Lynn Olson
Active Member
- Joined
- Aug 29, 2010
- Messages
- 98
I was hiding under the couch for the first several weeks, given that I'm in a "high-risk" group (over 65, male, and a bit overweight). We're still staying away from the stores by having groceries delivered to our doorstep, and then soap-and-washing the items that go into the refrigerator, and garage-isolating the ones in cans and cardboard boxes for 24~72 hours. As recommended by the Colorado governor, we're wearing masks when going outside walking the doggo. At least we get a view of the glorious Rocky Mountains as we walk the dog. The mountains themselves, though, are closed, since it was the ski resort towns that brought in the first infections from Italy, and they remain hardest hit. It does look like our state is rounding the corner, though, and we will have a limited re-open at the end of the month. The governor says the most vulnerable groups (us) need to stay indoors for several more weeks. It's beginning to look like mask-wearing will become the new social norm, at least until a vaccine arrives.
I'm curious how your Shadow Vector handles anomalies like digital clipping and/or cartridge mistracking. These gremlins can throw off a fast-acting logic section, which I partly averted by the aforementioned 500 Hz ~ 5 kHz bandpass and inverted Fletcher-Munson response shaping. The "clicks" usually happen in only one channel, which gives a false hard LF or RF localization. I suspect this is what is creating glitches in the DTS Neo:6 system, or maybe some other fast-acting transient.
The other weird problem that I never solved with the original prototype were LP's with wacko encoding. Specifically, there was one LP, Loggins & Messina "Full Sail" in SQ which had a harmonica at LB and a violin at RB (I know, I know, but this was CBS in the early Seventies). That drove the decoder bonkers, because the musicians, without knowing it, were able to phase-lock each other, so the sound spun around the room. The CBS professional decoder was so slow that it didn't try to track what was going on, so the mix engineers missed it. These kind of weird recordings were rare, one-off events, but they ONLY happened with SQ recordings, where the engineers just couldn't help themselves with some gimmicky set of locations. If the engineers had the good taste to use the Front Encoding scheme, instead of the more conventional 4 -> 2 encoder, those problems never arose. I think, but am not 100% sure, that EMI used their in-house Front Encoder to make sure all their recordings sounded good. (The other difference is that EMI used only 6 poles and an all-discrete-transistor circuit with the phase-shifter section in parallel, while CBS used a long cascade of 301 op-amps and 10 poles of phase-shifting. So the EMI and CBS encoders sounded quite different sonically.)
I'm curious how your Shadow Vector handles anomalies like digital clipping and/or cartridge mistracking. These gremlins can throw off a fast-acting logic section, which I partly averted by the aforementioned 500 Hz ~ 5 kHz bandpass and inverted Fletcher-Munson response shaping. The "clicks" usually happen in only one channel, which gives a false hard LF or RF localization. I suspect this is what is creating glitches in the DTS Neo:6 system, or maybe some other fast-acting transient.
The other weird problem that I never solved with the original prototype were LP's with wacko encoding. Specifically, there was one LP, Loggins & Messina "Full Sail" in SQ which had a harmonica at LB and a violin at RB (I know, I know, but this was CBS in the early Seventies). That drove the decoder bonkers, because the musicians, without knowing it, were able to phase-lock each other, so the sound spun around the room. The CBS professional decoder was so slow that it didn't try to track what was going on, so the mix engineers missed it. These kind of weird recordings were rare, one-off events, but they ONLY happened with SQ recordings, where the engineers just couldn't help themselves with some gimmicky set of locations. If the engineers had the good taste to use the Front Encoding scheme, instead of the more conventional 4 -> 2 encoder, those problems never arose. I think, but am not 100% sure, that EMI used their in-house Front Encoder to make sure all their recordings sounded good. (The other difference is that EMI used only 6 poles and an all-discrete-transistor circuit with the phase-shifter section in parallel, while CBS used a long cascade of 301 op-amps and 10 poles of phase-shifting. So the EMI and CBS encoders sounded quite different sonically.)