Beinhorn, Calbi Underscore Value of Super Audio CD Format

6-Feb-03

To many, the acronym ìSACD,î for Super Audio CD, conjures images of a new audiophile format making its way into the marketplace. To those who make music for a living, it represents much more. With a 2.8 MHz sampling rate, six channels of audio, and full backward compatibility to the CD, SACD and its associated Direct Stream Digital (DSD) technology are finding another niche: a superior high-resolution platform to which to print final mixes.ìTo me, itís probably the most important breakthrough in digital recording yet,î states producer Michael Beinhorn, known for his work with such acts as Soundgarden, Marilyn Manson, and Hole. Teaming with engineer Frank Filipetti, the pair utilized DSD recording to capture the two-channel mixes for Kornís Untouchables. ìWith this new Korn record, it was able to preserve the leading edge of the sound in a way that no other format Iíve ever heard was able to do.îCreated by Sony and Philips, DSD technology is based on 1-bit sigma-delta modulation and samples music at 2.8224 million times per second, 64 times the amount of a standard CD. SACD supports several disc configurations, including a hybrid containing two complete layers of music information: a high-density DSD recording that can be played in the new generations of stereo and surround SACD players, and a conventional Redbook CD layer, playable on any standard CD player.The actual DSD audio information is captured using a DSD converter, such as those made by dCS or EFF Labs. Such audio manufacturers as SADiE, Tascam, Mytek, and Genex are making DSD hardware and software products, helping push the format into studios.ìWe mixed the Korn record down to half-inch analog, as well as DSD,î Beinhorn continues. ìThe mastering engineer, Howie Weinberg, had listened to both and could have gone either way. Then, almost a day into [mastering], we were listening to the whole thing on DSD and he said, ëThis is absolutely remarkable, I canít believe what Iím listening to. I hear exactly why you want to go with this.í The clarity was absolutely stunning, and on music like this, with such intense harmonic content, there are so many diverse textural elements. With the DSD print, you could hear everything.îAt Sterling Sound in New York, mastering engineer Greg Calbi also likes what he hears with the SACD format. ìIím very favorable with SACD,î he notes. ìI have had the opportunity to take the output of my console and put it into a DSD converter, then compare it to the exact same console output with 24-bit/44.1kHz PCM audio. The SACD takes away a lot of the harshness you hear in digital that you kind of get used to. With the direct A/B comparison, you particularly find the SACD easier on the ears and also hear the material breathing and opening. Itís an enhanced experience of listening.îBe it a vintage analog console output or a 192kHz digital workstation file, a DSD master is another option to the production team that appears to be growing in popularity.ìHonestly, Iíve never encountered anything like it,î Beinhorn notes. ìI think itís an important step for everyone in the music industry and for consumers as well. On certain projects, other formats may be more viable to mix to, but for a master, you just canít beat this. What it does sonically is absolutely remarkable.î