![]() The second is the newer Tidal with its own limitations. One is the original French Qobuz who offer quite a lot of world music not well known beyond the French borders though retrieving that music from their vaults is not always easy. How would it work with Internet streaming? We use two purveyors for streaming content. Which brings us to the next step in our assessment of the AV Streamer. There is so much to retrieve from the humble format still that it’s just a matter of the proper tools for the job. Who needs surround surround when one can get enveloped by two channels working in perfect harmony? What about CD quality? Is it really the laughing stock of the industry which wishes to resell us re-whatever'd issues of old favourites? To our mind, not. Tiny nuances gave away venue clues, enhancing the virtual landscape that unfolded between and behind the loudspeakers. But well-recorded and produced music thrived and came alive. The voicing of the streamer/DAC combination, the audio signature of its designer, did not favour compressed thus deadened musical expressions. And no, Frisell was not the bad recording we had to endure. A flawed production was mercilessly lambasted - tied to the whipping post as it were. In this setting, the Pink Faun made clear that it was no beautifier. ![]() We went through a variety of music styles ranging from classical orchestral works to some mad opera, then Nordic Jazz. The sound was open, detailed and the virtual image seemed no different than when played from our resident streaming solution. In JRiver we selected Bill Frisell’s Guitar in the Space Age. ![]() From there the Arcadian Audio Pnoe hornspeakers with sub 40Hz assistance from a pair of Zu Audio Submission subwoofers became part of the initial audition. From the DAC’s unbalanced output, we ran a short interconnect to the PTP Blok20 integrated 20wpc amp.
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