Archimago wrote: 
> Interesting history there Arny... I assume the effect must have been
> transparent.
> 

Listening tests of this device were among our early adventures with ABX:



http://djcarlst.provide.net/abx_digi.htm


> 
> Also I presume there's an AD/DA in the device.
> 

For sure. It was said to be a proper 16 bit device.  Its clock rate may
have been adjustable in the 40-50 KHz range. The dB article that I
referenced seems to be the sole surviving piece of doc that is stored in
public.

It was tested quite exhanstively, and found to be sonically transparent.
Those tests is the origin of my interest in testing gear with a set of
keys, jangling.  This is quite demanding, and just about everything in a
good studio in those days would fail to be transparent enough to pass
ABX tests.

> 
> What kind of conversion quality are we looking at with the ADD-1 back
> in the day for these LP's!?
> 

I don't have a sample to test, but from analysis of LPs that appear to
be cut using it, I would speculate somewhat informedly that it used
analog filters, R2R conversion, and the analog filters were very gentle
by modern standards. The transistion band appears to be huge by modern
standards.

> 
> I'm sure Michael Fremer would have no trouble identifying these
> digitally compro> mised LPs :rolleyes:.[/QUOTE wrote: 
> > 
> > 
> > I'd guess that a very high proportion of LPs that were cut from 1979 to
> > 1989 were cut using it. IOW, during production they were digitized @ 16
> > bits, and were brick wall filtered at 24 Khz or thereabout.  I don't
> > beieve that he has complained about even one instance of this. 
> > 
> > For example, every legacy copy of the DSOTM LP probably received this
> > treatment. During loud passages, the brick wall and rejection band is
> > covered up by the nonlinear distortion that is inherent in the LP
> > format:


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