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For example, an MP3 becomes an interpolated file with 24 bits and 96 kHz, generated by technologies such as sample rate conversion, upsampling and oversampling. The same principle allows Audirvana to use its computing capacity to optimise compressed or comparatively low-resolution files to the best possible format for the selected output device. In this case, Audirvana intervenes in an adaptive manner and performs a corresponding conversion based on the computing power of the machine. Here, the output device may not support playback at all.
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On the other hand, there are also cases where the software actually makes playback possible in the first place, for example with a file with 24 bits and 192 kHz.
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For example, a Wav file with CD resolution (16 bit, 44.1 kHz) is transmitted directly to the converter, where the driver is automatically configured before the title is played (Core Audio under macOS, ASIO and WASAPI under Windows).
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As a result, Audirvana gains full control over the path from the audio file to the converter and only intervenes where absolutely necessary. Finally, unwanted automatic adjustments of the sampling frequency, present in Core Audio, for example, are avoided here. You can also switch off the level control via the software, as this, unlike analogue control at the converter output, requires dynamics. In this way, for instance, mixer stages in the operating system are circumvented, which would otherwise make it possible to hear the sound from several programs. With the launch of Audirvana, the software has become an exclusive platform that directly addresses the audio interface (sound card) and the DA-converter. When playing back music, the manufacturer strives to achieve the highest possible sound quality by following the ideal of a short signal path, bypassing possible stumbling blocks in the computer and in output devices with DA converters.
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When transmitting sound over a network, whether wired or wireless, the software supports the UPnP and DLNA protocols, which are supplemented by Bluetooth and Airplay. It is also possible to synchronise with the iTunes library, as well as control the library, with Audirvana serving as the downstream backend. And finally, support for MQA (Master Quality Authenticated) must not be forgotten in corresponding signal chains.Īudirvana is able to access files on your local hard drive, from the network, as well as the Hi-Res streaming services Tidal, Qubuz and HighResAudio. Linear audio files are processed in PCM format up to 384 kHz, as are DSD64/128 and multi-channel PCM and DSD files for surround sound. This includes not only compressed formats such as MP3 or AAC, but also lossless standards such as FLAC, ALAC (Apple Lossless) and WAVPack. To begin with, the software provides comprehensive support for file formats. Audirvana takes a completely different approach in order to achieve its self-set goal of delivering the most unadulterated sound reproduction possible. To this end, the software is not geared towards direct addressing of the converter, but merely uses the chosen environment of the computer. Likewise, it is to be expected that support for other streaming services is not available. An example of this shortcoming is the explicit integration of high-resolution file formats such as DSD and multi-channel audio. The software is certainly user-friendly, but there is a lack of universal format support.
The cross-platform top dog for many is iTunes. This is despite the fact that the studio technology available for recording and mixing has long since exceeded the CD standard. This is, of course, frustrating for the discerning listener, as in many instances the quality of the audio has fallen below the CD standard. In addition, there are bottlenecks in the digital signal chain at points where compact data transfer rates are highly welcome, such as the case of Bluetooth connections. Today, such storage capacities concerns are almost redundant, yet music playback in significantly higher resolution formats has regrettably become a niche market. Compressed audio formats such as MP3 have instead become well-established due to limited storage capacity considerations. The introduction of successor formats SACD and DVD Audio has been a failure. They realise the dream of enjoying music at higher resolutions than the now obsolete 1982 compact disc standard (16-bit, 44.1 kHz, stereo).
High-resolution audio formats are aimed at audiophile music lovers.
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