hardline

You can use Tag&Rename (http://www.softpointer.com/index.htm) and I suppose other tag programs to export tag and file information of an entire scanned disk. Using the export wizard function an excel document can be created. I guess a master spreadsheet can be made by combining together individual excel drive documents. While Tag&Rename is a recommended program for recognizing dsf and dff files - I do not think that it can process the iso files of : dvd-a, bluray audio, and sacd files. Also associated files (that I would like to come up in my virtual search) within my album's folder would not be listed in the excel document, files such as album/disc pictures, pdf-booklet, commentary and the like.

This may be a bit off topic but, ElviaCaprice and CatManDo and others, how do keep track of music stored on multiple off-line drives. An Excel or Word document? Are there any solutions to keep track of and virtual search - including tags and file characteristics - whats offline before physically engaging the physical drive and its contents.

Ted_b - thanks for a great informative review. Would be great to have a multichannel version of this DAC.

Interestingly enough in the product literature the data extract is referred to as "dCS-encrypted DSD".

So I guess making a transport whereby the DSD stream(s) can be extracted straight to a DAC would not be feasible. Such as... Scarlatti CD/SACD Transport | dCS

Ted - thank you for this well written informative article-review. Well done!

On the DSD front... I just saw some DSD related equipment at the AES 135th Convention, Javits Center NYC. The sonorous environment of the convention center prevented any careful listening of this equipment.: Sony's PCM D100 seems to be a refashion of their popular D50 but can record in DSD and PCM formats - PCM recording is boosted to 192/24. The recorder has the same quality heft, feel and make of the very sturdy D50. Taking a closer look, the microphones appear to be, although not exactly, related to those found on the expensive (long discontinued) Sony PCM D1. The unit has 32gb onboard memory and can take SD cards - no more Memory Sticks. The "product specialist" at the booth was unable to tell me a retail US price (other than the fact that the D100 would be more than the D50) nor any details about the DSD capability including what file DSD format(s) would be actually written and how DSD files can be supported in post-production chain. Look for this portable recorder in the next months. Tascam's rack mount unit - although somewhat reminiscent in shape and size to the Korg mr-rack series, the DA-3000 has a sleek and modern design look. The unit is capable of DSD 5.6mhz recording as well as 192/24 PCM. The unit sports a robust set of connectors in the back and seems to reasonably priced at $1,000 (quoted $999). The booth specialists informed me that this unit will be out early Winter 2013. The sign of the Horus attracted me under the Merging booth. The booth was quite busy so I can only provide fellow computeraudiophilers with the visual evidence.

"....keeping this flow of information going" This thread has been so informative ... we do need to keep going.

Ted - thank you for the review. Hopefully more multichannel gear will soon be coming. Weldon

Kal thank you for your observation. Could you please share with us some of more of your experiences with the multichannel format? In particular what equipment and source materials were involved? Have you noticed any differences in PCM's and DSD's ability to recreate space and ambiance?

peterpan - I am interested in all kinds of music especially the albums-discs-tracks that have been excellently recorded. Any help your way would be appreciated. Thank you much wisnon and Teresa for your help. My wish "listing" of SACDs would include not only the obvious details: performer/group; title; year of original release; label and year of re-release on SACD (if applicable) but also transfer-type: eg. direct dsd; pcm-dsd, tape-dsd or tape-pcm-dsd; name(s) editor(s); and perhaps editing hard/software. I am beginning to pick through various forums (such as Steve Hoffman Music Forums) for infomation and leads to these SACD “nuggets”. (How many times have Aja been done? in SACD? and are they worth it? Aja SACD - is it worth it? | Steve Hoffman Music Forums) Until DSD digital downloads become popular (along with the listed details of the digital provenance of these tracks) these SACDs, whether failing or not, represent (at least for me) a kind of “authority” that can be relied upon – in purchasing a particular issue of an SACD (we can identify that SACD through label or product number) one acquires music in the stated particular editing/transfer method. Then the SACD’s physical shackles can be removed (through the help of a PS3) to reveal the DSD. If DSD (along with other digital) downloads do become popular, how should we authenticate our digital tracks … md5 hash values or peak values – (unless these downloads are straight from the label)? If I’m sold a CD or more to the point an SACD by Amazon I can verify the product through the physical label or disc. Hypothetically in the future, how would I know the DSD track of "Hotel California" that I’m purchasing through let’s say for example HDTRACKS (Mr. Chesky’s reputation not in question here) is actually the track listed?

A while back (in post #32) Ted mentioned that "there are also incredible nuggets of amazing native DSD and well done analog-to-DSD music in this SACD catalog". Could anyone including Ted list these discs (or point me in the right direction), I am looking to build my music library and contribute to the cause so that SACDs will not indeed fail.

Thank you Jud for your Post #203 for helping "make this thread interesting again with an on-topic comment". You expressed some of my observations and questions concerning PCM, DSD and inter-conversion between the two formats.

Fellow forum members allow me to share my experience last month when I had the pleasure of attending the NY Audio Show where I experienced first hand first rate audiophile gear. Proprietors pushed all types of wares, along with their commensurate technologies, onto the mass of audiophiles who showed up with eager and open ears. This Audio Show, to me, clearly demonstrated the power and sensibility of the "computer audiophile" who can at several mere clicks of an input device (be it mouse or keyboard) could summon music among several thousand (if not tens of thousand) tracks for instant gratification. I became acquainted with the Mytek and Auralic Vega DACs - Channel D’s - puremusic programs. One big take away from this show is that we, all of us - be it principals of audio-related hardware-software concerns, owners of music labels, or consumer/audiophiles- have similar stakes in this DSD debate. The concerns can include financial, sonic and the overall aesthetic ones - the goals of aural satisfaction. We are fortunate to have the energy and passion of leaders and principals such as Dr. Waldrep (who I believe also chaired some events at the NY show), Miska, and Barry Diament (to name a few) participate in this discussion. So when there is an audience and a sizable forum (thanks to Mr. Computeraudiophile) we should engage in discourse - not so much to relish victory - but to get to the heart of the matter and advance the cause of furthering the audiophiles’ goal of enjoying music. Now (back to some business) in relation to this issue of investments (stakes), I would like to bring up an undercurrent expressed by, it so happens, two designer-principals of DSD-enabled Dacs: John Siau and Charles Hansen . Mr. Siau contends that some of Sony’s marketing materials are not so forthright (see interview link in first post) while Mr. Hansen goes a little bit further and makes the claim (see concurrent thread http://www.computeraudiophile.com/f6-dac-digital-analog-conversion/ayre-wants-%241-5k-dsded-qb-9-a-15650/index6.html#post226219 please refer to this concurrent thread for some of Mr. Hansen’s most illuminating posts and reply-posts concerning DSD and PCM which we probably do NOT want to repeat nor rehash here) that Sony has been downright deceptive (and may be worse). As an aside it is interesting that both commented on the DSD option as just that an “option”; DSD apparently is the “new wave” and this would be a nod towards the format’s popularity and a hedge against obsolescence. I believe in the sincerity and integrity of these two individuals. The equipment associated with these two individuals have been highly praised for form and function. Although I have not listened to their DSD enabled models, I have no reason to doubt that these would also be among the highly rated. If I am misrepresenting their positions please let me be corrected. On the other hand I’ve had so many bitter experiences with the megaloptic behemoth called Sony that I feel the need to follow The Who’s directive and “Don’t get fooled again."

I would like to thank Mark Waldrep for having the interview with John Siau. My intention by linking the interview was to provide a basis for an open discussion on the benefits and disadvantages of using DSD in the roles of sound/music recording and playback of the same. I never intended for this thread to review substantively Mr. Waldrep's article, to quote lengthy excerpts of this interview, nor to even critique the specific and literal assertions of Mr. Siau. Gentlemen, please accept my apologies. On the other hand, I do think that computeraudiophile.com is an excellent place to have forum discussions on overall opinions/evaluations of the audio formats/medium and to show, (albeit sometimes with much enthusiasm) on why audiophiles should prefer and consider one or some formats over the others. I first thought, perhaps, that my interest in the recording of music (whereby I would use a particular format - PCM or DSD) might be suited in another forum site - but then I do feel that my fellow computer audiophiles should appreciate just how difficult the “recording process” might be in consistently following one format ... from the production end (actual recording of audio from mics to media through format specific hi-resolution recorder) to production (editing - mastering) and subsequent post-production (final mastering) - a “chain” if you will. As one who enjoys music, I look at this chain might then wonder how much of the music we enjoy (SACDs, hi-rez downloads, DVD-As) follow from purely one format... say DSD or did the production of the music involve cross-over between formats? If there were conversions where in the chain did it happen and what are those consequences? I then start questioning, as some have with popular hi-resolution music download sites, what is the format provenance for a particular piece of music I’m listening to.