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Old 22nd September 2012, 02:13 AM   #27841
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> Sixty minutes on as many as 6 sides,
> no bass limiting,
> and
> grooves you can see the land area in between.

@ 33 1/3 RPM ?
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Old 22nd September 2012, 02:15 AM   #27842
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Quote:
Originally Posted by elektroj View Post
You can, but what you do if your final release is at different sample rate? Resample? Ouch!

DSD is "universal" 1 Bit stream at 2.82 MHz recorded directly after A to D modulator that allows decimation down to desired sample rate / release format at a later stage - 44.1; 48; 96; 384; whatever ...

meitnerinterview
Other than the fact that no one wants 1-bit anymore, there are now completely transparent resampling algorithms available that can run in real-time on a good workstation.

Just about every new CD release is recorded at something like 24/96 and downsampled anyway.

I have nothing against SACD, but it's pretty clear that it serves very little purpose and not even Sony chose DSD for Blu-Ray's audio tracks. It's already on life support as is. That Meitner interview is full of marketing BS, what do you expect from someone who wants to sell you super expensive DSD equipment?

Last edited by chris719; 22nd September 2012 at 02:18 AM.
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Old 22nd September 2012, 02:41 AM   #27843
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Quote:
Originally Posted by bcarso View Post
The notion that arose with early S-D in some quarters seemed to be a fondness for sending the people who knew how to do precision circuits packing up and being shown the door. A little like the mantra that all is being magically reduced to "digital" even when most don't know what that means.
Reading through that linked interview with Ed Meitner its clear he's drunk deep at the well of DSD koolaid yet his background is analog design. His knowledge of digital appears scant to say the least - here's a snippet:

Just look at one problem with PCM. Imagine what happens at your zero crossing. You have all those bits flipping. You have, you know, noise shock in the system coming off the power supply if all of a sudden 23 bits change from all zeros to all ones. You have that at every zero crossing. And you need really good error correction, because if a sign bit gets screwed up in the process, all of a sudden instead of your signal being positive, it thinks itís negative.

Can he really be unaware that 'really good error correction' is obviated in digital logic because the noise margins are such that bits simply don't flip? Or if he was talking about achiving to disk that it always comes as standard because computers need it for code way more than audio ever will?
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Old 22nd September 2012, 02:54 AM   #27844
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Quote:
Originally Posted by Nelson Pass View Post
There's quite a bit of contemporary vinyl out there, courtesy of the
DJ demand. Sixty minutes on as many as 6 sides, no bass limiting, and
grooves you can see the land area in between.

Indeed, many new releases.
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Old 22nd September 2012, 03:24 AM   #27845
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Another article on DSD, DXD and high rate PCM:

http://www.merging.com/uploads/asset...ution_v3.5.pdf
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Old 22nd September 2012, 03:32 AM   #27846
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Originally Posted by bcarso View Post
Indeed, many new releases.
The sad thing is that less and less club DJs continue to spin "real" vinyl. They have either CD machines or laptop + MIDI these days. Yuck!
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Old 22nd September 2012, 03:34 AM   #27847
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DAD's Vest appears far clearer than Ed Meitner on the rationale behind SACD :

The major value-added difference between SACD
and DVDA is in the copy protection scheme,
making SACD a more secure media, but on the other
hand more complex to handle in the recording and
authoring phase


Thereby customers and producers are to bear the costs of Sony's 'added value'.
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Old 22nd September 2012, 03:39 AM   #27848
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Quote:
Originally Posted by elektroj View Post
The sad thing is that less and less club DJs continue to spin "real" vinyl. They have either CD machines or laptop + MIDI these days. Yuck!
But the cats know how to scratch (my Facebook image, stolen from a company who actually sell cat scratching fixtures that look like turntables)
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Old 22nd September 2012, 04:09 AM   #27849
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Quote:
Originally Posted by abraxalito View Post
....
Thereby customers and producers are to bear the costs of Sony's 'added value'.
So what? It was always that way.
For customers - want that higher resolution / better quality material? Get out your wallet. Examples: direct to disc LPs, limited edition runs, gold CDs, now digital hi-rez downloads and copies of master tapes.
For producers - want to stay afloat, competitive, earn some money and reach wider customer base? Buy the latest tools.
Nobody is forced by anyone to record in DSD or to release the final material on SACD.

Last edited by elektroj; 22nd September 2012 at 04:14 AM.
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Old 22nd September 2012, 04:13 AM   #27850
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Quote:
Originally Posted by elektroj View Post
So what? It was always that way.
For customers - want that higher resolution / better quality material?
Oh I see you missed the point. SACD was not being introduced because its better quality for the customer, rather its better protection for the content. But you appear to have bought the spin (even though Meitner and Vest spin their yarn in different directions) so by all means enjoy your 'higher resolution' product
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