Sure. Vince of MSB and I have been playing phone and email tag, and while Vincent of Totaldac is at work on my rig, I expect weeks before it arrives. I still have fingers crossed for the NADAC next week. To my ears, the DS is both more detailed and smoother [i.e., more analog sounding, though I do not personally like that terminology; I will stick with "musical"; see Disclaimer below]. Smoother or musical does not, however, imply softness or fuzziness. The DS has excellent transients, a crispness to snares and cymbals, for example, that is more believable than the Lumin. On complex layers, it is better at revealing those layers. The Dies Irae on Verdi's Requiem by Robert Shaw and the ASO on Telarc is a good example. The DS has better soundstage, musician & vocalist placement, and distinction between instruments and voices. And it sounds like it has more dynamic range. Not by orders of magnitude, but incrementally. On the Brothers In Arms SACD extracted to .dsf, the PRAT and slam of The Man's Too Strong and One World [one of my faves] is fun on both, just better on the DS. Bass in particular is fuller but more definitive, more of that sense that one can feel it correctly, from both kick-pedal and string. This is particularly true on my Aeris speakers, which deliver in the lower registers in a way that none of my cans can. On the final track, although we all know that Knopfler is a plucker, and so it is difficult to know that our brain is not simply hearing what it expects to hear, the sound of the strings on that guitar that shouldn't be able to make those sounds. And the DS makes the rumbling sounds of thunder over the end of the world more credible, the rumble and emergence of guitar clearly discernible as a distinct but constituent component. On something like Rebecca Pidgeon's Spanish Harlem, these attributes add up to more of a "you really are there with her in the studio," the breath sounds moe distinct, the initial formation of words more clear, the bass again more accurate [or so it seems to me] The Lumin delivers much of this, too, and had I not compared them, I doubt I would be unhappy with it. but as it so happens, I needed more than one DAC, and so I ended up comparing them. I think that's the same of what I have read from others hear. "I was pretty happy with X, and could have remained so, but then I heard Y." The DS is more musical, but it doesn't "trounce" the Lumin. I may feel different about the MSB, NADAC, or Totaldac. But I am betting what I hear is more incremental. It's that last 5% or 1% that is often so difficult and expensive to achieve. fortunately, i will be able to keep most of these, and use them in individual headphone rigs. I want to stress that the A1 is a very good network player. It delivers exactly what Lumin promises at a very high level, and for what is becoming quite the bargain compared to the proliferation of mega-expensive DACs. It is beautifully and robustly constructed, and while not quite in the same league as my Veritas mono blocks, it's close. It is excellently supported, and Lumin shows no signs of leaving any of its customers in a dead end. I would love to hear the Lumin S1, because I expect it is everything Six Moons says it is. But I also believe the DS can be "re-programmed" to excel past that machine if it already isn't, and I will remain to be convinced over the Totaldac and NADAC. PSA's approach here is, theoretically at least, almost infinitely scalable, much more so than an R2R ladder of the best resistors, let alone the chipset in the NADAC. The DS may or may not be there yet, but I believe that it is on the right path [though I am frustrated with Ted Smith's lack of interest in higher DSD rates]. [Disclaimer: I owned some very high end vinyl back in my youth, but I do not miss it. Vinyl was a royal PITA. And even on the best of systems, even under the best of lubricated surfaces, and with the finest of cartridges, on the most balanced of tonearms, let's call them what they were and are: sharp sticks of industrial metal or crystal grinding their way through our precious plastic-like grooves. Certainly good vinyl could sound wonderful, but it wasn't magic. In and of itself, analog playback represents no theoretical superiority over digital; it's all about execution. Both modern analog and digital can be very bad, or very musical. It's a matter of execution. and I find the waxing lyrical over analog silly. I embraced digital, warts and all, because I believed it had the potential to mimic reality more accurately and to scale much further. I believe we are watching that get truer every day.] Sorry for the proselytizing.