I upsample most everything to either DSD or DXD alternating every couple of months.
Even if you choose not to upsample in my mind the Upsampler is required to get the most from your system. The network connection is superior to either USB or SPDIP.
Likewise! I upsample everything I play.
Why not?? With dCS there’s no sonic downside to upsampling! 
Agreed. I am a long-time network devotée. And don’t get me started on USB; I just despise it. 
That’s my expectation. But I just haven’t gotten around to dedicated listening of the upsampling.
I do not particularity want to be involved in this as it is very much a subjective matter. I can only say that there are some subtle artefacts produced that once heard cannot thereon be ignored and become dominant.
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If you haven’t had a chance to play around with the Mapper, give that a spin, it’s a real eye(ear)-opener to how much better V2.0 is. For me, PCM sources upsampled into Map 1 with Filter 5 coupled directly into my Tenor Amps, can’t be beat! 
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Map 1 is not anything to do with upsampling. You can’t upsample to it. If selected it is a constant irrespective of any sampling rate. Filter 5 changes its type according to the sampling rate selected. To specify a preference for it you need also to specify the sample rate chosen.
Of course I know that Pete 
! My post was not just about upsampling, but to the overall improvements dCS did with v2.0.
ps:
By the way, if you didn’t know, when PCM sources are upsampled to DXD via the Upsampler, you don’t have to care at all about the original sample rate, and the filter can be left at 5. Perfect for Quboz or Tidal streaming.
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Those Tenors are some lovely amps. If you’ve mentioned this elsewhere, forgive me, but have you tried your setup with a pre in between the Vivaldi and the Tenors?
Yeah, I have. Tried a couple of Solid-state Pre-amps. Unfortunately for me they always seem to “take-away more then they put in” either in transparency or in dynamics, vs. direct.
I do like what Tube Pre-Amps do to the sound though. The last I had in my system was the Wavac PR-T1 which sounded pretty good, like adding dither into the noise-floor that allows me to hear deeper into the music. But the Wavac’s not a true balanced design, plus the output impedance was magnitudes higher than the Vivaldi direct causing some bottom-end impact, so I sold it off when I had the opportunity.
The one I really want is the Tenor Pre, but since going all digital with just the Vivaldi as my source, its a constant struggle with the thought of spending that much coin on what would essentially be just a tube buffer stage
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You’re right—that would be an expensive tube buffer! I am looking at a few passive preamps right now. I have my system set with the Vivaldi’s full 6V output, and it’s pretty impressive. Having a volume control that does little else is a consideration. In the meantime, Vivaldi Clock arrives today, and the Cybershaft OP21A clock should arrive late next week. Happy listening!
Not good…the best clock is Patek Philip 
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Ha ha! Good one. But I’m an Omega man myself.
good too !
And I understand that Patek Philippe may be better still 
Heh, not for this guy. Never been a PP fan. Bond, James Bond. Moon landing. Etc.
Clock is in the house. Playing music, trying to figure out why the DAC has disappeared from dCS Mosaic, but the Upsampler remains. Not a huge thing, especial since I primarily use Roon anyway, and it’s easy enough to change settings from the front panels, but . . …
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It’s very easy to get sucked into Empty Wallet Confirmation Bias. But something interesting happened when I finished installing the Clock yesterday, and I wanted to get input from the forum.
When I originally demo’ed Bartok and Rossini, I tried Rossini Clock with both. On Bartok, I was listening to Susvara headphones which I felt pushed Bartok to the edge of its comfort zone. On Rossini, I used the RAAL SR1a ribbon headphones with their own amp. In both cases, I was listening at “normal” levels. To my ears, Rossini Clock made an audible difference with both DACs, more perceptibly with Rossini DAC (perhaps because of the ribbon monitors). But I didn’t really spend any time listening at low levels.
A few hours after installing Vivaldi Clock in the speaker system, I had some light piano music playing at a very low level. And by “low,” I mean that one could easily have a normal conversation less than 6 feet from the speakers. My wife entered the living room; she enjoys music but is not (thankfully) an audiophile. We began a conversation and after a couple of minutes, she paused and said: “That sounds so real, just like someone is playing the piano right outside our living room.” And she was right. I had already had this same reaction. This wasn’t any studied A/B comparison; it had been hours since I had listened to the system without the Clock. But once I had finished putting boxes and extra cables away, and had sat down just to enjoy, I was struck by the sense of realism. I know it’s all about timing, and that timing is is one of the reasons we spend the money, but I was amazed at the difference the Clock appeared to make.
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Yes, that’s a good example of why I have been banging on about why, if one listens as an audiophile ,one may think it makes no difference as one tries to tick off achievements in the lexicon of audiophilia. But if you don’t and listen to music just like a “normal” person it becomes indispensable. So
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Mosaic only knows that the DAC is present if the RS232 (serial) cable is connected between the DAC and Upsampler when the Upsampler boots up. If the Upsampler doesn’t see the DAC at that time then Mosaic configures itself differently.
Check the cable connections then power cycle (using rear panel switch) the Upsampler. Should be good after that.