Post by Grimm October 29, 2009 (21 of 125)
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Thank you everybody for the kind words. We too are very enthusiastic about the sound and performance quality of the Ivan Fischer Mahler 4, it is breathtaking at times. To clarify some of the issues that have been brought up: indeed the dynamic range (or noise level) of the AD1 is not the best in the market. We however feel that -116 dB of audio band noise level is more than adequate for any recording situation. In our design we have been focussing more on distortion than on noise. Our THD is at -129 dB. This is 15 to 20 dB better than any other converter on the market. The reason is our continuous time modulator design does not offer a difficult load to the preceding buffer stage like the HF switching capacitor common in all other deltasigma designs. In our case it is just a resistor.
The disadvantage of a continuous time modulator is that it is very sensitive to jitter. It is impossible to get it right in a converter chip, but not in a discrete design. Since we wanted to develop an extremely low jitter clock for the AD anyway, we did not bother too much and indeed the noise level of -116 shows we perfectly well succeeded in getting this design fly. The extremely low jitter of the AD1's clock is maintained down to very low jitter frequencies, which is one of the main reasons the unit sounds so good.
On another remark, the HF noise in the spectrum graph just shows you how well the 1 bit modulator behaves with a close to ideal noise shaping response. It is measured in the digital domain which makes it pretty special (we had to build our own measurement equipment for this). Every single deltasigma modulator (like in a DAC) has this HF noise and as somebody already clarified it will be filtered by the analog filters in the DAC. The fact that no one ever published graphs like this in their brochures does not mean we have a problem. Oh and "the noise reaching full level at 2 kHz" is actually a full scale measurement tone at 800 Hz. Without the tone the HF spectrum would look different but the main purpose of this tone is to show you the incredibly low distortion of the AD1.
But please, do not loose yourself in exploring the complicated technical detalis of our audio equipment. Just enjoy the beautiful recordings people like Jared Sacks and Hein Dekker are making with it.
Eelco Grimm
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Post by pgmdir October 29, 2009 (22 of 125)
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We just got a new radio station on the air using all kinds of new digital this and that-- and I'm sick of numbers! But the proof is in the pudding, and the CC Mahler 4 is the most amazing recording I've ever heard. Thanks to Grimm for the giant leap forward, and to Jared for knowing where to hang the microphones--- not to mention special thanks to Ivan Fisher and his band for the incredible performance that was captured.
-Fanboy Bill
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Post by Hercules October 29, 2009 (23 of 125)
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I found one disc on my hand (mozart violin sonatas vol.3) made with grimm ad1, sound really real and musical!!
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Post by channel October 29, 2009 (24 of 125)
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pgmdir said:
We just got a new radio station on the air using all kinds of new digital this and that-- and I'm sick of numbers! But the proof is in the pudding, and the CC Mahler 4 is the most amazing recording I've ever heard. Thanks to Grimm for the giant leap forward, and to Jared for knowing where to hang the microphones--- not to mention special thanks to Ivan Fisher and his band for the incredible performance that was captured.
-Fanboy Bill
I would like to be clear that the Fischer recordings I do is a joint venture with the producer Hein Dekker who used to work for Philips Classics. Ivan also has keen ears and comes down to the recording room to listen before we actually start to record. He hears things immediately and knows what he wants.
I ask Hein to also work with me on other recordings where possible because we complement each other well and above all enjoy working with the artists.
Jared
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Post by RWetmore October 31, 2009 (25 of 125)
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channel,
Just curious. Is there a reason why you don't record in DSD 128?
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RWetmore said:
channel,
Just curious. Is there a reason why you don't record in DSD 128?
it's easy, the SA-CD format does not support it.
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Post by RWetmore October 31, 2009 (27 of 125)
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audioholik said:
it's easy, the SA-CD format does not support it.
That doesn't mean that recording in DSD 128 for future proofing isn't a good idea. At some point DSD 128 may be an option via downloads and perhaps even playable in some newer generation players that play burned DSD discs.
DSD 128 would easily down-convert to DSD 64 with no problem at all for release on regular SACD. Also, most modern DSD converters can do DSD 128 in addition to DSD 64. Even the consumer grade KORG does DSD 128.
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RWetmore said:
That doesn't mean that recording in DSD 128 for future proofing isn't a good idea. At some point in the future, DSD 128 may be an option via downloads and perhaps even playable in some newer generation players that play burned DSD discs.
DSD 128 would easily down-convert to DSD 64 with no problem at all for release on regular SACD. Also, most modern DSD converters can do DSD 128 in addition to DSD 64. Even the consumer grade KORG does DSD 128.
RWetmore, personally I think it would be better if CC could now concentrate on signing new artists, or persuading Pieter Wispelwey somehow to not leave the label, and not future formats,
but that's just my humble opinion.
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I'm excited if CC thinks the sound is even better. I have always enjoyed the sound of Jared's work even before this development.
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Post by channel November 1, 2009 (30 of 125)
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audioholik said:
RWetmore, personally I think it would be better if CC could now concentrate on signing new artists, or persuading Pieter Wispelwey somehow to not leave the label, and not future formats,
but that's just my humble opinion.
Dear audioholik,
I am in this business because I want to work closely with the artists - to be part of the process from beginning to end. I receive 3-5 finished products in a week which I can bring out without ever having to see the musicians but this just does not interest me.
Sometimes it just becomes very difficult to work with certain artists for whatever reason and I stop because at 56 years of age, I want to continue to enjoy this work. It is a shame that after 34 recordings with Wispelwey that we are going separate ways, but no regrets. (you will understand out of respect to these artists, I am not going to throw mud around) If anything, I want to work with fewer artists and really concentrate on promoting them and their recordings than just bring out new stuff and 'see what happens'.
I do agree with you however as to the focus. I enjoy the challenge of the technology, and want the technology to be so good that it is not in the way of listening to the music. But having played in orchestras for years, its the music and nothing but the music that in the end gives me shivers down my back.
greetings
jared
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