Saturday, 30 April 2022
REVIEW / MEASUREMENTS: CCA (Clear Concept Audio) C12 IEM - 1 Dynamic + 5 Balanced Armature Drivers - are more drivers better? (Plus new analogue disc technology, cable-maker Russ Andrews interview.)
Saturday, 23 April 2022
MUSINGS: Myths, clichés and Hi-Fi+'s Taiko Audio SGM Extreme computer review. A hypothetical fast, fanless audio computer build. And "channels/bit-depth/samplerate" labeling convention - a suggestion.
Saturday, 16 April 2022
REVIEW / MEASUREMENTS: KZ ZSN Pro - very inexpensive dynamic + balanced armature IEM. (And the importance of the audiophile "low end" and meaningful succession.)
Saturday, 9 April 2022
Saturday, 2 April 2022
DEMO: Tears For Fears - "No Small Thing" - Low-DR CD vs. Higher-DR Steven Wilson 5.1 Downmix to 2.0 (and the obvious importance of audio production quality)
Despite all the examinations of what often amounts to subtle differences in sound when we compare different hardware devices, I think as audiophiles we too often neglect the very significant differences that mixing and mastering makes.
Recently, I received my copy of Tears for Fears' The Tipping Point, the Blu-Ray only available for order online here. As you can see in the image above (screenshot of the menu), the disc includes both lossless DTS-HD Master Audio 5.1 and Dolby TrueHD-Atmos mixes done by Steve Wilson.
I believe you can already stream the Atmos mix over Apple Music "Spatial Audio" but that would be in lossy Dolby EAC3+Atmos. As you can imagine, the multichannel mix sounds quite different from the 2-channel CD/lossless stream!