Paul, regarding the DSD to vinyl process, Pauler Acoustics seems to have a similar approach (to some extent)…how do you see it in comparison to yours? It seems they don’t touch the digital signal in their process, but I’m not sure.
"For the vinyl mastering process two stereo pairs of identical signals were needed. These signals must have a time offset of accurately half a turntable rotation. When cutting at 33 1/3 rpm this offset is exactly 0.909 sec. The signal arriving first will not be used for the cut, but serves as a control for the feed screw mechanism of the cutting stylus. Thus the required space for the groove is calculated for the signal that will run through the cutting stylus 0.9 seconds later.
To avoid using the normal PCM digital preview delay, we preferred instead to use the 1bit-data stream of our SACD mastering system for this vinyl. In our DSD workstation we configured the two stereo pairs on a 4track EDL with the exact time offset to obtain the preview and playback signals. This procedure was technically extravagant and possibly never been done before but thus we can guarantee that the Super-Audio-CD and the Vinyl were derived from exactly the same master."
I have a mostly different perception of DSD than mentioned here. I didn’t make deeper comparisons yet, but due to the amount of discussion I now might do a research where to get parallel DSD/PCM recorded music files, not only converted ones.
My impression so far is, better transients/decay, smoother, more natural, less flat midrange and more natural top end from DSD, that still lacks a bit of openness to my ears, but that might be another limitation than the format’s. But the main point beside a convincing, realistic ambiance (I don’t hear front/back row differences) is that DSD has more of the relaxed timing (not meant as an opposite to lively rhythm or meant as more pleasant sound) of vinyl that is so hard to describe. It is able to better transport the special flow of analog classical recordings (try the Esoteric SACD series) and the pace of analog jazz recordings (try the Analog Productions Jazz titles).
I see DSD as laid back (in a positive way) in timing, not in tonality. If you are able to adjust the top end of your setup away from the PCM performance you’re used to, towards DSD, you’ll notice that DSD sounds more natural.
But I still prefer the better recording instead of the better format generally, as imo 99% of recordings generally (not only DSD) don’t make use of the sound quality necessary be able to differentiate. And a PCM recording that makes more use of that potential is still better sounding than a DSD recording using less. If only everyone would care
Nice. Yes, he clearly is doing exactly what we will be doing though he’s gone and jumped through some exotic hoops to get there. As you can see, the box Bob is building does exactly this and allows us to have one stereo DSD feed to produce two identical stereo DSD outputs and the ability to precisely delay one stereo pair by 0.909 seconds (or whatever we want).
Yes, except this time it’s Guenter Pauler not Bob It seems everyone doing DSD to vinyl or avoiding it by going pure analog has found his way, either fancy like you and Guenter or with a filter like Kevin Gray or (of those few recording or using DSD masters and producing vinyl releases) preferring pure analog like Yarlung, Opus 3, I think also Fone doesn’t only record analog. One other to find out about would be 88‘s from Japan who offer vinyl and record DSD afaik.
It’s not easy to explain but much has to do with the nature of the format. DSD is almost analog where PCM is a very different coding scheme. If you look at the digital streams, in DSD you can actually see the analog waveform and all that’s needed to hear it is a simple low pass filter (or even plug a DSD stream directly into an amplifier/speaker and it’ll play without need of a DAC). PCM would only give you noise if you did that.
That would explain why the DSD sounds to me, more like what I hear with vinyl. The images are a little richer and more natural. I did not notice any difference in position of images or soundstaging though. Anyway, even with just PCM, This is one fabulous recording!!
Hi James, just a suggestion to improve customer satisfaction. When I order a used disc through Discogs, I often get tracking info through USPS. So it’s certainly possible . You guys do a great job of keeping customers informed when shipping product through FedEx. Time to up your game and investigate USPS tracking. At least we’ll know when it’s shipped
Nothing showed up yet, so I guess I am not in the first batch even though the order was placed just shortly after it became available - and I am only in Texas. It shouldn’t be this much of a rocket science to mail some CDs…on your second go-around with a supposedly improved system.
The moment has arrived…that nobody has been waiting for…my 2 cents worth on the new cd…it’ll cost ya $1.98…
Me likey. On first listen, the thing that struck me the most, is that the whole presentation comes out of a very black background. the miking, mixing, and production is incredible. Loved the tracks that had cello on them, and Chris plays a mean bass, very understated and rhythmic. Hope to be able to play this for some audiophile friends…someday. sigh
Thanks for the kind words! For what it’s worth, there wasn’t a cellist on the album and the parts that sound like cello (on “Somewhere”, “Flying Bling”, “Long gone” etc.) are actually me playing bowed double bass as well.
There is one other violin/viola player on the album for the title track “Temporary Circumstances” and “Thinking about you”.
It was a really fun project and I hope that I get to contribute to another album sometime.
Thanx for the email. Found out by watching Paul’s videos that you used to work for BG. Very kewl. I’m sure you know, if you watched the video of the speaker contest I entered the JP Stacks in, that the midrange I used was a BG NEO 10. I am not a speaker company, even tho PSA has JP Speakers on my mailing address. I have made 4 sets of speakers for my own use, and am working on another. Even tho you know a lot more about speaker design than I ever will, would you be interested in me dropping you an email from time to time, and bounce a few of the building ideas and theories I’ve come up with? Not at all trying to pick your brains about PSA’s designs or ideas. Would not expect or want you to give out company secrets, just give you a few of mine to comment on, maybe even shoot down. I could even send some pics (jpeg), to show you what I mean.
I know you are a busy man, and I’m just an old retired fart tinkering in his woodshop, so let me know if you are interested. If you haven’t seen the video of the speaker contest, do a Google search for JP Stacks.
