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Post by novisnick on Jul 20, 2018 22:48:13 GMT -5
introduction:
The soTm sms-200 Ultra Special Edition for this review we’ll just call it the Ultra. The Ultra is a network audio player in the form of a micro computer designed and built specifically for music playback.
I’ve had the Ultra in my listening room for several days now. It has delighted me very much in the short amount of time Ive listened to it. The Ultra seems to have opened up my room as if enlarging it in every scope. A wider, taller and deeper stage presence is evident.
I’ll be posting brief experiences of my feelings about what the Ultra does to specific music in my space.
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Post by brubacca on Jul 21, 2018 7:58:29 GMT -5
Sweet. Can't wait to hear your impressions.
The thing like most about the SMS-200 platform is the ability to directly attach a USB stick with your music on it. If the 200 had been out when I bought the mR I may have tried it instead.
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Post by novisnick on Jul 21, 2018 12:57:59 GMT -5
I like that idea very much, easy peesy! But to attach a network drive its better to connect it to the Mac Mini so the drive will not draw any power away from the Ultra player.
Last night I was ready to ship it all back! 🤬 i was madded then hell. Nothing would work and I wasn’t listening to music on a Friday night! Picture steam blowing out my ears. This forced me to read everything connected with the Ultra player and Roon. I think I can read Korean pretty well now! LOL
NEW LOOK AT IT TODAY. Couldnt even find the unit on the network! 🤮 Time for another physical inspection, I’m hanging my head in shame now as I’ve found the problem that I spent hours trying to rectify,,,,,,,,, how many of you have now guessed it??? Yep, the Ethernet cable was NOT snug and secure.🤫
Nobody was watching so I plugged the cable in securely and rebooted the complete system. Huston,,,,, we have music glorious music!! 👏👏👏😁🎶🎶🎶
Everybody, say it with me, “User Error”
First up is Chicago II Live on Soundstage where the horns are more crisp and clear ,like no other system I’ve heard or experienced. This recording is 24 bit @ 48.0 kHz played from Tidal. This is a newer recording and doesn’t have the same richness and tone of Chicago of years ago, nothing lasts forever.
On to more music during this intermission.
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DYohn
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Post by DYohn on Jul 21, 2018 13:03:02 GMT -5
SoTM 200 Ultra and Sonore Ultrarendu are pretty equivalent. Congrats and enjoy the music!
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Post by novisnick on Jul 21, 2018 14:30:58 GMT -5
An all time favorite Take Five by Dave Brubeck Quartet, most of us know every note by heart. The piano is lively and some notes seem to hang longer, in a good way. When he finishes a run and leaves on those last few notes to resonate. The sound is noticeably moving and has body even though the the volume is declining. Hope that makes sense. The right hand is so prominent and when the left hand strikes a key it announces its arrival. The blend is more coherent then before. So very nice to hear this difference from my other system. The sound isn’t night and day but it does make you take notice.
This post was inspired by the first two songs on said LP, Blue Rondo a la Turk and Strange Meadow Lark.
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Post by novisnick on Jul 21, 2018 14:46:20 GMT -5
Continuing with Take Five I give you the title track! Take Five. What a joyous union of instruments. As oif designed with this song in mind. Ive listened to this track 100’s of times and have never enjoyed it more. I just now accidentally hit the reply button before the song finished, what a pleasant surprise ! The horn intro has lost that little sharp edge that’s always been there , especially if your somebody that doesn’t care for that sharp edged sound. How very perfect this run sounds with Smooth, mellow and precise would describe it as the track moves on to piano and then drums. The backbeat of the piano and the drum lead have found a new foundness in my heart. Ive never been a big fan of the drums in this track but today for some reason unknown to me Ive enjoyed it very much. Add in the upright bass as the song flows because without it youd have just another forgotten song from the past.
Well, Ive either pumped some love into this recording for you or sucked the life right out of it. I hope you spin this record soon, it may become habit.
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Post by brubacca on Jul 21, 2018 14:59:50 GMT -5
Sounds like either money well spent or money about to be spent.
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Post by sahmen on Jul 21, 2018 15:01:46 GMT -5
^^^How about both?  |
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Post by novisnick on Jul 21, 2018 15:11:33 GMT -5
So far its NOT looking good for my wallet but my ears 👂 👂 are all giddy!
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klinemj
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Post by klinemj on Jul 21, 2018 18:50:58 GMT -5
Your point about notes hanging wasa something I noticed with the microRendu. On a cymbal crash on "So What", the cymbal sound lingered and wavered in ways I'd not heard before. I loved it. Glad you are hearing similar things on your new toy!
Mark
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Post by novisnick on Jul 22, 2018 0:02:16 GMT -5
Mrs and I are tuned into The Essential Billy Joel LP played via Roon and Tidal at 16 bits 44.1 kHz.
While listening to this LP and some Tull before it Ive noticed lessor instruments coming forward and making themselve known more prominently , not like ever before. They were more detailed with less hiding the instruments presents. Something like shining a little more light on an object being barely hidden in the dark. That says it better.
Yet this compilation was done poorly in my opinion. Not very consistent as some tracks are well done and others seem to have been just slapped on the compilation. Ive heard most of these tracks on the original releases and in multiple formats, even with that against the Many tracks I've noticed these attributes, to me this says much about the DAC and player combination. On better samples of Billys’ recordings this combo really shines.
Cymbals shine in New York State of Mind.
We’re going to sit back and listen for a bit,
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klinemj
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Post by klinemj on Jul 22, 2018 2:17:50 GMT -5
Mrs and I are tuned into The Essential Billy Joel LP played via Roon and Tidal at 16 bits 44.1 kHz. While listening to this LP and some Tull before it Ive noticed lessor instruments coming forward and making themselve known more prominently , not like ever before. They were more detailed with less hiding the instruments presents. Something like shining a little more light on an object being barely hidden in the dark. That says it better. Yet this compilation was done poorly in my opinion. Not very consistent as some tracks are well done and others seem to have been just slapped on the compilation. Ive heard most of these tracks on the original releases and in multiple formats, even with that against the Many tracks I've noticed these attributes, to me this says much about the DAC and player combination. On better samples of Billys’ recordings this combo really shines. Cymbals shine in New York State of Mind. We’re going to sit back and listen for a bit, When gear does what you are talking about - bringing forward details that were hiding, that's when I always feel I've found something good. When well-recorded/mastered music sounds better - super. But, when marginal stuff starts to sound good or great..."bingo" In my microRendu review, I was talking about Carole King and Linda Ronstadt...what you describe is what I was hearing with them. In the past, I'd not listen to them much because as much as I loved the music, when I was listening - I'd be wanting more from what was missing on the recording that I knew had to be there...the subtle intonations in those great voices. When they get all flattened out and are not audible, it's obvious. But when they come out - the music comes alive. When I get home tomorrow, I'll be wracking my brain for more music that's like that and see how the microRendu does with it. Mark |
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Post by monkumonku on Jul 22, 2018 9:47:04 GMT -5
Mrs and I are tuned into The Essential Billy Joel LP played via Roon and Tidal at 16 bits 44.1 kHz. While listening to this LP and some Tull before it Ive noticed lessor instruments coming forward and making themselve known more prominently , not like ever before. They were more detailed with less hiding the instruments presents. Something like shining a little more light on an object being barely hidden in the dark. That says it better. Yet this compilation was done poorly in my opinion. Not very consistent as some tracks are well done and others seem to have been just slapped on the compilation. Ive heard most of these tracks on the original releases and in multiple formats, even with that against the Many tracks I've noticed these attributes, to me this says much about the DAC and player combination. On better samples of Billys’ recordings this combo really shines. Cymbals shine in New York State of Mind. We’re going to sit back and listen for a bit, When gear does what you are talking about - bringing forward details that were hiding, that's when I always feel I've found something good. When well-recorded/mastered music sounds better - super. But, when marginal stuff starts to sound good or great..."bingo" In my microRendu review, I was talking about Carole King and Linda Ronstadt...what you describe is what I was hearing with them. In the past, I'd not listen to them much because as much as I loved the music, when I was listening - I'd be wanting more from what was missing on the recording that I knew had to be there...the subtle intonations in those great voices. When they get all flattened out and are not audible, it's obvious. But when they come out - the music comes alive. When I get home tomorrow, I'll be wracking my brain for more music that's like that and see how the microRendu does with it. Mark Mark, in an earlier post of yours you mentioned listening to Jackson Browne's "Rock Me On The Water" and "Doctor My Eyes" and how you heard him chuckle at certain parts of those songs, something you said you hadn't heard/noticed before. The implication was your new setup is what brought those out. My question is if you went back to the old setup and listened again to see if this was equipment-related or just that you were paying more attention and listening critically? The reason I ask is because that chuckle is apparent on the recordings posted to YouTube. I've always thought the vinyl and original CD versions were recorded quite poorly although remasters have been issued so it also depends on what version you listened to. Also, even on the recordings I considered less than par, that chuckle on Doctor My Eyes is how I always remember his phrasing of the lyric. In other words, no offense meant but is what you heard a reflection of more careful listening or a change in setup? |
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klinemj
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Post by klinemj on Jul 22, 2018 9:58:21 GMT -5
When gear does what you are talking about - bringing forward details that were hiding, that's when I always feel I've found something good. When well-recorded/mastered music sounds better - super. But, when marginal stuff starts to sound good or great..."bingo" In my microRendu review, I was talking about Carole King and Linda Ronstadt...what you describe is what I was hearing with them. In the past, I'd not listen to them much because as much as I loved the music, when I was listening - I'd be wanting more from what was missing on the recording that I knew had to be there...the subtle intonations in those great voices. When they get all flattened out and are not audible, it's obvious. But when they come out - the music comes alive. When I get home tomorrow, I'll be wracking my brain for more music that's like that and see how the microRendu does with it. Mark Mark, in an earlier post of yours you mentioned listening to Jackson Browne's "Rock Me On The Water" and "Doctor My Eyes" and how you heard him chuckle at certain parts of those songs, something you said you hadn't heard/noticed before. The implication was your new setup is what brought those out. My question is if you went back to the old setup and listened again to see if this was equipment-related or just that you were paying more attention and listening critically? The reason I ask is because that chuckle is apparent on the recordings posted to YouTube. I've always thought the vinyl and original CD versions were recorded quite poorly although remasters have been issued so it also depends on what version you listened to. Also, even on the recordings I considered less than par, that chuckle on Doctor My Eyes is how I always remember his phrasing of the lyric. In other words, no offense meant but is what you heard a reflection of more careful listening or a change in setup? That is a good question and a fair one. I will be going back and listening to all the ones I feel were marginal recordings/engineerings made better to see if I hear the same things. I will say this - when I was listening to Jackson, I wasn't listening particularly closely. I was reading something as it was playing, and hardly listening when I heard the chuckle. I've listened to that song hundreds of times and never noticed and nobody ever pointed it out to me. But, i will go back and re-listen. Even if it is there, I'm pretty certain the differences I heard with Linda and Carole were real. I always listen a bit disappointed that such fine voices were presented so poorly, so I was preparing to be disappointed...but I was not. Of course though - I'll go back and listen on those also. Mark |
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Post by novisnick on Jul 22, 2018 15:22:18 GMT -5
 Im actually playing the instrumental version of this LP via AIFF 16 bit 44.1 kHz from my hard drive via network. Nope. Its not Christmas but I really love this LP and know it intimately! I can comment about differences in the soun, dynamics and feel of A Charley Brown Christmas if there are any. And there are many in the audible reproduction of these tracks. Piano has an intimate and warm feeling that flows through the music vs troddong along like it sounds playing directly from the Mac Mini to the Mytek Brookly or Emotiva DC-1. A cohesiveness that escapes so many well played songs. I can tell more precisely where the individual instruments are in the room as well. Im hearing the foot peddle and depressing it as the music plays. Im not accustomed to this as I haven’t a clue how to play but I can hear it for the first time so very clearly. Its befuddling that this has occurred to me for the first time. Ive never been a big fan of the drums as a forefront instrument, always just filler and and add on I could usually do without, almost. Ive always enjoyed the upright bass for such duties. But, in the last few days Ive taken more notice and appreciation of them. Not just as a beat or add on but as part of this type of music. Jazz seems to need this drum set for the first time with me. Im going to take a break and listen to the same LP from Tidal in full MQA 192 kHz |
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Post by pedrocols on Jul 22, 2018 15:50:01 GMT -5
I think it would have been appropriate to adhere this thread to your already personal one instead of starting a whole different one.
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Post by novisnick on Jul 22, 2018 16:24:20 GMT -5
I think it would have been appropriate to adhere this thread to your already personal one instead of starting a whole different one. Perhaps, and that thought did cross my mind but here I am discussing a particular piece of gear and am making a direct comparison to Marks Sonore microrendu and Roon thread. Im also invitind others that may have this or a similar network player to join in and make comments or observations. We, as enthusiasts are always in a quest for better sound and to learn and share more about our hobby. Thanks for your interest pedrocols Nick |
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Post by novisnick on Jul 22, 2018 16:52:40 GMT -5
I’ve noticed a few of you with the Sonore micrRendu are stating that they run rather hot, have I read that right or is it just the power supply? I haven’t a clue why if its the player but I will share that my network player and atached power supply run cool to the touch. Im using the matched sMs-500 power supply made by soTm. Ive you want hot, I give you the Mytek Brooklyn. It runs about as hot as the Emotiva DC-1. I assume all that heat is the result of it toroidal l power supply.
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Post by Boomzilla on Jul 22, 2018 17:07:51 GMT -5
I think it would have been appropriate to adhere this thread to your already personal one instead of starting a whole different one. Hi pedrocols - I must respectfully disagree. This is new ground, so to speak, and lest it be lost in his existing thread, I think it's significant enough to justify a separate thread. I can tell that this device is of special significance to Nick, to his wife, and to his system by the extra effort he's putting into his review and his descriptions of the sound. When something that significant comes along in the journey of an already "mature audiophile," it's a significant thing. Would that I had time to visit Nick and hear it for myself, but his obvious enjoyment of the soTm device has definitely caught my attention. Cordially - Boomzilla |
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Post by Boomzilla on Jul 22, 2018 17:14:08 GMT -5
Nick -
Pardon my confusion, but what exactly IS the soTm device you're talking about? Looking at photos of it on Google, it looks like it has some USB ports on it and an Ethernet input. If it's a DAC, where are the analog outputs? In other words, I see lots of inputs, but nothing looks like an output. What does this thing do & how does it work? The website isn't much help...
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