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For the record 3324 machines and version 1 ProTools hardware is really not what I would call "high end" digital in today's world either.
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That's what I thought at the time as well, especially coming from 80s Ocean Way. I definitely had my reservations about 3324s and 16bit v1 ProTools. I remember thinking that the Sony was a little brittle. But Trevor was and had been really committed to working digital. Trevor liked that you could arrange tunes and copy whole sections without losing quality and he routinely comped multiple vocal comps together, etc. It was a working style that would have been impossible on analog tape, and so it was a way of keeping quality in spite of massive amounts of manipulation. We would have multiple versions with slaves of every song and some masters were 20 D to Ds down from the original tracking date. The Sony SDIF2 worked very well and the twentieth transfer sounded as good as the original (which was not true with AES). Plus you could hardly find fault in a system that had produced "Slave to the Rhythm". Most of what we used ProTools for was editing tracks that we would transfer digitally in and out of it. So the poor PT v1 dacs were not really a problem. By the time the 3348 came out, the dacs and filters were sounding much smoother and I was really digging it. Working with Trevor in the early 90s got me into digital and ProTools a few years earlier than I might have, and I've always felt it gave me a head start.
STeve