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Michael Green
Michael Green

Posts : 3858
Join date : 2009-09-12
Location : Vegas/Ohio/The Beach

CD's the overlooked treasure Empty
PostSubject: CD's the overlooked treasure   CD's the overlooked treasure Icon_minitimeThu Oct 12, 2017 10:27 pm

CD's the overlooked treasure Aufb194

When you've been tuning as long as I have you try to get your points across with timing, patience and temperance. The excitable male in audio tries to jump up and down saying "come on guys" cheers , whenever a personal discovery is made, but in audio the male egos are a little more dug in than many other industries and hobbies. You would think that an art form such as listening would be full of open minded people, but let me tell you, until you actual take your coat off, roll up your sleeves and jump in (with both ears) tuning can sound like all the other lies and myths high end audiophiles have been force fed for so many years. To the Tunee (one who practices tuning the audio signal) this method of playing music comes naturally, but with the engineer EE type there's a wall between practical and theory, many times, that won't give in, give up or even try an empirical exploration. I've seen all kinds of wrath, swearing and flat out lying coming from the "not gonna do" audiophile. The stubborn audiophile gives new meaning to the act of "kicking and screaming" Mad , Laughing . To be honest I don't really see the angry hobbyist as truly being an audiophile. Audiophiles, to me, is someone who loves music (music lovers), not someone who uses this hobby to grind their axe. I don't see the guy walking down the street with his headset on playing air drums as angry, or the girl singing in her car at the top of her lungs in a moment of rage. Nope, drifting off into the angry doom & gloom of audio, is caused by one issue and that would be unsuccessful listening and listening practices. Of course I'm not talking about the guy or gal deeply into the message, be it happy or sad, nope what I'm talking about is unsuccessful listening.

let me share the happy happy with you

People in the music business don't produce music to sound bad, unless that's the intension for effect sake. Most of the recordings you are exposed to are actual quite well recorded within the context of the recorded goal. There hasn't been a mission to shove all the frequencies up in pitch and timbre to drive you crazy. If your hearing the music shifting up in tone, that is a function of your playback system rejecting part of the recorded audio code. The audiophile screaming "revealing system" every time they can't get a recording to play nicely, is doing nothing more than showing us he doesn't know how to tune in that particular code. Hey, we've all done it and until we bring any of our recordings to life, it does sound like there is something wrong with the source. That's why we need to understand a couple of basics. The first being, your music collection is probably fine, probably more than fine and just waiting for you to uncover the magic.


If you've read any of my writing on the Audio Code, you'll see that I break things down to an understandable level. It may be that you might have to learn a few new terms, and throw away some of the myths, but, once you start looking at your hobby the way it is, playback becomes a lot easier. Using the words code, language, variable and a few others are going to help you tons in getting to that successful place. When I say "code" I'm referring to the system of communication through the different parts of the audio chain. Why is this important? Because many folks confuse the different labels and functions of audio. So to make this quick and easy, the 'Recorded Code' is the sourced language (digital or analog) that is going to be put onto the physical source. Depending on the type of source (material and application) the actual recorded code signal changes. There is no physical way for there not to be a change, because the recorded code becomes physical (physics). Did you follow that? The recorded code is a language of audio. When the language makes contact with the physical (any source or mechanical conduit material) the Audio Code is created. The 'Audio Code' is the varying flow through all of the mechanical conduits that make up the 'Audio Chain' or also called the 'Audio Pathway'. The Audio Chain are the physical parts and the Audio Code is the signal traveling through these parts. Now, if you got this, your well on your way to becoming a Tunee.


Having a varying signal is maybe one of the most scary thoughts for the audiophile EE. It's sometimes hard to separate measurement value and motion values for some reason in this hobby. However if you start seeing your system as something in motion you can then start to let go of fixed value vs variable values. Even getting stuck on your typical 2D readings are not the same as what is actually taking place. To get a true visual of what is going on, you would need a hologram projector so you can see the true 3D in real space (don't worry, won't be long). It may be hard for some to swallow this pill because of their older and perhaps limited schooling, but here we go. Your Audio Code, traveling through your Audio Chain, is completely Variable. Motion on this planet, in the audio range, is extremely flexible and influential (vulnerable). I know many in this hobby want to paint this rigid picture of the audio signal, but that would defy the laws of the fundamental forces that makes physics work. I wish I had better news for those who have wanted this all to be fixed (still), but saying audio is not variable and or can be contained in one state defying the Earth's rules, is never going to happen. Your signal is "vibrating" (another scary word for audiophiles), your parts are vibrating, your ears are vibrating and your planet is vibrating.


Musical & audio distortion happens when you add too much or take away too much, from the Audio Code. Because the Audio Code is physical and has to use the laws of physics to travel the fundamentals and their harmonics play a role in not only the travel of the audio code but also the motion and field of the code. Distortion happens when the harmonics are no longer able to stabilize the fundamentals because they have been absorbed or out of physical phase (pattern). When you absorb harmonics the signal shrinks. When you open up harmonics the signal amplifies. This doesn't necessarily mean right or wrong in listening. What matters is, while your focusing or expanding you need to do this while keeping the fundamentals and harmonics 'In-Tune' with each other.

part two, maybe three, when I get around to it

In closing on this post, you might be looking at the title and wondering why I haven't talked about CD's? The reason is simple, at least for my simple mind. I need to understand some of the basics of audio and how it works to appreciate the Compact Disc as a storage source. The above is part of the story so I can make an important observation, and that is, when we as a hobby start to tune our audio chain and explore how variable the audio code really is the CD becomes an entirely different storage animal. CD's don't contain less, and they aren't bad sounding. Cd's so far from my tuning experience are the most stable and informational of the 3 biggies (vinyl, tape, disc). Saying this, it's also the most in need of system tuning over the other two, because the industry has not treated them as a physical source. The compact disc player has never been treated with the same technological advancements as the turntable and the tape deck. The player itself is far different from either of these, but has not been looked at as it's own science. If you look at what I do to the Magnavox CDP, in the context of what I have been writing, you can easily understand why I use this unit as my reference. What I have done is turn this unit into a mechanical and electrical tool, able to take on any high end audio units with music to spare. It is the most flexible, musical player I have ever worked with by a long shot. Not saying that there are not others, but by far the most tunable I have used thus far. Why is this staggering news? I'll tell you why. The Magnavox CDP I use (when it was in production) sold for $29.00. I have had in the most expensive DACs, transports and players, and this unit "Tuned" ate them for lunch, it's a tuning dream for any amount of money.


If this $29.00 CDP out performs (or even if it only came close) the best that high end audio "Fixed" has provide, this opens up a couple of major doors. One, it allows us to revisit the Compact Disc. Secondly (and much harder for the traditional $$$ audiophile) the door opens for the pricey audiophile products to be easily out performed by simpler designs. I'm designing and selling systems right now costing between $5500.00 - $12,000.00 that completely obliterate the big boys, and have for some 25 + years. I'm I a better designer? I can't imagine that being the case. It's because I tune, and have developed systems that are not based on the same criteria being used by the "one sound" systems. My systems are very simple and they include the tools for tuning, Blocks, Platforms, Tunable Speakers, Cable, Acoustics....the whole thing. But the most important thing I sell is the method of variable tuning. With a tunable system and a little knowledge a listener can do anything they wish, with any recording they have. That's where the audiophile hobby will end up. Sure, there will be all prices, looks and levels. There will also be many brands, just like there are with guitars and pianos. The hobby of high end listening will replace high end audio.

michael green
PH 702 762 3245
Email mgtune@yahoo.com
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