Anyone heard about Meridian's new project called MQA

Don Hills

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Jun 20, 2013
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My belief is that anyone who claims to numerically quantify the "amount of magic lost" due to a record - playback process is feeding us BS. It may or may not be marketing BS, but BS it certainly is. The use of the term "catastrophic" is even worse. For me, a "catastrophic loss" would be a loss of a loved one, not the loss of one's entire audio hobby, let alone a diminution of the realism or musical enjoyment of some recordings.

It would indeed be useful to have some real hard numbers - how much is really lost at each stage of the path between the artists and the listeners' ears. I live in hope that one day the industry as a whole will stop straining at gnats and do something about the elephant in the room. (Or, the elephant is the room...). Unfortunately, there's too much money to be made selling gnat-swatters.

Before someone jumps in and says that "everything matters", I agree that we should strive for improvements at all stages of the path. I just think our efforts (and money) should be biased towards those parts which are currently most in need of improvement. "If I buy cables that perform 10x better, how much better will they make the sound?" vs "If I buy speakers that perform 10x better, how much better will they make the sound?"

Tony, your last point is spot on, "no-one has ever died from a hi-fi emergency."
 

esldude

New Member
My belief is that anyone who claims to numerically quantify the "amount of magic lost" due to a record - playback process is feeding us BS. It may or may not be marketing BS, but BS it certainly is. The use of the term "catastrophic" is even worse. For me, a "catastrophic loss" would be a loss of a loved one, not the loss of one's entire audio hobby, let alone a diminution of the realism or musical enjoyment of some recordings.

Well don't mistake my 90:9:1 percent as the same kind of BS. I did not intend to imply speakers lose precisely 90% or anything. Only that they lose by far the most. Microphones come next, and everything else is relatively small potatoes. Speakers may do 90% of the damage or 99% of the damage or 60% of the damage. But they do more damage than all the rest put together.
 

MylesBAstor

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Apr 20, 2010
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It would indeed be useful to have some real hard numbers - how much is really lost at each stage of the path between the artists and the listeners' ears. I live in hope that one day the industry as a whole will stop straining at gnats and do something about the elephant in the room. (Or, the elephant is the room...). Unfortunately, there's too much money to be made selling gnat-swatters.

Before someone jumps in and says that "everything matters", I agree that we should strive for improvements at all stages of the path. I just think our efforts (and money) should be biased towards those parts which are currently most in need of improvement. "If I buy cables that perform 10x better, how much better will they make the sound?" vs "If I buy speakers that perform 10x better, how much better will they make the sound?"

Tony, your last point is spot on, "no-one has ever died from a hi-fi emergency."

Not quite true. Someone died from being electrocuted by a Rappaport amp years ago.
 

Phelonious Ponk

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Well, it appears to be a relatively small hifi company attempting to wag the dog of the entire recording industry. If it's not serious, it'll get no traction outside of "audiophile' recordings. Probably audiophile recordings made by Meridian. We'll see.

Tim
 

stehno

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Jul 5, 2014
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According to Bob, this technology has been in development for a few years and has fully incorporated field evaluations. This is from the AES Paper:

"This approach to re-coding results in superior sound and
significantly lower data-rate when compared to
unstructured encoding and playback, and has been
enthusiastically supported in listening trials with a
number of recording and mastering engineers
, artists and
producers."


Audiophiles have beliefs that range from one extreme to another. As such, they do not present any reliable data point to argue from. So XYZ person doesn't like MQA. And another does. Neither is a data point for me. The data point is a controlled listening test presented, or one that I can conduct, with MQA being turned on and off. That is the only thing that matters right now in arguing the point with me.

If you have not done this evaluation, nor analyzed the research, then I am not sure from what basis you are arguing your point here.

You continue to make remarks about someone you don't know. And speculating as you are doing here. Let's stick to what we know. If you know he does some of the above and something is wrong with it, then please explain it. Let's not make political statements about everyone who drives a red car.

Bob is unlike 99.99% of the high-end audio personalities. He has credentials that hold against the best of the best. He has to earn that on objective basis while arguing his subjective point of view. This extremely hard to do and he has done it. You can't put him down with saying this and that.

Sorry but the quote has no relation to the reality of this conversation :). Bob is not a theoretician. He runs a successful high-end audio company that has been in business for 30+ years. And he has produced products with MQA in them already. He has investigated the theory, the psychoacoustics behind it, and implication in real products. The improvements at the end of the day may be too fleeting to matter but it is anything but what you quote from Tesla.

Sorry but can we stay on topic of MQA and Stuart? If you have a rant against reviewers of products in general, please make a thread on that topic.

Amir, I’m not trying argue any point with you specifically. But since you said, the only thing that matters to is the data point in a controlled listening test, with MQA off and on. Have you had that opportunity yet? What if you and others never do? But you have heard MQA in a lesser controlled environment. Bob says his MQA solves the problem of sound quality (whatever that means). In your opinion, with what you heard, did the MQA in that demo solve the sound quality problem for you?

And if hearing MQA has not resolved the sound quality problem for many who don’t have a vested interest in its success, then indeed Tesla’s quote is entirely applicable here. As would my claim that it is impossible for MQA or any format to solve the sound quality problem. Speaking of which, to the best of my knowledge Bob never defined what he thought the sound quality problem was. Or to the best of my knowledge Bob never detailed what some of the effects of inferior sound quality were. I’ve already provided a handful of what I consider examples of the sound quality problem, but there’s plenty more. If Bob hans’t defined the sound quality problem, then there’s no target on the wall to shoot at.

On another note, I can’t speak for others but I’ve tried to reasonably stay focused on the rollout of MQA which may well be the biggest single impact (positive or quite possibly negative) the industry has seen since the release of the CD.

It’s not just another format intended to coexist with other formats. IMO, Bob and others are doing everything they can to convince the masses that it’s the format of all formats and hence the format to do away with all other formats. Bob’s all over the board with the MQA benefits, seemingly to make MQA all things to all people. On the other hand, just as you and a few others alluded, the high-end audio industry is also all over the board, where maybe 50% of those claiming to be “audiophile” don’t even believe in the concept of “burn-in” and maybe another 30% who’ve abandoned their untrustworthy ears and now listen only with their “trustworthy” eyes thereby substituting measurments in place of live music or the absolute sound as the new holy grail (think Ethan Weiner).

As for Bob’s credentials, having earned them on an objective basis, etc. Well, there are those in this industry who think Ethan has earned his credentials too. I’m not saying Bob is Ethan’s counterpart, I’m just saying there are those who give Ethan plenty of credibility. As for Bob successfully running a company for 30 years, well, Bose has been around longer than Meridian and I imagine their revenues are significantly higher too. For that matter, the federal government’s been in business for over 200 years. Do you really want to go down that path? Or use those tidbits as evidence that Bob must be on the right track?

Bob’s primary and ultimate reason for rolling out MQA is because he himself said he has provided a solution to the sound quality problem. SACD, DVD-A, Blue Ray, and others barely made a minor impact for that problem. At its very best, MQA can only make one more minor impact. But for the impact that is being portrayed in the bombardment of papers, interviews, articles, and advertisements, it is impossible for Bob to achieve what the seemingly controlled propaganda wave is claiming it has achieved. For the simple reason that Bob has barked up a technology tree (format) that can bring little if any real relief to the REAL sound quality problem that some acknowledge we have. And the onslaught of apparent contradictions and claims and justifications as well as the so-so feedback from those who heard it ain’t helping Bob much neither.

For sake of argument, let’s say for the moment that Bob has barked up the wrong technology tree and it’s impossible for MQA to solve the sound quality problem. In that situation, what would that say about Bob and his endeavor?

For somebody like Bob whose claims seem to be all over the map in an industry that seems to be all over the map, with something potentially so financially impacting and what I consider potentially destructive, well, sometimes refutations have to be all over the map. Even one poster here just said he thinks the problem is 90% speakers and 9% recording mic. Was his implication being that not only does he not believe Bob’s claims, but he’s also implying that if I had the perfect speakers and perfect recording mic’s were used in the recording, then my am/fm clock radio should sound near identical to the live performance? That’s something Ethan has essentially said numerous times and he wrote a book entitled “The Audio Expert". Yet, nobody bats an eye.

But again, I’m convinced that the only reason everybody’s all over the map and there’s so many different targets on the wall (rather than 1 or 2) is because from a performance perspective the industry is still very much in its infancy stages, no matter how much we try to convince ourselves how mature it is. In the end, that seems to be the only valid explanation for everybody in the industry, including the so-called experts, having unresolved disputes that last for decades with its participants able to agree on what matters regarding performance, or if performance is even an issue.

I find it very difficult to believe this type of widespread, anything goes, all-over-the-map chaos exists in other performance-oriented industries.
 

amirm

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Amir, I’m not trying argue any point with you specifically. But since you said, the only thing that matters to is the data point in a controlled listening test, with MQA off and on. Have you had that opportunity yet?
No. I have only heard the treated MQA content.

What if you and others never do?
It is secondary to me actually because I don't believe it will get enough market penetration to matter. But out of technical curiosity, and being able to have these discussions with first hand experience :), if I can, I like to make that comparison. If not, per above, it doesn't matter because I don't think our paths with MQA will cross much.

But you have heard MQA in a lesser controlled environment. Bob says his MQA solves the problem of sound quality (whatever that means). In your opinion, with what you heard, did the MQA in that demo solve the sound quality problem for you?
What I heard was the sound of Meridian system/speakers. At no time did I say, "oh wait, that sounds more real than I have ever heard." They played music I was not familiar with, on a system that had its own sound. It was a high fidelity experience but nothing I could judge and attribute to MQA. Maybe it did something, maybe it did nothing.

As would my claim that it is impossible for MQA or any format to solve the sound quality problem. Speaking of which, to the best of my knowledge Bob never defined what he thought the sound quality problem was.
He has actually but done so in such a technical language that is hard for their customers to understand. In a nutshell, he will be reversing any side-effects of the filters/resampling logic in A/D and D/A converters. There are inaccuracies there. They can be corrected. But we don't know if they make an audible difference or make enough difference to buy into a new format.

He is not saying this fix is all that is wrong with audio or anything close to it. At least I am confident that is not his position.
 

stehno

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He is not saying this fix is all that is wrong with audio or anything close to it. At least I am confident that is not his position.

Really? What is MQA? Master Quality Authenticated. Doesn't that tell you something? Maybe we're reading different articles. TAS May/June 2015, pg 74, Harley asks why take on such a daunting task at this stage in Bob's career and Bob replies,

"It had to be done. I've worked in this area and cared passionately about sound quality and recorded music all my life, and Peter Craven's just the same. We thought that this is a problem that had to be solved, and when we discovered a way to solve it, ....."

From this interview alone (there are others), Bob undeniably claims the problem is sound quality. That this (inferior SQ problem) was bad enough that it (inferior SQ problem) had to be solved, then Bob claims he and Peter discovered a way to solve it (inferior SQ problem).

How can you read that any differently? If you need more proof that inferior sound quality was the problem and MQA is the cure, just go back a few pages to yet another MQA article entitled, "MQA: BEYOND HIGH-RESOLUTION".

Even though they attempt to make MQA all things to all people, it seems clear that in the "high-end" audio sector, it's all about performance (aka sound quality).

On page 60 in the Beyond High-Resolution article is a sub-article entitled, "Listening to MQA" also penned by (Robert "Catastrophic" Harley) and here's what Harley said,

"It doesn't take long in the listening seat to recognize what a breakthrough MQA represents. MQA doesn't make digital sound like improved digital, it makes digital sound like a microphone feed."

Catastrophic Harley's just getting warmed up here as he continues. When seated in the listening chair, nobody cares about multiple inventories of the same music or download speeds, or storage capacities. They care about sound quality. At this point in the sub-article, Harley really turns on the BS turbos.

"This impression of life-like realism...." "... so life-like it was almost eerie." "... images were uncanny" "... surrounded by a sense of bloom and air." "Instrument timbres were extraordinary." "... finely filigreed texture" (that's a new one to me) "... exquisitely fine structure of the attack and the decay down to the lowest level vividly portrayed."

I need to stop there as I think I've overwhelmingly proved my point that according to the propaganda machine, it's all about sound quality and that Stuart and Craven's MQA technology has solved the problem of inferior sound quality. Don't take my word for it, ask Harley.

IMO, they should have included barf bags with this TAS issue. Talk about no shame? And this level of sound quality with Harley in the listening chair was achieved on an all / nearly all Meridian system to boot. Instead of entitling the article "Beyond High-Resolution" Harley should have entitled it, "Higher than High".

It seems clear to me that Stuart, along with everybody else who stands to possibly gain from MQA, are promoting MQA as the new requirement to achieve sound quality equating to a microphone feed.

I'm also unsure why you think this so-called technology doesn't have legs to carry it forward. Stuart obviously has endorsements from the editor-in-chief at The Absolute Sound, and Stereophile too. MQA has already been endorsed by AES and Atlantic Records and Tidal, and the possibility that Apple will join the fray.

IMO, it's already been set up so that if anybody balks at MQA's performance claims, they must be a moron because look, all the industry "experts" have already endorsed it. At this juncture, all MQA needs is endorsements from a skateboarding magazine and the Quilter's Guild and Stuart is done. All for a format that is simply impossible to do what Stuart and others are claiming.

I'm not saying MQA will be the greatest hoax and hype ever pulled on the music industry. I'm saying MQA already is.
 
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amirm

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Really? What is MQA? Master Quality Authenticated. Doesn't that tell you something? Maybe we're reading different articles. TAS May/June 2015, pg 74, Harley asks why take on such a daunting task at this stage in Bob's career and Bob replies,

"It had to be done. I've worked in this area and cared passionately about sound quality and recorded music all my life, and Peter Craven's just the same. We thought that this is a problem that had to be solved, and when we discovered a way to solve it, ....."

From this interview alone (there are others), Bob undeniably claims the problem is sound quality. That this (inferior SQ problem) was bad enough that it (inferior SQ problem) had to be solved, then Bob claims he and Peter discovered a way to solve it (inferior SQ problem).

How can you read that any differently?
Yes I can and am :). Bob is saying it is "a" problem. Not "the" problem. The reference being, and correctly so, that until now no one had identified this problem, nor taken steps to fix it. So he and craven decided it was time to fix it. It says nothing about this being the fix that obviates everything else in audio fidelity or else, they would stop making new speakers, amps, transports, etc.

If you need more proof that inferior sound quality was the problem and MQA is the cure, just go back a few pages to yet another MQA article entitled, "MQA: BEYOND HIGH-RESOLUTION".

Even though they attempt to make MQA all things to all people, it seems clear that in the "high-end" audio sector, it's all about performance (aka sound quality).
??? What else do we talk about if it is not about "sound quality?"

On page 60 in the Beyond High-Resolution article is a sub-article entitled, "Listening to MQA" also penned by (Robert "Catastrophic" Harley) and here's what Harley said,

"It doesn't take long in the listening seat to recognize what a breakthrough MQA represents. MQA doesn't make digital sound like improved digital, it makes digital sound like a microphone feed."
We are talking about Bob. I don't care what Harley says about MQA. I care and we are discussing what Bob says about it. Harley makes such praises about hundreds products he reviews. I am sure few take his assertions at face value.

Catastrophic Harley's just getting warmed up here as he continues. When seated in the listening chair, nobody cares about multiple inventories of the same music or download speeds, or storage capacities. They care about sound quality. At this point in the sub-article, Harley really turns on the BS turbos.

"This impression of life-like realism...." "... so life-like it was almost eerie." "... images were uncanny" "... surrounded by a sense of bloom and air." "Instrument timbres were extraordinary." "... finely filigreed texture" (that's a new one to me) "... exquisitely fine structure of the attack and the decay down to the lowest level vividly portrayed."
Again, if I erase MQA out of this, it would read like hundreds of other articles he has written.

I need to stop there as I think I've overwhelmingly proved my point that according to the propaganda machine, it's all about sound quality and that Stuart and Craven's MQA technology has solved the problem of inferior sound quality. Don't take my word for it, ask Harley.
What do you mean ask Harley? Should people ask me who you are over what you say? I hope not. :)

And yes, it is "all about sound quality" lest we are talking about food or some other hobby.

Is there a marketing plan behind MQA? Of course. It is a commercial venture and it aims to make money. Everything you own had marketing behind it too. That fact is a constant and a smart shopper is instructed to look past that. Here, we have AES papers to read where the filter for marketing is quite strong. You don't read Harley's flowery words in the paper. We are examining that, not what someone wrote in a magazine about it.

It seems clear to me that Stuart, along with everybody else who stands to possibly gain from MQA, are promoting MQA as the new requirement to achieve sound quality equating to a microphone feed.
They are. So? Doesn't the guy who make your speakers or amplifiers claim the same? That it gets you closer to "live music?" You can't possibly get upset over what is standard practice in the business. What's next? We are going to outlaw car shows because they put pretty women next to cars on stage? :D

In this forum and discussion, we peel the layers of marketing and discuss what is underneath. We can and do rant about the stuff reviewers write, and marketing people say about products, and discuss what goes on beyond. That is the thread we are in. It is a highly technical one aiming to figure out what MQA is as technology. It is not a rant thread about what a reviewer like Harley says.

I'm also unsure why you think this so-called technology doesn't have legs to carry it forward. Stuart obviously has endorsements from the editor-in-chief at The Absolute Sound, and Stereophile too. MQA has already been endorsed by AES and Atlantic Records and Tidal, and the possibility that Apple will join the fray.
AES has not endorsed MQA in any form or fashion. They publish papers. They don't endorse what is in the paper.

As to my opinion, the last decade of my career at Microsoft was establishing new formats. Every time you buy a blu-ray player, it has a mandatory video codec designed by my team. Billions of devices support WMA audio codec which was also created in my team. I know first hand what it takes to get adoption of a new format and is one of the most difficult things to do in the industry. What Meridian will spend on the entire promotion and development of MQA will be less than what we did at Microsoft to advance new formats over lunch! :D They don't know what they don't know which is how hard this business is.

IMO, it's already been set up so that if anybody balks at MQA's performance claims, they must be a moron because look, all the industry "experts" have already endorsed it. At this juncture, all MQA needs is endorsements from a skateboarding magazine and the Quilter's Guild and Stuart is done. All for a format that is simply impossible to do what Stuart and others are claiming.

I'm not saying MQA will be the greatest hoax and hype ever pulled on the music industry. I'm saying MQA already is.
No one should lose sleep over MQA getting adopted. What you want to lose sleep over is it displacing PCM audio which it has not done, and can't do, and won't do. You can always ignore MQA regardless of adoption if our current formats continue to be there. It is like getting upset that exotic car maker creates a $500,000 car. As long as you can still buy one for $20K, all is well.
 

Orb

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Yes I can and am :). Bob is saying it is "a" problem. Not "the" problem. The reference being, and correctly so, that until now no one had identified this problem, nor taken steps to fix it. So he and craven decided it was time to fix it. It says nothing about this being the fix that obviates everything else in audio fidelity or else, they would stop making new speakers, amps, transports, etc.
Snip......

Would be interesting if anyone has the work Gerzon and Bowers & Wilkinson did on phase correction/compensation I think late 80s, it was never implemented in the end but was completed (I think).
Reason I am raising this is that I am not sure if some of it overlapped with that of the correction concept of Meridian, obviously not as complex.

Cheers
Orb
 

Orb

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I can look for it if you give me more detail.

Will try to find some, although even brief searches are not panning out lol, was easier to find information on the 80s Kef Kube solution.
Will let you know if I find anything that could be useful to you Amir in hunting the Gerzon/B&W stuff for us.
Thanks
Orb
 

cooljazz

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I'm looking at MQA as the digital comparable to Dolby NR.

Dolby was a complimentary process to lower the tape noise. MQA is targeting the reduction/elimination of encoder/decoder error is sort of a similar way. If it accomplishes that, then the audio in becomes more like the audio out.

That process is aside from the 'above redbook data rate' fold down part of the technology.

CJ

PS...I can't believe I read a comparison between Bob Stuart and the Winer. Wow!
 

Orb

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LOL Vincent has a link to the paper by Gerzon on his website that then links to Keith Howard's site:
IF anyone curious it is amazing how much work Gerzon did with Peter Craven (looking at the actual Gerzon archive site).
Anyway the paper and work with B&W focused on digital room correction but also identified other phase correction-compensation behaviour quality improvements; not clear in the paper but time-phase problems as I mentioned at the FR extremes most notably low frequency and crossover (in theory can expand concept to recorded music).
I know more was mentioned about this at the time by other engineers but sheesh nightmare finding any information.
Digital Room Correction (Gerzon): http://www.audiosignal.co.uk/Resources/Digital_room_equalisation_A4.pdf
One part of interest is the following IMO
Gerzon paper said:
Again, experiments have shown compensating for the phase response anomalies of the crossover networks, while ignoring any phase response anomalies at the same frequencies of the room, gives a marked improvement in subjective quality.

Ah well the whole concept and developed solution an interesting foot note in history I guess that was a blip that went unnoticed by the industry.
Cheers
Orb
 

stehno

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Yes I can and am :). Bob is saying it is "a" problem. Not "the" problem. The reference being, and correctly so, that until now no one had identified this problem, nor taken steps to fix it. So he and craven decided it was time to fix it. It says nothing about this being the fix that obviates everything else in audio fidelity or else, they would stop making new speakers, amps, transports, etc.

Fer sure. Bob spent his entire adult life dreaming about fixing not “the” problem but fixing “a” problem that upon discovery he coincidentally labels it “Master Quality Authenticated” because words mean nothing?

??? What else do we talk about if it is not about "sound quality?"

Sound quality is very subjective obviously. Even at the top fuel drag races, I suppose there could be a couple of street-driven VW bus owners arguing on the sidelines whether or not there are performance gains to be had with improved aerodynamics if they removed their hubcaps.


We are talking about Bob. I don't care what Harley says about MQA. I care and we are discussing what Bob says about it. Harley makes such praises about hundreds products he reviews.

I don’t care what Harley says either, especially after this. Even so, and contrary to your claim, I’ve never witnessed Harley go into la-la land over a product like he has here, not even close. I’d love to see just one other example where Harley went stratospheric like this?

I am sure few take his (Harley’s) assertions at face value.

As the editor-in-chief of a popular rag and as a former sound engineer, I already know Harley has a respectable following, as does Atkinson and Stuart too. Shoot. For that matter, Ethan too. It may not be much of a testimony to the stability of the industry but those outside the industry think every last one of these and others are industry “experts”, especially those who wrote books entitled, “The Audio Expert”.

Is there a marketing plan behind MQA? Of course. It is a commercial venture and it aims to make money. Everything you own had marketing behind it too. That fact is a constant and a smart shopper is instructed to look past that. Here, we have AES papers to read where the filter for marketing is quite strong. You don't read Harley's flowery words in the paper. We are examining that, not what someone wrote in a magazine about it.

I appreciate the marketing lesson. Nearly everything purchased in my home and perhaps yours too is the result of one marketing strategy or another. However, I did not purchase my garden hose because some gardener had a life-long passion to fix “a” problem with watering flowers. Nor was the model of my hose called MGA Master Gardener Authenticated, with the inventor claiming for the first time ever I can now water my flowers exactly as the Creator intended flowers to be watered.

They are. So? Doesn't the guy who makes your speakers or amplifiers claim the same? That it gets you closer to "live music?" You can't possibly get upset over what is standard practice in the business.

Barely. If a speaker or component mfg’er made claims similar to Stuart’s or Harley’s I wouldn’t touch ‘em with a 10ft pole because anybody injecting that kind of hype is obviously already out of touch with “high-end” audio and the requirements needed to achieve unimaginable levels of musicality from their playback systems.

If you’ve been around this industry, you’d know all too well that if there’s one thing this industry is truly “high-end” about, it’s hype. To which, as evidenced by Harley, there are no boundaries. But its existence is still no excuse to overlook the obvious lack of intelligence, character, and ethics of those most guilty of its practice. To ignore it is to say words don’t mean anything. That includes your words, mine, Harley’s, and Stuart’s, and everybody else’s words too. Words either mean something or they don’t. Period.

In this forum and discussion, we peel the layers of marketing and discuss what is underneath. We can and do rant about the stuff reviewers write, and marketing people say about products, and discuss what goes on beyond. That is the thread we are in. It is a highly technical one aiming to figure out what MQA is as technology. It is not a rant thread about what a reviewer like Harley says.

I don’t think they make peelers that big. If we’re talking performance, the highly technical babble is most always much to do about very little. A good example about much to do about very little could be this MQA thread below. They seem to get it. BTW, somebody eventually asked, “Where's Amir to explain to us that this is simply how 'the business' works and we're better off accepting it?” Could they be referring to you?

http://www.avsforum.com/forum/173-2-channel-audio/1844737-revisiting-meridian-mqa-ces-2015-a.html

AES has not endorsed MQA in any form or fashion. They publish papers. They don't endorse what is in the paper.

Stuart is a Fellow of AES. If AES publishes his papers in a positive light then it is the same as endorsing him, whether formally or informally.

No one should lose sleep over MQA getting adopted. What you want to lose sleep over is it displacing PCM audio which it has not done, and can't do, and won't do. You can always ignore MQA regardless of adoption if our current formats continue to be there. It is like getting upset that exotic car maker creates a $500,000 car. As long as you can still buy one for $20K, all is well.

Hardly. First, you’re implying that price has anything to do with real performance in audio. That folklore only applies to those who purchase exotic components and those who drool over exotic components they could never afford. Ultimately what matters is where the real performance-limiting governors lay and who is able to address them.

Stuart did not invent any exotic or exquisite product or technology, nor did he IMO invent anything of value. Even though one day the masses may have to pony up $239 for Bob’s green light.

In all seriousness, I couldn’t disagree more. If Bob is a charlatan, hopefully who should know better will find out quickly enough but by then it will be too late. The damage will have been done to an entire industry.

But when a technology’s inventor claims his invention to be things it is not, that alone should be a problem for all to consider. And when a technology like MQA has the ability to potentially negatively affect the way recordings are done now or in the future that can potentially impact my choices of music or compromise the quality of existing music formats by inducing Bob’s idea of DSP based on his dabbling with neuroscience and psychoacoustics, or utilizing what he considers is extra storage capacity below his idea of “below the noise floor threshold” to fold music info into, etc, he risks compromising a perhaps already sufficient format for which some of us might have been able to extract more music info than what he’s been able to.

Obviously, we can’t expect people like Harley or Atkinson (or even Ethan) to validate Bob’s claims.

Based on Stuart’s potential of being all over the map with his MQA technology and his claims and others like Harley reinforcing Stuart’s MQA, his DSP, his folding music info into areas he THINKS are unused, etc. he could well be f’ing up what may well have already been a sufficient format for those who really care about performance.

In addition to Stuart possibly f’ing up existing and wholly sufficient formats of today by attempting to replace them with his wildcard MQA, we just might have to pay him royalties too. This is what I see happening. And for those who really take high-end audio performance seriously, there should be plenty here to potentially lose sleep over.
 

amirm

Banned
Apr 2, 2010
15,813
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Seattle, WA
Stuart is a Fellow of AES. If AES publishes his papers in a positive light then it is the same as endorsing him, whether formally or informally.
They didn't publish it in any light. You can join AES and write a paper like that, and have it show up next to it with exact same standing. AES doesn't endorse your paper any more than his.

AES does have a peer review process and another one of the Stuart et al won an award for best peer reviewed paper. It was the topic of my article here: http://www.madronadigital.com/Library/High Resolution Audio/High Resolution Audio Matters.html

AES has endorsed the man by bestowing him Fellowship. That you can say he has but is not something you can spin as negative.
 

amirm

Banned
Apr 2, 2010
15,813
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Seattle, WA
Fer sure. Bob spent his entire adult life dreaming about fixing not “the” problem but fixing “a” problem that upon discovery he coincidentally labels it “Master Quality Authenticated” because words mean nothing?
Entire adult life? Pretty sure he has had other inspirations during that time than just MQA.

Hardly. First, you’re implying that price has anything to do with real performance in audio.
No, I said nothing regarding that. I said that just because someone tries to build a more exostic solution, it doesn't mean they have foreclosed your option to buy an everyday solution. You seem to be thinking Armageddon is here because the moment MQA shows up, folks are going to stop making PCM files and line up on their knees for MQA files to be produced for them. I am telling you that this is not going to happen. And gave the example of exotic cars coming out all the time yet they don't seem to displace mass market cars.
 

Orb

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Sep 8, 2010
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Barely. If a speaker or component mfg’er made claims similar to Stuart’s or Harley’s I wouldn’t touch ‘em with a 10ft pole because anybody injecting that kind of hype is obviously already out of touch with “high-end” audio and the requirements needed to achieve unimaginable levels of musicality from their playback systems.

You seem to forget that you support Bruno Putzeys and yet I showed exactly how they use similar language with regards to "natural" with their digital active speaker that corrects issues such as phase - see post #116 to #118: http://www.whatsbestforum.com/showt...ect-called-MQA&p=321688&viewfull=1#post321688
So now Grimm Audio is talking rubbish as well, or Gerzon/Craven and other engineers when they looked at -timing-phase digital correction in the digital realm back in the 80s and onwards?
To re-quote on aspect from that post:
Grimm Audio for LS1 said:
Global phase correction tightens up the impulse response without causing pre-echos.
The result sounds organic, analogue and above all, right.
Bruno is one of the lead and founding engineers at Grimm Audio and heavily involved in the digital-amp side.
Hence a reason why I have been going on for awhile in general (not just with Grimm Audio) now about comparisons to Stuart's concept and the real world investigations-implemented as applied to correcting timing-phase-filters; this is not something that Stuart is making up to try and con people; now how much of an issue this is can be another discussion, although as I pointed out as well his concept goes further and is also to try and resolve the digital screw-ups caused at various points in the chain by labels-studios-distributor channels-etc (which Hi-fi News shows pretty clearly happens with hirez and so can be expected with CDs that are also created from a higher digital master file even if it is 48khz and more of a pain to downsample transparently).

Cheers
Orb
 
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stehno

Well-Known Member
Jul 5, 2014
1,594
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Salem, OR
You seem to forget that you support Bruno Putzeys and yet I showed exactly how they use similar language with regards to "natural" with their digital active speaker that corrects issues such as phase - see post #118.
So now Grimm Audio is talking rubbish as well, or Gerzon/Craven and other engineers when they looked at -timing-phase digital correction in the digital realm back in the 80s and onwards?
To re-quote on aspect from that post:

Bruno is one of the lead and founding engineers at Grimm Audio and heavily involved in the digital-amp side.
Hence a reason why I have been going on for awhile in general (not just with Grimm Audio) now about comparisons to Stuart's concept and the real world investigations-implemented as applied to correcting timing-phase-filters; this is not something that Stuart is making up to try and con people; now how much of an issue this is can be another discussion, although as I pointed out as well his concept goes further and is also to try and resolve the digital screw-ups caused at various points in the chain by labels-studios-distributor channels-etc (which Hi-fi News shows pretty clearly happens with hirez and so can be expected with CDs that are also created from a higher digital master file even if it is 48khz and more of a pain to downsample transparently).

Cheers
Orb

I continually seem to forget that I support Bruno probably for the very reason that I've never supported Bruno and can barely spell his first name and not even remember his last name. I heard of his name about 8 months ago and read maybe 2 paragraphs of one of his dissertations and that was it. Several people mentioned Bruno's name and all I did was do a brief 2 minute eval. According to at least a few he appears to have an area of expertise with Class D amps. You asked earlier if I thought he knew what he was doing and I just assumed he probably did. I've certainly been wrong before.

BTW, last time I checked, Class D amps are not digital. That's an old misnomer that I think Bruno confirms.

How much of Bob's claims are delusional and how much is intended hype? I'd guess there's a reasonable mixture of the two.

Who says there's digital screw ups caused at various points in the chain? Bob? Ok, Bob says there's a digital problem that he needed to solve. Now what about John Curl's claim that all of his (Curl's) designs and every other mfg'ers designs had at least one serious performance flaw. (Catastrophic flaw anyone?)
Again going back to Harley's (and Meitner's) earlier catastrophic claims and Valin's dismal performance claims, and Atkinson's too (and others).

Do you think it at all possible that in their own way they are all pointing toward the same serious (catastrophic) flaw and thus far Bob is the only one who attempted to do something about it? That's exactly what I think and I should commend Bob for his attempts, but I cannot commend him for his erroneous results and claims.

But you wanna' think Bob's been on the right track all along? Fine. We know Bob has spent a great deal of time barking up the format technology tree trying to solve "A" problem that he guarantees his MQA solution allows the listener to hear exactly what the engineers heard in the studio (that's what one of his ads for headphone amp employing MQA claims).

But what if hypothetically there was a humble but well-thought-out playback system with a focus on other performance-based technologies that even just playing Redbook CD could run musical circles around anything Bob could assemble including Bob using his MQA format? What would that say about Bob's expertise, his good-intentions, and his claims? It would seem in such a hypothetical circumstance, that Bob's efforts and research amounted to little or nothing toward addressing any real cause of the or "a" problem and instead would clearly indicate that much of Bob's time was spent on researching the effects rather than the cause. That would change everything wouldn't it?

BTW, did you catch this link? http://www.avsforum.com/forum/173-2-...es-2015-a.html

Seems like lots of people are questioning Bob's motives and claims. Thank goodness.
 
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Orb

New Member
Sep 8, 2010
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BTW, last time I checked, Class D amps are not digital. That's an old misnomer that I think Bruno confirms.
...
I know and I did not mention Class D :)
I said digital-amps and active speakers, so my context is still applicable and sorry but you side stepped what I was going on about.

Cheers
Orb
 

Orb

New Member
Sep 8, 2010
3,010
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Who says there's digital screw ups caused at various points in the chain? Bob? Ok, Bob says there's a digital problem that he needed to solve. Now what about John Curl's claim that all of his (Curl's) designs and every other mfg'ers designs had at least one serious performance flaw. (Catastrophic flaw anyone?)
Again going back to Harley's (and Meitner's) earlier catastrophic claims and Valin's dismal performance claims, and Atkinson's too (and others).
.

Again you misconstrue what I said.
I said digital is screwed up by others at specific points in the processing chain, this is known because measurements have been shown by Hi-Fi News with regards to hirez (and it is easy to conclude how it is then possible for CD to also be messed up as some of those processes-workflow apply to it as well).
Sorry but I think I explained several times what the problem is in that regard so not reiterating again.
Seems we are going to have a very different POV on this subject and you are not answering objectively some of the aspects myself and Amir has raised.
I really do not see why the need to keep mentioning Harley/Valin/etc as well as they are not representing all of the audio publishing community.
If you must mention reviewers on this subject quote those with research backgrounds and experience in developing audio measurement tools or technical analysis.

Cheers
Orb
 
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