There was some good technical discussion at hydrogen audio . But hey
seems to move thier web space . So treads are just not aviable rigth
now

Btw just because it's a AES paper does not mean it's good or legit .
Meridian has a good position in the society and IMO uses the science
flair that publicate papers within AES gives for marketing purposes .
These result are not undisputed .

Does it make AES bad ? No this is a problem all research organisation
and universities has to grapple with from time to time , you won't
believe how much crap research even very respected universities realease
to the world . It's kind of self correcting but it takes time .Over time
several studies of a phenome takes place and it can even take a meta
study to give some kind of final verdict.

A more valid to aproach to a hifi streaming service would be to curate
the content to the best known version of a work ? This has much more
impact than the bit container I take the 320k MP3 version of the
definitive master of something any day over the latest loudness war
compressed master in glorious 24/192 the differences between suitable
bit containers are subtle at best the differences between masters are
really huge .
Hey you could even throw in MQA streaming on the side in this scenario .
Now and then the music would have a true 24/192 pedigree trough the
recording and mastering chain these files could be given the MQA
treatment . So on the rare occasion some subscribers could get the
satisfaction of seeing " the MQA light " turn on . But it would not be
used on program material where it would not work ( most music ever
recorded ).

It can prove a bit problematic to score true 96k or 192 k masters for
the bat content . HD tracks for example is ripping SACD disc for a lot
of thier content ? And they have huge problems with hirez masters that
are nothing more than doctored CD masters to begin with . A logistical
nightmare .

A would love a streaming service that tackled the whole quality problem
, not just obsessing over bits and kbits .

Btw to get "bat friendly" content you may need to listen to rather
closed miked music as the frequencies die of fast in the air and I do
wonder how many of the classic microphones that record engineers love
work in this domain what about thier polar pattern and frequency
response ?
And who will monitor this during production ? Do we even want it . The
ultrasound can pose a real problem for amplifiers and speakers and
actually do more good than bad . So even if we have a 24/192 master it
must still be carefully evaluated .
I do think 2L AIX and several others understands this very well .
But what about some indie self production where they happen to have
24/192 sound cards and current software ? Or some random pop production
that also happens to exist in the 24/192 domain .

And it returns to the problem of setting up a quality control system
that would ensure a hifi streaming service for real . It would require
all the record companies and independent artist to run back to thier
archives and do some QC work and possibly reupload a better master . We
are talking about millions of man hours fixing this ? And in most cases
the record company want the crappy compressed version . So that would in
some cases require the streaming service to rip an early 90's version of
some cd against the record companies intent, to get the best master ?
How to resolve that .



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Main hifi: Touch + CIA PS +MeridianG68J MeridianHD621 MeridianG98DH 2 x
MeridianDSP5200 MeridianDSP5200HC 2 xMeridianDSP3100 +Rel Stadium 3
sub.
Bedroom/Office: Boom
Kitchen: Touch + powered Fostex PM0.4
Misc use: Radio (with battery)
iPad1 with iPengHD & SqueezePad
(spares Touch, SB3, reciever ,controller )
server HP proliant micro server N36L with ClearOS Linux

http://people.xiph.org/~xiphmont/demo/neil-young.html
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