associated or related companies.
You are not permitted to copy, reproduce, edit, lend, publicly perform, transmit, provide to any other person or broadcast any part of the contents of the installer or the Software. You are not permitted to disassemble, decompile or reverse engineer the contents of this installer or the Software.
No representations are made as to the quality of the installer or Software .......any implied warranties of merchantability or fitness for any particular purpose. .....
These terms of this EULA are governed by the laws of the Republic of Singapore. You agree to submit to the non-exclusive jurisdiction of the courts of Singapore for resolution of any dispute, action or proceeding arising in connection with this Agreement."
Here's another:-
"Qobuz has been around for almost as long as Spotify, but was largely unknown until it launched outside of its home country of France in late 2013.
Even now, it's not a service that you'll find trying to appeal to thousands of subscribers. Instead it focuses on attracting a somewhat more niche audience from the audiophile world.
As the first CD-quality streaming service to hit the UK, that made sense - but with the launch of Tidal, there's plenty that needs working on if Qobuz is ever going to become a streaming service to be reckoned with.
Of course, you'll have to pay for the privilege, with the 'Qobuz Hi-Fi' FLAC-quality subscription costing £19.99 per month - double that of most other services."
And another
"Tidal's relaunch in March 2015 was quite the media spectacle. With new owner Jay-Z at the helm, Tidal was introduced to a US audience by a 16-strong star-studded line up of shareholders, including Beyonce, Calvin Harris, Madonna and Rihanna.
With a focus on CD-quality lossless music, Tidal's other promises include big-name exclusives, HD video content and better royalty payments for artists.
Tidal was originally part of the Scandinavian WiMP family of music services, following in the footsteps of Qobuz, by offering CD-quality lossless music streams, offering a noticeable leap in quality (on paper at least) over the typical 320kbps offered by the likes of Spotify and Deezer.
Now, a full subscription to Tidal's 25million track catalogue costs £20/month ($20 in the US) for lossless quality. Tidal now calls this tier, Tidal HiFi. There's also a £10/month ($10 in the US) Tidal Premium tier, which gives you access to lower quality streams (up to 320kbps, AAC), and makes it a direct rival to Spotify and the rest."
AND AGAIN!
"The Technics Tracks store is now live in the UK and Germany, offering CD-quality and high-res albums from artists such as alt-J, Bjork, The Doors and the Foo Fighters, to name a few.
Bjork's Vulnicura album is available in FLAC 24-bit/96kHz for £7.49, but most high-res albums appear to be priced around £12.99. CD-quality albums are available more cheaply and you can also buy individual tracks, which are priced between £1.50 and £2.50, depending on the bitrate."
I only want to say that Tidal and Classicsonlinehd-ll both continue to give me great pleasure. The hugh selection of music and for me excellent sound is worth the money. So what if I don't own anything. I have 5000cds and almost never listen to them. Same with Lps. I have been exposed to music I never would have heard if not for streaming.
Alan
I shall NEVER be into streaming. Still buying CD,s & SACD,s
Let us hope this is a trend and nothing permanent (streaming) -Alan.
Why? I love streaming. It is like owning your own record store where you can get anything you want. If you have good gear it also sounds great.
Alan
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