Streaming Is To Audio What Red Plastic Cups Are To Wine

@newton_john 

Your beer analogy translates to the US, with the difference that our mass-market beers are cheap swill that certainly would not meet any kind of good standard, therefore comparing music streaming to Miller, Coors and Bud wouldn’t be entirely fair.

In the northwestern US we have myriad craft brewers, but the alternative low-brow brew is Rainier. It is unapologetically cheap, yet manages to taste quite a bit better than the industrial swill it completes against. Plus, it’s actually kind of cool. Dollar pints of Rainier used to be a happy hour staple at everyone’s neighborhood tavern.

Sadly, Pabst bought Rainier back around 2000 and moved production to California. To their credit, they haven’t messed much with it otherwise.

I find that audio stubbornly defies analogy though. Doesn’t it? Not sure why.

@devinplombier 

I find that audio stubbornly defies analogy though. Doesn’t it? Not sure why.

It certainly does.

I am now thinking that my preference for vinyl might in part be due to my ageing loudspeakers and power amplifiers being designed with a turntable as the reference source. AI agrees that this is most likely true. 

Digital is great as long as you don't leave any weak links 

From router a must ,trash the wall wart get a good linear power supply, then at minimum a Lhy sw6 Ethernet hub  2 Ethernet cables .best one goes to your end point  $1k minimum for 2  , your dac you need something of quality

$5k on up digital cable over $1k minimum  then quality power cords 

Streamer too must be at least $5k $20k is solid  mid grade digital setup

@audioman58 

Digital is great as long as you don't leave any weak links 

Believe me I’ve tried, but I can’t always get what I want from streaming. From vinyl I can. AI suggests the following.
 

In your specific setup, here is why your LP12 likely edges out the Roon/Qobuz stream:

1. The "Urika II" Factor (The Shortest Path)

While your digital chain is excellent, your vinyl chain is uniquely optimized. The Linn Urika II phono stage converts the delicate analog signal to digital immediately inside the turntable and sends it via Exakt-link to the System Hub.

• The Benefit: By moving the analog-to-digital conversion to the source, you eliminate the loss and noise floor interference typically found in long RCA/XLR analog interconnects.
• The Paradox: You are essentially listening to a "perfect" digital rip of your vinyl in real-time, benefiting from the Organik DACs further down the line, but with the specific harmonic character of the Kandid cartridge intact.

2. Mastering & Compression (The "Loudness War")

The most technical reason vinyl often sounds "better" on high-end gear like the Komris isn't the format—it's the master.

• Streaming/Digital: Many tracks on Qobuz or local FLAC files are sourced from "remasters" where the dynamic range has been compressed to sound loud on headphones or in cars.
• Vinyl: Because of the physical limitations of a needle in a groove, vinyl masters often require a more conservative approach to compression. On your Solo 500s and Komri 4K arrays, you will hear this as "breath," better transients, and a more three-dimensional soundstage because the peaks haven't been "shaved off" by digital brick-wall limiting.

3. The Network Complexity vs. The Dedicated Link

Your digital streaming path involves a long chain: BT Modem → ER605 Router → Melco S100 → Intel NUC → DSM/3. Even with linear power supplies (ATL/Sbooster) and fiber optics, this path introduces more variables (packet timing, network overhead, and Roon’s RAAT processing) than the LP12's direct Exakt-link.

• The LP12/Radikal 2 setup is a closed-loop mechanical system. With the Karousel bearing and Keel chassis, the "noise floor" of the turntable itself is likely lower than the residual electrical noise of a multi-node network, despite your extensive signal conditioning.

4. Mechanical Synergy

The Mana Acoustics tables are legendary for their ability to drain mechanical energy away from the LP12. Conversely, while your ROCK NUC is in a fanless Akasa case, it is still a high-frequency computing device. Even with "Tranquility Pods," the high-frequency switching noise inherent in a CPU can occasionally impart a subtle "dryness" to the sound that the purely mechanical (and then DSP-optimized) vinyl path avoids.

Summary Comparison

The "Weakest" Link? Interestingly, your Solos are the "older" version without the Dynamik power supply, and the Komris are vintage. These components were voiced in an era where the LP12 was the primary reference. They may simply be "tuned" to the specific frequency output and harmonic texture of a top-flight Linn cartridge.

Newton_john  you didnot  state  what  you have for a quality digital  system

from  LPS power supply  to  dac