adamlau
100+ Head-Fier
- Joined
- Apr 1, 2005
- Posts
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Listening at home through the active system listed in the signature below. Digital coax only, phono output not tested...
Highly customized Arch Linux desktop void of extraneous services including network, Syslog, CUPS, NTP, X Windows, et. al...
ALSA driver built into custom kernel 2.3.9, dmix disabled via exclusion from the '--with-pcm-plugins' array in alsa-lib...
Will submit additional observations when I versus again in a more traditional, passive system (with the W4S ST 250)...
Will submit additional observations when I versus again via USB from my MacBook Pro running Amarra 2.3 (4344)...
Initial Impressions:
Additional Notes:
1. W4S DAC-2 roll-off set to fast, phase 0 across all tests
2. M-DAC passed both 16/44.1 and 24/96 Bitperfect tests
3. MH 25.3 tested with JJ E88CC Gold + HAL UltraSonic 9
4. MH 25.3 tested with stock OPA2134 I/V + LME49720HA buffer
5. MH 25.3 tested in non-upsampling (NOS) fashion across all tests
6. Radio Shack Digital Sound Level Meter 2055 used for gain matching
7. Bel Canto DAC2.5 (auditioned elsewhere) sounded closest to the MH 25.3
8. Units tested with and without HAL Supersonic Stabilizers
9. ARTIST 5 tweeter level and shelving filters set to 0
Initial Conclusions:
I am going to discount the MH 25.3 this time around for its lack of a display and a remote control. Otherwise, it performed admirably with well mastered sources until pushed and compared to its ESS 9018 counterparts. The W4S DAC-2 might be the DAC I would go as a plug-and-play (outside of driver installation) solution with its balanced sound, independant source control (surprisingly useful) and outstanding build quality. But the M-DAC with its superior ergonomics (suspect RCA-type inputs notwithstanding), greater dynamic extension and selectable filters remains my preference for the time being, if only because the choice of filters allow one to tailor the sound output on a per track basis to a desired empathy (particularly applicable to PCM streams decoded from TrueHD/DTS/AC3). Add in the prospect of an upgradeable PSU in the form of the tentatively forthcoming M-PAX and the lead widens (albeit at a higher cumulative cost than that of the DAC-2 alone). Had the W4S DAC-2 included additional selectable filters outside of fast/slow slopes and provided that the M-PAX remains vaporware, or does little to impact the sound quality of the M-DAC, the DAC-2 may very well have taken the initial preference lead.
Highly customized Arch Linux desktop void of extraneous services including network, Syslog, CUPS, NTP, X Windows, et. al...
ALSA driver built into custom kernel 2.3.9, dmix disabled via exclusion from the '--with-pcm-plugins' array in alsa-lib...
Will submit additional observations when I versus again in a more traditional, passive system (with the W4S ST 250)...
Will submit additional observations when I versus again via USB from my MacBook Pro running Amarra 2.3 (4344)...
Initial Impressions:
- DAC-2 RCA and RCA-type (input) connectors are far superior to those of the M-DAC and MH 25.3...
- DAC-2 sounds very much like the M-DAC (Sharp Rolloff + D3E Unmodified)...Clear, detailed all around (slightly bright up top)
- MH 25.3 loses instrument and vocal separation much earlier than the other two once gain is increased...
- MH 25.3 is quite bright in comparsion to the other two up top, annoyingly noticeable when you near the point of clipping...
- M-DAC (Optimal Transient + D3E Full) is slightly darker sounding (eliciting the sense of a fuller body) with a seemingly smoother midrange (Optimal DD + D3E Full) than the DAC-2...
- M-DAC (Optimal XD + D3E Full) has an interesting reverb/decay effect (whether due to the inclusion of second order harmonics, post ringing, or both) that neither the MH 25.3, nor the DAC-2 offer. This effect introduces a concert hall feel (with its secondary reflections and subtle time domain responses) which suits classical, jazz and live recordings in general.
- M-DAC (any filter less Sharp/Slow + D3E Full) emotes the deepest bass of the three, though the DAC-2 is very clean (tight when the recoding is mastered as such, relaxed and controlled otherwise). Verified by powering off sats and playing through sub only (150 Hz). Which of the two produces more accurate bass? Reserving judgement until I am able to FuzzMeasure/ECM8000 frequency responses at 1m...
- DAC-2 sounds to be the most neutral of the three (neutral in relation to the two). Or it could be said that the W4S DAC-2 seems to lacks the overall extension of the M-DAC (any filter less Sharp/Slow + D3E Full) and the brightness of the MH 25.3 (which can be confused as additional detail to the unwary). This can also be interpreted as the DAC-2 sounding slightly thinner than the M-DAC. Thinner? More neutral? Take your pick.
- Source media focused on MFSL/AFZ/DCC/HDtracks/Analogue Productions releases (16-24 and 44.1-192), DVD-A (24/96) and TrueHD/DTS/AC3 to PCM...
- MH 25.3 sounds the most like the Xonar ST (analog out with stock opamps)...
- Case tooling and general build quality goes to the DAC-2 > M-DAC > MH 25.3....
- M-DAC display wins hands down in terms of source feedback and legibility...
Additional Notes:
1. W4S DAC-2 roll-off set to fast, phase 0 across all tests
2. M-DAC passed both 16/44.1 and 24/96 Bitperfect tests
3. MH 25.3 tested with JJ E88CC Gold + HAL UltraSonic 9
4. MH 25.3 tested with stock OPA2134 I/V + LME49720HA buffer
5. MH 25.3 tested in non-upsampling (NOS) fashion across all tests
6. Radio Shack Digital Sound Level Meter 2055 used for gain matching
7. Bel Canto DAC2.5 (auditioned elsewhere) sounded closest to the MH 25.3
8. Units tested with and without HAL Supersonic Stabilizers
9. ARTIST 5 tweeter level and shelving filters set to 0
Initial Conclusions:
I am going to discount the MH 25.3 this time around for its lack of a display and a remote control. Otherwise, it performed admirably with well mastered sources until pushed and compared to its ESS 9018 counterparts. The W4S DAC-2 might be the DAC I would go as a plug-and-play (outside of driver installation) solution with its balanced sound, independant source control (surprisingly useful) and outstanding build quality. But the M-DAC with its superior ergonomics (suspect RCA-type inputs notwithstanding), greater dynamic extension and selectable filters remains my preference for the time being, if only because the choice of filters allow one to tailor the sound output on a per track basis to a desired empathy (particularly applicable to PCM streams decoded from TrueHD/DTS/AC3). Add in the prospect of an upgradeable PSU in the form of the tentatively forthcoming M-PAX and the lead widens (albeit at a higher cumulative cost than that of the DAC-2 alone). Had the W4S DAC-2 included additional selectable filters outside of fast/slow slopes and provided that the M-PAX remains vaporware, or does little to impact the sound quality of the M-DAC, the DAC-2 may very well have taken the initial preference lead.