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The worst thing about DSD is the edgy, unfocused Sabre 9018 chip that seems to go with it.........
DSD doesn't mean it has to be with sabre32 chip.
I know, they seem to go together in most cases within reason.
Since I got a vinyl rig, I'm also on the lookout for a DAC that is less edgy.
Yes, DSD is dead in the water.
A pair of KEF LS50 arrived so I'm ready to test out the internal amp on the MHA100. Waiting for the production unit.....
Hehe, I hate you
That makes two of us!
What stunning evidence do you have to make this conclusion?
One question: can the D100 be used with a pair of active speakers?
Yes. Use the variable outs and you can control the volume with the remote. I would also look at some of the "pro" models which allow you to use a balanced cable.
You just use the fixed line-stage (pre-amp) outputs -
balanced or RCA - and control the gain at your speakers
or, as Zebra suggested:
use the variable outputs to your active monitors - set the gain as close to max as you can on your monitors w/o any noise,
and control the volume via the remote or on the unit itself
I think maybe @HiFiGuy528 meant its dead in terms of cross-consumer lines, thus far.
But hey, when I was working at Atlantic, and we were a part of Warner (so, obviously
we were supporting DVD-Audio, as opposed to Super Audio CD, to avoid paying more mechanical royalties to Sony -
first the CD then DSD/SACD - all SACD back then) I thought SACD was going to die off and never return!!
But it's flourished in many parts of the world. Keeping DSD ALIVE!
Michael and I, as stated in the review, just have far more music in standard redbook CD (16/44.1) or higher sample rate PCM,
which is covered by the D100.
I have over a TB of DSD, but honestly I just don't mess with it as much (and I have DACs to handle it if I do) as I don't love many
of the titles and, well, I just don't live with it as much as others. Nobody's better or worse off here.
As a music writer of many years - I still receive the majority of my promos, from majors to indies in standard rez!
Or 24/96 at most occasionally.
But I think ANYTHING that keeps people listening,
is a GOOD thing.
I guess the SA-CD taint and paying royalties to Sony wore a bit thin after the CD royalty payment was still in progress. That's a commercial decision that's really come unglued and allowed different formats to be created, much to the detriment of the music listening public. Anyway, that's history, we have to deal with that. DSD remains strong in Japan where consensus among audiophiles is the best SA-CD (and extracted DSF/DFF ) sources of excellent recordings. It seems a great shame to ignore this segment added by the likes of Acoustic Sounds offering music in DSD format for out of print SA-CD's.
The D100 is not a cheap design, and given DSD's awareness at events such as RMAF, I would have thought the format would have being supported by Macintosh. You can convert DSD to 192/24 on the fly, but it's not quite the same as DSD native, those small details go missing. The D100 does have a great heritage behind it, give the device some time, then with the next model to add DSD. Or it is possible that there's provision already and due to production issues, it had to pulled.
Yes, it is about the enjoyment of the music, so far DSD does it for me!
A very old post from Audio Asylum. Don't know if it's still valid (since 2001) :-
"According to a message posted on the Sursound Mailing List from Telarc's Michael Bishop, the SACD royalty is $0.05 and the DVD-A royalty is $0.40 per disc."
And I'd think royalties would go to both Sony and Philips not just Sony alone?