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Virtually all digital recording uses a format called PCM. But there is another digital format that works in an entirely different way. It’s called DSD, for Direct Stream Digital, and you might find that it sounds better than PCM.

In this episode, I explain what DSD is, mostly from a practical, user, viewpoint.

If it sounds better, why don’t we use it? Well, DSD comes with some serious limitations. I explain those limitations and the techniques used to get around them in the world of contemporary recording.

Most people will find the shortcomings of DSD to be enough of a problem that they have no interest in it. But for those of us who are on a quest for the best sounding audio we can achieve, DSD is worth it despite its challenges.

Here is a link to Native DSD, a digital distributor that has specialized in DSD digital downloads:

https://www.nativedsd.com/

… and a link to Outer Marker Records, the label the Hazelrigg Brothers and I founded a few years go. All the releases on Outer Marker were recorded in DSD:

https://www.nativedsd.com/label/outer-marker-records/

We think DSD is the most musical recording format there is.

email: dwfearn@dwfearn.com
www.youtube.com/c/DWFearn
https://dwfearn.com/

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Does audio quality really matter?

Our society in general has seen a major loss in quality of goods and services. Music recording has not escaped this trend.

In this short episode, I give some examples, some possible explanations, and a bit of guidance on how recordists can do a better job. It benefits the listener, even if they can’t even describe the difference between a good recording and a mediocre one.

email: dwfearn@dwfearn.com
www.youtube.com/c/DWFearn
https://dwfearn.com/

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Most recording occurs in a studio, and the design of that facility has a major effect on the quality of the recordings made there.

In this episode, I discuss some of the things that I think are most important for a successful studio. I don’t get into room design, soundproofing and sound conditioning, or even much of the infrastructure of studios and control rooms. I’ve covered a lot of that in previous episodes. Instead, I focus on the real-world, practical, aspects of what it takes – and what it costs – to make a professional studio.

I also talk about the viability of a studio as a commercial venture, and offer some thoughts on what it takes to run and studio that makes money and stays in business.

If you are happy with the results you get from recording at home, much of this will not apply to you. However, I believe everyone who records always wants an expanded and improved facility. These thoughts might inspire you to strive for something better.

Of course, building a studio is expensive – much more expensive than residential or standard commercial construction. Even renovating an existing building is expensive. I hope anyone with aspirations for building a truly professional-sounding studio will find insights here.

email: dwfearn@dwfearn.com
www.youtube.com/c/DWFearn
https://dwfearn.com/