LECTURAS de AUDIO OBLIGADAS

Aunque es obvio...:

Petrus:
We all know recording with 24 bits has tangible benefts. This test was about delivery; SACD could not be distinguished form 16/44. 16/44 has all the resolution we need for playback. Using 24/96 or whatever is perfectly legal and usefull (at least for recording), but claiming a big, audible difference in playback quality is simply not true.

Let's not mix up two different things, recording and delivery.
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Funny note: on a hifi bulletin board there has been two long winding threads about audible audio quality: one about different MP3 versions, one about this same CD versus ri-res formats. The funny part is that MP3 discussion is quite factual, people calmly admit they can not tell the least compressed MP3s apart, or distinguish them form CD quality. The CD/hi-res thread is much more emotional, there the whole question of even testing such a self evident fact [that hi-res is superior] is questioned, the validity of making test files is questioned and people refuse to take part in the test (or at least they decline to make any comments about their personal results).

I think this only can be caused by the monetary sacrafices these people have made. You can test different MP3 compressions without investing any money; any digital player can play anything MP3 and CD-WAV, so you are not going to loose face by admitting the best compressions sound the same. Not so with SACD/hi-res. Some people have invested thousands to play these formats, they will not admit they can not hear any improvement, they even refuse to listen to a simple test file to see it the difference can be heard.
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The difference between 16/44 and 24/96 can not be heard

From AES Journal 2007 September, Volume 55 Number 9:

"Audibility of a CD-Standard A/D/A Loop Inserted into High-Resolution Audio Playback

E. Brad Meyer and David R. Moran 775

Conventional wisdom asserts that the wider bandwidth and dynamic range of SACD and DVD-A make them of audibly higher quality than the CD format. A carefully controlled double-blind test with many experienced listeners showed no ability to hear any differences between formats. High-resolution audio discs were still judged to be of superior quality because sound engineers have more freedom to make them that way. There is no evidence that perceived quality has anything to do with additional resolution or bandwidth."

Test were done with a high grade stereo system and over one hundred test persons. Nobody could hear the difference between SACD and CD standard audio.

the difference between 16/44 and 24/96 can not be heard at DVinfo.net


Lo bueno de la AES es que poco a poco se van echando por tierra los mitos audiófilos; Resultados que coinciden 100% con los postulado en matrixhifi


Un saludete

Hola a todos,
He leido este post y no he podido evitar el intervenir para dejar mi opinion al respecto.
Trabajo en una compañia de ingenieria cuyo negocio es la television y la radio profesional.
Aqui llevamos a cabo la construccion de unidades moviles, estudios completos de radio tv, etc.
Quede claro que no soy ingeniero, solo soy el financiero, pero des pues de.muchos años en la compañia y seguimiento de proyectos, he aprendido unas cuantas cosas.
La unica preocupacion de los ingenieros que ejecutan estos.proyectos, muchos de ellos muy costosos, hablamos de millones de euros, es que los sistemas de cableado que se emplean, y que son de uso profesional, tengan la seccion adecuada y en funcion de su ubicacion el apantallamiento adecuado, nada mas.
Lo habitual es que la.tipologia de cable sea de un coste de pocos centimos de euro por metro.
Dado el tipo de instalaciones en las que trabajamos, como comprendereis no se escatimaria en algo que afecte a la funcionalidad y calidad de dichas instalaciones, ya que se utilizan para grabaciones profesionales de audio y video en cadenas de radio y tv de primer nivel, tanto en España como en el extranjero.
Por tanto, si los profesionales del area no.necesitan cables millonarios, ¿por que los necesitamos los usuarios del hifi o el.cine en casa?.
En mi casa utilizo cable normal con una seccion decente para unir mis cajas al ampli, y suenan de maravilla, y mis compañeros ingenieros no me recomendaron cables magicos en ningun momento, porque segun me dicen, la.fisica es la.fisica, y de donde no hay no se puede sacar, que eso es para los magos.

Hasta aqui mi aportacion.
UN SALUDO A TODOS

La sugestión está servida!! Bajo mi modesta opinión es que los cables e incluso cualquier cosa, incluso el aire... afecta al sonido. Otra cosa es que vaya a mejor. Eso ya es otra cosa.

DoP open Standard. Method for transferring DSD Audio over PCM Frames.
Version 1.1

dsd-guide.com DoP open Standard

DSD64FS



DSD128FS

3. Solutions for double rate DSD (128FS) and beyond

Two solutions are possible depending on whether the used PCM transmission scheme is capable of supporting the PCM rate of 352.8kHz or not:

1. The solution described above for 64FS DSD can easily be extended for128FS by simply raising the underlying PCM sample rate from 176.4kHz to 352.8kHz. All the marker bytes and bit ordering remain the same.

2. For those conduits that do not support 352.8kHz (such as AES/EBU)an alternative method can be used without raising the PCM sample rate:

Iniciado por charlyguitarwatson

La sugestión está servida!! Bajo mi modesta opinión es que los cables e incluso cualquier cosa, incluso el aire... afecta al sonido. Otra cosa es que vaya a mejor. Eso ya es otra cosa.

Ya, pero no es cuestión de subjetividad; es cuestión de demostrar las cosas de manera objetiva.:

Cuando una variación es posible se puede luego ver hasta qué punto esas diferencias medibles son audibles en pruebas rigurosas del tipo "blind test" (para eliminar efecto placebo)... y en las condiciones donde ni siquiera hay variación medible pues no hace falta ni pasar el test.


Un saludete

thehighfidelityreport.com Death of a Sales Model Lee Scoggins

Stereophile has turned a critical eye to Light Harmonic’s “Geek“ crowd-funding campaigns (the “Geek Out” and the “Geek Pulse”)....

The Dealer is King

Since people tend to look at only the manufacturing costs when discussing value, we based the chart on an average $1.00 cost of goods. In hi-fi, consider this the raw parts, the labor to assemble, and an amount, however small, for overhead (to pay utilities, rent, etc). I then assumed a reasonable and conservative marketing and warranty budget. This totaled to $1.50, and I assumed a typical 100% profit margin for the cost to distributor to be an even $3.00. I then assumed that the distributor would add $2.00 roughly of profit margin and then sell to the dealer for $5.00. The dealer then doubles the cost for a 100% profit margin and sells to the customer for $10.00. So for $1.00 cost of making the item, the customer will pay $10.00. This is quite a spread, but not uncommon for consumer goods of a limited production nature, such as we find in the land of High End Audio. In some instances, there might even be a $20.00 cost to the consumer.

The Customer is King

Here we have eliminated two “middle-men” in the value chain, the distributor and dealer. Because the manufacturer sells directly to the consumer, the distributor and dealer profits are eliminated and it only costs the consumer $4.00 for the product, two-and-a-half-times less than the $10.00 they would pay for the same item in the “Dealer is King” system. There is at least $1.00 per item of additional cost to the manufacturer because they are responsible for acquiring new customers (and building trust) for themselves.

Cultivating a customer-base has become inexpensive these days because it doesn’t cost much to spread the word with digital campaigns. And new marketing analytics techniques – not to mention the highly detailed data our social media engines are collecting on us – are incredible at finding likely buyers or persons of interest...

Light Harmonics developed a bulletin board-style forum for their virtual community of Geek fans – that LH called the Geek Force – to voice their opinions, requests, and concerns. LH was able to leverage crowd-design to create a customer-centric world. In fact, LH even solicited a vote on which enclosure design to deploy for a Geek Pulse accessory. They also held a headphone-stand contest that they allowed members to vote on their favorite design.

Now, let’s consider crowd-funding from the customer’s viewpoint. You pay upfront for a product that you will receive later. But you aren’t paying the $10.00 at the dealer, rather the $4.00 on the crowd-funding site as an “investor”. And this is only slightly higher than price-point the distributor typically pays. As you invest in the campaign you get access to the Geek Forums which allow you to suggest other products and help Geek refine the feature set. You feel as though you are supporting something at the ground level and helping the product itself come to fruition. This is rewarding. And you get to hang with other like-minded souls and talk audio and learn how to get better sound. It’s truly a win-win situation...

¿Seguro que es aquí donde quieres poner ese artículo?, porque de lectura sobre audio no le encuentro nada , y sobre "obligada" ni te digo

Tu anterior post es más bién técnico, la conversión DSD-PCM para aparatos con conexión USB, lo que tampoco veo qué hace en este hilo, ¿me lo explicas?.

Creo que es muy conveniente que los consumidores sepan los márgenes de beneficio habituales de los intermediarios, totalmente abusivos en mi parecer. Y que se está asentando la práctica de la venta directa del fabricante al consumidor.

En cuanto al DSD, ahora está de moda. Es interesante conocer cómo se está implementando. Personalmente no tengo interés alguno por ella, al ofrecer una calidad inferior al LPCM 24/96 salvo cuando son grabaciones directas sin sufrir manipulación en los estudios (muy raro hoy en día, salvo algunos directos). Es la zanahoria para que se vendan los nuevos DACs.

Por mí puedes borrarlos sin más o moverlos a otro subforo si así lo crees conveniente.

Gracias a todos por ayudarnos a aprender, me suscribo a este hilo parato que no se me pase lo aquí escrito

Un saludo