SACD-R discs are not meant to be ripped by ps3 after being created from the iso file.
The ISO used for burning the SACD-R is widely available, and you can extract all the files inside with the appropriate Foobar and plugin software. Know that proper SACD-R ISOs are authored with Philips SuperAuthor, a legitimate professional authoring tool for SACD. Only thing missing is the Pit Signal Processing aspect, which can only be added during the cutting of the master-disc and maybe also during the pressing stage in full-fledged licensed pressing houses. So please do not rip burned SACD-R ISOs -- it is a futile and unnecessary exercise since the original ISO file can itself be read easily on a computer.
Just for the record:
1) The ISO was created for public sharing but some Chinese users apparently decided to make money out of it or something, by selling it? Not sure about their intentions, but the released ISO was free and distributed with the plea to spread the music freely for educational and inspirational purposes. (to inspire more people to dabble in ps3 ripping, authoring their own ISOs, making compilations of rare or interesting content in DSD, etc)
2) What is the educational purpose of this ISO? Well, it demonstrates proof of concept that an SACD-R can be created on dual-layer DVDs offering more than the usual 4.7GB capacity. Furthermore, the use of DST compression (lossless) further demonstrates that SACD-R can be a flexible format for disc-based playback of a very satisfying amount self-compiled music -- 7.5GB of compressed DSD amounts to many additional hours of enjoyment than non-compressed DSDIFF music! With stereo content, the play time increases. Best part is that, you can mix stereo with multichannel content on the SACD-R for really flexible AB testing, enjoyment, education... whadever!
3) Another concept being demonstrated by this compilation is that tools are available for decoding HDCD-encoded CD content back into very high quality content. Many people in the past have had wet dreams involving the possibility of decoding HDCD CDs but were unable to do so because they lacked compatible hardware which was expensive. Undecoded HDCDs still sound good: purely due to the quality of the encoder used (and the inherent provision by the inventors to not compromise sound quality of unencoded content) and the higher attention to quality by HDCD-aware engineers; but many HDCD fans will testify that decoded HDCD content can sound very good and better than typical CD content if all the features of HDCD are employed. So anyways, once we can get our hands on decoded HDCD content, many thousands of HDCD titles that were never re-released on higher-definition formats, can now at least be enjoyed by more people once they know it can be done without special licenced hardware, and will be motivated to try finding out how to do it. (caveat: their playback equipment must support 24-bit and higher-than-48KHz sampling rates).
4) As many of Trisha Yearwood's CDs were in HDCD, and since no higher-definition content has been released from her affiliated recording companies, the SACD-R ISO was one way to allow her fans (and would-be fans) to enjoy the same CDs they already paid for, but now with higher quality. Ignoring the DSD upconversion, the decoded HDCD content alone should be worth the exercise of downloading the ISO and listening for themselves if the music really sounds better than undecoded HDCD. Additionally, a small number of tracks in the compilation are very rare versions not easily found in stores -- these nice songs alone are worth the price of a free download -- regardless of whether they have been upconverted or decoded from HDCD or whatever!
5) The original first release was published in demonoid with clear explanations of the rationale behind the compilation. These precious words disappeared with subsequent proliferation around the web, so that is why people who obtained the file or finished SACD-R many generations down from the source site, never got to be aware of the intent and purpose of the exercise.
Let me close by saying that not all self-authored SACD-Rs are suspect in sound quality or any other aspects. For example, SACD-Rs are a great bridging tool for people who just do not have the equipment to enjoy DSD on their computer and do not want to invest in dedicated DSD storage-based playback equipment. As long as they have a player that can play SACD-R, and/or a computer with the right DSD processing software, it's already a good start to new adventures in DSD dabbling. There are also adventurous music lovers who like to push the limits of their knowledge about hitherto locked-down recording formats, and also to exploit this knowledge to heighten their enjoyment of avorite music using this format. In this case, they can rip dozens of favorite stereo or mch DSF/DFF files from original SACDs (or use converted needledrops of oop vinyl recordings), compile all the tracks into one dual-layer DVD, and then play the resulting SACD-R without having to be their own DJ -- every song is a fave, and the playback sequence can be shuffled or arranged in a deliberate order. Another use of such knowledge is the empowerment of audiophiles to create bespoke demo/sampler discs to lug around to play on the SACD-compatible systems of friends and audiophile-club members.
Sadly, the Trisha SACD-R exercise never really excited many computer audiophiles into coming up with similar fan-boy compilations of their own favorite artistes to share. The bright side of the situation is that file-based DSD playback (over USB or via network) is becoming accessible, widespread and more affordable by the day, making physical SACD-Rs less relevant.
