A Transport of Delight: CD Transport Jitter Page 2

Not that long ago, digital audio was considered perfect if all the bits could be stored and retrieved without data errors. If the data coming off the disc were the same as what went on the disc, how could there be a sound-quality difference with the same digital/analog converter? This "bits is bits" mentality scoffs at sonic differences between CD transports, digital interfaces, and CD tweaks. Because none of these products or devices affects the pattern of ones and zeros recovered from the disc, any differences must be purely in the listener's imagination. After all, they argued, a copy of a computer program runs just as well as the original.
Mon, 11/01/1993
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COMMENTS
p_f_m's picture

Hi, first of all thank you very much for doing this. It is very informative and I appreciate your time and efforts you spent on this. I do have a couple of questions though -

For the audibility tests, did you test the players/sources using the same outboard dac via spdif ? or were you listening to the analog outputs of the playback sources ?

Comparing the worst v/s the best is a great way of highlighting the differences and to educate users how jitter sounds like, however I feel it would have been perfect, especially after having spent the time and effort to come this far anyway, if you could have also thrown in to the listening test one or two players that had "average" or not too bad or good jitter. This would have kind of helped understand approximately whereabouts might be the threshold of audibility of jitter.

Thank you! and looking forward to hearing from you.

-PFM.

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A Transport of Delight: CD Transport Jitter

Not that long ago, digital audio was considered perfect if all the bits could be stored and retrieved without data errors. If the data coming off the disc were the same as what went on the disc, how could there be a sound-quality difference with the same digital/analog converter? This "bits is bits" mentality scoffs at sonic differences between CD transports, digital interfaces, and CD tweaks. Because none of these products or devices affects the pattern of ones and zeros recovered from the disc, any differences must be purely in the listener's imagination. After all, they argued, a copy of a computer program runs just as well as the original.
Mon, 11/01/1993
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As Easy as ABC

So you've spent thousands (hours, that is...in terms of dollars, don't ask!) trying to improve the sound of your stereo, and you're still dissatisfied. Here's a list of sure-fire steps which, if followed precisely, will without a doubt have you happy as a lark for days afterward. (What? You expected to be happy with these improvements for months or even years? Get with it! This is high-end audio we're talking about. When was the last time you were satisfied more than a few hours with your costly upgrades?!)
Sun, 10/24/1993
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Sounds Like? An Audio Glossary Sidebars: 7-8

Subjective audio is the evaluation of reproduced sound quality by ear. It is based on the novel idea that, since audio equipment is made to be listened to, what it sounds like is more important than how it measures. This was a natural outgrowth of the 1950s high-fidelity "revolution," which spawned the notion that a component, and an audio system as a whole, should reproduce what is fed into it, without adding anything to it or subtracting anything from it.
Thu, 07/29/1993
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Sounds Like? An Audio Glossary Sidebars: 5-6

Subjective audio is the evaluation of reproduced sound quality by ear. It is based on the novel idea that, since audio equipment is made to be listened to, what it sounds like is more important than how it measures. This was a natural outgrowth of the 1950s high-fidelity "revolution," which spawned the notion that a component, and an audio system as a whole, should reproduce what is fed into it, without adding anything to it or subtracting anything from it.
Thu, 07/29/1993
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Sounds Like? An Audio Glossary Sidebars: 1-4

Subjective audio is the evaluation of reproduced sound quality by ear. It is based on the novel idea that, since audio equipment is made to be listened to, what it sounds like is more important than how it measures. This was a natural outgrowth of the 1950s high-fidelity "revolution," which spawned the notion that a component, and an audio system as a whole, should reproduce what is fed into it, without adding anything to it or subtracting anything from it.
Thu, 07/29/1993
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Sounds Like? An Audio Glossary Reverse Glossary, part 3

Subjective audio is the evaluation of reproduced sound quality by ear. It is based on the novel idea that, since audio equipment is made to be listened to, what it sounds like is more important than how it measures. This was a natural outgrowth of the 1950s high-fidelity "revolution," which spawned the notion that a component, and an audio system as a whole, should reproduce what is fed into it, without adding anything to it or subtracting anything from it.
Thu, 07/29/1993
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Sounds Like? An Audio Glossary Reverse Glossary, part 2

Subjective audio is the evaluation of reproduced sound quality by ear. It is based on the novel idea that, since audio equipment is made to be listened to, what it sounds like is more important than how it measures. This was a natural outgrowth of the 1950s high-fidelity "revolution," which spawned the notion that a component, and an audio system as a whole, should reproduce what is fed into it, without adding anything to it or subtracting anything from it.
Thu, 07/29/1993
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Sounds Like? An Audio Glossary Reverse Glossary, part 1

Subjective audio is the evaluation of reproduced sound quality by ear. It is based on the novel idea that, since audio equipment is made to be listened to, what it sounds like is more important than how it measures. This was a natural outgrowth of the 1950s high-fidelity "revolution," which spawned the notion that a component, and an audio system as a whole, should reproduce what is fed into it, without adding anything to it or subtracting anything from it.
Thu, 07/29/1993
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Sounds Like? An Audio Glossary Glossary: V-Z

Subjective audio is the evaluation of reproduced sound quality by ear. It is based on the novel idea that, since audio equipment is made to be listened to, what it sounds like is more important than how it measures. This was a natural outgrowth of the 1950s high-fidelity "revolution," which spawned the notion that a component, and an audio system as a whole, should reproduce what is fed into it, without adding anything to it or subtracting anything from it.
Thu, 07/29/1993
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