Thanks for the input guys..I'm primarily interested in these units for their portability and the fact that I don't need to pack mics, cables, stands, cases, et al. just to make a decent recording of something.
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Until then, I suppose...I didn't plan to do much DSD recording to begin with.
So why not try the D50 or M10?
Noam
Good question...I was considering bringing that stuff up, but didn't presume anyone to be interested.
I was very close to going with the D50 this time instead of D1, if for the only reason you can still find new backstock of D50 from Japan or Korea on ebay. I think its impossible to find a new D1 in box, at least it would be very rare. It was not my first preference to buy a used D1, but the seller has a good reputation for being honest and trustworthy. The price and condition description were right.
I have owned a D50 in the past before my first D1. I know it is a solid unit, and sound-wise there is not enough difference between it and the D1 to base a decision off of. But there are a few minor things I prefer on the D1 hardware side which I feel suit my needs better. Nit-picky personal things..
I don't like how the D50 has one input knob for both channels. I do tend to set those levels independently of one another based on the angle of the unit from the source. I was glad to see the d100 inherited that feature from the D1.
This one is hard to describe...I don't like how the D50 replaced the D1s "pivoting head" mic design with an adjustable x-y spread for each mic. I tend to find that the tight x-y stereo config yields better results no matter what the source (personally), so I don't mind sacrificing the adjustable x-y feature with D1. I much prefer the "pivoting head" design for setting recording levels for my own performances when I am alone. I find it very convenient to be able to point the mics at myself (the source) tilt the D1 down towards the ground, and then pop the mics up level with me. This way I can still see the meters from where I am sitting from as I play (they are upside down obviously), and I can adjust if needed while holding an instrument. You cant do that with the d50 or d100. You need to guess at the recording levels, record a bit, stop, walk around to the other side of the unit, listen back and check the levels, make adjustments, etc..just because you cant see the meters while sitting in front of the recorder. I hope that one makes sense because its a big one in my mind.
Lastly, I don't prefer the optical input found on all models besides the D1. None of my mixers feature optical outs (I had a DAT once that did..) so the 1/8" stereo input on the D1 makes it more compatible with my studio gear if my objective is to use the D1 for transferring line level audio from say a 1/2" tape machine via mixer. I never use it for that, but its a good option in theory.
There might be more, but those are the main reasons.
I've never looked too closely at the M10, but I did hear that it was a little noisier than the other three units...so that plus all the above for the M10.
