Hello Mark! Thanks for your enthusiastic contribution! 
I’ll/we think it’s more psycho acoustic. I thought maybe because I’m using a different Mac OS and Roon software I heard some differences. But I cannot do an AB test to make sure.
I don’t use usb for streaming, and a ‘quieter’ Mac does not have benefits on a lan network.
Also the galvanic separation in my Linn streamer is not a bottleneck.
Nick, so you’re saying that you probably won’t go back to the 10 year old Mac
Maybe some more A/B testing is required……………NOT
So now I’ve listened some it is a very nice recording with a reasonable amount of background audience pick up, despite them been respectfully quiet for the most part. It’s also a good listen despite my jazz aversion.
Nope and nope
For those confused by the remarks of audience laughter in the Köln Concert:
Subtle laughter may be heard from the audience at the very beginning of “Part I”, in response to Jarrett’s quoting of the melody of the signal bell which announces the beginning of an opera or concert to patrons at the Köln Opera House, the notes of which are G D C G A.[17] Jarrett himself noted that while he does not remember doing it consciously, he credits it for putting the audience in a good mood that helped him through a difficult concert experience.[18]
Listen very closely to the first few notes and (parts of) the audience responding. One of music’s great moments. 
I posted the Köln concert test in response to the oft-heard argument that listeners are unable to tell the difference between various formats, equipment etc in blind tests. One doesn’t have to listen very closely to hear the laughter.
But… You’ll miss all the subtle details if you don’t…
Heh. I doubt I’m missing many details listening to Keith Jarrett on the Astell & Kern SP-3000 – especially after not having misspent my younger years in mosh pits!
The Köln Concert always was a bit hard to fall in love with for me. Getting better
Very interesting Wikipedia article of that concert:
Better performance is = snappier UI response and faster library queries. Unless the old system cannot keep up get the new machine because the other things you may run on it need more processing speed or storage space. Sound quality is not the reason unless the current system causes dropouts or something obviously broken.
Of course. But my reply had been in response to claims about sound quality, if you follow that thread of conversation further back
I’d listened to the first track (twice) today. Very, very nice!! 
It’s all about Part 2c. 
Ohw? The final chapter? I didn’t know what to expect of this album but I was blown away by the first track. Very nice melody and dynamics.
But it keeps getting better you say?
Hehe… Jarrett is a force of nature all by himself. It’s a great piece of improv – and then to consider it’s not even his best.
Yes I’ve read it on Wikipedia. But he’s got even better peace’s ?
What do you consider as his ‘best’ ? I’m curious now;)
Imagine having 20 children – which one do you love the most?
That said, I have a special fondness for Testament (Paris/London), a great piece of latter-day Jarrett laced with hurt and a touch of darkness. From the liner notes (by Jarrett himself):
Then my wife left me (this was the third time in four years). I quickly scrambled to stay alive (music had been my life for 60 years) by setting up a Carnegie Hall Concert (a leaflet inserted into the program for my 25th anniversary trio concert there in October 2008 advertised a solo concert in late January 2009), but before I did that concert, Steve Cloud managed to quickly come up with two solo concerts in Europe: Paris and London. I had not played solo in London for, I believe, 18 years. These were the first solo events since my wife had left. I was in an incredibly vulnerable emotional state, but I admit to wondering whether this might not be a “good” thing for the music. It truly didn’t matter; I had to do them. Everything was put together in a dizzyingly short time.
I had to find help for packing and touring (I had lots of physical ailments that prevented me from being pro_active on the physical fronts, plus stress, plus an emptiness that was overwhelming, etc.). I decided that if I backed down now, I would back down forever. I used to tell my piano students, “If you’re going to play, play like it’s the last time.” It was not theoretical advice anymore; this was real. This was either going to achieve my survival or hasten my demise. I had no idea how much en- ergy I would have, though I prepared well (but all along I never remembered just how much it took to do these concerts).
Startlingly, Paris was an achievement I never expected. Manfred Eicher and the rest of my touring ensemble (minus one) were backstage eating dinner. It started then to be clear to me that I had a new chance at something, that nothing would stop me if only I stayed awake to the possibilities, both musical and personal. Many of the people I knew seemed to feel they were just meeting me. I was in tears going on and offstage for bows.
On the way into London, I had as close a brush with a nervous breakdown as I’ve had. Christmas shoppers were all out holding hands; the place was way too colorful for my mood. I was exhausted from Paris (only two days had gone by) and stuck in an unmoving traffic jam in the middle of London in a car without my wife, looking out the window at couples, Christmas lights, and seemingly_normal unbounded joy. I couldn’t handle it. When we finally got to the room I closed all the cur- tains (they also looked out at lit_up Christmas trees) and tried breathing normally.
Two days later we drove to the hall (the limo driver was on my side, he perked up my spirits), I checked the piano, went backstage to see what we had for dinner, was introduced to the catering lady, who was as sharp as anyone around and had just lost her lover after some time together.
I said I couldn’t help thinking about my wife, and she quietly (but firmly) pointed to a blank, white wall. We shot short, pointed one_liners back and forth during dinner, and I realized all these people, unwittingly, were helping me get myself together. The concert went on and, though the beginning was a dark, searching, multi_tonal melodic triumph, by the end it somehow became a throbbing, never_to_be_repeated, pulsing rock band of a concert (unless it was a church service, in which case, Hallelujah!). I needed heat therapy on my arms afterwards (first time ever). Even the people backstage as I came off in tears again were giving off the exactly right thing. Communication is all. Being is all. People are deep, serious creatures with little to hang on to.
So, loss may be a big thing, but what remains becomes even more important than ever. Just never let go of the thread. And be honest with yourself. A writer I greatly admire and with whom I was just recently in touch, echoed some of my words to her when she wrote back to me: “How fragile and serendipitous things are indeed, unbearably so.”
No. You may only experience an improvement in latency. The best path forward is to invest in an inexpensive dedicated music server such as any Small Green Computer. Its singular focus and purpose is on Roon and not expending resources checking email or other tasks that compromise latency. I’m a heavy Mac user but was happily convinced to invest in this inexpensive solution - the SMG ST-i5.
What do you mean by ‘latency’ and what exactly does improving (?) ‘latency’ have to do with ‘better sound’?
Hmm… listened to the last track today, also very good!
First track is my favorite;)