Try ns333 into nds with 1x 555ps. In theory … very very good
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Sure I can do that while I swap to NDS 555 during Christmas 
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I did. It’s a bit annoying as only 1 PS turns on with the 333 and the other needs to be turned on manually. The second PS on the 333 did not amount to a significant enough improvement in my case. The second PS on the ND555 is a much larger improvement comparatively.
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I am thinking actually on selling my Rega P10/ Lyra Kleos and buy the best transport to connect to my Nds.
I thought first, why not an Innuos Pulse. Then I read on another thread about it that one member has it with his Nds. He is happy, because Tidal, Qobuz work flawlessly.
But he responded to me that the difference in sound is subtle and the sound is even a more hifi, analytical.
I then wonder if any transport will really uplift the Nds sound, apart maybe some up 10k ones.
So another thinking now : sell the P10, one 555 ps, and get a NSC333. But I may loose the full organic sound and get more details and grip on the bass. A side step.
Then there are opposite views: some found the cheap Prisma uplifting the Nds sound. Even with local streaming. But only 2 members.
Dan found the Nds bare no different from Nd5xs2 with local streaming. Found the Limitree giving a more analytical sound.
Only one member with Pulse, as written above.
What to do then. Perhaps nothing. A second hand Nd555 is still too expensive. And there’s actually the firmware problem.
In answer to your final question… don’t let your p10 go..
Begin with a cheap streamer. Don’t sell p10 and don’t switch to nc - at least not without demo.
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The main reason is that each year I am selling albums I don’t listen to anymore. Today I have around 100 albums left, which I listened to death. I still listen to them from time to time, but I have more fun in discovering new music, since some years now. I listen mostly to my digital Melco library and buy regularly new music.
The pleasure to just sit and choose from my IPad is winning today.
And I don’t buy new lps anymore.
But nothing is decided yet. Just wondering now.
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You sound bit like me. Digital has come a long way in sound quality and usability. I’m in and out of vinyl but it’s 95% digital for me. I have a good jazz collection and rarely buy new either.
I forsee me selling the vinyl kit in 2026. Again 
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Then for you the TT is a dead end. Once you get a top notch streamer that works for you it’s going to leave LPs as just having a nostalgic value, which is fine, but no longer audio…
For me that streamer was a Linn (older style) Klimax DS3 with the Organik DAC upgrade, plus an optimised Ethernet (EE8/Farad x2, AQ Vodka) the Linn has everything I love about a good quality TT, the rhythm and organic flow, but with loads of layered details and soundstage. Given that it was a one box thing (no separate PS), looked good and only cost me £5k (was £15k when new and the latest equivalent is £25k, with most used ones being in the £7.5-9k at dealers).
That and the Nait 50 have given me an amazing system for under £10k all included, Vertere Redline cables, my Atohm GT1 SE speakers etc. No plans to change anything in 2026.
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Hmm, I’m thinking about your TT combo Rega P8 + Rega ND7. You don’t like it?
It’s good but I still think my digital is much better 
Maybe I’ve got used to the dynamics, the inky black background, the speed, no hassle, the transients, the easy way of having music played 10h per day.
I was a huge vinyl addict like 10 years ago when my digital was pretty so so but I find it hard to motivate why playing vinyl today more than nostalgia now and then.
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@Blackbird How did you get on with the Goldnote PH-10 incidentally? Was it a significant step up from the Nait 50 phono stage?
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It’s on my to-do list to compare them and see but right now it’s NDS, NSS 333 , 555PSDR in different combinations that has got my attention I’ll get back to you.
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Thanks! I think my issue is coming down to nostalgia as well. My ultimate digital would likely be a 333/555DR as I LOVE the sound of my ND5XS2-nDAC-XPSDR. The pull of vinyl is strong however..
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For me it’s not about nostalgia,an Linn LP12 is just so much more musical to listen to ,than any CD player or Streamer I’ve heard.
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I guess I prefer microscopes over well worn lenses 
AI says the below in terms of dynamics - digital hi-res vs vinyl.
The difference is large, measurable, and not subtle—high-resolution digital has far more dynamic range than vinyl. The interesting part is why vinyl can still sound great despite that.
Let’s anchor this in physics rather than vibes.
Dynamic range is the span between the quietest sound above the noise floor and the loudest sound before distortion. It’s measured in decibels (dB), and every ~6 dB represents a doubling of signal amplitude.
Vinyl records
In real-world playback conditions, vinyl manages roughly 55–70 dB of usable dynamic range.
Why not more?
• Surface noise (vinyl roar, clicks, dust) sets a relatively high noise floor
• Inner-groove distortion limits how loud high frequencies can be cut
• Bass must be mono-ized and limited to keep the stylus in the groove
• Loud passages risk mistracking or groove damage
Audiophile pressings, pristine vinyl, and ideal turntables can push toward the upper end of that range, but ~65 dB is a realistic ceiling for music playback.
High-resolution digital
Here the math is clean and ruthless.
• 16-bit (CD): ~96 dB theoretical, ~93 dB practical
• 24-bit: ~144 dB theoretical, ~120–125 dB practical (limited by electronics, not the format)
High-resolution digital therefore offers 50–60 dB more dynamic range than vinyl. That’s not a small margin; it’s an order-of-magnitude difference in quiet-to-loud capability.
To put it plainly: digital can represent sounds a million times quieter relative to peak level than vinyl can.
So why doesn’t vinyl sound “worse”?
Because music is not a test tone.
Most commercial music—rock, pop, jazz, even much classical—rarely uses more than 40–60 dB of dynamic range. Vinyl’s limits often act like a gentle, analog constraint system: soft compression, harmonic distortion, and noise that our brains interpret as texture rather than error. Meanwhile, digital’s huge headroom is often squandered by aggressive mastering (the loudness war being the chief culprit).
So the paradox resolves like this:
• Digital wins decisively on dynamic range
• Vinyl wins on psychoacoustics, nostalgia, and the way its limitations shape sound
One is a microscope. The other is a well-worn lens with character. The universe allows both.
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I would think that it has more to do with that humans are analogue,the brain has more problems with digital errors than analogue.
Here we are getting into the capabilities of DACs.
For the old albums from 60’s and 70’s, I am with you.
I rarely listen to that old vinyls myself.