In the same way, differences between different performances of the same piece are writ large. Compare Santuu-Matias Rouvali’s Sibelius 5 (with the Gothenburg S.O. – Alpha Classics 645) to Rattle’s reading of the same work (with the Berliner Philharmoniker – BHPR 150073) and the challenges and flaws in each are equally interesting and obvious, Rouvali’s emotional sensitivities out-running his directive abilities, Rattle’s dynamic clod-hopping destroying the subtle orchestral structures at the most inopportune moment. This isn’t a case of the ‘C10’ dismantling poor recordings. It’s simply revealing what’s actually there, an example of its inherently musical sensibility and it’s ability to track time and amplitude with apparently effortless exactitude.
The far from subtle increase in instrumental texture and soundstage clarity suggests significantly finer levels of resolution. Crucially, that extra resolution extends to the temporal and amplitude domains. The subtle shifts in level within or between notes, that really shape the musicians’ phrasing and expression, are heard more easily and convincingly. Harmonics and overtones fill out instrumental bodies. Explicit placement makes the instrumental relationships within the music and within the band more clearly understood. In short, the ‘C10’ simply sounds a lot more like people: living, breathing musicians playing real instruments in real space. More importantly, it sounds more like they’re playing them for a reason.
Whole new ballgame…
This ability to reproduce the human agency and input to the musical performance represents a step-change in the quality of CH’s digital replay. It not only threatens to elevate the performance of the C10 well clear of the C1.2, but well clear of the competition too, moving the company’s products into previously uncharted musical territory. For anybody visiting the Munich Show, the C10 should be an interesting listen – even under show conditions and especially if you ask for a comparison with the C1.2. As good as the earlier DAC is – and it is extremely good – even this ‘C10’ really is in a different musical league. And if you happen to be in Munich, Thierry Heeb (the H in CH) will be making several presentations, discussing not just the how and why of the company’s digital approach, but the relationship between human hearing and digital theory. If that’s what’s behind the step up in the C10’s performance, it should certainly be worth hearing.
Whilst it promises (and on current showing, delivers) a significant uplift in performance, the arrival of the C10 (and its three finish options) also presents CH with a few other, purely practical questions. You want a CH clock to go with your anthracite finish 10 Series DAC? The T1 Time Reference master clock will be available in 10 Series casework and designated T10 – although functionally and price-wise (€24,300/$24,700 USD), both the 10 and 1 Series units will be identical.
Details, details…
Will there be a D10 transport? Indeed there will, with work already well advanced. I’ve seen renderings of the projected, top-loader and it’s very pretty indeed. But for those who either can’t accommodate a top-loading transport, or who want optical disc replay, but without the cost and practical demands associated with a 10 Series solution, CH would be well advised to offer the same casework option on the D1.5 that they are on the T1 (not too much of a stretch as existing 10 Series owners can already order I Series pieces to match).
