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That's odd, because I only listen with my eyes.
Interesting to note, but how applicable are granular noise and slope overload issues for multi-bit DS-modulators, which is basically everything out there these days.
Have the same question. Can you guys please suggest some warm sounding DACs in that price range (closer to $300). I tried the iDSD micro but still doesn't feel as "blended" enough as I imagined it would be.
Your best move would be to save coloration for the amplification stage. You want your source to be neutral.
I haven't heard it but the new LH GOv2 is supposed to be very good (and relatively neutral). If you can wait and your budget is 500+ then rumor has it that might be a good idea.
Yes the above mentioned DAC has gotten some very good reviews (holding out to say more until I try it).
That's a good point about wanting the DAC to be neutral - this way it can be like a chameleon - presenting everything the way it's supposed to be, so you can let the rest of your source chain do the coloring: the amp and its' tubes or op-amps, any software or hardware EQ'ing and of course the way the headphones present the sound signature. Otherwise a DAC with a character of it's own would plague the rest of your chain by presenting everything falsely.
Well, I think that it's a valid question; hasn't this whole thread been about the varying sound signatures of dacs? Some say that even the mighty Yggdrasil can sound a bit forward (less warm), when compared to some of it's competition!
But of course, there's a lot more to getting the sound that you want than just choosing the right dac.
another DAC principles source - recommended by Linkwitz: Fundamentals of Arbitrary Waveform Generation, AWG Primer http://cp.literature.agilent.com/litweb/pdf/M8190-91050.pdf
written for engineers using their AWG but the 2nd chapter, >60 pages might interest some here - collects some switching glitch system techniques highly relevant to R-2R in particular
from scanning down Linkwitz' Links page http://www.linkwitzlab.com/links.htm#Aczel
Gosh, why does this thread have 400+ pages of comments? Studio ADCs and DACs use D-S modulation and most relatively modern recordings went through numerous analog-digital / digital-analog conversions which means if there do exist D-S imperfections they are already on the recording and nothing can be done with it. Moreover I am willing to bet money that nobody will be able to tell the audible difference if Benchmark DAC1/ADC1 (D-S of course) combo is thrown in the signal chain that ends with say Schiit Yggdrasil.
of course you would have cripple the cognoscenti's golden ears here with level matching, blinding protocol...
Ah.....so this is the reason 90% of the recordings made since 2000 or so, sound so bad......
^ Yup, it's totally the DACs that make recordings sound bad. It's for sure not the Loudness War at all, no way Jose. That would be silly.
how much money are you willing to bet ? Set the test, I'll take it.
Hint, I have a Dac1 hdr and a theta dspro genV
Hint: You might want to add a decent voltmeter to that combo before actually agreeing to do a test
My point is that ADC1/DAC1 will not add any coloration to the sound. And if you prefer the coloration your theta does, you will still have it regardless of analog-digital-analog conversion in your chain.
Do you think it could be a combination of both MiceB? Probably, and the "applefication" of creating musical pablum for the "masses".
Details and ambiance cues are not a coloration, but regardless, if you consider there's a coloration, how would it be possible to not hear a difference ?