Peter

You are really struggeling to help out any problem we "users" bump into in all our crazy PC environments.

What an effort you are doing. 

Gerner

Peter

I just grapped the .exe and threw into my directory together with the excisting .dlli had there, and everything were just running from the first second. Made a shortcut from the exe to the desktop.

Vuola.

Gerner

Ehh didn't try on vista, but on XP and W2000 you have to: Alt-printScrn-Insert. So 3 buttons to hit. Then paste it into whatever.

Gerner

You bet Peter I mean it. 


Peter you are such good hearted pal. But Berdy have promissed me an amp as per soonest. So likely I shall be the priest and marry the two and let #3 do the magic. We shall see.



Of course I am rediculous to test #3 through my OS-DAC. There *is* a difference as I said....but my DAC in use oversamples so much that I cannot imaginge how it would sound if it didn't. (Oh..maybe I can..anyhow).


That will be balanced. Promis you. The tires I gave you, you simply have to swallow.  They are yours. Eventhough I know that 3 tires are the top, I had to add a 4th tire for your work. But only because I know you would not know what to do with 3. Right? 



 

No secrets:

• Steen Duelund, Lars Mikkelsen, Michael Nielsen, Bert Doppenberg, Peter Stordiau

No ranking here. All gave their innermost to improve audio the way it is recogniceable. Not just tweaks and hypnosis.

Gerner 

   Peter...

Stable sjit you made. Cannot provoke it in any way.

I have commented the sound of the XX so many times before ---- THE VERY BEST. How do you think it was to get rid of the Foobar after having the XX running for months and all over a sudden were forced to go back, while you were polishing off the last things in the 009? Pfew... 

The new XX have now being running the whole day. No way I can provoke it to do crazy things except sounding crazyly good.

I have until now not feed my nos-dac with the #3 etc. as that dac will be re-introduced as soon as I have my CrazyA's from Bert.
But my ears tells me that #1 44K1 is a hair ahead of #3 re. resolution and the #3 is slightly ahead re. relaxation or smoothness.
As it is now I prefer the #1, but that can soon change when a Crazy amp enters my world.

Never the less I shall express my deepest thankfulness for the devotion and hard work you granted the job and the result is now available to all of us +++ .

Muchu muchu    Peter.


I count now one more genuin contributor to the audio world. And there is a lot of value in the Michelin stars I award, and further those awards comes extremely rarely. I think I gave 5 persons such an award over the last 35 years.

 


Gerner

Thanks Peter. Blood sweat and tears to make that happen.

Yes I know I put many subjects in this topic.....but instead of answering you here on each subject...it seems by activating the player once more everything is running satisfactory now.

Played a list of 12 tracks now without problems.

No errors.

I have stored the player in it's own directory. So OK.

I appologize for having posted something and deleted it while you tried to answer what I just deleted.

Will and XX-Hennessy do?

Sorry    and

Gerner

It is quite OK with me it is not "error" free. I assume you will release it as a kind of subscription and by that all shall have up-dates along the way?

Gerner

Oh Peter....

Yummy. This is really great news: 

1) The soon comming final release.

2) The absolute phase controller. (The Red Light is a Dutch phenomenon. Here there is no Light at all)

But comming to the 2) it is for sure an incredible thing to have running. Now I can breath in pure peacefull music. It has been a nightmare for my poor brain to adjust to the tracks absolute phase shuffle. (Recording Studios...shame on you).

Of course, someone would say: "Why don't you just remote control your OS-DAC's phase button"? And I say: "Yeah. and get stuck with that DAC, when Peter so nicely now runs bitperfect to NOS-DACs"?

In order to explain myself in simple words, playing a track in oposite absolute phase causes a trompet is "sucking" in its own start-step-function, whereas it shouldn't. It should start "positive". Allways.

Gerner

Dear Peter

You know me as one of the most phase-hysterical guys on earth. 

It is well known that many CD's are released with random absolute phase and even some are released with random absolute phased tracks. I have detected that over many years.

(Take all "The Best Of" bla bla artist as the worse example)

This is so anoying and drive me mad. Absolutely mad.

On my OS-DAC I have a phase shift button, but see me run back and forth from my comfortable sofa to the DAC. 

Now, is it possible to introduce an absolute phase detector gadget in the XX-player and by simple mouse-#click# to reverse it? Or even an auto phase detection?

If you can, then I shall offer you all the tender beef meat that I have to consume due to my high frequent running back and forth gas-consumption.

Gerner

Peter...

Yea yeas and yas -> yes! Your brainstorm looks alike mine, however different we express it. I "know" what happens, but rather fail to express in common language what it is.

Mentioning only that track with Joan is only a very obvious example among many, where the things are x-posed to the utmost.

Now I can only imagine a #3/double (explosive) which does not tare things appart so it cannot be recogniced as a musical event, but rather a "microphone on everything" multi split, no way sounding livelike, huhaaa piece of music.
I feel sure you are right in the tailwind of the UFO you're seeking. Your words tells me that.

What is here:

You wrote:

We (Bert and me) already found that what can be done with software (no DSP !) can also be done with loudspeaker filters. Well, to a large extend anyway. Trust me, the differences with a filter can be day and night (and within 0.5 seconds audible -> I mean this), but only when the source is right !!!

I don't know if you two discovered that alone. I feel I discovered it many years ago. Even without having the source right. (Sorry Vinyl Records).

A favorit discussion point between us BTW. However what came first, we know they are all dependent on each other. It takes one to know one, right?

I don't want to twist the things here. If a loudspeaker is phase-correct in the sence we both know and rather linear too, it is almost all related to the source. The speaker just reply.
An amp can just sustain it. Or said otherwise, a perfect amp: don't hinder it to happen.

The science of the loudspeakers does not directly lead to understanding the perfect players blessings. Why? Because the speakers are just an oposite of a stereo michrophone.
Your player is doing another kind of job here IMO.

It expose the happening while recorded. If it is the perfect bit streaming, reading or others to me unknown category, I don't know. I know what I hear. And I like it. I like the possibility it offers to be in the head of the recording engineer and just hear what he/she hear and why he/she didn't hear it fail or heard it succeed. And that comes very much to the right core:

PHASE coherence.

If he/she does'nt hear a womans voice "suck" while the rest "blows", he should be kicked out of the studio.

But maybe they don't have the tools Peter. They cannot hear it?

There are so many new things going on here in my listening room, and that is not about the speakers being perfect. I know that department well. Heard what that does the last 15 years.
It is the source/player thing that makes a difference here. That is to honor for the non-dsiturbing standing waves and the absolute phase mess detection in recordings. Nothing else.

No replies from me for a 10 days to come..."out of space" for a while.

Gerner 

 

Hi Chris

Hmm...I left my 700 vinyl records behind me. But during the development which took place here I resume just by brain maths...: Vinyl meant all to me long time ago. Now having lived with the digi world for years with no peace in mind, I just may conclude: THIS IS BETTER, BUT DIFFERENT.

This is "vinyl" digged out and not carrying the vinyl significant set off's.

But if you are able to, as I'm not, to compare...answer your own question. Is it better?

I can tell you from my side: I didn't have those thrills since vinyl dominated my listening space. And there are definately some +++ comming along the digi replay as shown by the XX.

Others?

Gerner

Well guys....

Bumped into a very interesting...for me at least...exeptional phenomenon during my evening session with the XX agent. (Vista, #1, 44.1K)

Was browsing through a DEMO folder of mine with extraordinary quality tracks. One is Joan Armatradings track "Willow". Maybe not so 5 * rated re. sound quality, but good enough to belong in that folder.

Now, you know what I heard for the first time ever?...No of course not.

Her voice is recorded in anti-phase compared to the band. Huhihaaa. Hallo...never ever heard that before as I didn't have the agent 007 going here ever before and hence it all seems, I was not able to detect it.

I  threw in the CD to look for the same phenomenon. No way I can determine this insidence. No way. It is just the same phase mess no matter what plays and who sings.
Have we here in front of us just something that exposes phase relations burned to the CD?
Your judgement....by trial to compare.

There are a lot of "technical mistakes" taking place in studios, even nowadays. Ooops. The record just slips out the back door into the shops not been exposed to neither ears to detect anomalities in this department, neither the the equipment automaticaly rooting mistakes out of the way it sees it.

So.... how nice to have a entrepeter of the source that can tell you such things. It is more and more obvious that along time you just have to kneel and respect it for it's monitor skills.

The XX is much closer to the true tool to dig out the info on the records than I first realised.

Gerner


I will likely see more to come of this kind. Why? My ears and what's left of the brain is insane responsive to phase relations and thereby I can just conclude most of my listning life has been a torture until now.


 

Hi Leo

He he... good remarks.

I already yelled it out in my back-yard of potential XX'ers. But fortunately only to a very few opinion makers. As frome there it will spread by the jungle drums.

However this was not maybe the most clever idea as I made suggestions for a PC-playback system which is neither the right one to start with nor it was explained correctly. 

So better we all wait until Peter rises his flag for a go, and advice one source explaining it all and correctly.

Damn good site this one..   


Gerner

Chris, when we speak about horns, they are far less affected by room resonances compared to open- and boxed speakers. This is natural, as first of all horns must carry enourmous magnetical self-control. It is hard for a room to throw back energy, that could impact, into a small vice gripped diaphragme which is dead-locked by enourmeous Nd magnets and tight air gaps.
The *horns* are "just" air-impendance transformers which suffers from the same feed back from the room as anyone else speakersystem. The push-suck of air is no less problematic here and the rooms feed-back sees the same as the diaphragme does, except seen from the room it looks into a transmission line instead of.
So it is mainly the magnetical control that is an issue here.

Then: Last but not at all at least: The speakers ability to picture an undisturbed air-print (sound-print if you like) is very much related to phase homogenity from "DC to light". All diaphragmes involved must be acoustically phased controlled equally at all frequencies at all times.
They must work as "ONE" piston in order to control a room.

Who has such speakers? Not many, as High-End/Low-End/Whatever-End speaker manufactorers don't simply know anything about it and how to acheive it. Sad it is, but a fact. 

And no I have not "tested" the PC-playback and XX on conventional speakers.

Gerner

Quote
I dont understand how XX player can reduce standing waves without Bose-ing the sound - which is the opposite of bit perfect?
Please explain.

It's far more easy to just observe it (without headphones ) than explaining it.
The most important is that I apply *no* digital processing whatsoever.

Peter

I addressed issues to this phenomenon before. I'm eager to hear from all of you who XX-playback via speakers if you notice this phenomenon and what you beleive it is.

I have a criple-theory by my self, which is partly connected to the speakers in use and for sure a spin off of the XX itself.

Standing waves:

There is for sure no way the XX can affect standing waves and alike as this belongs to the room structure it self.
But there is certainly a way a room can affect the *speakers*, which are under control by it's own maths and construction, and under control of what's behind them. The amp, the DAC, the source of music.

So if we take a look at the attempt the speakers try to master, namely to push out and suck in sound waves (air) precicely and with enough air preasure impedance ratio in order to leave us with an air-print in our rooms similar to the accoustical surrounding present at the recording or whatever intensions there were behind it, it is obvious that here most speakers fail. They cannot control the air in the room as the standing waves results in an interference and intermodulation of the diaphragmes position at a given moment.
Hence many speakers give up the fight to control the room, and everything is chaos. At least from a certain high frequenzy and down.
Well a cheap but understandable theory, I think.

The ideal speaker will not be affected seriously by a rooms resonating nature, and if it is such a speaker you pocess, it will alowe you to hear what the rest of the gear is doing. Standing waves will, however they are present, not disturbe you. The same way as all kind of waves naturally present everywhere where you are, is not disturbing a conversation between two or many people. Our brain doesn't care about it.

If you miss such a speaker as I'm talking about, then: http://diy.bd-design.nl/.... it.

Now let the amp be as close to a straight wire non poluting amlifying thing and the same goes for the DAC, then we are back at the source reader. The XX in this case.
It is from there you will accept the airprint in your room. It cannot emit from anywhere else, once the above is under control.
The XX derives bits from the source and do nothing to the data. (My idea at least, as I have heard versions doing a lot to the sound, but unrelated to the standing wave thing though).
The XX is in my perspective the *controler* of the speakers and their abilities to tell you the truth without having the room to shake your mind.
Now a bit of my theory is missing, as it is here I still do not quite comprehend, the XX leaves me with a bigger 3-dimensional foot-print in my room, in Peters and Berts as well, where the room has far far less to be said and dealth with.
So by the XX inner nature it does this to your airprint. That is a big magig.

And how do I know it is the XX doing it? Ha...throw in the same track on your CD player and listen. Huhaaah.. Waves are now disturbing more and unrelated to the speakers at all as far as I hear and see it.

So however it is this *benefit* of the XX is just there. I cannot explain it.

But for sure it demands the right gear to be noticed so clearly. Just throw in lousy amps and in particular lousy speakers....it wouldn't be that recognizable at all.

That XX is cleaner and more fluient compared to other sound derivers is another thing.


Ja ja..

Best regards from me...


Gerner