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  1. Great clarification you make Ray-dude! And to add to that, here's a great paper/article referenced by Rob Watts on the Chord site that clarifies just why upsampling done correctly is the key to accurate digital to analog restoration of the originally sampled analog signal - and also why it requires a lot of computing power to do (especially in realtime) https://chordelectronics.co.uk/wp-content/uploads/2018/07/The-theory-behind-M-Scaler-technology.pdf I suspect in a few years, there will be more realtime solutions (based on faster hardware and better software) for doing upsampling
  2. In a sense, with the right DAC (including how the DAC internally does upsampling or perhaps this can be done before the content is sent to the DAC), what you say may become increasingly true as DACs (and upsampling SW) get better and better. But until such time, and even if that does happen, I definitely hear a difference in playback of really good recordings natively done at 24/352K (upsampled to 24/705K) compared to the exact same recording played at 16/44K. (using a Chord Dave with MScaler). But I will easily say that a great recording at 16/44K will trounce a less-than-great recording in
  3. I continue to be amazed at how much the MScaler improves the sense of space, especially in the bass. Like when I step into a large hall or when I hear really deep bass sounds, there's a sense of the size of the room that seems like it wouldn't be related to timing issues and upsampling, but it is! ... Perhaps Rob Watts follows through on the 16Mtap MScaler he's working on - not as good as the beta SW you use, but still better than the current MScaler. As to headphone amps, I am also considering the RAAL SR-1a headphones that Chris likes so much and am hoping to find a headphone amp
  4. Good to know your experience on this Ray-Dude, thanks! And yes the potential of different mastered versions of the same basic recording is always an important factor. I'm wondering if at some point, "regular" (16/44K) recordings (which of course is most of the music out there digitally) might be sonically almost equivalent to a true HD recording? (assuming same original master for the basic recording). We know that a 16/44K recording can't have the 24 bits or beyond ~20KHz information content, but I'm not sure that's of primary relevance compared to the correct D/A reconstruction o
  5. Thanks RayDude, I'm really enjoying the DC4 power supply and I'm only 2 days into the breakin! One of the most amazing things I'm finding (besides just general better sound in all respects) is how much more I'm enjoying large scale classical music. With the stock Dave SMPS it just always felt wrong to me - not enough energy being transferred. But now with the LPS I'm getting a sense of what a symphony really sounds like. I've attended quite few over the years and have played (trumpet) and sang (choir) in many so I have a visceral sense/memory of what the sound is and it's amazing when it happe
  6. Thanks Ray-Dude for this excellent writeup! I just today received and hooked up my DC4 LPS (made by Nenon :-) to my Dave/MScaler setup. Wow, right out of the box it was a major improvement. I know it'll take weeks to settle down to what it can really be but it's amazing to me how much better things sound (in virtually every respect - largely matching your evaluation of the DC4 when it was first hooked up) already than the stock SMPS. As aside, my system is PS Audio PerfectwaveP10 (with custom AC run from the main house box to a dedicated outlet) driving my whole system. PSAudio AC12 AC c
  7. I'm wondering if a "best possible" power solution (price no object) might not be essentially a super-version of a power regenerator? (like the PS Audio PerfectWave regenerators, but with much more current delivery capability). Trying to clean up existing power like so many of the solutions out there is of course a very worthy and clearly audible benefit, but I imagine perhaps a DIY project with huge energy storage (and with design such that dynamic current could be extremely high - much higher than the AC power from the wall can ever be - perhaps using supercapacitors like the EV race cars do)
  8. Nenon, that's great that the P20 was very good (although not at the TT-7 level) and that you didn't find the need to go "direct to the wall socket" with various gear to avoid any sonic anomalies. Thanks!
  9. Nenon, if you could elaborate a bit on the difference between the TT-7 and the PS Audio power regenerator, that'd be much appreciated. I've got a PS Audio P10 and it's pretty good but I feel I'm missing some dynamics and perhaps more (I do have dedicated AC runs to the box for my home). Also, have you ever tried any of the Ansuz "power distributor" products? https://ansuz-acoustics.com/products/power-products/power-and-ground-distribution. Lots of folks feel these are really good and I'm wondering how they might compare to the Sound Application power conditioners. Lastly, what
  10. Another aspect of getting good believable bass is "feeling" the bass, which headphones can do to some extent, but not in a "hit you in the chest". I've had really good results with a Subpac that attaches to my chair and delivers very low bass that you actually feel (there's also a backpack model for portable use). This really gives that added dimension of realism in the bass. This was originally designed for recording engineers who need to truly evaluate their recordings... https://subpac.com/
  11. Wow... So sorry about your friend's mom - but glad you and Smokey made it home safely and with good stories to tell to your grandkids :-)
  12. Sort of, but no USB DAC inputs, just toslink, sometimes spdif coax, Ethernet/wifi and HDMI and analog inputs. I have several potential Roon endpoint destinations with this same issue. It really does appear that a simple key is the async input to keep the Roon system from drifting timewise between the various endpoints. If the time bases in the destination endpoint computers were very good then a non-syncrhonous connection via optical would be fine. But at a likely typical 100ppm accuracy, they just drift too noticeably.
  13. Yes, that could work - though it seems to be getting harder and harder to find affordable USB to toslink converters. Here are two that I've found that did exist but are no longer for sale: Peachtree: X1 24/192 USB to SPDIF Converter | Peachtree Audio NuForce: Nuforce U192S USB to S/PDIF Converter | Hifi Pig It seems most units now available have built in DACs which I don't need or want, or they're cheaper low performance units limited to 96K and/or not asynchronous. Dang... I'd appreciate any recommendations!
  14. Thanks, - this is sort of what I had determined. And I think this means unfortunately that I can't use a Sonic Orbiter for my next planned endpoint since it will only be able to connect via toslink and not USB (since the endpoint doesn't have USB DAC input at all). I could I guess get a MicroRendu and then use a USB to optical output, but that's a lot of expense and overkill and may not even work since the actual DAC would still not be Asynchronous. Additionally, I was considering a SonicTransporter i5 as my Roon server, but that also would require an optical connection even to some of the
  15. I have a drift/sync problem in a multiroom Roon system and may have some insight on a workaround or solution but still have questions. I have a 3 Roon endpoint system. I was experiencing drift on one of the endpoints (a Soncic Orbiter SE) but then resolved the problem and the solution had nothing to do with the network but rather to make sure all DACs were asynchronous USB or directly connected to the server. But I still want to be able to use another Sonic Orbiter on another system that doesn't have a USB DAC (only toslink input). Problem: Roon endpoint drifting in playback timing - i.e.
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