Extracts from a 2009's interview to Tom Jung, founder of DMP - Digital Music Products, pioneer in digital music recording :
"To me DSD sounds, what I call, "ear friendly", you know the slight pain you get in the ear when listening to the harsh or glaring sound from some digital. With DSD you get none of this and can hear around the individual instruments, not just the front."
"What makes DSD shine sonically is that the pure 1-bit signal, sampled at 2.8224MHz (64x44.1kHz), does not get decimated or changed in the process of recording or playback; there are no brick wall antialiasing filters or decimation filter. This is a much simpler process and is really more analog like. The 1-bit DSD signal can be down converted to any of the current digital formats."
According to Sony, the use of aggressive noise-shaping in DSD results in a frequency response that extends to over 100kHz, with a dynamic range equivalent to 24-bit linear-PCM digital."
"To my ears DSD recording is ideally the most realistic and the most consistent with what I hear in the concert hall."
From a Stereophile's article (Feb-2018) : Tom Jung - I Want More !
Tom Jung : "... we were invited to a private demo of DSD at Sony's New York Studios, along with a few other industry people. Mike Bishop from Telarc, John Gatski of Pro Audio Review, Bob Ludwig, and Bruce Swedien were there. We were able to listen to the live feed from a jazz quartet. The signal was recorded and played back with DSD and with some of the latest 20-bit converters and a few of the older 16-bit machines. We all agreed the live signal was best, but close behind was DSD. And quite a ways behind that was the 20-bit sound. And of course, on the street it was still a 16-bit world."