As far as sound goes, I really don't care. I tend to believe that most "differences" are in people's heads.
Getting the optimal aural experience out of either of these high-res formats requires careful attention to the holistic whole of your "rig," with precise optimization needed to complement the unique character of each.
The "streaming" nature of DSD means that for truly exceptional SACD performance, you must ensure that the sound can "flow" from player to processor to amp to speaker in as unimpeded a way as possible. Gravity is the key. Using extremely low resistance CriscoQuest teflon-core digital and analog interconnects ($780/ft, plus regular applications of Shakti CableLube, $200/oz) helps, but you're simply not hearing the full potential of the medium unless the signal chain is oriented correctly to allow the "Direct Stream Digital" to proceed with minimal gravitational interference.
To wit, the player must reside above the external processor (if used, and highly recommended -- a custom DigiLink 8000DSD, $6700, is my favorite, which in turn requires the matching proprietary DigiLink 8000SACD transport, $6500), which in turn must reside above the pre-amp, which must be installed above the amp, which must be in a plane above the speakers. Obviously, to maintain proper imaging, especially in multichannel applications, this will require creative installation techniques.
The best solution is to utilize SoundFlow mounting brackets. These fit into the natural 90 degree angles formed by the ceiling and walls in your listening room. (If your ceiling and walls are not exactly true, hire a competent contractor to realign them. You can save money here by not having to repaint the areas behind the SoundFlow mounts!) Your components then slot into custom made SoundFlow component sleeves (cost dependent on exact dimension of your gear) which in turn latch into the SoundFlow brackets, both enforcing the ideal vertical alignment in the "y" plane, and also the "precise sound arc" in the "z" plane as described in Sony research papers.
This mounting scheme does have the downside of making manipulation of the control panels and loading of the SACD discs difficult. (Obviously, you're not using low-end gear with infrared remotes that corrupt the natural argon levels in the room required for pure sound transmission, right?) The solution is the AuditionHoist system, $20,000 installed. This consists of an ergonomically correct sling into which the listener is installed. This attaches to an elaborate (and sonically neutral) pulley rig connected to a hydraulic lift (in a separate sound-proofed room). (We recommend installing a separate power feed for the lift to avoid interference with your audio system. Contact a competent electrician for assistance.) Using a wired remote (remember, no infrared!), the listener can maneuver him or herself to any point in the room, in three dimensions. This has the double benefit of (1) allowing precise placement in the stereo or multichannel "sweet spot," and (2) allowing access to high-mounted components.
With proper mounting of equipment, good cables (freshly lubed), and your ears dangling in the precise spot in space, SACD will truly come alive. You may even find yourself physically affected by the experience. (This will pass.)
I have thoughts on DVD-A setup, if anyone's interested.
Ryan