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I also received discs from a multitude of smaller labels who were eager to jump on board the SACD bandwagon - and I didn’t even have an SACD player at the time. In the year following SACD’s release, John Sunier (the now-deceased editor at AA), offered me what would prove to be a ridiculously generous and nearly unlimited flow of SACD discs from all the major record labels. SACD offered great promise, with many technological positives the only real downside being the somewhat prohibitive cost of the discs and players. I wrote my first piece for Audiophile Audition in 2001 the SACD format had been unceremoniously launched the year before to very little fanfare. Why a nearly-dead, niche technology like SACD, you may ask - my involvement with it goes all the way back to my very first gig in audio journalism, twenty years ago at the old Audiophile Audition website. I first became aware of this about three years ago, and have followed its progress with great interest, although I haven’t had the tools available to me to make this happen until just a few weeks ago. I’m departing from my usual review format to focus on a developing technology I’ve been following for several years now, which is the ripping of SACD discs and the extraction of the Direct Stream Digital (DSD) layer.
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Apparently the code writers/hackers in the world agree with me, and it’s really great that we can finally transcode just about any digital file type that exists to ensure compatibility with ever-evolving audio equipment. I’m a firm believer in fair use when it comes to audio media - if you bought it, you own it, and you’re free to do with it as you please - as long as it’s for your personal enjoyment and you’re not trying to sell it illegally for profit.