Kalpesh

@Miska what goes on technically between HQP and music files location ? I think I know (correct me wherever I'm wrong) the theory : loaded in RAM, checked/compared to original, played from RAM. But if one tries to eject a RAM disk or a SD card from which even a single track that is now playing (supposingly from RAM then) has been originated, one can not for HQP is busy using it. A long time user of RAM disk, I now agree with an old post by @AnotherSpin complaining the sound is clearer but thinner. I just tried a SD card (seems they were trendy and flashy here years ago) and I'm convinced (delusional or there's a rational ?) it's better in the direction of blacker backgrounds (less noise ? but I use a plastic ethernet connected Red) : better delineation of a singer in the studio, thanks to added reverb, clearer key piano strokes, deeper silences etc

if TC=H+2 then yummy but beware of massive LF drones

Thank you for offering me such a special treatment "Kalpesh's Music", I'm flattered. I suppose you're thankful for I provide cues to enjoy much more recordings than one can do with just one in room response, either because you cut too much treble, see Genelec's survey showing flat average response for modern Genelec monitoring (Last PJ Harvey was mastered with ATC speakers but is a good exemple of shrill female voice with distorted guitars that is very palatable/enjoyable with a flat in room response, per modern recommendations, while it's a pity (and no cable, streamer etc etc will compensate)to listen in exemple to The Nightfly without the bass boost shown above. Can hear how a poor experience it is by simply applying a flat bass room response. Each and every time we listen to a track we actually remaster, to no physical support but our ears/brain, and the closer we reproduce in our rooms the mastering conditions, the less we destroy the intent. Glad to help !

I'm not very found of Diana Krall (here we re talking about her musicianship, not her body, right?) and much prefer her husband, lucky Elvis. But this one is interesting for it's the opportunity to pull this trick I once shared (with the Audio Palette Qs, about 2 octaves) : Lewis Lipnick (Stereophile Cello Palette review) 3 :” Jennifer Warnes's Famous Blue Raincoat. By gently lowering the 500Hz and 2kHz bands by 0.5dB, I can get rid of a slightly hollow upper-midrange ring. It's also possible to restore more of the harmonic color in Warnes's voice by boosting the 20kHz control by just 0.5dB.” LL did not state his in room response, so I tweaked a good ol' Bruel & Kjaer, knocking out 1 dB/2octaves @80 Hz to tame the double bass (and my bass drivers are "asservis", meaning any membrane move is prevented going overboard by an electronic loop + I have Virtual Bass Array filters preventing buildup of LF peaks). Actually I knocked 1dB, not 0.5 @2K. Jennifer Warnes's Famous Blue Raincoat, DK' Look of love : is there a particular illness plaguing so called audiophile recordings ? 'As of the DK, I played the MCh downmixed Sonarworks published a comprehensive survey showing that the average response of many many speakers in many many rooms remarkably fits Toole's/Harman etc predictions for the perfect speaker (of a while ago, before it followed BK and more recently, ie Cabasse's Sphere are meant to go flat to 10K then parabolic rolloff ) but but for limited LF and 3K dip ; an explanation ?

I have sort of a hiccup at the end of tracks played with CF 16M. I like it very much whenever apodisation (or razor sharp transients) is not required. What can I do ? (Mac Studio)

Thank you, I'm happy you're back publishing since I always read TBVO with enthusiasm, with the grain of salt that one should understand that there might be a difference between TBVO and The Best Match with one's system. I gave a quick listen to the title track and the winner is IMO... Not sure, not so clear winner IMO... to be sure I'd have to spend more time and precisely level match but IMO, the best Darcy Proper output is the Mch DVDA. They go for cheap these days and @Miska's HQP is your friend to downmix to Stereo The DP' SACD seems harsher, or maybe it's just louder than its 24/192 incarnation (2.0) and both can't reach air and drums/cymbals impact the 5.1 offers. I don't rule out the MFSL as TBVO for its elegance, the soundstage and layering are amazing. Especially with AMSDM 7EC 512 @512 modulator ; with ASDM7EC Super @ 256 I recover (Holo May DAC) the physicality of the PCM versions but lose elegance. Like I said one should understand that there might be a difference between TBVO and The Best Match with one's system, and even tastes, focus at a given time. For this comparison I used in room response based on good ol' Bruel & Kjaer and did not feel the need to fiddle

@Miska I need to listen over a longer period of time to be sure but I might have solved the issue by deleting settings.xml in .hqplayer and starting fresh I have a folder in Documents where I store settings (to keep older / more complete options in case). I see that anyway HQP creates a new settings.xml in .hqplayer at each start Is it possible I created a panic by keeping the same filter name while replacing the actual convolutions by slightly tweaked ones and switching settings from my personal folder?

All of the sudden (if I did something besides introducing new filters in Pipeline I can't remember..) my Studio has huge frequent dropouts. resists change of versions, resists lowering filters/modulators demand Can't be certain it's HQP but it's the only app I use currently In monitor activity I can see it's not an increase in cpu load but rather a complete stop of activity as if a power economy or temperature control was triggered. While of course I have no screen saver nor energy saving plan and the Studio remains metal cold and silent. I could do a clean install but before I come here for a suggestion from you savvy guys

Warner stuff really commonly calls for big bass boost, at the antipodes of many many modern recording/mastering calling for flat or so in room response. Fabulous sound. Note I listened to a Mch downmix

The studio signature, reverbs and, probably sharp intent, is better preserved with the green in room response while remaining quite cranckable

Rhino just issued a AAA mastered by Kevin Gray and I was almost about to purchase my first LP in years... I own a Specialty Pressing 1977 original that is damn shrill (and I listen to my analog rig with the solid red response that seats well between Harman/Toole and Bruel & Kjaer , mighty fine with most Lps and my analog parametric equalizer has limited possibilities) and the 24/192 files from HDTracks mastered by who knows who. Played mighty loud the 24/192, with the solid blue in room response (found can't remember when and where as JBL M2/ Harman Audio Test System), has a bit muddy bass but is overall quite enjoyable. Feed back on the Kevin Gray or alternate digital source welcome

@Ales Prochazka problem solved though I had no rule targeting HQPD, turning off then on Little snitch (network monitor) solved the issue

Really, I have just visited your site and the exemples here : https://accuratesound.ca/digital-room-correction-drc-calibration/ don't look at all like tone controls above 800 Hz but minute details corrections. Think of Audio Palette, controls span over 2 octaves but play a track recorded and mastered with flat response at LP and it will sound fine. It's always solving the circle of confusion. You can not separate Olive's conclusions from his test tracks and their SPL playback I'm lucky I own active speakers that once were top of the line in finest broadcasting or recording studios. OTOH it's F1 and you can't run them with diesel (the settings and upfront I mean ; as of music it most always sounds gorgeous, I don't specialise at all in audiophile recordings). Whatever people do to make the system they could afford sound pleasurable is highly respectable. And that might account for "preferences" and choices of trade offs. However, I don't believe as much in such things as in adjustments to program materials via a set of in room responses "tone controlled". In exemple, I recently posted in Album of the evening that I listened, same evening, same physiological state, same system, first to MJ's Bad with massive bass boost (to fit a 1987 early digital Bernie Grundman's mastering) and then to classical piano recorded/mastered 2022 with flattish (even flat was fine) response. I see you take room dimensions in consideration in your work ; on that point I'm in total agreement ! Applying dimensions in the Virtual Bass Array Excel sheets offered by OCA to produce VBA filters (see : https://www.youtube.com/watch?v=q9aJqQpNyLY ) has truly been a step up

Since I plugged my excellent Holo Red I can not any longer direct Optical to my May from my TV when receiving streaming (for HDD based movies or streamed music I go BlackHole /HQP but the issue with streamed movies is sync, hence Optical...) Any idea what might be going on ? (yes, I output my Mac's sound to Pioneer TV HDMI and the Pioneer has the Optical output...) So, I'm finally using the Red as DDC for that purpose, plugging/unplugging my Mac Studio (no optical output) via USB and outputting Optical from the Red to the May but I don't like that plugging/unplugging powering on/off stuff (should I relax about that ?)

Above Schroeder, at most above a transition zone that should not extend beyond 500 Hz, the speaker rules. And if it's well conceived, most notably regarding directivity, it behaves so that it measures "Harman" or Toole's ideal steady state, at least above 500 (we all have to take care of LF one way or the other I guess). If not, one should consider changing his/her speakers, not DSPing (but for broad tone controls) ; that's the essence of Floyd Toole's research findings. Personally I always stick to brands that have at least one foot in HQ production, be it HQ broadcasting or recording (I'd check JBL/Revel, B&W, Genelec, Cabasse...) even if they don't have the most powerful marketing clout. "After I gave my feedback to joentell, he implemented a "directivity detect" feature in his app." Gee.....!!! Oh I think Floyd Toole dug perfectly, except maybe for money if Magic Beans is non profit