Hi-Rez Highway

New high resolution SACD releases, players and technology.

Use this form to submit comments directly to the Asylum moderators for this forum. We're particularly interested in truly outstanding posts that might be added to our FAQs.
You may also use this form to provide feedback or to call attention to messages that may be in violation of our content rules.

You must login to use this feature.

Inmate Login

By default, logging in will set a session cookie that disappears when you close your browser. Clicking on the 'Remember my Moniker & Password' below will cause a permanent 'Login Cookie' to be set.

Moniker/Username: The Name that you picked or by default, your email. Forgot Moniker?	Examples "Rapper", "Bob W", "joe@aol.com".
Password:	Forgot Password?
	Remember my Moniker & Password ( What's this?)

If you don't have an Asylum Account, you can create one by clicking Here.

Our privacy policy can be reviewed by clicking Here.

Inmate Comments

From:
Your Email:
Subject:

Message Comments

Original Message

There are tell tale signs

Posted by Robert C. Lang on March 30, 2007 at 08:52:03:

I recall a few years ago there was some differences in this group on whether or not the Delos Mahler 2nd Symphony was PCM or DSD. It sounds like excellent PCM to me others thought it was DSD. I never saw a definitive answer on that one.
I agree that distinctions between DSD and PCM recordings can sometimes appear to be quite apparent. I recall about a year and a half ago listening to a Telarc jazz sampler when at the beginning third track I quickly noticed that “something” was different. I checked the recording type and saw that it was PCM. I just assumed that all Telarcs on the sampler were DSD, especially since the intent of the sampler was to showcase newly recorded multi-channel recordings. I then listened to the other tracks “testing” myself on whether I could determine the recording type. I recall I chose correctly 12 out of 14 times.
While I believe the DSD and PCM tracks sounded differently I also believe there was a pretty clear tip off as to which was which. I could tell best by the lead in to the track. There seemed to be audible differences in the “quietness” just immediately before the track began. In my modest collections of discs there seems to be another tip off, certainly not infallible, but a tip nonetheless. I have found most often that if the label does not clearly identify the recording to be DSD it "ain’t". Or if the label dances around the issue but tosses “DSD” somewhere in the description, it ain’t. Almost all recordings that I have that are DSD wear that label clearly/proudly on its sleeve.
But aside from those non-standardize declarations there is often something in the recording “ambience” that audibly says DSD or not. And sometimes when making comments on some recordings that I enjoy *very* much that don’t clearly identify its pedigree I will go out on a limb and say, “this is most certainly not a DSD recording” and that an otherwise great recording would sound even better if it were.
One thing that would be nice, but is certainly unobtainable in the near future, is that if *all* newly recorded SACDs were DSD and for once and for all remove the PCM factor.

Robert C. Lang