David
04-07-2009, 11:50 PM
Just to get things started, I going to repeat a review that I posted about a year ago elsewhere, with some updates.
DSP is out of fashion with most audiophiles, but I think modern software has made it worthy of a revisit.
The SRS Audio Sandbox is a software version of a patented method of extracting and manipulating ambiance information in a recording. It originally appeared in the 80's as a hardware processor that was manufactured by Hughes Aircraft, called the Sound Recovery System. It was well received, but went the way of most ad on boxes, like equalizers, and other spacial enhancement devices because, among other things, it was necessary to sacrifice resolution. I never heard the hardward based original.
The software version, which includes more than sound field recovery, is a $50.00 software plug-in that I have been using for over a year in stereo mode. It is made for a PC but a similar product is available for macs.I have no experience with the multi-channel effects. It is not marketed for audiophiles, but more like an mp3 sound enhancer. Nevertheless I have concluded, in spite of certain significant caveats and initial skepticism, that it represents the single biggest step I have encountered in simulating the experience of live music in a home environment. I feel that it is reason enough for almost everyone to consider computer audio.
What is it?
Generally, the Sandbox is a 21rst century tone control that manipulates sound field information and frequency response in a highly sophisticated way to create (usually) a very realistic sound field/hall ambiance. Those who are technically inclined can learn more at the website. Briefly, it separates sonic reflections, which are the source of spacial cues, and manipulates them in a very sophisticated way to bring out the actual hall ambiance from the venue where the music was recorded. The user can control the effects. It has seven controls. SRS describes them as: 1. SRS 3D - 3D stereo enhancement for mono or stereo content; 2. SRS 3D Center Control- a virtual” zoom lens that dynamically extracts and positions the dialog in the foreground or background of the audio mix; 3. SRS TruBass - bass maximization; 4. SRS FOCUS optimize speaker output to compensate and reposition audio placement; 5. Speaker size-set this to the frequency where the bass in your speakers drop off; 6. SRS Definition- delivers a more lively and brilliant sound by highlighting the high frequency details originally presented in the audio source, it uses synthesis of highs rather than boosting them; 7. Limiter Level- this introduces compression.
Caveats
1. This is not a plugin for those who are looking for strict signal fidelity in their music. You must prefer live music to recorded music to fully appreciate this plug-in. Probably most popular music today is mixed and mastered to produce an end product that is an essential part of the artist’s intention. The final product has nothing to do with the sound of a live concert where the hall is an important contributor to the sound. As an example, I was listening to Leonard Cohen’s “Suzanne”. At some point a female chorus appears over his left shoulder and above his ear. A nice effect but impossible in a real venue. The Sandbox is best suited for music that is presented in a real venue, such as jazz or classical. Sadly, many audiophiles have little actual experience with live music.
2. It does not work well with every recording. In my experience it works well to spectacularly well in about 80% of the recordings I listen to, which consists almost entirely of classical. In the remaining 20% it makes little difference or makes the sound worse.
3. There is a learning curve in using the effects. It requires some patience to learn. I never compress the music and simply set the Speaker size to 40hz and leave it. I play with the other 5 controls to optimize the sound for each recording, but have basic settings for my own personal default. It probably took me about a week to fully “get” the controls.
4. You might have to sacrifice a slight amount of resolution to use it. This is not for those that insist on ASIO. It does not work with ASIO. I use it with J. River Direct Sound. Some users will probably find a slight drop in resolution because of this. If you love the sound of live music you won’t miss ASIO. Also, if the signal you feed it is above 48khz, it will resample it down to 48khz. For some this could mean a slight drop in resolution.
Sound
As stated, it provides very realistic hall ambiance and a sense of 3-D depth. I subscribe to the New York Philharmonic at Avery Fisher Hall and to a series at Carnegie Hall. On many occasions. I have listened to a particular work, e g Beethoven’s violin concerto, Shostakovich’s 5th Symphony, Strauss’ don Quixote, gone home and listened to it with and without the Sandbox. The effect was astoundingly realistic. Never have I been so close to live music in my living room.
I record both vinyl and SACD’s to my hard drive at 24/96. I have not captured 100% of the ease and weight of vinyl. Still many recordings sound shockingly better at a lower resolution (48khz) because the natural ambiance and 3-D experience has been recovered. Same with SACD. Between the effect of the Sandbox and the quality of my Lynx L22, I sold my fancy Sony SCD 777es, which was Kern modified. This $50 plug-in and $700.00 sound card beat a $4,000.00 (with mods) SACD player.
Another benefit: I owned a few SACD recordings that were almost unlistenable over a long period of time, a set of Beethoven String Quartets and Mendelssohn /Tchaikovsky Violin Concerto’s performed by Isaac Stern. After recording them to the hard drive and then playing through the Sandbox problem solved.
My wish is that SRS would come out with an audiophile Sandbox that works with ASIO.
My last thought is that I am astounded how audiophiles spend thousands and thousands of dollars trying to get the realism the Sandbox will give them for $50.00.
Also, a disclaimer, I have no financial or any interest of any kind in this product. I just like it.
DSP is out of fashion with most audiophiles, but I think modern software has made it worthy of a revisit.
The SRS Audio Sandbox is a software version of a patented method of extracting and manipulating ambiance information in a recording. It originally appeared in the 80's as a hardware processor that was manufactured by Hughes Aircraft, called the Sound Recovery System. It was well received, but went the way of most ad on boxes, like equalizers, and other spacial enhancement devices because, among other things, it was necessary to sacrifice resolution. I never heard the hardward based original.
The software version, which includes more than sound field recovery, is a $50.00 software plug-in that I have been using for over a year in stereo mode. It is made for a PC but a similar product is available for macs.I have no experience with the multi-channel effects. It is not marketed for audiophiles, but more like an mp3 sound enhancer. Nevertheless I have concluded, in spite of certain significant caveats and initial skepticism, that it represents the single biggest step I have encountered in simulating the experience of live music in a home environment. I feel that it is reason enough for almost everyone to consider computer audio.
What is it?
Generally, the Sandbox is a 21rst century tone control that manipulates sound field information and frequency response in a highly sophisticated way to create (usually) a very realistic sound field/hall ambiance. Those who are technically inclined can learn more at the website. Briefly, it separates sonic reflections, which are the source of spacial cues, and manipulates them in a very sophisticated way to bring out the actual hall ambiance from the venue where the music was recorded. The user can control the effects. It has seven controls. SRS describes them as: 1. SRS 3D - 3D stereo enhancement for mono or stereo content; 2. SRS 3D Center Control- a virtual” zoom lens that dynamically extracts and positions the dialog in the foreground or background of the audio mix; 3. SRS TruBass - bass maximization; 4. SRS FOCUS optimize speaker output to compensate and reposition audio placement; 5. Speaker size-set this to the frequency where the bass in your speakers drop off; 6. SRS Definition- delivers a more lively and brilliant sound by highlighting the high frequency details originally presented in the audio source, it uses synthesis of highs rather than boosting them; 7. Limiter Level- this introduces compression.
Caveats
1. This is not a plugin for those who are looking for strict signal fidelity in their music. You must prefer live music to recorded music to fully appreciate this plug-in. Probably most popular music today is mixed and mastered to produce an end product that is an essential part of the artist’s intention. The final product has nothing to do with the sound of a live concert where the hall is an important contributor to the sound. As an example, I was listening to Leonard Cohen’s “Suzanne”. At some point a female chorus appears over his left shoulder and above his ear. A nice effect but impossible in a real venue. The Sandbox is best suited for music that is presented in a real venue, such as jazz or classical. Sadly, many audiophiles have little actual experience with live music.
2. It does not work well with every recording. In my experience it works well to spectacularly well in about 80% of the recordings I listen to, which consists almost entirely of classical. In the remaining 20% it makes little difference or makes the sound worse.
3. There is a learning curve in using the effects. It requires some patience to learn. I never compress the music and simply set the Speaker size to 40hz and leave it. I play with the other 5 controls to optimize the sound for each recording, but have basic settings for my own personal default. It probably took me about a week to fully “get” the controls.
4. You might have to sacrifice a slight amount of resolution to use it. This is not for those that insist on ASIO. It does not work with ASIO. I use it with J. River Direct Sound. Some users will probably find a slight drop in resolution because of this. If you love the sound of live music you won’t miss ASIO. Also, if the signal you feed it is above 48khz, it will resample it down to 48khz. For some this could mean a slight drop in resolution.
Sound
As stated, it provides very realistic hall ambiance and a sense of 3-D depth. I subscribe to the New York Philharmonic at Avery Fisher Hall and to a series at Carnegie Hall. On many occasions. I have listened to a particular work, e g Beethoven’s violin concerto, Shostakovich’s 5th Symphony, Strauss’ don Quixote, gone home and listened to it with and without the Sandbox. The effect was astoundingly realistic. Never have I been so close to live music in my living room.
I record both vinyl and SACD’s to my hard drive at 24/96. I have not captured 100% of the ease and weight of vinyl. Still many recordings sound shockingly better at a lower resolution (48khz) because the natural ambiance and 3-D experience has been recovered. Same with SACD. Between the effect of the Sandbox and the quality of my Lynx L22, I sold my fancy Sony SCD 777es, which was Kern modified. This $50 plug-in and $700.00 sound card beat a $4,000.00 (with mods) SACD player.
Another benefit: I owned a few SACD recordings that were almost unlistenable over a long period of time, a set of Beethoven String Quartets and Mendelssohn /Tchaikovsky Violin Concerto’s performed by Isaac Stern. After recording them to the hard drive and then playing through the Sandbox problem solved.
My wish is that SRS would come out with an audiophile Sandbox that works with ASIO.
My last thought is that I am astounded how audiophiles spend thousands and thousands of dollars trying to get the realism the Sandbox will give them for $50.00.
Also, a disclaimer, I have no financial or any interest of any kind in this product. I just like it.