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Computer Audiophile.com Review

Computer Audiophile.com Review

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http://www.computeraudiophile.com/Kent-Poon-Audiophile-Jazz-Prologue-III-Review

Computer Audiophile.com wrote a superb review for AJP-III-LE. We are really thrilled by this wonderful review. Thank you so much Chris! We met in CES 2009. I gave him one copy of AJP-III-LE. We expected if he really likes the music and sound, he may post a link so that people can try our free samples online. Since it is his forum, we respect this so much by not sounding like sales.

“…………..Kent Poon’s Audiophile Jazz Prologue III is easily my favorite album of the last twelve months. I don’t have one negative comment about the music or the sound quality. Audiophile Jazz Prologue III is clearly a CASH List album that I encourage every one to purchase or a least download and listen to a free sample. If you appreciate quality and attention to detail you’ll appreciate Audiophile Jazz Prologue III. If you’re on the lookout for great recordings that sound fabulous you’ll want to keep an eye on Kent Poon. He’s a hit in Asia and I suspect the U.S. market will soon understand why……. “

http://www.computeraudiophile.com/Kent-Poon-Audiophile-Jazz-Prologue-III-Review

We are challenged that in our recording, the high freq. content above 22kHz are some how not present. Although another engineer has technical reasons to support ours, we will prefer to let everyone else to determine sound quality by listening our free samples. If the recording is not good, I don’t care if it’s DSD or DXD, it still sound not good. If it sounds good, then maybe there are technical reasons for it. 

We believe LP sounds so good, is not because on its ~70dB signal to ratio, or any “useful” information above 15kHz. In records production, everything including analogue tube circuit, microphones, AD/DAs, compressors, EQs, high resolution DSPs, are all tools to create music. I still and always will remember that many years ago recording legend and partnership AudioQuest Joe Harley wrote to me the following:

“We all have an ideal of the kind of sound we are trying to achieve. The late engineer David Baker (who I worked with on a number of occasions) said it as well as anybody. He said “we’re all really trying to make the next Kind Of Blue.” And he’s right…we’re looking for the holy grail of perfect musical performance with perfect sound. Of course we never quite get there….once or twice I’ve gotten close somehow but perfection is so elusive! I know you are looking for the same thing. The recording arts are fortunate to have someone with your enthusiasm and skill as one of their own now. “

Joe’s Blue Note reissues are excellent that I look forward to collection them all. If you play those LPs over few times, they will lose the 18kHz information on the groove, but I am sure you will still enjoy their sound for many moons.  

Chris Connaker and his computer audiophile website is already the must read information for anyone who wants to update on computer audio playback. I have very high respect to his publication and once again thank you so much for the supports.


  1. pphalen

    28 January

    Hello,

    Thank you for excellent recordings and for making hi-res samples available to help in making a purchasing decision. I found you through Chris’s review.

    I downloaded the 24/96 AIFF versions and am very impressed with the choices made in the recording and subsequent mixing/mastering. They are good performances, well preserved. It’s really refreshing to hear music presented so musically with wide dynamics, without the tiring overuse of compression/limiting so common in today’s awful “loud wars” recordings.

    For what it’s worth, I think 24/96 is a fine “sweet spot.” I have what I believe to be a very detailed, accurate, resolving audio system and I don’t believe I can hear any difference between 24/96 and 24/192, or at least not enough to make the additional storage space worthwhile.

    Shannon/Nyquest is valid for perfect-world recording, but ~96 kHz is necessary to provide sufficient headroom for recordings that may have some problems from brick wall filters down-propagating audible artifacts. And 24-bit is probably necessary to provide sufficient dynamic range so that we listeners might be able to do some minor attenuation (e.g., room correction) in the digital domain without too much fear of things sounding flat and lifeless.

    I know from tests I personally can’t hear much, if anything, above 15 kHz. LPs probably sound so good partly because they are somewhat constrained to produce sounds with even-order harmonics, which therefore sound more “musical,” wouldn’t you think?

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