High Frame Rate (HFR) movies: time to overcome resistance? Also, on anachronistic nostalgia. And why I rarely go to movie theaters these days.

This week, indulge me in staying a little longer with discussions on the video theme; since I view audio and video technologies as members of the same family, there will be references and detours made about audio in this post.

Although I think 4K is plenty of spatial resolution already for home use (discussed years ago at the advent of UHD BluRays), there is one obvious way to increase the perceived resolution of video playback - improve the "time domain" performance.

While basically everything about motion picture technology has evolved - aspect ratio changes from 4:3 (silent film) to widescreen, frame sizes (35mm various forms, 65/70mm, various digital sensor sizes), B&W to color, higher effective resolution, transition from analog film to digital - isn't it amazing that the cinematic framerate has remained at a mere 24fps, and commonly 180° shutter rule for motion blurring (more geeky testing here)? Since the dawn of the "sound film" in 1926 - almost exactly a century ago! 

High Frame Rate (HFR) movies - movies that were filmed and projected at more than the "cinematic" 24fps - typically 48fps or 60fps - have been simply uncommon for feature presentations to this point. Perhaps reminiscent of multichannel music which had its starts and misses over the decades (eg. 4.0-channel quad back in the '70s), HFR also had a time in the '70s and early '80s when the company Showscan was trying to achieve higher image quality with 65-70mm film at 60fps. But like quadraphonic audio, the technology of the day wasn't really good enough for practical, economical, trouble-free high-fidelity visual reproduction.

Imagine what kind of physical demands would have been necessary for this. Showscan ran the film at 4.68ft/s or 281ft/minute! Clearly a costly endeavor (estimated $2-3M just for the negatives and processing to make a movie back in the '80s) plus imagine the pounds of film to send out to all the theaters, maintenance needs, plus potential damage to the film after a number of runs. How many showings would have been needed for a decent return on investment?!

No surprise then that full-length films were never released in this format. (Here's an interesting brochure from 1990 of their High Impact Cinema prototype, and their 1987 company prospectus.)

HDMI Musings: high speed cables, data rates, YCbCr color subsampling, Dolby Vision MEL/FEL, optical cables and +5V injection.

Hey folks, for this post, I thought it would be good to dive a little more into the world of AV technologies after discussing the nVidia Shield TV Pro last week. While "classic" audiophile technology (ie. standard hi-fi analog and digital 2-channel stereo without special DSP advancements) has matured nicely already, this isn't quite the case with modern digital video tech. While many (probably most) features have settled, we can see ongoing evolution of the High-Definition Multimedia Interface (HDMI) standard to be mindful of - for example the recent announcement of HDMI 2.2 at CES2025 expanding capabilities well beyond the needs of today.

As usual, it'll take time (years) for this standard to be incorporated into TVs and source devices like GPUs (latest nVidia RTX 5080/5090 are HDMI 2.1b) or something like VR devices being at the forefront of potential generational gains. For more than 20 years, with each significant revision of the HDMI standard, we're seeing doubling of data speed with HDMI 2.2 now aiming at just shy of 100 gigabits-per-second (96Gbps), twice of the 48Gbps bit rate in current HDMI 2.1 products.

This recent update makes HDMI the fastest of all currently-announced consumer Audio-Video connection standards, the one wire that basically does it all - hi-res video (with high dynamic and frame rate), hi-res audio (up to 32 PCM channels at 24/192, with DSD to 8-channel of DSD256), HDCP copy protection, audio return channel, even ethernet (100Mbps).

This level of sophistication (and licensing costs) could make it difficult for small companies with limited R&D capabilities to get in the game with custom designs. This is probably in part why the cottage industry audiophile companies rarely use HDMI other than selling overprices cables (like AudioQuest). Plus frankly, basic 2-channel audio doesn't need the higher technical capabilities anyway (which is basically what Paul McGowan says).

Let's run through a few thoughts about HDMI that might be good to know as general knowledge as tech enthusiasts. I'll provide a few links of interest, touch on tech stuff like color spaces and subsampling, and things you might want to try if you're running longer high-speed HDMI connections and potentially noticing issues.

nVidia Shield TV Pro (2019 version), still relevant in 2025! A listen to Auro-3D & Auro-Matic Upsampler.

Hey guys, I thought it would be fun to talk about something that's been around quite awhile already but which I still bought in 2025. As per the image above, it's the nVidia Shield TV Pro (US$200, CAD$260). For years, I've been using the Apple TV 4K (2nd Gen, 2021) which is a fine unit with all the bells and UI whistles of the Apple ecosystem. But it is missing something that "serious" movie audio lovers - and even audiophile music lovers - might want; lossless audio bit-streaming for Dolby TrueHD/Atmos and DTS/HDMA/X.

That's right, sadly, after all these years, Apple doesn't care to update the AppleTV to support basic bit-streamed audio. 😢

Note that I don't necessarily blame them as a company, they make no money off local libraries of UHD/BluRay-ripped content. So if I were running the business, I'd also think twice about getting developers to support a feature that at this time in history they will make no streaming subscription revenue from. Streaming services - Apple TV, Apple Music, Netflix, Prime Video - all do not send lossless multichannel audio content, opting typically for lossy Dolby EAC3 with or without Atmos. Not supporting much beyond the basic feature set is nothing new with Apple as part of their KISS closed ecosystem mentality. (The only lossless multichannel I've come across are the few albums on Qobuz.)

Since 2021, without lossless bit-streaming to the receiver, I've been using Infuse PRO on the Apple TV which will decode Dolby TrueHD and DTS-HD Master Audio to multichannel PCM. Doing this removes the embedded Atmos or DTS:X height effects (can turn on Dolby Surround Upmixer or DTS Neural X to extract some content back). At least lossy EAC3-Atmos is sent directly to the receiver.

Therefore in 2025, the only other mainstream choice is still the Shield TV, a device that seems to be catered more to the home-theater enthusiast with lossless audio - thanks nVidia.

Frustration of the Euphonophile Salesman. Audiophile evaluation methods & intentions.

Through February 2025, and with today's third post of the month, I've been exploring the current audiophile culture with videos from contemporary YouTube channels. While never exactly the same among participants, we can see "archetypal" characteristics shared among personalities in this hobby.

We've talked about the technical channel that presented facts but also blurs boundaries into unusual beliefs to make sales and justify products, the subjective-only hobbyist channel willing to do listening tests (great!), and today let's talk about the audiophile who appears to insist on purely subjective-based evaluation, rejects objective measurements, and is a salesman in the Industry.

I'm talking about OCD Hi-Fi Guy who's quite an entertaining fellow. He calls it like he sees it - "no BS" - I can respect that to a point. His name is Mike "Mikey" Powell and he runs a company called 11 Stereo. His followers are known as the "HiFi Tribe" and in the videos, we see promotions of the companies and products that he represents including Playback Designs DACs and Fischer & Fischer speakers, prominently mentioned among others. 

Every once awhile you'll see on my blog a reference to something on his channel that I found entertaining - like this post addressing the interview with Machina Dynamica guy. His use of diction suggests an intelligent fellow but I suspect he comes across a bit "spicy" in his language for many audiophile gentlemen and gentleladies. At other times, some of his viewpoints around politics and towards other cultures might be unpalatable.

If you watch his videos, I think it becomes quite clear that his moniker is inaccurate because he is neither "OCD" (his answers are far from perfectionistic), nor is his philosophy towards audio particularly "Hi-Fi" (high fidelity). Let's have a deeper look at this with a recent video that's entertaining, yet highlights the frustration that I think some salesmen might experience online these days as they try to assert unsubstantiated beliefs.

Do CD and lossless streaming sound the same? A response to ana[dia]log video. And on excessive complications in the audiophile culture.

Today's blog post was inspired by Mister MB in a comment he made on the post last week (about GR-Research, and the hype around passive crossover components):

Hey Arch,

Slightly unrelated, but I thought you'd be interested in this recent video about CDs vs Streaming by Guido of Anadialog:

https://www.youtube.com/watch?v=pY8PeMpT2DE

What do you think? ...

Thanks for the link MB. I've come across the ANA[DIA]LOG YouTube channel but admittedly haven't spent much time watching the contents. I certainly appreciate the host, Guido's, passion and energy! I see the content caters more to physical music media, especially tapes and LPs. As you probably know, for me, subjective preferences aside, analog media represent lower-resolution sound; no offence to vinyl/tape lovers, it's just a statement of fact (especially with LP/vinyl) given the much higher resolution capabilities of modern digital ADC and DACs, achieved with less hassle.

Good to hear about the interest around CDs these days. I guess what's old eventually becomes new (maybe even trendy) again at some point after a couple of generations! Although I have a feeling Edison's wax cylinders might have a tougher time staging a comeback. 🙂

Loudspeaker crossover parts and sound quality. (Regarding Danny Richie / GR-Research's claims, of course.)

At the heart of most subjective vs. objective heated audiophile debates is the concern about the ease by which a person can dramatically exaggerate claims about sound quality without controlled listening tests, measurements, or any other higher level of evidence beyond personal testimony.

Without any meaningful repercussions, we can say almost anything, claim we experience almost anything, regardless of whether it's true, misperceived, or intentionally exaggerated for financial gain, status among peers, or other benefits. It is necessary therefore that audiophiles who read, watch, or listen to such comments develop the skills for critical thinking to assess such "testimonies"; acceptance without critical thought is simply blind faith, potentially leading us in directions we regret or might even be unhealthy. (See also the article on the types of "subjectivisms" in audiophilia.)

For this post, let's talk about a topic which has been around awhile but perhaps more notable over the last few years about passive speaker crossovers. In particular, the idea that at times quite expensive parts upgrades make desirable, even "huge" differences toward better sound quality.

Grab a seat, open up a beverage, sit by the fireplace if it's cold outside, and let's think about this stuff for a moment, dear audiophiles...

DIY: Tweeter Ferrofluid Change - with pre- and post- frequency & distortion changes. And on-line amiability among hobbyists.

For this post, I thought I'd discuss a little DIY procedure you might want to think about if you've had your speakers for awhile - like say a decade or more - and know that the tweeter uses "ferrofluid". Not uncommon for tweeters since the 1970's.

Ferrofluid is a substance with ferromagnetic nanoparticles typically suspended inside an organic solvent. These particles are small enough that they're suspended by Brownian motion so over time, the particles do not settle. In tweeters, the ferrofluid surrounds the voice coil which is embedded in the gap between permanent magnets (do electromagnetic speakers use ferrofluid?).

There are benefits to doing this including improving heat transfer away from the wire coil to handle higher power, dampen vibrations (unwanted resonances), and I've heard it said that the ferrofluid can also help suspend the coil within the gap in a way that's better centered (lower distortion).

Now, depending on the type and quality of the ferrofluid, there is the potential that over time this stuff degrades. Some have said that it can dry out, or the consistency becoming more viscous over the years. Here's an interesting video showing degradation of very poor-quality ferrofluid.

As We Hear It: Audiophile hype vs. reality? GPU chatter (nVidia Blackwell RTX 50XX-series), thoughts on AI frame-generation ("fake frames"), gaming, and art as imagination.

I hope you're all doing well as we enter the year. It's rather amazing that the first quarter of the 21st Century has passed so quickly! Time flew. I do hope that as time passes, audiophiles worldwide are gradually becoming more knowledgeable about the science behind this stuff and in general much more critical thinkers, more resilient to the snake oil and scams of yesteryear. I simply think that this is part of the evolution that must happen for any hobby in order to not stagnate. If something is contentious or seems "too good to be true" based on conventional knowledge as we all become versed in how audio reproduction works, the product very well could be something to avoid; instead, better to save money and look for something more meaningful to purchase.

As per my usual routine, every once awhile I'll publish an E-mail or two from readers of the blog and take time to discuss matters brought up that might not have been fully covered previously, often hitting other short discussion items that don't need a full-length post.

Let's have a look at this E-mail from Michael in Sweden:

Dirac Live 3 with Bass Control (DLBC): A look and listen with the Integra DRX-8.4.

I talked about the use of Dirac Live 3 in late 2024 after upgrading my receiver to the Integra DRX-8.4 which integrates the full-bandwidth DSP room correction as part of its feature set. Many modern multichannel receivers these days have Dirac as a feature included like the Onkyo TX-RZ70 or Pioneer Elite VSX-LX805 (both offering 11-channels amplification like the Integra). I have to say that I love this Integra unit with all its multichannel bells and whistles - not to mention great sound as well, of course.

I mentioned in the previous article that Dirac Live Bass Control (DLBC) is available as an upgrade for US$299 which activates the license on your account when you run the Dirac Live Room Correction Suite, unlocking the "Bass Control" module.

So, let's activate that and get into this with a look and listen to what DLBC brings to my set-up and of course some results in my room. (For reference, here is the official DLBC manual, and Dirac's Frans Rosencrantz's 2020 article "Bass Control, Where Did My Bass Go?".)

Lenbrook's MQA: The Next Generation - QRONO, FOQUS, and other AQWARD things. And listening impressions from the non-audiophile press.

Happy new year, audiophiles!

Other than a quick comment here and there in 2024, I'm glad that I didn't spend much time on MQA-focused material. The last we talked at length about MQA was over a year ago in December 2023 with the final sale of MQA to Lenbrook at the bargain basement sale price. My, how time flies! As much as I would love to never think/write about MQA again, this thing won't disappear. 🧟

So I figured at the start of 2025, since there could be some MQA-related stuff later this year with possible new product announcements and such, let's anticipate a bit and consider the developments in this continuing saga.

The name "MQA" persists as part of Lenbrook's "MQA Labs" as the name MQA Ltd. has been re-registered to a food sales agent in the UK. Through 2024, we've been seeing the word "QRONO" hitting the news a few times already. In late 2024, there have been more articles in the audiophile press such as this in The Absolute Sound, and What Hi-Fi?. So, let's talk about what this seems to be about and what they're trying to do.