Dr. AIX

Mark Waldrep, aka Dr. AIX, has been producing and engineering music for over 40 years. He learned electronics as a teenager from his HAM radio father while learning to play the guitar. Mark received the first doctorate in music composition from UCLA in 1986 for a "binaural" electronic music composition. Other advanced degrees include an MS in computer science, an MFA/MA in music, BM in music and a BA in art. As an engineer and producer, Mark has worked on projects for the Rolling Stones, 311, Tool, KISS, Blink 182, Blues Traveler, Britney Spears, the San Francisco Symphony, The Dover Quartet, Willie Nelson, Paul Williams, The Allman Brothers, Bad Company and many more. Dr. Waldrep has been an innovator when it comes to multimedia and music. He created the first enhanced CDs in the 90s, the first DVD-Videos released in the U.S., the first web-connected DVD, the first DVD-Audio title, the first music Blu-ray disc and the first 3D Music Album. Additionally, he launched the first High Definition Music Download site in 2007 called iTrax.com. A frequency speaker at audio events, author of numerous articles, Dr. Waldrep is currently writing a book on the production and reproduction of high-end music called, "High-End Audio: A Practical Guide to Production and Playback". The book should be completed in the fall of 2013.

12 thoughts on “DVD-Audio vs. SACD: A 2004 AES Paper Sheds Light

  • November 23, 2014 at 4:03 pm
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    “It might be time to relegate DSD to “also ran” status and get back to making better sounding records.”

    AMEN Mark, sounds like a very basic and simple truth to me.
    BUT the simple truth doesn’t sell new hardware or resell the remasters of classic recordings in the latest/greatest format.
    Wish I had an idea to turn things around but I’m just an angry old audiophile who was lied to and cheated by these people for near to 40 years. I’ve watched the industry continue down a road full of liers and snake oil salesmen who’s only interest is the almighty dollar.
    Guess the part that makes me the most bitter is that time and money has been wasted on these things instead of making true advances in the art of audio reproduction.
    Nope, what the community really needs to get us closer to the SOTA is another $150,000 turntable / phono cartridge combo. BLAH

    Reply
    • November 24, 2014 at 2:19 pm
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      You’re right! This whole audiophile market is a business and without new and “revolutionary” things to sell, where’s the upside?

      Reply
  • November 23, 2014 at 5:03 pm
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    Have any similar comparisons been made between cd (16bit/44.1khz) and hd audio?
    Within the audio band (20hz-20khz), how much of what we actually hear reaches the extremes?
    If most of the sounds we actually hear are contained, as I suspect, well within the audio band then this must leave considerable headroom in the cd format and makes me wonder – do we actually gain an awful lot by going beyond it? Surround sound may be the way forward in terms of realism but do the dynamics have to be so ultra extreme?
    I have gained a lot of insight from reading your daily posts and forgive me if I am missing something but surely the real battle is to persuade the record companies, engineers, artists and the listeners to produce and expect a much better quality product with proper dynamics and mastering instead of the blasts of noise we are daily subjected to.
    If hdaudio is the by-product then so much the better.

    Reply
    • November 24, 2014 at 2:21 pm
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      They have. There’s the often quoted Boston Audio Society study, which was completely meaningless since they didn’t audition any real HD Audio. It’s less about format and musch more about making good records.

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    • November 24, 2014 at 8:25 pm
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      “Within the audio band (20hz-20khz), how much of what we actually hear reaches the extremes?”

      It depends on the type of music. Music with a lot of high percussion, including cymbals, actually has a significant percentage of energy above 20kHz — the question is whether anyone over age 20 can perceive it. Most classical music has almost no energy above 20kHz, less than 0.5%, unless you’re talking about percussion-heavy works, and this 0.5% is largely buried by the much greater energy coming from the 20 – 8,000Hz range.

      Reply
      • November 25, 2014 at 9:20 am
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        There is musical information above 20 kHz and I believe (and the recent Robert Stuart AES study and paper) seems to confirm it. However, it is not a huge factor compared to other production choices…but it is so easy to include all frequencies up to 48 kHz that I would suggest why not record and reproduce them? And there are lots of other benefits from working with higher sampling rates.

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  • November 25, 2014 at 9:21 am
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    Regardless of my subjective perceptions, eliminating format wars and/or the massive amount of resulting confusion is good; thank you Mark. perhaps you could explain (although I pretty much know already,) how we ended up with rates that decimate to 48khz instead of 44.1 To me, 176.4 makes a great deal more sense than 192 IMHO.
    Craig

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    • November 25, 2014 at 11:39 am
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      Craig, 44.1 kHz came from the earliest days of consumer digital audio (it was originally 44.056 kHz) and video recorders. The professional world of video uses 48 kHz, which is why the difference.

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      • November 28, 2014 at 12:24 pm
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        As I thought. Thanks.

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  • December 2, 2014 at 9:45 pm
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    Wouldn’t Sony’s “double-blind ABX” comparison have more validity if it were done by an independent tester, University or professional body? Wouldn’t Sony have a stake in an outcome that is favourable to their commercial interests and ends?

    Sorry,… but right now, I’m having visions of Dracula overseeing blood testing at a blood bank for type favourable to his type-A,… or a fox supervising hens in a hen house, making sure they’re laying enough eggs to the fox’s taste.

    Reply
  • July 7, 2015 at 6:21 pm
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    After listen PCM, from redbook to 24/384kHz, upsampled to Double DSD with JRiver Media Player driving my Oppo HA-1 DAC in Native DSD mode, I WILL NEVER LISTEN TO PCM ANYMORE. NEVER, NEVER, NEVER !!!

    I don’t need read a lot of maths and technical articles, my ears, listening garbage PCM since 1982 will not allow me make this sacrilege again…

    I’m prepared for receive a lot of bad PCM words, but I will not listen neither reply to them, my eyes only see DSD and my ears only listen DSD.

    My next upgrade will be a VALVE PURE DSD DAC that doesn’t play PCM, because I stopped listen to bits and my equipment and began listen only to the music!

    Reply
    • July 8, 2015 at 10:12 am
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      Bob, no one should ever tell you that you can’t listen to what you perceive as the best sound. If the upsampling, conversions, and hardware chain that you listed above delivers what you want then I say go for it. However, the process chain that you’ve outlined seems a little convoluted given that the fidelity of the final output is still Redbook PCM fidelity limited by the 44.1 kHz/16-bit source specifications. None of the upsampling or conversions contribute to any fidelity improvement…in fact, they degrade the sound from a technical point of view.

      I only wish you could experience my system.

      Reply

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