Are you sure you’re comparing the same files? Making sure you’re comparing the same release/resolution/rip etc, is important when evaluating. If you still notice a difference then it could be a network issues, otherwise, I can’t think of a reason an equivalent rips should sound noticeably different b/w cloud and local.
Nope, I’m not sure at all! I’ve only tried a handful of times when Roon has picked a NAS copy of a file over a cloud copy. Having said that I recall that Roon tries to pick the highest resolution version available in your library. When picking a cloud version it’s possible that I’ve chosen a superior copy to listen to that has not been saved in my library.
Just listening to my SACD rip of the album Lyn’s Une by Alan Cosker. I am hearing so much more on my 300 series. Easy to follow bass lines on the track Logan’s slogans are very good indeed.
The best part of a significant upgrade is the sheer joy of re-discovering your music collection!
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Yes, I could indeed just use that.
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Here are six pieces where I specifically noted differences when swapping the NPX300 from the NAC332 to the NSS333. Noting that these were five box systems with NAP350 as the power amp. For extra comparison I have also made a few observations about how they sound on my office system. Notwithstanding specific comments, they all sound better through the Naim than in the office!
The usual caveats apply. This is my interpretation of what I heard on my systems and YMMV.
(1) William Mathias: Berceuse Op 95 no 3 (John Scott, Nimbus Records - “William Mathias Organ Music”) - track 5
Berceuse = lullaby and this is a generally calm, quiet piece of music. It features a distinct low bass line (played on the pedals) which I could clearly follow on the 332/300 but only begins to resolve with the 333/300 when I pump up the volume to unrealistic levels. Otherwise, it’s just a comparatively mushy deep bass sound. It is actually easier to follow the bass in the office than with the 333/300 although nowhere near as good as the 332/300.
(2) John Tavener: The Protecting Veil (Steven Isserlis, London Symphony Orchestra, Virgin)
A haunting piece, not least because for much of its duration (8 separate tracks) there is a low drone played by the double basses underpinning the action going on above it. Not only does the 332/300 allow the drone to come through quite distinctly as a musical line in its own right, it captures the dynamic range of the piece beautifully - there is the drone deep in the bass with the cello solo soaring above high in the cello register with some quite violent contributions from the violins playing higher again, towards the top of their register. Be aware that there are sections where the other orchestral strings are playing a low line of their own. Don’t mistake this for the drone which is much deeper still.
Hearing this piece through the 332/300 was quite a revelation - I’m not even sure I had previously realised the drone was there as it isn’t particularly audible on my office system. As with the organ music, with the 333/300 I really have to increase the volume to make much sense of it; at normal listening levels the drone pretty much fades into the background. I don’t think the 333/300 does as much justice to the dynamic range either.
I have a fantasy that adding a second 300 for a six box system would allow me to distinguish the bowing on individual double basses. That level of detail really would be something.
(3) Aaron Copland - Hoe Down (Leonard Bernstein, New York Philharmonic, Sony - “Copland: 4 Dance Episodes from Rodeo & Billy the Kid Suite”, track 4)
This is music that should make the most curmudgeonly grouch start tapping their feet. Played through the 332/300 this particular recording has a surprisingly prominent percussion line (I think it’s a glockenspiel) rising above the rest of the orchestra. I can’t think why they would want it to be so prominent, but it’s there. The line is audible with the 333/300 and my office system but much more pulled back into the band and the overall flow of the music, poking its head out from time to time. This seems closer to a real life performance?
(4) Dave Brubeck - Take Five (Time Out)
The album has a very obvious three dimensional sound stage, nicely demonstrated on this track in particular. From the listener’s left, I hear the piano and bass towards the back, the sax at the front and drums somewhere mid-stage. I don’t think they would have arranged themselves this way for a live performance, but that’s another matter.
In my system with the 332/300 the pianist is in line with the left speaker, bass left of centre, sax player on the right speaker and drummer way off to the right. The sound of each player is isolated - no overlap between instruments.
Switching to the 333/300, the stage is much shallower and a bit narrower although the drummer is still outside the right speaker. More significantly, the instrumental sounds do overlap. Another instance where this combination perhaps delivers a more real-life performance.
In the office there is no depth at all, just four players strung in a line across the stage.
(5) Ute Lemper - 'Round Midnight (Illusions)
(6) Supertramp - Fool’s Overture (Even in the Quietest Moments)
Both these tracks have prominent bass guitar lines. With the 332/300 they sound like they are being played on a bass guitar. With the 333/300 they are just deep bass. Office system: in between for 'Round Midnight although closer to 333 than 332; Fool’s Overture same as the 333.
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I will have to find this music and give it a listen. Thank you for the in depth description.
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Just listened to Take 5 on my system, drums are on the left, Piano on the right. A quick google seems to confirm that’s correct. What version you listening to?
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Just checked both my releases and got the same. And it sounds sublime.
Thank you for the audio samples and your classification. With the classical recordings, however, I painfully realise that I only have a „Uniti Atom". I can only hear the differentiation you describe to a limited extent. The Atom simply has limits with complex recordings. It’s different with Dave Brubeck Take five - there I can hear your description well, even though for me the right and left channels are reversed (I listen to the recording on Qobuz from 2019 with 44.1 khz - 24 bit).
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I got drums on the right, sax in the middle, piano on the left and bass between the piano and sax 
it was a qobuz version
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I just checked the Legacy Edition on Qobuz and it’s the same as my local, drums left piano right.
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Brubeck. Drums left. 3 different versions, CD , streaming, vinyl.
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Curious - I listened to three different versions on Qobuz all drums left, piano right. This is fun…
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Think I need to get naughty Pete to check his left and right… just tried a couple of versions and wrong way round
Though seems to be the same way round as Clog?
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The Dave Brubeck Quartet Time Out / 1997 Columbia / Austria HDCD / CK 65122
Drums Left, Sax / Bass middle, Piano Right on this HDCD version, through my NAC 332.
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NaughtyPete? 
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I’m listening off Qobuz. I’ll have to check precisely which version. A quick check that we are all talking about the same left and right. My left is listener’s left, or audience left - when sitting down facing the loudspeakers. This is stage right in theatrical terms.
What about the mono version.
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Of Acoustica - so named by me cos he has been naughtily persuasive in my ludicrous upgrade path 
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Yes, the drums come from the left speaker as I look at it, i.e. into my left ear if that makes sense
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