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68.34.142.3
For quite some time, my wife and I have been listening to 32-bit 352.8kHz (or 384kHz) PCM files whenever we are not able to get Pure DSD256 files. Why? We've found they consistently sound better than the 24-bit files. They get just a half-step closer to the Pure DSD256 file that has never been converted to PCM for post-processing. I thought it might be of interest to share what we're hearing and to make available some free to download sample files (courtesy of Bob Witrak at High Definition Tape Transfers).
So, here's a link to the article posted today at Positive Feedback. The links to download the file samples are in that article. I'll be interested in what you hear with your DAC, because results WILL vary by DAC.
Follow Ups:
After extended nearfield listening (6' equilateral triangle) to the Gounod tracks on the system listed below in an acoustically-treated 13'x11'x7'8" bedroom otherwise furnished as such, I hear enough of a difference in transparency to rank my listening preferences as follows:1. 32-bit 352.8
2. DSD256
3. 24-bit (dithered)
4. 24-bit (truncated, no dither)The 32-bit track sounds slightly more "open" than the DSD256 track. Although the latter may present as a tad "warmer," instruments are not quite as clearly delineated as in the 32-bit track. As a consequence, the rendering of space strikes me as ever-so-slightly compromised. I'd emphasize that the differences are slight. But they are noticeable.
To my ears, the 24-bit tracks suffer more severely in the comparison. But absent that comparison, I probably wouldn't have noticed.
Strictly a "to my ears on my system" FWIW.
Source: Aurender N150 Streamer/Server internal SSD
DAC: TEAC UD-505 (AKM version, 32-bit-capable)
Level Control: Luminous Audio Technology Walker-mod Axiom II passive
Amp: conrad-johnson MF2500
Speakers: Stand-mounted Paradigm Studio 20 v.5
USB feed: Shunyata Alpha
IC/Speaker Cable: WireWorld Eclipse 8
Power: Shunyata Delta D6, Alpha XC v.2, Delta NR v.2
Chassis Ground: Shunyata Altaira CG, Alpha and Venom cables
Acoustic Treatment: Stillpoints Aperture and GIK panels
Jim
Edits: 01/27/24
Thanks for sharing what you heard in listening to these files. Yes, I agree the differences are subtle. But I'm glad to read your comment that, while slight, "they are noticeable."
:)
Of course, she's missing the spatial replication of Dolby Atmos when she listens that way! ;-)
Of course, when she's in with me in the listening room, and I switch from a stereo track to a Dolby Atmos track, I'll ask her, "Now wasn't that last track A LOT better recorded?" - and then she'll answer (rather matter of factly), "Yeah. . . I guess." ;-)
Interesting read, thanks. I downloaded the files here, while in France visiting my daughter, because I fear they may not be available when I get back home in a few weeks. Since she did not quite inherit the need for good playback equipment, I will be late to the sharing impressions party.
BTW, loved your DIY drives box! I may borrow the design, if you don't mind. Acronis does stress my similar backup drives at times and this could help.
Thanks for your comments about my DIY drives box, JBen. I'm up to three of them now. ;-) FWIW, I finally got frustrated by Acronis. Instead, I've now switched to a free solution called "Perfect Backup" which is much easier for me to navigate and much more intuitive in operation. (Windows only)
but then, the rarely if ever are.
The difference between 24 bit and 32 bit is likely zero, all other things being equal. OK if one wishes to listen to 'brownian' motion, 32 bit might be your encoding choice.
I suppose it should not be surprising that truncation has less audible than 'dithering'. Pretty sure my early PCM1704 based R2R Ladder DAC 'truncated' bits even with 24 bit files.
Always like the sound of that DAC and wish I hadn't sold it.
I'll give the files a listen and doubt I will be able to discern any differences.
First they came for the dumb-asses
And I did not speak out
Because I was not a dumb-ass
Consider that the original source is a 1960 or so recording, I doubt you'd be able to discern anything beyond the tape hiss. This little experiment would be much better if the original were 32/384 in the first place.
For the past month or two, I've been listening to DSD256 exclusively, and I just decided to go back to some Hi Res PCM and DXD. They really sound good to me. In fact, some of them might sound even better than DSD.
Abe Collins once said he felt that DSD was a bit artificially 'smooth'. I disagreed with him at the time, but now, I'm not so sure. The Hi Res PCM and DXD albums I've been listening to sound very good indeed.
Happy listening!
John Elison
I've played around with all the formats and on any given day each of them will sound great. It depends so much on the recording.
What I find though to be artificially smooth though is when I convert PCM to DSD on the fly in Audirvana using whatever algorithm it uses. The higher the res of the PCM the better it will sound, but it also will take 16/44.1 and take the edge off, and that's where it sounds a bit artificial.
my Clarinet and Saxophone Sounds.
To be avoided.
There's so little edginess in those recordings that they've put many listeners to sleep! Wonderful for relaxation and "easy listening"! ;-)
View YouTube Video
Chris, darn it! There you go triggering an endless replay of Mantovani's "Theme from Elvira Madigan" in my mind.
While I don't own any Mantovani music these day, I did own LP's in the 70s. Remember the old Culumbia Record Club? Well, limited disposable income in college made this a must have of sorts. My preference for instrumental music, and the limited selection of such in the upfront free offerings, put Mantovani on my list. One thing I can say, it was terrific background music while I was studying, sweetly undistracting.
The "Theme" somehow so totally stuck in my head, that I can virtually replay it mentally, down to the instrumental passages. Wow!
RCA, Capitol, Angel, Columbia - I was a member of each of them at various times!
The few people that I knew that belonged to a record club hated it. After the introductory offer of 10 LPs for a dollar you were stuck selecting one bad record after another.
But sometimes, what seemed to be duds were actually albums which repaid repeated listening years later. And, in general, I was pleased with my selections - especially when they would have "special sales" (60% off IIRC) of their titles which were about to go out of print. Of course, these "special sale" items did not count toward your "obligation", but the local stores rarely had the records that cheap. Just speaking for myself, I look back (perhaps with rose colored glasses!) on those memberships with fondness.
"Just speaking for myself, I look back (perhaps with rose colored glasses!) on those memberships with fondness."Yup. So do I, duds and all. I got some great recordings in the process, some of which eventually deserved premium media re-release, including SACD, DSD and other HD like the ones earlier discused here.
Among the last LPs I bought from a club was the soundtrack of the play "A Little Night Music" by Stephen Sondheim. The music was really good and it was a very decent recording. Later, I lost all my LPs when I moved to FL. What I never imagined was that Mr Sondheim went back to remaster the recordings in a manner that better portrayed the theater experience. This remaster landed in one of the CD editions, which I bought years later - not knowing about the remastering.
To this day, what he did to some of those tracks serves to wow folks who do not believe me when I speaks of 3D imaging and soundstage element solidity in stereo. With the right setup, Sondheim's intent delivers audibly and almost visibly sulptured singers in front, back, and outside left and right the speakers. They are all over a large stage, just as Mr. Sondheim wished.
And the darn LP record was bought because it was all they had that I MIGHT be interested in from the club's selection.
Edits: 01/26/24 01/26/24
Who's calling these press conferences?
No, no time for Mantovani!
Posts which relate how an inmate has changed his mind can be useful in credibly exposing an alternate point of view.
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