I'm beginning to understand why some people enjoy writing about crazy tweaks like electron counseling and magic listening trousers: When an idea is that new, it brings with it the chance for some gifted but heretofore unappreciated journalist to rise through the ranks and describe it to an anxious world. By contrast, when a defeated and baggy old establishment writer sets out to describe a CD player or amplifier, the product is surely the millionth such thing to come down the pike, and before long the readers complain: We used to like you, but you don't try very hard to excite us anymore.
Usually, a Stereophile "Follow-Up" follows up (duh!) a full review of the component in question. This review, however, is intended to flesh out a cryptic comment made by Wes Phillips in April's "As We See It": "When Apple introduced its AirPort Express wireless multimedia link," Wes wrote, "it even included a digital port so that an audiophile—such as Stereophile's editor—could network his system, using the AE to feed his Mark Levinson No.30.6 outboard D/A converter. 'Sounds okay,' deadpans JA."
Giuseppe Verdi gave the world more than two dozen operas, some good sacred music, and one string quartet. He also provided the young Arturo Toscanini with one of his first big breaks—conducting the singing of "Va pensiero" at his burial procession—and gave the flagship consumer product from England's dCS Ltd. its name. That the latter two gestures were posthumous and unwitting does nothing to diminish their poetry.
The X-DAC v3 replaces Musical Fidelity's Tri-Vista 21 DAC, which is no longer in production, although you might find some on dealer's shelves. The Tri-Vista 21 used two pairs of subminiature 5703 WB military tubes in the analog output stage. MF's Antony Michaelson called this Cold War tube, which is no longer made, a trivistor. The Tri-Vista 21 was last seen selling for $2395.
Sony Classical's head of engineering, David Smith, is a man whose opinions on sound quality I have come to respect. So when David e-mailed me a year or so back, enthusing over a new DAC he'd heard, I paid attention. When Lavry Engineering contacted me about reviewing their DA2002, I didn't need much persuading.
Without having intended to, I seem to have collected several "statement" products. I've already reported on the Weiss Medea and Theta Digital Generation VIII digital-to-analog converters. I saw and expressed interest in the Nagra DAC at the 2002 Consumer Electronics Show, when prototypes of it were shown along with a forthcoming multichannel version, the Nagra Digital Audio Processor (DAP). The two units are based on the same chassis and interface, the DAP including additional modules and processing.
We audiophiles are ever hopeful that, however satisfying our present equipment and setup, we can achieve even greater enjoyment with a tweak or an upgrade. And we never stop: It was only 16 years (and three turntables) ago that I bought what I declared would be my last turntable, and there's no doubt that this "dead" format has improved substantially since then. Now, even as we make another (but less paradigm-shifting) format transition, from CD to SACD and DVD-Audio, new two-channel DACs continue to appear that show us how far we still are from wresting all the music from the original "Red Book" 16-bit CD format. I reviewed the wonderful Weiss Medea DAC in February 2003, and there are still on my auditioning rack are two more Swiss DACs that might redefine the category: the Orpheus 1 and the Nagra DAP.
It was 20 years ago that I appeared on one of the UK's equivalents of NBC's Today show to comment on the launch of CD. I wanted to talk about digital technology, but my host was more interested in the medium's lack of surface noise, which he demonstrated by showing that a disc smeared with butter and marmalade—this was breakfast television, remember—would play without skipping. (Actually, it wouldn't play; after the jammy CD was loaded, the program cut to a pretaped segment in which the player had a pristine disc inside it.)
Well into dCS managing director Mike Story's attempted explanation of upsampling, there came an epic moment when the ever-expanding universe of his thoughts—which we had been following to new heights of digital enlightenment—broke free of our collective grip, snapped back on itself, and caused a conceptual implosion of nearly cataclysmic proportions. The blank, spent expressions on the faces of the journalists gathered in the small attic-like meeting room at dCS's Great Chesterford (UK) facility all seemed to say, "What the hell was that? Was it just me, or did you feel that too?"
Back in 1984, when I still had all my hair and began listening to digital audio (wait a minute...), I was disappointed with the compact disc. Most of that disappointment came from the format's musical performance, which was poor, but a portion of my dismay came from realizing that my days as a hands-on hobbyist were numbered: I was used to selecting and setting up my own turntable, tonearm, and cartridge, but a CD player defied such involvement. Plugging it in and playing it were all that I or most anyone else could do.
I have a warm spot in my heart for MSB's approach to product development. They come from a tweaker heritage and still practice the art: MSB will happily install a 24-bit/192kHz upsampler in your CD player, a 5.1-channel input in your DPL amp or receiver, and true 24/96 outputs in your DVD player. Their standalone products, starting with the original Link DAC, are designed from the start to include space for later additions and enhancements.
Some people believe that high-end audio is mostly fluff whose cost, compared to standard professional studio electronics, is not justifiable. Moreover, they argue, if the music has been piped through any number of studio devices before it gets to your home, you can't expect to get more out of it than the studio devices will pass. Just as the argument is made about the final 6' of power cord, how can one Over-The-Top device make up for the foibles of those that precede it?