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 “Meyer and Moran: Let’s Change the Focus

  • December 22, 2014 at 10:52 am
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    Well I hear a difference between a (properly recorded) hi-res audio and a standard CD, not sure why there is so much heat in the debate.

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  • December 22, 2014 at 11:03 am
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    Mr Meyer chooses to subjugate rather than address facts. An all too common immature threader, who would rather mitigate their shortcomings by avoiding a fair and balanced discussion.

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  • December 22, 2014 at 5:53 pm
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    My head is spinning with all the BS being thrown into this subject.

    1. Can ANY differences be heard between a Red Book and HD Recording original using at least 96/24 to define HD. Common sense would tell anyone that the original recording would have to be done at HD spec. Anyone who claims Analog Tape is good enough is just peddling snake oil on the subject.

    2 Complete playback chain must be up to HD spec standards.

    “Meanwhile, there is one disc whose dynamic range exceeds the CD’s limit: The Hartke recording on Hilliard. When I discovered the properties of this disc, I turned the system way up and conducted a test using only the initial fade-in of the room sound. The difference was easily (and of course provably) audible. This is all in the paper, so, as has so often happened, those arguing that we didn’t use such a recording have not read what we wrote.”

    So Mr Meyer, Using the necessary HD media and playback equipment “The difference was easily and of course provably audible” YOU CAN “hear a difference. To me that statement immediately supports Mark Waldrep’s and a large part of the audiophile communities position on the subject.

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    • December 23, 2014 at 9:35 am
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      I’m going to parse the Moran statements today. However, you’re right. He dismisses the increased dynamic range of 24-bit HD-Audio and then goes on to us increased dynamic range to show that the content they chose was really high-resolution! The study was seriously flawed and the authors (and plenty of others) are still supporting it.

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  • December 23, 2014 at 9:40 am
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    Well hey, there’s nothing wrong with noticeably better midrange, ’cause that’s where the music is. No matter from what point in the chain the improvement comes, when we hear better mid-range, we hear better sound.

    But, part of any master tape grade playback is the revelation of LF and HF bandwidth not present on the typical consumer format. I certainly have found quite a few DVD-A’s, ( definitely including yours Mark,) and SACD’s that manifest these values.

    As far as the value of wideband reproduction exceeding the audible range, this is another old song that needs no further refrain; of course we want a wide margin of accuracy around the range with which we are principally concerned in order to ensure linearity in the region of concern. Merry Xmas one and all!

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    • December 23, 2014 at 11:23 am
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      Happy holidays to you as well Craig. I don’t think anyone was claiming that the midrange of a PCM digital recording would improve by moving to high-resolution. At least none of the engineers that I knew at that time…or now.

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      • December 23, 2014 at 1:25 pm
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        What about all the audiophiles, i.e. the ones that matter? They were DEFINITELY claiming that SACD sound was vastly batter than CD sound in the ‘guts’ of the music, not the extremes. And many still do.

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        • December 24, 2014 at 8:47 am
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          That the same group of “Golden Ears” that hear day and night improvements from their new $3000.00 power cables.?

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          • December 24, 2014 at 3:51 pm
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            Don’t get me started on the whole cable thing…the PFO reviewer that choose cables as the most important item in his system needs help.

  • December 23, 2014 at 10:09 am
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    Having only superficial knowledge of the background of this debate / argument I can only say that Meyer’s comments above make sense; regardless of what they actually set out to prove originally or what people thought they set out to prove. A well recorded / mastered red book CD may only be differentiated from higher ‘resolution’ (how I hate this word) recordings / masterings by extremely subtle differences in HF and, under ideal conditions, by the noise floor. Which nicely fits with the theory. The rest is industry and ‘high-end’ press mumbo jumbo. I don’t think there’s much material disagreement here. Peace!

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    • December 23, 2014 at 12:31 pm
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      Not just HF-LF extension in hi-res recordings increases the sense of air and dimension in playback not commonly heard on typical CD.

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      • December 23, 2014 at 12:42 pm
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        I’m not going there Craig…this is exactly the stuff the Meyer and Moran (and other studies) have shown to be inaudible.

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