Sound quality of Prime 4 is superior to all others testes.. why?

[Reese]

Yes see my post above:

Sound quality of Prime 4 is superior to all others testes.. why?

Recording at 24bit @ 192kHz from a playback is just utter nonsense to do, but by all means if you believe in it, that’s fine, of course! Curious where you record from and what source the recording had? If it’s a vinyl record, CD-quality settings are sufficient. That vinyl record most likely had a source master recorder with magnetic tape (Studer usually) and those had a noise floor of about -78dB. A turntable isn’t any better either. CD-quality 16bit @ 44kHz has a noise floor of -96dB,…

[PKtheDJ]

For years now, if I record anything from vinyl (via my Technics SL1200MK2s) once it’s on the computer I’ll use audio editing s/w to filter out the (under 30Hz) rumble then remove crackles if they’re audible. Maybe tweak the EQ as required, then a touch of modern limiting.

[Reticuli]

@SpruceBringstienq

comparing my denon prime 4 with a new-to-me pair of CDJ2K Nexus (not 2’s) which do have the (alleged) capacity to run in 44.1k and 48k, not 96 - a user switchable parameter which is not dynamic based on what is being played - as far as I can decypher, these preform the bare bones SRC from your source material, in 48 and 44 to whatever mode you’vd opted to run the player at, and to my dissapoint, wont even play 96k or 88.1 or any kind of ‘exotic’ files,

Maybe you’re thinking of the option to change the SPDIF between 16 and 24bit. If the gear receiving it can do both, there’s no reason to use 16bit.

The only time the older CDJ’s prior to the 3000 do SRC is on some of the models that allow you to do a hot cue from a track that’s not currently loaded but is accessible, and only then when that hot cue is a different frequency sample rate than the track playing.

The CDJ-2000NXS2 added 96khz capability, with the same auto-adaptation of the onboard sample rate and SPDIF. So, if you were sending a 24/96 track on the CDJ-2000NXS2 into a PPD9000 using SPDIF, it was going to malfunction. All the fully digital Pioneers from the DJM-800 on can take 96khz, though. Even the A&H Xone DB4 has 96khz SPDIF input capability.

I think noticing the IMD+noise and treble roll-off has a lot to do with how much is going on in the music you’re listening to, how much inherent distortion + noise is in the recording (or baked into the production), and even the loudspeakers’ environment. If you’re in a barn blasting bleep techno to the point it’s causing your ears / brain to distort and compress, it’s unlikely anyone will notice.

@Richard_Nutman

higher samples rates for playback do not improve anything within the human hearing range

The primary advantage with higher sample rates is for analog to digital conversion, anti-aliasing filters in processing and DACs, and digital signal processing, and that last one has a lot of anti-aliasing filters. All sample rate converting has side effects of some sort or another, even if you use non-real-time methods with massive computational overhead that minimize them. Whatever you record & produce at, it’s usually best to stay with that rate, and even bit depth. It is true, however, that most preamps, power-amplifiers, and tweeters don’t respond as well from a linearity and distortion standpoint if they have to transmit / reproduce frequencies that are near the limits of their frequency bandwidth. You don’t have to use the entire dynamic range and bandwidth of a digital recording medium to get benefit out of it, though, but a lot of what people are hearing with HiRes stuff that truly is lossless is either simply the fact there’s been no further conversions, and / or, sadly enough, they sometime are just hearing their downstream gear performing worse and they interpret the difference as being better. Personally, I think true studio versions that people prefer usually sound better because of the former, but it’s undeniable that some of the latter is happening sometimes.

[TJDJ]

Oh man, that classic HP Dynamic Signal Analyzer in the photo is bringing me such a warm fuzzy feeling. That is a stone cold CLASSIC lab instrument. I used those day in day out for years while working on early Blu-ray recording drives. It’s a lovely, lovely instrument from when HP were still HP before being diluted by selloffs. Basking in the nostalgia of an HP 3561A and my Yokagawa scope. Usually I used the newer Agilent version, but the old ones were still capable.

[Kwarkgebak]

That definitely sounds interesting! Can I ask you what your background is in that?

[TJDJ]

I used to work on optical storage drives for a large corporation. Like one of the drive types in the OG Xbox for example. Control Theory, Lapace Transforms, Bode plots, S-domain, z-domain is my bag.

[Kwarkgebak]

Ok, that sounds awesome for sure!

[Bonkhead]

Null test ?

Nothing else matters to support any argument.