From Hi-Fi to Computer Audiophile: how to have better sound with Hi-Res Audio


When I was a teenager, I remember listening to vinyl on at my uncle’s place. He had a vintage Hi-Fi audio system and it is on vinyl that I first listened to Jean-Michel Jarre’s Oxygène, and other great albums of his collection, including Roxy Music’s Avalon.

In this post, I go over how we have moved from vintage Hi-Fi system considerations to a modern system, giving rise to the Computer Audiophile, using Hi-Res Audio as an integral part of the music listening experience.


Hi-Fi, short for high-fidelity, was the pursuit of musicophiles and audiophiles during these years. The avowed goal of high-fidelity was to try to reproduce the experience that the listener had in a live music setting, often of classical repertoire or other shows of the acoustic or rock genres.

A typical system could consist of the following:

  • Vinyl Turntable
  • Double-deck Cassette Player
  • AM/FM Tuner
  • Integrated Amplifier
  • Passive Speakers, and…
  • Audio Cables

System-matching in the Hi-Fi world

An important way of maximizing the music experience with a Hi-Fi system was to match each component with others which make the system sound beautiful. You could do that  by buying components from different manufacturers and making sure they worked well together and sounded fantastic.

For instance, you could have a Philips Turntable with a Sony AM/FM tuner, a Marantz cassette-deck, wired to a Kenwood amplifier and Pioneer speakers. At the time, these were some of the known and appreciated brands, together with TEAC, Sansui and Yamaha and more.

Maximizing Frequency Response

One of the main goal of assembling a great-sounding Hi-Fi system was to make sure you have the widest possible Frequency Response along the component chain.

For instance, if the speakers could go to a max of 19kHz, but the amplifier could manage up to 20kHz, then the speakers would be the weak link, artificially restricting the Frequency Response of the system to 19kHz. In other words, you would be losing some high-frequency content present in the music, affecting hi-hats and other instruments which have those frequencies in their timbres.

Therefore, you would want to replace those speakers by others which have a larger frequency response.

The same thing applies to bass reproduction, i.e. the lower frequencies.

How Mobility (and Steve Jobs) killed Hi-Fi music

In those times, the way to get your music collection to listen to on-the-go was to record your vinyl songs onto cassette and carry a Sony Walkman.

  • Then came the miniaturization and mass-marketing of computing.
  • Then came lossy digital audio compression like MP3.
  • Then came Steve Jobs with his iPhone, iPod and iTunes.

With all the convenience of carrying a big part of our music collection around with us and the fact that storage was still expensive, many people thus ripped their CDs into lossy compression formats for mobility.

And since the lossy-compressed music file was also on our   desktop or home computers, just listening to these instead of the CDs became our habit, thus robbing us from listening to all the good work done on the sound of music by the following:

  • The Band or Artist
  • The Recording Engineer
  • The Mixing Engineer
  • The Mastering Engineer

These experts spent a great amount of time and savoir-faire to maximize how the music should sound like, and here we were (are) listening to an ersatz of it, a degraded experience just for the sake of convenience, mobility and not having to stand up and get that CD into the player…

All is not lost, however, for the determined audiophile today, since there is a way to reclaim a fantastic music experience with many of the advantages and convenience that digital does offer.

The Computer Audiophile: the new face of the Hi-Fi enthusiast

Compare a Computer Audiophile’s system to a traditional Hi-Fi system:

  • Hi-Res Audio  – WAV, FLAC, ALAC, i.e. uncompressed or lossless-compressed, CD or better-than-CD quality (44.1kHz/16-bit to formats like 192kHz/24-bit for PCM, and DSD)
  • A Computer with a CD/DVD/Blu-Ray drive for ripping
  • Storage (e.g. a N.A.S. or other hard drive or SSD drive)
  • Specialized Audio Software to play the Hi-Res Audio files in a bit-perfect manner (highly important)
  • An External DAC with asynchronous USB capability (highly important)
  • Amplifier
  • Speakers (or active speakers without a separate amplifier)
  • USB and Audio cables

With these, and also still using the principle of maximizing the Frequency Response of the whole system, the Computer Audiophile typically enjoys a far, far greater music listening experience than the lambda musicophile with a huge MP3 or Apple-compressed library, played either straight from the computer’s audio outs, i.e. using the internal DAC.

Just using these three made a huge difference in my own setup:

  • Using Hi-Res Audio instead of lossy-compressed (ripping my own CDs or downloading free Hi-Res files, e.g. from the Test Bench HD Audio File menu of or the free DSD music from Cookie Marenco’s Blue Coast Records)
  • Using a different Audio Player than iTunes (I use Audirvana+ by Damien Plisson on Mac OS X and Korg’s Audiogate)
  • Sending the music file read in bit-perfect mode through USB to an external DAC

To help others choose the way of the Computer Audiophile, I have set up a growing list of affordable Hi-Res Audio DACs in the DSD DAC Guide.

AudioHead has a cool portable DAC comparison video with 12 of them:


One Comment

  • Bjorn
    Posted February 10, 2014 at 8:23 pm | Permalink

    Good article.Just one comment.
    In order to enjoy Audiophile Hi-Res. music. The best results are gained if listening to music which has been recorded with the intention of being played on an audiophile device.
    The Studio Master Downloads from the small Amsterdam based Sound Liaison label is such.
    They have been receiving spectacular reviews in the audiophile community and their first album, with the Dutch/Portuguese singer Carmen Gomes, was responsible for making me an Audiophile.
    Also to the comments that will probably follow this comment, saying that you cannot hear the difference, and that the whole Hi-Res thing is the last desperate act of a dying music industry,my answer will be that as an example,the recordings being sold by this small and as far as I know independent label can be auditioned in full length before buying at a decent Mp3 quality,not just 30 seconds as on most commercial sites, no full length, that is how confident they are that ones you have heard just one track in full Hi-Rez you will never turn back.Of course in order to do so you have to download a track first.
    Highly recommended; Sound Liaison. []

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