The "production chain problem" ie. the fact that signal quality quickly and irreversibly deteriorates as it passes through subsequent processing stages, is in itself not solvable. The root cause lies in the high HF noise level. This noise is indistinguishable from the wanted signal, so it cannot be stopped from accumulating every time a signal is converted to 1-bit. This is not to say there are no workarounds.
I suppose the workaround would be a HF filter.
Can someone tell how this would be looking like for converting DSD to a PCM 96k environment?
( It appears from this informative interview like staying within PCM format for tracking seems advisable, but if I knew of the workaround for the DSD HF noise I would like to try that and compare the result to PCM recorded example.)
In my own experience, high speed PCM also produces the air DSD has, while the "digital glare" of some PCM can even be solved at low speeds. It is caused by the narrow alias-band that is present between 20 and 24.1kHz. Removing this band prior to playback restores naturalness and focus.
1. The aliasing problem can be solved at once, anywhere in the audio chain, using a single lowpass filter that enters stop-band before the alias band ie before 0.4535fs. A good place to do this is at reproduction or before final dithering. This means that halfband filters as in 1 may be used throughout without deleterious effects. I find that running a CD through an ultrasteep filter (pb to 18.5kHz, sb from 20kHz, eliminating all aliases that were created anywhere in production) results in an improvement in contrast, depth and precision of the stereo image.
Same here, I don´t understand how the filter curve should be looking like.
Can someone please give me an idea about how it should be for 96k?
Also it is being suggested to cut out PCM above 20 kHz before dithering.
Could it not be of advantage to do such on indiviual tracks too before them going into any plugin for processing?
Thanks for the help in advance,