Specifically the Petula Clark examples are the closest in the repository to a pure decode. The ABBA show the great clarity because of the decoder design.
are there 'before' and 'after' samples , or am I missing something?
I didn't provide before samples... They are quite interesting (esp ABBA.) I'll provide a few of them later on today -- and will follow up with a post when ready. (Again, later on today -- 20Apr, prob before 20:00 EST USA time.)
Last post by copperblue -
I've been using Rogue Amoeba's Airfoil (paid software) more or less every day since 2009 to send music from Foobar2000 via WiFi (Airport Extreme) to an Airport Express using the AirPlay protocol (16/44.1 Lossless).
The latest version of Airfoil (v5.5.0b4) also casts to Chromecast devices (48 kHz PCM audio), and works just as brilliantly. [Edit, also does gapless also AFAIKT]
Which means I can retire my ageing Apple network gear, bonus.
It's a no-brainer if you don't mind paying for software.
For the record I don't work for or have any affiliation to Rogue Amoeba.
Last post by jsdyson -
My original effort was NOT to fetch money. What happened is that the guy who REALLY HELPED with some of the really difficult details -- that is, to make it work EXACTLY like a real DolbyA (I mean, within 0.50dB or better) resulted from details that he provided. Also, some of the most important review work which forced me to reject the old 4 band filter scheme and develop a very different set of filters came from him.
It is his opinion that money can be made -- even though my own immediate (or far term) interest is not to make money, his involvement as a professional recording engineer who has really helped gives him some interest in the project. So, he and I MIGHT decide that the project best be distributed for free (with simple attribution) or perhaps for a fair price. He must participate for this to be an ethical project.
The DolbyA decoder really works, and most likely will be used commercially as often (or more than) as for hobby listening purposes. So, for someone to make money using it (rather than burning up their old DolbyA units -- well, not really...), this gives them a truly superior backup for the old DolbyA units. It is probably best that there be some financial consideration for true professional/money making use. No matter what, I hope that the software will be available for free for noncommercial use -- frankly, a HUGE amount of material is definitely DolbyA encoded (e.g. the Carpenters album from HDtracks.) Another very powerful example is some material that I have for Simon & Garfunkel -- almost unlistenable without decoding. The really bad thing about the Simon & Garfunkel stuff is that there is true bass and acoustic recording which causes really bad intermod effects (from the original DolbyA encoding) which can only be removed by an accurate DolbyA decoder. My DolbyA decoder does a credible job of removing those artifacts. So, my attempt at putting off the decision, while also giving access for non-commercial use (really improving a lot of old, DolbyA encoded recordings) is to offer to provide a slightly crippled (but full quality) copy of the decoder for a month or so for free. This version will also work as long as it maintains compatibility with the underlying OS and CPU technology.
When thinking about it -- if this is as good as the professional feedback that I have gotten has implied -- consideration needs to be given (from a 'being right' standpoint) that some contribution be given for the development and hard work for the final tuning. There are other projects likely forthcoming, including a good SR decoder. The SR decoder is at least 4-5X more trouble than the DolbyA due to the numerous kinds of sliding freq response and various TCs. The final tuning/testing effort (after the raw development based upon all of the various materials available in public) will not be trivial. The DolbyA was non-trivial enough trying to get the curves properly fitted (requiring 4th-5th degree equations to be accurate enough), and the very careful balance between mitigation of unnecessary intermod vs. accurate following of the DolbyA dynamics.
As a simple exercise to prove that it can be done -- it was a relatively simple effort (reflected by the available source code.) The final version -- whose source code doesn't really look all that different, but acts differently -- was NOT a simple effort and required the involvement of a real recording engineer and at least one other 'golden ears.'
I did ask for more free help online (feedback), and there was definite interest, but I was stumped without more substantial help. Finally, someone came forward and REALLY HELPED and participated.
However, the offer stands that I will HAPPILY provide a version that works well on most recent Intel CPUS 64bit mode, and can provide an equivalent Linux 64 bit mode version if desired!!!
Last post by Klimis -
I specifically use Cuetool's FLAC for regular Stereo audio because of the better compression ratios compared to other encoders. I also use TAK for 5.1 PCM rips from DVD and Blu-ray albums because it has the best compression ratio amongst all lossless compression formats that support multichannel audio.
Last post by Erratic -
I seem to recall (a long time ago) maybe mistakenly there was a way to view the playback queue as a playlist iifc. It seem strange not to know whats going to play next, if you've forgotten what you or someone else added to the queue (not talking about playlists) otherwise.
Is there anyway to do this (I thought maybe with an auto playlist).