Doubt it will be ready tonight - Dominiks has two releases pending:-
A "Super" V0.90 (A0.9) which we hope retains V0.90 SQ but with the added features of A0.8
A A0.9+ with extra features (AC3 pass-though, and OS / MP filter SQ enhancements etc).
I didn't realize that it will be 2 different versions.
If you (as I) see the 0.9 version as the better sounding, and the "super" 0.9 will re-build everything from 0.9 to a0.8, why then starting at the "old" a0.8 at all for further development and not at the new super a0.9 as starting point?
Regarding the different filters, there was a link to an enlightening article about DA filters some time ago. But I was not sure after reading it where it fits into the MDac filters.
Am I right that the
OT filters are optimized for no Pre-ringing of fast signals? To my ears they are especially good for fast transients as a close miked bass drum, and that would fit I think. Following toughts are perhaps completely wrong, please correct me someone then!
Group delay (is that the correct term) would then be not optimal with OT, i.e. different frequencies can arrive at slightly different times.
MP on the other hand would be Group delay optimized, with sacrifice in transients. For me, it seems best with well recorded classical music to achieve optimum space, but I'm not sure. I would think, though, that with real 2-microphone recordings (for me, that's still the best recording method) the different delays are most important for realistic depth and width.
And what about the
OS filter? It seems to have the fastest lowering high freq. tail as it seems. What exactly is the meaning of Optimal Spectrum?
It would be most useful if these parameters would be described somehow in the Wiki! I'm sure something has been written here and there, but it's almost impossible to find that again.
(NB It's funny that audiophiles seem to care so much about the play back part and so few about how their music is recorded. I think that a multitrack record mixed together with amplitude stereo effects is purely unnatural compared with a stereo imagining gained by two omni micros which produce phase shifts and delays as in real life. The two systems will produce quite different results (e.g. there are almost no gain differences for left and right instruments, but vast delays) and probably will need different measures for optimal play back. Perhaps different filters? What is sure is that different loudspeakers and amplifiers can do this or that better. With headphones it's another thing, too - I can't listen to modern compressed mixed sounds very long with phones, but the old Denon recordings I mentioned miked with 2 B&K mics sound as easy and ambient as you were really there...
Is that only my opinion? Rarely found something along these lines)
