![]() Sometime in 2011 I began thinking about the possibility of doing a review on high quality audio players for the Mac OS X operating system. #Amarra review mac#Įven though Windows users still represent a big part of Headfonia readers, I choose to focus on OS X for now because it’s easier to do as I use Mac myself, but also because for most developers, OS X seems to be the platform of choice when it comes to high quality audio playback. The last few months, I’ve tried and tested the majority of available audio players for OS X. In total, I’ve tested a total of nine players: three from Sonic Studio (Amarra, MINI, and Junior), Audirvana and Audirvana+, Pure Music, Fidelia, Decibel, and BitPerfect. Comparative reviews are always difficult to do, especially when you have more than five different products in one article. After I started working on this article, I realized that it’s quite a crazy project to take on, but I realize that if I only did a comparative of three different products then it’s only a matter of time before someone come and ask “how does this compare to that?”. Many of these players offer such a rich level of control and customization, and it is beyond the scope of this review to try to cover every single function offered by each player. I realize that despite clocking in over 7,000 words, the article is far from perfect, but it’s been a crazy few months keep so finally I decide to publish this article and get on with working on more normal reviews. Anyway I hope you guys will find this to be helpful. There are a lot of things I missed in terms of covering each player in detail, but if you’d post it on the comments section I will try to fill them in. I’ll start with the table of contents for those of you who want to skip a section or two. ![]() I have had the chance to use these players with some very high end equipment and indeed the improvements I get from these players are good enough to warrant the purchase. True to the “garbage-in garbage-out” principle, the app you choose for music playback represents an important part of the “source”. Any distortion created at this level is going to be passed on to the subsequent components on the system, and so it’s very important to get things right. We offer them here for your delight and delectation.Of course the whole “Is it worth the money?” question is going to be the first thing people ask. ![]() The results of a series of cable measurements he had performed seemed to confirm the Hawksford Hypothesis. English engineer Ben Duncan, whose writings have occasionally appeared in Stereophile, sent me an article he had written for the pro-audio magazine Studio Sound. Stereophile just posted a review, which states, In PCs and Macs, it can be installed as a plug-in or as a regular application. In his article Malcolm described a simple experiment, the results of which appeared to confirm his hypothesis. Dirac room correction software just announced the release of Dirac Live 3 room-correction software with 24/192 capability for both Mac and Windows. Among the predictions of this model were that for good conductors there exists an optimum size of wire for audio signal transmission, and that for a wire larger than this size an energy storage mechanism would exist. (Photo: Naomi Swain).Įditor's Preface: In an article in the October 1995 issue of Stereophile, Professor Malcolm Omar Hawksford used Maxwell's Equations to develop a mathematical model describing the behavior of cables at audio frequencies. The resulting proof of RF rejection was published on-line by Russ Andrews Accessories in England. Testing the RF transmission of Kimber Kable, up to 3GHz, at Ben Duncan Research Labs, in 2008.
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