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In the Forum: Didital Things
In the Thread: K-Stereo Ambience Recovery Processor
Post Subject: The digital anal-retentivism...Posted by Romy the Cat on: 10/15/2007
 peter foster wrote:
The TU-X1 sounds to me as though there is a dolby processing happening even when the dolby feature is off.
You might check if your country decoding switch is not in a wrong setting. It located at the very top of the unit and it regulates the difference between the American vs. European pre/de-emphasis (I believe 75uS vs. 30uS). If your station broadcasts a good signal (a big question always) then a wrong position of the switch leads to the defect that you descried.
 peter foster wrote:
You make some very interesting comments about stereo and distance…
Yes, I know…. :-)
 peter foster wrote:
I am familiar with the Lavry dither algorithms on my Lavry Blue 4496, such as Acoustic Bit Correction, ABC-1 and ABC-2. It is a 2 channel microphone preamplifier, clock and 2 channel analog to digital converter. There are a number of dither choices on the Lavry and a number on the K-Stereo. Their dither algorithms are different and good results can be achieved using either machine. The best results, for me, are achieved by recording on the Lavry Blue in 24/88.2 or 24/96 on the Lavry Blue, then performing no dither within the Lavry Blue and passing the bits to the K-Stereo and only performing dither as the last step prior to conversion to analog output. Note that the Lavry Blue (and Gold) also have a feature for massaging clipping that adds its own puss, as you might say.
BTW, did you pay attention that the subjective of dithers, Acoustic Bit Correction, and other toys are also quite dependant from the types of amplification being used. After-dithered signal has a lot of low level HF noise, and it is very important how stable amplification can deal with it. Usually the less feedback in amp the less they should be sensitive to it. Pacific Microsonics do even more obnoxious – they supplement the processor with EXTERNAL low-pass filters that they propose to put on the cables….
 peter foster wrote:
The link that that I sent in my previous post contains original and processed samples of the WEISS DNA1 machine … They are at the bottom of that web page. They might help you to form an opinion of destruction or not of the music of ambience recovery.
Yes, and I wish I had a functional stereo playback to play it outside of headphones … :-(
 peter foster wrote:
Regarding destruction with DSP, this is a typical risk/benefit analysis. Is the result a net gain or a net result, that is the question. For example, in converting my vinyl collection to digital I soon stopped performing noise reduction because too much music was lost. So I live with the vinyl noise on my vinyl to digital conversions. But then I have not used the WEISS noise reduction machine so maybe that would have been a solution. Also, your Pacific Microsonics machine and your Lavry Gold machines are DSP machines too, so the results can be very good using a quality implementation in a correct way.
Yes, it is a big subject itself. I have no qualification to discuss it credibly but it looks that not all DSP are create equal. The A/D, D/A and delays of any kind is not a problem. The problem looks like begin to take place when DSP begin to change volume (crossover). Whatever I record I try do nothing to files. I do hear as change of .5dB of gain in Wavelab affects sound. BTW, Wavelab has horrible rate and resolution conversion engine (Wavelab-5 was a complete disaster, the Wavelab-6 is much better but not good as well). The Pacific Microsonics it turned out to be a phenomenal 88/24 to 44/16 converter but even with Pacific’s filers I do hear some TTH variations. Do you know that there are some people (and I do understand them) who in order to convert from 96/24 to 44/16 do DA/ and then A/D processing and the feel that it less damaging then activation of DSP engine?

Rgs, Romy the caT

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