Good point Ozoid.
And almost all DAC development is for formats which comprise about 1% of what's available in digital recordings and add to that much of whats available in the higher resolutions is nothing more than reworked 16/44. Also, why would I pay $20 plus for a hi-res download when I can go to almost any thrift store or flea market and get a CD for 50 cents to $5.00. The mass exodus from CDs is a bonus to those of us who want to amass a large collection of music for a very reasonable price.
A good NOS DAC from 7 or so years ago is still very much in the running and in the 16/44 format unbeaten by the high number crunchers IME. I've had my TDA1543 based DAC for about 7 years and it's still unbeaten. Even a properly implemented humble PCM2704 can sound incredibly good.
In light of the fact that music listening is migrating to the the likes of Tidal and Spotify it makes the NOS DAC look even more attractive.
NOS DACs will likely never be big sellers (just like SETs and single driver speakers) because big numbers of anything be it in resolution, number of drivers, watts per channel, horsepower, top speed etc.....sells.
Just listen to a well set up vintage Altec or similar system from the 60s and you'll see how far the mass audio industry hasn't come.
Rob—
I'll agree with much you wrote, but respectfully disagree with the rest.
No doubt about it, "progress in audio" is largely a mirage. You mentioned ’60s-era Altecs — Jeff Day, who wrote the review that first introduced me to Omegas (and still owns the pair he reviewed and strongly recommended I buy the Alnico monitors) has gone even further back: a few weeks ago he bought a pair of
1947 Altec Voice of the Theaters built expressly for Leopold Stokowski, which he's positively wallowing in. He wrote a blog post about vintage equipment the other day and I contributed a comment here:
http://jeffsplace.me/wordpress/?p=8728&cpage=1#comment-21843. The quick takeaway from my comment that's relevant to Omega (& Decware) is that I think these are modern pieces that emulate vintage gear.
As far as digital goes, I've discovered that up-rezzing from 16/44.1 solves a lot of what has always bothered me about digital. It's always sounded freeze-dried to me. I have a small collection of hi-res files from Linn and I'd estimate that AIFF rips from 16/44.1 played back through Audirvana+ and the Meridian at 24/176.4 gets me about 80% of the way to the sound of native 24/192. (some of those tracks I also have in 16/44.1, so I can A/B) I once briefly set Audirvana to play at 16/44.1 and, believe me, someone would have to pay me a good deal of money to listen that way enough to write something about the difference. And since I have more than 2,000 CDs on my hard drive, I'm really happy that they sound this good.
I think digital music technology is far from mature. I think you're right that the future will be based around streaming. Meridian's high-res scheme is just now coming on-line at Tidal, and it remains to be seen how many record companies will adopt it. I wouldn't be surprised if others are working on other approaches.
Whether it's something from my library or a stream of a new release, I want to feed my Decware Zen UFO and Omega Alnico Monitors the best signal possible. They're so good it would be a shame not to.