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Siste produkttester |
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The Absolute Sound 2009 |
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Robert Harley tester dCS Puccini cd-spiller + Puccini U-clock her. |
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Hifi Critic - sept. 2009 |
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Mark Standbridge og Martin Colloms går i dybden på dCS, og du kan lese hele testen her. |
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Ring Tone - okt. 2009 |
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David Price mener dCS Paganini er den beste d/a konverten på markedet. Les hele testen her. |
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Stereophile 2009 |
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dCS Scarlatti ble kåret til årets digital produkt i Stereophile for 2009, og du finner hele testen her. |
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The Absolute Sound tester Puccini
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Robert Harley og Jonathan Valin har testet dCS Puccini cd-spiller og Puccini U-clock i siste nummer av The Absolute Sound. I tillegg til en fantastisk konklusjon, kan du lese litt om fordelene ved å bruke U-clock mot enhver d/a konverter. |
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Konklusjonen:
"The dCS’ sound was different from other top contenders I’ve heard, and I struggled to put that difference, and its effect on musical involvement, into words. But if I had to boil it down to a single idea, it would be that the Puccini/U-Clock simply presents more musical information to the listener without calling attention to the fact that it’s presenting more information.
I can’t overstate how much I enjoyed music through the Puccini/U-Clock; it was absolutely enthralling on CD, SACD, and high-resolution sources. This is a digital frontend I could live with for the rest of my life."
Mange kunder har spurt om fordelene ved U-clock, og i tillegg til å gi en jitterfri signaloverføring fra pc, så skriver Robert Harley følgende om U-clock tilkoblet Puccini cd-spiller ved bruk av vanlige cd'er:
The U-Clock snapped images into sharp(er) focus, increasing the sense of clarity, precision, and definition I had enjoyed from the Puccini alone. The heightened focus had a profound effect on the sense of instruments existing within an acoustic. Without the U-Clock, reverberation tended to be connected to the image itself, as though the image and the hall were merely variations of the same sonic cloth.
With the U-Clock, the instrumental image was presented as a clearly defined object existing within an acoustic space rather than simply fused to it. The instrument and the surrounding acoustic were presented in a closer facsimile to what we hear it in life.
That was just the beginning of the U-Clock’s magic. The Puccini’s reproduction of timbre, which already had a bell-like clarity, was taken to a new level by the U-Clock.more lifelike."
Jonathan Valin kommenterte følgende i "second opinion":
To my ear, digital has always sounded—to greater or lesser extents—flat in aspect and piecemeal in presentation.
With the dCS Puccini and the Scarlatti par excellence, this changed. The details they were adding didn’t just amount to hearing, oh, three more second violins more distinctly in the string section (although you could hear three more second violins more distinctly); rather, I was hearing the whole string section (and each violin in it) with a new-found fullness of timbre and texture and an unparalleled (in the digital realm) three-dimensionality and ambient clarity. The dCS’s details didn’t stand out as individual parts; instead, the parts it was adding were making more complete wholes. Robert put this better than I did when he said that the Puccini “simply presents more musical information to the listener without calling attention to the fact that it’s presenting more information.” This is precisely correct.
Last ned hele testen i PDF-format (458kb) her.
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