That Bellity walks his talk of network timing constancy is clear also from the use of a 32/384 PCM5102A converter chip despite which he insists that no operating system regardless of type or hype is actually capable of dispatching such high sample rates without generating jitter (see his blog for details here). Hence his very deliberate decision to ‘broadcast’ at 44.1/48kHz over Airplay instead. Hi-rez files are thus downsampled to match. He is decidedly against the current trend for ever accelerating sample rates but people love them higher numbers. And, there are apparently enough left who don’t. The adoption of iTunes of course also reflects market penetration and impressive user friendliness. Which is sensible when Apple nearly invented intuitive computer use as the foundation for their success. But why not make the plugin available for a Windows-hosted version of iTunes? It’s not as though market penetration for that didn’t exist as well. As Dan Bellity explains, this is due to Apple's use of Unix for their operating system which he views as better for streaming purposes; and also to the very specific well-trusted hardware that's built into Macs where Windows machines incorporate such diversified hardware that in the end each brand and model is a bit different than the next. And that means that each hardware supplier incorporates different bios and dissimilar ways to handle audio data.

In short, a custom-tailored software like the Rosita plugin is possible only when the ‘body’ which it has been tailored to—the exact hardware and software environment—remains precisely defined. Windows computers are more like off-the-rack clothes. Sometimes they fit, sometimes less so. He doesn’t eliminate an iTunes plugin for Windows as a future possibility but first on Bellity’s list is a plugin for the French Qobuz streaming subscription service (CD quality like competitor WiMP/Tidal), then his own software player. Opening up the Alpha New reveals a well-ordered picture: the power supply with transformer and caps in the center, the black box off to one side. The latter just begs to be cracked open but behaves like its namesake. Little is known about its innards save that they’re fully potted (which combats microphony and not just reverse-engineering eyes) and by definition must handle all data reception, buffering, clocking, D/A conversion and include the analog output stage. Given its small size, Bellity’s claim for short signal paths makes much visual sense.

Of course the French La Rosita also arrives packed with English buzz words. “Instant Full Energy” will refer to the power supply’s quality. The latter is the most obviously growing bit as one moves upward in this catalogue but specific parts of the actual signal circuitry change as well. “Full Matched Output Load” ought to describe strategically defined i/o impedances of discrete circuit junctions to optimize the signal path. Best of all I liked the term “BioClock” for its nearly mystical suggestiveness. "The most accurate clock isn’t automatically the best-sounding one" added Bellity.  Aside from that all one really learns about his clocking scheme is that a test group including musicians and conductors were involved in its tuning as well as psychoacoustic insights. His blog contains a few more tidbits on the BioClock to suggest an area where science bridges art. Very French!