Excellent feedback, thanks
Aqua Acoustic La Scala MkII Optologic
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barbz127
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My take is the optilogic is doing all the heavy 15-in isolating the inputsExcellent feedback, thanks
Agreed, I think
The sound in my system was better without galvanic isolation but that might be down to the isolator I’m using (Topping) as @pwanner is hearing improvements with an Intona.
pwanner
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Fair point! Maybe the correct way to rephrase is to say that the La Scala is able to show all the little changes made on the source side.
I also think the usb input Aqua made is extremely good compared to most implementations.
I would like to test the i2s input as well, but the LinQ is way too expensive. I am thinking of trying the PiDesign Mercury V2 that has a compatible i2s port (according to the manufacturer).
That’s very well put about the La Scala being able to show changes to the source side
Never heard of the PiDesign Mercury v2 but it seems very interesting considering the price and with the compatible i2s port.
pwanner
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PiDesign are very famous in the Raspberry Pi audiophile world for their Pi2AES module.That’s very well put about the La Scala being able to show changes to the source side
Never heard of the PiDesign Mercury v2 but it seems very interesting considering the price and with the compatible i2s port.
Prompted by our discussion I’m now streaming from my iMac (upsampling to176.4/192) thru an Ifi Zen Stream connected to the La Scala with USB. This is just crazy good, every little detail on Carolin No’s ”Favorite Sin” just pops out soo clearly. These are technicalities I was missing in comparison with the top DAC’s
The iFi Zen Stream is as good as everyone says it is. Apart from adding maybe a better power adapter and some antivibration feet to it I see no point in pouring more money into the digital front end. Done.
The Innuos is very nice, but I settled on the iFi. At least for now
Oddly enough it was after I’d switched tube on the RCA output that the difference between going directly from computer to DAC vs via streamer became clearly noticeable to me.
Getting out of the way is a really great description. That’s probably the best way to describe the difference between the truly great digital front ends from the rest.
It has to do with something Robert Harley wrote about resolution:
But a hi-fi system that delivers real resolution sounds nothing like that stereotype. In fact, higher resolution renders greater tonal saturation, warmth, and instrumental body by virtue of revealing the timbral micro-structure, which only contributes to a sense of realism and life. Instrumental textures simply sound more like the real thing when the system accurately portrays the instrument's harmonic and dynamic structure in all its finely textured glory.
The La Scala needs some tweaks to get there (changing tubes, adding reclocker/streamer etc) then it plays in the highest league.
IMHO.
So ANY power adapter at 9-15v is probably better than what’s in the box. Piece of crap, it’s noisy and maybe not even pushing enough currentPrompted by our discussion I’m now streaming from my iMac (upsampling to176.4/192) thru an Ifi Zen Stream connected to the La Scala with USB. This is just crazy good, every little detail on Carolin No’s ”Favorite Sin” just pops out soo clearly. These are technicalities I was missing in comparison with the top DAC’s
The iFi Zen Stream is as good as everyone says it is. Apart from adding maybe a better power adapter and some antivibration feet to it I see no point in pouring more money into the digital front end. Done.
Edit: A unused Netgear switch had a power adapter rated 12v/2A. Much better.
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The bass on Marcus Miller’s “Power” and Jacob Gurevitsche’s spanish guitar on “Lovers in Paris” is for REAL!
Holy cow
Holy cow
So I’ll end with some parting thoughts.
The first time I heard the La Scala Optologic was at a dealer who was demoing the Aqua range, so I also was able to compare with the updated Formula XHD. They were both connected to an Antipodes K50 in a very nice speaker system. At that time I was more impressed by the Formula than the La Scala. The Formula was the more analytical, more precise of the two and that appealed to me then. As time past the more precise Formula faded from memory as I heard even better (but much more expensive) DAC’s: Ideon Absolute Epsilon and MSB Reference.
A couple of weeks ago I was given the opportunity to audition the La Scala at home. Let’s say I didn’t jump on the chance but at least I didn’t say no… As listened I remembered that there were a couple of things that had impressed me at the initial audition, even in comparisson with the Formula: a deeper soundstage and a beautiful, holographic midrange.
The thing that transformed the La Scala, and totally changed my opinion of it, was the switch to Siemens triple mica’s. All of the sudden the initial strengths of the La Scala was complemented by lovely details, all around improved technicalities - it was just an absolute joy to listen to. The addition of a streamer improved things further by lowering the noise floor. This digital front-end now combines the technicalities I enjoyed when using Chord DAC’s with the addictive qualities of tubes and the R2R topology. And I now have a digital setup that’s much closer to the MSB Reference then I’d ever thought possible
The first time I heard the La Scala Optologic was at a dealer who was demoing the Aqua range, so I also was able to compare with the updated Formula XHD. They were both connected to an Antipodes K50 in a very nice speaker system. At that time I was more impressed by the Formula than the La Scala. The Formula was the more analytical, more precise of the two and that appealed to me then. As time past the more precise Formula faded from memory as I heard even better (but much more expensive) DAC’s: Ideon Absolute Epsilon and MSB Reference.
A couple of weeks ago I was given the opportunity to audition the La Scala at home. Let’s say I didn’t jump on the chance but at least I didn’t say no… As listened I remembered that there were a couple of things that had impressed me at the initial audition, even in comparisson with the Formula: a deeper soundstage and a beautiful, holographic midrange.
The thing that transformed the La Scala, and totally changed my opinion of it, was the switch to Siemens triple mica’s. All of the sudden the initial strengths of the La Scala was complemented by lovely details, all around improved technicalities - it was just an absolute joy to listen to. The addition of a streamer improved things further by lowering the noise floor. This digital front-end now combines the technicalities I enjoyed when using Chord DAC’s with the addictive qualities of tubes and the R2R topology. And I now have a digital setup that’s much closer to the MSB Reference then I’d ever thought possible
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A short update.
A way counter the roll off that occurs after 10 kHz is to use EQ. I’m using a high shelf filter set at 22 000 hZ with gain set to + 4 db and Q at 1. To me it balances out that roll off
A way counter the roll off that occurs after 10 kHz is to use EQ. I’m using a high shelf filter set at 22 000 hZ with gain set to + 4 db and Q at 1. To me it balances out that roll off
Addendum
There’s something with this DAC that I’m unable to explain. It has this seductive, even addictive, nature that just pulls me in.
Even those tracks whose sole purpose always have been to evaluate technicalities become a musical experience. Maybe this is musicality?
Strange and wonderful.
There’s something with this DAC that I’m unable to explain. It has this seductive, even addictive, nature that just pulls me in.
Even those tracks whose sole purpose always have been to evaluate technicalities become a musical experience. Maybe this is musicality?
Strange and wonderful.
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I’ve been doing comparisons between USB and SPDIF. My conclusion is that if you have a system with a streamer that outputs SPDIF of really good quality (measurably very low jitter and noise levels) I highly recommend trying it - the sound is beyond reproach!
Using my usual test tracks and going from memory/notes this is as close to the MSB Reference (my benchmark) as I’ve heard. There is a sense of immediacy, details and dynamics that I’ve never been able to reproduce in my system until now.
It seems to me that some of the techniques that have been implemented in streamers and DAC’s to improve the sound quality from USB has actually benefited the older SPDIF (and probably I2S) even more. That has been my simple hypothesis and basis for my comparisons. As far as I can tell this seems to be true, at least with the fantastically well engineered La Scala
Using my usual test tracks and going from memory/notes this is as close to the MSB Reference (my benchmark) as I’ve heard. There is a sense of immediacy, details and dynamics that I’ve never been able to reproduce in my system until now.
It seems to me that some of the techniques that have been implemented in streamers and DAC’s to improve the sound quality from USB has actually benefited the older SPDIF (and probably I2S) even more. That has been my simple hypothesis and basis for my comparisons. As far as I can tell this seems to be true, at least with the fantastically well engineered La Scala
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barbz127
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Has anyone had ears on the msb discrete and LA scala in the same setting? Hard to find comparisons between these two.
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