Jon Iverson's editorial on SACD in S'phile

Discussion in 'Archived Threads 2001-2004' started by John Kotches, Mar 20, 2003.

  1. John Kotches

    John Kotches Cinematographer

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    I'm curious if anyone else has read Jon Iverson's opinion piece (the "As We See It" column) in the latest (April 2003) issue of Stereophile.

    He has interesting commentary, and I'd like to know what others think about it.

    Regards,
     
  2. KeithH

    KeithH Lead Actor

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    John, no, I haven't seen it. What's the gist?
     
  3. Lee Scoggins

    Lee Scoggins Producer

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    John,

    I posted me response in the "Production Support" thread.

    We should also discuss Mike Fremer's take as well. [​IMG]

    [​IMG]
     
  4. John Kotches

    John Kotches Cinematographer

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    Keith,

    Not having the editorial directly in front of me, I'm doing this from recollection.

    Iverson's point of view (paraphrased):

    Sonics come a distant 3rd in reasons for SACD to exist...

    He feels that developing a new revenue stream of royalties, and copy protection were the most important aspects of the release of SACD as a commercial product.
     
  5. KrisM

    KrisM Second Unit

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    If copy-protection was that important to the release of SACD, somebody should be out of a job. The average person stealing music doesn't give a rat's ass about high rez. We are talking about people who think poorly encoded mp3s are the same as cds. True copy-protection is simply not available. I realize that an SACD or DVD-A layer cannot be copied, but through the analog domain any of these discs can be copied over and over to a cd layer.
    I would think the higher quality and new revenue streams would be the most important. And not in that particular order.
    Just my 2 cents.

    Regards
    KrisM
     
  6. Rachael B

    Rachael B Producer

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    Ultimately SACD has no copy protection. The analog MD's and CD's I've made from SACD's are simply awesome for their respective formats. Next move rook to queen 7...[​IMG]
     
  7. Lee Scoggins

    Lee Scoggins Producer

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  8. Brian-W

    Brian-W Screenwriter

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  9. John Kotches

    John Kotches Cinematographer

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    Brian,

    The royalties for DVD-A are spread much further across the board than SACD, so no one company is going to reap particularly huge benefits.

    There were either 8 or 10 companies to which DVD-A royalties were to be spread across.

    It's only a matter of time before the hacking community figures out a way to hack the copy protection schemes for both format. But why bother for the moment, when the market penetration of both formats is practically nonexistent?
     
  10. Brian-W

    Brian-W Screenwriter

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  11. Sathyan

    Sathyan Second Unit

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    Brian,

    Could you post the manufacturer/model # of the 2-channel SACD player that was mentioned? (The column is not online)

    thanks
    Sathyan
     
  12. Brian-W

    Brian-W Screenwriter

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    Sathyan,

    I don't remember what the model was, but I think the manufacturer was DCS.

    I didn't buy the magazine.
     
  13. Lee Scoggins

    Lee Scoggins Producer

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  14. John Kotches

    John Kotches Cinematographer

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    Brian,

    It was 3 pieces from dCS:
    • Verdi (Stereo SACD/CD transport)
    • Purcell (CD --> DSD conversion/upsampler)
    • Elgar Plus DAC

    Combined the price tag was ~US$35K for a stereo source.

    Fairly pricey, by any stretch of the imagination.
     
  15. Kevin Farley

    Kevin Farley Second Unit

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    The more I think about investment in SACD/DVD Audio (rip?), the more I think about going more into vinyl. Software costs (rebuying albums...), need new home cd player, new processor to decode, new car cd player, new computer software, new everything, just to get even closer to vinyl. bah. The Rega P3 is looking better and better now...
     

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