Tag Archives: audiophiles

Asheville, Walnut Cove, Biltmore Forrest and Western North Carolina Audio and Home Theater specialists present Cane Creek Audio and Paul McGowan of PS Audio, Intl.

Routine and ritual

Routines are often helpful patterns we use to repeat tasks in such a way as to make sure they are done correctly. A couple of quick examples might include shutting down a computer or washing one’s hands after going to the bathroom.

Rituals, on the other hand, are often unnecessary routines we practice to feel good: checking in the mirror the state of one’s hair before exiting the car, throwing salt over your shoulder, or patting your back pocket to make sure your wallet’s still there.

As Audiophiles, we often are routine and ritual bound when it comes to the playback of music. When I relied upon a turntable as my main music source it was rare I didn’t clean the needle and coat it with a brush full of Last even if it didn’t need it.

When I am recording at Octave Records it is routines that make life easier. You only have to forget to arm the record buttons once to miss out capturing the beginning of the track (and potentially f’ing up the session).

I haven’t been around the recording studio long enough to have developed much in the way of rituals but I suspect they won’t be too long in coming.

In the early stages of any new project or endeavor, it is learned routines that bring stability to an often chaotic new experience.

Once the routines morph into rituals you know you’ve mastered the new.

Asheville, Walnut Cove, Biltmore Forrest and Western North Carolina Audio and Home Theater specialists present Cane Creek Audio and Paul McGowan of PS Audio, Intl.

This was a good one for me, as a good explantion of DoP by Paul and this makes sense.

DoP

The three-letter acronym, DoP has a number of meanings depending on what you’re interested in.

To the Italians, D.O.P. stands for Denominazione di Origine Protetta (Protected Designation of Origin): the name used to indicate a product that owes its characteristics to its place of origin, and its production, modification and processing occur within that geographical area. Bubbly Champagne from Champagne France, and tasty Moderna vinegar from Moderna Italy.

For Audiophiles, DoP stands for DSD over PCM. Playback Design’s chief digital guru, Andreas Koch, invented DoP as a means to allow DSD to be compatible with computers not possessing the means to deal with it.

A good (short) video on the subject is one our own Gus Skinas and I put together in my older series called Lunch with Paul.

DoP has a marketing problem. The mention of it has many purists running for the hills. Why? Because it is assumed DoP converts DSD to PCM, thus changing forever the characteristics of DSD we all love.

Two things are wrong with this. First, DSD is not being converted to PCM. Second, even if it were, there’s no sonic penalty when done correctly (though in their defense it rarely is).

Today’s computers don’t know what to make of DSD. Without a special driver and program installed, a Windows or Mac computer sees DSD as unrecognizable noise. This is because DSD is very much like analog: a continuous unbroken stream of moving data that can be directly listened to as music. PCM, on the other hand, is made of discrete chunks of data each with its own ID that serves as a routing map.

What Andreas did was really clever and simple. Instead of trying to fit a square peg (DSD) in a round hole (the computer), he simply broke the continuous DSD stream up into discrete chunks and added an identifier bit that serves as a routing map. To the computer, DoP looks like PCM and it merrily passes it along to your DAC.

When your DAC gets this “PCM-like” stream of data, it knows to remove those added identifier bits and reassemble the unmolested virgin DSD bits back together so we get that analog-like continuous data stream called music.

The DSD data is identical to its beginning. It was never converted to another form.

Hope that helps.

 

Asheville, Walnut Cove, Biltmore Forrest and Western North Carolina’s Audio and Home Theater specialists present Cane Creek AV and Paul McGowan – PS Audio, Intl.

This pretty much isnt applicable for Audiophiles, as I’ve only ever used preamps with at least two sets of outputs and subwoofers with their own amplifiers, but for those with AVR’s, applicable.

Double duty

For those that have receivers or integrateds with dedicated RCA subwoofer outputs, this post may have some interest.

For the most part, a dedicated subwoofer output on a receiver or integrated exists because of old-school habits. Long ago, at the beginning of the subwoofer era, there were no built-in crossovers. Subs came in two flavors: an unpowered or powered woofer in a box. If the first the user had to supply a power amplifier and if the latter, a crossover to remove the high frequencies from the receiver.

Over time, subwoofer manufacturers moved away from these crude versions to more sophisticated ones with built-in crossovers and amps making unnecessary the dedicated subwoofer outputs.

The problem with this feature overlap between receivers and subwoofers is the confusion it causes.

Without prior knowledge, what user wouldn’t use the dedicated subwoofer output to feed their sub?

The issue, of course, is having two crossovers: one in the receiver and the second in the subwoofer. Double-duty crossovers make for a less-than-desirable outcome.

If you do have a dedicated subwoofer output check with your instruction manual to see if you can disable it or instead, use a Y-connector on the receiver’s main RCA outputs.

Of course, if your subwoofer allows, the best connection possible is from the amplifier’s speaker outputs.

It’s all in the connection.

Asheville, Walnut Cove, Biltmore Forrest and Western North Carolina’s Audio and Home Theater specialists present Cane Creek AV and Paul McGowan – PS Audio, Intl.

The art of mastering

When done correctly mastering, recording, and mixing are more art than technique. Just ask our own Gus Skinas.

And the art is in the listening (perhaps nothing too surprising to us audiophiles).

Another master of the arts is our good friend Cookie Marenco of Blue Coast. She, like Gus, and everyone at Octave Records relies upon listening and DSD to get the results she wants.

We need more people like Gus, Cookie, Bernie Grundman (click here to hear my interview with Bernie), and Chad Kassam of Acoustic Sounds.

Recently, Cookie posted the following on our forums. I think it’s worth sharing.

“I watched a recent interview between the great mastering engineer Bernie Grundman and Chad Kassem on youtube. At one point Bernie says something like this, “There are things you can’t measure and only hear when it comes to sound.” Bernie was my mentor who I learned from. He tested gear and had modifications made until it suited his tastes in sound.

I will say that not every well known mastering engineer goes to the lengths Bernie does. Many don’t hear the difference between FLAC and WAV of the same file. Some mastering engineers won’t do a listening test for it, either. As Bernie also says, the ‘math’ isn’t as good as the ‘ears’. Which I agree with. This is a business of ‘ears’ and hearing sound.

If you play the same file using Roon, Audiogate, JRiver, etc… it will not sound the same. If you change DACs, that same file won’t sound the same. If you use different analog channels to run the sound through, those analog channels won’t sound the same with the same file. Filters, components of gear, chips… you name it… all make a slight difference in sound. This certainly keeps reviewers busy. :slight_smile:

In developing the SEA process, we tested hundreds of combinations of devices and software until we arrived at our current setup. Those slight differences in playback of each component is what highlights or diminishes certain qualities of sound we are looking for in our SEA process.

The differences we are making in our SEA remastering process are very, very small and very difficult to hear unless you’re experienced with doing blindfold tests. The choices we make for playback DACs for the source music and the analog channels we choose for adjustments in gain were tested and chosen over a period of a year before we finalized our processes. Our systems don’t work on all music but on 90%, we think we can make a difference for those wanting to hear their music in DSD.

Again, mastering is an art form of small details that most people don’t care much about. Bernie is a master, but there were times that I didn’t always agree with his choices… and that’s okay. These are very very small differences. Most of the time I agree with Bernie when I worked with him. The only way to really experience these sonic choices in mastering is to attend a mastering session with a high caliber engineer.

We will be offering a DSD mastering workshop soon. We haven’t settled on the final topic, but if you’re interested to learn more, ask questions, hear the files (remotely, we’ll send out later), please fill out the form for our waiting list.
https://forms.gle/4sq9hgFJBKcKpepAA

Thanks to the few that make this a wonderful and generous industry to be associated with.

Asheville, Walnut Cove, Biltmore Forrest and Western North Carolina’s Audio and Home Theater specialists present Cane Creek AV and Paul McGowan – PS Audio, Intl.

Why DSD isn’t everywhere

As diehard advocates of DSD as the ultimate audio capture technology, we are in the infinitesimal minority.

We find ourselves here on the wild frontier for one reason and one reason alone. DSD sounds remarkably better than any other capture method (including analog).

So the question continues to pop up. If DSD is so darn good why wouldn’t major studios like Abbey Road use it? They claim to be state of the art.

I’ll venture forward with a couple of thoughts on the matter.

First, DSD is a pain from a workflow standpoint made worse by the one program to work with, Pyramix: an ultra-sophisticated network-capable DAW used by many of the major studios and orchestras. It is used not because it is easy (it is anything but that) but because of its incredible network capabilities. Without worry of latency or loss, hundreds of channels of high-sample rate PCM or DSD audio can be moved around a network connected only by CAT6 cable.

But moving hundreds of channels of audio data around isn’t something Abbey Road needs, or for that matter, any of the famous recording venues. And of the studios, live venues, production houses, and orchestras where Pyramix is used it is almost never DSD. (In fact, in speaking with the engineers and owners of Pyramix it turns out almost no one uses it for DSD)

Big and famous studios have to accommodate workflows and knowledge chains of visiting engineers and producers—none of whom have any experience with DSD or Pyramix. They are in the business of being the best there is within the bounds of what those who might use their services know and understand.

And, that is not DSD nor Pyramix.

That our quest for the best sound regardless of the difficulty and limitations in achieving it is what drives us in a certain direction—one not shared by the mainstream—should come as no surprise.

It’s why they call us Audiophiles.

Asheville, Walnut Cove, Biltmore Forrest and Western North Carolina’s Audio and Home Theater specialists present Cane Creek AV and Paul McGowan – PS Audio, Intl.

Musicians

Everything we do in high-end audio is an attempt to get closer to the music.

Music is made by musicians.

Ergo, we are trying to get closer to the musicians.

Only, not many seem to be on the same page as we.

From what I can tell, most musicians would rather we keep our distance. That for many, their music is deeply personal. What we get from them is about as much as they want to share.

Perhaps that’s why so few musicians are audiophiles.

Composers, producers, and engineers seem to relish digging deeper into what we as audiophiles love; just not so much musicians.

I wonder if it’s like the proverbial sausage maker? Enjoy the product but don’t look behind the curtain?

Whatever it is it is a curiosity to me.

Thoughts?

Asheville, Walnut Cove, Biltmore Forrest and Western North Carolina’s Audio and Home Theater specialists present Cane Creek AV and Paul McGowan – PS Audio, Intl.

Invisibility

Audiophiles are a rare breed.

Whenever I am asked what I do for a living there’s a common pattern of questioning that follows.

“My family owns a small company that makes HiFi equipment.”

“Oh, like Sony?”

“No. Our customers are audiophiles.”

What follows is the inevitable eyebrow raise as the second half of the word audio-phile leaves my mouth.

“An audiophile is a good thing,” I explain. “Not the kind of phile you might think of in a bad way.”

They nod their heads as if they understand and go about their business.

Clueless.

It should come as no surprise we as lovers of HiFi are for the most part invisible. The world doesn’t know we exist.

Fortunately, our members are welcoming and encouraging.

I’ve never met anyone that wasn’t open to sharing the joys of what we are so fond of.

We may be invisible but not because we are hid

Asheville, Walnut Cove, Biltmore Forrest and Western North Carolina’s Audio and Home Theater specialists present Cane Creek AV and Paul McGowan – PS Audio, Intl.

 

It’s perhaps humbling to remember that for most of the world we audiophiles are not only amateurs but thought to be teetering on the edge of lunacy.

We work hard to make magic from the recordings we want to listen to.

Most pros—folks who make (or hope to make) a living at recording and reproducing music—consider all the hoops and “out there” technology we obsess over to be little more than Tom Foolery.

In their world, speakers and electronics are chosen more on what’s accepted in the industry as the gold standards. Basically, they hope to copy the technical elements of those who have risen to the top of the heap. YouTube is filled with the pros sharing their secrets of favorite equipment. Vintage this. Modern that.

One small glimmer of this making sense is the fact that unlike we lowly amateurs saddled with merely listening to the fruits of their work, they can manipulate sound to make up for deficiencies in stereo equipment.

If their choice of loudspeaker is so bright and harsh as to drive a poor audiophile out the window, they need only EQ the recording to where it sounds alright.

And perhaps that’s the core of it.

We are stuck doing our best to build audio systems that bring musical pleasure into our homes without benefit of manipulation. Like eating without the advantage of seasoning.

Which is one reason why at Octave Records we build music to sound perfect on the very equipment it will eventually be played back with.

Now, to me, that makes a lot more sense.

Asheville, Walnut Cove, Biltmore Forrest and Western North Carolina’s Audio and Home Theater specialists present Cane Creek AV and Paul McGowan – PS Audio, Intl.

Matching components together

One of the constant challenges we audiophiles face is the matching of stereo components.

Pairing together two products to make musical magic.

We can rely upon a previous matching effort like that of the manufacturer. (An all PS system, for example, is a known quantity)

We can also rely upon the equipment matching suggestions of reviewers and their systems.

Or, we can boldly go forward and trust ourselves to make great matches.

However we get to the point of pairing together products to make the final output our stereo systems are capable of, the goal is always the same.

Turn the lights low, press play, close your eyes, and connect yourself with the music.

Asheville, Walnut Cove, Biltmore Forrest and Western North Carolina’s Audio and Home Theater specialists present Cane Creek AV and Paul McGowan – PS Audio, Intl.

Notes or numbers?

Are we as audiophiles more interested in musical notes or measurement numbers?

The quick answer is, of course, musical notes. Yet I doubt few would disagree with the need to have measurement numbers good enough to get the job done.

Great measuring equipment doesn’t always sound musical and musically great sounding stereo equipment doesn’t always measure well.

The trick, of course, is found in the balance.

*ht: Mark Petersen for the subject