Harley: All your designs—even the $1250
DS Pro Prime—use computer-based DSP chips running custom filtering software. Do you think DSP-based digital filters are a requirement for state-of-the-art digital playback?
Moffat: I believe so, yes. That's because there are no digital filters you can buy that optimize for time-domain performance. They are designed for best frequency-domain performance—minimum ripple in the passband and maximum attenuation in the stopband. They are frequency-domain devices only.
One of the purposes of an oversampling system, where you add dots [samples] between the existing dots, is to add more information. In the captive filter design [an off-the-shelf filter chip], that translates to improvements you see on spectrum analyzers—lower ripple and better stopband characteristics. But there is no optimization or enhancement of the time domain. So you're constrained to whatever information is in the original recording. Whereas in a time-domain–optimized filter, you can improve [the time-domain characteristics] the way you would improve the frequency-domain characteristics of a captive filter. With DSP filters you get the best of both worlds.
Harley: How much of your processors' spatial qualities are a result of DSP-based filters and custom software?
Moffat: Almost all of it. Having done a number of experiments with captive filters—the NPC, Philips, Sony, etc.—the variations of the algorithm they all run doesn't do anything to optimize the time-domain performance. The algorithm we run is a specific time-domain enhancer. That's why I build processors that are Motorola-based [the Motorola 56001 DSP chip] as opposed to captive filter–based; there is a substantial difference in imaging and sense of space.