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In Reply to: RE: I know YOU have cracked open a MAC Mini posted by Sprezza Tura on July 22, 2015 at 19:10:34
You are big on saying things are DOA. Like DSD. Guess what? DSD will survive until Chad Kassem pulls the plug on it. I actually think it's closer to a preme baby in an incubator gaining weight. It lives still.
You also seem to think that decent audiophile components start at $4K and up. That's not true. It's not true about DACS. It's not true about servers. It's not true about turntables. It's not true about carts. It's not true about preamps. It's not true about interconnects. It's not true about amps. It's not true about speaker cables. It's not true about speakers. It's just not true.
My trips to audio shows proves this time and again. You got beppe thinking he'll never have a nice system till he drops $30K on it. That's messed up. It' messed up, because it's not true.
I'll put the average component price at $1,500. Used of course. Can be done for less, but still in most anyone's reach. Even if in the end the system is ten grand or so. At that's a damn good system that leaves audio show bling far behind.
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Big speakers and little amps blew my mind!
Follow Ups:
DSD will survive until he pulls the plug? WHAT plug?????
there are 501 downloads that come up in a search on SuperHirez, and half of those are obscure jazz and classical, and a good number of THOSE are upsampled George Marino 48 Khz files.
You should REALLY aquatint your self with the facts.
The best part is since, the promised DSD material is never going to materialize...Viola!..you now get DSD Upsampling....everybody clap!!!
You must be joking. Where are you getting this??? Where did I EVER say there is some imaginary $4K threshold? Are you thinking of someone else?
FYI, the iFi Micro iDSD DAC, at $500, is one of the bargains of the decade IMO.
I have no idea what you are talking about.
My mistake.
Anybody who has ever made an SACD has a DSD master. One day they will figure that out, and put them out for download, because it will be easy money. Wait until Mofi and Music Direct figures it out.
Unlike the video tape format war loser, the loser in this competition doesn't have to die.
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Big speakers and little amps blew my mind!
I am implore you to check for your self..go on superhirez.com and hit the DSD search tab. Take a look at the numbers.
Sure there is an "SACD master" for every SACD that was pressed, but that is roughly 11,000 all told, and a decent number had PCM stages during mastering.
I personally like the sound of DSD128. I know of exactly ONE popular title in that format..the new Cat Stevens Tea For the Tillerman download that is purported to be a direct analog tape capture.
DSD has been a moniker that has been used to breath life into a the carcass of a intellectually bankrupt market sector. Everyone on the sell side loves it..DAC makers can "upgrade" their units to "DSD Ready" status, same for streamers, DSD upsamping can be sold as the second coming of Jeezus. And it goes on.
Be cynical or be a sucker.
I hear what you are saying. I've been watching the new DSD releases at superhirez. Pretty pitiful. I thought if they released about 500 the first year they would do at least that the second. I'll be surprised if they add 100 titles by the end of this year.
Still it ain't quite dead yet. The situation could change. If the record companies figure out that it's nothing more than ripping a tape to a DSD workstation, well how hard could that be.
Work tomorrow. Later.
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Big speakers and little amps blew my mind!
"If the record companies figure out that it's nothing more than ripping a tape to a DSD workstation, well how hard could that be."
Transferring a tape to digital is not a simple task. It involves careful setup and adjustment of the analog tape machine, locating a suitable quality master tape, evaluating the condition of the master tape and correcting defects (e.g. "baking" it if necessary), a 1 to 1 real time transfer, listening and making needed EQ adjustment which may be needed for a variety of reasons, adjusting levels, capturing the transfer in the workstation, editing the start and end of each file and possibly editing any glitches in the playback due to artifacts on the tape, etc...
This requires a significant capital investment in tools and an experienced mastering engineer to get first rate results. We are talking several hours work of work, minimum, for each hour of music that is transferred. At least $1000 cost to the record company, and that's assuming that the tape is in perfect condition. It's not like ripping a CD which can be done in five minutes using under $500 worth of equipment by someone who isn't even a technician, let alone an engineer.
Tony Lauck
"Diversity is the law of nature; no two entities in this universe are uniform." - P.R. Sarkar
Boy, there's a contractual vocabulary word you would need to know if you were a musician; recoupment.
What it means for a record company is this; every dime they spend on producing the artists album is taken off the top of the artist's cut, until the entire amount is repaid. That is the artist or band is solely liable for the production cost. I've read of bands that recorded and sold albums that went gold only to find out they never made a dime. They were livin' too large during the recording session.
Really your average record exec is about one step above a pimp.
All this to say that a capital outlay of $1000 is a joke to the record companies. It used to be that they could justify their 40% because they did have real capital outlays, like manufacturing the records and shipping them to market. You used their established distribution network. They even said that the 40% helped all the other bands whose records didn't ever break even. It's harder for them to say all that now.
Yes yes, a Sonoma DSD workstation costs $16K, but so does an audiophile approved Playback Designs DAC. You can be sure the record label would amortize the hell out of that Sonoma. When they get on the bandwagon they will rotate engineers on those workstations by shift, and that engineer's chair will never get cold. If they were really smart they would sell them direct from their own website. I already see that to an extent. Back in the day they probably had agreements against this, but these days, goodness knows - anything goes.
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Big speakers and little amps blew my mind!
That would be a minimum $1000 charge for the work if it were subcontracted out, not the capital cost.
But if you just want a tape converted to digital without regard to quality it can probably be much less if there is no EQ, no level setting, no editing, no listening and if the studio can use an intern to do the actual work of swapping reels and pushing buttons. I've seen 150 reels transferred to digital and put on a hard drive for 1000 Euro's total. The tapes were in Germany and so this work had to be done there. My only role was to evaluate a few sample files from two different studios for sound quality. I did this blind without knowing the names of the studios or the pricing or equipment. As it turned out the low bidder produced the best sound quality and the overall quality was excellent. The high priced studio used name brand gear, but the sound quality was not so good, probably due to equipment maintenance and setup, so I won't cast any aspersions as to the quality of the gear, which I eventually discovered, only to say that I wouldn't buy this company's products despite their esteemed name in pro audio circles.
I can't comment on the music "business". For me, music is art and love, not business. IMO if this "business" ceased to exist, music and real musicians would probably end up better off. However, even those musicians who have sold out for money aren't as bad as the scum middlemen who end up exploiting them. Just saying...
Tony Lauck
"Diversity is the law of nature; no two entities in this universe are uniform." - P.R. Sarkar
I just used the term "rip" because I have two hi res files, Traffic JBMD and Blindfaith ST, that sound exactly like the vinyl record. Maybe a lot of TLC went into them. I don't know.
Funny, I was going to use the term sausage factory in my previous post, and then you tell of a real life one, in Germany no less.
The gradual jettison of the physical media that has been taking place will blow the whole music system wide open. It's already been happening. Tower Records closed. For new music I think the future is something like Bandcamp, and all the classical download services. They are totally outside the old system. The vending won't be totally atomized. There has to be major vending places where large collections of music for sale are available, but outside of that, it's on. The old system will be for manufactured bands and music. That's been around forever and won't go away. However you may see Bands start to turn the files over directly to the vendor. Here is our new album Bandcamp. Thom Yorke released his new album on Bandcamp. That comes close to a watershed event for me. It's just how will the bands hook up with the good producers?
Oh one thing I forgot. When you do the $1000 transfer session. Be sure to output in DSD, three different PCM sample rates, and a MP3 version. Thanks.
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Big speakers and little amps blew my mind!
Re-mastering or building a digital file, - as it should be called, - is another interpretation of the original, - although some "file builders" may not like that particular characterization.
"Asylums with doors open wide,
Where people had paid to see inside,
For entertainment they watch his body twist
Behind his eyes he says, 'I still exist.'"
Well..sorry to throw cold water on the situation..just keeping true to the facts.
BTW, it absolutely not as simple as putting up a tape and ripping it with a DSD workstation. 90% of the time gain changes, EQ, and numerous other subtle fixes are needed.
Not to mention..why would they bother...
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