What did I actually hear after plugging in the Silent Angel? A lot of nothing. The fabled black background—or to put it more precisely, subliminal hash—was markedly blacker. I should stipulate that I was not convinced that the Genesis GX word clock provided any additional benefit. I plugged it in and out and could hear no difference. With the Bonn Ethernet switch, however, I could and did.

On a recent visit, the inimitable Peter McGrath of Wilson Audio alerted me to a wonderful new release of Wynton Marsalis playing the legendary Hot 5 and Hot 7 recordings that were Louis Armstrong’s breakout recordings in the late 1920s. Ever since I listened to them as a child, they’ve numbered among my favorites. When McGrath was here, I enjoyed the renditions of “St. James Infirmary” and “Skit-Dat-De-Dat,” but must confess that there was a slightly glazed quality to the music, which I’ve also heard on other Jazz at Lincoln Center recordings. The Silent Angel banished much, if not all, of it. Suddenly the drums in the rear were better located spatially and had more whack. The chimes now shimmered in the air. The trumpet lost a good deal of its glare. And the overall dynamics were much improved. In a word, the swing music swung.

That same sense of an increased fidelity was apparent as well on another album that I’ve been streaming quite a bit, a release of Schubert’s chamber works on the Ordire label featuring Christian Tetzlaff, Tanja Tetzlaff, and the late Lars Vogt. The Notturno for Piano Trio is one of my favorites on this album, and the Silent Angel endowed it with another layer of sepulchral spookiness. The pizzicato plucks, for example, that the violin and cello exchange in one passage possessed a dynamic energy that topped anything I had previously heard. They could hardly have sounded more precise, lithe, and potent. On Beethoven’s Fourth Piano Sonata played by Andras Schiff, I noticed that the fortissimo passages in the bass region sounded more grounded and centered than they had previously.

The most engrossing thing about the Silent Angel was also the most basic: It made me want to explore and listen to more music. In looking at my listening history in the Tidal streaming site, it becomes apparent that I was zooming all over the place, from Mozart’s violin sonatas to 2Pac’s album All Eyez On Me. The longer I listened, the more impressed I became by the Silent Angel. It truly is angelic.    

Specs & Pricing

Bonn NX
Type: 8-port Ethernet switch
Word clock input: BNC jack
Word clock frequency: 10MHz
Dimensions: 17.37″ x 2.05″ x 6.89″
Weight: 5.75 lbs.
Price: $3999

Genesis GX Word Clock
Type: Word clock generator
Outputs: Four independent word clocks
Clock frequencies: 10MHz (x2), 25MHz (x2)
Dimensions: 17.29″ x 2.49″ x 9.95″
Weight: 16.3 lbs.
Price: $3799

SPECIALTY SOUND AND VISION (U.S. Distributor)
9 Lynn Court
Woodcliff Lake, NJ 07677
(201) 690-9006 (office)
ssvreps.com

Are there other key advantages to the use of a dedicated master clock? Yes. Being outboard, it operates on its own separate circuit board and is furnished with its own dedicated power attributes, which reduce the risk of crosstalk (electromagnetic interference), power interference, and disturbance due to physical movement or vibration. It also adds stability as it helps to ensure that clocking remains consistent throughout a system’s lifespan. (Note that for readers interested in a deeper dive into clocks, check out Editor-in-Chief Robert Harley’s discussion of clock technology found in the Esoteric G-Orb Rubidium Master Clock Generator [Issue 180]and the dCS Puccini CD/SACD player with U-Clock [Issue 200].)

Visually, its form factor mirrors the small footprint profile of the Lina DAC. My particular sample was in a machined black aluminum (silver is also available) A small pin-light operated by a hidden pushbutton at the lower edge of the front panel indicates power or standby mode. The back panel is simplicity itself with a pair of word-clock outputs (44.1kHz and 48kHz), plus an outlet for the supplied power cord and “Powerlink” for communication between Lina models.

I listened to Lina using two different digital sources—the Bartók Apex and my tried-and-true Puccini CD/SACD player. (As an aside, for reasons I can’t explain, Lina’s effects were more strongly felt when connected to the Puccini player.) Digital interconnect cabling, I soon discovered, made a significant difference—and special thanks to Shunyata for the loan of a pair of its Sigma V2 BNC clock cables. The quality and transparency of these wires assured me that I was taking the full measure of Lina’s capabilities.

Beyond trade show demos, I’d never had hands-on experience with a master clock. It turned into one of the more challenging and quirky adventures in recent high-end memory. It revealed its charms very slowly over protracted listening and in unexpected ways. If I came into the review thinking Bartók Apex didn’t have anything further to give, I was wrong.

While the overall effect was subtle, music often took on greater presence and spaciousness; yet, at the same time, it seemed paradoxically more relaxed. During “Let’s Get Lost,” trumpeter Terence Blanchard’s duet with Diana Krall, there was a more finely wrought sense of continuousness across the stage, complete with more complex dimensional cues and atmospherics, a greater connectedness among musicians, and an increased sensitivity to the physical air and space in and around each player. There was also an utter lack of smearing at very low levels, specifically with soft percussion like the rattle and sudden pop off the skin of an upstage tambourine, or the gentle chime of a mark tree, or the shimmer of ride cymbals during Brubeck’s “Take Five” from the classic Time Out. Lina seemed to reinforce everything that the Bartók Apex was about, delicately underlining and buttressing its signature sonics. These attributes might seem elusive at first, but once observed and keyed upon, your ear begins to rely on them being present—and misses them if they’re removed.

Sonic gains didn’t necessarily appear on every piece of music. In this, I was reminded of a Lina white paper where dCS Technical Director Andy McHarg said: “Measurements-wise, it’s a pretty subtle effect…but we’ve been able to clearly demonstrate the audible effects of adding a clock for over 30 years.” So, indeed, its impact varied—at times subliminal, sometimes elusive to describe, but palpable. As for the subliminal, that was exactly what occurred as I listened to Nirvana’s “Something in the Way.” With the Lina, Kurt Cobain’s boxed-in studio vocal was heard with an added layer of weight—a sense of a slightly larger volume of air pushing forward and back-stopping the music. When the band kicks in during the chorus, there’s a heaviness to the moment laden with greater presence and realism. The density of reverberant space was thicker and deeper, almost as if a bass mode in the studio had been triggered.

The clock was at its most incisive when given high-resolution material to work with, observations most keenly felt during complex orchestral recordings, acoustic jazz, or chamber. A prime example would be a wonderful version of Holst’s The Planets with William Steinberg conducting the BSO. (Colleague Paul Seydor introduced me to this one. Truth be told, I’m still partial to the Andre Previn, London Symphony version from 1973 also available on Tidal.) That said, Paul’s accolades were spot-on. When I cued up “Jupiter” (a recurring theme in the movie The Right Stuff), my system seemed to achieve an openness and bloom that were new to my ears, even after the many years I’ve heard this track. Section layering also seemed affected. Players were more precisely positioned across the stage; lateral and front-to-back cues more expressly defined.

Solo piano recordings remain my constant companions in nearly every evaluation that I’ve written. In this instance, during Glinka’s “The Lark” (Evgeny Kissin at the concert grand), I found a livelier sense of air and space coming off each note—a thicker harmonic aura that seemed to wrap each note or chord. During Pat Metheny’s duet cover of the Jimmy Webb tune “The Moon is a Harsh Mistress,” Charlie Haden’s standup bass was reproduced with a steadier balance between pitch and dark soundboard resonance. It’s a textural shift, both softer and more relaxed, and slightly more immersive.

As a Bartók owner, I was curious why dCS had not dedicated a master clock exclusively to that model. Evidently, there were thoughts along those lines, but dCS’ brass concluded that Lina’s Master Clock not only fills that void but also has all-purpose appeal outside the dCS ecosystem, matching up with virtually any quality DAC with the proper BNC clock inputs.

Note to owners of first generation, non-Apex Bar-tóks with the upgrade bug. Should you spring for Apex (upgrade cost, $9000) or Lina? In my view, the Apex upgrade is at the top of the list. Let Apex settle into your system for a while and acclimate to its mind-bending performance bonus. Then, you might turn to considering the Lina Master Clock

Frankly, I didn’t think anything could improve Bartók after the Apex upgrade. Nonetheless, the Lina Master Clock turned out to be a component whose understated rewards are not to be taken lightly. Without question, the Bartók Apex remains a state-of-the-art device in its segment, with or without Lina. Still, the Lina’s gentle virtues have a way of sneaking up on you. Ultimately, every audiophile must decide for himself whether he “clocks” a discernable and musical difference. Naturally, a lengthy audition remains the best path to turn a maybe into a must. Your own ears will take you the rest of the way.    

Specs & Pricing

Grade 1 Master Clock with oven-controlled crystal oscillators
Word clock outputs: Two independently buffered TTL-compatible outputs on 75-ohm BNC connectors—output 1 fixed 44.1; output 2 fixed 48kHz
Dimensions: 8.7″ x 4.8″ x 13.3″
Weight: 15.4 lbs.
Price: $7700

DATA CONVERSION SYSTEMS LTD.
Unit 1
Buckingway Business Park
Swavesey, Cambridgeshire
CB24 4AE, United Kingdom
+44 (0)1954 233950
info@dcsltd.co.uk

In the early1960s, two Bell Labs scientists, Bishnu Atal and Manfred Schroeder, invented the signal processing technique of crosstalk cancellation (XTC) to address the matter. Over the next several decades, acoustic researchers and engineers worked to develop the methodology to the point where an XTC algorithm made it into a number of commercial products, including gear from Polk Audio and Bob Carver. But there were issues with early XTC efforts. Too small a degree of XTC can result in a kind of spaciousness that may be pleasant but really doesn’t advance the cause of realism. In addition, it was necessary for a listener to sit perfectly still, not moving his or her head at all, for the effect to be consistently experienced. Finally, early XTC algorithms caused gross timbral colorations. “Tonally, it was a mess,” Choueiri observed. “A piano sounded like a xylophone.” The crosstalk-cancellation filter that Edgar Choueiri has invented is called BACCH, for “Band-Assembled Crosstalk Cancellation Hierarchy.” It should surprise no one that the professor’s favorite piece of music is the B minor Mass, by one Johann Sebastian Bach.

The BACCH filter aims to solve the major well-known shortcomings of previous XTC schemes. Choueiri developed a sophisticated head-tracking mechanism that considerably enlarges the “sweet spot” for the primary listener and obviates the need to sit in your chair as though rigor mortis has set in. More critically, the BACCH filter doesn’t introduce any coloration to the signal. How is it done? At the most basic level, Choueiri found a way to shift XTC processing from the amplitude domain to the more “subliminal” phase domain, a manipulation of the signal that the brain is less likely to notice. The BACCH filter is the central feature of Theoretica’s commercial audiophile products.

There are three “stereo purifiers,” all with the same BACCH XTC filter. The $54,000 Grand BACCH-SP sports a substantially larger and heavier enclosure—often the most expensive “part” in an audio component—as well as 6-channel DAC and ADC cards, soup-to-nuts connectivity, and a slew of hardware and software features that are standard. It’s the BACCH-SP model for audiophiles who require all the connectivity options, including AES/EBU. The other two models are the $23,800 BACCH-SP adio considered here, which also includes 6-channel digital converters and analog inputs/outputs, while the BACCH-SP dio, at $19,800 lacks the converters and analog connectivity. (Just so you know: adio = analog and digital inputs and outputs; dio = digital inputs and outputs.)

The sculptural aluminum chassis, available in either a silver or black matte finish, is manufactured for Theoretica by MSB Technology in Watsonville, CA. In front is only a single power button with a status indicator above it that glows amber to let you know you’re up and running. To the rear, in addition to an IEC power cord receptacle, is a generous selection of connectors. On the digital side are USB, SPDIF (RCA), TosLink, and inputs/outputs to utilize an external clock. There are balanced analog ins and outs (XLR, RCA, and TRS), a headphone jack—it’s perhaps a little peculiar to have this in back but it does make for a cleaner look anteriorly—an Ethernet port, inputs for the supplied in-ear measurement microphone apparatus, and USB inputs for both an IR camera and a webcam, one of which is needed to utilize BACCH-SP’s advanced head-tracking capabilities.

It’s harder to provide information about what’s inside the box, and Choueiri really doesn’t want to dwell on it; he’d much rather get into a discussion about the processor’s unique tech and functionality. To run BACCH’s proprietary algorithms and convolution engines is a powerful multicore CPU with 64-bit audio processing; the linear power supply, like the chassis, is sourced from MSB. All BACCH-SP models come with a dedicated iPad with the very user-friendly GUI loaded in. Dr. Choueiri won’t say who makes the ADC and DAC chips, only that they have state-of-the-art jitter control, are customized by Theoretica for implementation in the processor, are of the sigma-delta type, and operate at a resolution of up to 24-bit/192kHz. Included with the BACCH-SP adio are the tiny in-ear microphones, built in Choueiri’s lab, needed to create an XTC filter for a unique listener, as described below. Finally, for the head-tracking function, the purchaser gets a webcam that’s mounted in front of the listening position.

Setting up the BACCH-SP is remarkably quick and easy. With the iPad in his or her lap, the user accesses the “Make Filter” screen—one of just three used with any regularity—and indicates whether the filter is being created for listening through speakers or headphones, and whether head tracking is desired. The miniature microphones are fitted with soft rubber earplugs (three sizes are provided) and the user inserts them into his or her ear canals, taking care to assure a tight fit but not letting the microphones touch the walls of the outer ear. The listener picks one of seven “bins” where the filter can be stored; other listeners can keep theirs in another. Then it’s ready, aim, fire. The user presses a flashing green button and a soothing, reassuring voice provides further instructions. The BACCH-SP adio will then emit a total of six full-frequency sweeps—one through each loudspeaker with the listener facing straight ahead, two sweeps with the person leaning a foot or so to the left, and then two more while leaning to the right. That’s it. It takes all of about two minutes to make the XTC filter and establish head tracking. You’ll need to do it again if you change the prime listening location, reposition the speakers, get new ones, or make significant changes to the room, such as a new piece of furniture or window treatments. The lateral extension of the sweet spot is adjustable, but if it’s too wide and there’s someone sitting next to you, no one gets the XTC experience—the algorithm sees too many heads and defaults to the center position. However, the BACCH filter works well for several yards immediately behind the prime listening position, which is why, at audio shows, Dr. Choueiri will place chairs in a line leading backward from the sweet spot.

There’s a “Part 2” to the set-up story. As noted earlier, room reflections are the sworn enemies of crosstalk cancellation, and most domestic listening environments are afflicted with them to some degree. There are three primary ways to address this reality. First, the radiation pattern of your loudspeaker matters a lot. Directional speakers—dipoles, electrostatic designs, horns with waveguides—have a leg up. Less directional speakers, such as my Magico M2s, are at a relative disadvantage. Second, one can sit in the nearfield. Third, there’s room treatment. Professor Choueiri visited my room twice. On the first occasion, he incorporated the BACCH-SP into my system, showed me how to use it, assured the device was functioning as it should—and left the speakers and room alone. On his subsequent visit, though, Choueiri arrived with a carload of acoustic materials and deployed 11 pieces of absorptive foam and two large stand-mounted RealTraps, their disposition guided by measurements obtained with the BACCH-SP using the microphones inserted into my ears, while I was sitting in the listening position. Additionally, the M2s were moved a foot nearer to the listening position and about two feet closer together, adjustments in the direction of a nearfield orientation. These changes were implemented to maximize the results of the multichannel emulation experiment (by minimizing the effects of reflected sound), described in the sidebar below. They were not needed to reap the benefits of the BACCH filter with routine listening; I removed the acoustic treatments and returned the Magicos to their usual location after the multichannel investigations.

I used the BACCH-SP adio as a processor between my 432 EVO Aeon server and Ideon Absolute Epsilon DAC, and as a stand-alone digital front-end, employing the adio’s internal player and DAC. I played music stored on my Synology NAS and streamed via Tidal and Qobuz. I also played silver discs with a Sony X1100ES as the transport. The BACCH-SP and the Ideon sent their analog output to a Pass Labs XP-22 linestage; power amplifiers were the Tidal Ferios monoblocks that have recently rocked my audio world, driving Magico M2 loudspeakers.

Listening to music played with the BACCH-SP adio for six weeks can only be described as revelatory, in the sense that I heard a domestic two-channel system—mine—do things I’d never heard before in any setting. Two observations should be made at the start. First, as promised, the BACCH XTC filter introduced no colorations or timbral distortions to the reproduced sound. Instantaneous comparisons of filter/no filter are readily accomplished with the BACCH app on the iPad; it’s easy to toggle back and forth between the bin your filter is in and “Bypass.” The crosstalk-cancellation process is utterly transparent. Secondly, whoever did design the DAC (and ADC) for Theoretica did a helluva job. I heard no meaningful difference in the overall sound of my system when using the $47k Ideon or the BACCH-SP. Getting the model with the DAC (and ADC) requires an additional expenditure of $4000. Sounds like a bargain to me.

What does the BACCH-SP XTC filter bring to the table, sonically? The processor renders several aspects of spatiality very effectively, some of which I’ve experienced only rarely in the past with the most elite systems, if I’ve heard them at all. One is envelopment. The sonic image moved out in front of the two speakers and wrapped around the sides to end up well out into the room, outside the lateral boundaries of the Magicos. On a Chesky Records binaural recording featuring trombonist Wycliff Gordon (Dreams of New Orleans), Gordon is localized at the 10 o’clock position, forward from the plane of the loudspeakers. His improvisatory genius is believably isolated and exposed—your brain tells you that’s where he is standing as the featured performer, not where some mixing engineer put him in post-production. Music played back with the filter engaged often seems subjectively louder, perhaps because of this heightened sense of immediacy.

Proximity/depth is an attribute of spatiality that Dr. Choueiri uses to seduce audiophiles when he demonstrates BACCH at shows. On “Phrases,” from another Chesky release (Dr. Chesky’s Sensational, Fantastic, and Simply Amazing Binaural Sound Show), several voices seem to be whispering just inches away from your ears. With musical content, this can translate into a kind of layered depth that’s more subtly defined than with traditional stereo. Another spatial metric is reverb. Manual de Falla’s ballet The Three-Cornered Hat, as memorably recorded by Bert Whyte for Everest in 1960, features, in the “Introduction,” a series of aggressive sounds—castanets, stamping feet, testosterone-fueled yells, timpani thwacks, a caterwauling soprano—all illuminating the space of Walthamstow Assembly Hall in London. With BACCH, the reverberant tail of all these sounds is heard as being attached to the initial impulse but doesn’t obscure it. Without the filter, the recording is electrifying, even atmospheric; once you’ve heard playback via BACCH, however, it can be hard to go back. Without BACCH, something that can only be described as “a sense of occasion” is missing.

Envelopment and proximity are attention grabbing at audio shows but can be dismissed by skeptics as gimmicky; reverb can be taken for granted. A fourth spatial characteristic of the sound created by a BACCH filter, the one that impressed me the most, is what Choueiri has called spatial extent and resolution. Extent, he explains, “is the perception that the sound occupies a three-dimensional volume, like a hologram,” while resolution, in this context, “is the ability to discern detail and structure within the extent.” Listening to my favorite orchestral test track, the opening Allegretto of the Shostakovich Symphony No.15, as performed by Bernard Haitink and the Royal Concertgebouw Orchestra, I attended closely to the sequential woodwind solos near the beginning of the movement. It’s not only clear that the bassoon is a larger instrument than the flute, and that the former is seated a row behind the latter—you can get that kind of information from traditional stereo—but also that these correctly scaled and localized aural images interact to represent a continuous acoustic environment where the musicians are breathing the same air but still own a unique three-dimensional space of their own. It’s like the difference between the pop-up-book kind of depth and dimensionality you get from most 3D movies and the far more effortless perception of space you experience in life.

This can be extremely gratifying with no small number of 50-year-old rock/pop albums, supporting Choueiri’s contention that BACCH works not just with “dummy-head” recordings but also with many—most—conventional stereo albums of recent and not-so-recent vintage, whatever the recording methodology. On “You Don’t Have to Cry” from CSN’s epochal first album, every one of the four or five (at least) acoustic guitars was played by Stephen Stills. Even with the best remasterings of the album that I’ve heard, those guitars come off as a busy, almost Baroque counterpoint to the triadic vocal harmonies they support, like one gigantic plucked/strummed instrument. With the BACCH filter engaged, each guitar is thrown into bold relief, staking out specific real estate and presenting a fleshed-out sonic image. It becomes obvious that Stills arrived at the recording session—the first ever for the three musicians—with a clear idea of how his ingeniously interlocking guitar riffs would come together as more than the sum of their parts. The song is about Stills attempting to convince Judy Collins, his inamorata at the time, to move from New York to California. (Sensibly, she declined, fearing the inevitability of a slide into substance abuse.) With BACCH, the individualized guitars become many more voices talking past each other, symptomatic of a doomed relationship.

Choueiri allows that there’s a hierarchy of recordings, in terms of how well they will fare with BACCH. Binaural recordings will be most obviously suitable, followed by “purist” recordings of jazz and classical. Generic recordings of acoustic music are next, followed by “concocted” rock and pop studio efforts. But there are unexpected pleasures to be had even with the popiest of pop recordings. Check out Elton John’s “Nikita”—subtly, but consistently, there’s an off-the-beat drum sound that’s hanging out at two o’clock. It has to make you smile.

It’s only natural to focus on the processor’s clarification of individual instrumental lines and the physical disposition of the performers, but I shouldn’t neglect to point out that crosstalk cancellation, as executed by the BACCH filter, can elucidate harmonic detail, as well. The characteristically dense orchestral textures of composers like Brahms, Richard Strauss, or Messiaen can seem murky as represented on recordings, which isn’t the case in the concert hall. BACCH can improve upon that artifact of stereo playback to a significant degree. It’s true, as well, with complex vocal arrangements in popular music genres. Compare Donald Fagen’s extravagant harmonies on the title track of Morph the Cat with the filter on and off, and you’ll know what I mean; prepare to enjoy Queen’s most operatic moments to the fullest—the first 45 seconds of “Bohemian Rhapsody” makes the point nicely.

An option available on both the adio and dio models (and standard on the Grand) is Theoretica’s BACCH-hp filter. This technology can make headphone listening much more appealing to audiophiles who, like me, don’t care much for “personal stereo.” Two aspects of the filter are notable. First, the image presented to the headphone wearer—Theoretica recommends open-back designs—is much more externalized than with typical ’phones. For the uninitiated, the experience can be quite discombobulating: Sitting in the sweet spot with HiFiMan HE400se headphones on, I was absolutely convinced that the stereo sound was coming from the Magicos eight feet in front of me. I had to remove the headphones to confirm that the speakers were indeed silent. It was uncanny. (Sorry.) The second innovation involves head tracking. With typical headphones, if the listener turns his or her head, the musical image moves along with the change in orientation—not exactly a realistic effect. When setting up a BACCH-hp filter, the user is instructed to rotate his or her head, as opposed to leaning right or left as directed during the calibration of BACCH-SP for loudspeakers. This “rotational head tracking” anchors the 3D image in space, even when the listener looks right or left. Theoretica ships all its players equipped with the BACCH-hp filter and gives a new customer a few weeks to decide if, for $3k, he or she wants it. If not, Theoretica Applied Physics can turn off that feature remotely.

Any discussion regarding spatiality in sound reproduction needs to touch, of course, on multichannel (see sidebar). Though Disney’s Fantasia featured surround sound in 1940, commercial efforts began in earnest with Quadraphonic in the 1960s and 70s, fizzled out, and then got a shot in the arm with the rise of home theater and the subsequent introduction of the SACD, DVD-A, and Blu-ray Disc formats. Currently, we’re seeing further enthusiasm for what’s now often referred to as “immersive sound,” with more channels and more effective encoding schemes—Dolby Atmos, among others.

To be sure, there are some aspects of spatial sound, envelopment in particular, that traditional, discreet multichannel does better than BACCH, at least for the time being. But that doesn’t diminish my enthusiasm for Theoretica’s product. The BACCH-SP devices are intended for two-channel aficionados who want to extract the best possible experience from a stereo setup: There are literally millions of stereo recordings out there that have the potential for a completely unanticipated improvement in sound quality. The price tag of more than $20,000 for the adio model may seem less daunting when you consider that the device contains a world-class DAC and can serve as a transparent full-function preamplifier. I even connected a phono-    stage to one of the BACCH-SP adio’s analog inputs and heard some favorite LPs get the XTC treatment with excellent results. Watch for the BACCH-SP filter to be licensed by other high-end manufacturers—it’s already happening.

The composer, jazz pianist, and HDtracks co-founder David Chesky knows Edgar Choueiri well, the Princeton professor having been involved with many of Chesky’s own binaural recording projects. “We have been stuck in this 60-degree stereo triangle,” Chesky told me. “Think of surround as a hula-hoop. It’s a big one-dimensional circle around you. BACCH is more like concentric circles that get bigger and bigger to emulate how we hear in real life.” The BACCH-SP adio is a logical consideration for two-channel audiophiles looking to correct a fundamental deficiency of stereo playback. As of this moment, BACCH doesn’t supplant multichannel. The two approaches have different things to contribute in terms of the ongoing quest for spatial realism. But if there is a way for an XTC system to better emulate all the attributes of an existing multichannel mix, I’m sure Dr. Choueiri will figure it out. For him, at least, it’s not rocket science.

Specs & Pricing

Type: adio model with preamp/processor and DAC, crosstalk-cancellation filter, and head-tracking capability
Analog inputs/outputs: RCA, XLR, TRS (tip, ring, and sleeve)
Digital inputs/outputs: USB, SPDIF RCA, SPDIF TosLink, word clock (BNC)
Included: BACCH-BM in-ear binaural microphones, iPad, webcam
Dimensions: 17½” x 3¼” x 13½”
Weight: 22 lbs.
Price: $23,800 base price. As configured (with BACCH-hp software and 3D Audio Analysis Toolkit) $27,800

THEORETICA APPLIED PHYSICS
417 Alexander St.
Princeton, NJ 08540
theoretica.us

Now, JitterBug FMJ, with its Full Metal Jacket raises the stakes.

Whether used in series (in-line) or in parallel, JitterBug significantly reduces contamination from RF generated by a computer, car, or other device. JitterBug FMJ also thoroughly addresses environmental RF Noise taking advantage of this vulnerable interface.

The new metal case is the most obvious change, though even the seemingly innocuous hinged “rubber” piece covering JitterBug’s output is crucial to JitterBug’s improved performance. That little black “door” is RF-proof thanks to the material being substantially RF-absorbing Carbon.

Employ one JitterBug in series between any computer, smartphone, NAS, streamer, or car audio system and a USB input. For an additional sonic improvement, use a second JitterBug in another unoccupied USB port—in parallel to the first—except with JitterBug FMJ’s front door closed.

A JitterBug in series with DragonFlys Black or Red always helps those wonderful creatures fly higher and faster. However, it’s best to experiment when putting a JitterBug in front of a DragonFly Cobalt—which itself employs some of JitterBug’s filtering, and so the two filters in series can help or hurt performance depending on specific equipment and context.

Regardless of which DragonFly or any other considerations, a 2nd JitterBug in parallel is always a delightful improvement as it pulls more RF Noise off the USB power bus—which is why and how a JitterBug makes just as big an improvement even when plugged into service-only or update-only USB ports on many devices.

JitterBug uses USB-A connections on both ends. When used with a computer or other device (or car) with only USB-C connections, AudioQuest offers a super-compact high-performance C-male to A-female adaptor for $21.95, and also the DragonTail flexible C-to-A adaptor (included with DragonFly Cobalt) for $29.95.

Noise reduction and noise dissipation is us! One can’t hear our modern world’s pervasive RF Noise itself, but the compromises it causes robs us of detail and contrast, and outright buries so much subtlety. Fight back with JitterBug FMJ.

US Retail Price: $59.95. Estimated Availability: May 15

Goals—Don’t Make It Into Another Hobby

My own goals in assembling a Raspberry Pi streaming endpoint were simple. I wanted a way to stream and use external DACs without an integrated turnkey solution, and I wanted something that I had complete control over, with no surprise software updates, that would be Roon-recognized and compliant with standard streaming protocols. And, yes, I wanted something that even a 21^st-century retiree could still readily afford. Finally, while I know of many audiophiles who have morphed their audio hobby into a computer hobby, I wanted to remain primarily an audiophile, not a computerphile, so I wanted something that was simple enough that could be made to sing and dance to my requirements without resorting to hours of programming. A Pi Streamer setup can accomplish all these goals. If you want, you can get as obsessive about computer audio as you like.

Advantages Of A Pi System

And what is a Pi? It is nothing more than a relatively simple computer that can run a stripped-down operating system. Some of the available OS’s, such as Diet-Pi, were created specifically for the Pi. Many are Linux-based. I have two Pi’s, each with a different OS. One has RoPieee XL, while the other has Diet-Pi. Both operate flawlessly as Roon endpoints. Are there reasons for choosing one OS over another? Yes. Some are easier to set up, while others offer more apps and options. Depending on your own requirements, you may well find one that is better than the others, but there is no universally accepted “best” OS or set-up configuration. However, just as with analog turntables, the final tweaking of the operating environment can make a big difference in the outcome.

As I just noted, I currently have two Raspberry Pi’s in my home. My Pi3b is Ro-     Pieee-based with an Allo hat. What does that mean? Currently you can purchase either a Raspberry Pi3B ($40) or Pi4 ($40). A Pi3B is an earlier model than the Pi4, and it has the disadvantage of a USB buss sharing throughput with the Ethernet buss. The way around this USB issue for optimal fidelity is to add a second accessory board on top, called, appropriately, a hat. Allo (allo.com) currently offers two “hat” accessory boards for the Pi that give you a SPDIF output, the DigiOne ($99) and DigiOne Signature ($239). I have the DigiOne hat, which unlike the signature version, does not require an additional dedicated power supply to operate. The DigiOne has a jitter specification of only 0.6ps via its SPDIF output, which rivals the better turnkey streamer specifications. My second Pi is a Pi4 running with a Diet-Pi OS and no hat. With these two Pis in my arsenal I can use any DAC in my possession for streaming. I use the Pi3 for SPDIF DACs and the Pi 4 for USB DACs.

Tweaks for a Pi system come in two varieties—software set-up refinements and power-supply options. As I mentioned earlier, there is no single, universally recognized optimal OS or bunch of settings for best sonics, since that will depend on multiple individual factors in your system. But improving the Pi’s power supply is an almost universally accepted means of improving a Pi’s performance. I have used a number of different power supplies with my Pi’s, including Canakit 3.5A ($9.99), Aragon One ($11.99), and IFI 5V ($49). Once by accident, I used a different power supply that provided slightly less juice than the Pi’s minimum requirements. It powered up and seemed to work, but it could not produce sound. Replacing it with an adequate power supply made things right again. If you opt for a USB DAC configuration for your Pi, the power-supply specifications are even more important since many USB DACs get their power from the USB. Some DACs with rigorous power-supply demands may require an external powered USB hub to operate successfully with a Pi. To avoid problems I bought a little tool called a USB digital tester that you, too, may want to acquire. It lets me see the voltage and amperage draw of any externally attached USB device. The “Eversame” brand of tester set me back a whopping $16.29 via Amazon. An AudioQuest Dragonfly Red gets 5.13 volts and 0.04 amps from my MacBook Pro 2015 according to the Eversame.

You have many options for cases to house a Raspberry Pi board. Some are transparent or smoked plastic; others are heat-finned metal; some have fans; others utilize convection cooling only. I have my P3 in a clear plastic case with metal pillars. It allows for good ventilation, but all the internal LEDs can be awfully bright in a darkened room. My Pi4 is in the Aragon One case ($25 via Amazon), which has a fan, turn-on button, and an additional board that moves all the connections to the same side, making for a much neater setup. Also, it has a single, dim-red LED to show it’s on (instead of a lightshow).

For an article that’s not about Roon, I’ve mentioned it a lot. My apologies to those in the know, but let me bring readers for whom the term is new up to speed. Roon is a player/library application that allows you to integrate into one player app Qobuz and Tidal (as well as Dropbox) and your home music library or libraries. Roon uses its own proprietary format, RAAT, for device interface, which Roon claims offers better insulation from noise and interrupts. Roon also has well-above-average search and metadata integration compared to any manufacturer-supplied/created playback app. On top of these features Roon has extensive DSP options, and it will perform the first unfold of an MQA file for use with any DAC. One final feature of Roon, which makes a Pi streamer a much more attractive option, is that Roon’s user interface and available features are the same with a Raspberry Pi as with any other Roon-compliant DAC or streamer, regardless of price. Using a tablet or phone for Roon control means that, for an end user, there is no difference between using Roon on a Pi and using it on any other Roon-recognized device. I’ve heard prospective purchasers grumble about yearly payment for Roon, but if tethered to a Pi system, the Pi’s low hardware costs still make Roon an attractive and affordable part of a complete streaming solution.

Audiophiles who’ve been using digital files for a while remember that at one time AES/EBU and SPDIF digital connections were the primary interfaces for DACs. With computer-based audio, USB became the main audio interface, and now that streaming has become the dominant music source, Ethernet and Wi-Fi are increasingly becoming the dominant interfaces. During all this time many fine DACs have been left to collect dust because they had the wrong interface. If you go with a Raspberry Pi streaming solution, you can, depending on whether you have a USB or SPDIF DAC, make it part of a new streaming solution. If the DAC is capable of 192/24 and DSD, it can be used to stream virtually anything and everything when connected to a Pi, even MQA if you use Roon or Audirvana as your player app.

Could A Pi Be In Your Future?

While I could, at this point give you a rough “assembler’s guide” for assembling a Pi streamer, I don’t feel I can add anything to Neil Small’s excellent tutorial on the Facebook Roon User’s group page that I mentioned at the beginning of this article. The hardest part is waiting on all the parts to arrive. Also, while you could opt, right from the get-go, to tweak and upgrade your Pi, I’ve found a good part of the audiophile fun with a Pi system is gradual upgrades based on actual listening. Do power supplies have an audible effect on a Pi system? Some do; some don’t. Whether a particular change makes an audible difference depends on your system’s electronic and physical environment. Just like old-school audio, some things never change, and some things can change a lot. You only find out your own truth through listening.

Price

Starting at $40 (Pi 4 board only)
raspberrypi.org
allo.com
facebook.com/groups/297515554867194

We rescheduled out of an abundance of caution during this unpredictable time to provide the best opportunity for a well attended event and to ensure the best AXPONA experience for all show goers in 2020. We will contact all exhibitors and attendees directly later this week as we work through the details of the move. Our sole priority today is to communicate this news immediately so everyone can adjust their plans accordingly. We thank you for your understanding and we apologize for any inconvenience. We look forward to seeing you all at AXPONA in August!

What’s the significance of the ultra long tap-length digital filter and of the WTA algorithms? In seminars given around the world, Watts has suggested that few designers recognize the full implications of digital audio sampling theory, which according to Watts point to an astonishing conclusion. Specifically, Watts contends that garden variety 44.1kHz digital audio files could, if processed through a digital filter of near infinite tap-length, yield analogue waveforms every bit as accurate and complete as those produced from higher-res audio files, albeit with slightly higher noise floors. Stop a moment and let that claim sink in. Watts is saying, in essence, that a DAC with a properly designed filter system can deliver ultra high-res sonic results from conventional CD-quality files. 

To give some perspective, most normal DACs use filters offering a couple of hundred taps, whereas Chord’s DACs use filters offering tens of thousands of taps, or more (the DAVE, for example, offers a filter with ~164,000 taps). Each time new Chord Electronics products up the number of available filter taps, says Watts, the WTA algorithm has had to be revised to take advantage of the additional processing power, while sound quality has audibly improved. This “more filter taps = superior sound” philosophy forms the underpinnings of the DAC designs found in the Hugo, Hugo TT, DAVE, Hugo 2, and now the new Hugo TT 2, which offers 98,304 filter taps (second only to the DAVE DAC within the Chord Electronics range). The Hugo TT 2 is one of our two review subjects here, the other being the Hugo M Scaler, which we will get to in a moment.

To state things simply, the Hugo TT 2 is different to and better than the original Hugo TT in every way. It is quieter, yields un-measurable levels of noise floor modulation, offers greater dynamic range, provides a different and better power supply, produces much more output power, and incorporates a markedly improved DAC section. In short, everything the Hugo TT could do, the Hugo TT 2 can do better. 

The Hugo TT 2 sports a host of useful digital inputs: two optical, two coaxial BNC inputs, one driverless USB input (for use with tablets and smartphones), one USB Type-B input, and an aptX Bluetooth interface. Analogue outputs include: stereo XLR, stereo RCA, 2 × 6.35mm headphone jacks, and 1 × 3.5mm headphone jack. One set of dual DX BNC digital (expansion) output are also provided. By design, the Hugo TT offers three distinct operating modes: DAC mode with fixed line-level outputs, Amp mode with variable-level rear panel outputs, and Headphone mode with variable-level outputs from front panel-mounted headphone jacks. 

The amplifier section of Hugo TT 2 is very powerful, delivering up to 7.3 W @ 8 Ohms in single-ended mode or a stonking 18 W @ 8 Ohms in balanced mode. For this reason, and with headphone/hearing protection in mind, Chord Electronics advises owners to start out with extremely low volume level settings and to proceed with appropriate caution. The DAC section of Hugo TT 2 is as flexible as the amplifier section is powerful, offering support for PCM digital audio files ranging from 44.1kHz on up to 768kHz sampling rates and with DSD support via DoP (DSD over PCM) for DSD 64 through DSD512 digital music files. As mentioned above, Hugo TT 2 uses a 10-element digital filter that provides 98,304 taps and that runs a 16FS WTA 1 filter algorithm. Moreover, the DAC section provides four user selectable sub-filter settings: Filter 1 ‘Incisive Neutral’ (the recommended reference setting), Filter 2 “Incisive Neutral with HF roll-off”, Filter 3 “Warm”, and Filter 4 “Warm with HF roll-off’. An IR remote control is included.

Now we come the Hugo M Scaler, which in many ways is a ground-breaking product. Basically, the M Scaler is a very powerful digital upscaling device—claimed by Chord Electronics to be “the most advanced in the world”. The M Scaler can accept virtually any digital audio file input regardless of resolution or sampling rate and will upscale the input data to either 705.6kHz or 768kHz levels (depending on whether the data was based on a multiple of 44.1kHz or 48kHz). But upscaling, per se, is only part of the story; the other part is an FPGA-based digital filter that offers a staggering 1,015,808 taps and that runs under a specialised version of the WTA algorithm—one adapted to take advantage of the enormous processing power on tap. In the end, the M Scaler can send upscaled and pre-filtered audio data to any of the Chord Electronics DACs that support 705.6kHz and 768kHz inputs, including the Qutest, Hugo TT 2, and DAVE.

Much of the technology of the M Scaler is drawn from Chord Electronics’ previously released Blu II upscaling CD transport, with the primary difference that the M Scaler features digital inputs only (no CD transport) and is sized and styled to conform to the Hugo TT family design idiom. From a sonic perspective, though, the real significance of the M Scaler is that it can take garden variety CD-quality material and upscale it to the highest practical sampling rates possible, while applying a digital filter so powerful that, says Watts, the result is sound quality equal to or better than that of ultra high resolution digital files. But here’s another point to ponder; the M Scaler lets its owners access the most sophisticated digital filter Chord Electronics presently knows how to make—a filter better than the ones used either in the Hugo TT 2 or in the DAVE. 

The M Scaler provides 2 × BNC digital inputs, 2 × optical digital inputs, and one galvanically isolated USB Type-B input. Digital outputs include 1 × optical output, 1 × coaxial S/PDIF output via a single BNC connector, and one dual BNC output, which is the output of choice for best performance. While the Hugo M Scaler can conceivably be used with any DAC, the manufacturer makes it clear it is really optimised for use with Chord Electronics DACs that provide high-bandwidth dual BNC inputs able to take full advantages of the Scaler’s full capabilities. Once I heard the M Scaler in action I thought that its sonic benefits were both transformative and profound.

Using a group of very high performance reference headphones from Final, HiFiMAN, Meze, and MrSpeakers, I listened to the Hugo TT 2 both with and without M Scaler and here is what I learned. Heard in isolation, the Hugo TT 2 sounds like exactly what it is: one of the finest headphone amp/DACs available today. While it is not quite on a par with the more than twice as expensive DAVE, the Hugo TT 2 takes worthwhile steps forward relative to its predecessor in terms of resolution, clarity, focus, and coherency, while also offering quieter backgrounds and more dynamic muscle. In short, the Hugo TT 2 can more than hold its own in comparison to like-priced competition. However, fold the M Scaler into the equation and the picture changes dramatically for the better.

Quite candidly, the M Scaler makes substantial, across-the-board improvements to almost every qualitative aspect of the sound—so much so that you might feel like you are either A) listening through an altogether different and better headphone amp/DAC, or B) listening to delightfully re-mastered and/or much higher resolution versions of your favourite recordings. Once you hear the M Scaler in action, there’s no going back.

I played a Virgil Fox pipe organ performance of Bach’s Prelude and Fugue in D Minor from the Reference Recording 30th Anniversary Sampler[Reference Recordings, HDCD] through the Hugo TT 2 and, as expected, it sounded superb. But, with the M Scaler in play, the unexpected sonic improvements I heard left me slack-jawed with astonishment. First, the pipe organ’s low frequency pedal notes sounded more deeply extended (right down to the very low frequency shudder of air columns in the large pipes), much more tightly focused, and possessed of considerably more textural nuance. Second, the pipe organ’s middle register sounded rounder, more expressive, and more full-throated, with a more spacious and three-dimensional presentation overall. Third, the organ’s upper register passages, which had sounded just a bit congested when played through the Hugo TT 2 alone, suddenly sounded clearer, more delicate, and far more articulate, with virtually no congestion at all. Finally, the acoustic interaction between the pipe organ and the recording space was rendered more vividly and naturally, while apparent soundstage size increased. Impressively, these improvements were wrought upon a recording widely acknowledged to be a superb one to begin with.

I enjoyed similar benefits when I played the ‘Triptych (Excerpt)’ from A Company of Voices – Conspirare in Concert [Harmonia Mundi, 16/44.1]. This exuberant and syncopated piece for percussion ensemble and concert choir is not one that is easy for most DAC’s to handle, in part because of the large-scale dynamic swings involved and the perhaps slightly over-modulated choral swells that at times threaten to become ragged and strained. However, with the M Scaler assisting the Hugo TT 2, the timing and timbres of the percussion ensemble instruments improved dramatically, with more incisive transient sounds, rounder tonalities all around, and the all-important qualities of ‘swing’ and dynamic ‘jump’ in evidence. Individual choral lines also became clearer and more intelligible, while the potentially problematic vocal swells sounded better controlled and more expressive, with elements of congestion mostly (though not entirely) cleared up. In addition, the sounds of the concert venue were captured more realistically (I can say this with some conviction because I was present in the hall on one of the evenings when the recording was made) and with appropriate stage width and depth. Once again, the M Scaler/Hugo TT 2 pair made an already good recording sound a whole lot better.

The Hugo TT 2 and Hugo M Scaler fit together like a sonic hand in a glove; once you hear them together, you won’t ever want for them to be apart. While Chord Electronics’ DAVE may be in a class of its own as a standalone headphone amp/DAC, the combination of the Hugo TT 2 and the Hugo M Scaler actually costs less than the DAVE and may actually offer better all around performance, which is saying a mouthful.

TECHNICAL SPECIFICATIONS

Chord Electronics Hugo TT 2 headphone amplifier/preamp/DAC

Type: Solid-state headphone amplifier/preamp/DAC

Inputs: Two TOSLink optical, two coaxial BNC, one driverless USB input, USB Type-B, aptX Bluetooth 

Outputs: Analogue: Stereo XLR, stereo RCA, 2 ×6.35mm headphone jacks, 1 ×3.5mm headphone jack
Digital: 2× DX BNC (expansion outputs)

Formats supported: PCM from 44.1kHz to 768kHz sampling rates. DSD (via DoP) from DSD64 to DSD512

Digital Filters: 98,304-tap 16FS WTA 1 (Watts Transient Alignment) digital filter. Four user-selectable sub-filters:

Crossfeed: Four user selectable settings

Operating Modes: Three options are supported: Headphone mode: Hugo TT 2 operates as headphone amp/DAC with variable output levels.
Amplification mode: Hugo TT 2 operates as a digital preamplifier with variable output levels. DAC mode: Hugo TT2 operates as a DAC with fixed line-level outputs

Dynamic Range: 127dB (A weighted)

Noise: 4µV (A weighted, high gain), 1.7µV (A weighted, low gain) with no measurable noise floor modulation

Distortion: 0.00008% @ 2.5V, 300 Ohms; 0.00016% @ 6W. 8 Ohms

Power Output (@1% THD): Unbalanced 300 Ohms: 288mW RMS, 8 Ohms: 7.3W RMS

Balanced: 300 Ohms: 1.15W RMS
8 Ohms: 18W RMS

Dimensions (H×W×D): 40.5 ×235 ×223mm

Weight: 2.53kg

Price: £3,995 (UK), $5,795 (US)

Chord Hugo M-Scaler digital upscaling device

Type: Digital upscaling device with a greater than 1M-tap digital filter

Digital Inputs: 2 ×BNC, 2 ×optical, 1 ×galvanically isolated USB Type B

Digital outputs: 1 ×optical, 1 ×S/PDIF, 1 ×galvanically isolated dual BNC (which supports upscaling to 768kHz from 48kHz data)

Upscaling: 44.1kHz digital audio files (or multiples of 44.1kHz) upscaled to 705.6kHz via dual BNC outputs
48kHz digital audio files (or multiples of 48kHz) upscaled to 768kHz via dual BMC outputs

FPGA device: Xilinx XC7A200T

Digital Filters: 1, 015,808-tap WTA (Watts Transient Alignment)

Dimensions (H×W×D): 46 ×235 ×236mm

Weight: 2.55kg

Price: £3,495 (UK), $4,995 (US)

Manufacturer: Chord Electronics Ltd.

Tel.: +44 (0) 1622 721444

URL: chordelectronics.co.uk 

North American distributor: Bluebird Music

URL: bluebirdmusic.com

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Cary Audio DMS-550 and DMS-600

Instead of putting out only one new digital playback component, Cary Audio has rolled out two network-capable playback devices, the DMS-550 ($5495) and DMS-600 ($6995). They both use a new, second-generation MQA decoder and have filters designed for 768kHz playback via MQA. Potential playback sources include streaming via Tidal, v-Tuner, Spotify, and other services, in addition to SD cards, aptX Bluetooth, USB, AES/EBU, SPDIF coaxial, and optical connections. The DMS-550 also has a newly developed, pure Class A headphone amplifier and uses the AKM 4493EQ Velvet Sound DAC chips. 

While the DMS-600 does not contain a headphone amp, it ups its game with the new AKM4497EQ Verita DAC chips, aptX HD Bluetooth capabilities, plus Bluetooth output so you can stream to other BT playback devices; it is also Roon-ready. No matter what the original sample rate of the MQA file, the DMS-600’s MQA decoder will extrapolate the file to either a 705.6 or 768kHz sampling rate. In terms of sampling rates, “onward and upward” seems to have become Cary’s forte.

MSB Technology Discrete DAC and Premier DAC

Continuing the “two introductions is better than one” theme, MSB Technology unveiled two pocketbook-friendly DACs. MSB’s new Discrete DAC (base price $9950) represents a true ladder-style design, as do all MSB DACs. It also offers the option of adding a second, additional power supply ($1495). The Discrete’s physical architecture is modular, so you can install a Quad-Rate DSD and MQA input module ($1500), or Renderer input module ($1995), or a second optical and coaxial input module ($990), in addition to three more options offered. 

MSB’s second DAC, the Premier DAC ($19,500), is also a modular design and uses the same parts-quality and technologies as the company’s flagship Select DAC.Available in either silver or black finish, the Premier comes equipped with MSB’s optical/coaxial input module, an output module, a Premier clock, MSB remote, and a discrete outboard power supply. You can add MSB’s powerbase power supply ($7500 to $8950) or a Femto 93 clock ($4950), as well as seven other user-interchangeable modules.

exaSound Audio Design PlayPoint DM DAC/network server and e32 Mark II DAC

exaSound Audio Design was also doing the double-intro thing with the exaSound PlayPoint DM DAC and network server ($14,000) and e32 Mark II DAC ($2499). Based around two ESS9028 PRO DAC chips, the PlayPoint’s fully balanced dual mono design features exaSound’s “galvanicInfinity” galvanic isolation technique. It also utilizes exaSound’s FemtoMaster 82-femtosecond master clock. With both balanced and unbalanced line-level and headphone outputs, the PlayPoint can serve as a digital hub for a full-featured audio system.

The latest version of the e32, the Mark II as mentioned above, is also a true balanced design. Based around the ES9028Pro monolithic DAC with “hyperstream” technology, the e32 Mark II supports MQA and offers USB, coaxial, and TosLink inputs. Like the PlayPoint, the e32 uses a femtosecond masterclock and complete galvanic isolation. The e32 also has 11 linear power filter stages, and both balanced and unbalanced line-level analog outputs, and comes standard with exaSound’s Teddy 12/2 external power supply.

Nagra HD DAC X

Nagra unveiled its latest thing of beauty, the HD DAC X ($65,000). With a separate power supply that features ultra-fast silicon carbide rectifier diodes, ultra-low-noise voltage regulators, and a virtual battery system made up of three times as many supercaps as the Nagra HD Preamplifier, the HD DAC X ranks as an impressive feat of engineering. With 37 regulated power supplies, the HD DAC X includes AES/EBU and SPDIF inputs as well as the new Nagra Link single-mode ST-1 optical input, which uses the Andreas Koch P-Link protocol. The USB input, designed around an 8-core X-MOS chip, is also from Andreas Koch.

Sony DMP-Z1 Desktop Digital Music Player

Sony had two new U.S. premieres in the company’s CANJAM booth. The Sony DMP-Z1 ($8500) represents an entirely new product category for Sony: a state-of-the-art portable desktop headphone monitoring system/player. The emphasis here is on its intended use on a desktop, not as a portable in your pocket. The only outputs are for headphones, so it’s not a DAC/Pre. It has seven different batteries that supply power to the various sub-sections of the unit. Even its shape is unique—the chassis is shaped like a three-dimensional letter H, with the analog and digital sections separated with the former above and the latter below. Like the Sony TA- ZH1ES, the DMP-Z1 can perform a variety of upsampling and format conversions for playback. Instead of a “standard” XLR balanced output, Sony uses the new 4.4mm balanced connection. The sound, coming via the Sony MDR-Z1R full-sized headphones, was lush yet detailed. I didn’t want to stop listening.

Auspicious Debuts 

Schitt Audio ranks as one of my favorite market-disruptors. At this year’s RMAF, Schiit demo’d its latest $99 wonder, the Modi 3 DAC (pictured above). It supports PCM up to 192/24 and comes with USB, TosLink, and coaxial SPDIF inputs, and one pair of single-ended RCA outputs. I listened to it coupled to the Vali 2 tube hybrid headphone amplifier ($149), as pictured above. If my beat for this show had been headphones, I would have nominated it as Best Sound for the Money.

Aurender introduced its new ACS10 ($5600 to $7500), a caching music server and streamer, CD-ripper, HDD storage device, and a library manager all in one box. The ACS10 liberates a digital music library from reliance on a computer. Among its copious list of features are a full-linear power supply for audio and a “super-capacitor” uninterruptible power supply (UPS) for stabilizing the ACS10 in the event of an abrupt power-outage situation. Its four-inch display is a full-color IPS LCD. The ACS10 supports PCM up to 786/32 and DSD up to 256 via DOP and 512 natively. The Aurender even supports USB 3.0 via a rear port.

Lumin had one world premiere and one North American premiere, the U1 and X1, respectively. The Lumin U1 mini ($2000) is a transport that according to Lumin, “Combines the best of Lumin’s U1 and D2 devices.” It supports DSD256 and PCM 384/24 utilizing a quad native clock system. With its low-noise shielded switching power supply it supports four types of digital audio output options: USB, BNC, coaxial SPDIF, and TosLink so it should be able to work with any DAC. Lumin’s other offering was the its new flagship X1 network music player ($13,990), pictured above, that uses a pair of ES9038Pro DACs and can support PCM to 768/32 and DSD512. Its power supply section was redesigned so that it is isolated in the single-billet, CNC-machined chassis. The X1 supports Roon, MQA, Tidal, Qobuz, and other streaming services.

Bel Canto now offers a new streaming option via its e.One Stream ($1595). It offers both a line-level analog output as well as AES/EBU, coaxial SPDIF, and Toslink digital outputs. Discoverable by any UPnP-aware device, it is also a Roon-ready end-point and has provisions for attaching an external FAT32 hard drive. Bel Canto has even developed its own App for IOS called “Bel Canto Seek” that allows iPhone control of the e.One Stream. 

IFI, a company that never lets any grass grow beneath its feet, showed the xCAN ($299), a new mobile power amplifier with aptX and ACC Bluetooth capability that replaces the maker’s iCAN SE and iCAN models. With both balanced and unbalanced analog outputs, its dual-mono output circuitry draws inspiration from the Pro iCan. It includes IFI’s 3D+ Matrix and new XBASS II options which further increase its sonic flexibility. And it fits into your pocket.

Other News

By now you might have heard that next year RMAF is shifting its dates forward to September andmoving to new venue at a dedicated convention hotel that’s currently in the final stages of construction by Gaylord Entertainment and Marriott. Ray Kimber visited the site before RMAF and showed me pics of the venue. It’s big, with lots of good-sized rooms—in fact, it looks so enormous that it could have enough floor space to host RMAF, AXPONA, and CAF all at the same time! 

I had a long conversation during the show with Thorsten Loesch of Abbington Musical Research and IFI. He told me a fascinating story about confirmation bias. That’s when you are so sure of something that even strong evidence to the contrary will not persuade you to change your mind. 

Thorsten put together a blind ABX testing where he told participants it was a comparison of two power cables. But when he went behind the curtains, ostensibly to change the power cable, what he actually did was switch the speaker cables on one channel, so the system was playing out of phase. Thorsten had three different types of audiophiles take his test: subjectivists, objectivists, and those who were neither. The subjectivists and neutral listeners heard the effects of the system being thrown out of phase. The objectivists heard no differences. It was a robust test with clearly correlated results.

And how noticeable is having one speaker’s channel out of phase with the other? Ten years ago, at CES I entered a room with an “All Digital System” that had all the DACs and electronics in the loudspeakers. I listened for about ten seconds, then I turned to the gentleman who was giving the presentation and told him, “One of your channels is out of phase with the other.” He told me that was impossible since all the connections were hard-wired. I thanked him and left. A day later he caught me in the hall and explained that indeed one channel had been mis-wired out of phase.

The fact that the objectivists in Thorsten’s test were the ones who were so set in their opinions that it blinded them to the aural facts in front of their ears is a delicious irony. Why? Because those audiophiles who embrace ABX testing with the most fervor are those who believe most strongly in effects of expectation bias, which is why sighted testing is, in their eyes, flawed. Thorsten’s test indicates a strong tendency for objectivists to listen with closed ears whether the test is blind or sighted, which isn’t very objective, is it? 

Steven Stone’s Best of Show

The combination of Joseph Audio Perspective loudspeakers ($12,999/pr.), Doshi Audio Line v3.0 preamplifier and tape head preamp ($17,995), Doshi Stereo Amplifier ($19,995), Aurender A-10 streamer ($5500), Cardas Clear Network Cat-7 ($580) cable, Cardas Clear Beyond Power XL ($2480US) power cord, and an HRS SXR-1921-3V rack system ($5225) delivered uncolored, highly resolved sonics. 

Best Sound (Cost No Object)

The system in the Crestone Peak Room had the Sonus Faber Aida 2 loudspeakers ($130,000/pr.), Audio Research 160M mono power amplifiers ($30,000/pr.) and S Reference 9 CD9 player/DAC ($13,000), Reference 6 linestage ($14,000), HSR SXR equipment stands, and Kubala-Sosna cabling.

Best Sound (For the Money)

Elac’s new Navis ARB-51 powered loudspeakers ($1999/pr.), Alchemy Series DDP-2 preamplifier/DAC/music server ($2499), Discovery DS-S101-G music server ($1099), Elac LS-80 speaker stands ($399/pr.), and 512 Engineering Marutani consulting interconnects (Price TBA).

Most Significant Trend

Big boxes are on their way out. Gear is becoming less obtrusive. Everybody wants to share their life with music, but more people don’t want to surrender large amounts of real estate to large shiny metal boxes.  

Most Coveted Product

For me that would be a dead heat between the new Sony DMP-Z1 desktop music player ($8500) and the Kii Audio Three BXT system ($46,995).

Portable digital-audio player manufacturer Astell&Kern announced at the event that it will offer an MQA firmware upgrade for all its players. That’s right: If you own any model of A&K, the update will turn it into a full MQA decoder. The first model to get the update is the flagship SP1000, with other models to follow over the next few months. All new production will be MQA compatible. A&K also showed me a prototype of a very compact new player called the Activo CT10 that will sell for $299, and is already MQA compatible. The Activo CT-10 is the first player to incorporate a new digital module developed by A&K, called Teraton, that will find its way into a wide range of personal digital-audio players.

Digital
Back at the high-end exhibits at the Venetian, Chord showed the Qutest compact DAC. A successor to the highly acclaimed and successful Hugo, the Qutest is a desktop version of that product. Both DACs offer selectable filters, variable output level, and Chord’s FPGA DAC technology. The Qutest will play any PCM or DSD format, has a galvanically isolated USB input, and a dual-data pair of BNC inputs. The British-built Qutest will sell in the U.S. for $1850 through distributor Bluebird Music.

Source Systems, the distributor of Lumin music servers, M2Tech, Lindemann, and other products was demonstrating an entirely new category: a massive solid-state drive for music storage. Rather than store your music library on a NAS with spinning discs, the Fidata HFAS1-S10U Network Audio Server holds those same files in silicon memory. The Fidata holds 1TB of data in a pair of memory modules, each holding 500GB. The design, build-quality, and attention to detail were exemplary. The unit features a large and well isolated power supply, extensive vibration control, noise shielding, low-phase-noise clock, and industrial-grade Samsung high-reliability flash-memory modules. According to Source Systems’ Mark Gurvey, the Fidata server sounds considerably better than a NAS drive. Although I couldn’t compare the two, I can say that the Source Systems room with a Lumin server at the front end and Amadeus Philharmonia speakers at the back end produced one of the show’s best sounds. Prices had not been firmed up, but expect the 1TB model to sell for about $6000. Watch for a review.

Pro-Ject introduced a product whose apparent value boggles the mind. The Pre Box S2 Digital is a small DAC with full MQA decoding, is Roon-ready, can play any PCM or DSD format, offers seven selectable digital filters, features dual ESS Sabre DACs (about $40 each in quantity), XMOS USB driver, and a 1/4″ headphone jack. The price? $399. Of course, it remains to be seen whether the Pre Box S2 Digital sounds good, but it appears to have the potential of being a game-changer in sub-$500 DACs.

At the other end of the ambition and price scale, dCS demonstrated its Vivaldi One CD/SACD player and network player. dCS has combined, in a single chassis, a CD/SACD transport, DAC, network player, and upsampler. The Vivaldi One includes all the latest technologies including Roon compatibility, Tidal and Spotify streaming, and AirPlay connectivity, and is a full MQA decoder. Production is limited to 250 units (half the run has already been sold), and is available in standard silver or black finish, with premium finishes available for an additional charge. These include automotive paint, bright nickel, chrome or black chrome, or even 24k gold. The price for the standard finish is $80,000.

The Audio Alchemy DDP-1 that I raved about in Issue 262 has been redesigned now that Alchemy is part of German speaker-maker Elac. The new DDP-2 is essentially the same circuit as the DDP-1 but housed in a conventional-width chassis rather than the narrow enclosure of its predecessor. However, the DDP-2 has some important upgrades including full MQA decoding and expanded connectivity (Roon, Discovery, Spotify, Bluetooth, and AirPlay). In addition, the larger outboard power supply that was a $595 option for the DDP-1 has been incorporated in the DDP-2. You can think of the DDP-2 as the DDP-1 with the outboard power supply along with the function of Alchemy’s Media Player built in. The DDP-2 will sell for $2500.

Analog
There were more new analog products than digital ones at this show. The most noteworthy was Technics’ display and demonstration of two new turntables in the Reference Class line, the SP-10R and SL-1000R. The $10,000 SP-10R is just a plinth, platter, and outboard motor controller to which you must add your own tonearm. The $20,000 SL-1000R adds an additional support structure as well as a newly developed Technics tonearm. The SL-1000R has the ability to accept up to three arm-mounting structures. The massive direct-drive motor, shared by the ‘tables, features dual coil layers slightly offset from each other for smoother rotation. The SL-1000R at the front end of an all-Technics system produced one of the show’s best-sounding rooms. Watch for our upcoming preview of the SL-1000R.

Pro-Ject has taken product differentiation to an extreme with its new Essential line of turntables. You can get the Essential III as a basic turntable for $299. Want an integral phonostage? $359. Or Bluetooth streaming? USB output? USB output and hi-res A/D converter with ripping software? Pro-Ject has you covered. The Essential range tops out at $749 for the fully loaded model in walnut finish.

Audio-Technica demonstrated a most unusual moving-coil cartridge. Rather than positioning the coils at the opposite end of the cantilever from the stylus, the coils are mounted right next to the stylus. You can see this in the photo of the magnified model. AT calls this technique Direct Power. The $4999 AT-ART1000’s other technical features include a line-contact stylus, titanium magnet-support structure, machined aluminum housing, and a solid boron cantilever. Output voltage is 0.2mV. Audio-Technica also showed the AT-LP7 belt-drive turntable featuring an anti-resonant platter, J-shaped tonearm, moving-magnet cartridge, and an integral phonostage. Price: $799.

Musical Surroundings, the U.S. distributor of the German turntable manufacturers Clearaudio and AMG, showed several new products. First up was the AMG 9WT Turbo 9″ tonearm. The new Turbo version of the existing 9WT arm features a new bearing with a larger horizontal axle and dual micro-ball-bearings for lower friction. The Turbo can be set up and adjusted with locking thumbscrews. Price: $7500. DS Audio, the company that makes the optical cartridge that so enchanted Jonathan Valin in Issue 274, introduced a new top model, the DS W2. Paired with the required DS W2 phonostage (the two must be used together), the DS W2 uses light to convert stylus movement into an electrical signal. The price for the DS W2 and the phonostage is $13,000.

In the Musical Surroundings room I also experienced firsthand Clearaudio’s Concept Active turntable. Based on the Concept turntable, the Active version adds a phonostage and headphone amplifier. It sounded like a hokey idea at first, probably because products in this category are usually sub-$200 dreck. But putting on the headphones and an LP, I had an epiphany; I could see myself enjoying LPs through the Concept Active. The sound was superb, and there was something compelling about a self-contained personal music-playback system based on the LP. The Active price will range from $2600 to $4400 depending on the arm and cartridge you select.

Clearaudio’s newest tonearm, the Tracer, incorporates a carbon-fiber arm tube, low-friction sapphire and tungsten jeweled bearing, and adjustments for VTA and azimuth. The $2900 Tracer will be available on Clearaudio’s Performance, Ovation, and Innovation turntables at special package pricing of $2100.

Excel Sound Corporation, the Japanese maker of the acclaimed Hana cartridges (see Andre Jennings’ review in Issue 270), introduced the Hana SL Mono cartridge. The $750 Mono incorporates the same magnets, Shibata stylus, aluminum cantilever, and high-purity copper windings as the stereo version. Excel has been making cartridges behind the scenes for other companies for 50 years.

Finally, Musical Surroundings announced the Linear Charging Power Supply, an upgrade for Musical Surroundings’ Phonomena II and Nova II phonostages. Price: $650.

Over in the Music Hall room, Roy Hall showed the new MMF-9.3 Wood turntable, which comes with a tonearm and is fitted with an Ortofon 2M Black cartridge, all for $2700. It features an external motor and has a beautiful walnut wood finish. Delivery is scheduled for May. Also debuting was the MMF-1.5 turntable/arm/cartridge combination at just $399.

Mark Levinson showed the full production version of its No.515 turntable, a joint effort with VPI Industries. It features a 3D-printed tonearm with gimbal bearing, solid aluminum platter, and a chassis made from a highly damped composite and aluminum sandwich. The motor is mounted separately from the chassis for mechanical isolation. The No.515 sounded terrific playing Ray Kimber’s new LP of Robert Silverman performing the Chopin waltzes, through a new Revel speaker that will cost $10k at its introduction later this year.

The best analog at the show wasn’t a turntable, but a Nagra T open-reel tape machine playing master tapes recorded by Nagra’s René LaFlamme. Through a full Nagra system including the stunning new Nagra HD Preamp and YG Acoustics Sonja 2.2 speakers, the sound was stunning in naturalness, ease, depth, and instrumental texture.

Personal Audio
Great-sounding headphones seem to be getting more affordable. A perfect example is the PSB M4U 8, a replacement for the M4U 2, a $399 noise-canceling headphone that I happen to own and love. The new model not only sounds better, with wider dynamics and more powerful bass, it also offers better noise canceling along with Bluetooth connectivity.

A second great headphone debut was the HiFiMan Sundara, which features a newly developed diaphragm that is 80% thinner than that in HiFiMan’s outstanding HE400. The result is wider frequency response, more detail, and greater transient fidelity. The Sundara was lightweight and comfortable, to boot. Price: $499.

HiFiMan also showed a scaled-down version of its $50k Shangri-La headphone and amplifier system. That mega-priced system, which drives the electrostatic headphones with a 300B tube, sounded absolutely stunning in HiFiMan’s exhibit room. But right next to it was the Shangri-La Jr which attempts to capture the magic of the Shangri-La at a lower, but still lofty, price: $8000. Although the big boy was clearly better, the Junior was stunning in its own right.

Pioneer debuted the new and highly capable XDP-02U digital audio player. The gently rounded device fits naturally in the hand. The fully balanced circuitry is based on dual ESS Sabre DACs, and the signal stays balanced through the analog output amplifier. The DSP and audio boards are isolated from each other, and from the power supply. The player is MQA compatible, supports any PCM format as well as DSD native up to 5.6MHz, and features a PCM upsampling circuit. The headphone output is fully balanced, delivering 150mW x 2. Onboard 5GHz WiFi connects the XDP-02U to streaming services such as Tidal, and Bluetooth connects to compatible speakers, headphones, and audio systems. The player ships with 16GB of internal memory, expandable to a whopping 800GB with ScanDisk’s new 400GB microSD cards.

RH’s Best of Show

Best Sound (cost no object)
The Lamm room with Kharma Grand Exquisite speakers and an Air Force One turntable was easily the best sound in Vegas (see Jonathan Valin’s report for system details). I also heard BOS-quality sound from the VTL room with Wilson Duette 2 speakers, VTL’s terrific sounding new TP-2.5i phonostage ($3750), and a Brinkmann Spyder turntable with Lyra Etna cartridge. Another contender was the Vandersteen Quatro CT ($14,600 per pair) driven by Vandersteen’s new M5-HPA amplifiers, all on HRX equipment racks.

Best Sound (for the money)
Totem Acoustic, VPI, and Transparent Audio teamed up to put together a remarkably musical system priced at $7105 including cables, power cords, and a power conditioner. The components were a VPI Cliffwood turntable with Grado Green cartridge, Moon 240i integrated amplifier, Totem Signature One speakers, Transparent MusicLink Phono, MusicWave speaker cable, Hardwired by Transparent power cord, and a Transparent PowerBank 6 AC conditioner.

Most Significant Trend
1) The move to make all music distribution high-resolution. 2) The profusion of LP-playing products, led by Technics’ entry into the ultra-high-end with its SL-1000R.

Most Coveted Product
The TechDas Air Force One turntable in the Lamm/Kharma room.