I got these, they seem regarded enough without costing a fortune, and aren’t as long as the provided ones which is perfect for me as the Vivaldi One and the Clock are near with each other on my rack (I got the 50cm ones).
Nordost Blue Haven are another, not too expensive option.
From a sonical point of view, I don’t have the impression I’m lacking something. Would a 10000$ cable improve things further? Can’t exclude that with such a revealing equipment, but it’s something I won’t do, unless I win some EuroMillions.
Why? The idea of using an external wordclock is to supply each box in the stack with the same time source so that they can be synchronised, The 4 Mutecs will not be synchronised perhaps except by serendipity ( note synchronisation is not the same thing as accuracy).
Hey Nigel, I’m looking forward to your listening report once the clock arrives and you have time to listen. I also would like to see pictures of your room now that you’ve recently decorated it.
The room/visual impressions You really don’t want to see my compromised listening room… which for some reason my wife insists on calling “our lounge”.
All my main devices sit inside a massively repurposed 1950s HMV mahogany veneer cabinet: back panel removed for ventilation, corners braced, crude but effective isolation shelves installed… there is even a little used Rega RP10 under the hinged cover on top on an isolation platform. Isotek Sigmas installed vertically to side out of sight, slim shelves behind hold switch and PSU. ATC SCM40A’s positioned on long wall closer to French windows than any audiophile wants.
The Master Clock is tucked away on an isolation platform beneath the cabinet, only way I could physically accommodate it!
The clock/sonic impressions
I’ve really only been able to listen properly during the last 24 hours so it is early days but the shared experiences and advice above were bang on the money. Yes it is subtle compared with many changes but there is something I can only describe today as more “rightness” , more coherence, to the music. I really don’t know what other change I could compare it with. It’s qualitative and across the whole rather than anything specific to highlight in the bass, mids or whatever.
That’s awesome, Nigel. I’m glad you’re enjoying the addition of the clock. Once your ears settle in with what the clock is doing, I’d be interested in your extended review/comments.
I completely understand the dual purpose listening/living room combo. I did the same for years until space in the new house afforded me otherwise.
I don’t mean hesitating to commit to a decision. I had a Rotel CDP once upon a time which had 6 dither settings and I settled on one of the middle settings as my listening sweetspot. I’ve yet to try these on the Rossini Master Clock.
Back when I had my Vivaldi, I always ran with dither switched on for both clocks. Buts as always with dCS, if a choice is offered you can be fairly sure there is no right answer. Choose the setting that works for you and just enjoy!
I had forgotten I had left both switched on as we had guests, but found myself just loving what I was hearing. I’m going to leave them on until next weekend and then off to see if I’m as engaged. You’ve all suggested it’s hard to point to anything in particular about the sound after incorporating a clock, and I’d say the same about the dithering options here.
Just to say: gosh, I’m loving this (dithered) Master Clock.
The only adjective which gets close is to say it’s more natural, but what the hell does that mean if you’re listening to everything including electronica?
You really don’t want to see my compromised listening room… which for some reason my wife insists on calling “our lounge”.