Even better, use a digitally controlled analog volume control. No issues with rounding or quantization.
Even better, a relay-switched stepped attenuator.
Seriously, though, we like to see volume control in the analog domain, no matter how many bits of computation you might be able to throw at it on the digital side.
Of course, this is our opinion, but, from best to worst:
Relay-switched stepped attenuator (like Ragnarok): Pros: only resistors and relay contacts in the signal path. Essentially perfect matching with any sane resistor (1% or better tolerance), perfect control over linear steps. Cons: needs software to implement, somewhat costly (but only about 2x the cost of an Alps RK27114 balanced potentiometer.
Big potentiometer. Big pots, like the Alps 27mm stuff and the Alpha 24mm stuff, are very good, and offer both good channel matching and a nice, gradual audio taper. Cons: not perfect matching, too large for some equipment, balanced versions are special-order/big order stuff.
Small potentiometer. Some of these are actually quite good, like the Alps 9mm stuff, which offers shockingly good channel matching down to -60dB or so (many -70dB is still within 0.5dB). Cons: the audio taper is much worse--it has very aggressive volume ramp when you first start turning it--and many other small pots from other manufacturers are even worse.
So why aren't these included?
Stepped attenuator (knob style, like a pot). Perfect matching, yes, but frequently too few steps, even with switchable gain. We like continuous controls.
Analog volume IC. Perfect matching, yes, but you're usually back to microprocessor control, and (in our opinion), even the expensive ones are not as transparent as a good pot. And the expensive ones ain't cheap. And they need good, higher-voltage power supplies, as high as they'll take.
Of course, IMO, YMMV, this is just how the crazy schiits see it, etc.