Saidera
Senior Member
Why isn’t Mr Ayataka Nishio credited with creating DSD audio? Who is credited with creating the CD? Who created PCM? Why does Sony have the rights for the term DSD? Can we call it 1 bit audio?
I only really got interested in the engineering and science aspect of sound due to the work of Mr Ayataka Nishio. I tend to ascribe to him the label: ‘father of DSD audio’. Just like Naito is the ‘father of ThinkPad’, despite it clearly being a team and corporation effort. Nishio was an engineer at Sony who created the original SBM dithering for CD authoring, 1 bit audio ‘somebody has to invent the future’ as discussed in 1993 with Massenburg, Sonoma editing systems etc, SBM Direct K-1327, VAIO DSD audio hardware and software design advice and assistance, and other activities popularising DSD Audio in Japan, and finally even the original 2013 version of the infamous DSEE HX. He wrote audio articles as a freelancer. Then he made it possible to livestream DSD256 via PrimeSeat software at IIJ. Now he is a freelancer again (source: LinkedIn). He is potentially as legendary as Doi the ‘creator of CD’ or the S-Master amp designer whose name I forgot (after retirement he created the Vinyl Processor DSP for walkmans). Not many ‘legendary engineers of the 90s’ remain at Sony now, although their teachings and influence probably remains. One of the many influences is seen in the way that Sony places emphasis on subjective enjoyment and does not care to reveal specs as a marketing tool. As a consequence, only their top of the line products measure adequately, and the low-end products have increasingly suffered bad designs … in most cases as seen on ASR.
My foray into audio extends only to the boundary of DSD audio and DSEE HX (compression and codecs). Although I gradually learned some technical terminology, it was not structured or systematic learning. I have forgotten much of it. I still don’t truly understand 1 bit audio. Each layperson’s understanding of it seems different, and to understand it from an engineer’s perspective one needs to read AES papers and do some systematic learning.
On Massenburg and Ayataka Nishio:
http://forums.musicplayer.com/ubbthreads.php/topics/457149/all/DSD_vs_PCM_Progress_Or_Just_Mo
https://tapeop.com/interviews/btg/63/george-massenburg-gml/
pages 106-7 of https://worldradiohistory.com/Archive-All-Audio/Archive-Studio-Sound/90s/Studio-Sound-1998-10.pdf
I only really got interested in the engineering and science aspect of sound due to the work of Mr Ayataka Nishio. I tend to ascribe to him the label: ‘father of DSD audio’. Just like Naito is the ‘father of ThinkPad’, despite it clearly being a team and corporation effort. Nishio was an engineer at Sony who created the original SBM dithering for CD authoring, 1 bit audio ‘somebody has to invent the future’ as discussed in 1993 with Massenburg, Sonoma editing systems etc, SBM Direct K-1327, VAIO DSD audio hardware and software design advice and assistance, and other activities popularising DSD Audio in Japan, and finally even the original 2013 version of the infamous DSEE HX. He wrote audio articles as a freelancer. Then he made it possible to livestream DSD256 via PrimeSeat software at IIJ. Now he is a freelancer again (source: LinkedIn). He is potentially as legendary as Doi the ‘creator of CD’ or the S-Master amp designer whose name I forgot (after retirement he created the Vinyl Processor DSP for walkmans). Not many ‘legendary engineers of the 90s’ remain at Sony now, although their teachings and influence probably remains. One of the many influences is seen in the way that Sony places emphasis on subjective enjoyment and does not care to reveal specs as a marketing tool. As a consequence, only their top of the line products measure adequately, and the low-end products have increasingly suffered bad designs … in most cases as seen on ASR.
My foray into audio extends only to the boundary of DSD audio and DSEE HX (compression and codecs). Although I gradually learned some technical terminology, it was not structured or systematic learning. I have forgotten much of it. I still don’t truly understand 1 bit audio. Each layperson’s understanding of it seems different, and to understand it from an engineer’s perspective one needs to read AES papers and do some systematic learning.
On Massenburg and Ayataka Nishio:
http://forums.musicplayer.com/ubbthreads.php/topics/457149/all/DSD_vs_PCM_Progress_Or_Just_Mo
https://tapeop.com/interviews/btg/63/george-massenburg-gml/
pages 106-7 of https://worldradiohistory.com/Archive-All-Audio/Archive-Studio-Sound/90s/Studio-Sound-1998-10.pdf