Today we spent time in the studio for something I’ve been looking forward to: sitting down and really listening to our first full DSD256 recording session at Sound Liaison. No hype, no expectations, just careful listening to compare how different high-resolution audio workflows influence the final sound.
We started by testing two trusted analog summing mixers: the Rupert Neve Designs 5059 Satellite and the AMS Neve 8816. Both are known names in the world of analog audio mastering, and both shape the stereo image in subtle but significant ways.
The 5059 gave us a wide, natural sense of space, more depth, a slightly softer focus. The 8816, by contrast, delivered a more compact, forward sound, with a bit more energy in the midrange. This kind of A/B comparison is where you realize how much nuance summing can bring to a high-resolution mix (especially in a DSD256 recording).
Next, we moved into the digital realm. Using Merging Technologies’ Pyramix DAW, we created a mix in the DSD-in-DXD format. It preserved the integrity of the original DSD signal but allowed for detailed digital editing. Compared to the analog versions, the DXD mix had sharper transients and more definition, but also less harmonic complexity in the low-mid range. What is immediately very noticeable is that there is clearly more information present from the space in which is being played (Studio 2) and it seems like there is more harmonic information from the instruments making them seem “more real".
Then came a test I’ve been curious about for a long time: mixing purely in DSD256 using Signalyst HQPlayer Pro 4. This software lets you bypass the DAW entirely, offering pure DSD mixing with detailed control over modulators and filters.
The result? The cleanest, most effortless sound of the day. The HQPlayer DSD mix had no noise floor to speak of, no harshness, just music. It sounded honest. Not like playback, but like presence. Almost like being in the recording room again.
This kind of critical listening session isn’t about finding the best format. It’s about understanding what each approach brings to the table. Whether it's analog summing, DSD-in-DXD editing, or a pure DSD256 workflow, each has its place in modern high-resolution audio production.
What I took from today is that DSD256 doesn’t just capture sound, it captures feel. It gives us a bigger dynamic range to work with, but more importantly, it lets the emotional nuance of the performance come through.
We’ll continue exploring these paths at Sound Liaison. Because making records that move people, that’s what it’s all about.
— Frans de Rond
Senior Sound Engineer, Sound Liaison
www.soundliaison.com