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Has anyone had a chance to listen to or read much about the Rockna Wavedream DAC?


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2 hours ago, VerdantAudio said:

That being said, we were just discussing this and he would also tell you that upgrading your server does far more than upgrading your DAC. 

 

This makes sense, Source First rules! 🙂

 

Matt

"I want to know why the musicians are on stage, not where". (John Farlowe)

 

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  • 4 weeks later...
26 minutes ago, AudioBang said:

From my experience, I think VerdantAudio is spot on.

My first Server as a source was an Antipodes DX 2. From memory and shooting from the hip, I'd say it was a 30% jump in SQ over my Krell 505 transport. Upgrading to the DX 3 and switching from SqueezeBox to Roon was another 25% improvement over the DX 2. 

I was getting outstanding imaging on certain source material but un-listenable glare and blur on certain instruments...

Anna Netrebko's powerful vibrato... I'm not an opera listener but once I hone in on certain source material/frequencies that bring my system to its knees, I keep referencing back to it for neutrality check after system tweaks. I then tried a discontinued Auralic Renderer and again, another 20% SQ jump. I then upgraded to the Antipodes CX/EX and SQ jumped another 50% over the DX 3 - but the halo of glare around Anna Netrebko's vibrato remained just as un-listenable. The common denominator was USB using WireWorld Platinum Starlight 8.

I've also converted USB from the renderer to i2S using the Singxer SU-6 and then the SU-2 but these were only very minor improvements.

I did try a few USB Regens early on but only got minor incremental improvements. After reading Austinpop's Innuos Phoenix review I pulled the trigger and right from cold out of the box the SQ improved by 500%. The halo of glare around Anna Netrebko's voice was 90% reduced.

500% sounds like BS, but that's how I call it. Getting a pair of EtherRegens on Wednesday. I suspect that will also be positive.

 

Sorry, wrong thread, nothing about Rockna.

There is a better thread here:

Matt

"I want to know why the musicians are on stage, not where". (John Farlowe)

 

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