SingingWind

Numerical Analog Music Digital Music

Sweet nectar of subtle nuance is The muse has left the building. HMS Subtlety with Captain Nuance
recorded with huge and powerful is being destroyed by the huge and powerful dynamic range. Clean
dynamic range, and a noise floor sterilized precision with a noise floor that no one can hear. Girls do
that no one can hear. Girls dance not dance freely, and with spirit.
freely, and with spirit.

The muse was left behind with Digital Music, and we are the lessor for it. It is impossible to record
a Concert Piano, or most real musical instruments in 2025, with Instrument Quality. It is impossible to
generate a Concert Piano or most real musical instruments in Digital Music 2025, with Instrument Quality.
Subtle nuance and finite detail are not recorded with any microphone in 2025. Then the Music
Digitized with binary digits is even more compromised before the slaughter of Digital mixing even begins.
The entire world of subtle nuance in Music was NOT recorded, or digitally generated because the
details of critical information are missing. Singing Wind makes it possible to record, and generate Music.

December 24, 2024 (000) SingingWind (Preliminary) (1 of 32)

 Back of Cover Page

Decenber 24, 2023 (000) SingingWind Preliminary Only (2 of 32)

 Oversimplified Two Page Introduction
Critical electronic components for final product will not be available for purchase until first half of 2025. Prototype
and preproduction is possible with a small performance derating. Even then it may be more of a cost derating.

Numerical Analog Music: Starting with eight (8) multiple full frequency source channels on the left,
and eight (8) multiple full frequency source channels on the right. Full frequency is 0 - 1,000,000 analog cycles
per second, with 5 nano second resolution. This provides conversion of 2 channel stereo to 8 left, and 8 right
full frequency channels, and a separate channel for each transducer. Sub-woofer, woofer, midrange, and tweeter.
Possibly 4 left, and 4 right for ambient, or special effects. All achieved without Digital Signal Processing.
No Amplifiers, No Filters, No Digital Signal Processing, No Signal
Capacitors, No Rails, NOS = No Oversampling - Unlimited 200 Volt Source
Pure Analog Music
Once foundation components for 8L and 8R are achieved, multiple 8L and 8R system cost can be very low.
The Singing Wind product may begin as a Indiegogo product, targeting vinyl record recording for
generational salvage of original music, and master tapes to replace DSD [1] in analog recording. The DSD
Langoliers are closing in on original analog music, and old recordings are disintegrating. DSD is improving,
however can never achieve 1/1, and will always have a digital heart and soul, with DSP noise filters galore.
While Singing Wind is capable of replacing existing amplifiers, and most existing music equipment, it is a
very simple look down interface to integrate existing music equipment. Eventually the Singing Wind will support There's Life Above 20 Kilohertz!
thousands of full frequency channels per speaker station, starting with up to sixty four thousand (64,000) music A Survey of Musical Instrument Spectra to 102.4 KHz
and movie channels supported by the special CargoBit integrated product. Multiple hours of music stored on a
single Blu-Ray Disc 128GB, or downloaded from Internet in 128GB file size.
The multiple full frequency channels are necessary to achieve Instrument Quality.
The Singing Wind prototype with a dedicated state machine computer system, and fiber optics is designed James Boyk
to cost $5,000.00 to $10,000.00 (TBD) with Dealer support extra. A unique once in a lifetime transferable license California Institute of Technology
for recording studios is included with initial production prototype systems investment only. Music Lab, 0-51 Caltech, Pasadena, CA 91125, USA Tel: +626 395-4590, E-mail: [email protected] Home:
http://www.cco.caltech.edu/~musiclab
Copyright © 1992, 1997 James Boyk. All rights reserved.

Paper by California Institue of Technology available from above location.

This chart clearly shows musical instrument atmospheric modulation exceeding 100,000 cycles per second. The
Singing Wind audio signal supports 1,000,000 cycles per second pure Analog.

Some of the Real Consequences of Digital Music and DSP

[1] H. Inose, Y. Yasuda and J. Marakami, “A telemetering system by code modulation, delta-sigma
modulation,” IRE Trans. on Space, Electronics and Telemetry, SET-8, pp. 204-209, Sept. 1962
December 24, 2024 (000) SingingWind (Preliminary) (3 of 32) December 24, 2024 (000) SingingWind (Preliminary) (4 of 32)
 Current high performance music systems are Dead On Arrival, by the sourced music signal. Both Analog
and Digital source music signals prior to amplification by multiple stage amplifiers, are limited to low voltage

SingingWind integrated circuits, and small signal low noise transistors.

The Analog Kuzma CAR-60 MC moving coil diamond cantilever and micro ridge stylus cartridge for
vinyl recording playback costing $18,200.00 generates about 0.0003 volt output, that is far too small for any
general purpose amplifier, and must have a preamplifier usually with hand wound transformers, and hand made
filters.

The Digital integrated circuits sometimes have a dedicated 5VDC for analog circuitry only, and more
Singing Wind is both the consumer product, and commercial recording studio product that will have the common is the 3.3VDC or less. The typical low current output must be converted to amplified voltage at the
missing elementary details required for a true living numerical analog musical signal. The Numerical Analog output pin. These IC’s almost always contain massive amounts of Digital Signal Processing with Digital Filters
Computer (NAC) is used in Singing Wind. No Digital to Analog converters. No filters, no preamps, no multiple that excel in preringing distortion, or noise that starts even before the signal begins because of all the Digital
staged amplifiers, no signal wires, no crossover filters, in Digital or Analog form anywhere almost ever. Analog Signal Processing.
music in, Analog music out. Lossless and 100% repeatable Analog music always.
To add insult to injury, the same stereo signal Digital or Analog is used in all low cost playback devices,
Singing Wind starts with a dedicated hardware AMD EPYC computer that is a secure state machine up to complex ultra high end music systems. Typically the ultra high end music systems consist of very expensive
supporting the CargoBit Numerical Analog Computer (NAC) music component. Fiber optic cables allow remote perfected materials that achieve a higher performance, with ultimately diminishing returns.
location from the Analog music modulators for economic cooling. The secure computer is not accessible directly,
and supported by the application programming interface to the home system control panel used by the customer. All of these low level source signals must be amplified, and possibly isolated transformer filtered before
ever reaching the first stage of power amplification for driving the speakers. Great amounts of DSP (Digital Signal
Singing Wind is a flexible format starting at 4GBs (4 billion bytes per second), over 4 separate 10Gbs Processing) or analog signal processing have already occurred, and much more processing is required to drive
Fiber optic cables with 8 Left and 8 Right for 16 NAC channels minimum starting configuration. This data rate the speaker outputs. Even when the left and right signals are ready, more DSP or Analog filters are necessary
supports no crossovers, and no rails for +100vdc to -100vdc NAC Analog source signal. to separate the signal into different frequency ranges for tweeter, mid-range, woofer, and sub-woofer speakers.
Eventually the left and right signals are now six to eight separated signals, that must be phase aligned, or more
This starting configuration is 14.4TB (Tera Bytes per Hour). That will easily fit onto a 128GB Blu-Ray distortion will occur.
disc, or download file size with the Singing Wind CargoBit secure state machine. Thousands and thousands of
channels at much higher bit rates are supported by the Singing Wind CargoBit secure state machine to fit onto one Even in a modest high performance music system, each stage involved is usually hundreds of dollars each,
single 128GB Blu-Ray disc, or download file size. and probably more like tens of thousands each.

The Singing Wind CargoBit secure state machine can be custom to each and every different home Singing Wind music system is targeted for less than tens of thousands each stage, not millions of dollars
installation, including all third party electronics involved. The factory Data Center will handle the myriad of subtle total, and the primary target is a consumer market. The performance will exceed the most expensive conventional
differences for content delivery by licensed commercial recording studios for every installation. For example the high performance music system possible with stereo signals. The Singing Wind Home Theater System is a simple
bit depth alone will range from 1 to 64 bits per 200 million transfers per second per single channel in a system multiple of Singing Wind stereo music system components, possibly in smaller configurations for multiple
with thousands of channels of NAC music. Other features such as no rails and others also increase file size. This positions.
creates very large files that are still capable of one to two hours on a 128GB Blu-Ray disc, or download file size.
Custom hardware is supported. Any transfer of data is not practical without the Singing Wind CargoBit secure Thousands of full frequency (0 - over 1,000,000 cycles per second) independent channels with analog
state machine. amplifiers on the left, and Thousands of full frequency (0 - over 1,000,000 cycles per second) independent channels
with analog amplifiers on the Right is where the Singing Wind consumer product begins. Earphones and Movie
The Singing Wind CargoBit secure state machine will only work with music generated by licensed studio configurations are also supported as options.
creators. Data Center products with CargoBit and FTLDCI support data subspace conversion for everything else.
Home recording for a personal archive is supported, however legal licensing is required for transfer to any other
Singing Wind CargoBit secure state machine for playback. Because no filters are used anywhere, the different frequency range speakers have their own separate
channel with analog power amplifier each, and no crossover system of any kind anywhere. No preringing or post
Singing Wind is designed to support third party hardware for everything except the Singing Wind CargoBit ringing anywhere, along with no filter slur, meshing, artifacts, or signal distortion of any kind is used or allowed.
secure state machine.

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 C’est la vie - ELP

We all know what Digital Music is because we almost have no choice in our lives anymore. Analog has
No Digital Signal Processing (DSP) of any kind is used anywhere, with no Digital logic used in the Analog been usurped by Digital in almost every consumer product available for music. Even vinyl records now include
signal chain. The Numerical Analog Computer does all of the signal processing. some form of Digital processing, and even original master tape recordings from decades ago are now archived
with Direct Stream Digital (DSD) format. Until Singing Wind, no good Analog music archive format existed.
Thousands of complete full frequency (0 - over 1,000,000 cycles per second) independent channels with
analog drivers on the left, and thousands on the right provide the missing information to the left and right channels In 1968, Analog music was alive and dancing. It was everywhere because Digital music had not arrived yet.
of existing stereo systems. Along with the superior Analog performance of each single channel compared to the The noise, distortion and limited dynamic range were tolerated because the continuous living signal was getting
most expensive systems money can buy. Singing Wind speakers are in R&D now. through. Now we have discontinuous dead chopped up little sushi bits of a music signal filtered to operating room
sterilization levels that while technically almost perfect, miss something. Not to mention quality lyrics, or melody.
The full dedicated 4 wire 20, 30, 40, or 50 amps of a 220volt single phase home circuit breaker is required
for the typical Singing Wind consumer stereo product. Obviously more channels require more amperage. Multiple The best recordings, or 3D computer generation of piano, or any complex sound are both destroyed by
circuit breakers will be required for a large home movie speaker installations. This is an intermittent maximum their 2D audio signal format. Then the 2D audio signal format is limited by the 2D speaker. The argument as to
load only, and not a constant duty cycle electrical power load. how this is accomplished takes the form of thousands, and thousands of different physical products in the audio
market.
Multiple home dedicated 15A 110vac circuit breakers can be combined with a third party inverter product
to create a 220vac single phase 4 wire outlet for Singing Wind. It is not possible to hear a real piano over any audio recording device. This is why the term ‘that sounds
like’ is everywhere, vs ‘that is’ referring to Instrument Quality. Close to a piano it is possible to feel the music, and
that never happens to any accuracy with any existing audio format. Best possible ‘sound’ is in a ‘sweet spot’ only.

It was necessary for me to purchase a real piano just for experimentation. No recording or signal generator
can reproduce the complex physical interactions. Of course numerical physical simulation is now practical,
however no current audio format will support the degree of difficulty necessary. Singing Wind is a new audio
format designed to support complex acoustic atmospheric modulation, that is not simply more of the same.

Digital anything is a converted Analog anything. Digital memory in all computers are Analog representations
converted to Digital. All Digital storage is simply Analog representations converted to Digital. Digital music is
simply continuous Analog music chopped up into little discontinuous sushi bits, and when put back into the water,
the fish is dead.

Real living, and dancing music is ever changing complex atmospheric constructions that come and go, over
here, and over there. This music is very human perceptible, and easily generated by standing next to a real piano,
then recording the piano, and trying with the best audio equipment in the world to have the same experience. It is
not possible. The subtle information necessary for recreation was not acknowledged to even exist, only recorded
now and then by an accidental incidence.

Moving the microphone anywhere near a piano will change the sound recorded. Clearly these are not just
sine waves combining together in a spherical atmospheric pressure wave demonstrated with a laboratory sine
wave repeating oscillator sound generator. Obviously this complex system can not be recreated with a single
signal source channel driving paper cones moving back and forth the way current stereo music is recorded.

Current Analog and Digital music is a plane wave projection by paper cones moving back and forth, that
hopes to recreate some as-semblance of a depth of field. It is believed that the microphone picks up everything, or
the Digital music effects generation will create a depth of field. The subtle information was never recorded, nor
electronic music generated to contain the critical missing elements contained in Singing Wind.

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 Like the image on page (NN), music playback of any kind has been limited to creating ripples on a pond Conventional computer storage is used by the NAC with a minimum conversion necessary. The Singing
with a stone, or multiple stones and having the ripples interact in a positive way hopefully, sometimes. Also the Wind NAC has all the benefits of Digital, without being Digital Signal Processing. Once the original master tape,
exact same music source signals (CD, Vinyl Record, Internet Stream) are used with a low cost stereo, and a multi or vinyl record has been stored with the Singing Wind Studio Numerical Analog Computer, it will never have to
million dollar stereo system. be played again. The Singing Wind Studio recording can be edited by a NAC workstation without disturbing the
original in any way, shape, or form after initial read. Singing Wind supports the mixing, and editing if desired by
Singing Wind can have thousands of full dynamic range source signals on the left, and thousands of full the owner.
dynamic range source signals on the right. These thousands of full range source signals are used to construct multi
dimensional atmospheric modulations that can not be recorded with current microphones, computer generated, or The early 1980’s ever loving brick wall filter of 22,500 cycles per second CD music, said because humans
played back on any stereo system in existence. can not hear it anyway. Filters, amplifiers, rail slamming loudness wars everywhere also was just the beginning of
their Digital music.
Singing Wind is engineered to cost less than most medium, and all high end stereo systems. Singing Wind
is affordable in quantity for multi speaker location movie sound. Singing Wind is compatible with existing music The consumer version of Singing Wind is rated at over 1,000,000 cycles per second Analog playback.
signals, although most of the critical information needed is missing with existing music recording formats of any Original Singing Wind format NAC music will be sent to the consumer with full studio 1,000,000 cycles per
kind. Singing Wind can be used to archive any existing Analog magnetic tapes, and vinyl record music source. second Analog information. Cycles per second is the actual Analog cycle compared to samples per second for
Digital signal Processing which is only small pieces of a cycle. Obviously this is for the electronic signal recording
Most serious medium home stereo music systems begin at $5,000 to $10,000. Then small pieces of a distortion from vinyl record players, or magnetic tapes that are decades old, and enhanced signal integrity quality
single system begin to cost over $10,000 each, and go up quickly. Many professionals will hand the audio dealer for new recordings. This far exceeds the atmospheric modulation requirement, however it is also used in studio,
$15,000, and ask them to put together the best system for that amount. Other professionals will spend many years and factory prototype NAC signal processing without consumer knowledge.
studying what is possible, mix and match until they are satisfied with what they could afford. This is the audio
dealer customer that ranges between medium, and ultra high end audio. Tape and vinyl records are pure Analog with serious flaws. Limited dynamic range, a vulnerable storage
medium, perfect repeatability is difficult, and minute physics are involved, meaning expensive precision alignment
Singing Wind is designed to perform easily above the famous $2,000,000 million dollar audio system, and is required.
any ultra-high end audio system that money can buy. Power wattage can be built up in modules of 8X8 if desired,
with little to no changes required to the lowest cost Singing Wind music system. Singing Wind is designed to eliminate the micro-physics of the past, replacing them with the NAC. Where
minute detail was stored in micro-grooves in vinyl, or changing magnetic domains on tape the NAC works with
Singing Wind has the subtle detailed information required, with Analog generation that no other music a very real 200 vdc that continues up and down without rails continuous to well below, or above the physical
system in the world has, that will project the sound construction forward similar to a piano, or most all musical dimensions of the past. The NAC continues well beyond the immediate 200 vdc available, and although not
instruments into a sound stage that can not exist without the critical information necessary that is supported by practical, could store and play back the micro-physics if desired.
Singing Wind.
The minute detail once desired is now zoomed into multiple 200 vdc working range without rails from
Singing Wind has broken the task necessary for each audio channel into possibly thousands of different top to bottom. Mixing and master can now decide if the musical instrument key press sound is important or not,
full range Analog information sources that take all the stress away from the individual thousands of speaker and include it into the completed single 200 vdc final mix playback. Or the original master is sent out, and the
actuators. This reduces the high performance materials required by exotic audio manufactures, and reduces the customer can play with it.
price performance point dramatically.
Analog Data Storage that has to be converted to Digital. Some current technologies are:
Most high end audio equipment use extreme exotic, and expensive materials that will allow their speakers RAM, Hardware cache, CPU cache, Scratchpad memory, DRAM, eDRAM, SDRAM, SGRAM, LPDDR,
to get the most possible from their limited left and right channel information available. Cones or planes moving DRSRAM, EDO DRAM, XDR DRAM, RDRAM, SDRAM, DDR, GDDR, HBM, SRAM, 1T-SRAM, ReRAM,
back and forth only create ripples in the atmosphere. Singing Wind is designed to support new actuators that are QRAM, Content-addressable memory (CAM), VRAM, Dual-ported RAM, Video RAM (dual-ported DRAM),
more than simple speakers based on technology of over one hundred years ago, and climbing toward two hundred. Linear Tape-Open, Hard disk drive, Optical, 3D optical data storage, Optical disc, LaserDisc, Compact Disc
Digital Audio (CDDA), CD, CD-Video, CD-R, CD-RW, Video CD, Super Video CD, Mini CD, Nintendo optical
Thousands of left, and thousands of right channels are not simply the same thing with small changes discs, CD-ROM, Hyper CD-ROM, DVD, DVD+R, DVD Video, DVD card, DVD-RAM, MiniDVD, HD DVD,
each. The initial market will be supported by a dramatic difference between Singing Wind and all other music Blu-ray, Ultra HD Blu-ray, Holographic Versatile Disc, WORM, CBRAM, Racetrack memory, NRAM, Millipede
systems running the same single left and single right source material of everything in 2025. Special custom artist memory, ECRAM, Patterned media, Holographic data storage, Electronic quantum holography, 5D optical data
recordings will fill the gap, and custom movie soundtracks are immediately possible. After that all music can be storage, DNA digital data storage, Universal memory, Time crystal, Quantum memory, NVRAM, Memistor,
available in Singing Wind format. We are living in a multi decade Digital audio dead end now, only getting worse. Memristor, PCM (3D XPoint), MRAM, Electrochemical RAM (ECRAM), Nano-RAM, CBRAM, Early stage
NVRAM, FeRAM, ReRAM, FeFET memory, ROM, MROM, PROM, EPROM, EEPROM, ROM cartridge, Solid-
Singing Wind will store original master tapes or vinyl recordings in a pure Analog no rail 200 volt direct state storage (SSS), Solid-state drive (SSD), NVME, Solid-state hybrid drive (SSHD), USB flash drive, IBM
current source signal. Because of the Singing Wind Numerical Analog Computer (NAC), no separate Digital FlashSystem, Flash Core Module, Memory card, Memory Stick, CompactFlash, PC Card, MultiMediaCard, SD
conversion of any kind, A/D, or D/A is necessary. card, SIM card, SmartMedia, Universal Flash Storage, SxS, MicroP2, XQD card, and Programmable metallization
cell, just to name a few. The Binary Digit or bit is also Analog.
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 No Amplifiers, No Filters, No Digital, No Signal Capacitors, No Rails All Music recording systems have electronic filters
NOS = No Oversampling - Unlimited 200 Volt Pure Analog Music
Electronic filters are used in Music recording systems from beginning to end. Usually to reduce noise, and
No Amplifiers control frequency application in the electronic Music signal. Ubiquitous in the Music signal chain, and sometimes
multiple filters are found in each of the different major components used in the recording, and playback of both
It would seem easy to simply use 512 Digital stereo music chips on the left, with another 512 Digital Analog Music and Digital Music. Electronic power filters, and low frequency filters have no real effect on
stereo music chips on the right for 1,024X1,024. These integrated circuits are somewhat expensive each, require complex Music signals, as long as the Music signal does not have to go through them.
great care with precision components. Each one is completely Digital from input to a miniature minute current
output that then has to be converted into voltage and amplified to even reach audio line specifications of 2 volt Since the limitation of Analog and Digital Music recording are well documented, and most extremely
peak to peak line voltage. Most IC Digital music chips work with 0-1.5vdc, 0-3.3vdc, and possible 0-5vdc only. successful Music recordings have been a creation of sound, rather than a pure recording of sound, subtlety and
The output signal from the chip has to be amplified to reach the first stage of the power amplifier. The circuitry nuance become a luxury that get into the way of the complete creation of sound. Loudness wars are alive and well.
of the IC music chip can only work within the voltages it has, and it is a lone way away from unlimited 200 volt
pure Analog, where Singing Wind starts at. The sincere recording studios that want to make accurate live Music recordings are limited by the specific
Music recording technology applied. Almost certainly electronic filters are a primary component to that Music
The Digital operations inside of a music chip are terrible, then all of the Digital filters necessary to mask recording technology, and media distribution whatever it is.
out, or the magical Digital noise shaping, usually has some residual mystery something that was not there in the
first place left over as a free gift from hell. Analog electronic filters for Music
Every single electronic component has its own imperfections, and when combined with other components In Analog Music the electronic filters are used primarily on the Music signal itself as it travels from gain
these can lead to a distortion from the perfect theory that led to the electronic model of the universe. Music stage, to gain stage picking up electronic noise from all the different components, and then finally through the
Integrated Circuits are full of components that add up in imperfections. Then the end result of this complex Digital crossover frequency filter in the speakers, with maybe another filter with the amplifier in amplified speakers. The
Signal Process is magnified with another source of distortion, the amplifier. Eventually the minute signal coming Analog Music filters seem to have a dampening effect to clarity and detail.
out of the Digital music chip will make its way to driving the paper cone back and forth, after magnitudes of
amplification stages of both current and voltage. Analog Music is well known for a loss if signal integrity when one recording is made of a previous
recording with or without a microphone involved. Each sequential recording is a copy of the newly made previous
No Filters recording. Some number of copies later, the subtlety and nuance are murdered, and the Music is almost not
recognizable.
Singing Wind native signal source both recorded and played back is a pure Analog +100 volt direct current
to -100 volt direct current. It starts with the recording, and is recalled for playback in +100vdc and -100vdc Analog Music has the potential for Digital Music replication if the groves in a vinyl recording could
without any amplification or Digital music chips necessary. Also NO FILTERS are used in the Singing Wind be manufactured in mass quantity, or the magnetic domains of tape could be manufactured in mass quantity.
music signal from beginning to end, either Digital Filters, or Analog Filters. Numerical Analog can be manufactured in mass quantity, is used in Singing Wind, and does not have any loss of
signal integrity, subtlety, or nuance.
Once recorded in Singing Wind music format, the Digitally data stored music can be mixed, edited and
modified in any way, shape, or form outside of Singing Wind. New filters and sound modification outside of
Singing Wind can be similar to the old Analog gear used in recording studios. New Digital music modifications Digital electronic filters for Music
are possible without DSP, or any type of FFT system. Of course conventional DAW systems can work, however
expect conventional DAW system results. All filters inside of Singing Wind are forbidden. In Digital Music the electronic filters are used primarily on the digital format itself, as the Digital Music
does not pick up noise as it travels through all the different components, depending on what the components are.
All speaker systems now use filters of some kind, active or passive to separate the different frequency’s However the Digital electronic filters required by the Digital Music format just for delivery are devastation to
for the tweeter, midrange, woofer, and sub. The one single music signal line of left and right are further distorted Music signal integrity. The Digital Music filters seem to smear and create artifacts with a dampening effect to
after output from the amplifier. Filters are almost everywhere in current audio technologies. We are told they do clarity and detail.
minimal, or no damage to the signal.
Digital Music electronic filters, especially Digital Signal Processing are always an approximation of the
Singing Wind uses separate full range channels to support different frequency speakers, so no filters are signal, and never an exact replica of the input signal. The bits of the original Digital Music are simply manufactured
required in any way, shape, or form. in mass quantity with only the original first generation loss of signal integrity, subtlety, and nuance. It is not well
known that Digital Music has a loss if signal integrity when one recording is made of a previous recording with
or without a microphone involved. The Music signal approximation is multiplied with each new generation of
copy. Each sequential recording is a copy of the newly made previous recording. Some number of copies later, the
subtlety and nuance are murdered, and the Music is almost not recognizable.
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 No Digital Numerical Analog Computer
Of course Singing Wind is pure Analog, and does use Digital storage without D/A or A/D converters. Singing Wind is a complete system that requires new component designs not available in current music
Because of the number of channels, the cost of multiple hundreds of D/A converters on the left, and another recording, and playback. This whole paper is only about the Numerical Analog Computer. This is the minimum
multiple hundreds of D/A converters on the right mandate the economic reality of pure Analog only. Even low foundation component design that is required for Singing Wind. The high performance from the Numerical Analog
cost Digital music chips are not low cost when the actual supported component complexity cost of many left, and Computer system is not available in any existing music recording, and playback technology, at any economic cost.
many right for the complete system is discovered. Extreme low economic cost is the critical design component for Singing Wind.

No Digital means no Digital inside of the Singing Wind music signal chain from beginning to end. The Singing Wind does not use rare exotic perfected high performance materials, and precision electronic
Digital data is the music frozen in pure Analog form, without Digital sampling, or intense Digital Sigma/Delta, components available at enormous economic cost found in music systems for rich people only. Wide tolerance
Delta/Sigma a.k.a. DSD. So when the Digital data storage is sent to Singing Wind, it is actually Singing Wind pure components, lacking high precision and repeatability have been a constant problem for me, until I learned how to
Analog music with no expensive or Digital D/A converters, and when Singing Wind sends the pure Analog music understand them, and experience the great advantage they have over high performance, high end systems. Easy
to Digital storage outside of Singing Wind, it is automatically converted to Digital storage format without DSD, to mass produce, very forgiving, and designs that want to work together can only be achieved with extensive time
or expensive A/D converters. over target. Also known as Research and Development. Since LogEtronics R&D lab 1975.

Usually when Digital is employed in music systems it is because Digital is the lower cost component that Why is 200 Volt Pure Analog better than 90 Volt Pure Analog?
is hosting Analog that has to be converted to Digital. With Singing Wind, Analog is the lower cost component, that
trades off the Digital binary digit (bit) for pure Analog signal. Dedicated Digital computers are required to support Rail to rail voltages that most audio recording studios Digital, or Analog have to deal with are standing
the Singing Wind pure Analog signal chain with a core utilization of 100 percent duty cycle, and massive Digital targets, that do not move. Compressors are usually involved, or some system to manage the recording to keep the
data throughput not seen in current music systems. The Singing Wind computer is a secure state machine. voltage peak to peak signals from clipping the high and low voltage rails.

No Signal Capacitors Enter the loudness wars. Because of this fundamental rail to rail limitation, and people that should not
be involved in the music industry in any way, shape, or form, have used the voltage rails as a beginning for their
Signal Capacitors are widely used in Analog music systems, and some Digital music systems also. Usually music production. The only way they can hear any detail is if the signal is slammed up against the rails in a
they are used to automatically balance the offset voltage/current to reduce system complexity, and cost. You demolition derby where detail is sacrificed for a cheap thrill. Quality and accurate detail are just words to these
can find information on how signal capacitors change the sound, and some types sound better than others. The people.
capacitor is not a perfect component on its best day, and then some minute amount of electrons in the signal detail
will be lost with the translation from one signal level to the next signal level. The actual fact is that there is not enough electron dynamic range available in any existing recording
format voltage standard, especially if nanobots are inside the IC’s producing nano music that has to be amplified
Singing Wind does not use signal capacitors anywhere inside of the pure Analog music signal chain. to reach any kind of human scale.

The Singing Wind 20 volt Pure Analog system is better than any other music recording or music playback
200 Volt Pure Analog Music Storage system ever because their are NO RAILS EVER. The NAC operates just below the speed of light, so when the
recording signal eventually reaches one of the 20 volt rails, it simply jumps to the beginning of the next 20 volt
The late great audio legend Rupert Neve once said in an interview one of his advantages was he was rail level. Unlimited numbers of rail sets can be used for 200 volt, 2,000 volt, and even 200,000 volt and more
working with 90 Volt Pure Analog signals that gave him an extra 6 decibels of sound to work with on his consoles. Pure Analog Singing Wind recordings. Everything is recorded in full detail, then the NAC workstation is used to
decide what music detail is important, and what music detail will be reduced to fit into one actual 20 volt Pure
In 2025 the vast majority of music IC voltages range from 0-1.2vdc to 0-5vdc and below. Some IC’s do Analog rail set.
venture up into -15vdc and +15vdc or more that are typically limited in a specific function, usually the amplifier
for a smaller signal source. Many expensive audio systems costing about the same, or more than most homes do
venture up into higher voltages, starting with amplified signal sources from the same average music source as The rich detail afforded with the true pure 20vdc Analog source music signal is way ahead from the start
everyone else. without all the amplifiers, filters, and Digital now required. It is very easy for Singing Wind to look down on any
lower voltage music system with only a few resistors. It is very difficult for lower voltage music systems to work
The degree of difficulty in working with high voltages are reflected in a very expensive customer purchase their way up to Singing Wind levels without extra noise, and distortion.
price. Singing Wind is designed for the ultimate home audio consumer, where low cost is second only to audio
performance. This will work with a home recording of any vinyl record, or tape, and extend to many channels for stereo
and movie format studio recordings. The original vinyl record, or tape will never have to be played again, and any
The advantage Singing Wind has is much wider voltage range pure Analog signal sources, and all Digital improvement, or change can be made without change to the original recording. The extreme low cost of Singing
signal sources with the Numerical Analog Computer (NAC). Wind channels does make this practical for both small scale, and large scale.

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 No Voltage Rails - No Compressor NOS = No Oversampling, No Noise Shaping, No Digital ...

When recording real instruments, or generating music with electronics the rail to rail voltages are the Singing Wind is Analog. Most Digital music systems are Digital, and do not know the difference between
definitive boundary that must be considered, before any form of signal compression begins to stay withing the the music signal, and all the noise generated by the Digital Signal Processing from beginning to end. Yes, the actual
rails, and compromises quality. music signal itself has to be filtered, and separated from all the generated noise in the quantization processing.

When recording a real symphonic orchestra, the actual individual instrument quality is in very close “The process of converting an analog signal (which has infinite resolution by definition) into a finite range
physical proximity of the musician receiving feedback from their individual instrument. Most recordings are number system (quantization) introduces an error signal that depends on how the signal is being approximated.
made with microphones placed far away from the individual musician, and or musical instrument because of rail This quantization error is on the order of one least-significant-bit (LSB) in amplitude, and it is quite small
to rail saturation, and microphone overload. Also the neighbor musician beside is also generating music, with compared to full-amplitude signals. However, as the input signal gets smaller, the quantization error becomes a
further dynamic range considerations that saturate the rail to rail. larger portion of the total signal.” Sangil Park, Ph. D. Strategic Applications-Digital Signal Processor Operation

Typically a compromise is made between close distance recording, or even microphones designed for The completed Digital music signal is heavily scrubbed of any, and all detail for a noise free, and subtle
that specific instrument, ignoring the other instruments, to a distance away where the combined instruments detail free output that is sadly missing something, leaving the listener with a sense of sterile over simplicity. The
can be calibrated with some normal operation within the rail to rail before the compression begins. Too close music does not dance anymore, it just poses like a beautiful female model selling a dress.
and the microphone itself will saturate and clip the rails. Too far away and the background noise overtakes the
performance. The Analog music signal only gets in the way of Digital Signal Processing, and is never the first consideration
as to importance, or priority in any way, shape, or form. Of course going from an infinite resolution, and infinite
Singing Wind works with hundreds to thousands of channels, and low cost microphones are desirable bit depth Analog music signal to a much less Digital quantization is humiliating enough, then they say it is better
because they can be placed close to the recording target, and not have to record anything else, where a very after all that change, when it clearly does not sound as good.
expensive microphone can not be economically practical in hundreds or thousands of recording targets.
Why does the Analog signal have to compromise everything for Digital change? Make the Digital signal
subservient to the Analog music signal from beginning to end. Singing Wind.
Recording the audience and external ambient road noise is just as important as the recording target

The limitation of only two source channels for final mix, and physical limitations of the microphone
saturation mean a significant loss of detail. Also recording the audience and external ambient road noise is just
as important as recording the musicians on stage, for removing cell phones, emergency services, and coughing if
desired. The extra channels of ambient noise help to eliminate any need for Digital Signal Processing.

Singing Wind works with unlimited voltage range of the NAC to record critical details compromised
by a compression system by using an unlimited range of zoomed 200 Volt Pure Analog for recording, and then
generation of music for play back. This can be 200 Volt, or a equivalent 256 X 200 Volt or 51,200 Volt magnified
and dynamic range without any change in hardware required. The same recording system can be used to record a
Saturn V rocket launch, with no compression, and record a whisper in the wind with no compression of any kind.

Special interfaces are possible for 51,200 Volt physical input ranges and the ability to change 200 Volt
physical ranges occurs in less than 100 nano seconds external, and less than 10 nano seconds internal with no loss
of signal integrity.

Any final mix with Singing Wind occurs numerically, with no loss to the original Analog source

The RAW Singing Wind recording is then converted with or without audio compression for any musical
rail to rail voltage limitations required for conventional audio equipment, and the original is never lost. The ultra
low cost allows hundreds of sources that do not have to be ultra perfect, because they are not trying to record
everything by themselves. Singing Wind.

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 Multiple Simultaneous Problems Steinway Concert Grand Piano can not be recorded in 2025
Music instruments are man made, and do not happen by accident. Flutes and drums with percussion
instruments, along with bells represent the beginning of a man made sound. Hundreds and hundreds of years have As obvious as it should be, it is not obvious that Music recordings are missing critical details. This detail
been required to create music instruments to where they are today. The concert grand piano required well over takes the form of a Tours de Force radiated directed energy in a real musical instrument like a Steinway Concert
300 years and counting of continuous research and development. Grand Master pianist will have a very specific Grand Piano. The Tours de Force radiated directed energy has a very real limitation in the form of radiated
favorite Steinway piano, or have to search for one with the correct sound, and then it is not possible to audio directed energy distribution over distance, however the signature of that Tours de Force radiated directed energy
record, and audio playback that very subtlety they spent so much of their life force in pursuit of. distribution is carried in the atmosphere beyond it’s limited Tours de Force radiated directed energy effective
range. The music signal will still exist after the Tours de Force radiated directed energy has dissipated into the
Musical instruments are almost non existent in many peoples lives today, many children have never heard atmosphere.
a concert grand piano in person, where beyond ten or twenty feet away is not in person. Some concert grand
piano’s are plant holders, and interior art decoration in homes. Both Analog Music and Digital Music fail to record, or generate this Tours de Force radiated directed
energy that Singing Wind can. This Tours de Force radiated directed energy distribution is not limited to a Steinway
Digital instruments do generate sound, however the digital organ grinder is a piano in name only. When Concert Grand Piano, and can be found in most live instruments including pipe organs, human voices, and sound
the band is simply blasting their digital piano sound into the audience at full volume, no one cares about missing effects. This Tours de Force radiated directed energy is repeatable, when recorded, or generated and played back
detail, or instrument quality. Five minutes later it is all over, the band has money in the bank, and the audience is with Singing Wind.
happy. Celebrating hit songs has a known formula, and a Dead End.
The Tours de Force radiated directed energy distribution has not been defined in 2025, and does not exist
The Digital Audio Workstation has become the slaughter house of subtlety, and nuance. If a singer can not in electronic instruments of any kind. The public address system in concert hall does not, and is not capable of
sing, no problem. If a musician can not play the instrument, no problem. Whatever the problem is, no problem. carrying this Tours de Force radiated directed energy to the audience. It is not simply amplitude of projected audio
Even with the DAW, some musicians are still beyond redemption, and they would have it no other way. that is, or is not canceling out. The information necessary is never recorded, and never comes out of a speaker.

The deafening roar of the Digital Music conquest over Musical Instruments, and Analog Music is almost Please see the video below: The Tours de Force radiated directed energy distribution, even though it
complete. How do you miss something that you have no experience with, and yet you do know something is has dissipated from the instrument source and traveled out the fourth story window down to the street, is now a
missing? Research and Development laboratories have tone, and signal generators, including computer generated musical signal that is not recorded by Analog Music recordings, or Digital music recordings.
waveforms that all enforce the deafening roar of Digital Music because they have no soul. I had to purchase a
Baldwin stand up piano for $100.00 from Warner Robbins just to break out of the trap. I did spend years studying When I walked through the park in NYC in the late 1970’s on a summers night, the real instruments were
the flute, and it is possible for musicians to fall into the same deafening roar of a Digital Music trap. very different from anything electronic, even far away. Singing voices with, or without amplifiers were also very
different. Singing Wind will explain why 2025 Digital Music is a giant step backwards compared to Analog Music
Did digital recording kill rock and jazz creativity? regardless of any specific media or technological limitations. Singing Wind is a new format that is not bound by
Steve Guttenberg Audiophiliac https://youtu.be/gH2JED-8A-c existing standards. The only possible economic way forward with physics in Music recordings is Singing Wind.
Decades before Digital Music was even possible, it was well understood that Analog Music recording
Ultimately, existing Digital Music recording and playback in 2025 was based on improving 1922’s
quality was extremely limited, and that a unique “sound” could be generated, sent over the radio into homes, cars,
technology, or even possibly Siemens work of 1870’s , and not creating a new and better system. A pathway must
and people to enhance their individual artist performance within the extreme bounds of the technology.
be created that allows the migration to a Tours de Force performance, with very little monetary cost to move away
from the improved 1922’s era performance. Singing Wind will allow a RetroBravo function of compatibility
Many components were added to the Analog Music recording studio to keep the analog signal within the
all existing Music recordings, while creating a Tours de Force signal that is not possible with existing Music
extreme bounds of recording limitations. The Fairchild compressor is one of the most famous, and much more
recording and playback technology, at low cost.
analog instrumentation just inside the control room, after the original Music was generated. The solution decades
ago was to overcome the extreme bounds of the technology, and work with what they had, and if no one had a
Ludwig van Beethoven grew increasingly deaf from 1812 to 1827, and would not be the composer he
better solution, it was a level playing field. Stereo arrived, and the problem of recorded delivery continued with
was with modern electronic musical instruments. The Tours de Force radiated directed energy missing from all
records, and tapes of Analog Music. Digital arrived and solved everything, by solving nothing.
electronic recording and playback systems of any kind in 2025, do not hold a candle to the very real piano of his
day hundreds of years ago, allowing the feedback required to create great music.
Measurable digital performance gains that somehow leave the soul of the Music Dead, with complete
clarity, and huge dynamic range, and the Music is Dead. The solution is to ignore the problem, deny the problems
of Digital Music even exist, while leaving the advantages of Analog Music in the past. My concept of little Why is it so easy to tell the difference between live and recorded music?
Steve Guttenberg Audiophiliac https://youtu.be/F14GJihWn_E
musical goldfish swimming happily in the bowl of Analog Music, are now chopped up into little bits, dumped into
a huge fish tank, and sinking to the bottom Dead and lifeless with all the little bits of other musical goldfish thrown
in because of Digital Music. The true analog signal is a living entity, that interacts with other analog signals, in
that Digital Music has no ability to even recognize this, and actually works to destroy harmony with the cold
mechanical precision of approximate digital accuracy. Singing Wind will solve this problem.

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 Two different Music Recording Systems that both Fail Dramatically The False GOD of Telecommunications Theory, and DSP
No one told me that music recording was fundamentally flawed, and that simply purchasing more expensive
audio equipment would not solve the problem. Then the same recorded audio music signal used on my low cost Telecommunications is not music. Digital Signal Processing is not music. Sending sine waves from point
equipment, was the exact same recorded audio music signal used on the most expensive audio equipment in the A, to point B has nothing to do with recording music, or playback of music. Digital Processing of sine waves has
world. nothing to do with recording music, or playback of music. The constant reference to proven telecommunications
theory, and DSP in the recording, or playback of music is misapplied technology. Sine waves have little to do with
A description of failure in both Analog Music recording, and Digital Music recording is required to prove music, and sine waves are certainly not the determinate foundation of music.
that there even is a problem in the first place. Many people would be happy with 1980’s era High Fidelity music
recordings, and any improvement is just frosting on the cake. As a young musician I was aware of a problem like Bell Labs did not declare telecommunications theory to be music, or even musical. It is just more simple
most musicians were, however it has taken many decades to even define a solution. to use existing theory, and low cost digital computers compared to designing a music system from the ground up.

We all know what sound looks like because Bell Labs made a picture of it many decades ago. A bit is a bit,
If digital audio is so perfect why doesn’t it sound more realistic? and sound waves are sound waves, case closed. Bell Labs with a simple oscillating resonator horn is not proving
Steve Guttenberg Audiophiliac https://youtu.be/7ZiscmBPpKs what complex musical instrument sound is, and had no intentions of doing so.

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 Atmosphere is not limited to 22kHz
Digital Music Processing is the Punishment
The completed mixed complex Analog Music signal range of interaction with other complex Analog Music
When I was with Microsystems Altair Computer Center in 1976, we were an exhibitor at the Consumer signals, is being confused with the very limited human perception of isolated separate individual frequency range
Trade Fair, Personal Computing ‘76 Atlantic City, New Jersey, and the Star Trek Convention, Washington D.C. of analog sound signals used in a human hearing test. To make everything even worse, a frequency is assumed to
Someone had a Digital Music computer display on a table at one of them. It was amusing, and amazing at the be single, or a combination of sine, cosine waveforms contributing to the invisible digital integrity filter.
same time. He explained that he could filter out the noise, however the sterile clean music did not sound as good
for some unknown reason to him. It has been predetermined that humans can not hear above 22kHz, so DSD will cut as much as possible
above that, and DSD has to for a safety margin because of their noise shaping digital filtering. In DSD almost all
Digital signal processing is forced to have look down discrimination on a completed mixed complex the digital quantization noise by the digital signal processing above 22kHz is heavily filtered out. DSD 64 had
Analog Music signal because the digital computer filters only have approximations of sine, and cosine waves the some leakage into the perceptible audio range, so DSD 256 is better. DSD 512, and DSD 1024 are even better,
digital signal processing can work with. Both amplitude and frequency range must be predetermined to operate however they will kill computer performance in the Digital Music recording process, and require extra computer
within a known bounded box of limitations. Only then can the digital signal processing theory that sine, and power in the consumer playback, and file download.
cosine waves can be combined to approximate any completed mixed complex Analog Music signal.
The completed mixed complex Analog Music signal that exist in the atmosphere before it reaches any
The horrifying sterile clean, and very dead Digital Music signal that sounds like it is missing something, microphone of any kind, and if it was not digitized already in a DSD recording studio, must eventually be run
is then called superior by engineers that have achieved their test measurement perceived nirvana of perfection. through the DSD noise shaping digital filter. Not only noise goes through the DSD noise shaping digital filter, the
However, the baby was thrown out with the bath water. The only thing left of the completed mixed complex entire completed mixed complex Analog Music signal has to go through it also.
Analog Music signal is what could be approximated with combined sine, and cosine waves under 22kHz along
with all the distortion from digital filtering, and digital signal processing

Worth a very few minutes of your time if possible, starting at 1:16:40 for the Digital Disease
Please see the papers linked to in the Sound beyond 20khz:The key to true high-fidelity? YouTube Video
Sound beyond 20khz: The key to true high-fidelity?
ANA[DIA]LOG https://youtu.be/Btn572ZIC8k

DSD: The Good, The Bad & The Test

ANA[DIA]LOG https://youtu.be/eu5I-z7f6is
The Digital Disease: Why analog sounds better
ANA[DIA]LOG https://youtu.be/sMFWlvbRYdA

Can Analog Distortion be Hi-Fi?

ANA[DIA]LOG https://youtu.be/aTYc7vZuM-c

Bernie Grundman, Chad Kassem, Ryan Smith - How to Create a Perfect Record + M. Jackson Thriller
45 RPM Audiophile Start at 1:16:40 for Digital Disease https://youtu.be/6DArqAgLO5s Over Simplified Explanation:
The happy little Analog Musical goldfish swimming in their bowl, are picked up and chopped into little
digital bits. The little happy Analog Musical goldfish digital bits can never live again in their new digital fish tank.
Even worse, critical subtle nuance spirit and soul components of the happy little Analog Musical goldfish are
discarded by the conversion into little digital bits.

December 24, 2024 (000) SingingWind (Preliminary) (21 of 32) December 24, 2024 (000) SingingWind (Preliminary) (22 of 32)
Periodic Sine and Cosine Waves can not be combined to form any signal The little know fact that a Digital Music signal can not be re-recorded, because the Digital Music will
degrade like Analog Music recording over, and over because of all the approximation. The Digital Music has
The number one failure point of all Digital Music is the conversion from a continuous-time complex the advantage of not needing to re-record like Analog Music for mass production because of the digital bits, not
analog signal to a discrete-time numerical digital approximation. The original continuous-time complex analog available with Analog Music recording.
signal is unlimited, however the discrete-time numerical digital approximation of the signal is bounded, by being
limited in scope and function immediately because of the A/D converter. The entire digital process is limited by The continued use of existing DSP, Wavelet, Fourier methods, Laplace, filter design, and existing electronic
this step. Then the magic 22khz filter is applied, or some other magic standard that bounds the performance to component mathematical theory does indeed create all the modern day Digital Music recording and playback
known human limitations. problems.

Before the real problems occur, two huge compromises have to be made by the discrete-time numerical Either there is a problem with Digital Music, or there is not. When a Digital Music recording and playback
digital approximation of the continuous-time complex unlimited analog signal. The scope of continuous-time fails to recreate the musical Tour de Force energy of a musical instrument, that is called a loss of integrity
complex unlimited analog signal amplitude, and frequency must be limited to fit the operational range of the A/D catastrophic failure. The fact that it is the best Digital Music recording and playback possible, devolves into the
converter, and the completed quantization also requires an anti-aliasing distortion filter by the A/D converter to meaningless dribble of endless excuses that are required for modern High Fidelity music.
significantly attenuate artifacts after the A/D converter during the digital process.
An approximation compromise at the input combined with a continuous stream of compromise from
Function must be limited by discrete numerical periodic sampling of both the complex unlimited analog beginning to end, and throughout in Digital Music results in the best sound possible today.
signal amplitude, and frequency. Not only are amplitude and frequency being filtered at this point, but critical
functioning components of the continuous-time complex unlimited Analog Music signal are also being filtered
out.

The filter circuit by itself is a source of possibly serious distortion, and we have not even reached the
A/D converter yet. Not only are all these compromises occurring simultaneously, in music these compromises
occur between 44,100 times per second, to millions and millions of times per second. Since the conversion is
asynchronous to the continuous-time complex unlimited Analog Music signal, this process is horribly under
sampled for a complex Analog Music signal, and does not create a repeatable process.

PCM 44.1khz, 16 bit CD quality is not PCM DXD 384 24+ bit DSD workstation quality. DSD 64 is not
DSD 1024. Even then the components, design, and application can have a dramatic effect on sound. Taking a
high performance DSD source, and comparing it to a unknown PCM source is meaningless. Comparing a high
performance DSD source, and comparing it to PCM DXD 384 should not even be possible, because the DSD
source may have even been generated by mixing in the PCM DSD 384.

Multiple decades of PCM have created many, many different levels of quality over the years, while DSD
is comparably recent with fewer different levels of quality. It is possible to find high quality DSD being compared
to low quality PCM in 2025. MQA attempted to address these differences in PCM many years ago.

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 Over Simplified View of Digital Music Formats DSD - Direct Stream Digital a.k.a. Delta-Sigma or Sigma-Delta
Two primary representatives of Digital Music recording are PCM (Pulse Code Modulation), and DSD H. Inose, Y. Yasuda and J. Marakami, “A telemetering system by code modulation, delta-sigma modulation,” IRE
(Direct Stream Digital ). is mentioned because of its application in Music recording. There are many variations of Trans. on Space, Electronics and Telemetry, SET-8, pp. 204-209, Sept. 1962.
these digital formats for recording Digital Music.
When Sony made the decision to go with DSD to archive Analog storage in a Digital format decades ago,
PCM has electronic filters from anti-lasing on the Analog to Digital input, to the final analog stage output the inevitable loss of Analog integrity was on the way. Many vinyl records and tapes have been mastered with
of the Digital to Analog converter used in playback. Digital Music filters with Digital Signal Processing are some form of DSD. Tapes are disintegrating, and no new Analog has appeared until Singing Wind.
possibly used in the mixing, and mastering of the Digital Music recording. The transmission of Music in Digital
format is clean, with no electronic filters or Digital Signal Processing required. Active Digital Music electronic The Numerical Analog Computer used by Singing Wind does not require any of the quantization and
filters, or passive Analog Music electronic filters are used in speaker crossover networks. anti-aliasing distortion filtering required by Digital Music recording. Conventional Analog Music recording has
also never required any of this, and the best recording systems have captured the subtle nuance spirit and soul
DSD has electronic filters from anti-lasing on the Analog to Digital input, to the final analog stage output components if and when they occur. The transition of the completed mixed complex Analog Music signal was sent
of the Digital to Analog converter used in playback. Digital Music filters with Digital Signal Processing are to tape, or direct to vinyl. Enough of the original complex Analog Music signal survived to dance with the living
possibly used in the mixing, and mastering of the Digital Music recording. The transmission of Music in Digital analog signals way down into the audible frequencies.
format is not clean, with extreme electronic filters required. While in theory DSD is much more simple, the reality
requires extreme electronic filtration with Digital Signal Processing just for the digital information of the Music The Digital Music recording process can record the remaining dancing signals that live in the audible
recording, and playback. Digital Signal Processing is also used for the Music signal processing separated from frequencies that still remain on vinyl and tape. However when the direct Digital Music recording process murders
the digital information. Active Digital Music electronic filters or passive Analog Music electronic filters are used the complex Analog Music signal dancing before it even reaches the A/D converter, the dancing never had a
in speaker crossover networks. chance to occur. Anti-aliasing filters.
Converting DSD to analog
PS Audio https://www.youtube.com/watch?v=9-EdxF8m2Ss Digital Music recording can capture the audible frequency results of complex Analog Music signal dancing
on a previously recorded on tape or vinyl because they once had a chance to live. Digital Music recording can
What’s inside a DAC part 1 not capture complex Analog Music signals dancing live, because they are murdered before reaching the A/D
The Hans Beekhuyzen Channel https://youtu.be/dHuaLgCniAg
converter. When a Digital Music recording is sent to vinyl or tape, the complex Analog Music signal can live
What’s inside a DAC part 2 and dance again, although with some loss from all the chicanery. Direct to vinyl and tape do not have the system
The Hans Beekhuyzen Channel https://youtu.be/zdnHEWAaBzE limitations of Digital Music recording.

Bernie Grundman talks about Digital, my thoughts The continuing increase in DSD and PCM sampling frequency and bit depth is too little, too late. A
Ron Beaudry https://youtu.be/9G3whVBzFTA horrible increase in component, and digital signal processing economic cost of time, and dollars is a symptom of
a system design that is not forgiving, and does not want to work together.

The limitations of tape and vinyl are confused with the superior complex Analog Music signal living on
them. Because the Digital Music recording system murders the ability of the superior complex Analog Music
signal to sing and dance together, the digital recorded signal is viewed as superior because of all the missing
information.

Singing Wind does not have the limitations of Digital Music recording, vinyl, or tape and will support the
singing and dancing of the superior complex Analog Music signal with all the advantages of digital. The Singing
Wind Numerical Analog Computer will supersede all existing Music recording formats, and is designed for low
cost consumer products.

Digital music similar to DSD all run the music itself through the Digital Signal Processing (DSP). Many
cycles are required for a complete digital conversion and it is still digital all the way to the Digital to Analog
conversion. Sometimes the processing does not yield the same results even though everything is Digital.

Singing Wind does not use Digital Signal Processing. The music is still alive when stored.
Bernie Grundman talks about Digital, my thoughts
Ron Beaudry https://youtu.be/9G3whVBzFTA

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 There's Life Above 20 Kilohertz!
A Survey of Musical Instrument Spectra to 102.4 KHz

James Boyk
California Institute of Technology
Music Lab, 0-51 Caltech, Pasadena, CA 91125, USA Tel: +626 395-4590, E-mail: [email protected] Home:
http://www.cco.caltech.edu/~musiclab
Copyright © 1992, 1997 James Boyk. All rights reserved.

Paper by California Institue of Technology available from above location.

This chart clearly shows musical instrument atmospheric modulation exceeding 100,000 cycles per second. The
Singing Wind audio signal supports 1,000,000 cycles per second pure Analog.

These are charts used by the audio magazine to stress test Digital to Analog Converters.

This is the characteristic result of Digital Signal Processing where the input was approximate simple straight lines.

Any ringing or pointed lines are results of Digital filters with Digital Signal Processing , and we are told that is what
we should see when the signal is filtered down in frequency for human hearing. Singing Wind is full range pure
Analog, with NO FILTERS and NO Digital Signal Processing of any kind.

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December 24, 2024 (000) SingingWind (Preliminary) (29 of 32) December 24, 2024 (000) SingingWind (Preliminary) (30 of 32)
 Singing Wind and Existing Digital Music
Singing Wind only works with Analog music, or Analog signals. Existing music can be played back on
existing media and players to create Analog music that is then recorded by Singing Wind by the owner of the
Digital music for legal reasons.

Singing Wind home players can record existing tape and vinyl recordings, and these recordings are locked
into that specific home player only for legal reasons.

Singing Wind with a studio license can create original recordings, that can then be played back on any
Singing Wind home player. Existing Digital recordings with legal ownership can be remastered by a Singing Wind
studio license for playback by any home player. Every single recording is locked into every single home player
with override codes specific to that individual home player.

The factory has a record of each individual home player that may range from 8 Left and 8 Right to
thousands Left and thousands Right to Movie stations with thousands Left and thousands Right. Blu-Ray disc
recordings can be mass produced, and unique specific override codes are then generated for every specific home
player. The unique override codes will address the unique physics.

The Numerical Analog music signal is not touched in any way, shape, or form by the specific override
codes that modify the Digital delivery system. Singing Wind has all the advantages of Digital, while the Numerical
Analog signal is not touched.

The consumer can purchase a Blu-Ray recording at a store, or purchase a 128GB download from the Codex Grandeur LLC
Online store, and receive the specific override codes at the store, or through home Internet. The consumer does www.numericalanalog.com
have a reference with the Singing Wind factory, that will generate the unique specific override codes at purchase [email protected]
for a very modest fee through the same store.

If a rogue Artificial Intelligent (AI) computer gets hold of a Singing Wind studio license, and starts
generating illegal copies of Digital music, the Singing Wind factory will not generate the necessary unique specific
override codes required, and no Singing Wind player will be capable of playback of that AI generated source.

Singing Wind operates with a secure processor that can not be copied, or replicated in any way, shape, or
form. Every single Singing Wind computer is uniquely generated at the factory, and all monetary transactions are
Data Center supported at the factory.

Fanfare for the Common Man - ELP

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