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In Reply to: RE: The problem is the method used to evaluate DACs and digital sources posted by Tony Lauck on October 18, 2014 at 08:34:26
Yet another wordy, indulgent post filled with theoretical blather.I will take listening experience over theory any day of the week. None of what you wrote here has any basis in reality or experience. It just makes you feel better.
I have been into digital audio since I bought my first compact disc in 1986, and I have gone through all the progressions from the earliest CD rippers and burners to now. Couple that with an enormous amount of time in recording studios being exposed to digital recording.
To say something like there has been little progress shows me you are incredibly out of touch.
Edits: 10/18/14Follow Ups:
recognise that the likes of you and (I?) exist.
Bits were not just bits back in the early 90's when I got my first two box CD player. This appears to still be the case, at least with most equipment and certainly with most audiophile beliefs. Little progress has been made in this regard over the course of two decades.
I don't believe this is an engineering problem. It's a market problem. There are plenty of engineers working for computer equipment companies, telecommunications equipment companies and military equipment companies who know how to provide effective analog to digital isolation and resistence to EMI/RFI at extreme levels. They work in those industries rather than hi-end audio because that's where the money is and also because they have the pleasure of selling their products to knowledgeable customers.
There are a few high end audio designers who understand these issues, but from what I've seen many of them are struggling to afford the necessary lab equipment to bring out stable products. Some also seem more concerned with creating a "house sound" based on coloration as a way of differentiating their products.
Tony Lauck
"Diversity is the law of nature; no two entities in this universe are uniform." - P.R. Sarkar
Again, you avoid answering the question of listening experience.
An I don't even mean the crazy expensive stuff from cCS, Aurender, Light Harmonic, Constellation etc.
I can tell you from making my own high resolution recordings, and being at the actual event, and then hearing the mastered version through my various front ends, many do have it right.
I just recorded a band in Brooklyn, who brought their own vintage mics. I was at the side of the stage and heard the acoustic event as it unfolded. When I finished the files and loaded them on the server(s), it was all.there within reason of suspending belief.
Same goes for my master tape copies which I dub to high resolution. I can compare live playback from a B77 to the server and the results are astonishing.
I trust my ears more than any lab instruments or theory,
If what you say is true, why the huge market and nostalgia for NOS DAC chips and DACs..Steve Hoffman says the Audio Note digital gear is the "the best he has heard" and they literally using 25 year old designs.
I used to know the guy in Brighton; he liked colourations.
"I used to know the guy in Brighton; he liked colourations."
Many people do to some degree...
At least he is like....
There once was a man from Nantucket...
that's because it is actually not easy to implement a technically high performance system which also sounds 'excellent'
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