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Up for your consideration is the awesome SIM MOON NEO 380D DSD Dac/ Streamer, MSRP @ $5600.00. Second owner purchased 05/02/16. In "practically as new" condition with just a couple of small dings to the left rear top edge (pic #2) which cannot be seen from inside my rack. Includes the MiND module along with everything that came in the OEM box when new. It does not have the volume control board option. Only selling it because I got a streaming audio computer with JRiver 22 that connects via S/PDIF to the digital DAC input of my DATASAT pre/pro so I do not need the streaming feature of this unit. This is a really terrific DAC, the most versatile I've owned. The MiND Streamer Unit ($1200 MSRP) adds a lot of great functionality. Install this in your system and you have a complete music playback solution without the need of a computer. It works great and sounds fantastic with Tidal.
Fully asynchronous DAC supports PCM up to 384kHz (32-bit on USB only).
• 8 digital inputs (AES/EBU x 2, S/PDIF x 3, TosLink x 2 and
USB x 1) allowing for a connection to virtually any digital
source, along with one S/PDIF digital output.
• Full digital monitor loop on S/PDIF to accommodate
external devices such as a room correction component.
• Our own “Dual Jitter Control System” produces a virtually
jitter-free digital signal for ultra-low distortion, ensuring
compatability with any connected digital device.
• The analog stage is a fully balanced differential circuit for
increased dynamic range and headroom, higher resolution,
as well as improved signal-to-noise ratio."
The Nēo 380D sets a new standard for high-end, high performance digital playback. A direct descendant of the Evolution Series 650D, the Nēo 380D is not only incredibly flexible, but is also ready for the future. Using the latest technologies, the 380D is actually more dynamic than the human ear can perceive. It will recover and deliver to you musical detail that you previously thought was simply not there. Numerous over the top reviews abound on the internet. Yes, this is as great as all the reviewers exclaimed as seen below...
My first impressions of the Moon Neo 380D were of a component with a very clean sound that was slightly thin and recessed through the midrange and, generally, very tight. After 200 continuous hours of playing music, I found both the bottom and top ends had opened up substantially, and the midrange was just plain delicious. This is not a DAC to audition unless it has some time on the clock -- and, as the manual recommends, keep it powered up and use that Standby button.
The Moon Neo 380D was, first and foremost, a very balanced music maker. Images had clean and clearly delineated outlines without ever sounding etched, transients were there but not edge enhanced, and this led to a musical flow that sounded natural and musical without turning lethargic. Listening to Andy Summers and John Etheridge’s Invisible Threads (16-bit/44.1kHz FLAC, Mesa), a series of pieces for two acoustic guitars, I was struck by how open and relaxed the sound was. Transients were there for sure, but the 380D concentrated more on the middle and end of notes rather than the initial snap of pick on string. The result was a finely nuanced rendering of steely strings and resonant guitar bodies with tons of harmonic overtones that lingered long enough to give voice to each guitar’s distinctive timbre. This spot-on timbre served particularly well the music on Tone Poems (16/44.1 FLAC, Acoustic Disc), a series of duets performed by mandolin virtuoso Dave Grisman and guitar ace Tony Rice in which each cycles through a series of different vintage instruments. A guitarist myself, albeit a crappy one, I was blown away by the tonal feast the 380D served up. After listening to many recordings through the Neo 380D, I concluded that this combination of open-ended harmonic development and the listener’s ability to follow notes and musical lines without having to lean in to dig out details, with commensurately good pace and timing, was the foundation of this DAC’s beguilingly open and relaxed sound; music just flowed and spread out into the room, engaging rather than demanding my attention.
The Simaudio DAC presented a fairly deep, wide soundstage that extended past the outer edges of my speakers with better recordings, though the farthest reaches remained somewhat opaque. With Miles Davis’s Kind of Blue (16/44.1 FLAC, Columbia 20-bit remaster), the big room that I’m accustomed to hearing was smaller, the sound focusing more on the players and containing less of the ambient information that helps describe the room’s dimensions and give it volume. That focus, however, brought out an abundance of instrumental texture, and small details that stripped away any artifice and veiling, to make the sound full and immediate and, in turn, more “real.” Jimmy Cobb’s brushwork sounded fantastic, and I could hear the air moving through the bell of Miles’s trumpet. This lack of artifice made many recordings sound more intimate and in-the-room real. Johnny Cash’s cover of Trent Reznor’s “Hurt,” from Cash’s American IV (16/44.1 FLAC, American Recordings), was devastating -- Cash’s voice was so plaintive and strained, the whole so emotionally charged and dramatic, that I was riveted. Even some of the RVG Blue Note remasters that I’ve always found thin and flat took on added dimension, and while the 380D couldn’t bring them all the way back from the dead, it did manage to give instruments some meat and strip away a bit of the overall dullness that had previously left me cold.
In terms of bass, the Simaudio Neo reminded me of my Ortofon Jubilee cartridge, which has been with me many years now. Both are rhythmically fleet-footed and define bass notes clearly, but don’t have some of the deep resonance of other DACs and cartridges. Consequently, fans of something like Massive Attack’s Mezzanine (16/44.1 FLAC, Virgin), in particular bass-heavy tracks like “Angel,” may feel shortchanged, as may some classical fans who want to feel double basses in full stride, or the bottom-end swell of an orchestra. Occasionally I felt that some recordings exhibited some upper-bass leanness, but this was not a consistent problem, probably because, through the Neo 380D, the entire bass range was so well integrated into the whole that it didn’t stand out and draw undue attention to itself, at least with most of the rock, pop, and jazz recordings I listened to. However, with many symphonic classical recordings the sound was definitely tilted upward, with a quick and articulate but ultimately lighter bottom end.
High-resolution recordings were dealt with superbly, the best sounding even more open and dimensional than regular 16/44.1, as I’ve come to expect from these formats. The 380D displayed the same balance and poise, the same attributes that I’ve described above, and to a greater degree in some cases. Not all hi-rez recordings are created equal, and the Moon Neo 380D let me know which ones hadn’t been -- even if, considering how much I paid for some of them, I didn’t want to know.
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