The dual subwoofers were bumping and our pant legs were flapping. Only moments before, we'd been treated to a polite viola da gamba. Not now. Resolution Audio's designer, Jeff Kalt, had brought only two discs with him to ensure that his company's Cantata Music Center was functioning properly in my system: Jordi Savall and Hespérion XXI's Altre Follie, 15001750 (CD, Alia Vox 9844), and Tool's 10,000 Days (CD, Tool Dissectional/Volcano 81991). After changing a few things around with the chamber music, we'd advanced to the hard rock of Tool.
In the early 1980s, when CDs began trickling out of the few existing pressing plants, they were such rare and exotic objects that Aaron's Records, on Melrose Avenue in Los Angeles, kept them secured under lock and key in a tall glass cabinet. A customer forsaking vinyl would enter the store and, with great fanfare, announce the decision by dropping a load of LPs on the front counter with a disgusted thud. Then, in a ceremony resembling a rabbi removing the sacred scrolls of the Torah from the ark, the customer would approach the glass cabinet. An employee would unlock and swing open the doors, and, under that watchful gaze, the customer would choose from among a scattering of titles, carefully avoiding any disc that did not include the Strictly Kosher mark of "DDD."
Oh boy, another new DAC review. Some folks think DACs, once you get past the features, all sound pretty much the same. I mean, it's just digital. Well, they're right. Pretty much. Just as two new cars of a particular make, model, color, and options package both look the same, sitting there on the lot.
But if you discover a ding in the door of one of them, where most folks still see only a new car, you now see the ding. It might have been there all along, undetected the first few times you walked around the carmaybe your buddy even had to point it out to you. It's insignificant in the scheme of all that a new car is, but once you've seen it, you always see it. Now you can easily tell the two cars apart, and we both know which one you'll drive home.
I don't remember where I was when the Berlin Wall came down, and I already don't remember what I was doing when Liz Taylor died. (I suppose I was busy not thinking about Liz Taylor.) But I do remember when USB-based computer audio became a serious medium: That was when Gordon Rankin, of Wavelength Audio, introduced asynchronous data streaming, with his proprietary Streamlength software. After that, things picked up speed.
The apparent demise of Audio Alchemy left a niche in the marketplace for a supplier of innovative, high-value digital components to provide the less-than-wealthy audiophile with state-of-the-art technology. Although Camelot Technology existed before Audio Alchemy went away, they have quickly taken over this niche with some interesting components. And I understand that some of the former AA technical personnel consulted for Camelot in the development of these products. (A recent press release indicates that Genesis Technology also played a major role in their design.)
The Dragon Pro is, I believe, the most eagerly awaited of the Camelot products. Since the disappearance of Audio Alchemy's DTIPro 32, no comparable anti-jitter and resolution-enhancement product has come along to replace it. (Yes, there are simpler anti-jitter boxes, and there is the Genesis Digital Lens, but these are not truly comparable in approach.) Well, the Dragon is everything that the DTIPro 32 was, and more!
The Dragon Pro anti-jitter box offers both jitter reduction and resolution enhancement, along with I2S in/out. Considering the number of Web newsgroup ads from folks wanting to buy AA DTIPro 32s, this baby has a waiting market.
I think any newish company launching yet another expensive (ie, anything over $2000) digital-to-analog converter on the roiling waters of the audiophile marketplace needs at least two things: a truly great product, and a good story to tell. I think Bricasti Design Ltd., of Medford, Massachusetts, has both.
The past 12 months have seen some remarkable developments in digital playback. Standards of digital musicality are far higher than they were a year ago, both on an absolute performance basis and in terms of what you get at various price levels. No other component category has seen such tremendous gains in value for money or number of new products introduced. It seems hard to believe that since Vol.13 No.6 (12 issues ago), we've reviewed such noteworthy digital processors as the Meridian 203, Proceed PDP 2, Stax DAC-X1t, Theta DSPro Basic, Wadia X-32, Esoteric D-2, PS Audio SuperLink, and VTL D/A. Each of these converters brought a new level of performance to its price pointor, in the case of the Stax and VTL, established a new benchmark of ultimate digital performance.
Just as these units provided stiff competition for previous products, so too will they come under the assault of improving technology. The art of digital processor design is so young that we can continue to expect further improvements coupled with lower prices as designers move up the learning curve.
Blind though I am to the allure of blind testing, I can appreciate some degree of review-sample anonymity: Distinctive products elicit distinctive responses, but a plain black box encourages us to leave our prejudices at the door. It asks of us a certain . . . objectivity.
So it was with the Micromega AS-400 digital source/integrated amplifier ($4495), the anonymity of which was compounded, in my case, by a generous helping of forgetfulness: I suppose I was told, ahead of time, that this was a class-D amplifier, but at some point in time before my first at-home audition I apparently killed the brain cells responsible for remembering that fact. So I was innocent of conscious prejudice when I listened to this elegant cipher of a box and wrote, in my notes: "Dynamic, dramatic, and almost relentlessly exciting with some recordings. Imbued pianos with almost too much dynamism for the roomtoo much being very good!but lacked some 'purr' in the die-away. Basically fine and fun. Wish it had a little more color and spatial depth."
The rapidly evolving world of the late 20th century is the source of much stress. Changes in the status quo, whether wrought by social, political, or technological forces, are often accompanied by anxiety brought on by the struggle to assimilate new patterns of thought. New ideas necessitate abandoning or modifying one's old ideas, thus creating conflict (footnote 1). However, these periods of rapid change can also be exciting, allowing one to chart a course of discovery and growth.
Minnesota pride is a funny thing. As Garrison Keillor points out weekly on A Prairie Home Companion, to be a Minnesotan, the first and crucial step to be taken is that of self-effacement. It is unclear to me whether this is the cause or symptom of Minnesotans ability to endure brutal winters, excel at the creation and consumption of hot dish (which the rest of the God-fearing world knows as casseroles), or their miraculous lineage from generations of Norwegian bachelor farmers. Whatever it is, Minnesotans tend to quietly get their jobs done with little more fanfare than a cup of coffee and a slice of rhubarb pie.
The M1 DAC is by Musical Fidelity. At $699, it's a stunning bargain. Comparing it to $995 for the Digilog in 1989. Meanwhile, the M1 is far more versatile, way better built, and, if memory serves me right, sounds vastly better.
It appears that the way to sell a DAC in 2011 is to almost give it away, in real-dollar terms. Some people pay far more than this for a set of speaker cables, a pair of interconnects, even a power cord. The M1 DAC is a piece of kit that can transform your system. I kid you not.
A computer is not optimized for the uninterrupted streaming of audio data. It has rapidly become established wisdom, therefore, that the optimal means of extracting audio data from a computer's USB port is to operate that port in what is called "asynchronous isochronous" mode. This lets the receiving device, such as a digital-to-analog converter (DAC), control the flow of data from the PC. In theory, asynchronous USB operation (not to be confused with the asynchronous sample-rate conversion used in some DACs) reduces jitter to unmeasurable levels, depending on the accuracy of the receiver's fixed-frequency oscillator, which is used to clock the data to the DAC. By contrast, in the alternative and almost ubiquitous USB operating mode, called "adaptive isochronous," while the sample rate of the output data, averaged over a longish period, will indeed be the specified 44.1 or 48kHz, there will be short-term fluctuations, or jitter, due to the oscillator having to change its frequency every millisecond to match the uncertain rate of data flow from the PC.
As explained by Ken Kessler elsewhere in this issue, the English A&R Cambridge company made their name by producing one of the UK's most successful integrated amplifiers, the 40Wpc A60. This neatly styled model was in production for a decade or so and was the basis for a large number of good-sounding but inexpensive audio systems. These days, the company, whose products in the US sell under the Arcam banner, is a major British hi-fi manufacturer, with a product line that includes integrated amplifiers, tuners, loudspeakers, cartridges, and even a CD player. A&R was, I believe, the first UK manufacturer to obtain a player-manufacturing license from Philips, and with the product under review here, has broken new territory for a supposedly "audiophile" company in having a custom LSI chip manufactured to their own requirements.
My quandary on receiving for review the Linn Majik DS-I: What, precisely, is it supposed to do? Does the Majik DS-I contain a hard disk and music-ripping software, so I can use it to store all the music in my CD collection? Does it have a graphical user interface (GUI) that at least matches the one provided by the endearingly free Apple iTunes? Does it include a DAC that allows it to play the music files I've already put on my computer?