I agree.
Yeah - I can definitely imagine that being true in the context of a system that is optimized for DSD.
I’ve heard Gus’s system, and I recently got new A/D and D/A for my humble home studio, and in neither of those situations - despite being far apart in terms of money and quality - is it subtle.
On the purely playback end, we have to choose formats and gear. That matters.
Caveat: No Guarantee that a given version on a given format is better than another.
Ok, but if voicing of a setup for PCM or DSD matters here (e.g. in terms of a DSD based setup is less open on top vs. A PCM based setup being a little artificial sounding on top, speaking for DSD 64), then what you say means, by converting the DXD/PCM format to DSD, the top end difference of DSD is applied again. I wouldn’t expect this from a format conversion, but it’s possible.
If it’s a fact, this means, DSD looses some characterstics on the editing stage and wins them back at the reconversion stage…without losses on both conversions…really hard to believe. An interesting topic we seems to get no professional answers on (sorry, you’re also professional, but you know what I mean).
Quit making shizz up brah.
Part of the difficulty at every step of the way is that there are different considerations and questions. Most of which are not worth bothering about. As with the “MoFi Debacle”, no one would have noticed or cared - sonically at least.
It is even less so when we’re talking about the top digital resolutions.
You know I’m no native speaker, but I translate this to „don’t steer in this pot brother“ 
Now it’s interesting why
Edit: if you imply, there’s no difference between those hires PCM/DSD resolutions, this would contradict your „PCM/DSD setups are individually voiced“ assumption
No! Not at all. Stir as much as you like. I have no stake in this. I’m saying we’re talking microscopic differences here. And I’m talking from the perspective of a lifelong recorder of audio and playbacker of audio.
I’m saying PRODUCTS are by default different due to choices made for any number of reasons. This is one of the places this gets confusing. There is almost NO WAY to make assumptions about one format vs. another given the differences in end products. I am arguing that it is NOT WORTH worrying about, ultimately. Especially nowadays.
Pick one and be happy. No need for FOMO.
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Yeah, you just have to remember we come out of a story plot where DSD is magic and PCM is evil. Now DSD is converted to PCM for editing and we don’t know what to think about a reconversion vs. a keeping of the format and what this means for the story It’s just taking things serious and following the story, no matter if they make a difference. I enjoy both anyway and experienced that the quality of the recording rules way over the format.
I understand that firsthand. I bought into DSD early on because it was the best home playback medium I’d heard to date at the time. Smoked CD. Sadly Sony overthought that whole thing (only in retrospect) never imagining there would be a world in which one could sell Master Quality files digitally online - and never mind stream them for pennies. That went against the entire business model.
Then I bought a DSD recorder to do vinyl rips on, and realized the A to D stage quality in the recorder was more important than the recording format.
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i like records
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That also makes intuitive sense to me…or at least I can understand why that would be an incredibly important junction along the path to one’s ears.
Thanks for sharing, Ron. I like chocolate.
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You have to throw into the mix that you have standard D/A chips and proprietary converters, so PCM conversion is better on some machines than others, especially in relation to jitter. It’s enough to make your head hurt.
What gets me is all this stuff that you need a high quality DSD recording to set up your speakers. My dealer, who set up my Wilson speakers, and has set up hundreds of pairs of them, used a 16/44 rip of an album called Convergence by Malia and Boris Blank. It contains all the information needed to get things right. I was listening to it yesterday and it really does show off a system - with humble 16/44.
Gosh, man - you are SO delusional! Rekkids are so, like, Last Century and so on!
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We have all experienced it whether we are aware of the effects of it or not. For the most part it is assumed to be SOTA. But it ain’t.
Yup. Bowed down to and acknowledged that earlier today, perhaps in another thread. Whatcha drinkin’?
This is jammy and un-Euro, but doesn’t suck.
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Amazon rightly offers as many digital tracks as they can get their hands on. Because their catalog attempts to cover All digital music, and DSD and DXD are relatively new formats, this is a backward looking metric.
Either way, this has nothing to do with my technical question regarding potential losses in the post-mastering conversion from DXD to DSD.
I was simply hoping, since I posted in the Octave Records category, that someone close to Octave, maybe one of their sound engineers, could weigh in and explain this to me so I could l learn…
“I feel zo un-zatits-fied!” ; )
I am also waiting on someone familiar with what Octave records is doing to pick up on this thread and chime in.
There is a lot of wine coming from many places that does not suck. They start growing wine in Texas Hill Country. There are some great wineries around Fredericksburg.
Anyway Pour it in, that Napa Valey wine. California wines are superb. I bet it tastes wonderful, overviewing the land from your porch in the evening when the breeze sets in and the worst heat is down. Boulder Colorado area is beautiful.
With todays gas prices, energy crisis and environmental issues I buy local. We have political farmer issues in EURO land, especially The Netherlands. So support local farming products wherever I can. A Schwarzriesling from Franken or Baden or a Pinot Noir from the Elsaß just ain’t a bad choice either.
Going white, an Elsaß Gewürztraminer with local grass fed cheese from Lunteren (Netherlands) is another good way to close the weekend.
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yer soooo kuhl