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Well, I Wonder About That

To me it looks like these various formats are just a lot of technical hype for marketing purposes. It raises the price of distribution, and ultimately the price to the consumer. I don't believe you can go from one format to another without losing something! Whether it's audible or not, and to whom, might be the issue.

If they wanted to give us the very best, the "mix" would have been in the original miking as was done on the so called "non-commercial" DSD256 version written of above. If DSD64 is what they were working in (and I guess it could have been DSD256) that could have been the principal release. In the glory days of vinyl, were not many recordings made that way? (Too many mikes these days?)

So then they convert to 352.8KHz/24bit PCM (DXD). Question: If they felt they eventually need to go to the Pyramix, why did they not use 352.8KHz/24bit PCM (DXD) for the original live recording? Then they could have done the "required" mixdown with no conversion and that would represent the best that it would be possible to offer. [But they would lose the marketing cachet of having recorded in DSD v. the "old fashioned" PCM.]

But having converted to 352.8KHz/24bit PCM (DXD), how could the fidelity improve by doing yet another conversion? I would have to conclude that 352.8KHz/24bit PCM (DXD) is the best they can now make available.

Given the sophistication of the playback equipment likely used by those considering either the 352.8KHz/24bit PCM (DXD) or one of the DSD versions, is it likely that a DSD version will play back more accurately than the DXD? Is it not accuracy that is the goal? Or is it meeting the personal preference of an end user unfamiliar with the original recording experience?

Finally I might express the view (which a multi-channel listener could feel free to correct) that those of use who listen in just two channels may feel a greater need for accurate aural cues for the space and placement of instruments.


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