Digital Processor Reviews

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Kalman Rubinson Posted: May 16, 2004 Published: May 01, 2004 0 comments
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.
Kalman Rubinson Posted: Feb 22, 2004 Published: Feb 01, 2004 0 comments
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.
John Atkinson Posted: Feb 01, 2004 Published: Jan 01, 2004 0 comments
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.)
John Marks Posted: Jul 20, 2003 0 comments
The mind of man, when he gives the spur and bridle to his thoughts, doth never stop, but naturally sallies out into both extremes of high and low.—Jonathan Swift
Michael Fremer Posted: Apr 13, 2003 0 comments
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?"
Art Dudley Posted: Mar 23, 2003 0 comments
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.
Kalman Rubinson Posted: Mar 23, 2003 0 comments
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.
Kalman Rubinson Posted: Feb 23, 2003 0 comments
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?
Michael Fremer Posted: Dec 15, 2002 0 comments
Computers and vacuum tubes go together like Trent Lott and flyaway hair, right? The last time filaments glowed in computers was during the 1960s, when a computer was a building. I remember laughing at the ponytailed computer-science dweebs back then, who spent their college days playing nursemaid to a football field's worth of electronics capable of little more than adding two plus two. Chained to a computer half the day, as most of us now are, guess who had the last laugh?
John Atkinson Posted: Jul 20, 2002 0 comments
Such is the pace of development in digital technology these days that it is hard not to become convinced that digital playback is a solved problem. The measured performance aberrations are so low in absolute level—and, more important, so low compared with the typical threshold of human hearing—that it is difficult to see why digital components should sound different from one another.
Sam Tellig Posted: Apr 18, 2002 0 comments
It was 1988. What to do about digital?
Jonathan Scull Posted: Dec 03, 2001 0 comments
The Boulder 1012's is a line-level preamplifier and DAC in one box. Its design and build qualities are icons to elegant engineering know-how. No screws show on the rectangular box of large but not massive proportions, for example, which is all done up in matte aluminum and set off with a few highly polished stainless-steel buttons. The chassis construction uses tongue-and-groove techniques. The sides of the 1012 benefit from styling cues found on Boulder's newer amplifiers. As you can see from the photograph, the look is both elegant and hi-tech in a way very few other manufacturers manage.
Sam Tellig Posted: Feb 22, 2001 0 comments
Sorry to empty your wallet this month, but here's a must-have if you want to get the most from your upsampling MSB Link DAC III: Monarchy Audio's Digital Interface Processor 24/96 (DIP for short).
Jonathan Scull Posted: Feb 01, 2001 0 comments
What's it take to compete on the bleeding edge of digital? Foresight, commitment of resources, and lots of money. Of course, it's all fundamentally about money, so we shouldn't be surprised that the audiophile's emotional needs aren't paid much respect by the large international manufacturing and marketing concerns stalking the earth today. Megaglom vs Cockroachacus. [Sigh] Where are those pesky miniature princess twins when you need 'em?
Jonathan Scull Posted: Jan 25, 2001 0 comments
The dCS Purcell is named after Henry Purcell, the English composer, organist, bass, countertenor who was born in 1659 and died in, alas, 1695. It's a digital/digital converter intended for consumer use, as opposed to the less elegantly packaged pro-audio version, the dCS 972, that I reviewed in February 1999. Both devices increase the sample rate and/or word length of the output from linear PCM digital audio sources like CD or DVD up to a maximum sample rate of 192kHz and a word length of 24 bits. According to the extensive documentation, this is achieved by "using extremely powerful and accurate digital interpolation filters, which yield an output signal having negligible levels of distortion."


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