Ok , from that perspective i wont ask what you think of digital ...
Not a fan, for a long time. however, we (the royal we) do tend to end up spending most of our modern times, listening to it. For good or for bad.
I'm still waiting for it to mature. It's getting close. I said that I would not get into doing any more design work on digital projection, until they standardized with 1080P resolution, and with long life lighting sources, like LED.
Both have started to emerge as a new trend, so I can finally go back and institute all my video innovations/changes/mods... in the world of video projectors.
Digital audio, is likewise maturing and stabilizing. Finally. After 20 years of crap.
I was the kind of guy, who, in the early 90's was telling the 44.1k/16bit crowd that the
minimum specification had to be at least a 225k/s sample rate, with 20bit depth, just to hit the basic minimal specification of the standard audiophile capacity to place imaging across a sound stage. That is the minimum. Bottom of the barrel. That is the minimum specification required to actualize the location of a single frequency 'ping', in a horizontal 'space'. then, when we add in complex instruments represented by complex harmonics, as a set, the complexities in the signal are drastic, and cannot be mathematically 'represented by a series of sine wave/curves, etc,as described by the simplistic thinking on the theory. The reality is that it is TWO entirely separate channels that have entirely separate timing cues, that are built on complex harmonic wave forms that step in and out of a alignment and agreement with one another in a complexity that truly defies belief. that's what REAL instruments do. And analog beats digital all to heck when it comes to getting that right.
Once those complex and not perfectly related and not perfectly mixed harmonics are to be represented, differently, as in differently across two channels separately/differently .... then the sample rate requirement moves up into the MHz ranges. multiple overlapping parameters that need to be addressed that are constantly skipping in and out of the noise/signal floor.
Thus, due to the way the human ear works, the so-called linear weighted noise floor aspects of digital distortion, those end up being the fundamental sound of the given DAC set up or design. All that tiny stuff that designers and linear measurement techniques relegate to being non critical, ie the last 1-2% of the distortion in the noise floor, that ends up being the entire heart of what the ear hears and works by. That the idea of digital measuring well, has just about zero relation to how we hear and how we listen.
