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Author: admin | 10.10.2013 | Category: Treatment For Ear Ringing

I have used Audio DiffMaker before to compare FLAC vs WAV and comparing two bit-perfect music players on my computer audio playback system.
Updated - I wanted to provide more with respect to how Audio DiffMaker works and why it is an important state of the art measurement tool in any Audiophiles arsenal. While it may not be possible to show whether alteration is having effects directly on the listener, it is possible to determine whether an audio signal has been changed. The existence of any changes to a digital recording of an audio signal can be detected by the simple process of subtraction, performed on a sample-by-sample basis. The problems and operational, perceptual, or psychological complications about listening for whether sound is being changed are greatly reduced by transforming the task into the much simpler issue of listening for anything significant at all.
Then it is a matter of loading the two waveforms into Audio DiffMaker and extracting the difference. If you look in the status window and see that your comparison requires sample rate adjustment, then here is what you can do. If you do need to line the waveforms up because you are recording the samples, then you can trim them later in your favorite digital audio editor. As you can see, the frequency plot shows ultrasonic energy, even though it is very low in overall level. On the right is a toroid transformer feeding a regulated power supply and then my perf boards of the amp itself on the far left. With my particular computer system, Lynx L22 and Class A headphone amp, I did not hear any tones, clicks or pops. Another way I can listen is to use Audio Diffmaker where I can reconstruct the comparison track by adding the difference back to the reference. I would hazard a guess this is the reason why Microsoft (and others) choose 192Kbps with MP3 as it gives the best fidelity versus file size. Given that this is CA, I would think everyone could correlate what they see in the visual representation of the waveform and what they hear. Final thoughts: All of the software used to perform both measurements and listening tests is free.

I have always thought that many of my regular red book CDs sound fantastic, and some, not so much.
As hypothesis, explain it as more accurate reverse interpolation (digital-analog) at range 3-20 kHz. I am not sure what we has clear audio sources (record - processing - mixing) for this experiment.
A) We make this workflow (record - processing - mixing) in 192 kHz and after make downsampling to 44 kHz. An interesting comparison of the data, even if it isn't of the two sources as they are distributed by Soundkeeper. I suggest a different test that might more closely reflect how most folks would experience the two: listening.
This reminds me of data comparisons between the original CD master and a not-so-good pressing created from that CD master: I can show that when the data are extracted from the disc, they are exactly the same as the CD master. Re: An interesting comparison of the data, even if it isn't of the two sources as they are distributed by Soundkeeper. I intend to follow-up with the listening tests, but right now I am making some measurements first. Barry, if you have preferred files for me to conduct both subjective listening and objective measurement tests on, please let me know where I can download them. As I see it, it is like looking at a map of Cleveland and assuming the experience of the map is the same as standing downtown in the city itself. In my earlier post, I explained how while even though a perfect null (not what you describe but a 100%, all the way down, to the sample null) indicates identical data, this does not in any way mean the two files sound identical.
If the day arrives when measurements accurately and completely explain everything that can be heard, I would think it safe to select the components of a system by their measurements alone.
I applaud the desire for correlation but think we must keep in mind these is still a long way to go in this regard and at best, all we have today are small fragments of what we'd ultimately like to achieve.
To me it is not clear yet: whether it is possible make exact comparison 44 enough or it is necessary 192 kHz.

If we have correct source audio files with different resolutions, we will compare, all the same, as played back these files at different equipment. And nowadays, with all the fake high res being reported from a number of sources, it is nice to allow those who are so inclined to check out samples from our releases so they can see (and hear) the resolution for themselves. I see from the amount of hits the page and its links get that this would appear to be of interest to many - as I'd hoped it would be.
Topics are, Nyquist sampling theorem , quantization, dithering, aliasing, impulse train, sinc function, antialias filters, single Bit ADC and DAC, delta modulation, etc. If each audio sample is the same, then subtracting one from the other leaves nothing (zero signal). The evaluation of the result is done by ear, and the user doesn't need to question hearing ability to use the tool.
Great oversampling (ideal digital Low Frequencies Filter) must made before DA-conversion only (demand high calculation power - more 41000 FIR-coefficients). I have no issue when the basics are well taken care in the recording process, and then having the option of listening in hi-res. The files in the comparison are not exactly the files offered on our Format Comparison page. The larger issue, as I see it, is performing a null test tells you about the data not about how the files sound when played back and listened to. Not including that the difference between 44 and 192 kHz depend both reproducing equipment and listening room. Since upsampling doesn't restore any information that may have been lost, I think that would be much more interesting, whatever the results.
But, to think one can cut corners it the recording process, and make up for it by increasing the resolution, is just plain wrong.

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