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Discussion: Miles Davis: Kind of Blue

Posts: 32
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Post by RWetmore July 26, 2015 (21 of 32)
stvnharr said:

Hm, you've used the word "dynamics" three times. And dynamics, as I see it, is the rapid change between loud and soft, such as it is in the music.

Tight and trueness of the dynamics is what I mean. The clarity and crispness of the dynamics and the projected sound field or stage.

Post by RWetmore July 26, 2015 (22 of 32)
stvnharr said:

In my experience this all has more to do with the amplifier and the amp-speaker synergy than anything else.

Yes it does, but the A/D conversion process can be a significant influence, especially for DSD A/D. The bottom line is what I'm describing via anything other than the Grimm is a type of distortion of the sound source plain and simple. The Grimm is not doing anything special or magical -- it's just gotten any induced distortion below audible threshold.

Post by stvnharr July 26, 2015 (23 of 32)
RWetmore said:

Yes it does, but the A/D conversion process can be a significant influence, especially for DSD A/D. The bottom line is what I'm describing via anything other than the Grimm is a type of distortion of the sound source plain and simple. The Grimm is not doing anything special or magical -- it's just gotten any induced distortion below audible threshold.

Tight and trueness of the dynamics is what I mean. The clarity and crispness of the dynamics and the projected sound field or stage.

Yes, you are a great believer of the influence of the ADC on sound quality, and have posted as such. But you don't have a body of work to back that up. ADC's are strictly in the realm of recording and remastering engineers. Their opinions, as sometimes posted here, do vary a fair bit.
I find that I try to just enjoy the music as best I can and make the playback system as good as I can.

Post by RWetmore July 27, 2015 (24 of 32)
stvnharr said:

Yes, you are a great believer of the influence of the ADC on sound quality, and have posted as such.

Not really. Only when the ADC is introducing noticeable distortion, which is quite common with DSD conversion (much less so with PCM). But even PCM with high sampling rates (over 100khz), often introduces some similar noticeable distortion, in my experience. The beauty of the Grimm AD1 is its hi-rez/hi-sampling and yet still super low distortion. Low distortion was Eelco Grimm's number 1. priority when designing the AD1, and it shows. But the AD1 cost 15K, and there are other fairly good converters for a lot less. If I were an engineer doing DSD A/D conversion though, especially to the level of care that Mo-Fi employs on these classics, I'd just have to do final A/D with the AD1.

Post by stvnharr July 31, 2015 (25 of 32)
RWetmore said:

If I were an engineer doing DSD A/D conversion though, especially to the level of care that Mo-Fi employs on these classics, I'd just have to do final A/D with the AD1.

Yes of course.

Post by RWetmore July 31, 2015 (26 of 32)
RWetmore said:

If I were an engineer doing DSD A/D conversion though, especially to the level of care that Mo-Fi employs on these classics, I'd just have to do final A/D with the AD1.

Or I just couldn't accept the results.

Post by stvnharr July 31, 2015 (27 of 32)
RWetmore said:

Or I just couldn't accept the results.

Well when you become an engineer, let us all know.

Post by Marpow August 29, 2015 (28 of 32)
stvnharr said:

Thanks for that most informative post.

Just got my MOFI Hybrid SACD and I must say it sounds absolutely wonderful. I see there is a multichannel version of this but I feel so comfortable listening in stereo I believe I am good and will remain satisfied with this.

Post by rammiepie August 29, 2015 (29 of 32)
Marpow said:

Just got my MOFI Hybrid SACD and I must say it sounds absolutely wonderful. I see there is a multichannel version of this but I feel so comfortable listening in stereo I believe I am good and will remain satisfied with this.

Glad you're enjoying it, Mark.

I do have the original SONY multichannel SACD and on my system, it is awash in ambience and sounds terrific, as well. If you can find it at a reasonable price grab it. From the original three channel masters.

Post by acousticsguru October 2, 2015 (30 of 32)
I have both the stereo and mono 24/192 PCM 2013 Remaster, as well as the so-called "best" of the the earlier SACD releases, the single-layer CS 64935, and now this, the MFSL SACD. I can see why some prefer the monaural PCM (although perhaps for sentimental reasons, as it most corresponds to the original release), but I grew up hearing this album in stereo (and thus have my own sentimental "reasons"). The MFSL SACD sounds fractionally more distant (or rather, less forward), less ample and softer than the stereo PCM download, rhythmically a bit more harmless (more elegant and laid-back but less immediate and toe-tapping, so to speak), but clearly surpasses the earlier SACD release (which, I must admit, I never liked as much as others appear to have). If I had anything negative to say about the PCM download, then that it's a bit more "in one's face", even so, it conveys easily as much "soundstage", or rather width and depth (there's a ping-pong effect to the microphone setup in this recording that defeats truly realistic spatiality, although the illusion comes close enough), and the transparency to the source is flabbergasting. The difference between MFSL SACD and PCM download, while clearly audible, from a purely qualitative perspective, really isn't much to shout about - personally, I prefer the PCM.

(To add spice to the ADC discussion above, note that the PCM transfer was done with Keith O. Johnson's legendary Pacific Microsonics Model 2 - hard to beat! Also note that although down-mixing was done in the analogue domain, it was done on the fly, i.e. bussed to monaural or stereo and converted back to PCM - no further analogue tape generation.)

Greetings from Switzerland, David.

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