If the main thing done in a transfer of the analog tape to the digital format is doing the splice in DXD and nothing done in DSD except that it’s the final format, then “mastered in DSD” still is … a slightly misleading term for me.
Bob states.generally: Our DSD releases which are marked “Pure DSD” originate from a DSD master with no PCM editing
I assume “editing” here means no DXD splicing, right?
For the KOB release Bob states: Please Note: This release was mastered in DSD with no PCM. (Pure DSD)
But also says (which is perfectly transparent):
This product also includes the pitch-corrected first three tracks
They have been post-processed using DXD 24/352.8 PCM
You might understand, that the use of terms is slightly confusing, if taken seriously.
This said, Bob for his releases is the most transparent of all, I never saw anyone describing in such detail how the PCM steps were for the releases that use it. So I definitely don’t want to put him in the opposite corner, he’s a great example of good transparency.
Just with the pure DSD/mastered in DSD terms of him and others, where the main mastering step is done in DXD (if splices were edited), I feel a slight lack of definition.
And I was apparently incorrect in my statement that their was no PCM element in the process, for which I apologize.
The splice/edit using DSD Render in Pyramix is PCM for 10-100 milliseconds around the splice. Perhaps we’ll learn more with the inquiries to Merging. More to share if that comes.
Again trying to get back to the questioned asked by the OP, @shankha …
As one trips along into wonderful new finds, here’s the Bill Evans Trio in a well-known, well-loved recording from 1963 on Riverside Records. The transfer is in Pure DSD256 from a 15ips 2-track tape, and it sounds as clean, open and detailed as one may ever hear.
I’ve never discussed this with him. Sometimes he will use the European release artwork, other times he gets some original artwork created. I suspect it is a matter of avoiding any potential challenges over copyright where the artwork may fall under different copyright time periods than the recording itself.
Right. Agreed. DSD render is a good tool which we use for crossfades and tops and tails but, as you know, the areas affected are converted to PCM (same happens in Sonoma).
Back to the OP’s original question about good sounding DSD256 files from HDTT. I mentioned this one before, but it’s worth a picture of the cover. This is top of the class…
Transferred from a 15ips 2-track tape in Pure DSD256. (download here)
PF review from Dr. David Robinson (here):
In both of these tracks, Bernstein’s conducting of the New York Philharmonic is powerful, with bold and muscular articulation of his musical ideas. The dynamics are remarkable, the recording having captured the quiet moments and the sudden orchestral shouts with equal facility.
The transparency of the DSD256 ($26) is inarguably first-rate, with orchestra details clearly manifest. Imaging is greatly benefited by the Quad DSD transfer. And soundstaging? Wait until you hear the three-dimensional sense of the hall in these albums!
If you love Bernstein…and I do…then this a real run-don’t-walk addition to your DSD library.
Redux edition in Pure DSD256 from a 15ips 2-track tape.
Perhaps not my favorite recording of the Fifth as Bernstein loses the nuances of the work in his passionate hell-bent-for-leather drive. But it is a classic that should be in every collection. You don’t stay planted in your seat with this one!
Here’s a long delayed follow-up assessment of the HDTT release of Gerry Mulligan Live at the Village Vanguard for those with any interest in an alternate assessment.
I’ve had the DSD128 version in my library for a while, and my recollection of it was that it sounded fairly decent. Certainly as good as my Speakers Corner LP version, which I never thought was sonically all that special – one of my disappointments from Speakers Corner, actually. But, given how much @jazznut and I have reacted differently to various recordings, I thought I should download the DSD64 version that he listened to. I’ve just spent the last 30 minutes going back and forth listening to cuts from one and then from the other.
Yes, there is a difference as expected. The DSD128 is cleaner, more defined, more sharply detailed than the DSD64. The DSD64 by contrast is correspondingly a bit softer, a bit less revealing. There’s less shimmer in the cymbals for instance. But, come on… The DSD64 still sounds very good. It is nowhere near the dog of a release that @jazznut presents it to be. The DSD128 is at a different level. It has greater detail and resolution than my recollection of the Speakers Corner LP in which I distinctly recall being disappointed – and this was in my vinylholic days.
So, I would suggest that you not be put off on this release. It delivers great Gerry Mulligan and the Concert Jazz Band performances. And if you get it in DSD128, I don’t think you’ll be disappointed. Just be aware, the original recording is flat without a lot of air or dimensionality; that’s just what is on the tape.
For those provenance freaks among you, it is a transfer from a retail 4-track 1/4" tape. HDTT says so right on the webpage. But it still sounds pretty terrific to my ears. I’d welcome some others who can play DSD128 files double-checking me on this. Perhaps my hearing is really off.
I didn’t fully get if you compared the HDTT to your memory of the Speakers Corner, to a needle drop or to the actual LP on a decent rig, I just can say in my case the difference was night and day, I have no idea how such different results could occur. I just also remember that I sold the Mofi version of this one as the Speakers Corner was better.
It would also be interesting for me to try how comparisons with headphones work compared to speakers…I have no clue, never did, maybe I look for my Stax. I just know I can’t judge dynamics and soundstage well with cans…but this release sounded so clearly worse for me, I don’t doubt it would also do with headphones for me. Maybe there are others who can also compare those two on either rig.
I thought I was pretty specific, @jazznut, in saying “It has greater detail and resolution than my recollection of the Speakers Corner LP in which I distinctly recall being disappointed…”
If you’re finding the LP a pleasure, I’m happy for you. I’m really not trying to compare vinyl to digital here, just pointing out that I apparently find the digital release, particularly the DSD128, more enjoyable and listenable than you did.
Here’s for you, @jazznut, completely with the best of good spirits: an HDTT release directly from the original mono 15ips 2-track master tapes. Finally, an HDTT release where we have an absolute statement of provenance. Plus, its a first generation transfer directly from those master tapes.
I think these two releases sound quite good for a live 1956 recording of some great musicians. Volume I was transferred from the tape in DXD, then post processed in DXD and released in DXD and DSD128. I don’t know why Bob didn’t also release it from DXD in DSD256.
Volume II was transferred from the tape in DSD256 and then released in both DSD256 (as a Pure DSD release) and DXD. I don’t know whether some splicing of the production parts may have been needed, in which case there would be milliseconds of DXD at those splices. (See, I’m learning to be specific. ) (available from HDTT here and here)
Volume II is musically every bit as good as Volume I. You know how in some second volumes all the really good music has been absorbed by Volume 1 and what you get is the after thoughts? Not here. I’ve been listening all morning to these—Stan Getz and his group seem to have an inexhaustible supply of great tunes and driving high energy performances to share. The sound quality is clear, clean, open, well detailed, and with a nice balance among the instrumentalists.
Sonically, Vol.II benefits from Bob making the transfer in DSD256 and then keeping it as a Pure DSD release. The improvement over the DXD is subtle. But it is something you can hear, assuming both master tapes are equivalent in sound quality, of course. Perhaps he will issue a Redux version of Vol.I some day in this same fashion.
Now that you edited, I understand. I read your opinion on the DSD Version (this only) on the one hand, but also read a distinct comparison of the Speakers Corner LP (if just from memory) to it on the other hand from your post . If the latter wasn’t meant as a comparison of the two, there’s nothing to wonder about anymore from my side
Sounds good! My only problem is, that I’m not a big Getz fan.
But every HDTT (I like the music of) which sound wise is in the range of the Sarah Vaughan or better is very fine for me!
) (available from HDTT 