Yep. Sounds all sciency and shite.There's real quantum physics, then there's using the word "quantum" strategically to make your woo-woo malarkey sound scientific.
Yep. Sounds all sciency and shite.There's real quantum physics, then there's using the word "quantum" strategically to make your woo-woo malarkey sound scientific.
I like Yamaha CinemaDSP so it’s not as bad as you think. When I had my Yamaha in my primary system, I always had the reverb on for movies but for music, I didn’t like it. The difference is that Yamaha isn’t random reverb and it does carefully make it feel like you are in a movie theater. You feel like you are in a bigger room without losing detail and clarity.Now, do I actually want my amp audibly altering the sound in obscure ways...?
I think it could sound good, but philosophically I don't want any extra "mixing and mastering" done outside of the studio, at least on music.I like Yamaha CinemaDSP so it’s not as bad as you think. When I had my Yamaha in my primary system, I always had the reverb on for movies but for music, I didn’t like it. The difference is that Yamaha isn’t random reverb and it does carefully make it feel like you are in a movie theater. You feel like you are in a bigger room without losing detail and clarity.
The real issue that the Daniel Hertz products are sold as an extreme price point.
I like Yamaha CinemaDSP so it’s not as bad as you think. When I had my Yamaha in my primary system, I always had the reverb on for movies but for music, I didn’t like it. The difference is that Yamaha isn’t random reverb and it does carefully make it feel like you are in a movie theater. You feel like you are in a bigger room without losing detail and clarity.
The real issue that the Daniel Hertz products are sold as an extreme price point.
I saw it posted on the Polk forumsOh…no…I just got it. Tragically. Now I want the poster.
Obviously, the thermal noise over the sampling bandwidth has to be greater than the Planck constant: 10log10(kTB) [J-Hz] / (B [Hz] * sampling rate [Hz]) > 6.63E-34 [J/Hz]. It's so clear from the dimensional analysis. For the clearly necessary 100 kHz bandwidth of audio at STP, we should be striving for sampling rates around 2.9E-21/(1E+5 * SR) > 6.63E-34 => SR about 4.3E+17 Hz. ADC and DAC manufacturers clearly have a long way to go.Nyquist is not here to defend himself. We need a new, more modern interpretation, based on quantum mechanics, perhaps?
Exactly. Yamaha's DSP was light years ahead of anyone else in the game when they brought it to market way back in 1985. It caused a scramble with the other big manufacturers as they struggled to catch up, each bringing something similar to the market.
I think HiFi aficionados really didn't have any idea what they had achieved and how incredible the technology was. Then it all got lumped into Cinema DSP and forgotten as the home theatre craze buried all the ground-breaking work they had done.
People who think it's just a bit of reverb... LOL.
A revival of the old canard about how a "stair-step" digital waveform can't be expected to reproduce beautiful, "continuous" analog sound. Trotted out only a week or so after Qobuz did the same thing.I'm glad they finally solved the huge gaping hole problem with PCM a century later, after Nyquist, Shannon and others proved that it doesn't exist.
Interesting, if you knew which reverb algorithm they were using this would be trivial to set up in EQAPO or any DAW. The patent I saw was full of typos (they probably hired a terrible attorney to work on this travesty)- "early reference level" is probably supposed to be "early reflection level".from the patent:
3. applying the reverberation setting includes applying a reverberation time period in a range from 0.05 to 0.5 seconds, and an HF damping setting in a range of from 6 to 8 kHz.
4. applying the reverberation setting includes applying a dry reverberation setting in a range from −0.1 to −2.0 dB, and a wet reverberation setting in a range from −99.9 to −97.9 dB.
5. applying the equalization setting includes applying a width of EQ or Q setting at about −0.26, a 40 Hz frequency setting at about +0.2 dB, a 2 kHz frequency setting at about −0.2 dB, and a 12 kHz frequency setting at about +0.2 dB.
6. applying the reverberation setting includes applying a pre-delay setting in a range from 40 to 120 ms, a delay time setting is in a range from 0.01 to 0.99 seconds, a direct signal to early signal reference ratio in a range from 20 to 80% and a tail decay in a range from 0.10 to 2.0%.
7. applying the reverberation setting includes a wet to dry signal ratio in a range from 0 to 35%, a damping frequency low setting in a range from 50 to 500 Hz, a damping frequency high setting in a range from 5000 to 14,000 Hz, a filter center frequency in a range from 8000 to 16,000 Hz and a filter gain in a range from −4 to −25 dBFS.
8. applying the equalization setting includes a gain setting in a range from 0.1 to 1 dB, a center frequency setting in a range from 4000 to 6000 Hz and a quality factor setting in a range from 0.10 to 1.0 Q.
9. applying the reverberation setting includes an early reference level in a range from −30.0 to 0 dBFS, a tail level in a range from −25.0 to 0 dBFS, a wet to dry signal ratio in a range from 0.1 to 20%, a damping frequency low setting in a range from 50 to 500 Hz, a damping frequency high setting in a range from 5000 to 14,000 Hz, a filter center frequency in a range from 80 to 300 Hz, and a filter gain in a range from −2 to −2 dBFS.
10. applying the equalization setting includes a gain setting in a range from 0.1 to 1 dB, a center frequency setting in a range from 4000 to 6000 Hz and a quality factor setting in a range from 0.10 to 1.0 Q.
Thats it... just some dsp functions