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    dCS Rossini DAC Review

    We've all had those weeks that never end, stress us out, and leave us feeling shattered by the time the weekend rolls around. This has been one of those weeks for me. I'm not complaining, there are many worse jobs and places to live in this world, rather I'm leading into the antidote to stress and exhaustion. Some people sooth with substances, but I've found a reference HiFi system can be much better. Right now my reference system is quarterbacked by the dCS Rossini digital to analog converter. 

     

    This evening I sat down in my listening chair for a final listening session with the dCS Rossini. All the lights were out. The blue glow of the power indicators on my Constellation Audio amplifiers could be seen as well as the front panel of the Rossini. Other than those items, the room pitch black. I leaned back in my chair and tapped play through Roon on Bob Dylan's The Freewheelin' Bob Dylan album. 

     

    As soon as the unmistakable acoustic guitar began in the right channel, my body eased up and started to unwind. Dylan's unique voice emanating from dead-center between the TAD CR1 loudspeakers put a smile on my face. The antidote was kicking in. By the time Dylan played the track out with his harmonica I was in a much better place physically and mentally than when I walked into my listening room. 

     

    The MoFi DSD remaster of The Freewheelin' Bob Dylan ripped to dsf files and played through the dCS Rossini sounded so organic, so realistic, so full, so lush, that I listened to the first 11 tracks without as much as a volume adjustment. When something sounds this great I don't make changes. Why fix what's not broken? 

     

    Perennial skip-over tracks such as Down the Highway had me sucked-in. Dylan's acoustic guitar through the dCS Rossini had incredible depth and dimensionality down through the lowest frequencies. As Dylan strums and plucks, each string can be heard as it should be heard, as a distinct different sound with unique tonal characters and richness. And to think I usually skip over this track. I guess hearing it in all its glory, as it was meant to be heard, can change one's mind. It's a great song that sounds great through the Rossini. This experience gives me pause, to think about why I skip certain songs when listening on other components. 

     

    The dCS Rossini has made previously skipable tracks part of my must listen regimen. Yes, my listening regimen. The audio antidote to stress is a great HiFi system with great music. It's capable of restoring one's health after days and weeks we'd rather forget.

     

     

     


    regimen | ˈrejəmən |
    noun
    1. a prescribed course of medical treatment, way of life, or diet for the promotion or restoration of health.

     

     

     

     

    Still in a folky mood, I queued up the Audio Fidelity version of Peter, Paul and Mary's 1963 album In the Wind. Some of the tracks on this album aren't typically what I'd consider in my wheelhouse, but damn they sounded great. I couldn't stop listening. Again, the music continued reduced my anxiety and stress from the week by transporting me into another era. The song All My Trials was nothing short of amazing through the dCS Rossini. The full bodied and rich vocal harmony sounded so good it was like a drug of which I couldn't get enough. Listening to each individual vocalist when I wanted and listening to the magical blend of the group together most of the time seriously set me at ease. I don't know that I've ever heard a more touching version, a version that got to me this much, or a better reproduction of this track on any component or system I've heard to date. This is what HiFi is all about for me, listening to music and letting it get to me on many levels. The better sounding the system the better I feel. 


    A few weeks ago a good friend sent me an email suggesting I listen to Melody Gardot's new Live in Europe album. I gave it a digital spin at the time and wrote back that I was underwhelmed. Fast forward to this afternoon while I was driving in my car down I394 listening to Jazz 88 FM radio. The track My one and Only Thrill from this album came on and I was hooked. Upon returning home I email my friend back to say I was now onboard with the album. 

    Pressing play on this album through the dCS Rossini, connected to the direct input of my Constellation Audio Inspiration amplifiers, brought me much enjoyment. Listening to My One and Only Thrill through this system rather than my aftermarket car system gave me an even better feeling. The track opens with a piano but it's the very emotional sounding cello that sets the tone. Through the Rossini this cello sounds rich when out front, and mystically airy when backing Melody's vocal throughout the song. About 6:50 into the track the cello comes back to prominence and has this incredible smooth yet gritty sound that's extremely haunting. It's amazing that this is a live recording and it sounds so good considering it was released in 2018. Kudos to Melody Gardot for delivering the album and to dCS for enabling us to hear all of it as it was delivered by the artist. 

     

     

    A Bit About Hardware, Software, and Filters

     

    Before continuing with my listening experiences, I should at least get into the hardware and software of the dCS Rossini. This DAC is the opposite of typical DACs that use off the shelf parts assembled according to application notes. dCS uses its proprietary Ring DAC, custom user selectable filters, custom mapping algorithms, and custom software platform all developed in-house.  In addition, when many manufacturers of storied HiFi brands are cutting corners, dCS has managed to improve the quality of its products both inside and out. 

     

    dCS continually improves its products via software / firmware updates. With custom "everything" onboard, the company is free to add features and extend the life of its products until the hardware just doesn't have enough horsepower. During the review period I upgraded the Rossini with the click of a button that checked for the upgrade over the internet and automatically installed the newest version.

     

    Certainly (in some circles) the most controversial part of the latest upgrade was the addition of MQA decoding and rendering. However, the Rossini isn't just another MQA capable DAC. But first a little about filters. The Rossini features six dCS PCM filters, one MQA filter, and four DSD filters. All "designed" by dCS. I put the word designed in quotes because it isn't entirely true but it isn't entirely false. dCS (Andy McHarg) worked with MQA to develop the first implementation of the MQA Reference filter.  What this means is the dCS M1 MQA filter perfectly meets all 16 possible MQA filter coefficients exactly without having to be tailored to offset limitations or errors in the D/A converter.  Because of speed, linearity, and frequency response of the RingDAC dCS was able to exactly match the ideal MQA reconstruction filter coefficients all the way up to 768k.  So in other words, MQA came up with the theoretical ideal filter coefficients, and the flexibility of how dCS does things allowed the company to code those in to allow ideal filter responses.

     

    There are two other aspects to the dCS MQA implementation that are different from most other manufacturers.  First, with many other implementations, if MQA encode is turned on then all audio passes through the MQA filter.  With the Rossini and all other dCS devices the DAC or streamer determines whether MQA encoded music is playing before applying the filter.  Second, having a choice of filter responses is in the dCS DNA. From he very beginning, when the company approached the MQA project it was important that dCS users still had the ability to select traditional dCS filters with MQA material. Again, it's about flexibility and personal choice for dCS customers. 

     

    Control of the Rossini's features, including filter selection, can be accomplished most easily via the dCS iOS app (an Android app will be explored down the road). The app also enables the user to play music from a UPnP/DLNA server, Tidal, or a USB stick connected directly to the Rossini. In the true dCS spirit of flexibility for its customers, the company has also enabled AirPlay and Sotify playback.

     

    During the review I used Roon for playback much of the time because of the tight integration between Roon's iOS app and the Rossini. Adjusting volume within Roon also adjusted the volume directly on the Rossini and vice versa. Two-way communication between the Rossini and Roon is a very nice feature.  

    The analog outputs of the Rossini, like all dCS DACs, can be set at 2V or 6V. I used the Rossini at 6V output connected to the Direct input of my Constellation amplifiers. This Direct input bypasses a gain stage inside the amp and is to be used with Constellation preamps or a limited number of DACs. Some DACs work well with this input, but most sound pretty flat. The Rossini is a great match for this input. Other DACs connect to the XLR input of the Constellation amps and carry on without any issues. 

     

    The Rossini has a complete menu of options and features that most DACs can't come close to matching. The user can customize it until content or have a dealer set it and forget it. Like the Vivaldi, the Rossini is one of, if not the most, versatile DAC in the industry.

     

     

     

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    Back to Listening


    Finishing up my listening session I put on some classical music, Michael Stern and the Kansas City Symphony. The Reference Recordings release of Britten's Orchestra (out of print) is a favorite of mine and is capable of transporting me into another world through a transparent audio system. Don't get me wrong, I could enjoy this album on any system. However, it takes exceptional components to reproduce all of this Keith Johnson 24/176.4 recording in a way that enables me to get completely lost in the music and hear each instrument individually as I drift through the performance in my listening room.

    At times I can be a stickler for good transient response in the audio components I use in my system. When listening to 176.4 kHz classical music such as this album I prefer the dCS filter number 5. This filter has a Gaussian response with no overshoot on transients and relaxed roll-off. As a side note, I prefer filter number 4 for 16/44.1 music because of its good transient response. 

     

    The opening track on this album, The Young Person's Guide to the Orchestra, is a 17 minute mix of loud crescendos and soft sweet violin followed by violent percussion and stern yet smooth horns. This track touches all the bases and all frequencies for those listening to judge a playback system. Fortunately I listen to this for enjoyment as I really love the music (this coming from a Pearl Jam type of guy who'd rather not listen to much classical). 

    The dCS Rossini didn't disappoint throughout this track and the entire performance. The opening transients weren't memorialized, the violins were wispy yet rich in tone and texture, and the horns were brash when appropriate. The Rossini reproduced the complete performance with a full, rich sound that made it possible to hear the entire symphony as one or each individual instrument as a single piece of the larger whole. 

     

    Closing out the first track, with about 1:30 remaining, the symphony picks up steam enabling one to hear the whole sound much greater than the some of the parts. With about 30 seconds remaining the musicians are firing on all cylinders with loud transients, soft yet audible flutes, and crashing yet controlled cymbals. Through the Rossini this performance is reproduce at a level second to none. OK, second to nothing I've had in my listening room in recent memory. 
     


    Conclusion

     

    This wonderful hobby of ours isn't often about restraint but rather excess. The Rossini DAC is the sweet spot in the dCS lineup. It's $23,999 price tag doesn't scream moderation to many music lovers, but I assure you the Rossini is much more capable than the dCS Debussy ($11,999) but not up to the level of performance that's possible with the dCS Vivaldi ($35,999), the Rolls Royce of digital to analog conversion. 

     

    Given the complete control that dCS has over hardware and software, the digital wizards of Cambridge, England continue to find ways to improve the Rossini's capabilities and level of performance. Through software and firmware updates, available at no cost, new features have already been added to this fairly new DAC. These updates and product enhancements extend the life of dC products as far or further than any other digital product of which I'm aware. 

     

    The bottom line for many enthusiasts is performance. The dCS Rossini offers high performance, in addition to build quality, that's as good or better than anything I've heard in my system in recent memory. Whether one listens to folk, rock, vocal, jazz, or classical the Rossini is completely capable absolutely stellar music reproduction. I've had and continue to have more DACs come through my system over the years than I care to admit. Based on performance, support, and future upgradability the Rossini is one of two or three DACs that I'd really love to keep. When dCS finally comes calling for this one, at least I can keep it on the C.A.S.H. List for a long time. 

     

     


     

     

     


    Products Informtion:

    • Product - dCS, Rossini DAC ($23,999)
    • Product - Link
    • Product User Manual - Link

     

     

     

    Associated Music:

     

     

     

     

    Associated Equipment:

     

     

     




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    3 hours ago, BMCG said:

    Might want to update on the dCS experience...

     

    having owned Delius/Elgar/Scarlatti and now the Vivaldi DACs......musicality has been a distinct gain through those generations....

     

    I would not slam the Scarlatti ...but it is valid to point out that its hardware design is now a decade in the rear view.....

     

     

    I think Vivaldi is the same dCS sound but with more refinement to scarlatti.

    they will not change the basic

     

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    2 hours ago, Priaptor said:

    I will just add to some of the comments here.  I have a very "high end" DAC a direct competitor to the dCS Vivaldi big stack.  I have had people to my listening room (which by the way is now burning in the amazing new Gobel Epoque Aeon Fine speakers that have replaced the older Gobel Fine as a friend of mine has become the North American Distributor for these) who own the full stack Vivaldi and have walked away saying they love my system BUT they like their Vivaldi better.  I ignore these comments.  Not because I have my "audiophile head" up my rear end or feel I have to defend my choice but because these kind of comments are absurd.

     

    Why absurd?  First you can't do a flyby analysis of what you heard on a system that has no semblance to yours.  Second, unless you actually live with a component you have no idea what that component is all about.  Third when you hear something you are hearing the system and not an individual component.  Lastly, ownership bias, for most, takes center stage.  Personally, my philosophy is as DiNiro said in the movie Heat, "never get attached to something you can't walk away from in 30 seconds" and that is how I view audio.  I was a strict believer in tubes with my NOLA Concert Grand Golds and lo and behold, I decided to try some of the latest solid state stuff and was blown away and now have the CH Precision M1 in my system.  However, this evaluation of mine was after LIVING with the piece in my system.  

     

    So I think the generalizations about the dCS being made on this thread by some, in this case the Rossini are a little absurd.  dCS makes amazing stuff and one shouldn't get caught up in the dogmatic flyby evaluation as compared to Chris who in his review has actually lived with the unit within his system for awhile.  

     

    I have no tendecy to convince you or other guys that dCS is bad. 

    Please let me describe my view about scoring audio equipments.

    I listen to dcs dac and audio note dac in two systems :

    1. Kharma

    2. Living voice

    I will find more contrast by Audio Note . It means if you play Audio note then you will hear more difference between two speakets.

    dCS mask low level dynamics and cause less contrast.

     

    i think some audiophiles can detect sound signature of equipments and i believe it is possible to score dCS with no relation to complete system.

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    1 hour ago, rando said:

    What might be absurd is 90% of what you wrote justifying the other 10%.  I don't need to live with a friend's wife to know her cooking is better than I get at home.  It might, and probably does, get better the more one experiences it.  Doesn't absolve that first bite  of merit.  (I get both sides married well outside this analogy.)

     

    This of course assumes taste.  Which I won't go so far as to comment on the surplus or starvation ranks of those possessing it attendant to this discussion.  x-D

    I think your comparison of living with another wife to determine the merits of her cooking to that of a “component” in a stereo system is 100% utterly absurd as compared to your determination that my comments being 90% absurd. 

     

    So if my comment is so absurd to you please explain how, unless you possess some uncanny ability beyond all others, you could possibly evaluate a “component” in a system that you #1 don’t own and are unfamiliar with and #2 haven’t lived with to understand that “component” in your own system instead of some foreign system. Additionally when you are doing your evaluation it’s not even in the same room or setup as you might have heard among different systems. 

     

    The 100% absurd thing is your failure to understand ALL the different variables that are likely different among the different systems you are evaluating when trying to make a drive by analysis of just one component. 

     

     

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    34 minutes ago, amir57bs said:

    I think Vivaldi is the same dCS sound but with more refinement to scarlatti.

    they will not change the basic

     

    Amir, Think you made your point in your first post.  We get it. Thanks

     

     

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    36 minutes ago, Priaptor said:

    Give me a break. 

     

    Good for your opinion and live with it but to think that your speakers are necessary because of sensitivity or some other factors to be able to determine the audio buzzwords of “micro dynamics” or level dynamics makes no sense. Or to think you can evaluate a “component” in a system you are clueless about is nonsense. 

     

    I dont own dCS, but have heard it in enough systems I am familiar with to know they make fantastic equipment. 

     

    Chris’s system, while I haven’t heard or experienced his setup is more than capable of hearing the sound signature and capabilities of the dCS and he had many references of which to compare. 

     

    Maybe be the reason the dCS didn’t move you is because the system and setup you heard it with sucked??

     

    like I said, I own the competitor to the Vivaldi stack and have no dog in this fight other than to put the drive by “reviews” into perspective which in my opinion has little if any legitimacy 

    I have heard dCS over 100 times in tehran in good condition.

    i just recommend you to test dCS in two system and the result is yours.

    i know so many audiophiles think dCS is perfect and i have no problem , i just recommend you to hear dCS in those system 

    .

    excuse me for long discussion

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    2 hours ago, rando said:

    What might be absurd is 90% of what you wrote justifying the other 10%.  I don't need to live with a friend's wife to know her cooking is better than I get at home.  It might, and probably does, get better the more one experiences it.  Doesn't absolve that first bite  of merit.  (I get both sides married well outside this analogy.)

     

    This of course assumes taste.  Which I won't go so far as to comment on the surplus or starvation ranks of those possessing it attendant to this discussion.  x-D

    It depends... The point is in most cases the changes are subtle and I find it the same as Priaptor: I need to listen to the piece in my system for a little time to understand what it is all about. And at that I might not even be able to give you a concrete reason why I do or don't like it as in what gets said in reviews.

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    1 hour ago, amir57bs said:

    dCS mask low level dynamics and cause less contrast.

    Could it be that the Audio Note is a NOS DAC and as such is creating a tremendous amount of images making it sound better in systems that deal better with this kind of noise?

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    1 hour ago, Priaptor said:

    like I said, I own the competitor to the Vivaldi stack and have no dog in this fight other than to put the drive by “reviews” into perspective which in my opinion has little if any legitimacy 

    And what is that? MSB?

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    1 hour ago, Priaptor said:

    I think your comparison of living with another wife to determine the merits of her cooking to that of a “component” in a stereo system is 100% utterly absurd as compared to your determination that my comments being 90% absurd. 

     

    So if my comment is so absurd to you please explain how, unless you possess some uncanny ability beyond all others, you could possibly evaluate a “component” in a system that you #1 don’t own and are unfamiliar with and #2 haven’t lived with to understand that “component” in your own system instead of some foreign system. Additionally when you are doing your evaluation it’s not even in the same room or setup as you might have heard among different systems. 

     

    The 100% absurd thing is your failure to understand ALL the different variables that are likely different among the different systems you are evaluating when trying to make a drive by analysis of just one component. 

     

     

     

    Say I go to multiple symphonic concerts in multiple venues multiple times a month.  Lovely performances all, yet somehow I make use of what mental capacity I've been graced with and experience as a listener to overrule emotion.  To make a solid considered decision whether that performance I just walked out of was, despite the brief time I spent taking it in, absolutely spectacular or just one of many at a high level.

     

    I think you see where I'm going with this and should consider expelling whatever bad air you think my previous post injected.  Fair enough?

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    2 minutes ago, miguelito said:

    And what is that? MSB?

    Yes the Select II. 

     

    I happen to love it. I will be the first one to critique my buying habits. The main reason I purchased it was because the V I had was a end of line product and MSB gave a great upgrade path (great in this case is relative). 

     

    I happen to really like every MSB product I have ever had in my system including the Analog I got to audition, the IV plus I owned and upgraded to the V and now the Select II which is the best I have ever had in my system. 

     

    One of the other nice nice things about my upgrade to the Select II was my ability to get rid of my Ref10 preamp as the pre stage on the Select II is that good. I was very skeptical before I took delivery but it didn’t take long to see direct to amp bypassing any preamp was superior to my ref10. 

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    Gee, the description of Bobby D's "Freewheelin'" makes the digital version appear to sound better than the original, hell better than sitting in the room and hearing it live.  Better than CD, better than vinyl.  

     

    I guess $25K and half a dozen filters are worth somethin'.

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    @Priaptor In recent weeks Chris has expressed in very explicit terms examples of how to bring forth a set of thoughts into a conversation.  A means to examine a grain slightly higher or lower than one running in the same direction being given a higher level of attention.  Very few here have the level of equipment DCS represents in the currently available market.  I for one have never heard the DCS system.

     

    Absurdity may not have been a good choice to lift and extend upon.  Brought about with greater care, the idea I hoped to convey should have been democratizing.    Looking further afield after reaching a great height in one place can bring forth new directions to improve upon whence returning.  What I feel underpinned this review was intimacy with a wide range of other equipment.  Time and access to other systems of this level simply do not approach the level of ease finding live music in a large city does.  This is a fact of life not likely to be overcome by imperfect analogies.

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    2 hours ago, Priaptor said:

    One of the other nice nice things about my upgrade to the Select II was my ability to get rid of my Ref10 preamp as the pre stage on the Select II is that good.

    Interestingly, this is one of the features I actually ended up loving in the Rossini: The volume control.

     

    My Kondo Ongaku does not have a remote, so volume adjustment - I find it critical to listen at the right volume - was a pain. What I do now is set the range of volume in Roon between -15dB and 0dB, set a moderately high volume on Ongaku, and then I can fine tune right from my iPad. It is absolutely great. And works with MQA as well since it is done after rendering. 

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    2 hours ago, rando said:

    Say I go to multiple symphonic concerts in multiple venues multiple times a month.  Lovely performances all, yet somehow I make use of what mental capacity I've been graced with and experience as a listener to overrule emotion.  To make a solid considered decision whether that performance I just walked out of was, despite the brief time I spent taking it in, absolutely spectacular or just one of many at a high level.

     

    I think you see where I'm going with this and should consider expelling whatever bad air you think my previous post injected.  Fair enough?

    Sort of side comment... I've been to a lot of concerts/jazz venues where, frankly, the sound was subpar, and in many cases the sound has been more involving at home than at the venues! But it is truly a different experience...

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    $24k?  There has got to be something which works as well for about 10% of what it costs.  

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    1 hour ago, NOMBEDES said:

    Gee, the description of Bobby D's "Freewheelin'" makes the digital version appear to sound better than the original, hell better than sitting in the room and hearing it live.  Better than CD, better than vinyl.  

     

    I guess $25K and half a dozen filters are worth somethin'.

    No idea... But I can tell you the DSD download is mesmerizing... And way better than the CD (it is a remaster).

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    11 minutes ago, miguelito said:

    Interestingly, this is one of the features I actually ended up loving in the Rossini: The volume control.

     

    My Kondo Ongaku does not have a remote, so volume adjustment - I find it critical to listen at the right volume - was a pain. What I do now is set the range of volume in Roon between -15dB and 0dB, set a moderately high volume on Ongaku, and then I can fine tune right from my iPad. It is absolutely great. And works with MQA as well since it is done after rendering. 

    The MSB has a wonderful pre stage and one of the nice things about the CH Precision M1 amp is that it has adjustable gain remotely so too can get optimal output. 

     

    Pertaining to your comment about live concerts I couldn’t agree more. I have been to some horrible sounding venues despite the performers being amazing. 

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    4 minutes ago, Ron Scubadiver said:

    $24k?  There has got to be something which works as well for about 10% of what it costs.  

    There are plenty of things that work well for 10% the cost. The same can be said about just about everything and hence why I think we should stick to the merits of the product under review. 

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    Since Chris mentioned the use of music as soothing, I will tell you guys a little story.

     

    In May 1998 I was a student and went to Tokyo for a few weeks to assist in a high energy physics experiment. I was on IRC's audio groups and I had interacted with Jonathan Carr, of Lyra Cartridges fame. I told him I was coming and he invited me to a listening session at his apartment.

     

    I arrived to his apartment on Saturday after lunch. His business partner was there, can't remember his name, a dutch fella or something. He had a few beauties... The turntable was what I seem to recall was a brand that now escapes me, fairly nice but not something off the charts. His Connosieur preamp, fully opened, was the phono stage and volume control. Amp was solid state but do not recall either. He also has a prototype Sony SACD player, a massive beast, which was opened up. We only listened to records.

     

    When I arrived, I was actually sick. I had picked up a cold and was not feeling great. After 4-5 hours of listening to records, and having some of his capuccinno (sp?) I felt like a new man! Amazing. We went out for dinner to some restaurant at like 9-10pm. It was absolutely amazing. And absolutely gracious for Jon to do that to a poor student who could not possibly afford any of hist stuff...  

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    9 minutes ago, Priaptor said:

    There are plenty of things that work well for 10% the cost. The same can be said about just about everything and hence why I think we should stick to the merits of the product under review. 

    You are free to spend $24k on a DAC.  I easily spend more than that each year on things you would consider to be frivolous.   Not too many of us can discuss the merits of a product we don't have access to.

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    1 minute ago, Ron Scubadiver said:

    You are free to spend $24k on a DAC.  I easily spend more than that each year on things you would consider to be frivolous.   Not too many of us can discuss the merits of a product we don't have access to.

    Ok, so do you suggest not discussing them at all?

     

    And to be honest, to make a $24k DAC be in the right system, you're going to have to be talking about $100k+ system at the minimum in my opinion (unless it is a headphone setup).

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    Just now, miguelito said:

    Ok, so do you suggest not discussing them at all?

    You are trying to bully me.  

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