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Audiophile quality download files please

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Showing 551-575 of 723 posts in this discussion
In reply to an earlier post on 6 Jun 2012 18:22:03 BDT
Whats the best speaker you have heard, just out of curiosity, DWS?

In reply to an earlier post on 6 Jun 2012 19:38:00 BDT
Post Soviet says:
Fidel Castro, if I may join...

In reply to an earlier post on 6 Jun 2012 19:39:36 BDT
Ah yes, the master of timbre and good timing. Thanks, PS ;-)

Posted on 6 Jun 2012 19:55:45 BDT
Some systems are designed for high spl. Its the only way for music, especially rock, to sound realistic. That what people pay lots of money for high end for. Most systems like that are a waste of time with room tuning/vibrations dampers etc. But it really is possible to hear amazingly realistic reproduction from a good system with good room damping. Its certainly the way hi end hifi is aimed and perhaps that why people laugh at all the anti vibration tweaks and isolation platforms etc. But if you are into the best sound reproduction and listening experience, that is the way forward. MP3 however doesn't stand a chance in a decent hi end system though. Maybe hi end hifi is not what these readers are interested in but if you heard some of the really fab stuff, my god it makes the hair on the back of your neck stand up. Or bring you to tears perhaps with classical. Sure ly music is about creating the emotion, not just technical accuracy though tyhats important too but without the power to excite, technical accuracy is only doing half the job.

Posted on 6 Jun 2012 22:08:00 BDT
D. W. Salter says:
I do agree with you when it comes to recreating the experience of big rock concert. But you have to consider the fact that to be realistic, it has to recreate the acoustic anomolies and inaccuracies that are inevitable with a huge PA system in a huge venue - so accuracy is compromised for the sake of power. But when listening to classical music the spl is much less and accuracy is more important. Also, a rock concert would typically use dynamic microphones because of their robustness for the rigours of the touring environment, whereas for accuracy in a studio recording, you would use condenser mics.

In reply to an earlier post on 6 Jun 2012 22:15:36 BDT
D. W. Salter says:
I have not auditioned all the possible speaker combinations, but I can say the vintage Tannoy Mayfairs I use in the studio are far superiour to any modern hi-fi setup I have heard. But it depends entirely on the listening room. They would possibly be underpowered in a very large room, but they are perfectly suited to a well damped room measuring about 3 x 4 metres.

In reply to an earlier post on 6 Jun 2012 23:16:28 BDT
Thanks for that, DWS. I am an anorak when it comes to hardware, so any new info is always welcome!

In reply to an earlier post on 6 Jun 2012 23:54:09 BDT
Last edited by the author on 6 Jun 2012 23:54:54 BDT
D. W. Salter says:
And the great thing is, they sometimes come up on ebay, and they go for very little money because they look old, and very few people know how good they are. You can sometimes get them for as little as £250 a pair, yet they out-perform any of the modern systems. You will have to collect them though as they are very heavy.

In reply to an earlier post on 7 Jun 2012 00:47:04 BDT
Ebay currently have a pair going for £125 on Buy It Now. Over 6days left on the auction.

Posted on 7 Jun 2012 04:31:32 BDT
I had a chance to listen to some Canton midfields at the weekend... Sounded fantastic, even in a terribly untreated room placed directly on top of a wooden cabinet! They were not cheap when they first sold so if you see any pairs of those floating around for <£400 they're arguably a great buy.

In reply to an earlier post on 7 Jun 2012 08:19:39 BDT
Cant find them, Mr H :-(

In reply to an earlier post on 7 Jun 2012 11:05:43 BDT
Last edited by the author on 7 Jun 2012 11:06:18 BDT
MC Zaptone says:
A good buddy of mine is a top sound engineer and has in his long distinguished career recorded many well known artists, so it's fair to say that he knows his way around a set up BUT he has very limited listening tolerances, forever dissecting and theorising on the technique rather than 'getting into the groove' and enjoying the emotional pull, I feel really sorry for him. It really clouds his judgement in my opinion, he has never had a favourite band, been overawed by the sheer presence of live recording or understood the occasional pleasure to be gained from a frantic, loud wall of noise.
I once played him Sister Ray by the Velvet Underground and I swear he was going to puke!

In reply to an earlier post on 7 Jun 2012 12:51:20 BDT
D. W. Salter says:
That is indeed a possible downside to spending your life analysing sound, but when the sound is good, I think a sound engineer maybe gets more pleasure from it than most people. Or maybe its simply the fact that we get so much pleasure from listening to good sound that we become musicians and sound engineers in the first place. Personally, I have been obsessed with sound since I was about 7 years old when I started learning classical guitar. So I don't think you should feel sorry for your buddy.

In reply to an earlier post on 7 Jun 2012 13:47:32 BDT
The link here for the tannoys. Think they are the Tannoys in question.

In reply to an earlier post on 7 Jun 2012 14:15:52 BDT
D. W. Salter says:
No they are not the ones I was talking about. Mine are the Tannoy Mayfair T225. They are fairly rare now, as most people who have them keep them, and there was a rush of people in the far east buying them up a few years ago.

Posted on 11 Jun 2012 23:23:54 BDT
Vinyl Junkie says:
I have been following the what sounds best debate for a long time and reading the debates on here. I'm not an audiophile-it's subjective anyway as surely it depends on the quality of your ears! Most audiophiles are in the middle years, listened to loads of loud music, attended concerts so there will be some loss of hearing.
Anyway, I decided to test for myself. I am in a studio with a mixing desk which means I can ensure that all sources are at the same level. Trying the same track on vinyl, cd and MP3 at 320kbps (Paul Weller-The Dangerous Age) there is very little difference in all 3. The vinyl, new, has extraneous noise-the warmth some talk about-CD and MP3 are virtually indistinguishable-My preference was MP3 which had a 'vinyl' like sound-definitely less brittle and tireing on the ear. The same result as on a gadget show programme a couple of years ago.

Posted on 11 Jun 2012 23:52:22 BDT
I have discovered a bigger difference in sound quality between CD and a ripped version of the same Cd played though the Audirvana and Haloid Bridge (which uses a USB connection), both into the same DAC and system. The CD sounded messy and lacked a lot of detail compared to the cleaner sound through the Audirvana. This can only mean the transport is muddying up the sound. I did expect the transport would have some effect but not so much. Although I CAN tell the difference between MP3 and AIFF/WAV FLAC/apple Lossless, I have to say the difference is quite a bit less than the difference between the ripped track and the CD. This is not just down to ears because its a matter of one giving more, cleaner information than the other. I have have to say I was a bit surprised by this and I expected the opposite. Just an observation really.

In reply to an earlier post on 12 Jun 2012 17:37:38 BDT
JM says:
But the point is that 24 bit Studio Master quality FLAC downloads are better quality than rip from a 16 bit CD can ever be.

In reply to an earlier post on 12 Jun 2012 17:41:05 BDT
JM says:
Try if you are in the US or in the UK for studio master quality downloads

Posted on 12 Jun 2012 22:47:24 BDT
If there's anything I like available to download 24bit I try and get it. I've managed to get quite a lot from HD tracks but when it realises I'm in the Uk of course you can't get them. I find that 99% of the music I like is just not available which is why I buy the CD. As far a Linn is concerned I really don't like the stuff they have at all. After all, the music comes first so I simply try and listen to it in the best quality available. I'd never buy music I dislike just because its better quality. Then you're just listening to the equipment, not the music. Most of HD tracks is too mainstream for me as a prog fan. Anyone know of 24 bit FLAC files of Phideaux, IQ, Symphony X, Glass Hammer,Combination Head and Magellan? No I thought not!

Posted on 13 Jun 2012 13:07:46 BDT
Dave Woodier says:

In reply to an earlier post on 16 Jun 2012 22:33:20 BDT
hair says:
In absolute agreement which is why I still buy CDs and then convert them myself to apple lossless 600- 800 something kbs at worst to mp3 320 and as you said when ever possible still prefer to play the cd as even on those higher rate conversions you can still hear the difference.

In reply to an earlier post on 17 Jun 2012 18:08:54 BDT
Mr. J. Lord says:
I think you need to realise that if your apple conversion does not compair to cd then you should rip to wav or flac & try that because I use an arcam dac with wav rips & I am getting the quality equivelent to 3,ooo cd player (fidelity) so your apple rips got to be poor

In reply to an earlier post on 17 Jun 2012 18:16:53 BDT
Mr. J. Lord says:
I cannot resist but to reply to the mp3 audible difference is not audible OUCH it is by far a sad format to use as in compression the file is degraded a dramatic amount even at 320kbs the file is wiped of precious fine bands of sound in the high & low range sweep leaving literally a hard harsh sounding track... Now flac & wav are better not tried ogg but mp3 is a very basic compressing rip leaves no competition sorry

Posted on 17 Jun 2012 18:31:12 BDT
Peter Lanky says:
Hair, a well ripped CD to flac should really sound better than the CD, not inferior. The flac contains the same information as the CD but doesn't suffer any loss in quality in the process of reading a spinning CD with a laser. Since changing from a Pink Triangle Numeral CD to a Linn Majik DS as my source, the increase in sound quality has been very significant.
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