Y volviendo al tema del hilo, navegando por Internet he encontrado este comentario sobre los resultados de la prueba con el material de Stereophile:

An interesting project described in detail in a recent issue of Stereophile Magazine. Anthony Michaelson is the CEO of Musical Fidelity high end audio manufacturers and also a skilled clarinetist. In a project with Stereophile’s editor and noted classical recording engineer Tony Faulkner, the session in London’s Henry Wood Hall was recorded both direct to DSD and to Faulkner’s highly-tweaked analog tape decks. There’s plenty of competing versions for this lovely Mozart concerto on both standard and SACD. I’m partial to the recent one I reviewed on the Opus 3 label. Michaelson does a fine job, but one doesn’t get a great deal of music for one’s investment here.

The reason for the just the single short selection is that both the standard CD and the SACD layers have two separate complete versions of the work. On the CD layer the first is mastered from the DSD master downsampled to 44.1, followed by the analog tape converted to 44.1 digital. On the SACD layer the first version is direct from the original DSD master and the second is from the analog tape converted to DSD. I found the two versions on the SACD layer to be extremely close in quality, but with repeated listening to just one section I finally determined I was hearing just slightly more clarity and air on the version sourced from the DSD master. Oddly, when going to the standard CD layer it was much easier to discern a difference. The version sourced from the analog tapes sounded rolled off, muted and somewhat muddled in sound, whereas the one converted from the DSD original had greater transparency all around. The disc is available from Musical Fidelity on their website or from Stereophile.

- John Sunier

O sea, que en la comparativa DSD el tal Sunier coincide conmigo, mientras que en la PCM coincide con los 4 fantásticos *