When I observed how Angel had just talked himself out of an Analog Domain preamp, he explained that this version was purely digital. They were considering analog inputs for a costlier future version. As to high-rez audio, "let's be frank. 99% of all existing software is still RedBook. There's absolutely nothing wrong with it. It's the early generation converters that were the culprits. Before one worries about a few hi-rez recordings, one should get every last bit of data from one's CD-type files. Further, studios don't record above 96/24 and most microphones begin to roll off at 15kHz. None exceed 30kHz. For that we need a minimum 60kHz sample rate. Sampling at 96kHz thus already exceeds the capabilities of our recording gear. It's bit rate which matters. With every 6dB of attenuation, we lose one bit of resolution. If we start with a highly dynamic classical recording, as always the peaks will be set at 0dB. However, this pushes the majority of the music down to -20dB, perhaps even lower. That means a resolution loss of 3.5 bits, perhaps more. With a 16-bit depth, for the majority of that recording we're down to 13-bit resolution, possibly 12. Meanwhile at 24 bits, we're fully in the clear. Now we don't care about the 21st, 22nd and 23rd bits. They are irrelevant. As long as we have 20 bits of resolution, we properly captured the entire dynamic range of this symphonic recording. That's why most studios work exclusively at 24/96. It covers all eventualities. Plus, most commercial D/A chips have their best measured performance at 24/96." As to his show system, a 1998 modified CD player served as transport. With Analog Domain of Taufkirchen/Germany, good common sense is part of the package. That's very good, just not so common.

Analog Domain website