Current dCS single AES inputs will not support DSD higher than DSD64 or encrypted DSD (from a dCS silver disc transport) and PCM higher than 176.4 sample rate. So no DSD128 or DXD. However I suspect that this may not haver much, if any, impact on you.
I would check the pin count of the Eversolo AES. dCS units use the AES standard having + signals on pin 2. Japanese products tend to use an earlier non AES standard of + signals on pin3 ( working from memory). I assume ( but check) that Chinese products may use the AES standard.
It does. When the Varèse Core is equipped with the Digital I/O Module, it accepts (and automatically detects) single or Dual-AES sources like the Vivaldi/Rossini Transport.
Looking at it Pete, it’s looks like three, same as the dCS.
How they are wired up could be a different story.
So is it the case of connecting the single AES on the T8, to any one of the two dCS AES?
Edit: My Bartók Instruction manual explains it well on page 19. Choose AES1 or AES2, but make sure it is correctly selected with the Input button.
AES connections are mostly 3 or 4 pin. So although the number of 3 pins matches, the pin count ( a pin count is the unction each pin is responsible for) may not.
The pins need to match as the polarity will be reversed otherwise .
I am also unsure if the differential system may then be affected ( which would defeat the whole reason for a balanced connection) as you would be feeding a + output to a - input and - output to a +input, what happens at the receiving end when they are combined ( too late in the afternoon to figure it out)? I expect that you will get sound but I am unsure whether CMRR will then function as intended ( this is the rejection of common mode noise).
I use shunyata sigma between my upsampler and dac, and one off the standard green AES cables that came with my upsampler on the cd transport. Can’t remember the name without looking at the moment
Much starker difference in sound quality in my own audio room against the Vivaldi (which I’m intimately familiar with for over a dozen years) than what I remember hearing at dCS/Cambridge over the Summer in 2024.
Quite unexpectedly, it’s different enough that I think I’ll need to re-take in-room measurements and maybe tweak room treatment - for example, just a week in, the Varèse has more bass depth than I’m accustomed to with the Vivaldi. As I’ve got the optional I/O Module in the Core, it’ll be interesting to also test out Room-Correction with my Trinnov ST2.
It’s also quite reassuring that my Tenor Amp has enough “quality headroom” to allow the Varèse’s sound quality to come through - I was a little worried if it would be the bottleneck to realizing the full potential of the Varèse.
I’ll maybe post a more detailed view in time to come.
As I have heard the Varèse (at dCS HQ), I can fully understand that!
Please do.
What a coincidence that, when you took the photo, you were listening to ‘Way Out West’, which I posted (before I read your post here) earlier, to kick off the May ‘What’s Spinning’ thread…
I find that bass quantity, but to a much greater degree bass quality, is something that improves at every step as you move up the range. I wonder if it ’s some psychoacoustic effect that shines a spotlight on this particular area of improvement? Or is it that signal integrity in the bass frequency range is somehow disproportionately favoured by all the electrical and mechanical refinements that come into play in the higher ranges, and if so, why?
Congratulations @Anupc !
You need a larger closet!
I understand your comment about revisiting room treatment. The single adjective which remains after my one on one with Varese last year continues to be “relentless”.
Enjoy!
(replacing the Vivaldi stack in 
