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.

7 thoughts on “CEA and JAS Collaborate on Hi-Res Audio Promotion

  • December 19, 2014 at 3:29 pm
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    There still needs to be a spec to discern the difference between recorded in HiRes verses a “Transfer” to/from HiRes. Otherwise, as it was so well put at the TC-HRA meeting at the LA Convention in October, “even an Edison wax cylinder could cleaned-up, up-converted and then be called HiRes”. Sorry, but that just wouldn’t cut-it with me or others. There has to be some designator labeling spec regarding that, for such a spec to fly right.

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    • December 19, 2014 at 3:58 pm
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      Exactly…I’ve proposed a series of logos for the provenance of a production.

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  • December 20, 2014 at 8:38 pm
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    I had a simple design back in 2007 after returning from the London, AES conference at QMUL. I have it stashed and would pull out in the future, on the off chance someone might be interested. And I needed to get some practice on my CAD software, was feeling that rusty that week.

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  • December 21, 2014 at 10:05 am
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    Hi Mark,

    I like the fact that the minimum requirements of the JAS chart are consistent and draw a clear line based on facts. Nevertheless, I can’t imagine many different recording and playback chains that can meet the minimum requirements.

    You have insisted on the fact that these minimum requirements also apply to manufacturers of equipment, who would necessarily have to step up their game, but I can’t help but to ask if it’s possible – under the current state of technology and physical limitations of materials available – to improve transducers much further.

    I know there are a few omnidirectional microphones – like the DPA 4004s or the Earthworks QTC40/50s – that meet the 40 kHz requirements, and since you use pairs of omnis for each instrument, you coud be pretty covered, but what about the rest of the mics available, preeamps, and D/A and A/D converters?

    Could you give at least 3 examples of current and entire recording and playback chains that meet the minimum requirements of the JAS chart?

    Cheers!

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    • December 21, 2014 at 1:12 pm
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      You’ll notice a whole bunch of CE companies starting to marketing Hi-Res Audio products. Even the cheap speakers ($159 each) we used in the research study claimed response to 40 kHz. Microphones…no problem. They may be down somewhat at 40 kHz but they do get there…some better than others. Preamps…also not problem. Avalon, Benchmark, Millenia etc all make it. The analog path is fine to 100 kHz…if people choose to leave it alone. Real HD-Audio will be rare…as it should be.

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  • December 21, 2014 at 12:51 pm
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    It is good Mark that you can attend the conventions and association meetings and raise the inconsistencies. As far as provenance is concerned, what I just read on an early stereo vinyl may make you smile : “This recording was made on Ampex 350-2 with special electronic circuitry, using Altec, Electrovoice, RCA and Telefunken microphones. The masters were cut with an automatic Scully Record Lathe mounting a Westrex 45-45 cutter with special feedback electronic circuitry driven by custom 200 watt amplifiers. While the total frequency range of 16 cps to 25,000 cps on this record may not be within the range of ordinary human hearing, nevertheless inspection of the grooves with a microscope will show the etchings of the upper dynamic frequencies.”

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    • December 21, 2014 at 1:13 pm
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      Thanks very interesting…the tone of audiophile writing has always been the same.

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