Post by kwcc November 30, 2005 (21 of 22)
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mdt said:
That's right but i think it doesn't mater when comparing DSD to PCM. To compare the two one has to only compare theire outputs to the feed. It doesn't matter wether this is a bright Pop-mix or a classical one point recording. It's only about how close the output is to the feed.
Literally speaking mdt is right, but I would point out that the comparison ought to be to the original source ,not the mixing board. Maybe the DSD signal is closer to the sound of what the musicians did in the sessions, but not as close to the mix the engineers have heard, because for them the brassy quality of the PCM sound has become part of the sound of the music. Without having the original performances to compare to, I don't think you can really say PCM is closer to the original, just that it was closer to the mix the team came up with using 20 year old tapes.
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Post by mdt November 30, 2005 (22 of 22)
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kwcc said:
Literally speaking mdt is right, but I would point out that the comparison ought to be to the original source ,not the mixing board. Maybe the DSD signal is closer to the sound of what the musicians did in the sessions, but not as close to the mix the engineers have heard, because for them the brassy quality of the PCM sound has become part of the sound of the music. Without having the original performances to compare to, I don't think you can really say PCM is closer to the original, just that it was closer to the mix the team came up with using 20 year old tapes.
Can't agree with that. The recording system has to faithfully store what was fed to it, which would be the console output.
When atempting to capture as closely as possible the sound of the original, one has to see to it, that the feed one provides for the recorder is as close as possible to the original. Providing a sound faithfull to the original is the responsibility of the engineer. All that the recorder, be it PCM, DSD, or analog, can do, is store and replay that sound with the least amount of alteration possible.
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