We Need To Talk About Ones And Zeroes
Several well-respected audiophiles in this forum have stated that the sound quality of hi-res streamed audio equals or betters the sound quality of traditional digital sources.
These are folks who have spent decades assembling highly desirable systems and whose listening skills are beyond reproach. I for one tend to respect their opinions.
Tidal is headquartered in NYC, NY from Norwegian origins. Qobuz is headquartered in Paris, France. Both services are hosted on Amazon Web Services (AWS), the cloud infrastructure services giant that commands roughly one third of the world's entire cloud services market.
AWS server farms are any audiophile's nightmare. Tens of thousands of multi-CPU servers and industrial-grade switches crammed in crowded racks, miles of ordinary cabling coursing among tens of thousands of buzzing switched-mode power supplies and noisy cooling fans. Industrial HVAC plants humming 24/7.
This, I think, demonstrates without a doubt that audio files digitally converted to packets of ones and zeroes successfully travel thousands of miles through AWS' digital sewer, only to arrive in our homes completely unscathed and ready to deliver sound quality that, by many prominent audiophiles' account, rivals or exceeds that of $5,000 CD transports.
This also demonstrates that digital transmission protocols just work flawlessly over noise-saturated industrial-grade lines and equipment chosen for raw performance and cost-effectiveness.
This also puts in perspective the importance of improvements deployed in the home, which is to say in the last ten feet of our streamed music's multi-thousand mile journey.
No worries, I am not about to argue that a $100 streamer has to sound the same as a $30,000 one because "it's all ones and zeroes".
But it would be nice to agree on a shared-understanding baseline, because without it intelligent discourse becomes difficult. The sooner everyone gets on the same page, which is to say that our systems' digital chains process nothing less and nothing more than packets of ones and zeroes, the sooner we can move on to genuinely thought-provoking stuff like, why don't all streamers sound the same? Why do cables make a difference? Wouldn't that be more interesting?
Cheers my friend. Btw, I’ve recently discovered MJ Acoustics, a UK company that specializes in subwoofers. Long story, but they’re custom finishing a sub to match my restored Altecs in my vintage system. If that project is as successful as I’m hoping, I am contemplating adding the new Fyne super tweeter. Which gets me to this question: How do you feel about your Tannoy super tweeter? (Apologies to @devinplombier for this temporary high jack)
|
Not at all, in fact I'm curious about the super tweeters after reading @lalitk 's eloquent description in his virtual system page. Something I would have assumed was not for me due to my hearing threshold no longer having a 2 in front of it (at least it still has 5 figures!), but cymbals can produce harmonics into the 70 KHz range. Wonder if other instruments benefit similarly from super tweeters. |
Here’s a Fyne white paper on their super tweeter. Notice that it has measurements and actual citations, including to peer reviewed papers published in the Audio Engineering Society Journal. So while there is some controversy among some audiophiles regarding the efficacy of super tweeters, Fyne has actually done what I’ve criticized switch, server and streamer manufacturers for not doing.
|
If some tweeter (super or not so super) played a 29khz tone and a 30khz tone simultaneously, you will hear it as a 1khz tone (doppler whatever), well within your audible range...no matter if your ear doctor told you that your ears don’t work after 14khz and above. Same goes for more misinformation being spread on @cooper52 ’s thread where some dudes are telling him that there is no musical information below 30hz (facepalm) and a sub getting down to 10hz is meaningless... With this very complex amalgamation of frequencies overtones, undertones, whatever... referred to as music, one could never never be too sure of anything these days... I wish I could create a graphic or an animation about this but...that would be too much unnecessary work for a forum thread.
|
Congratulations on your fine purchase. I did look into MJ Acoustics before buying REL’s. I do like their high quality build and bespoke veneer finishes. My experience with Tannoy’s super tweeters is nothing but positive. They have added a refined sense of air and spaciousness to my Canterbury’s. Are you likely to hear more decay, space around instruments and top-end shimmer on things like cymbals or strings….I guess, it would come down to your listening position and room acoustics. My listening position is 9.5 feet away, and the super tweeters are positioned roughly at ear level when I’m seated. With careful positioning of super tweeters, the benefits are obvious especially with acoustic, ambient and jazz recordings. I did watch Kevin’s YT video, I must admit, FYNE Audio super tweeters adjustability and omnidirectional design is quite impressive. I’d expect it to deliver a similar or better enhancement due to its omnidirectional design. If your speakers sounds bit rolled off or closed-in up top, they might be the right fit. Are they absolutely essential, only you can decide after careful integration with your speakers. I do know, my super tweeters are inseparable from my Canterbury’s. Let us know if you end up trying it—I’d love to hear what you think! |
