Ok ... I guess I expected somewhat more responses. Did you all not try ? or didn't you perceive any differences ?
Anyway, this is what happened to me the day I tried it first (4,30,30,0,0) :
My piano, iow the one I was particularly listening to, sounded rather dry. Nothing wrong with it, and like with pulling bass strings harder or less hard, this can be a matter of the room the piano was played in during recording, the distance of the mike, how many there are, and maybe more things.
In between the lines I must tell about an "experience" I had more often, and which may be a commonly known phenomenon (although I didn't really hear of it) :
At earlier stages of this "PC-player" development (it may have been Foobar times) it may once in a while (sure not often) happen that things sounded very spacious. "Spacious" should better be translated to hall. This by itself is dedicated to micro data that works out, and which very easily does not work out at all.
Once this is happening to you occasionally, it will be very profound, and when it occurs to you ("hey, what happened ?!") you will recall it for a next time at running the same album/track, and then you will be very surely noticing it again, but then because all the hall has gone again.
I myself dedicate this to properties of the mains, or maybe other influencing things (could be air temperature ... think of airspeed and the micro data just working out vs. just not working out).
I just referred to earlier days, because back then SQ was not much consistent, and today these kind of things don't happen to me anymore. It is always including that hall or it is not, I don't know, and satisfied with the SQ I am anyway.
Of course you have recognized that this "micro data" will be influenced by jitter just the same, although it may be jitter occurring in a special band of the audio spectrum. I don't know.
As said in the first post, for me it was no coincidence to move those two sliders to their 30 position. I recall a very important new and fresh definition my friend Carlos put forward about jitter, but which I like to keep a secret for now. It was about jitter treatment, and I suddenly thought that special treatment had never been implemented yet, but those two sliders at their 30 position would just do that.. So I did ...
On a side note I must tell that by now all may be moot because what I perceive is not what the two trying it out with "some result" did (thanks Leif and Dave !). Although you may afterall, reading my perceivements;
Back to the piano, I was shocked what happened to it; Suddenly it was in a way larger room, and suddenly it seemed that it was played with the sustain pedal pressed always. Also keep in mind my remark on how it sounded before, which I called "dry", which would just be about the damping pedal. The difference was so huge that you immediately start to think "can this be right ?".
After this first album I have played many more by now, and everything keeps on sounding the same : an enormous hall around everything.
Btw, while this could be described as "spacious" I think this is a wrong description, because I would dedicate that to "space in between instruments", "with air in between them". And this is exactly not what I mean. Rather the opposite ...
Assuming I am not making this up, and all really is sauced by all this hall, I my wonder whether this can be overdone somehow;
I am not sure, but it may be too much of it. Too much hall means less good separation (!). But then how to create hall which would not be there ?
Thinking about it, this must be about things just being better audible. Similar to : "the better SQ gets, the more you can hear oscillating amplifiers" (this really is true ... somehow). So, what about the one mike meant for the acousic guitar capturing the voice of the singer as well (unintended), and which now has become audible and will express as hall (because of the farther distance and possible reflections which will be profound because of the larger distance).
To make a long story short : this 4,30,30,0,0 setting has an enormous impact on my system. It is just sounds totally different because of it.
Dave, indeed I have the perception that Invert should be on. Tried that on one track yesterday, and the stage became so much more narrow because of it, that I switched it back to normal again. But :
a. Invert seemed to sound better;
b. I never perceived a difference in width because of Invert/Normal. Odd.
I never tried any other setting (like Leif's lower 17,17), but in case we find that 30,30 is the best, note that I can make it easily 100,100. This is not *that* easy, because at that levels it will start to conflict with Q4 and Q5 when used.
Leif, Dave, (anyone), if you can make some additional sense out of this, please spit it out.
And guys, keep in mind, this is not only about learning "what" influences, but also whether it may work out the same on everybody's system (like Q1 tends to do).
Peter
PS:
I have a very serious vinyl rigg with basis ovation fed by a pure cycle ac re-generator,airtangent reference remotecontrolled
airbearing straight-tracking arm with lyra titan i cartridge fed to a lyra erodion x-former and then to a thorsten loesch/borderpatrol 75kg lcr riaa/tvc and your xx-player is gaining grounds, if not quite there yet,but close
congrat!
Hehe Leif ... On this matter, don't forget what I said about your Buffalo ... "never heard so much vinyl from digital in my life".
But may I ask, what re-generator do you use ?
