I ain’t playing with the key cause im no matrix
All switches off is good. The MCLK on does add more spatial cues and separation . I am going to Run 1 and 2 off and 3 on for a bit since I am liking the better separation.
Wait, with the MCLK switch on and 7.666v fed to the Matrix, I can hear things I have never heard before. It’s a sonic miracle! What I thought was one voice is really three!! You guys all need to get 7.666v power supplies!!
If you are uninterested in the tweak, do not participate.
But there is no reason to denigrate others’ enjoyment in exploring what may or may not improve their systems.
Chas - I’ve been using and recording digital recording gear since it’s inception, and I remember when ADAT and DAT digital tape recorders started offering 48kHz sampling rather than just 44.1 (still only 16 bit). It was clearly audible, and opened up the top end. BUT…still, for the longest time, much early digital stuff had that sound and feel of the program material being sliced and diced. Lacking “continuousness” somehow.
Seemed crazy, but now that we hear the FAR finer subtleties of digital improvements Ted makes to the DS FW (to take one example), it has become much more experientially clear that Micro-Stuff Matters.
What I think the higher sample and bit rates bring (among other things) is to make these divisions so many, so fine and so fast that they approach analog - which translates into ease and continuousness, IMO. My two cents.
But the DirectStream DAC ignores the MCLK signal regardless of which clock is used on the line. The Matrix SPDIF 2 is still generating both clock signals…the switch just changes which clock frequency is sent to the pin on the connector. The Matrix SPDIF 2 is not doing more or less or different work when the switch position is changed.
How do you have insight on both clock rates being generated ? Please share those Matrix design notes on switch operation architecture.
There is a distinct difference that can be heard switching the MCLCK switch the position of DIp switch one increases the effect heard in my system. The off position of Dip switch one makes the difference more noticeable on the MCLCK than with switch one in on.
The logic says it shouldn’t matter but it is discernible.
Thank you Mark for your answer, so the more recent recording gear at 44, 96 or 192 is an improvement over gear of several decades ago even though recorded at the same rate.
I appreciate the analogy to Ted’s firmware, that helps my understanding. May I also assume that the higher sampling rates should provide more appeal to my ears (assuming everything else in the recording process remains the same)?
Yup. Though none of this guarantees anything of course. Some Redbook recordings these days are as good or better than high res versions. Plus with a DS, or other means of upsampling, you’re getting a lot of the benefit of the smoothness from there as well.
The characteristic of smoothness without detriment to other sonic characteristics is very high on my list.
I only have played 4 SACDs, and one was a sonic dud, so I believe you. And I have Redbook CDs that I play often just because they sound terrific, Graceland by Paul Simon is one.