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About dsyzling

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  1. I would certainly prefer a playback mechanism that varied the sound stage between recordings, why should a studio recording sound the same as a live close mic-ed recording in different venues (hall, church, stage)? If they do homogenise the sound stage then surely something in the chain is imparting or losing something along the way. This is all assuming you can recover some kind of sound stage from a recording into a stereo playback mechanism.
  2. Can I ask if people ended up purchasing CDs or SACDs? Presumably the CDs are well recorded so format isn't necessarily important? I think I'll have to look into trying to import some of the TBM albums into the UK. I also loved this small compilation - this along with the BBE released compilation albums were my first exposure to Japanese Jazz. Aquarium Drunkard's collection is a really great listen though: https://aquariumdrunkard.com/2020/04/07/abstract-truths-an-evolving-jazz-compendium-vol-7-japanese-jazz/
  3. The playlist for the three blind mice set - is available on the link: https://www.nts.live/shows/japanese-jazz-week/episodes/three-blind-mice-5th-may-2021 If you scroll down there's a Tracklist section. Generally NTS radio seem to always detail what they play on each set which is really useful.
  4. NTS Radio are hosting a Japanese Jazz week with a Three Blind Mice special on Wednesday: https://www.nts.live/shows/japanese-jazz-week
  5. Thanks for your comments. I agree, I can hear drastic differences between components but when it gets to a certain level and changes become more subtle then I have to live with a component for some time before switching to pick up those minor differences - I become more accustomed to sound over longer periods. As you say room and different systems play a huge part. When I listened to the Tambaqui we initially used a Pink Faun 2.16x over USB with Roon and then switched to using Ethernet. With that quick test I really couldn't hear a huge difference between those two options, which
  6. Are you able to describe your perceived differences between the Rossini and Mola Mola? Was the Rossini with clock? I have heard the Rossini a number of times with different setups and I've always been consistently impressed. I've only ever heard the Tambaqui once in direct comparison to a PS Audio - in that system I enjoyed the Tambaqui a lot more - far deeper bass with resolution and good timbre. The Rossini is a considerable cost difference over the Tambaqui although you also have to factor in a streamer/server if you want something other than Roon. I guess the same could be said about the
  7. I don't want to derail a Tambaqui thread but the other aspect of dCS that I really appreciate is their software platform and the streaming services they've supported. Although I'm not a great believer in MQA - their implementation is supposed to be one of the best and doesn't compromise the rest of the design or affect any of their other filters. They also support Spotify connect and the other major streaming services in addition to Roon. If Amazon were to become popular then I would expect dCS to support the platform - and if this were impossible from a Roon perspective this gives me some pie
  8. Have you tried contacting Willow Tree Audio? https://www.willowtreeaudio.co.uk/denafrips
  9. Just out of interest how are you then connecting the NUC to the Audio Note dac - USB direct or via the Singxer to the spdif? I presume the Audio Note is better with spdif than USB in general?
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