I admit that one of the things that made it easy to take the plunge with dCS is their gorgeous case design. What was very interesting to me when I finally got Vivaldi DAC and Clock into my home system was noticing how different each was from the other. Rossini likewise. Yes, they look more similar than different, but in detail, each is quite distinct from the other. I had never really appreciated the differences until the unboxing and placement in my cabinet. Has anyone here visited the factory and learned, or spoken or corresponded with anyone at dCS, as to the origins of the fascia designs, and the creativity and logic that went into them?
One thing that I have often been made aware of is that one cannot get the real impact of the superb industrial design of the Vivaldi or Rossini products from photographs. Not only is the scale difficult to judge but the amazing surface finish of the aluminium has to be seen in real life to appreciate ( silver version) or, likewise, the black anodising on the alternative colourway.
AFAIK dCS have developed the design of their products in association with partner specialist industrial designers. As is typical of dCS partner companies they tend to be situated relatively close to dCS’ location.
The original domestic dCS products ( the Elgar or Classic range) were designed in association with Alan Boothroyd. Thereon dCS have worked with a design consultancy from Cambridge, Special Agent. Of course where the input of dCS or Special Agent begins or ends is unknown.
Agreed Pete. It was in person, in the unboxing, and in shelf placement, that the jewel-like design truly came through, when I noticed just how different my first two pieces are; how much they are like sculptures, rather than boxes. Anyway, I am a sucker for good design [this sits on a coffee table here]. This doesn’t affect the SQ, but maybe, OTOH, just maybe it does. If we are visually seduced, does it add to the pleasure of listening?
They are just stunning to look at and much better than the normal flat face box