Now that SACD is a niche format it's time for the next phase.

I believe SACD will be around long after CD is a distant memory.

The reason for the CD layer on hybrid SACD/CDs was transitory, to be used as the world moved from CD to SACD, and was to be dropped once SACD replaced CD, at which time SACD would then proceed to its next stage, dual HD DSD layers. Sony never anticipated downloading and I believe this messed up their timetable.

I truly believe SACD being associated with CD has hurt the format, and when CD dies we better switch to single-layer and dual DSD layer SACD as I believe hybrid SACD/CDs will die with CDs.

DSD layer

A single-layer SACD is a "DVD-5" with special coding and a dual-DSD layer SACD is a "DVD-9" with special coding.  The important thing is that both types can be pressed at any DVD pressing plant using super cheap DVD discs.  On the other hand a hybrid SACD/CD disc is a specially created disc glueing a DVD-5 and CD together, is still expensive, and only a few plants in the entire world are tooled-up to press them.

Final Phase: Dual-DSD layers

Since SACD is not going to replace CD, downloads are going to replace CDs instead, SACD has to carve out a new existence.  So why don't we just jump to SACDs final phase and make it a format everyone will want.  A dual DSD-layer SACD could be used to increase the playing time of both the high-resolution stereo and multichannel programs and would eliminate the now unnecessary CD layer.  We already have many single-layer SACDs from Japan which despite their ultra high price are selling very well.

The high resolution stereo area holds up to 110 minutes, the multichannel area holds up to 74 minutes using 5.1 channels, with more playing time using less channels.  Many 5.0 SACDs are over 80 minutes.  And 3 channel recordings would take half the space of 5.1.

Thus the recently released 50-CD Mercury Living Presence box-set could have been released on 17 dual-DSD layer SACDs since 3 discs with both 2-channel stereo and 3-channel stereo could be combined on a one dual-DSD layer SACD and at considerably less manufacturing cost since dual-layer SACDs are DVD-9's which are a only a few pennies more than blank CDs.  To sum up the 50-CD set offers analog converted to 16/44.1kHz in 2 channel stereo only, whereas my proposed 17-dual DSD layered SACD set would offer analog to DSD in both 2-channel and 3-channel stereo at a lower pressing cost for the whole set.

We are missing out on so many possibilities by kowtowing to people who refuse to upgrade their ancient low resolution CD equipment.

In short the sooner CD dies the better.  We need desperately to divorce ourselves from the sinking CD format to ensure a bright future for SACD!

Hybrid SACD/CDs no longer make sense.

While there are a small number of companies that offer single-inventory SACDs such as BIS, Channel Classics and PentaTone, the rest of the world releases both a CD-only version and a SACD/CD hybrid for $4 to $10 more.  Why two CD versions of the same music?  CD users will purchase the less expensive CD-only version every time.

BIS is to be applauded for offering SACD/CD hybrids for the same cost as CDs, that is very rare and the majority of the world's record companies would never do so.  Also I feel this is unfair for BIS to shoulder this considerable extra cost, instead if they offered single-layer stereo/multichannel SACDs and stereo CDs both would cost a lot less to manufacture and put them on a more level playing field with the rest of the world.

Let's ensure that SACD is the sole remaining physical format.

Results of closed polls

IS HOW AN SACD IS RECORDED AND EDITED (DSD, PCM, ANALOG, ETC.) IMPORTANT TO YOU?

WOULD YOU PURCHASE A DEDICATED SACD PLAYER THAT WAS ONLY DSD AND DIDN'T PLAY CDS?

SHOULD 24 BIT 44.1KHZ PCM BE CONSIDERED HIGH RESOLUTION?

HOW IMPORTANT IS IT TO YOU THAT ALL CDS HAVE AN SACD LAYER?

Very! Bring on the high resolution.	74 (66%)
I would love it, but it will never happen.	36 (32%)
Not important, I don't care about sound quality.	2 (1%)

Votes so far: 112
Poll closed 

SHOULD THE NEW BEATLES REMASTERS BE RELEASED IN HIGH RESOLUTION?

Yes, SACD	101 (62%)
Yes, DVD-Audio	6 (3%)
Yes, either SACD or DVD-Audio	49 (30%)
No, just CD	6 (3%)

Votes so far: 162
Poll closed 

Analog Noise versus signal

Copland: Billy the Kid, Rodeo, Grofé: Grand Canyon Suite
Morton Gould and his Orchestra

Stereo/Multichannel Analog

Living Stereo 82876679042

Here is a plot spectrum of the music.

Here is a plot spectrum of analog and DSD noise in between Buckaroo Holiday and Corral Nocturne from Rodeo.

Transfered it to my computer with Audacity using the analog outs.

Telarc spectrograms and plot spectrums

Britannia 
Elgar: “Pomp and Circumstance” Marches Nos. 1 and 4, Maxwell Davies: An Orkney Wedding, with Sunrise, Turnage: Three Screamimg Popes, MacMillan: Britannia, Britten: Sinfonia da Requiem
Donald Runnicles, Atlanta Symphony Orchestra
Stereo/Multichannel - Pure DSD
Telarc SACD-60677

Ballet Favorites 
Erich Kunzel, Cincinnati Pops Orchestra
Stereo/Multichannel - Pure DSD
Telarc SACD-60625

As one can see from the spectrograms and plot spectrums Britannia is true high resolution, however Ballet Favorites doesn't have much response beyond 20kHz.  Curious how the ultrasonic DSD noise is so much lower.

Both of these sound great, however Britannia is one of the most realistic SACDs I've heard yet.

Transfered it to my computer with Audacity using the analog outs.

What happened to this DSD recording?

Holst: Orchestral Works Vol. 1

The Morning of the Year, The Lure, The Golden Goose, The Ballet from "The Perfect Fool"
Richard Hickox (conductor) BBC National Orchestra of Wales, Joyful Company of Singers
An original DSD recording
Stereo/Multichannel Hybrid SACD - Chandos CHSA5069

I was reading and looking at pictures of the 24 bit 88.2kHz HDTracks download of this SACD from Computer Audiophile see Holst Orchestral Works Vol 1 (by Chandros) - HDTracks  The charge is that this is a 24/48 recording upsampled to 24/88.2, however since I own the SACD I know it is a DSD recording, this means it was likely transferred to 48kHz at some point or some editing tool only had 48kHz resolution.  Chandos has not responded to the inquiry yet.

I thought I would check the actual SACD so I transfered it to my computer with Audacity using the analog outs and made both a spectrogram and a plot spectrum and they nearly look the same.

The above plot spectrum clearly shows a roll-off at 24kHz and raising DSD noise beyond 50kHz to the end of the plot.  The below spectrogram clearly shows a brick wall filter.

For comparison here is another SACD I copied to my hard-drive using the same procedure that is a true high resolution recording, response up to 48kHz and no brick wall filter.

SACD Informative from DAISy

DAISy stands for Digital Audio Industrial Supply.  They have been supplying state of the art optical laser modules, high-quality loading systems and display devices for audio and audio-video applications for 15 years.   They are a leading supplier of OEM audio-video products in the high-end market.

Their site explains why SACD was invented, gives SACD original specifications and how it all works in easy to understand language.

Super Audio CD Introduction

SACD original specifications

Hybrid disc structure

Direct Stream Digital (DSD)

Super Bit Mapping Direct Conversion

Direct Stream Transfer (DST)

Sector format, error correction and channel modulation 

Data organisation

Digital Watermarking

So when internet yahoos try to distort, pervert or outright lie about DSD or SACD send them to DAISy, makers of the parts for SACD players to get the straight answers.  Great reading for us loyal fans also.

Star Trek: Nemesis SACD Special Edition

Goldsmith: Star Trek Nemesis - Original Motion Picture Soundtrack

Jerry Goldsmith, Hollywood Studio Symphony 

Stereo/Multichannel Hybrid DSD

Varèse Sarabande 302 066 430 2

This is an older SACD release but it is so unique I though I should do a short write up rather than a formal review.  I have owned this since it was released in 2002 and it is an excellent sounding DSD recorded SACD of great Star Trek music.

From the liner notes:

"The Star Trek film franchise has produced two soundtrack recordings that carry a very special historical significance. Star Trek: The Motion Picture (1979) was Jerry Goldsmith's first score in the Star Trek series and was the very first digital recording of a motion picture music score. Twenty-three years later, at Paramount Pictures Music Scoring Stage M in August and September of 2002, Star Trek Nemesis—the tenth in the series and Jerry Goldsmith's fifth—became the first motion picture music score to be recorded directly to DSD (Direct Stream Digital) and subsequently released on SACD Hybrid 5.1 / Stereo and PCM. The mixes on this recording are live, with no remixes and only editing done between takes to perfect the performance.

DSD recording technology captures the live performance with a greater depth, frequency response and dynamic range than has ever before been possible. Jerry Goldsmith's score for Star Trek Nemesis, with its striking mix of electronics and an extraordinary dynamic 96-piece orchestra, offered the ideal opportunity to marry great music with this new technology. This disc preserves a unique and historic event and represents a dramatic evolution in recorded sound." — Bruce Botnick

One of my favorite SACDs and still in-print but for how much longer?  Varèse Sarabande released three SACDs in 2002 and nothing since then, so my feeling is once supplies run out this will go out of print.  If you are interested I would get this one as soon as possible as I think the price will go through the roof when it is out of print.

Grammy® for Best Surround Sound Album

Keith O. Johnson and David Frost win Grammy® for Best Surround Sound Album Britten’s Orchestra  (RR-120SACD)

Reference Recordings "Prof." KEITH O. JOHNSON and producer DAVID FROST have won this Grammy for their first release in Surround Sound. Winners were announced by the National Academy of Recording Arts and Sciences (NARAS) at the 53rd Annual GRAMMY® Awards on Sunday, February 13, 2011, at Staples Center in Los Angeles. All nominations were for albums released from September 1, 2009 to September 30, 2010.  

“Keith is a phenomenal engineer and we are thrilled about his win,” says Reference Recordings partner and executive producer Marcia Martin. “Everyone at RR is delighted that he and David have been honored by their peers in the music industry for this achievement. Keith’s collaboration with David Frost was a great success and we look forward to their next project when they return to the Kansas City Symphony in May to record the Enigma Variations by Elgar and The Wasps by Vaughan Williams.” 

Congratulations to all who were instrumental in bringing this outstanding album to life:

Kansas City Symphony, Conductor: Michael Stern

Executive Director: Frank Byrne

Producer: David Frost (also Grammy winner for Producer of the Year, Classical) Engineer: Keith O. Johnson

Reference Recordings Staff: Tam Henderson, Marcia Martin, Sean Martin, Bill Roarty, Janice Mancuso.

And very special thanks to all the Sponsors of the Kansas City Symphony, without whom this recording could not have been made. 

Category 94

Best Surround Sound Album

For vocal or instrumental albums. Albums only.

BRITTEN'S ORCHESTRA (Benjamin Britten: The Young Person's Guide to the Orchestra; Sinfonia da requiem; Peter Grimes: Four Sea Interludes and Passacaglia)

Keith O. Johnson, surround mix engineer; Keith O. Johnson,

surround mastering engineer; David Frost, surround producer

(Michael Stern & Kansas City Symphony)

[Reference Recordings]

www.ReferenceRecordings.com

About Reference Recordings:

For 35 years, Reference Recordings has been one of the most innovative and respected independent labels in the music business. Founded on the premise that most commercial recordings sound nothing like the live performance experience, Reference Recordings productions have been widely and lavishly praised for their dedication to high quality sound in the service of great music. In 1978, founder Tam Henderson began working with engineer Keith O. Johnson, who was already becoming an audio legend for his innovative approach to realistic recordings. Some 120 discs later, RR is still recording what many consider to be the finest-sounding classical and jazz discs in the world. 

  

Reference Recordings has now won three Grammy Awards and many other nominations, including a nomination for Henderson as Producer of the Year in 1998 and seven nominations for Johnson for Best Engineered Album. In addition, RR has received numerous awards and citations from industry organizations and publications. RR has recorded many world premieres, and has pioneered many technological innovations—most recently the introduction of HRx, high resolution digital files for home music servers, and the widely praised HDCD digital encoding process (co-invented by Keith O. Johnson).  

About Keith O. Johnson:

Keith  has been Technical Director of Reference Recordings since 1980. Early on, he applied his well-practiced recording methods with half speed mastering expertise from Stan Ricker to spawn exceptional phonograph record releases that received numerous awards and continue to be the best of their kind. With producer and RR founder Tam Henderson, Johnson continues to record and release the finest quality compact discs, which now total over 120 titles. 

To improve the compact disc, he was a founding partner in Pacific Microsonics where he contributed important parts of the HDCD process. Johnson’s ideas: morphing filters, hidden codes in dither, conversion sequences or pipelines are amongst the first of their kind. Unparalleled conversion accuracy is manifest in the Model 1 and Model 2 HDCD encoders, which most consider second-to-none. Microsoft bought the company and hired Johnson as their consultant, and while working for them he invented a speaker correction method to remove object related sounds. Johnson helped Microsoft develop a system based on generic speaker models and simplified files that is bundled with Windows XP software to improve computer speaker sound. 

His invited participation in the UCLA School of Recording Arts planning committees helped emphasize technical and perceptual aspects of music production. He also continues to work with educational and historical committees for NARAS.  

Johnson has been a prolific designer of pro and consumer audio equipment.  The manufacturer Spectral Inc. has produced high-end audio equipment from his designs for decades. Many of the most expensive audio and home theater installations feature this equipment due to their unmatched performance.  

Some of the many awards for Johnson’s work include 3 Grammy winning releases, 7 nominations for Best Engineered Classical Recording, a Silver Medal (Lifetime Achievement Award) from the Audio Engineering Society, the 2010 Founders Award from the Los Angeles and Orange County Audio Society, 2 NAIRD Indy winners for Best Recording, 2 Absolute Sound Golden Ear awards and 3 awards from the Academy for the Advancement of High Performance Audio. 

Multi-channel processing for large screen sound is a currently a great interest for Johnson. He is also investigating and consulting on hearing physiology and hearing correction. He plays keyboard instruments and is a competitive middle distance runner and Senior Olympian.