Recommended Components Fall 2021 Edition Computer Software

Computer Software

Channel D Pure Music software: $129
Pure Music (Mac only) can play sampling rates of up to twice the 192kHz limit of Amarra and Decibel. Like those programs, Pure Music (Mac only) offers memory play, automatic sampling-rate changes, and full compatibility with native FLAC files and in its latest version, DSD files. Going from iTunes to Pure Music, the sonic improvement was modest but worthwhile, with cleaner trebles and improved pitch certainty. Compared with the less expensive Decibel, however, Pure Music lacked some openness and clarity, decided AD. Using Pure Music in its Memory Play and "Hog Mode" settings for optimal sound quality resulted in a wider soundstage and greater sense of ease, said JA. A free, 15-day trial version can be downloaded from www.channel-d.com. Included with Channel D's Pure Vinyl Version 3.0. (Vol.33 No.8, Vol.34 Nos.7 & 9 WWW)

Channel D Pure Vinyl LP ripping software: $379 ★
Used with a microphone preamp or non-RIAA phono preamp, Channel D's Pure Vinyl digitizes vinyl LPs at 24-bit/192kHz resolution and applies the RIAA or other EQ curves in the digital domain, where there's no interchannel phase shift, capacitor distortion, additional noise, or component variability. Record mode allows the user to apply over 50 EQ curves or create custom EQ settings; Editor mode allows the user to insert track breaks or remove surface noise. CDs made with Pure Vinyl sounded "much better" than those made with the Alesis Masterlink, said MF. Compared to the original LPs, the digitized versions lacked a touch of body but sounded "very analog-like." Compatible only with Apple Macintosh computers. Version 3.0 and later includes Channel D's Pure Music front-end program for iTunes. "Pure Vinyl will change the musical lives of collectors with large collections of pre-1954 discs," said MF. JA was impressed by Version 5's RIAA de-emphasis with LPs that had been ripped with the Channel D Seta L phono preamp's Flat outputs. (Ver.5 was not yet compatible with macOS 15/Catalina in the fall of 2020.) Channel D's Rob Robinson strongly advises recording at 192kHz—"Pure Vinyl was designed and optimized with that sample rate in mind (back in 2003!)" he told JA—but for monitoring the recording in real time, the playback D/A converter must be sample-synchronous with the A/D converter. (Robinson recommends the Lynx HiLo, an MF fave, for that reason.) "To say that I was impressed with the quality afforded needle drops by Pure Vinyl would be an understatement," concluded JA. "While the user interface is not as intuitive as I would like, the versatility on offer is extraordinary." (Vol.32 No.3; Ver.3.0, Vol.33 No.8; Ver.5, Vol.43 No.11 WWW)

Dirac Live 3: $349 for a stereo license
Of course, the sound quality is dependent on the hardware in the system, says KR, writing about the original Dirac live. But the acoustic transformation capabilities of DLRC are well beyond what is built into most processors. See Kal Rubinson's review of Dirac Live 3 in this issue. (Vol.37 No.5 WWW, Vol.44 No.10)

JRiver Media Center: $59.98 (single platform); $79.98 (multi-platform)
KR wrote in the January 2018 Stereophile: "If your [JRiver Media Center] setup is working to your satisfaction, there's no need for you to download every new build." Really. No need at all. But, having said that, … the 64-bit Windows version of Music Center became available in September 2017, and KR reported that it's better, stronger, and faster than the 32-bit version: "Since installing the 64-bit version of JRiver Music Center 23, I have heard not a single burp." $79.98 for a "Master" License covering Linux, Windows, and MacOS. (Vol.41 No.1 WWW)

Roon Labs v 1.8: $12.99/month, $119.88/year, $699/lifetime
Roon is a cloud-based music-playback application that can be downloaded and run on the user's desktop or handheld computer or run on dedicated file players from manufacturers including Auralic, dCS, Linn, and others. Described by JI as "a tour de force of programming, design, and metadata mining," Roon offers a graphically sophisticated user interface that, he said, looks good and feels natural. When first installed, Roon scans and incorporates the user's existing music collection. Over time, it continues to "groom" that collection, taking into account new additions to the collection and to Roon Labs' ever-growing library of metadata. With v1.8, Roon offered a major revision. "Visually, it's new, and to me, better," wrote JCA. The recommendations engine, Valence, has been improved, with useful changes to the Focus feature, which now encompasses streamed music from Tidal and Qobuz—not just music in the user's library. "The music I own and the music I rent is now one big, searchable, browsable library," enthused JCA. JA is also a fan and sprung for the lifetime subscription. (Vol.44 No.5 WWW)

COMMENTS
MatthewT's picture

Not much for me here, being a vintage gear fan first. Please bring back the entry-level column, there is a lot of gear at that price-point worth getting reviewed.

Anton's picture

Budgetwise, I think I would be most like a "Double A" audiophile.

Same with me and wine.

I do admit to seeing some of the top end prices for either wine or Hi Fi and thinking that there are people who have checkbooks that are 'better' than their palates/ears.

Like JA1 described in the past...there are already parts of my own hobby that are beyond my budgetary event horizon.

_

If we did have audiophile classes, from minor leagues to major league, I wonder what the price points for each step would be.

MatthewT's picture

Lets me play every now and then in the Majors. Nothing depreciates faster than audio gear. I have to admit being somewhat happy at seeing a dartZeel break while listening to it, while my beloved Sansui keeps making music.

Anton's picture

I like showing gear in the reviews to my wife and asking her to guess the price.

When I saw the OMA turntable in the latest issue, I guessed 15,000 dollars. When she saw it, she guessed 12,000 dollars, and we've been playing this game for 25 years!

Next, I asked her if I were able to purchase it for 90% off retail, would she let me. She said, "Only I promised to flip it immediately."

Then, she threw me a bone and said, "You could buy it and keep it for the 12,000 dollars that I guessed."

I'd need a 97.5% discount to have a chance at it. And even that would be wildly extravagant. I'm happy with life, this is just for scale.

tonykaz's picture

Above the PS Audio level is the world of Status & Ego. !

Which has me wondering if Stereophile is a Status & Ego type publication ? Is this a Robb Report mag that belongs on the coffee tables of private Jet Airports ? ( I've never seen it there )

Does an Anodized Red $200,000 Amplifier belong on the Front Cover of a magazine like ours ? None of us will ever have any chance to experience Velvet Rope Gear so why are we bothering with it? It being better is probably one person's opinion ( and that person probably doesn't have to buy it or own it ).

Reviews of these $100,000 +++++ pieces are man-speaking to us how our gear is deficient and unworthy, we are reading Hubris & gas lighting.

There is a World of $1,000 bottles of Wine, $25,000 Rolex Watches, Super pricy First Class Seats on UAL Flights and Political Leaders that are wealthy from insider trading. We shouldn't be reading about those things here.

Ours is like the world of our modest Canadian, revealing a new form of music discovery and writing one of Stereophile's most insightful pieces of literature about it. ( nice writing Mr. Robert S.)( is that the door bell? )

Tony in Venice Florida

rschryer's picture

Thanks, Tony

tonykaz's picture

Annnnndddd :

Thank You to the Editor that gave you the Word Budget and turned you loose.

Stereophile keeps raising the Bar !!!

Tony in Venice Florida

Anton's picture

Where on Maslow's Pryamid is a half million dollar record player?

I'm curious to see....misguided 'esteem?'

I prefer to use Swanson's Pyramid....

https://external-preview.redd.it/5cDe4MZ9E0ZfvcS10kmAUd2ynTkp6b3wfU-fYsxyNfg.png?width=960&crop=smart&auto=webp&s=be478d54ccedc0bd3a8ea8428e368fe10ed78c60

(Second from bottom left.)

tonykaz's picture

A most expensive record player would service the Ego needs of someone needing to establish themselves as the very Top of Analog Audio's Caste System.

The widely recognised Top Level Analog Format has been Tape.

I grew up in a Performing Arts household, my mother was an Operatic Performer and one of my older brothers was a Horn Player for our local Detroit Symphony Orchestra.

So, from my point of view, no Analog Audio System has ever come close to performing like a Live Audio Performance from a listening distance position.

Super pricy Audio Gear is about Status & Ego !!! ( I hear that Bob Carver still laughs at this stuff )

Tony in Venice Florida

tonykaz's picture

Yes, Brilliant Observation! ,

of which, of-course, I completely agree .

Proving the old maxim: when two people agree on something - only one is doing the thinking.

Now that I'm living in the Deep South, Swansons Pyramid is where I'm slowly migrating to. Hmm.

Y'all have a Grate Day

Tony in Venice Florida

ravello's picture

The introduction to recommended loudspeakers states that "Candidates for inclusion in this class [i.e. Class A, limited LF extension] must still reach down to at least 40Hz, below the lowest notes of the four-string double-bass and bass guitar." The Falcon LS3/5a, for example, most certainly does not reach down to 40 Hz, unless you define "reach" to include a -10 or -15 or even lower dB point, which cannot be construed as useful bass etension. This is probably true for several other speakers listed in this category. So what is happening? What is the thinking behind this inconcistency?

smileday's picture

Perhaps about -7 dB at 40Hz in this room. Fig. 6, https://www.stereophile.com/content/bbc-ls35a-loudspeaker-harbeth-measurements

It might be -3 dB at 40Hz in a broadcast van, the intended usage at the design stage.

tonykaz's picture

...performance level for all Great Transducers?

It was the very loudspeaker that brought me and my English partner into the Audio Business. ( back in the early 1980s ) -- ( my business partner and I begged Raymond Cooke for this design to import to USA - he said NO! )

Isn't it still a "Reference" for comparison ? , doesn't any new design have to match or exceed it's super high levels of performance?

This little device and a well matched sub builds an outstanding Desert Island System.

But, it's still outstanding without the Sub.

It may not be Full Range but it well earned a Lifetime Class A+ transducer system rating. ( four Decades + )

Tony in Venice Florida

Ortofan's picture

... like antique furniture, but the KEF LS50 Meta is a much more highly evolved successor.

tonykaz's picture

I'm sure that I agree with you.

I seem to have a deeeeeeeep seated feeling that the LS3/5a is the grandfather of High End music Gear.

Even during the 1980s, my little shop : Esoteric Audio in Farmington Frills, Mi. stocked most of the small mini-monitors including the LS3/5a, Linn Kann, ProAc Tablette, Spica TC50, Quad ESL63 and the whole range of other hopefuls. Performance wise, the ProAc Tablettes were the musical leaders, the Quads were the Sales leaders, the Spica was the Reviewer Favourite . We had them all on permanant comparison using a VPI player, Koetsu Rosewood, Electrocompaniet Electronics and MIT Music Hose cable interfaces. It was an exciting adventure for any and all customers to take part in the ongoing comparisons. People bought scads of 'all' of those small speakers types.

With great or outstanding supporting gear, the LS3/5a can Scale up to amazing levels of music reproduction.

Tony in Venice Florida

ravello's picture

@ smileday: With due respect, the link you posted is not to the current Falcon "Gold Badge" reviewed in 2021, which I was talking about, and which is about 12 dB down at 40 Hz (ref. 1 KHz) in JA's listening room on the evidence of Fig. 6 and Fig. 8 (red trace). This, as I was saying, cannot and should not be construed as useful bass extension at 40 Hz, so listing this speaker as "Class A, limited LF extension" is misleading (to say the least) in light of Stereophile's own stated criteria for inclusion in this category. Perhaps Editor Mr. Austin would like to take the stand on this. Furthermore, most of us don't listen to music in a broadcast van. Mind you, I am not saying that these are not truly great speakers. Indeed, I used to own the Harbeth P3ESR, which I found as nearly flawless as I suspect is possible in a loudspeaker, except for bass extension and volume (SPL) capability -- admittedly an inevitable design constraint given the size of the midbass driver, the size of the cabinet, and the benign impedance. This is why I eventually replaced them with a pair of the Harbeth C7 (40th Anniversary), which turned out to be game-over speakers in my small, 12 sqm study. Perfectly solid bass to 40 Hz and possibly below.

TowerOfPower's picture

It's surprising to not see a single Soundsmith cartridge on this list. Would like to know why.

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