dCS
About dCS
dCS brings inspiration and innovation to music lovers worldwide. Through meticulous craft and state-of-the-art engineering, we create world-leading digital audio systems that are renowned for their natural musicality and faithfulness to the original recording.
dCS's Latest Announcements
Susan Rogers: Highlights from our session at CanJam NYC
Susan Rogers – a recording engineer, producer and music cognition expert – visited the dCS Lina Lounge at CanJam New York earlier this month to discuss the fascinating world of psychoacoustics. Here we share some highlights from her talk, which explored how we process sound and the importance of considering our unique profiles when choosing audio equipment such as headphones and amps…
Susan Rogers started working in music studios in 1978. In the two decades that followed, she went from repairing studio equipment to working with Prince and engineering some of the most iconic albums of the 1980s and 90s.
After forging a successful career in music production, Susan decided to switch studio life for education. She spent eight years studying neuroscience and psychoacoustics, before teaching record production and music cognition at Berklee College of Music. She was director of Berklee’s Music Cognition and Perception lab until her recent retirement, where she worked on various research projects exploring how we process and respond to music.
In 2021, she published a book, This Is What It Sounds Like: What The Music You Love Says About You, which explains how we listen and what makes us fall in love with certain musical works.
We were honoured to have Susan partner with us at CanJam New York this year to deliver two talks for visitors to the Lina listening lounge.
Susan discussed how our brains and bodies respond to sound, how our hearing changes and develops through our lifetimes and how musicians and non-musicians differ in their listening abilities.
She also discussed how our physical characteristics impact our listening experience, and the importance of considering your unique profile when selecting audio equipment such as headphones and amps. Alongside this, she discussed how she came to be working for one of the world’s most revered musicians.
Below are some excerpts and highlights from the event.
From Prince to Barenaked Ladies & Berklee
Susan began with describing how she carved out a career in music production and how she went from mixing multi-million selling records to studying the intricacies of our auditory system.
She began working in music studios in Los Angeles in 1978. At the time, there were very few women working in music production, and a career in engineering seemed an unlikely, if not impossible, goal. “You just didn’t see women as recording engineers and record producers, and I didn’t hold out hope that I could be anything like that,” she explained.
This led her to pursue an alternative path in audio electronics, an area where she said “gender didn’t matter”. She learned how to fix studio consoles and tape machines, among other equipment, and landed a job as a studio technician working with Crosby Stills & Nash.
“There was one thing I could do where my gender didn’t matter...repair equipment”
In 1983, she received a call that Prince was looking for a technician – an opportunity that allowed her to move into working on records instead of console repairs. “It was a call that changed my life,” she explained. “He put me in the engineering chair. I worked on Purple Rain, Around The World in a Day, The Parade album, Sign of the Times, the Black Album, and all the stuff that we did in between [including films, tours and collaborations with Sheila-E]. I had a great time with him – I left in 1988 exhausted, but we did a lot of good work together,” she added.
Susan moved back to Los Angeles, where she mixed, produced and engineered records for artists including David Byrne, Nil Lara and Jeff Black. In 1998 she co-produced and engineered the Barenaked Ladies’ smash-hit Stunt which sold 5 million copies (a huge figure in the pre-streaming era). The commercial success of this project enabled her to step out of the studio and take her career in a different direction. She enrolled as a college freshman aged 44 and went on to receive a degree and doctorate from McGill before teaching at Berklee.
From toddlers to teens: auditory development and the impact of musical training
After discussing her background in music production and neuroscience, Susan went on to discuss how our brains and bodies process and respond to sound, explaining how signals travel from our eardrums to our auditory cortex. She explained how our brains have evolved to prioritise certain types of sound such as speech and how we are able to effectively filter out sounds that we don’t want to hear so we can focus on those that we do (in other words, boosting frequencies within a certain range, while suppressing others that fall outside of this).
She then explained how our hearing changes and develops throughout our lifetime. Young children, for example, have less refined hearing than teenagers and young adults – “they don’t have good high frequency resolution” – and our hearing continues to improve throughout childhood, peaking around college age.
Our auditory system also continues developing past toddlerhood, but is fully formed for most people by the time we hit adolescence.
“By age 12, it has to stop because your body is getting ready for puberty,” said Susan. “This means that unless we’re taking music lessons, our auditory processing circuitry, all of our nuclei, our auditory nerve bundle and our auditory cortex is done [developing] by age 12.”
Analytic vs synthetic: How musicians hear differently to non-musicians
Whilst most people’s auditory systems finish developing before we hit puberty, this is not the case for those who receive musical training.
As Susan explained to CanJam attendees, the auditory processing path of trained musicians continues to evolve, bringing physical changes that affect our music processing capabilities. “The nuclei get fatter and thicker, and the auditory nerves, your wiring, grow what’s called dendritic spines – more little branches.” These developments allow musicians to become better and faster at processing the subtle differences between sounds.
This, in turn, enables musicians to listen in a different way to non-musicians. Citing a test she used to conduct with students at Berklee (which you can try out online here), Susan explained how musicians are capable of listening analytically – meaning they are able to hear different frequency components individually. Non-musicians, however, can only listen synthetically – meaning they focus on the ‘global whole’ or complete sum of parts.
Through her work at Berklee, Susan found that whilst she was unable to process certain subtleties in a musical work in the same way as students who could listen analytically – lacking the neural infrastructure required to do so – this allowed her to assess the complete sound of a recording or musical work without getting “bogged down” by focusing on minute details.
Reflecting on these different listening modes, she said audio manufacturers developing products should carry out testing with both musicians and non-musicians (something that is done extensively at dCS).
Read in full at the dCS Edit: https://dcsaudio.com/edit/susan-rogers-psychoacoustics
Susan Rogers started working in music studios in 1978. In the two decades that followed, she went from repairing studio equipment to working with Prince and engineering some of the most iconic albums of the 1980s and 90s.
After forging a successful career in music production, Susan decided to switch studio life for education. She spent eight years studying neuroscience and psychoacoustics, before teaching record production and music cognition at Berklee College of Music. She was director of Berklee’s Music Cognition and Perception lab until her recent retirement, where she worked on various research projects exploring how we process and respond to music.
In 2021, she published a book, This Is What It Sounds Like: What The Music You Love Says About You, which explains how we listen and what makes us fall in love with certain musical works.
We were honoured to have Susan partner with us at CanJam New York this year to deliver two talks for visitors to the Lina listening lounge.
Susan discussed how our brains and bodies respond to sound, how our hearing changes and develops through our lifetimes and how musicians and non-musicians differ in their listening abilities.
She also discussed how our physical characteristics impact our listening experience, and the importance of considering your unique profile when selecting audio equipment such as headphones and amps. Alongside this, she discussed how she came to be working for one of the world’s most revered musicians.
Below are some excerpts and highlights from the event.
From Prince to Barenaked Ladies & Berklee
Susan began with describing how she carved out a career in music production and how she went from mixing multi-million selling records to studying the intricacies of our auditory system.
She began working in music studios in Los Angeles in 1978. At the time, there were very few women working in music production, and a career in engineering seemed an unlikely, if not impossible, goal. “You just didn’t see women as recording engineers and record producers, and I didn’t hold out hope that I could be anything like that,” she explained.
This led her to pursue an alternative path in audio electronics, an area where she said “gender didn’t matter”. She learned how to fix studio consoles and tape machines, among other equipment, and landed a job as a studio technician working with Crosby Stills & Nash.
“There was one thing I could do where my gender didn’t matter...repair equipment”
In 1983, she received a call that Prince was looking for a technician – an opportunity that allowed her to move into working on records instead of console repairs. “It was a call that changed my life,” she explained. “He put me in the engineering chair. I worked on Purple Rain, Around The World in a Day, The Parade album, Sign of the Times, the Black Album, and all the stuff that we did in between [including films, tours and collaborations with Sheila-E]. I had a great time with him – I left in 1988 exhausted, but we did a lot of good work together,” she added.
Susan moved back to Los Angeles, where she mixed, produced and engineered records for artists including David Byrne, Nil Lara and Jeff Black. In 1998 she co-produced and engineered the Barenaked Ladies’ smash-hit Stunt which sold 5 million copies (a huge figure in the pre-streaming era). The commercial success of this project enabled her to step out of the studio and take her career in a different direction. She enrolled as a college freshman aged 44 and went on to receive a degree and doctorate from McGill before teaching at Berklee.
From toddlers to teens: auditory development and the impact of musical training
After discussing her background in music production and neuroscience, Susan went on to discuss how our brains and bodies process and respond to sound, explaining how signals travel from our eardrums to our auditory cortex. She explained how our brains have evolved to prioritise certain types of sound such as speech and how we are able to effectively filter out sounds that we don’t want to hear so we can focus on those that we do (in other words, boosting frequencies within a certain range, while suppressing others that fall outside of this).
She then explained how our hearing changes and develops throughout our lifetime. Young children, for example, have less refined hearing than teenagers and young adults – “they don’t have good high frequency resolution” – and our hearing continues to improve throughout childhood, peaking around college age.
Our auditory system also continues developing past toddlerhood, but is fully formed for most people by the time we hit adolescence.
“By age 12, it has to stop because your body is getting ready for puberty,” said Susan. “This means that unless we’re taking music lessons, our auditory processing circuitry, all of our nuclei, our auditory nerve bundle and our auditory cortex is done [developing] by age 12.”
Analytic vs synthetic: How musicians hear differently to non-musicians
Whilst most people’s auditory systems finish developing before we hit puberty, this is not the case for those who receive musical training.
As Susan explained to CanJam attendees, the auditory processing path of trained musicians continues to evolve, bringing physical changes that affect our music processing capabilities. “The nuclei get fatter and thicker, and the auditory nerves, your wiring, grow what’s called dendritic spines – more little branches.” These developments allow musicians to become better and faster at processing the subtle differences between sounds.
This, in turn, enables musicians to listen in a different way to non-musicians. Citing a test she used to conduct with students at Berklee (which you can try out online here), Susan explained how musicians are capable of listening analytically – meaning they are able to hear different frequency components individually. Non-musicians, however, can only listen synthetically – meaning they focus on the ‘global whole’ or complete sum of parts.
Through her work at Berklee, Susan found that whilst she was unable to process certain subtleties in a musical work in the same way as students who could listen analytically – lacking the neural infrastructure required to do so – this allowed her to assess the complete sound of a recording or musical work without getting “bogged down” by focusing on minute details.
Reflecting on these different listening modes, she said audio manufacturers developing products should carry out testing with both musicians and non-musicians (something that is done extensively at dCS).
Read in full at the dCS Edit: https://dcsaudio.com/edit/susan-rogers-psychoacoustics
New Year. New look. Meet Lina Silver...
2023 was a fantastic year for dCS Lina. Our latest product series appeared at audio events around the world and received several awards for its design and performance, including a coveted EISA award, plus accolades from Tone Audio, Mono & Stereo, AV Forums and High Fidelity in Poland. It also received a 2023 Grand Prix from Stereo Sound magazine in Japan and the Lina Network DAC was named Stereo Sound’s No. 1 Best Buy DAC for 2023-2024.
To celebrate Lina’s continued success and the start of an exciting new year for dCS, we’re releasing a new silver edition of this iconic system.
This means you can now choose from a silver or black finish when purchasing Lina components.
All Lina components are encased in aluminium. Casework is milled to exacting standards from solid billets then painted to provide a smooth, durable and tactile finish.
The painted finish on silver Lina components provides a near exact match with the anodised finish seen on silver Vivaldi, Rossini and Bartók components – making it the perfect option for listeners who wish to pair Lina equipment with other products from the dCS range.
The release of this new option builds on our vision to create a versatile system that complements all listening setups and spaces. Listeners can now choose from one of two classic dCS finishes, selecting the look that best fits their tastes, home environment and existing equipment.
It also caters to the growing number of people looking to combine Lina components with other dCS products in their system – for example, adding a Lina Master Clock to further enhance playback with the Bartók APEX DAC, or pairing a Lina Headphone Amplifier with a Rossini or Vivaldi APEX DAC or Player.
To celebrate Lina’s continued success and the start of an exciting new year for dCS, we’re releasing a new silver edition of this iconic system.
This means you can now choose from a silver or black finish when purchasing Lina components.
All Lina components are encased in aluminium. Casework is milled to exacting standards from solid billets then painted to provide a smooth, durable and tactile finish.
The painted finish on silver Lina components provides a near exact match with the anodised finish seen on silver Vivaldi, Rossini and Bartók components – making it the perfect option for listeners who wish to pair Lina equipment with other products from the dCS range.
The release of this new option builds on our vision to create a versatile system that complements all listening setups and spaces. Listeners can now choose from one of two classic dCS finishes, selecting the look that best fits their tastes, home environment and existing equipment.
It also caters to the growing number of people looking to combine Lina components with other dCS products in their system – for example, adding a Lina Master Clock to further enhance playback with the Bartók APEX DAC, or pairing a Lina Headphone Amplifier with a Rossini or Vivaldi APEX DAC or Player.
2.0: Enhancing the dCS Experience
The Lina Network DAC is the latest dCS product to receive a 2.0 software upgrade, bringing several new features and sonic benefits to owners.
At The dCS Edit; we reflect on the evolution of our 2.0 software, first developed for the Vivaldi DAC, and explore how it has enhanced people’s listening experience.
There are several strands of work that lead to innovation at dCS. Often, we develop new technologies and platforms in the course of designing new products. When creating the Lina Network DAC, for example, we devised a foldable circuit board that houses over 2,000 electrical components. This allowed us to deliver the core features of a dCS DAC in a much smaller chassis, without compromising on sound or performance – resulting in the creation of our most compact series yet.
We also develop novel solutions in response to specific challenges: our Expanse headphone optimisation feature, available with the dCS Bartók, Rossini and Lina DACs and Rossini Player, came out of a project to explore how we could resolve some of the issues inherent in traditional crossfeed methods, and provide a more immersive experience for headphone listeners.
Alongside this, we devote a great deal of time to exploring new ideas, with no defined outcome or criteria. This open-ended exploration is a critical part of our work: one that begins with looking at existing dCS technologies and products and asking ourselves, what and where can we improve?
2.0: Vivaldi, Mappers, and FPGAs
Our 2.0 software, first developed for the Vivaldi DAC, came out of one such exercise. The Vivaldi's launch marked the start of a new era for dCS. Through extensive development, we devised an all-new architecture that allowed us to further enhance the capabilities of our Ring DAC (the unique digital-to-analogue conversion system found in all dCS DACs) and deliver a new level of audio performance.
This architecture is based around the use of powerful Field Programmable Gate Arrays, or FPGAs – flexible firmware that can be reprogrammed to deliver new features, functions and improvements. FPGAs have always been a core part of dCS DACs: using reprogrammable firmware rather than inflexible DAC chips that cannot be recoded gives us more scope to continue enhancing products throughout their lifespan, adding new benefits and features via updates to the software stored on FPGAs.
The Vivaldi’s launch, however, marked the first time we were able to use FPGAs for the mapping algorithm, or Mapper, that determines how data is presented to the Ring DAC’s core.
The Mapper is responsible for decoding data and distributing digital signals to the Ring DAC. (See our PDF guide for more information on the Ring DAC’s unique design.) It uses a complex set of algorithms to determine which current sources must be turned on and off at any given point to generate the correct signal, in effect driving the Ring DAC's physical operation.
The original Mapper used in the Vivaldi was the culmination of several years of work: a careful process of refinement to achieve the optimum trade-off between noise, distortion and jitter. It worked extremely well, but our engineers are firm believers that there is always room for improvement.... Soon after the Vivaldi's release, we continued to explore how we could once again improve the Mapper’s performance and, in turn, the musical experience the Vivaldi provides.
Through extensive development, we created two new Mapper settings that operate the Ring DAC at double speed. These settings were made possible through the use of a new control board developed for the Vivaldi DAC, which allowed us to increase speed without incurring additional jitter.
This, in turn, enabled us to improve DSD upsampling operations, and introduce a new DSD filter option – developments that brought significant sonic and measured improvements. Listening tests carried out during the development process revealed enhanced dynamics and resolution, a more three-dimensional soundstage, and an even more immersive musical experience.
Read in full now:
https://dcsaudio.com/edit/2-0-enhancing-the-dcs-experience
At The dCS Edit; we reflect on the evolution of our 2.0 software, first developed for the Vivaldi DAC, and explore how it has enhanced people’s listening experience.
There are several strands of work that lead to innovation at dCS. Often, we develop new technologies and platforms in the course of designing new products. When creating the Lina Network DAC, for example, we devised a foldable circuit board that houses over 2,000 electrical components. This allowed us to deliver the core features of a dCS DAC in a much smaller chassis, without compromising on sound or performance – resulting in the creation of our most compact series yet.
We also develop novel solutions in response to specific challenges: our Expanse headphone optimisation feature, available with the dCS Bartók, Rossini and Lina DACs and Rossini Player, came out of a project to explore how we could resolve some of the issues inherent in traditional crossfeed methods, and provide a more immersive experience for headphone listeners.
Alongside this, we devote a great deal of time to exploring new ideas, with no defined outcome or criteria. This open-ended exploration is a critical part of our work: one that begins with looking at existing dCS technologies and products and asking ourselves, what and where can we improve?
2.0: Vivaldi, Mappers, and FPGAs
Our 2.0 software, first developed for the Vivaldi DAC, came out of one such exercise. The Vivaldi's launch marked the start of a new era for dCS. Through extensive development, we devised an all-new architecture that allowed us to further enhance the capabilities of our Ring DAC (the unique digital-to-analogue conversion system found in all dCS DACs) and deliver a new level of audio performance.
This architecture is based around the use of powerful Field Programmable Gate Arrays, or FPGAs – flexible firmware that can be reprogrammed to deliver new features, functions and improvements. FPGAs have always been a core part of dCS DACs: using reprogrammable firmware rather than inflexible DAC chips that cannot be recoded gives us more scope to continue enhancing products throughout their lifespan, adding new benefits and features via updates to the software stored on FPGAs.
The Vivaldi’s launch, however, marked the first time we were able to use FPGAs for the mapping algorithm, or Mapper, that determines how data is presented to the Ring DAC’s core.
The Mapper is responsible for decoding data and distributing digital signals to the Ring DAC. (See our PDF guide for more information on the Ring DAC’s unique design.) It uses a complex set of algorithms to determine which current sources must be turned on and off at any given point to generate the correct signal, in effect driving the Ring DAC's physical operation.
The original Mapper used in the Vivaldi was the culmination of several years of work: a careful process of refinement to achieve the optimum trade-off between noise, distortion and jitter. It worked extremely well, but our engineers are firm believers that there is always room for improvement.... Soon after the Vivaldi's release, we continued to explore how we could once again improve the Mapper’s performance and, in turn, the musical experience the Vivaldi provides.
Through extensive development, we created two new Mapper settings that operate the Ring DAC at double speed. These settings were made possible through the use of a new control board developed for the Vivaldi DAC, which allowed us to increase speed without incurring additional jitter.
This, in turn, enabled us to improve DSD upsampling operations, and introduce a new DSD filter option – developments that brought significant sonic and measured improvements. Listening tests carried out during the development process revealed enhanced dynamics and resolution, a more three-dimensional soundstage, and an even more immersive musical experience.
Read in full now:
https://dcsaudio.com/edit/2-0-enhancing-the-dcs-experience
Lina 2.0: A major performance upgrade for the Lina Network DAC
Lina 2.0: A major performance upgrade for the Lina Network DAC
Lina 2.0 brings a range of new features, including new Mapper settings, filter options, and balance control, to the Lina Network DAC.
Over the past 12 months, we’ve released several performance upgrades and new features for dCS owners. We delivered a major firmware upgrade for the dCS Bartók, and launched the next generation Bartók APEX. We also made our Expanse crossfeed feature available to dCS Rossini owners, and added digital volume control and volume lock to the dCS Lina Network DAC, allowing listeners to use the DAC as a pre-amplifier in two-channel audio setups. This upgrade reflects our commitment to continuous product development. We are dedicated to enhancing the performance of our products throughout their lifespan, releasing new features and innovations as we develop them so that listeners can participate in our latest discoveries.
In addition to launching the Lina 1.1 update in March this year, we have been working on a substantial software upgrade for the Lina Network DAC.
The Lina Network DAC 2.0 update brings several new features that are designed to enhance performance, aid ease of use, and give listeners more control over their playback experience.
It is available to new and existing Lina Network DAC owners and is provided free of charge.
Highlights include:
Two new Mapper settings
Lina 2.0 brings two new Mapper settings to the Lina Network DAC. These settings – first introduced in the dCS Vivaldi, Rossini and Bartók ranges – enable the Ring DAC to operate at double speed [5.6 or 6.14MS/s]. These additional settings are the result of careful refinement and continuous development. Since releasing the original Mapper [now MAP 2], we have continued to refine our process and improve jitter performance. We are now able to offer the option of a higher ring rate – a development which, in turn, allows us to move matching noise further out of the audible band – along with other improvements and refinements to our mapping algorithm. Listeners can now choose from double-speed settings or the original dCS Mapper to suit their preference.
DSD 128 Upsampling
A new DSD128 upsampling feature, as seen in the dCS Vivaldi, Rossini and Bartók DACs and Players, allows the Lina Network DAC to convert PCM audio to DSD at a greater speed, pushing noise higher in the frequency range [to somewhere above 40kHz]. This, in turn, allows the use of gentler filters. Depending on a listener’s music choice, this can result in improved spatial presentation and a more natural, nuanced sound.
New PCM and DSD Filters
All dCS DACs provide a range of carefully designed filter options, allowing listeners to select the setting that best suits their music and preferences.
The Lina Network DAC launched in 2022 with a choice of two filters, F1 and F2, for ease of use. The 2.0 update brings four new PCM filters, plus an additional DSD filter [F5] with a relaxed roll-off and smoother phase response.
This brings the number of filters available with the Lina Network DAC in line with our Rossini and Bartók DACs and gives listeners even more control over their system’s performance.
Balance Controls
An additional balance control function allows listeners to adjust left and right balance when listening with headphones or loudspeakers.
Read about more new features & access links for immediate download here: https://dcsaudio.com/edit/lina_2_0
Lina 2.0 brings a range of new features, including new Mapper settings, filter options, and balance control, to the Lina Network DAC.
Over the past 12 months, we’ve released several performance upgrades and new features for dCS owners. We delivered a major firmware upgrade for the dCS Bartók, and launched the next generation Bartók APEX. We also made our Expanse crossfeed feature available to dCS Rossini owners, and added digital volume control and volume lock to the dCS Lina Network DAC, allowing listeners to use the DAC as a pre-amplifier in two-channel audio setups. This upgrade reflects our commitment to continuous product development. We are dedicated to enhancing the performance of our products throughout their lifespan, releasing new features and innovations as we develop them so that listeners can participate in our latest discoveries.
In addition to launching the Lina 1.1 update in March this year, we have been working on a substantial software upgrade for the Lina Network DAC.
The Lina Network DAC 2.0 update brings several new features that are designed to enhance performance, aid ease of use, and give listeners more control over their playback experience.
It is available to new and existing Lina Network DAC owners and is provided free of charge.
Highlights include:
Two new Mapper settings
Lina 2.0 brings two new Mapper settings to the Lina Network DAC. These settings – first introduced in the dCS Vivaldi, Rossini and Bartók ranges – enable the Ring DAC to operate at double speed [5.6 or 6.14MS/s]. These additional settings are the result of careful refinement and continuous development. Since releasing the original Mapper [now MAP 2], we have continued to refine our process and improve jitter performance. We are now able to offer the option of a higher ring rate – a development which, in turn, allows us to move matching noise further out of the audible band – along with other improvements and refinements to our mapping algorithm. Listeners can now choose from double-speed settings or the original dCS Mapper to suit their preference.
DSD 128 Upsampling
A new DSD128 upsampling feature, as seen in the dCS Vivaldi, Rossini and Bartók DACs and Players, allows the Lina Network DAC to convert PCM audio to DSD at a greater speed, pushing noise higher in the frequency range [to somewhere above 40kHz]. This, in turn, allows the use of gentler filters. Depending on a listener’s music choice, this can result in improved spatial presentation and a more natural, nuanced sound.
New PCM and DSD Filters
All dCS DACs provide a range of carefully designed filter options, allowing listeners to select the setting that best suits their music and preferences.
The Lina Network DAC launched in 2022 with a choice of two filters, F1 and F2, for ease of use. The 2.0 update brings four new PCM filters, plus an additional DSD filter [F5] with a relaxed roll-off and smoother phase response.
This brings the number of filters available with the Lina Network DAC in line with our Rossini and Bartók DACs and gives listeners even more control over their system’s performance.
Balance Controls
An additional balance control function allows listeners to adjust left and right balance when listening with headphones or loudspeakers.
Read about more new features & access links for immediate download here: https://dcsaudio.com/edit/lina_2_0
The Lina Headphone Amplifier: Flexibility
In the third and final instalment of this series, we take a look at flexibility, highlighting some of the important features that help ensure the Lina Headphone Amplifier can excel with any pair of headphones, and any DAC or source device.
Balanced inputs: Designing for a range of DACs and sources
The dCS Lina series comprises three products: a Network DAC, Headphone Amplifier and Master Clock. These components are designed to provide an excellent performance when used as separates or as part of a complete Lina system. Each one is compatible with a vast range of audio equipment–a core requirement for all dCS products, and one that reflects our commitment to ensuring our systems are able to support a myriad of use cases.
In the context of the Lina Headphone Amplifier, this meant creating an amp that is compatible with a vast selection of source devices, and can drive almost all available headphones, from insensitive planar magnetic headphones through to sensitive IEMs.
The amplifier has three sets of inputs: an unbalanced input on RCA connectors, and two sets of balanced inputs–one buffered and one unbuffered–on XLR connectors.
As we discussed in a previous article on linearity, the unbuffered balanced input has a lower input impedance. This offers superior performance but is harder to drive, and requires a source with lower output impedance.
The buffered balanced input, in contrast, has a higher input impedance as a result of its buffer stage. This makes it easier to drive and means it is compatible with a wider range of sources.
Having a choice of unbuffered and buffered balanced inputs is unusual: most headphone amplifiers have a single set of balanced inputs to use with a fixed input impedance.
Including both sets allows us to offer superior performance when the amp is paired with lower output impedance sources that are capable of driving an unbuffered balanced input (such as the Lina Network DAC, and other DACs within the dCS range), while also making sure the amp can be connected to whatever source a listener desires.
Controlling Gain: Driving different types of headphones
In a previous article exploring the Lina Headphone Amplifier’s drive capabilities, we discussed some of the challenges inherent in creating an amp that can drive a wide range of headphones–for example, being able to deliver the kind of power required to drive insensitive planar magnetic headphones, without overdriving sensitive IEMs so much that listeners experience a higher noise floor and poor volume control.
Controlling the amplifier’s gain is critical to achieving this. To this end, the Lina Headphone Amplifier features an adjustable gain switch. The gain switch is located on the underside of the unit beneath the volume dial, and controls the gain going into the final output stage. This helps to ensure that the amplifier–which is very powerful–does not overdrive sensitive headphones.
When the switch is set to the left-hand position, the amplifier is in low gain mode. When set to the right-hand position, it is in high gain mode. There is around a 10.5dB difference between these two settings, which allows listeners to better match the amplifier’s gain to their connected headphones.
Read in full: https://dcsaudio.com/edit/lina_amp_flexibility
Balanced inputs: Designing for a range of DACs and sources
The dCS Lina series comprises three products: a Network DAC, Headphone Amplifier and Master Clock. These components are designed to provide an excellent performance when used as separates or as part of a complete Lina system. Each one is compatible with a vast range of audio equipment–a core requirement for all dCS products, and one that reflects our commitment to ensuring our systems are able to support a myriad of use cases.
In the context of the Lina Headphone Amplifier, this meant creating an amp that is compatible with a vast selection of source devices, and can drive almost all available headphones, from insensitive planar magnetic headphones through to sensitive IEMs.
The amplifier has three sets of inputs: an unbalanced input on RCA connectors, and two sets of balanced inputs–one buffered and one unbuffered–on XLR connectors.
As we discussed in a previous article on linearity, the unbuffered balanced input has a lower input impedance. This offers superior performance but is harder to drive, and requires a source with lower output impedance.
The buffered balanced input, in contrast, has a higher input impedance as a result of its buffer stage. This makes it easier to drive and means it is compatible with a wider range of sources.
Having a choice of unbuffered and buffered balanced inputs is unusual: most headphone amplifiers have a single set of balanced inputs to use with a fixed input impedance.
Including both sets allows us to offer superior performance when the amp is paired with lower output impedance sources that are capable of driving an unbuffered balanced input (such as the Lina Network DAC, and other DACs within the dCS range), while also making sure the amp can be connected to whatever source a listener desires.
Controlling Gain: Driving different types of headphones
In a previous article exploring the Lina Headphone Amplifier’s drive capabilities, we discussed some of the challenges inherent in creating an amp that can drive a wide range of headphones–for example, being able to deliver the kind of power required to drive insensitive planar magnetic headphones, without overdriving sensitive IEMs so much that listeners experience a higher noise floor and poor volume control.
Controlling the amplifier’s gain is critical to achieving this. To this end, the Lina Headphone Amplifier features an adjustable gain switch. The gain switch is located on the underside of the unit beneath the volume dial, and controls the gain going into the final output stage. This helps to ensure that the amplifier–which is very powerful–does not overdrive sensitive headphones.
When the switch is set to the left-hand position, the amplifier is in low gain mode. When set to the right-hand position, it is in high gain mode. There is around a 10.5dB difference between these two settings, which allows listeners to better match the amplifier’s gain to their connected headphones.
Read in full: https://dcsaudio.com/edit/lina_amp_flexibility
🎧 dCS Lina wins an EISA award 🎧
dCS Lina has been awarded Best High-End Headphone Solution in the 2023 EISA Awards!
The EISA Awards celebrate products that combine “the most advanced technologies and desirable features with class-leading performance”.
Each year, EISA’s network of members, which includes journalists from 30 countries, representing 60 consumer electronics magazines and websites, review a broad range of products across six categories: Hi-Fi, Home Theatre Video, Home Theatre Audio, Photography, Mobile Devices, and In-Car Electronics.
Judging takes place over several months, and is a multi-step process: members are assigned a category based on their area of expertise, and invited to nominate products within that category. Members then gather to discuss and review shortlisted products in depth, before selecting winners.
This year’s winning Hi-Fi products were chosen by a panel of 19 EISA members hailing from Europe, Japan and the US, who described Lina as “a stunning addition to the high-end headfi landscape”. They also praised the Lina Network DAC’s ability to bring music to life with “remarkable clarity and detail”, and the Lina Headphone Amplifier’s “energy and punch”.
We’re really thrilled to see Lina recognised by EISA and its team of hi-fi experts. When we designed Lina, we set out to create a versatile series of separates that could be used independently, or as a complete playback system, in a variety of spaces and audio setups. We spent a great deal of time thinking about the unique needs of the headfi community, and exploring how we could deliver a fantastic experience for all Lina listeners – whether their preference is headphone listening, loudspeaker listening, or a mix of both. We’ve been hugely excited to see so many people enjoying their Lina systems, and travelling to CanJams and global audio events to hear products in person. Thanks to the judges at EISA, and everyone who’s shared their experiences with Lina so far.
The EISA Awards celebrate products that combine “the most advanced technologies and desirable features with class-leading performance”.
Each year, EISA’s network of members, which includes journalists from 30 countries, representing 60 consumer electronics magazines and websites, review a broad range of products across six categories: Hi-Fi, Home Theatre Video, Home Theatre Audio, Photography, Mobile Devices, and In-Car Electronics.
Judging takes place over several months, and is a multi-step process: members are assigned a category based on their area of expertise, and invited to nominate products within that category. Members then gather to discuss and review shortlisted products in depth, before selecting winners.
This year’s winning Hi-Fi products were chosen by a panel of 19 EISA members hailing from Europe, Japan and the US, who described Lina as “a stunning addition to the high-end headfi landscape”. They also praised the Lina Network DAC’s ability to bring music to life with “remarkable clarity and detail”, and the Lina Headphone Amplifier’s “energy and punch”.
We’re really thrilled to see Lina recognised by EISA and its team of hi-fi experts. When we designed Lina, we set out to create a versatile series of separates that could be used independently, or as a complete playback system, in a variety of spaces and audio setups. We spent a great deal of time thinking about the unique needs of the headfi community, and exploring how we could deliver a fantastic experience for all Lina listeners – whether their preference is headphone listening, loudspeaker listening, or a mix of both. We’ve been hugely excited to see so many people enjoying their Lina systems, and travelling to CanJams and global audio events to hear products in person. Thanks to the judges at EISA, and everyone who’s shared their experiences with Lina so far.
The Lina Headphone Amplifier: Linearity
Our series exploring key design and performance aspects of the Lina Headphone Amplifier continues with a look at linearity. Here, we explain why delivering excellent linearity was a core concern for the dCS design team, and the steps we took to achieve this.
Linearity is one of the most important factors we look at when designing and assessing the performance of dCS audio systems. Whilst we have a unique set of design goals for each new product we create, achieving excellent linearity is always a core focus for our engineers.
What is linearity and why is it important in audio?
Linearity is the measure of how directly a device can translate a change at its input to a change on its outputs. An amplifier, for example, must ensure that changes in the incoming analogue signal it receives from a DAC are translated into changes in the amplified signal it delivers at its output. If a device is not linear, then the signal is distorted. At dCS, we consider any distortion of the original signal unacceptable.
Class, linearity and distortion: key design considerations
When designing the Lina Headphone Amplifier, we set out to deliver both excellent drive characteristics and excellent linearity. We developed a Super Class A / Class AA topology, which combines the distortion free characteristics of a Class A design with the efficiency required to drive even inefficient planar magnetic headphones. (See our previous post on drive for more information on amplifier classes.)
Utilising this design offered some major performance benefits, but it also presented some additional challenges - in particular, working out how to avoid crossover distortion when not using a full Class A topology.
Read in full: https://dcsaudio.com/edit/lina_amp_linearity
Linearity is one of the most important factors we look at when designing and assessing the performance of dCS audio systems. Whilst we have a unique set of design goals for each new product we create, achieving excellent linearity is always a core focus for our engineers.
What is linearity and why is it important in audio?
Linearity is the measure of how directly a device can translate a change at its input to a change on its outputs. An amplifier, for example, must ensure that changes in the incoming analogue signal it receives from a DAC are translated into changes in the amplified signal it delivers at its output. If a device is not linear, then the signal is distorted. At dCS, we consider any distortion of the original signal unacceptable.
Class, linearity and distortion: key design considerations
When designing the Lina Headphone Amplifier, we set out to deliver both excellent drive characteristics and excellent linearity. We developed a Super Class A / Class AA topology, which combines the distortion free characteristics of a Class A design with the efficiency required to drive even inefficient planar magnetic headphones. (See our previous post on drive for more information on amplifier classes.)
Utilising this design offered some major performance benefits, but it also presented some additional challenges - in particular, working out how to avoid crossover distortion when not using a full Class A topology.
Read in full: https://dcsaudio.com/edit/lina_amp_linearity
The Lina Headphone Amplifier: Drive
In the first of a new series of articles on The dCS Edit, we examine the drive capabilities of the Lina Headphone Amplifier.
Drive capabilities are a core consideration when creating amplifiers for both headphone and loudspeaker listening. On a basic level, an amp must be able to meet the power requirements of whatever headphones or speakers it is paired with. These requirements vary from product to product: a small bookshelf speaker, for example, will have different needs to a large floor standing speaker, and amplifier creators must account for products that sit at both ends of the spectrum – those that are considered easy or difficult to drive – in their designs.
The same is true with headphones, but here, the spectrum is much wider. The difference in requirements between a pair of sensitive in ear monitors versus insensitive planar magnetic headphones is much larger than the aforementioned bookshelf and floor standing speakers, and headphone amplifier creators must ensure their unit can adequately drive both products, delivering enough power to allow the planar headphones to sing, but not overdriving the IEMs such that they have a higher noise floor and poor volume control.
Read in full: https://dcsaudio.com/edit/lina_amp_drive
Drive capabilities are a core consideration when creating amplifiers for both headphone and loudspeaker listening. On a basic level, an amp must be able to meet the power requirements of whatever headphones or speakers it is paired with. These requirements vary from product to product: a small bookshelf speaker, for example, will have different needs to a large floor standing speaker, and amplifier creators must account for products that sit at both ends of the spectrum – those that are considered easy or difficult to drive – in their designs.
The same is true with headphones, but here, the spectrum is much wider. The difference in requirements between a pair of sensitive in ear monitors versus insensitive planar magnetic headphones is much larger than the aforementioned bookshelf and floor standing speakers, and headphone amplifier creators must ensure their unit can adequately drive both products, delivering enough power to allow the planar headphones to sing, but not overdriving the IEMs such that they have a higher noise floor and poor volume control.
Read in full: https://dcsaudio.com/edit/lina_amp_drive
Lina 1.1: dCS brings digital volume control and volume lock features to Lina
We are pleased to announce the release of Lina 1.1; available for download on Tuesday 21st March 2023.
Like all dCS streaming DACs, Lina was designed with upgradeability in mind. Flexible firmware provides unlimited scope for future improvement, with new features and enhancements delivered via simple software updates.
Lina can now be used in systems without a preamp, driving a power amplifier directly. This approach eliminates unnecessary redundancy—reducing the number of volume controls, gain stages, and interconnects in the signal path—a strategy that provides extraordinary purity and transparency. The DAC’s output can also now be better matched with the input specifications of connected pre or headphone amplifiers, allowing their analogue volume controls to be kept in the ideal operation area.
Like all dCS streaming DACs, Lina was designed with upgradeability in mind. Flexible firmware provides unlimited scope for future improvement, with new features and enhancements delivered via simple software updates.
Lina can now be used in systems without a preamp, driving a power amplifier directly. This approach eliminates unnecessary redundancy—reducing the number of volume controls, gain stages, and interconnects in the signal path—a strategy that provides extraordinary purity and transparency. The DAC’s output can also now be better matched with the input specifications of connected pre or headphone amplifiers, allowing their analogue volume controls to be kept in the ideal operation area.
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Hi,
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