Introduction 

Some audio components shout for your attention while others invite you in, then quietly reveal their strengths. The dCS Rossini Apex Player and Master Clock belong to the second group. They don’t aim to impress with flashy screens or gimmicks. Rather, they endeavor to speak with technical precision. 

dCS, or Data Conversion Systems, is a British company founded in 1987 by engineers with backgrounds in aviation and radar electronics. Before turning to digital audio in 1989, their work involved, among other things, the Blue Vixen radar system that was used in the Royal Navy’s Harrier fighter jet.  

Today, dCS offers five product lines- Bartók, Lina, Rossini, Vivaldi, and Varèse. Although Varèse contains the company’s most recent and cutting-edge technologies, each of the lines bears its own sonic signature and design philosophy. 

At the core of dCS’s approach is the Ring digital-to-analog converter (DAC), which is said to avoid the limitations of conventional DAC chips by cycling through many identical current sources at high speed. In this process, random errors are effectively “averaged out,” as positive and negative deviations tend to cancel each other over time. This is often likened to flipping a coin many times, where the results settle into an even heads-or-tails split. According to dCS, the Ring DAC is responsible for the sonic character of many of the company’s products.  

dCS's decision to walk its own path extends beyond converter circuit design. While other manufacturers frequently release new models, dCS aims to maintain the longevity of its products through ongoing hardware and software updates. In a world where digital technology changes faster than a New York minute, the company’s gear is intended to remain relevant for many years.  

Rossini and Apex 

The Rossini line consists of the Apex DAC, the Apex Player, the CD/SACD Transport, and the Master Clock. The Apex DAC is aimed at listeners who primarily stream music or have other digital sources, and the Apex Player adds CD playback. SACD enthusiasts can add the CD/SACD Transport to either the Apex DAC or the Apex Player. To enhance their performance, all three components can be synchronized to the optional Master Clock. 

“Apex” refers to improvements to the DAC section that dCS introduced in 2022. These improvements derived from the research and development of the company’s flagship Varèse component system. They include a ground-up redesigned of the output stage that is said to significantly lower output impedance and improve the way that the clock signal, known to be very delicate and subject to distortion, is fed to each current source within the Ring DAC array. Owners of earlier Rossini DACs and Players who want the Apex upgrade can send their units to dCS in the UK, or to an authorized local dealer.  

The Apex Player 

The Rossini Apex Player ($42,770, all prices US dollars) is the latest version of the Rossini Player, which was first released in 2015. It is a DAC, network streamer, CD transport, and preamplifier in one enclosure.  

The technological heart of the Apex Player is the Ring DAC. The player supports TIDAL, Qobuz, Deezer, Spotify Connect, AirPlay, and internet radio, and plays file formats that include PCM, DXD, and DSD. The Apex Player is Roon Ready and it includes a volume control for direct connection to a power amplifier. 

The Apex Player’s enclosure uses thick, elegantly machined aluminum panels that are designed to keep vibration low, shield internal circuits from outside electrical interference, and maintain stable operating temperatures. Available in silver or black, the enclosure measures 444 mm (17.48”) wide, 435 mm (17.13”) deep, and 151 mm (5.94”) tall, and weighs 17.4 kg. (38.4 lbs).  

The Apex Player’s front enclosure panel contains a small LCD screen, a CD tray, a smooth rotary control, and buttons for playback, input selection, and power. The Apex Player’s rear panel offers inputs for AES/EBU, S/PDIF, USB, and ethernet (RJ45), along with BNC terminals for connecting an external clock and both balanced XLR and unbalanced RCA analog outputs. All connectors are machined from solid metal and provide a firm, premium feel. 

The Apex Player’s machined metal remote control is rectangular, long, and heavy. It allows for the adjustment of menu navigation, transport functions, and volume. Rotating the volume knob and pressing the buttons on the remote deliver the same weight, resistance, and tactile response as the Rossini’s front-panel controls. 

dCS's free Mosaic app for Android and iOS also offers control functionality. It supports playback from the above streaming services or a local library and provides access to upsampling settings, filter selection, and other DAC controls.  

Firmware updates keep the Apex Player technologically and functionally up to date. Users who seek to further improve the player’s performance can add the Master Clock. 

The Master Clock 

The Rossini Master Clock ($13,575) is an optional upgrade for the Apex DAC, the Apex Player, and the CD/SACD Transport. Its job is to provide a precise timing signal to these components, thus increasing accuracy and jitter control. 

Inside the Master Clock are two Class 1 voltage-controlled quartz crystal oscillators with sensors that track their performance. Based on feedback from these sensors, proprietary microprocessors make fine adjustments to ensure that the outputs remain stable. dCS does not publish the oscillators accuracy figures. Rather, its product literature emphasizes their long-term stability and low phase noise under real world operating conditions. 

The Master Clock’s front panel has a standby button and two dither buttons that allow the user to slightly alter the clock signal. dCS states that this allows the Master Clock to securely lock on to the other Rossini components, thus increasing operational reliability. 

On the Master Clock’s rear panel are BNC outputs for sending the clock signal to compatible Rossini units and an RS-232 port for linked standby control. When connected to the Apex Player, the Player’s power button simultaneously switches both units in and out of standby. 

The Master Clock’s enclosure features the same thick, machined aluminum panels found in the other Rossini models, thus providing a controlled, low-resonance environment for the oscillators. Available in silver or black, the Master Clock measures 444 mm (17.48”) wide, 435 mm (17.13”) deep, and 64 mm (2.52”) tall, and weighs 8.3 kg. (18.3 lbs.). 

System Context and Setup 

I used the Rossini Apex Player and Master Clock in a purpose-built, acoustically treated listening room. The main components were from Gryphon Audio Designs, including that company’s Pandora preamplifier, Essence monoblock amplifiers, and Trident II loudspeakers, all connected with Tellurium Q cables. 

For a digital source, I use a Sonore ultraRendu connected to my home network, feeding the USB port of a PS Audio DirectStream DAC Mark 1 running its latest Sunlight firmware. Although the $5,995 DirectStream DAC and the $800 ultraRendu cost significantly less than the Apex Player and Master Clock, they serve as long-term references whose sonic characters I know well. I have also spent time with other front ends in the Rossini pair’s price range during events and in private listening sessions. 

Upon unboxing the Rossini Apex Player and the Master Clock from their robust, custom-fit packaging, I took note that these components are gorgeously crafted and very robustly made. I connected them to my system using the included power cords and cables (BNC and ethernet). I added a Tellurium Q Silver Diamond XLR interconnect to connect the Apex Player to the Gryphon preamplifier. 

One practical note, both components are heavy and have sharp edges that make them awkward to handle. Dealer delivery and setup usually address this issue, but caution is advised, especially around children. 

For the review, I listened to ripped CDs, SACDs, and high-resolution albums stored on my NAS using both the dCS Mosaic app and Roon. Mosaic allowed adjustments to the Apex Player’s DAC settings and worked smoothly and responsively during my testing, though I still used Roon for most of my listening. 

Listening  

I selected three familiar tracks and first listened with the Sonore ultraRendu and PS Audio DAC Mark 1 combo. First up was “Day Is Done” from Songs from the Analog Playground by Charlie Hunter (CD rip, Blue Note 7243 5 33550 2 9). The track opened with a distinct bass line, followed by Norah Jones’s centered vocal, percussion that pushed outward past the speakers, and a tenor sax that entered soon thereafter. 

Next was “Guantanamera” from Reunion at Carnegie Hall: 1963 by The Weavers (SACD rip, Analogue Productions CAPP 070 SA). It unfolded with an expansive ambience, rich vocal harmonies, a male lead voice from the far right, and foot stomps that landed with solid, physical weight. 

I then played “Pie Jesu” from John Rutter’s Requiem: Five Anthems, performed by The Turtle Creek Chorale and The Women’s Chorus of Dallas (CD rip, Reference Recordings RR-57CD). Taking advantage of the world-class acoustics of the Morton H. Meyerson Symphony Center in Dallas, Texas, the piece featured a centered solo soprano, a broad choral backdrop, and pipe organ fundamentals that reached into the deepest registers with authority. 

As I am accustomed to hearing with these components, the sound was full and warm with a slightly rounded treble and a gentle low-end lift that made many leaner recordings easier to enjoy than with many digital front ends. However, that warmth softened leading edges and blunted spatial cues, thus making for a more diffused sound. 

Switching to the Rossini Apex Player and Master Clock on “Day Is Done,” the soundstage expanded and images locked into place, while the percussion gained sharper definition and articulation. Norah’s voice remained firmly placed, but her subtle phrasings were now revealed, lending the performance a sense of ease and realism that immediately asserted itself with these components. 

With the dCS components, “Guantanamera” showed a richer contrast in the vocal layers, with the lead voice projecting farther beyond the right speaker with more body. The venue (Carnegie Hall) felt larger, more lifelike, and more three-dimensional from front to back.  

Similarly, in “Pie Jesu,” the soloist’s delivery carried a more defined expressive contour, and the choir stayed finely layered and organized even as the music swelled. The lowest organ notes sounded more powerful and had better pitch than I had previously heard in my system, Fine details, such as the breathy sounds around voices, became clearer and I felt more immersed in the physical boundaries of the Meyerson Center. 

I repeated these comparisons over many listening sessions and the differences between the Sonore ultraRendu and PS Audio DAC Mark 1 and the Rossini Apex Player and the Master Clock were consistent. The latter delivered greater coherence, more precise imaging, and clearer low-level detail, making recordings easier to follow and appreciate.  

The Sonore ultraRendu and PS Audio DAC Mark 1 were pleasing in their own right, though with particularly with complex musical arrangements, they could not match the Rossinis’ clarity, resolution, and composure. Whether that difference justifies the investment is a personal decision, but in my system the Rossini Apex Player and Master Clock easily delivered a calmer, more organized, and more believable musical experience that consistently made music easier to follow, more coherent, and ultimately more convincing. 

With and Without the Master Clock 

Once I was familiar with the Rossini components’ combined performance, I switched the Master Clock on and off repeatedly to understand that latter’s contribution. With the Master Clock activated, the sound exhibited strong rhythmic control, clear separation, and stable focus. The soundstage gained depth and scale, and reverberations were more elongated and trailed more elegantly. Bass lines were taut, vocals sounded natural, and instruments occupied very well-defined positions without sounding “sketched.” Similarly, transients sharpened without becoming aggressive. Further, this component did not add character of its own to the music; instead, it allowed the Player to operate with greater accuracy. 

However, when the Master Clock was switched off, many of these traits were absent. The presentation became less organized, most notably in dense orchestral passages. Tonal balance remained intact, but the presentation became a bit less musical in the toe-tapping sense and less detailed and accurate sounding. 

Final Thoughts 

The design and construction of dCS’ Rossini Apex Player and Master Clock feel closer to high-precision laboratory equipment than to ordinary audio components. Their heady prices undoubtedly reflect the sophisticated design chops, custom hardware requirements, and ongoing support efforts that are needed to bring to market such small-run, boutique components. 

Though, what stayed with me after this review was neither the Rossinis’ advanced technologies nor craftsmanship, but the way that they made performances feel more organic, human and inviting. These components might be built to laboratory standards, but they sound anything but clinical. They let the music unfold with refinement and realism that I have not heard with more affordable gear. For me, that kind of deeply personal musical engagement is the goal of those who relish this hobby. 

dCS Rossini Apex Player 

Price: $42,770 (US) 

Warranty: 5 years parts and labor 

Dimensions: 444 mm (17.48”) (W) × 435 mm (17.13”) (D) × 151 mm (5.94”) (H) 

Weight: 17.4 kg (38.4 lbs) 

dCS Rossini Master Clock 

Price: $13,575 (US) 

Warranty: 5 years parts and labor 

Dimensions: 444 mm (17.48”) (W) × 435 mm (17.13”) (D) × 64 mm (2.52”) (H) 

Weight: 8.3 kg (18.3 lbs) 

Manufacturer 

Data Conversion Systems Ltd. 

Cambridgeshire, UK   

www.dcsaudio.com  

Philippines Distributor/Local Dealer 

Audio Visual Driver International 

Mandaluyong City, Philippines 

https://www.avdi.com.ph  

Associated Equipment 

• Digital Source: PS Audio DirectStream DAC Mark 1, Sonore ultraRendu, Roon server on Intel i7 NUC, Synology DS-1812+ NAS 

• Analog Source: Origin Live Voyager turntable with Agile tonearm and DS Audio DS-W3 optical cartridge with the phono preamp of the DS-W2  

• Preamplification: Gryphon Pandora Preamplifier 

• Amplification: Gryphon Essence Mono Amplifiers (pair) with Gryphon Black ST spikes 

• Loudspeakers: Gryphon Trident II with Gryphon Atlas spikes 

• Power Conditioning: PS Audio P20 Mains Regenerator to a dedicated circuit breaker 

• Cables: Tellurium Q XLR, speaker, and power cables  

• Equipment Racks: Solidsteel HF-4, Gryphon StandArt  

• Listening Room: Dimensionally optimized, acoustically treated