Merci à toi pour le lien.
Je cite, le gars ayant eu dans les mains des appareils de grande classe comme le Tambaqui et le Bartok:
…
The Spring 3's overt solidity and spot-on pitch and timbre recovery made all my guqin experiences feel brilliant and natural, most especially Liu Shui's composition "Flowing Water" performed by Wu Wen'Guang on Ancient Classics of Qin Han and Wei Dynasties 770 BC–580 AD (16/44.1 FLAC, China Record Corporation/Qobuz). Reproduced by the Spring, the sound was not only vigorous and timbre-correct; it was larger, more expansive, and more intense energy-wise than it was through the dCS Bartók or the Terminator Plus.
…
Since the Bartók first arrived, I have been able to explore the sonic wonders of the slightly lower-priced Mola Mola Tambaqui, the moderately priced Denafrips Terminator Plus, the lower priced HoloAudio May, and the seemingly underpriced Spring 3. Each of these top-tier DACs presents music differently. I can't in good conscience say any one of them is sonically inferior, less masterfully engineered, or less satisfying to use than the others. My Epicurean search for the most intense, most saturated tones, the most touchable textures, the most corporal images, and the most clearly described musical forms leads me to prefer the sound character of the R-2R DACs mentioned above.
A lire également pour compléter :
https://www.stereophile.com/content/gram...-processor
Je cite:
The dCS Bartók and the HoloAudio May both measure extremely well; the Mola Mola Tambaqui seems likely to do the same (footnote 2). Nevertheless, each DAC imparted its character on every recording that passed through it, each alluding to the truth of the recording in a different way. In NOS mode, the HoloAudio May presented recordings solemnly, saying, "This is the whole truth." The Bartók is British; it never boasted about its talents, but one day I thought I heard it whisper, "This is the truth Mr. Reichert." Mola Mola's Tambaqui did not whisper—it declares loudly: "See! The truth is more beautiful than you thought it would be!"
Et pour conclure:
Would anyone recognize "truth" if they heard it?
Il faut lire les deux articles pour avoir un point de vue global et comprendre, ce que je partage, les différences qui animent ces différents dacs et finissent par être une affaire de choix d’écoute personnel.
Je cite, le gars ayant eu dans les mains des appareils de grande classe comme le Tambaqui et le Bartok:
…
The Spring 3's overt solidity and spot-on pitch and timbre recovery made all my guqin experiences feel brilliant and natural, most especially Liu Shui's composition "Flowing Water" performed by Wu Wen'Guang on Ancient Classics of Qin Han and Wei Dynasties 770 BC–580 AD (16/44.1 FLAC, China Record Corporation/Qobuz). Reproduced by the Spring, the sound was not only vigorous and timbre-correct; it was larger, more expansive, and more intense energy-wise than it was through the dCS Bartók or the Terminator Plus.
…
Since the Bartók first arrived, I have been able to explore the sonic wonders of the slightly lower-priced Mola Mola Tambaqui, the moderately priced Denafrips Terminator Plus, the lower priced HoloAudio May, and the seemingly underpriced Spring 3. Each of these top-tier DACs presents music differently. I can't in good conscience say any one of them is sonically inferior, less masterfully engineered, or less satisfying to use than the others. My Epicurean search for the most intense, most saturated tones, the most touchable textures, the most corporal images, and the most clearly described musical forms leads me to prefer the sound character of the R-2R DACs mentioned above.
A lire également pour compléter :
https://www.stereophile.com/content/gram...-processor
Je cite:
The dCS Bartók and the HoloAudio May both measure extremely well; the Mola Mola Tambaqui seems likely to do the same (footnote 2). Nevertheless, each DAC imparted its character on every recording that passed through it, each alluding to the truth of the recording in a different way. In NOS mode, the HoloAudio May presented recordings solemnly, saying, "This is the whole truth." The Bartók is British; it never boasted about its talents, but one day I thought I heard it whisper, "This is the truth Mr. Reichert." Mola Mola's Tambaqui did not whisper—it declares loudly: "See! The truth is more beautiful than you thought it would be!"
Et pour conclure:
Would anyone recognize "truth" if they heard it?
Il faut lire les deux articles pour avoir un point de vue global et comprendre, ce que je partage, les différences qui animent ces différents dacs et finissent par être une affaire de choix d’écoute personnel.
Du transistor, du tube, de l’hybride…. Des petites, des grosses…. Tout démat.
Ventes à venir ou en cours (MP si intéressé pour en discuter): panneaux acoustiques GIK, Modulation RCA 1877Phono Silverdart, Cables HP Coincident Statement bicablage 3m, Enceintes Scanspeak Maxima, Ayon Odin, Holo Serene et May KTE, Diretta DST + accessoires.
Ventes à venir ou en cours (MP si intéressé pour en discuter): panneaux acoustiques GIK, Modulation RCA 1877Phono Silverdart, Cables HP Coincident Statement bicablage 3m, Enceintes Scanspeak Maxima, Ayon Odin, Holo Serene et May KTE, Diretta DST + accessoires.