For the near term most SACD releases will not have been recorded in the DSD format, but will instead have been converted from analog or PCM sources. Very, very few recording studios have DSD recorders and even fewer (possibly less than 10 in the U.S.) have DSD processors (EQ, compressors, etc.) or editors. It is this lack of DSD processors that makes pure DSD recorders impractical for standard pop/rock recordings.
Most studios have only recently, if at all, upgraded to 88/96kHz PCM and they see little to no demand for DSD capabilites. With mastering studios the situation is different. DSD has firmly established itself with the top echelon of mastering houses. Artists typically send analog or PCM final mixes to be mastered and it's during this stage that the final consumer available format is determined.
Multi-format playback machines will make someones preference for PCM or SACD fairly irrelevant. I suspect that the situation will evovle in a way that mirrors the current movie distribution model. Larger budget films are distributed to theaters in multiple SDDS, dts and DD formats.
Most studios have only recently, if at all, upgraded to 88/96kHz PCM and they see little to no demand for DSD capabilites. With mastering studios the situation is different. DSD has firmly established itself with the top echelon of mastering houses. Artists typically send analog or PCM final mixes to be mastered and it's during this stage that the final consumer available format is determined.
Multi-format playback machines will make someones preference for PCM or SACD fairly irrelevant. I suspect that the situation will evovle in a way that mirrors the current movie distribution model. Larger budget films are distributed to theaters in multiple SDDS, dts and DD formats.