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The mobile/tabletop MR-1000 delivers an astonishing 1-bit/5.6 MHz, doubling industry DSD recording quality standards. This new super-rate spec delivers a "true to what you heard" fidelity that will amaze even the most jaded audio enthusiast. Real World Features in a Mobile and DSD Recorder
The MR-1000 can record to multiple formats, allowing you to choose the type that matches your needs. There are three ultra pristine, high definition 1-bit recording formats at your fingertips; DSDIFF, DSF, and WSD* (2.8224 MHz @ 1-bit or 5.6448 MHz @ 1-bit). In addition to the 1-bit recording options, multi-bit PCM formats (BWF or WAV) with resolutions up to 24-bit/192 kHz are also available. The MR-1000 can play back all of these file types and more, with the newly added MP3 playback feature. Various resolutions can be played back, including bit rates from 32 - 320 kbps, with a sampling frequency of either 44.1 kHz or 48 kHz. This gives you the added ability to store and listen to web ready MP3 files right on your stereo recorder. All of these functions make the MR-1000 a truly future proof tool that will be useful for recording all your endeavors in the years to come. It features a 40 GB internal hard drive, offering up to six hours of recording at the highest audio quality (1-bit 5.6448 MHz stereo), or approximately sixty hours at CD quality (16-bit 44.1 kHz).

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1-bit recording is the latest advancement in audio, and has been adopted for use in the critically acclaimed SACD recording format. It offers a frequency response of DC to 100 kHz and dynamic range of 120 dB. This uncompromising fidelity, low noise floor, extended dynamic range, lifelike imaging and analog quality depth has been praised by top experts. But there are other important advantages to the format of this stereo recorder that are of benefit to all recording professionals, regardless of their tracking platform.

Future Proof Flexibility
Today's state-of-the-art 24-bit converters use high-speed 1-bit conversion to capture audio, using real-time decimation and other processes to present the data in the desired bit depth/sample rate format. The beauty of the MR's bitstream format is that it uses the original 1-bit data, without the need for the other processes. What comes in comes out, with no manipulation needed.

As files are converted and reconverted between various bit depths and sampling rates, there are possibly degrading effects, depending on the sample rate conversion algorithms. The critical issue is that files mixed and mastered in today's state of the art high-resolution audio may be insufficient for tomorrow's formats. Archiving your final mixes and masters in a 1-bit system allows you to bypass these issues, and preserve your music with both the highest fidelity and in a more "universal" format. That data then can more easily be converted at a later date to the bit depth/sample rate format of your choice without compromising the integrity or fidelity of the data. You can even convert to newer formats that will be adopted in the future, be they multi-bit or a further migration to the 1-bit format.

Here are 2 more excellent examples of these 2 temperaments, Et and EBVT III. Again, this is a "blind" test, same parameters as above. Feel free to post what you think is the correct temperament. Headphones are a plus!


1. "Il Postino" Temperament test No.1 http://www.box.net/shared/sdfbiuoz72

2. "Il Postino Temperament test No.2 http://www.box.net/shared/hr9pk5ifyk


1. "Out of Africa" Temperament test No.1 http://www.box.net/shared/b3p9xif7zs

2. "Out of Africa" Temperament test No.2 http://www.box.net/shared/ac1z75rlcl

I am getting behind with all of this because of what happened on Monday but the good news is that I will be getting a brand new car within a few days.

Yes, Nick, you are right about what you observe. Obviously, you can't know for sure whether one of your intervals is really 6.000000 beats per second or 5.9736542 or 6.000123 but the mathematical calculations and Jason Kanter's graphs are based on exactly 6.0 beats per second.

I actually wrote an 18th Century style well temperament with basically the same sequence except that you start with 4 equal beating intervals each at 4 beats per second. You could do the same with 5 beats per second. Each would have its own sound but as you have guessed, the slower those first 4 intervals beat, the harsher (more dissonant) the wider M3s will be.

If you had 4 starting intervals at 7 beats per second and followed the same scheme, you would end up with a quasi equal temperament that would not have that special magic that the EBVT or EBVT III has. You do get the best results in nailing the initial 6 beats per second and subsequently getting all other equal beating intervals as equal beating as possible. The two pure intervals need to be very pure and not wide and also not having any hint of narrowness.

The outer octaves that equalize octaves and 5ths and double octaves and octave-5ths also contribute to the overall purity of the piano sound.

I was just thinking about this very subject, Bill - still trying to get it right.

When I am setting the EBVT III temperament, no matter how close I get to 6bps on the key intervals, F#-A#, C#-F, and D#-G are wide, making the common keys of Ab, Fmin, Db, Bbmin, Eb, and Ebmin, Cmin sound somewhat harsh - and of course it gets worse the more I stretch the octaves, etc. If I go less than what I calculate as 6bps, it messes with the "pipe-organ" effect when playing arpeggios in the keys of C, G, and F...

Any idea what I am doing wrong? I've been using a metronome set at 120 and count 3bps on those key intervals to get them set. Also, I go back and ensure the pure intervals are as close as I can get them that way.

Glen

Here is the opening number from the 2002 Jazz concert. It is a 14 1/2 minute file but there is a full minute of silence before the piano plays, so you can skip ahead 1 minute and then you will hear the music. The piano plays solo first and the alto saxophone follows. Then the piano has a solo. The engineering is unfortunately badly balanced with the Bass being louder than anything else.

It is a familiar tune but I can't think of the name of it at the moment.

http://www.box.net/shared/2sb4244s7b

Wild piano player... suddenly I miss the US Who is it?
The tune is "On Green Dolphin Street"

Hi Jake,

1-bit recording has been marching into obscurity for the last 4-5 years or so. Technically it has many advantages over PCM but also a few disadvantages (and those are hard to overcome).

You can google Super Audio CD (SACD) or Direct Stream Digital (DSD) for more on its short-lived history.

Regards,
Ryan

It's just that in the context of music, the main theme of Pathetique's second movement (Ab) is largely thirds and other intervals. Brahms Intermezzo 117 No 2 (Db) uses many two note intervals, not just thirds.

Thanks in advance,
Glen