OK, with about 30 hours of burn in I took the listening chair and ran through a few Reference Cuts.
And everyone should remember that
I am a NuFORCE and NuPRIME dealer, and have history with both, so take that into consideration.
Secondly my impressions are with my system, and in my listening room and environment which could affect the overall results.
And my listening impressions and comparisons are based on a number of previous components I have either used or heard.
The present system consists of the following:
Source:
OPPO BDP-103 used for discs and HD music files both normal and Hi Rez
Preamp/DAC:
NuPRIME DAC-10 $1495 MSRP
AMPS:
NuFORCE/NuPRIME REFERENCE 18 Monoblocs originally $7600pr MSRP but now $6500pr
Speakers:
VMPS RM40 BCSE Model
Sub AMPS: 2
VMPS PBS SYSTEMS (modded and tweaked Crown XLS 1500)
Subs: 4
VMPS Larger Subwoofers
Digital, Analog, and Power Cables are
WyWiresPower Distribution is via the WyWires PowerBroker
That said, I most recently have had the
NuPRIME IDA-16 in my system, and its pedigree sonic traits are just "extended" here. Prior to that, I had the
NuFORCE DAC-9 to the
Reference 18 Monoblocs, which at the time seemed to be as far as one could go in my system sonically (I was wrong)
Then the
NuPRIME IDA-16
Even at only 200wpc the IDA-16 was a step forward in overall presentation.
The front end and DAC is close to what the DAC-10 is also employing the ESS 9018 DAC chipset in the NuPRIME implementation.
I have to say it was spectacular and I could easily have lived with it, without reservation. It was the precursor of the
DAC-10 which is what I am listening to now.
The IDA-16 seemed to add a 3-D sense to the sound and I have posted that before, so I was not expecting HUGE improvements, as I didn't know where there was anything yet to add.
Well, there now seems to be.
All of the very incredible qualities of the
IDA-16 have simply been extended via the DAC-10. Likely, the separate Power Supply, Premium Parts, and the same great ESS Chipset Implementation.
So what did or am I hearing?
I immediately heard a wider, deeper soundstage, which is also what I remarked about with the IDA-16, but of course this incarnation is even more so. I can't say I was ever disatisfied with the size of my soundstage, but I do like BIG and in some cases SIZE can matter. No in general when you enlarge or spread something out over a larger space, things soften and wash out.
Just the opposite is true here. While there just seems to be MORE sound, (sonic flesh) the detail and clarity are also slightly improved. So fuller, larger, more spacious sonic presentations, with improved weight, and dynamics.
All that said, as incredible as it seems within all that, you also have no "crowding". That is every detail, instrument, and performer is clearly delineated in their own space, and sonic individuality. Even through all of the harmonic textures, you can more clearly hear it ALL. It is a type of Sonic Transparency.
The tonal balance continues from the IDA-16. Voices and Instruments sound balanced and REAL.
I listen to a great variety of cuts.
For example there is a cut called "Seeds of Love" by Tears for Fears, which can sound terribly pedestrian and so 80's on even a good system.
Listening to it today, I was taken deep into the synthetic layered textures to the sound. It was a wall of sound, but swimming with sounds like waves and currents moving and shimmering all around. But at the same time all of these complex portions and layers are easy to hear. I am impressed.
Then jumping to the latest Hi REZ Diana Krall and you have the most pristine clarity and sound you can imagine. My only complaint was with the recording and that was the piano (which she is playing) was spread tow wide between the speakers which is just bad production. But the tones are exquisite, the voice is sublime and John Clayton on bass (I presume) is as articulate, fat, smooth and dynamic as always.
I also went through "Keith Don't Go" for about the millionth time and can't say I have ever heard it better.
More coming after we hit 50 hours.
