This DAC exists for the same reasons why multipath ADC exist and are successful (like STAGETEC's TrueMatch, 158dB of dynamic range for their Mic ADC) : No need to ever worry about headroom vs noise anymore, no trade-offs, no operator errors wrt gain structure anymore.
That might be irrelevant in a simple home stereo final consumer setting, but in a pro environment this can become relevant quickly.
BTW, multipath ADC are mainstream these days and found in audio gear like digital guitar preamps, field recorders etc.
I see no reason why (affordable) multipath DACs won't gain traction as well.
For 16bit home audio playback it's overkill, sure, but home audio is just one (small) market segment for audio gear.
That might be irrelevant in a simple home stereo final consumer setting, but in a pro environment this can become relevant quickly.
BTW, multipath ADC are mainstream these days and found in audio gear like digital guitar preamps, field recorders etc.
I see no reason why (affordable) multipath DACs won't gain traction as well.
For 16bit home audio playback it's overkill, sure, but home audio is just one (small) market segment for audio gear.
Not sure if TI's approach counts, as it makes do with a single DAC and a PGA, but TI has multiple ADC chips with that.
So we remove the most basic sound engineers skill, correct level setting. Which with a 20...24 ADC is really not that hard.
I routinely use digital mixers and never found setting the input level a problem
Setting the EQ by ringing out the stage and Mic's and then gainriding to bring out the solo performer or perhaps to move the bass forward in the mix, because it's a song where the bass drives everything, now that useful.
But a 160dB ADC doesn't help neither does AI.
So even in a professional context I remain unconvinced.
Thor