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In Reply to: This is just silly posted by Charles Hansen on December 24, 2005 at 14:46:22:
You seem to have a real aversion to reading the patent, but prefer to quote from a specific implementation.If you did read the patent, you may realise what the patent refers to as "low level gain manipulation" refers a broad number of things, including low level extension. It is not a synonym for low level extension.
Anyway, the proof is in the empirical results, which you have ignored. Again, based on my experience, the WMP HDCD decoder seems to manipulate all HDCD content, regardless of whether specific features are engaged or disengaged.
If you can find a specific HDCD disc that passes through the WMP HDCD decoder unscathed, then perhaps you may have a point. But I'm willing to bet you can't.
Follow Ups:
Christine wrote, "HDCD is defined by the patent, not the implementation."Yep, I'm pretty sure that's the way it works in real life.
There they are in the mastering studio, getting ready to create the master for their new album. The band is there, the producer is there, and the mastering engineer there, all working hard to make the best product they can. The studio is equipped with a Pacific Microsonics Model Two A/D converter (which along with the Model One is the only way there is to make an HDCD disc).
They are debating which settings to use, and then someone shouts, "STOP! We have to check with the patent!"
So they go on-line and download the patent. They discuss it for a while and then agree, that even though there are menu options for turning "low level extension" on and off, and even though these options are explained in the manual, that they MUST NOT turn off "low level extension". After all, that's what it says in the patent.
Tell me something, Charles, have you ever been in a recording studio? Have you been involved in mastering any recordings? Do you actually have any idea at all what constitutes "real life" in a studio?
One of my best friends (whom I have known for over 30 years) is a well-established recording engineer. His credits include Alanis Morissette, Ringo Starr, and Dada. I have sat in on several recording sessions with him.I have also sat in on mastering sessions with George Marino (Sterling Sound), David Glasser (Airshow Mastering), and Gus Skinas (Super Audio Center). If you haven't heard of these guys, do a Google search and see what you find out.
So yes, I do have an idea of what constitutes "real life" in a studio. And I must say that not once in all my times in a studio has someone been concerned about looking up a patent, even though in some cases these people were actually using an HDCD encoder. Funny, that.
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