Mega-taps upsampling: Remastero's Pan Galactic Gargle Blaster (PGGB) software. (Broadly on audiophile software & the noise boogeyman.)

This article came about after I received an E-mail from an audiophile friend who saw this Audiophile Style thread in praise of "math and magic". It links to a piece of software by a site called remastero, and the program itself is called "PGGB" (Pan Galactic Gargle Blaster), obviously referring to The Hitchhiker's Guide To The Galaxy with the main author named Zaphod Beeblebrox (who in the book is also the ex-president of the Galaxy). Cute, and of course the number "42" features prominently here and there.

In the past, we have talked about "audiophile" software that supposedly affect sound quality. Years ago, we talked about bit-perfect players (Windows, Mac) and really how "bit-perfect" is simply "bit-perfect" regardless of what software is used. We discussed questionable programs like JPLAY. Then there are the OS tweaks like Fidelizer. Neither JPLAY nor Fidelizer made any difference in my testing or listening.

That is not to say software doesn't make a difference at all. With the computing power we have these days, we can certainly perform highly precise filtering and DSD-PCM transcoding - like with HQPlayer. 

The idea with PGGB is that this is software that will take (in batch) various tracks you have and convert these to upsampled versions like 24/384 or 32/705.6 or even higher. In the process, applying very strong filtering (eg. on the order of >200M-taps sinc filter for some of the tests we'll run here, very impressive big number, right?). Furthermore, the website states that the software can apply settings for various levels of "transparency", apply HF noise filtering, uses noise shaping, adjusts gain monitoring for intersample overs, deal with convolution filters, and an apodizing setting. That's a bit of stuff so I won't promise that we'll hit on all these here. My intent is to at least have a good look at the foundation of the upsampling effect and the EQ function.

MEASUREMENTS: Topping D10s - an inexpensive high performance basic USB DAC with S/PDIF outs. And on "perceptibly perfect" DACs.

 

Hey everyone, I suspect many of you have already seen or heard of the Topping D10s by now (~US$100-110 at time of writing). It has been out since spring/summer 2020, a DAC released during the early pandemic.

Basically, this is an update of the Topping D10 which I reviewed back in 2019 with change to the DAC chip from the ESS ES9018K2M to the ES9038Q2M with improved specs - lower noise, higher dynamic range, etc.

I bought this through the usual retail channels as I'm planning to give the D10 away to a family member. Let's have a deeper look and consider the implications of this change in the DAC chip to the overall performance.

Apple TV 4K, 2nd Generation (2021, A12 Bionic SoC, 6th Gen Apple TV): A look and listen (to "Spatial Audio" on Apple Music)...

So guys and gals, let's jump from the lo-tech "audiophile boutique" passive AudioQuest JitterBug FMJ last week to talk about something hi-tech this time.

As I mentioned a few weeks back, I've been listening to some of the "Spatial Audio" music streaming off Apple Music these days. Easy to give it a shot with the 1-3 month trial period they're offering.

As I mentioned before, while I enjoy the content on headphones and can experience the difference Atmos streaming makes, as one who enjoys excellent high fidelity sound quality (ie. "audiophile"), the best, most natural way of listening to multichannel content is in the sound room where I have my multiple speakers set up. I have a modest surround system with the ELAC Debut 2.0 A4.2 Atmos speakers (previously measured) adding a bit of that height effect with Paradigm Signature S8 v.3 fronts, matching C3 center channel, full tower Studio 80 v.3 for rears and dual subs to make basically a 5.1.2 arrangement.

The trick with getting the multichannel content out to the room has to do with whether Apple Music allows the bitstream to pass through the playback device into the AV receiver that can handle Atmos. As I mentioned in that previous article, I can get the "bed" channels out (ie. 5.1, 4.0, etc...) using my wife's M1 MacBook Air running the recent macOS Big Sur release, but this is with the machine decoding the DD+ (E-AC3) + Atmos stream into 24/48 5.1 PCM sent to the receiver over HDMI.

For bitstream passthrough including the full Atmos encoding, at least at this point in time, the Apple TV works and let's talk about this box today for audio/home theater usage... As you can see above, I have the Apple TV 4K, Gen 2, 64GB here - this was released just recently April/May 2021 with the "A12 Bionic" 7nm SoC which actually was first used in the iPhone XS series back in late 2018. Certainly energy-efficient and plenty fast for non-multitasking media playback. If you don't need the storage, the 32GB model saves you US$20 - as usual, Apple has no SD card expansion for their devices. Internally, the machine has 3GB RAM.

MEASUREMENTS: Review of AudioQuest JitterBug FMJ. (And on Milind Kunchur's recent RCA vs. XLR paper.)

Hmmm... What does "LESS DIGITAL NOISE" actually mean? After all, noise that's bad enough to affect digital data will result in errors. Obviously, that would be very bad!

Normally, I don't review stuff like this because there's simply little reason to believe these kind of things do anything of value.

I know, this comes across as highly biased right at the start of a review post! But I want to be honest and I wasn't born yesterday so I know there are all kinds of claims in the audiophile world that simply do not pan out. Furthermore, I've had experience with the AudioQuest company (see the Dragonfly Cobalt / Red / V1.2 DAC review a few years back) and know that they have made claims which turn out to be untrue when tested.

Another admission going into this is that I was introduced to the AQ JitterBug back in 2015, and over the years I have seen other tests like the Audio Science Review thread from 2019. Having said this, I am happy to be swayed if I truly hear a difference or measurements show me that I should change my mind.

So, when a local audiophile friend bought the new AudioQuest Jitterbug FMJ ["Full Metal Jacket" - cute] (~US$60, released mid-May 2021) and suggested I borrow it for a week as he went on vacation, I figured it would be fair to give it a try and see if I can run some measurements to provide data to audiophiles at large on this update to the product. I promised him that I would give him my honest opinion.