It is also one of those “revealing of the source” sorts of devices. While it’s quite stunning how good many CDs are, the crappy ones are still crappy 
My very un-researched impression is that a “better” HDMI helps with the stage-width narrowness many (including myself) were experiencing.
But I am still generally laying off the A/B stuff until later. Plus I have tired of the process in recent years. It’s too subject to too many variables. I tend to trust longer-term listening satisfaction sorts of experiences more.
My DMP is scheduled to arrive tomorrow and I am eager to share my findings! Until then, I thought I would describe my system a bit and what I will listen for:
I am heavy on PS Audio - P10, DirectStream Dac, Bridge II, DS Stereo Amp. I mostly listen via the Bridge via minimserver. I love Toreyes. My disc player is an Oppo 103, with ETF/RTF mods from the Upgrade Company. My preamp is a topof theline Marantz, also with the mods from the Upgrade Co. The Oppo plays CDs and SACDs. Its network performance is obviously much inferior to the Bridge. I have a small (about 30) collection of SACDs. Speakers are Wharefdale Dentons.
I have a small room. I found these to have a soundstage completely divorced from the speakers, and a realistic slightly warm tonal quality that I like. I have ACI subs. I hear very little difference between a CD and the ripped version via the Bridge. SACDs sound relaxed, but are a bit rounded and less impactful through the OPPO.
I have many tweaks, from the ridiculously cheap (Ikea cutting boards and Isopods) to the very expensive (Nordost QX2/4, various expensive Bybee things, Acoustic Revive and Stein, stillpoints, among others). Cables are mostly Shunyata.
I have found that being very precise about things like speaker toe-in and exact placement of the Stein have allowed me to achieve the exact spatial and tonal balance I prefer. I would have preferred that such minute details would not matter, but my ears tell me otherwise.
I listen to mostly acoustic music - straight-ahead jazz and classical. I also love certain female voices, including Allison Krauss, Eva Cassidy, Lisa Callaway, and others. In piano music and harp music I listen closely to the balance between impact and tone, between steeliness and sweetness.
I have multiple versions of Van Cliburn’s tchiakovsky Piano Concerto #1, (CD and SACD) and the opening horn notes are especially revealing of small system differences. I have a bunch of other moments like that which I will share and report on as I proceed.
I
dlee said DMP (day 5, 100+ hrs)-Yeah, no, I am not there. Probably almost completely the opposite. Although I am still letting the system settle in, I am beginning to reach some broad class conclusions. Certain SACDs may in fact be better out of the DMP than my server through the Bridge II/DS. But not better than the server through the MSB, and on some discs—oddly—not through the NADAC [though that is an extremely unscientific comparison]. I think what I am hearing may be differences in mastering that have a different acoustic impact with the DMP's superb retrieval. I am probably not describing this well, but here is an example. The Allman Brothers' Live At Fillmore East is one of my favorite albums. There are multiple DSD versions and quite a few Redbook. Many are poorly produced. The SACD-SHM is widely criticized on SA-CD.net for example, and I also prefer the MoFi SACD. But on the DMP, the SACD-SHM sounds more appealing than it has before. However, to my ears so far, the MoFi disc does not sound any better or different from listening through the server and Bridge II.Short answer; re: Redbook/ Bridge II vs DMP
I’ve listened to about 200 redbooks so far, discs from recent release all the way back to some real harsh stuff cut in the mid-late eighties. Most all of them I have on server (Roon/Bridge II) as well, to A/B. The DMP SQ bump is huge for redbook compared with server, better detail resolution (fatigue-free to my ears), improved dynamic range, more ambiance/air (acoustic & vocal esp), and a hard to define improved richness and musicality. It is a real kick hearing old CDs that sound new again, and way better than you remembered.
In contrast, so far, almost every Redbook disc sounds pretty much the same from my server and the DMP. Both sound quite good, even on some discs I have owned since digital’s early, very uneven years. I have a list to go back through again before solidifying this conclusion.
Like David, I would be interested in your server and network configuration. Makes a big difference. Last week I changed routers, and did additional VLAN/subnet/QoS optimization. Interestingly, and with good reason, it affected throughput and sound more noticeably on the smaller Redbook files.All the fiber media converters received TeddyPardo PSUs this week [keep pushing that noise floor down]. This week, I am adding a couple of new PowerBases [keep reducing vibration]. One has already made a bit of a difference, and so I am sensitive to the fact that these changes may be affecting my listening. Anyway, although I have been a fan of network audio for several years, in the past 6 months, revisions of my network have had more impact than the previous 5 years.
P.S. To borrow something badbeef mentioned, most of this is not based on A/B comparison. Keeping the Bridge II and the DMP close to in sync, while compensating for volume differences, proved more frustrating and annoying than it was worth. So, these are impressions, one disc at a time, between the two setups, with an occasional pause to listen to the MSB [same server as the Bridge II].
For convenience, when it arrived, I plugged my PS Audio preamp into one of my P10s which feeds one of the BHK 300s. The ds dac and dmp are plugged into an Audience Ar6T. Today I rearranged my system, to put everything into the P10s. Thought I’d sell the Audience. As soon as I hit play, I thought, “uh oh, where’d the bass go?” The tonality of the bass now had changed, and it was, for lack of a better word, flat. Crawling around and plugging the pre into the Audience (making the ds, the dmp, and the pre all on same power conditioner) it still was flat. (Didn’t suck and there was bass, but it didn’t feel right.). I plugged the pre back into the P10, and all was good (actually, GREAT) again.
so the final is: ds dac, dmp into the Audience, pre into a P10. I realize this is strange, but due to the amount of change, I thought I’d post it.
each p10 is on a separate line, though one of the twin dedicated lines also has the AR6-T also on that line.
yes, I voted Friday.
Solomon said My DMP is scheduled to arrive tomorrow and I am eager to share my findings! Until then, I thought I would describe my system a bit and what I will listen for:I am heavy on PS Audio - P10, DirectStream Dac, Bridge II, DS Stereo Amp. I mostly listen via the Bridge via minimserver. I love Toreyes. My disc player is an Oppo 103, with ETF/RTF mods from the Upgrade Company. My preamp is a topof theline Marantz, also with the mods from the Upgrade Co. The Oppo plays CDs and SACDs. Its network performance is obviously much inferior to the Bridge. I have a small (about 30) collection of SACDs. Speakers are Wharefdale Dentons.
I have a small room. I found these to have a soundstage completely divorced from the speakers, and a realistic slightly warm tonal quality that I like. I have ACI subs. I hear very little difference between a CD and the ripped version via the Bridge. SACDs sound relaxed, but are a bit rounded and less impactful through the OPPO.
I have many tweaks, from the ridiculously cheap (Ikea cutting boards and Isopods) to the very expensive (Nordost QX2/4, various expensive Bybee things, Acoustic Revive and Stein, stillpoints, among others). Cables are mostly Shunyata.
I have found that being very precise about things like speaker toe-in and exact placement of the Stein have allowed me to achieve the exact spatial and tonal balance I prefer. I would have preferred that such minute details would not matter, but my ears tell me otherwise.
I listen to mostly acoustic music - straight-ahead jazz and classical. I also love certain female voices, including Allison Krauss, Eva Cassidy, Lisa Callaway, and others. In piano music and harp music I listen closely to the balance between impact and tone, between steeliness and sweetness.
I have multiple versions of Van Cliburn’s tchiakovsky Piano Concerto #1, (CD and SACD) and the opening horn notes are especially revealing of small system differences. I have a bunch of other moments like that which I will share and report on as I proceed.
I
Welcome to the forums and we look forward to your report!
My DMP finally arrived today, safe in its plastic cradle. I upgraded to the most recent firmware with no problems and connected it up, using the supplied cable. It’s been running for about five hours now. Everything has worked smoothly with both CDs and SACDs; I have been able to upload artwork and locate disc info through Discogs.
I won’t say much about sound quality at this point; the impression so far, however, is certainly good. How good? In comparison to what? Stay tuned!
palerider said To borrow something badbeef mentioned, most of this is not based on A/B comparison. Keeping the Bridge II and the DMP close to in sync, while compensating for volume differences, proved more frustrating and annoying than it was worth. So, these are impressions, one disc at a time, between the two setups, with an occasional pause to listen to the MSB [same server as the Bridge II].A more meaningful comparison in any event.
I also suggest that if the differences are so minute that one can only hear them while directly switching back and forth, they are too small to matter. Unless this is how you happen to listen to music. 
Beta testing the Direct Stream Player—Some initial observations:
Packaging, etc. was fine and similar to the experience of others, viz no manual, short HDMI cable. I decided to use a Monster HDMI I had laying around (I can hear the gasps!).
I ran it for several hours before listening. The first few cuts sounded great!
I own the CD and 24/96 download of Brian Blade & The Fellowship Band’s “Landmarks”. This is a merely good recording, but it is great music. I played the CD first on the DSP. Warm, open, analog sound with well-defined (but not great, blame it on the recording) instruments in space. It seemed to sound better than I’d heard! The bass solo on the title track is dynamic, woody and engaging.
I then listened to the 16/44.1 rip from my NAS via JRiver 21 on my Mac Mini through the Bridge II. Relatively flat soundstage, less dynamic and engaging. This was my experience comparing several tracks back and forth between the rip and the CD.
Finally I listened to the 24/96 download (HD Tracks) via JRiver. The dynamics were back, the soundstage once again deep and wide. In this case the sound on the hi-res download and the CD on the DSP were so close I had some trouble noting the differences. Eventually it seemed that the instruments on the hi-res file were just a bit “smaller” and better-defined in space than on the CD, but I won’t swear to it and your ears might disagree.
Comparisons between ripped CDs via JRiver and the CDs played on the DSP yield similar results. I keep thinking to myself “analog” when listening to the DSP. A good thing!
I have yet to get into my SACD collection, USB media, different HDMI cables, HDMI vs coax, etc. And then there are the bugs, addressed elsewhere on this site. Overall, though, I must say I’m surprised and gratified—Paul and his team do not disappoint! It’s great fun being part of this part of the process of fine-tuning what will be a head-turning product in the high-end community.
PS Audio: DSP, DSD Dac/Bridge II, BHK Signature Pre, BHK Signature 300 Monoblocks, PWP5; Linn Sondek/Kore/Ekos/Kristal/Lingo/Linto; Quicksilver V4 Monoblocks; Quad 2905s; Audience AU24SE interconnects and speaker cable, Audience Powercord SE, Pangea Powercords; QNAP NAS, Mac Mini 2014, JRiver 21.
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Not strictly speaking a SQ observation - and I mentioned it earlier, but allow me to expand.
A big part of my deal going into this was, “How Good is the DMP’s SQ vs. Computer Server/iPad control, etc.”
After a week of use, I think this is something that can’t be separated from the experience of the DMP - and I imagine those who have been using the PWT will be saying, “Duh…”, but…
It is a “forced active participation” experience (like vinyl PB) to have to go through your Physical Shiny Disc Collection (which I’ve mostly not done for 15 years, at least with regard to CD) to select the music, put it in the Transport and play it - with the added impetus to LEAVE it in there and let it PLAY THROUGH (like vinyl) - such that I now consider it a completely different device/experience than Server playback. Apples and Oranges.
So, if it’s in the Ballpark in terms of SQ - which has, at the very least, been my un-anally-compared/unscientific impression - I would be inclined to keep it, as I wouldn’t be unhappy in any way with either means of playback, and this causes you to choose different areas of your library vs. swiping and searching on an iDevice.
One question to the Beta testers: How long are the loading times with the DM-Player? Same as with the PWT?
badbeef said It is a "forced active participation" experience (like vinyl PB) to have to go through your Physical Shiny Disc Collection (which I've mostly not done for 15 years, at least with regard to CD) to select the music, put it in the Transport and play it - with the added impetus to LEAVE it in there and let it PLAY THROUGH (like vinyl) - such that I now consider it a completely different device/experience than Server playback. Apples and Oranges.Yes, indeed. Lon and I have had similar discussions over at the Decware forum. The experiences are so different. Just last night, for example, I put together my new Mapleshade CD rack. I haven't had a CD in my listening room in what feels like forever. But if I am going to entertain using the DMP regularly, at least the SACDs, DVD-A and Blu-ray discs have to have a storage place I can conveniently reach. I don't anticipate needing accessible storage for thousands of Redbook CDs, because right now, the DMP does not appear to present me any advantage over my NAS playback. But this jury is still out on hi-res discs. I am enjoying listening to the DMP very much. I have no doubt I will keep it, and if I ever get a straight amp [without volume] built for my Stax headphones, I will probably want to put a BHK preamp between the DMP and the amp.So, if it’s in the Ballpark in terms of SQ - which has, at the very least, been my un-anally-compared/unscientific impression - I would be inclined to keep it, as I wouldn’t be unhappy in any way with either means of playback, and this causes you to choose different areas of your library vs. swiping and searching on an iDevice.
For now, the very real difference between browsing via Roon and choosing to listen to a CD all the way through are, for me, for the first time, roughly equivalent in pleasure.
What I really hope is that the DMP sets the stage for a Bridge III, with the ability to play 2x and 4x DSD. Of course there is not that much material out there, but that is out there is pretty amazing. But even if Bridge III, whether internal or standalone, did not play 4x, I think it could benefit from what PSA has learned in building the DMP. Ted’s several comments that he was not involved in the DS design [and I am not trying to exaggerate those] suggest a world of improvement opportunity for both the future of the DS and the Bridge.
On the other hand - an ongoing (weeklong) SQ impression - and this is from someone who has been listening to, and playing and recording live music the majority of my life - MOST of the CDs I put into this thing make me say to myself, “who cares about hi-res?”
Soundmind on Paul’s Post’s will be saying, “Nyquist Vindicated!” (he will also be thinking, “albeit by a guy whose opinion I don’t care about, as he’s not a Scientist”).
Not that I can’t discern the difference. Far from it. Any well-recorded form of higher-res is clearly better on this thing as well.
Arcus 7 - go to bug forum for response.
The PWT will keep playing for many seconds after the CD is ejected.
How many seconds, if any, will the DMP play for after a CD is ejected?
Arcus7 said One question to the Beta testers: How long are the loading times with the DM-Player? Same as with the PWT?Not quite the same as the PWT. And it varies. Generally the DMP is slower by as much as 5-7 seconds. On one SACD, though, that I tested the DMP was several seconds quicker.
st50maint said The PWT will keep playing for many seconds after the CD is ejected. How many seconds, if any, will the DMP play for after a CD is ejected?None. All sound disappears when you eject.
Rob saidst50maint said The PWT will keep playing for many seconds after the CD is ejected. How many seconds, if any, will the DMP play for after a CD is ejected?None. All sound disappears when you eject.
Perhaps Paul or one of the design team can comment on this as the DMP has an upgraded version of the ‘digital lens’ technology which buffers a certain amount of data (resets timing, does other sorcery things, blah, blah) before sending to the DSD - is it just a change in the software that tells the DMP to stop streaming data as soon as the disc is ejected or has the digital lens implementation fundamentally changed? Just curious.
9 November: Round 3 of listening, now with the PS Audio HDMI-10 I2S 1 meter cable as the primary and Cardas coax as secondary (all comments are on the HDMI-10). Recognizing that I’m violating the scientific method by changing more than one variable at a time (the DMP had been burning in for about 40 more hours since the previous listening session), I’ll proceed with general impressions based upon replaying selections I listened to in Rounds 1 and 2.
Overall there’s more transparency than what I’m used to, with no hint of added brightness (a concern I had in Round 1). Bass notes are a bit more taut, but most noticeable are enhanced hearing of things being struck and plucked with strings and percussion (more snap my notes say). Also there’s a more shimmering sound to cymbals, tambourines, and triangles. Vocal harmonies are less homogenized/more separated.
There’s maybe a tad more lateral separation and still no perception of enhanced depth.
Most importantly, my toes have been a tappin’ through all the rounds to-date. If they weren’t none of the above would matter.
frank7036 saidRob saidst50maint said The PWT will keep playing for many seconds after the CD is ejected. How many seconds, if any, will the DMP play for after a CD is ejected?None. All sound disappears when you eject.
Perhaps Paul or one of the design team can comment on this as the DMP has an upgraded version of the ‘digital lens’ technology which buffers a certain amount of data (resets timing, does other sorcery things, blah, blah) before sending to the DSD - is it just a change in the software that tells the DMP to stop streaming data as soon as the disc is ejected or has the digital lens implementation fundamentally changed? Just curious.
Yes, it is a very different approach we took on the Lens technology inside DMP. There’s the same buffer but because of the way it’s implemented it isn’t necessary for so much time to be stored to let the drive mechanism do its work. The clock we are using at the output of the Lens, which is the whole purpose of the Lens - the fixed low jitter clock - is lower my a wide margin than even the PWT.