Magic Beans Audio: True Target. DSP correction fine tuning, concepts, and effects.

In my previous post, I discussed target curves and gave examples of curves you might want to consider when implementing DSP correction in your sound room.

While the use of full-range target curves is not uncommon, as discussed, there are those who advocate against doing so and would insist that only partial corrections in the bass frequencies up to the Modal+Transition Zones should be applied. There are of course some good reasons for this line of thinking which will be addressed.

As you can see in the comments last time, I had a long discussion with Joe Mariano (aka Joe N Tell) of Magic Beans Audio about his product called True Target. I continued my discussions with Joe via E-mail and he provided access for me to the Pro version which allows export of the curves to Room EQ Wizard in order to have a deeper look under the hood at how the system works.

The picture above was taken right before one of my measurement sessions with Magic Beans highlighting some "tools of the trade" used to perform the tuning.

Let's talk about the Magic Beans* True Target app. 

[Standard version regularly priced at US$249 should suffice for the vast majority of users, Pro version US$399 allows up to 128 channels and unlimited daily calibrations.]

* As audiophiles, we know of course that there is no supernatural magic necessary to understand engineered hardware or software. A person or company claiming otherwise or unable to show meaningful effect with their product would obviously be engaging in selling snake oil, should be avoided, and it's only fair to warn others.

In this case, the company is simply using the "magic beans" name to generate interest through colorful humor. No need to let the name be a stumbling block for those of us phobic of audio scams in the 21st Century. 😉

 

I. What is the Magic Beans True Target app doing?!

As I watched the YouTube videos, read reviews, and checked out the online discussions, I remained confused about this product. It wasn't until I started to have that long discussion with Joe and then tangibly examining the output from the software that things started to make sense.

The suggestion against using full-spectrum EQ/DSP to a "generic" target curve revolves around the fact that beyond bass modes in small domestic listening rooms, what we hear at the main listening position (MLP) is always a combination of the on-axis/direct sound from speakers plus the off-axis/indirect radiations that end up being reflected around the room.

Consider if we had a perfect loudspeaker, we would find that this hypothetical ideal transducer would have what's called a smooth "directivity index" (DI), basically the ratio of direct power to omnidirectional (or subset of full 360°) power across the audible range at the listening position which can be plotted across the frequency spectrum. For a front-radiating speaker, the ratio of front on-axis sound compared to the omnidirectional power would trend towards an upward slope as frequencies rise, wavelengths shrink, and the driver behaves like a directional radiator, concentrating energy forward. The more the speaker "beams" forward at higher frequencies, the more acute that directivity slope becomes.

For such an ideal loudspeaker, even if there is beaming at higher frequencies, because the DI graph is smooth, perhaps linearly tilted in appearance, we can say that as a whole, it's still spectrally balanced. Applying an EQ to a spectrally balanced loudspeaker will generally predictably color the sound in the room as intended.

Example of hypothetical loudspeakers with identical frequency response from 40Hz to 20kHz on-axis. However we can see that at 45° off-axis, the speaker frequency responses deviate significantly. That deviation can be plotted on the DI subgraph. Notice in particular that the orange speaker has a tweeter that significantly narrows in its dispersion (beams) into 20kHz.
While both of these speakers can be effectively EQ'ed, be careful with the off-axis tonality of the narrow directivity speaker. For such speakers, if it sounds too "dark" or "dull", it could be a power-response problem because we're sitting too far off-axis; check speaker height and toe-in angle.

Unfortunately, loudspeakers are not perfect and this means that we will not see those nice, smooth DI lines as above in the majority of products. Rather, "directivity errors" show up in the radiation patterns at different points in the spectrum. The dominant reason for directivity issues are irregularities at loudspeaker crossover points where the outgoing (larger) driver is operating at the higher end of its useful bandwidth and starting to narrow as it's handing over to a smaller driver with more omnidirectional radiation pattern. Beyond crossover regions, there are comb-filtering directivity errors (related to driver spacing), baffle diffractions, cabinet resonances, among others captured by thorough speaker measurements. We need to refrain from using EQ on these spectrally unbalanced frequencies.

We can decide that above the bass zone it's too complex and just leave it alone. While there's nothing wrong with just correcting for the bass frequencies, this can however miss genuinely correctable direction-independent midrange/treble anomalies.

So then, how would we construct an 'optimal' target curve to feed into a DSP system like Dirac Live that can handle full-frequency correction? This, friends, is where we get into the rationale behind the Magic Beans True Target app.

Acoustic research (Floyd Toole - 1980's NRC Canada, and with Sean Olive - Harman) showed that listeners preferred the sound of speakers with anechoically flat or gently tilted on-axis frequency responses and smooth directivity with no dips, peaks, and abrupt discontinuities. The 'Spinorama' (ANSI/CEA-2034) was designed to measure speakers more completely, including capturing the off-axis power radiation and directivity index as part of those calculations when we look at these graphs (see here).

As hobbyists, unless a company were to publish detailed data or we can find independent results, we are unlikely to have access to measurements for the on-axis frequency response nor directivity curve for speakers we own.

However, we can capture a reasonable on-axis response by taking a nearfield measurement (NFD) making sure the mic is far enough away for multi-driver integration, but close enough to avoid all major room reflections. We can also get an idea of the room transfer function if we compare this NFD with a separate MLP measurement. This is what Magic Beans does.

Let's illustrate the concept like this:

Using the quasi-anechoic NFD and the frequency response at the MLP, a normalized NFD-MLP curve can be created that shows the ratio of direct-to-total sound level in the room. For short, I've labeled this the "Quasi-Directivity Index" (Quasi-DI) because if there are gross anomalies here (dips = sudden widening, peaks = sudden narrowing, or other discontinuities), it means something has gone awry off-axis such that there's no longer a smooth correlation with the direct sound.

Unlike a true DI as per the Spinorama, what is calculated with the quasi-DI is an amalgam of speaker directivity errors (eg. crossover error) plus anomalies introduced by our rooms. Bass frequency response is dominated by room modes and in the Transition Zone, we see anomalies like SBIR baked into the MLP measurement, making DI estimation meaningless. But above say 400-500Hz, we have an opportunity to see where the speaker's behavior diverges from a smooth trend.

From this, I trust you can already imagine how we might want to create an optimized target curve that is a hybrid which smooths out the bass frequencies (as per the grey 1/2-octave smooth trend line), then in the midrange and treble regions, apply EQ to flatten the speaker's on-axis response so it mirrors our ideal loudspeaker, but only where there are no major quasi-DI anomalies.

[It's worth thinking about what happens to the sound at the MLP if we force correction into directivity dips and peaks. 

From what I've read and understood, the worst situation is to boost the on-axis response into a DI dip because this will "correct" the direct sound but the reflected/reverberant field will not follow. It is this reflected energy that gives instruments and voices a sense of natural "body", "presence" in the room. If we push that direct sound with EQ, even though we might experience extra detail because we can hear the frequencies clearer, without the "body", the subjective experience would be one of a "thin", "forward", unnatural sound that some might also call "overly hi-fi" - in the bad connotation way. 😐

Alternatively, if we boost into a DI peak, we're accentuating an overly-strong reflected energy zone. The result would be excess "warmth", "bloat", "thickness", "boom", or "muddy" sound.

Obviously we do not want either of these things to happen, especially at the frequency zones where our hearing is the most sensitive - roughly 1-5kHz, peaking around 3-4kHz. These frequencies are also often where multi-way loudspeakers crossover from the midrange driver to tweeter.]

Putting all that together through discussions with Joe, here's a visual aid to roughly model what the software is doing for a non-ideal speaker in a non-ideal room:

The "True Target" as Magic Beans calls it (plotted mostly in white) is generated with a smoothed bass response as you can see from 20Hz to 500Hz. While this loudspeaker rolls off around 30-40Hz, we can imagine that if the system has subs, it would extend down towards 20Hz as per the grey segment.

Above where the software detects the end of the bass/transition zone (say 500Hz in this example), it will try to apply gentle EQ to flatten the NFD frequency response - but only in zones where the quasi-DI is reasonably smooth. This is why Joe calls it "speaker response correction" rather than "room correction" - the room response is the consequence. We can see regions of directivity error in the pinkish-colored zones, identified as "low authority" regions where less or zero EQ should be applied. The effect of the strategic application of EQ is reflected in the yellow dotted "DI-conditioned NFD" curve where these zones are allowed to flow with the measured NFD without attempting to strongly correct them.

And so, once we have that "DI-conditioned NFD" curve, we can create the "True Target" which is a combination of the smoothed bass response spliced with a calculated MLP÷DI-conditioned NFD curve - the final white tracing with grey sub-bass extension.

We could create such an optimized hybrid bass correction plus speaker midrange-treble flat target curve by hand but it would take a lot of time manually correcting, cutting, and splicing the frequency responses together; especially laborious if you have a multichannel system! The efficient automation of this process is the "magic" in the True Target app.

II. Magic Beans, in use.

For reference, already there are many videos on YouTube about how the app is used practically, so I will not repeat much of that. Check out these official videos from Joe Mariano if you're not already familiar:

For those who prefer the written word, here's Steven Stone's review of MB in TAS from March 2026 targeted at "old-skool" mere 2-channel audiophiles. 😉

For my testing, I used the Windows version of the app (currently v0.4.0610) which ran without any issues across a few computers here at home. Here are a few screenshots of the app in use (across platforms -Windows, Mac, Android, iOS - it looks the same):

The app guides you through the steps in preparation for the measurements. Notice that it's able to see my miniDSP UMIK-2 USB microphone and can grab the calibration data online when I entered the serial number. Alternatively, you can load a local calibration file (use the 0° on-axis one). To be efficient, make sure to heed the "Getting Started" and "Pre-Calibration Checklist" items.

It's very important to make sure your AVR/processor/DAC/amp isn't applying any EQ or other DSP including basic bass management. Make sure all speakers are seen as "large" or "full band" in your home theater crossover settings like this before getting started.

Integra DRX-8.4: speakers all full band and Dirac Live off before running measurements.

Also make sure the playback is "Direct":

"Direct" playback of channels, not using things like DSP upmixing such as Auro3D or DSU.

The recommended test signal for the app is 16k-length periodic pink noise (measure ~75-80dB SPL). You can get this from various sources including creating your own in REW for a simple stereo 2-channel set-up. If you have a multichannel/Atmos system, you can grab the Spatial Audio Calibration Toolkit BluRay and there's also a complementary periodic pink noise pack available for Magic Beans customers.

[For my testing, I created my own 1-minute long TrueHD-Atmos, 16/48 lossless, 16k pink noise files. They were bit-streamed off my fanless MiniPC to receiver for each speaker; similar to how I put together the Atmos Walkthrough with DaVinci Resolve Studio. 

If you're wondering, no, I was not able to have the same computer run the audio output and Magic Beans at the same time. If MB is unable to secure audio out, the microphone also does not capture.]

The app will show a video of how to perform the Moving Microphone Measurement (MMM) for NFD and MLP. Notice a range of speaker layouts is available from 2.0 to 9.1.6 and 128 channels in the Pro version. My main system is 5.1.4; single LFE, the Integra receiver manages the dual subs.

You then one-by-one capture the NFD and MLP curves for each speaker. Once I got used to the process after a couple of practice trials, it took me less than 45 minutes to measure all 10 channels carefully. After that, voilà, the app will calculate your "True Target".

Here's the final result of my system, single curve averaged among the speakers:

Notice that my final curve looks a lot like the Harman curve doesn't it? That's to be expected since the general shape in a hi-fidelity listening room should look like what was found in some of the Harman/NRC papers using good speakers in reference rooms. However there are little wiggles in the curve customized for my speakers and my room which we'll look at in more detail below.

[Regarding that bass elevation to +6dB around 20Hz; while I think this sounds good especially in movies, for hi-fi music, IMO that's for bass-heads and untrained listeners. I'd want to pull that down a couple dB's for my audiophile ears. 😏]

Magic Beans is a 3rd party custom target curve generator - think of it like a "pre-processor". While it can export graphic and parametric EQ settings and convolution WAV files (can be used in Roon, JRiver, Audirvāna, etc.) and will sound great, it's not a full DSP correction package like say Dirac Live, Audyssey MultEQ-X, or Trinnov with advanced features like time-domain correction and complex crossover settings especially for multi-sub set-ups.

Notice that the app allows for different types of exports; Per-channel where each speaker/channel is calculated individually, Unified Sound Field where the bass frequencies are the same for each speaker, and Global which exports a single averaged frequency response for all speakers/channels.

For my set-up, I went with the default Unified Sound Field, exported as "DLBC (Separate Height Sets)" with separate front and back height channels, then went into Dirac Live Bass Control to create the filters (see DLBC write-up).

III. So is there evidence this works?

Before talking about measured outcomes that result in numbers and visually in graphs, I was challenged to think about what is a "good looking" outcome in light of the above discussions in Section I.

Sensory perception through human ears and brain is much more complex than what a single microphone captures at one spot. So while we can measure something like frequency response and recognize that this will correlate with what is heard, and we can compare that result to an ideal, in the real world, complexities like the in-room directivity issues suggest that what is "best" for our speakers, room, and sitting position may not - and should not - look like idealized flat lines. Instead, the best calibration we should be aiming for is one that synergizes with the best that our speakers and room can offer, and it's unlikely that any of this will "look" ideal! Ultimately, the science and measurements are to serve in optimizing subjective experience.

When we're talking about the whole sound system in a room, we need to recognize that this is more nuanced than the comparatively straight forward measurements we take when objectively reviewing isolated electronics like DACs, or amplifiers (or God-forbid worry about cables and even more meaningless minutiae tweaks) where "accuracy" and "transparency" are much easier to understand and achieve. 

Having said this, let's address a few questions I had about measurement reliability and to demonstrate change with some tests as I got to know the Magic Beans True Target app.

1. How consistent are the Moving Microphone Measurements (MMM) for NFD?

Though rarely spoken of in this blog, the MMM technique is not new and I discussed it a little bit back in 2020. It's a way to quickly capture spatially averaged frequency response but since the microphone is moving around, not for capturing temporal data accurately.

I'm not as concerned about the MLP MMM measurement as I am about consistency and speaker integration when doing the NFD with my large Paradigm Signature S8 speakers spanning ~30" between tweeter and furthest woofer. So, let's do 4 measurements using the Magic Beans procedure based on their instruction video. I'll start around 25" from the speaker at tweeter axis and move back to 35" slowly over 10 seconds, mic pointed at the tweeter, using my meter stick for approximate guidance of distance.

Not bad; even without trying hard, 3 of 4 measurements were highly concordant across the whole spectrum, achieving ~1dB variance above 500Hz. The one outlier (light blue trace) showed mostly variation <100Hz.

With a little care, it should not be difficult to achieve good accuracy with the MMM method using the MB app.

2. Does MB flatten the NFD measurement of the loudspeakers as intended and how is it compared to standard Dirac Live Bass Control with Dolby Atmos Music Target Curve?

In the 1/6-octave smoothed graphs above, blue is left, red is right front channel. For context, note the light-colored dotted curves with DSP off. The thinner dark dashed lines are generic Dolby Atmos Music Target Curve + Dirac Live Bass Control, and the thick solid lines are Magic Beans True Target + Dirac Live Bass Control.

Notice that the Magic Beans curve is indeed flatter than the Dolby Atmos Music Curve since the Atmos curve injects an intended dip starting from 1.6kHz. Magic Beans will overall flatten the on-axis/direct sound from the speaker. What is more interesting though is that around 1.5-3kHz, there's an area of roughness which correlates to my speaker's crossover region. The Magic Beans curve was able to maintain a flatter response there than the dashed generic Dolby Atmos Music Target.

If we have a look at Magic Beans' quasi-DI result, we can see that there is a fair amount of anomaly in this region. The software's directivity error detection likely flagged this and avoided over-correction, especially not adding EQ boost into that DI dip from 2.5-3kHz:

Looking at the Magic Beans target for the front speakers, we see what looks like at the very least, an avoidance of any EQ boost in this ~2kHz area. The generic curve would of course not know about potential spectral anomalies in that zone:

Curves normalized at 200Hz point. While the True Target for these front speakers is
nuanced, notice it's still within the +/-3dB tolerance for the Dolby Atmos Music Curve.

3. How about comparing Magic Beans True Target to Dirac Live Bass Control with Dolby Atmos Music Target at the farfield MLP?

Alright, now that we've had a look at the nearfield, let's look at the effects at the MLP which is my seating "sweet spot" about 9-10 feet away:

Pulling the microphone back, that difference in the area of interest at the ~2kHz crossover showing the Dolby Atmos Target + Dirac Live boost is still there.

Let's use frequency dependent windowing (FDW) in REW to better capture just the direct sound. We can set it tightly to 6 cycles which means above 1.7kHz, it's purely direct sound without capturing any of the floor bounce (nearest reflection) in my room:

Again, the True Target doesn't push the level up into the DI irregularity around that crossover region like a generic Dolby Atmos Music Target would.

You might be looking at this and thinking: "Hmmm, that's all?!".

What else would we expect when comparing to an already DSP corrected system?! 🤔 The better the speakers (and room set-up) with less direct sound-to-room "directivity" issues, the less there would be to adjust. Realize though that while changes like this may look small, a dB here, a couple there, once you add these nuances up across the channels especially in a surround system, the cumulative effects can be quite significant.

4. What about tonal consistency between different speakers if True Target changes the curves for each speaker (or pair of speakers as in Dirac Live Bass Control)?

For this, let me set FDW to 10 cycles for finer frequency resolution while still focused on mainly the direct sound (purely direct sound above 2.8kHz) and examine the variance in frequency response at the MLP. Let me capture my 5 bed channels; front speakers are a pair of Paradigm Signature S8 v.3 towers, center is the Signature C3 v.3, and the rears are Studio 80 v.3 towers:

Dirac Live Bass Control improved frequency response whether using the generic Dolby Atmos Music Target or Magic Beans True Target compared to the "No DSP" playback.

As expected, using slightly different "True Target" curves between the speakers can create some divergence in frequency response as can be seen in the rear surround channels compared to the center and front channels. For my speakers, the divergence shows up as earlier surround-channel roll-off above 10kHz. Even though measurable, admittedly, this did not sound abnormal or problematic when listening to music. More exploration into this might be warranted.

For completeness, I wanted to make sure Dirac Live is still doing it's thing in the time-domain, aligning driver arrival times across the 5 bed channels. Step response looks as expected with aligned initial spike, and no pre-ringing shown above.

And here is the RT60 (reverb time) for my room with the 5 bed channels as well as the LFE (rolls off by 120Hz and no content by ~300Hz) to make sure nothing weird is going on. Other than the excursion of the right rear surround speaker above 400ms (200-400Hz), all the other channels maintained reverb times <400ms, flat, from 150Hz up with nothing scary below.

IV. So how does the "True Target" sound in the system?

Above, you see the final "Unified" True Target curves created for my system as I settled in for some evening listening sessions. Since I am using Dirac Live Bass Control, the left and right channels would actually be averaged and folded down into a pair for fronts, surrounds, front heights, and rear heights. The only significant customization I made was to tweak the LFE to roll off by 120Hz at the upper end with a peak of +3dB around 30Hz, down to 0db by 20Hz, and very steep infra-bass roll-off with something like -25dB into 10Hz - I don't like too much bass and infrasonic rumbling.

Beyond the graphs and looking for differences between curves, ultimately it is about how this sounds subjectively and whether we enjoy it.

I have to admit, the True Target sounded great.

As seen in some of the Section III graphs, the tonality with the Magic Beans True Target is brighter than the Dolby Atmos Music Target or "General Audiophile" curves discussed previously, and on the whole perceived as having more "air" when A/B compared. To make sure it doesn't sound overly bright though, I had a listen to some early digital recordings like Tower of Power's "Squib Cakes" off Direct (1981, DR13). This was the only Sheffield Labs direct digital recording released, captured with the old Mitsubishi X-80 running at 16-bit/50.4kHz. The sound of this CD has always been a bit on the sonically crisp side for my taste, and with the MB True Target it still sounded reasonable without making my ears "bleed".

One of the first familiar tracks I tried was the classic Muddy Waters "My Home is in the Delta" (Analogue Productions SACD rip of Folk Singer, 1964, DR16) which I find can sound overly forward in some systems I've heard. This track sounded really good using these MB settings with a realistic sense of spatial "presence" as Mr. Waters sang and fingerpicked his guitar in my room. The guitar in particular sounded realistic, and not overly harsh.

I'm using the Sony SS-CS5 bookshelf variants for my height channels and noticed that Magic Beans has accentuated the upper frequencies above 5kHz on those. This had an interesting impact with enhancing the impression of height in a number of tracks. For example, one of the demos I like to play for visitors is Yosi Horikawa's "Bubbles" using Dolby Surround Upmixer (DSU) to show off the ability for a multichannel system to extract an expanded soundstage from a 2-channel source in a way that's much more "solid" than aligning your head between 2 speakers. In particular, I thought the Magic Beans target curve made a positive impact on placement of those bouncing ping pong balls not just in the flat ear-level surround plane but also vertically at multiple levels. To be clear, I was able to hear this height effect as well with the generic Dolby Atmos Music Target, but not as well separated when I compared by flipping back and forth between the Dirac settings.

Bass depth and spatial envelopment remains excellent - as expected given the frequency response of the system. Realistic bass pressure is easily felt in the room from pipe organ tracks like Anna Lapwood's "Chevaliers de Sangreal" on Midnight Sessions at the Royal Albert Hall (2023); a very different experience than the low-bass thump of R&B or the dramatic bass-drops of synthetic electronica.

While organ music can sound good in stereo, IMO they really shine in multichannel! A reader recently suggested that I have a listen to Cameron Carpenter's album Revolutionary (Telarc SACD, 2008, 5.1 DR13). The reimagined "Bach: 'Evolutionary' Toccata and Fugue in D Minor, BWV 565" track sounds amazing with Auro-3D "Auro-Matic" upmixing with the MB True Target, lifting the sound up into the height channels like in a real cathedral. Although the 2-channel mix sounds great as well, this is a nice example of how multichannel can utilize the extra speakers to expand the 3D soundstage and better render the nuances of such complex sounds instead of squishing everything into just two front channels!

[Fun fact, Carpenter's album was recorded at Trinity Church Wall Street not with an analogue pipe organ, but using a Marshall & Ogletree Virtual Pipe Organ - the OPUS 1.]

The folks at SDE have done it again with another excellent multichannel mix, this time of Bryan Ferry's Boys And Girls (2025 release, 1985) in full TrueHD-Atmos by Bob Clearmountain who did the original stereo mix all those years ago. Simply excellent. One interesting thing I noticed was what sounded like a more solid localization of content at the rear phantom center with the MB target. This was also noticeable with the multichannel version of Roger Waters' "Too Much Rope" off Amused To Death (5.1 24/96, 2015 BluRay mix, 1992) as the horse-drawn carriage/sleigh with bells passes behind the listener.

I found nothing to complain about with vocals when using the True Target, like George Michael's "Brother Can You Spare A Dime?" off Songs From The Last Century (1999, multichannel/Atmos mix also available) or ladies like Alison Krauss on "When You Say Nothing At All" from Now That I Found You: A Collection (1995, love the DR12 dynamics). Excellent stable front-and-center vocal placements, clarity without shrillness or sibilance, and separation of the voice from the instrumentation.

Notice other functions like Car Audio calibration and post-EQ bass alignment
to tune your receiver/processor's subwoofer levels.
There's also the "DLBC (2-pass calibration)" export option which is a
more involved technique discussed in the Magic Beans Discord forum.

V. Summary

I can imagine that a portion of the technical stuff in this post probably went above the heads of some audiophile readers. This is perhaps expected since what we're looking at here is intended to be an extra step beyond typical DSP correction; requiring a level of investment for perfectionist audiophiles and home theater enthusiasts looking for even more from their sound systems. In the audiophile world, I think it remains all too rare that even "high-end" systems have not embraced the clear benefits of DSP correction.

The Magic Beans True Target app obviously does not possess some kind of metaphysical 'magic' once we understand how it works: it creates a target that smooths out the bass modes, flattens the direct sound from your speakers in the midrange and treble frequencies to be closer to an ideal transducer while sensitive to speaker/room/sitting position anomalies, thus avoiding over-correction. If this process makes sense to you or you've been thinking about doing something like it in your system, the app will certainly save you a lot of time compared to manual tweaking, especially with a multichannel system!

In use, the app does a good job walking the user through the process. Although it's not difficult, I would suggest having a moderate level of comfort performing measurements, familiarity with your DSP system like Dirac Live, and experience with post-calibration verification using REW to make sure nothing went awry.

Magic Beans True Target is not snake oil and now having had a chance to consider what it's doing and having experienced the effects for myself, I am of the opinion that the asking price of US$249 for the standard edition is not unreasonable for an enthusiast especially with multiple systems to optimize and over time as the room and components change. Let's just say that for personal music enjoyment, the Magic Beans True Target setting will take a place of prominence among the DSP options in my system!

Having interacted with Joe Mariano on the blog and through E-mails, I appreciate the man's passion in supporting the product. There's also a Discord forum where users can further discuss issues, share tips, and talk about more advanced topics. Highly recommended to check it out even before purchasing the app.

A big thanks to Joe Mariano again for the gentlemanly discussions and opportunity to given the app a whirl on my system!

Whew, long post. 😅

Here's some music to take us out - David Bowie "Sound and Vision" originally from Low (1977):

As we near the end of August, I hope you're partaking in the joys of the season, dear audiophiles.