I felt it was worth posting a further follow-up, as the last few weeks have turned into a surprisingly fascinating set of discoveries around getting the best out of the nDAC, prompted originally by hearing it fed from a dedicated CD transport.
Before arriving here, I also spent time optimising the network side, which proved more consequential than expected. The current LAN path is:
[Router / LAN] > [10m Ethernet CAT6 cable from upstairs] > [Network switch (powered by linear PSU)] > [Short Ethernet CAT6 cable link] > [Ethernet to fibre media converter with SFP-out] > [Fibre link] > [SFP-in Streamer] > [SPDIF] > [nDAC]
The key change was breaking the electrical Ethernet connection just before the streamer first (to test with Lindemann), and then by introducing fibre via the media converter. The NEW streamer (a higher spec’d device with built in linear power supply, femto-grade master clocks and isolated digital outputs) I am currently testing against my default Lindemann streamer accepts SFP natively, and this resulted in quieter backgrounds, cleaner leading edges and more stable timing - reinforcing just how sensitive the nDAC is to the quality of the digital environment feeding it. Before introducing the “isolating” switch even though the sound was perceptually warmer (lack of definition perhaps?), the highs managed come across as more harsh as well (increased common noise?).
Coming back to the new streamer itself (and not claiming universals here), I wanted to give one example of what this translated to musically. While playing “Hail, Hail” by Pearl Jam, I suddenly became aware of a hi-hat moving in and out of syncopation, where it had previously felt like part of the main groove. It completely changed how I perceived the track (more tension, more push-pull) and it’s something I had never consciously noticed before. It was a reminder that it’s not just about “detail” in the hi-fi sense, but about understanding why the music feels the way it does.
As resolution and separation improved, however, the presentation could also feel intense, and not all recordings benefited equally. This wasn’t about any brightness or tonal imbalance but it felt rather forensic. That raised the question of how best to live with this increased insight without simply undoing the gains elsewhere. One upside of this was that the system started sounding much better at lower listening levels.
I initially tried introducing more forgiveness at the source by reverting to the standard lavender cable between nDAC and NAC52, and also reinstating stock Naim interconnects between the Supercap and the 135s (replacing a pair of DIY Mogami 2497 XLR-to-DIN cables I used prior). In this setup, however, timing, detail clarity and pace were traded away in a way that felt congested. The same source-to-pre interaction was also audible via my headphone rig fed from the NAC52 tape out, which proved a useful sanity check and helped rule out room effects.
What worked better in my system was allowing the source to stay clean and resolved (keeping a more revealing third-party source-to-pre interconnect), and letting any integration happen further downstream. Using the stock Naim interconnects between Supercap and 135s provided excellent cohesion and control without over-blending or collapsing the soundstage.
At this point, the new streamer almost feels like a technical ceiling in my system. Any further “tuning” seems less about adding insight and more about deciding where to soften the presentation, if at all. In a sensitive, revealing setup, this feels analogous to using film stock in cinematography where film grain as an aesthetic choice (a conscious decision about mood in a way) and one, at least in my case, that makes more sense at the amplification stage rather than at the source.
Now, to answer my own questions about whether I could find a similarly sounding network bridge? Or is that CDT simply that good?
I have no way to compare it side by side any more, the CDT was a loan, but the newly introduced streamer preserves transient edges exceptionally well (very rhythmical), manges to improve detail without sounding harsh, tightens bass onset and decay, reduces temporal smearing and blends ambience with musical content (notably soundstage depth) in a way that definitely resonates with what impressed me about the CD transport, and how it now compares against my default streamer. While, it’s a double-edged sword at times - less-than-perfect recordings sound just that - I’ve found it difficult to return to a more forgiving or “warmer” presentation since. I have had long evenings with it where I wasn’t tempted to switch tracks, or look for the next better sounding recording and that’s always a good sign! Also done with testing for now…
Somehow managed to delete my previous post by accident so reposting.
