Late comer to the thread but I have to go with Daniel's view here. We can see the climbing power in higher frequencies which tells us that it is due to noise shaping. SACD process creates incredible amount noise in the audible spectrum. The encoding then, shifts that to higher frequencies above 20 Khz that is supposed to be inaudible. Since we can then no longer differentiate between what is signal and what is bunched up quantization noise in the ultrasonic range, I don't see an issue with their decision to apply a gentle roll off.
Put another way, one-bit DSD is a one-way encoding. Backing out its effect and getting back to PCM is impossible.
But sure, having that programmable and letting the operator pick how much of that noise+signal should be preserved is a good feature request.
A company like Channel Classics records in DSD.
They use the Weiss software to convert to FLAC
If Bruce is right, buying the 24/192 is a waste of money.HIGH QUALITY DOWNLOADS (ALL TRACKS) PRICE
Studio Master HD FLAC 24bit 192kHz (2,093.6MB) €20.00
Studio Master FLAC 24bit 96kHz (1,265.4MB) €17.00
CD quality FLAC 24bit 44.1kHz (642.9MB) €14.00
MP3 MP3 320k 44.1kHz (153.2MB) €9.00
I post my own opinions except when posting as a moderator in green.
From what I understand this was one of the reasons Linn moved away from their native DSD recording studio setup ages ago and to hirez PCM.
That said as I mentioned in some other threads it seems there may be a bit of luck from the consumer end to whether the hirez track they purchased is done correctly and has high bandwidth information or just noise.
Keith Howard developed some software to enable accurate analysing of what is recorded in an easy to read way; shows both highest amplitude and average over the whole frequency so any issues with the filter or any noise show up.
From his experience around 40% of those he purchased (I admit it was not many albums and he states that) were not true hirez tracks (this was not Linn, although he also gave example how even they had to remove a whole batch of tracks that they sold for another studio that were not true hirez).
So, if someone is into hirez tracks then TBH I would look to use some software to validate it and never rely on the company selling as even they can be caught out by other 3rd party studios whose albums-tracks they also sell - several hirez companies been caught out this way but one would hope they now have safeguards in place for their own validation.
Last edited by Orb; 06-25-2011 at 02:24 PM.
Wordlength and resolution are only quasi-related in my world, due primarily to two factors:
1. The system "wordlength" is a term usually used by the DSP guys and may not correlate with what the ADC/DAC can do; and,
2. Actual resolution, defined by the IEEE as ENOB although we use SNR. SINAD, and SFDR as well (among other things), is not always tightly coupled to the number of bits (specified resolution) of the converter. In the audio world (and beyond) there are plenty of cases of lower-resolution converters outperforming higher-resolution devices.
Note I define things from an engineering background dealing with wideband RF/mW/mmW systems, not (always) as an audiophile...
In any event, this is far afield of the original topic, and I've had enough debating for one week, so I'll back out. - Don
"After silence, that which best expresses the inexpressible, is music" - Aldous Huxley
Don's Technical Articles on WBF
Jaded old geezer that I am, I yawn in the face of this stuff. I can't hear much above 12khz (and neither can most of the rest of you geezers), and what's there is noisy as hell, so if I could hear it, I wouldn't want to. I should thank Daniel for filtering it out. Thanks, Daniel.
PS: I can still hear a tube mic preamp and an old Gibson Jumbo on a decent recording, though, so I'm good.
In high-end audio, you can't even fight an opinion with the facts.