Our converters are designed to be uncompromisingly honest and precise. Because any kind of proprietary sound of the devices may produce a kind of euphony in individual cases, but it also always conceals part of the original artistic intention. Or to put it in the words of a colleague: “I like vanilla sauce with red fruit jelly, but not with steak.” However, there are artistically valuable recordings from the early days of the CD that were rather poorly digitized with the means available at the time. For these cases, our converters have a manually switchable super analog filter that applies filtering above 20 kHz with minimal influence on the phase relationship of the signal. With this intervention, we take the recordings away from their exhausting and annoying sounding high-frequency artefacts. As a result, undiscovered, previously masked details become audible and the music unfolds quite differently than before.
Reissues of such old recordings are unfortunately often worse than the original digitisations. Even when they are released in 96 or even 192 kHz. This may be because the original tapes have lost their quality due to storage, or simply because too poor converters were used; unfortunately, very common in today’s studio scene. With such recordings, the analog filter does not save anything. The filter is all the more worthwhile for CD-quality recordings.
Generally, however, the better the quality of the recordings, the more the analog filter is dispensable or even counterproductive. It should not be used for good 192 kHz recordings.