I understand the folding scheme in frequency space. How does it work in real space?
I'm thinking the "extra" (high frequency information) is somehow represented in the lower significant bits of each data word? Say bits 17-24 of 3-byte words (if in fact MQA arrives as 24-bit files. That said, I'm still having trouble understanding how MQA both has similar streaming data rate as standard CD and is backwardly compatible on non-MQA-capable devices as standard CD quality/data rate. There are just so many bits of information available.
But however it works, it sounds great!
Main: 861v8, 818v3, 8000XE, 7200HCUSE, 7200.2, Roon Nucleus+, Shunyata Everest w/ Sigma XC and Alpha NR's, HD621, Oppo 103D, Panasonic P60ZT60 plasma. RJ45 switch on master SpeakerLink lines to select 861 or 818, Etherregen & ENO AG feeding the 818, M-Links. Room #2: 5200.2s from M218.
Thanks for the compliment. I'm still working on how it exactly works. As soon as I have more info, I'll post a new YouTube video and a written version on theHBproject.
Yes Hans, Very good videos also the ones on speaker placements! Christofer
Current main Sweden: 861v8, 808v6, UHD722, Oppo 103, Dell S718QL short throw Laser 4K HDR 8KUSE, 7200HCUSE, 3200 Other apartment: 818v3, MD600, 5200SE Study : Meridian Prime Amplifier, Sennheiser HD 820 on the go Focal Bath's Not connected(possibly for sale): G95, F80, HD621, 7200HC.2, 218
An analogy just occurred to me for the part of MQA that captures characteristics of DA, AD and other tools and filters used in the studio in MQA metadata.
In the meantime, Robert walked me through the thinking that went into the MQA development. He laid out the production path from recording or mastering studio to home listening as an �analog to analog� signal path with a challenging digital chunk in between. Their goal is to preserve the exact sound of the that final analog experience (even if it is being sourced from a digital audio workstation like Pro Tools) including the individual characteristics of the Analog to Digital and Digital to Analog converters. If the engineer, producer, and artist are listening in a studio equipped with dCS or Apogee converters, then the metadata about those devices will be �encapsulated� into the MQA sound file so that the playback mirrors exactly the experience in the studio�and at approximately one tenth the bandwidth.
This sounds to me like the color profile that photographers sometimes send along with their photos to the printer. The color profile contains for example the calibration of the monitor used to edit the photos and the color space in which the photo was captured.
In color management, an ICC profile is a set of data that characterizes a color input or output device.
Color profiles are used in a so-called color managed photography workflow that ensures consistency and predictability for how a photo appears.
Seems to me the MQA features that capture processing device characteristics used in the recording chain in metadata do for digitial audio what color profiles do for photography. Roughly speaking, anyway.
Apologies if this is obvious or has been posted elsewhere.
First, to the average non technical person (including many amateur photographers, unfortunately) ICC profiles are unknown. For the more technical inclined ICC profiles would seem more like EQ-curves as used in pre- and deemphasis. And that's not what MQA is about. MQA's data reduction might be compared to video subsampling but for the time smearing fingerprint we need another analogy, I'm afraid.
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