Hi,

I think I had this once (so one time only) myself and as far as I recall this happened when I double-clicked the item in the Library Area to load the album in the Playlist Area. Back at the time when this happened (which was with 2.10 for sure) I immediately tried to repeat it, but I couldn't. What I notice from your text though is this :


I just again tried to copy the situation with that Double Click, and indeed it is so that one time after the other (thus half of the times) the first two tracks get selected. So question :

Do you use DoubleClick in the Library Area when this happens ?

Can you repeat it, maybe after 10-20 attempts ? If so, what do you do exactly ?
... if I can't copy the behavior I can not solve it ...

And if you can't reepeat it really, is it importent to have it solved ?

Best regards,
Peter

Hi - You mean like you see below ?
If yes, see the mouse pointer. Drag that [2] to the right.
Maybe the [1] (to the left of the tracks) is also involved. That can be dragged too.

Is that what you mean ?

Regards,
Peter

Dave, so nice of you to share Fred's happiness - or how to exactly put it.

Reading your latter words in the quote above, let me return to this one :


I am confident nobody tried because else I would have heard back something about it. Why ?
well, because there was no basses. Only some low frequency mumbling without definition. And without being interesting at all.
Huh ?
Yes, I played the album again a couple of days later, but I played it on the Stealth II. No electric basses there ! And now I can suddenly see how your words, Dave (and Fred's too) should have way more impact than I would think myself, no matter I have the Stealth III. Am I blind then ? OK, deaf ?

It indeed is so that all is x times more realistic via the III, but the real sense of that is obtained when you go back. Like I did accidentally (I had been listening to Fred's) because a new one had to be build up for me and so I grabbed the II again; Earlier I described that as "ugly" (or "as mud") but this was my perception of the high transient music I listen to (for testing but also because I just like it). And from there, on to the next subject :

Yes, Dave, that would be your interpretation of my words earlier on. But (thus) nothing of the sort of expressions I used, unless it was indirectly about that bass (which I didn't realize it was that "bad" at the time ). Thus no, when I talked about shattering and crackling and "all over" this has few to do with holistic and holographic. I mean, I think these phenomena dedicate to the mere normal music which one has to play first (haha) and of course judge for that. Say that I hardly do. But now this one :


This could typically be in "my" music, but let's transfer it to needle ticks and a kind of scratching which is often used in the "music" I listen to, and which now comes forward so crazily loud, that we once again can wonder how it all works (hey, especially if now a dumn PC implies it !).
And if we think "crackle" as such and project it onto fireworks, then I could mean literally that but now from "music" which puts it forward (in the "ambient" scene).

And thus what I only realize now is that the novelty of the Stealth III can be put forward from at least two very different angles, if not three. So there's this high transients which so enormously well are represented (mind you, in reference to "not there at all" at first) and which only express in specialty music (no way Ray Brown will incur for it), there's the realistic angle which will be a summarization of all in there and which will give you the "I was there" feeling and which includes the superb (electric) basses and there's the more physical thing of the holistic presentation which btw also is expressed by my crackle because that too is everywhere and which highly contributes to the 3D experience.


Dave, Yes. IMO this is very well expressed. I'd say that the further we go with the "absolute good sound", the more the separation is the notable thing. Waves seem to get tighter and tighter (less chance of colliding hence my standing waves concept) which (obviously) implies for the transients to come forward (and no crackle when all is smeared, right ?).


You are too kind. And I believe the "shattering" is by accident. But that.


You say this so right(fully);

So yes, "what I have learned". Let's say that this expresses indirectly that at first I did not know all that much, apart from being an audiophile myself for close to 40 years. I was like most and found new tweaks each day. Ground wires here, ferrites there. Until that one day that I thought that a computer should be able to eliminate nastiness from the CD transport. And from there I lacked the early-quit EE education. But now there was Google.
What is also correct is that the new technology on electronics should be utilized and step by step this happens. Long story short : that amplifier is coming.

Dave, I hope your nice report wasn't underwhelmed by my blathering. I just like those stories too much to not respond to it (all). And of course this is the most helpful for others.

Peter

Juan, great !
I hope that people stick up to 15:40 or at least start there or right before that when they get bored about the first piece.

Coincidentally I watched the first hour (of 3.5) of 8 days a week, 2 days ago.

Thank you Juan,
Peter

Hi Shreekant,

It is just a hunch, so not sure at all ...
See the below screenshot.

The other day I found the contents of that "Temp" folder to comprise of over 4GB of pictures. I am not even sure how it can get there because it is a. XXHighEnd related (but I don't do it) and b. it can only get to your RAM environment when it first has been on permanent storage.
In the end this consumes your "disk" (= RAM) space and you may get sudden errors like you showed. IOW :

Can you look whether this contains a significant amount of data (like more than 1GB). Thus, I mean this Temp folder. If so, boot into the BASE OS and now delete the contents of the Temp folder fully (it wil be on Drive C: again). Now boot back into RAM and see whether the problem is solved.

Please let me know the result !
Peter

Hi Richard,

It is not related to the AP filter - it is rather the other way around;
The Custom filter smears (relatively) so much, that the as illegal regarded transients are smoothed to "no problem".
The Arc Prediction filter is far more the reality.

So the Custom filter can act as a trick to avoid the issue.

Kind regards,
Peter

Hi Richard,

What to do with this ?
- Wait for the next XXHighEnd version;
or
- Use Custom Filtering.

OK ?

Best regards,
Peter

Hi Fred,

There is no single way that you can be boring to forum members, let alone me. It is such a pleasure to read your lines. The way you do that really makes us feel appreciated.


Yes Fred, I was there of course. It must have been literally killing to not being able to connect the things out of the box. You must be lucky in love to meet the Windows 10 update on the Music Server PC just at the time your new Stealth III arrived, which made it impossible to connect to it (this stupid little problem). And from here I couldn't help either because of some administrator password problem on that PC. And Fred, I am amazed how quickly in the end you were able to replace that PC.
Anyway you must have been eating your fingers instead of a nice sateh.


Spooky is the word I have always been looking for. I will use it from now on.


That is another one which my Double Dutch doesn't arrive at easily. But this is true and it contributes massively to the performance, if you ask me. Especially the envisioning how the artist are / behave on stage. I think this is (at least part of) the "venue" you talk about.
I think I learned quite a few new "english" phenomena from your great post. And seriously, terms which were not 100% required in the past, but nowadays days are.


To be honest, this is what I noticed myself regularly, lately. But it seems to be so realistic that each time it has happened (that I noticed it) I always think "did I imagine this because breathing belongs to singing, or what ?". So to me it could be part of the imagination again.
There's also quite a lot of theatral drama now. I suppose this is no English, but I mean that there's an intensity (or emphasis) to the message brought. I suppose this is how I was spellbound by those hip-hop albums I mentioned elsewhere, the other day. The "MTF" wasn't even important that I noticed (this usually annoys) because the guys do have something to tell and this comes across as more "intense" now (for the better or the worse ).


That. It works better too now IMHO.


I said similar things (also in other occasions). It could be hard to believe that I myself keep on expressing by means of these (actually often the same) superlatives. But if I express myself like this, you can bet I feel it genuinely so.
And I am not a sales man (or maybe I am - haha).

Thank you Fred !!
Peter

This topic has been moved to XXHighEnd PC.

http://www.phasure.com/index.php?topic=4053.0

I there Larry,

Although there are several options, best is to say No; the options available are too akward. See screenshot below, which starts with selecting Library Items and then rightclick.

Notice that once you have the Playlist Area filled with tracks, you can select tracks in there by means of subsequently clicking them in there - in a random sequence. If you now click Play, the ones your selected will remain in the Playlist Area and they are now in there in the sequence you selected them. Click Play once again, and all plays in that (though visible) sequence.

Also, keep in the back of your mind that XXHighEnd is meant to play Unattendedly (see button "Unattend" under Play - GUI will disappear), which makes this kind of functions less easy to create. So with the Playlist remaining visible and the active "control" this would all be different, but as this is not the advised playback means to begin with (SQ reasons) ...
Also notice the Short Cuts for when playing without GUI : AutoHotKeys (Remote Commands) Listing.

Kind regards, and welcome here !
Peter

OK, this beats all.

Yesterday I organized a "Hip-hop" evening for myself. Played a bit of early (MTF) Ice-T when sound was still really open and uncompressed, followed by a(n again MTF) older Paris album I did not have yet. And well, when the lyrics are not tooo "advisory" ... nothing sounded so good and honest ever before.
After two hours of these "cool beats" - seriously finding nothing wrong with it, I thought it was time to anxiously ask Ciska here whether she could explain to me what is bugging her (regarding the Stealth III, see previous post). The surprising answer : nothing, it sounds enormously good.
(and I did notice here swinging all the time on this MTF this and MTF that, and wondered)

Bbbut, I thought you found something to sound nasty for you ?
Yeah, no wonder with all these ticks and sparks and other fast stuff - that is no music. It already wasn't but now it is crazily emphasized and I guess it makes me crazy.
Aha. It depends on the music.

All right. As I do regulalry, I tried a few Thrillers and Bads from Michael Jackson, to see whether that can be played now. Another big surprise : gone were the synthesized drums.
Huh ?
Well, I told you, the highs are super special (and addictive).

But the by far biggest surprise was yet to come ...

As a kind of reward for being nice to me (on the SQ subject) I played a few tracks from Nina Hagen which is a favorite of her.
Saw her explicitly focusing with a big grin on her face but I also noticed THE novelty of the year (or century) ...

So ... we are all familiar with the "plays one octave lower", right ? But did you ever hear of "plays one octave higher" ? I personally don't. Until yesterday, that was;

And I now start to understand why these highs can be "appriciated" so much. But it needs the music to see through it and grasp what it actually is about. So :


Nina Hagen, to me, always has been some punky gothic with an interesting voice. Today she's suddenly a most hey-keyed soprano who - as I can now hear - ends sentences (as a gag ?) with another extra octave (just for a small half of a second). IIRC Kate Bush has a bit of the same but more as part of the sentence (but also very short) and less as a gag.

---

Summarized for now, I described the Mach III as going two octaves lower and now thus one octave higher as well. So it is an strange way of adding "dynamic range" to your system.
And oh, for those interested in emphasized electric basses this is what I found on Tidal yesterday :

https://listen.tidal.com/album/70518588

Although that too was planned to be part of the hip-hop evening, this album appears very special and is not really De La Soul as we're used to. It's almost exclusively cool bass riffs with a depth and strength ... well ... you know. No lyrics. In the screenshot you see the tracks which went into my Demo Gallery.

Peter

Hi Robert, - great that is.

The Queen's (ever lasting) birthday, however, seems to be June 9. Well, the celebration of it (I think she's 92 or so long gone). Good to be prepared of course but don't make it too wild over there. Plus, Charles won't like that. If only Diana would still be among us ...



Peter

Robert, to be clear ... if it trips with two different SFS settings, then it is OK and just the music (or the rip). Notice that both are harmless.

The software failure would be that e.g. 1 bit (out of a 16 bit audio word) is missed/skipped, which from there on would make a mess of the remainder (a softest bit will become the loudest etc.). This can theoretically be incurred for by the relatively complex "alignment" of the memory player vs the SFS controlling what you actually want in memory. I (XXHighEnd) can do something wrong there - Windows can do something wrong. However, this is highly unusual unless I introduce mistakes myself. This was so with IIRC 2.07 or 2.08. Then it started to happen to many people, but depending on the SFS setting ...

Best regards,
Peter

Hi Robert,


No, it is not advised at all to disable Crack Detect; it is your protection to software failure and how otherwise static (the most loud noise) can emerge.
When you are sure it will be or the rip which is not 100% OK or when it is just "the music" (see below) you can switch it off for the occasion.
If Crack Detection trips on two different SFS settings, you can be ensured that it is just the rip or the music (and not software failure) and nothing will go wrong when it is switched off.
For your own "safety", don't forget to switch it back on after you played the album.

With the (internal) thershold setting in 2.10 it very occasionally trips on normal music although the music will be the most dynamic.
Indeed with bad rips and glitches in the resulting file, it will tip too.

Indeed it will be so that a next XXHighEnd version will allow more of "inordinate" dynamics hence it accepts more ("glitch") as normal music.

If not clear, please ask further.

Best regards,
Peter

Hi all,

Yesterday I finally went back to the Mach II and could compare it with the Mach III - I am by now very well acquainted with.
Actually one term suffices : Mach II is a rough machine.

In comparison the Mach II exhibits rough sound and nothing of the finesse the Mach III happily shows. Speed ? there is no speed. Interest in the music playing ? not existent. It just is not interesting. OK, if you like a babbling crook and like to doze off during listening, don't get yourself the Mach III. But otherwise ? ...

All right. It is more interesting than what I just said because there's also an intriguing part. Maybe read this first.

The largest part of the discussion we had last night is why Ciska has more difficulty with the sound of the Mach III. Well, the conclusion is, it's a brain thing and perhaps the not being interested really in the "super speed" the Mach III exhibits. So yesterday we had one example of a known album - Yello's Toy, and it's plain flat in comparison. Mind you, flat in the sense of flat "tones" without variation in them. Say as you know it from Yello because you wouldn't know otherwise. But now come over here and have a listen ...

The difference is for example in the voice. Know Mark Knopfler ? good, then you know nothing much. But well, you are entitled to know that Dieter Meier (Yello) surpasses Mark Knopfler on the deep and crackling voice (imagine the combination) by a mile or two. Inordinate (I could call it "crazy" once again). But this is just a voice and while you out there are used to Mark Knopfler and don't care about Dieter Meier being worse on it, you surely would care if Mark Knopfler started to sound as Chris Isaak. Right ?
So now you know how the Mach III sounds. No wait, what it can do.

Only two days ago I was fighting with the Crack Detection in XXHighEnd because one album kept on tripping on it (in each of its 4 tracks at some point). Might you be interested : 4T Thieves - The Digital Lagoon.
So what's up with this one ? well, according to the trip-setting of Crack Detect, more than 50 (100%) subsequent level (voltage) changes from close to the max of minus and the max of plus. Thus imagine your sound level in the room, and that about the loudest sound exhibits from deep silence to the maximum and that more than 50 times in a row at a sampling speed of 705600 time per second and this thus happening within 1 / 705600 x 50 = 0.00007 second. Thus, within this 0.00007 second the volume changes from min to max 50 times and ... you will be able to perceive it. Or at least it does something to the sound which is audible (to a trained ear ?) and a kind of "obviously" it was made like that (it is just in the music).
Btw, combine the title of the album with this ("The Digital Lagoon").
Anyway, when I was working on the weakening of the Crack Detect Tripping (which was set to 16 of these subsequent samples and is now at 100 so this album can be played), I really was focusing on what I could hear of it, knowing that it is in there. I envisioned (that I heard) this blasting fast on/off sound (generally by me referred to as crackle but better to call it sizzle at this frequency).

And that's how Yello is completely flat or maybe dead via the Stealth II in comparison. Try to envision the more complex sounds of a synthesizer (most modern synths can't even produce pure sines) and how the individual build up of such a sound now is audible. All crackles - all sizzles. All rattles when it is more about the lower frequencies. There's a tonne of more interest because of this in everything.

But now Ciska ...

What we tried to figure out yesterday is whether it could be possible that one (or at least she) can't cope with this;
Let's say that all what's happening also has to be processed by the brain. Let's say that Mark Knopfler could come across as tiring somewhat, so what if this exhibit of a voise gets even worse ? Oh, I like it the best, but maybe if you like to doze off you can't because of this. Or, maybe if you want to read a book at the same time, you can't. Too much processing required.

Also interesting is that at least for me it is some other way around. I think I said in this topic somewhere that never mind all what's going on, it does not happen in a way that it distracts. The contrary, it is all more natural and therefore requires less macro attention. Otoh at the micro level all happens and if it gets constipated there the whole thing blows ?

High Resolution link Phasure Mach III Audio PC 15

---

What was and remains interesting is how it could happen that with the "dumb" idea of making a power supply (the one for the Stealth III) super fast, the whole audio representation indeed becomes that fast. I mean, it actually can not be so that something of the audio itself is processed faster, like we can say this of the mains vs battery (a battery not being fast at all) as a supply to the power amp. Nothing of that order plays a role here. However, and as I told earlier in the topic, I created a super stable supply (as my measure of "speed" - it responds instantly) and now it looks like that this does a few things in the realm of "control" of the clock lines; I forgot the subject myself by now, but a MotherBoard and the fast CPU's of these days, anticipate skewing of the clock lines and take measure on it, while a super stable PSU (including the draw on it !) may incur for those measures not being tripped. And next is : less noise. And from noise by now we sufficiently know what its implications can be, especially in the digital domain(s).

In the next days I will try to focus on how Ciska reacts to the level (volume) and how loud I actually play. So, it is also good to acknowledge that I indeed play way louder with the Stealth III just because the average SPL is lower. How does this work ? well, actually you can hear it by means of the spades of air now being present. Air = literally no sound. It is the gaps between two "cycles" so to speak. No smear - nothing. Now if these "cycles" connect, the general level becomes higher and the SPL (which is a representation of "average") is thus higher. However, the spikes themselves (the maxing of the "cycles") is way louder. This too is audible as this is the sparkle and such and how the sound crackles through the room in s(c/q)uary format. So what's louder ? one canon shot in your room, of 1000 gun shots which add up to the same average SPL ? I know ... it's the gun shots.
So I could be playing too loud.

Blablabla ?



Peter