Stereophile - список рекомендованных компонентов 2013. Цифровые процессоры.Часть 1.

Class A+

Ayre Acoustics QA-9: $3950 Housed in the same compact chassis as Ayre's QB-9 USB DAC, the QA-9 is a solid-state A/D converter intended to allow audiophiles to make high-quality rips of their LPs. It uses an Arda Laboratories AT1201 two-channel A/D converter chip and operates at sample rates up to 192kHz, outputting 24-bit data via either a USB 2.0 or AES/EBU connection. Setup was simple and, aside from the tedious task of eliminating LP surface noise, use was straightforward. The Ayre offered smooth highs, a clean midrange, and an excellent sense of space. JA summed up: "When recordings you love have never been issued on a good-sounding CD, it makes sense to rip them with Ayre's QA-9—it's the closest thing to a truly transparent audio component I have encountered." He bought the review sample. Pro version ($4750) includes DSD and Word Clock outputs on transformer-coupled BNC jacks. See "Fifth Element" in the April 2013 issue. (Vol.35 No.11, Vol.36 No.4 Read Review Online)

Ayre Acoustics QB-9: $2750 The QB-9 is an asynchronous transfer mode, USB-input DAC with Ayre's minimum-phase digital reconstruction filter implemented in Field-Programmable Gate Array. It uses a Texas Instruments TAS1020B chip, supporting sample rates up to 96kHz and word lengths up to 24 bits. High-resolution digital files "popped with life" and were marked by a natural flow and physical impact that allowed WP to form a deeper emotional connection with the music. JA: "Ayre's QB-9 is well engineered, offering excellent performance in both the analog and digital domains, and is not compromised by its having just a USB data input." JI felt the QB-9 exceeded the YBA WD202 and Benchmark DAC1 USB in terms of spatial detail, depth, and width, while adding a touch of seductive clarity. "Wow!" The latest version of the QB-9 uses an XMOS XS-1 microprocessor chip and supports sampling rates via USB2.0 up to 192kHz. Earlier QB-9s can be upgraded for $250. Compared with the Resolution Audio Cantata, the Ayre tended to exaggerate sibilants on some recordings but provided a warmer, fleshier midrange, felt JI. Compared to the NAD M51, the Ayre had slightly greater punch and better dynamic edges. Compared to the much more expensive MSB Diamond DAC IV, the QB-9 had a very slightly more aggressive midrange, but otherwise held its own, said JI. Stereophile's "Joint Digital Source" and "Overall Component" of 2009. (Vol.32 No.10, Vol.33 No.6, Vol.34 Nos.7 & 11, Vol.35 Nos.7 & 10 Read Review Online)

Bricasti Design M1 DAC: $8595 With first-class fit’n’finish and uncluttered exterior design, the dual-mono M1 DAC measures a rack-friendly 17" W by 2" H by 12" D and weighs 12 lbs. It offers four digital inputs (S/PDIF, AES/EBU, BNC, optical) and accepts sampling rates up to 192kHz, but forgoes a USB input, volume control, headphone jack, and remote control. The Bricasti's fast, detailed, powerful sound made the much less expensive Musical Fidelity M1DAC seem veiled, muffled, and slow, said JM. "The best digital playback I have heard," he concluded. Compared with the Weiss DAC202, the Bricasti was less forgiving of poorly recorded material, but had bigger, deeper, better-defined low frequencies; compared with the dCS Debussy, the Bricasti sounded very slightly warmer and was very slightly more transparent, said JA, who also praised the M1's state-of-the-art measured behavior. A firmware update (free to registered owners) adds minimum-phase digital filter options, digital phase inversion, and a digital volume control. Compared to its previous filter set, the Bricasti's minimum-phase sound was much richer, with more body, more coherence, and less grain, said JM. Used as a line source in place of Parasound's JC 2 preamp, the Bricasti produced a more coherent sound, with deeper, tighter, more powerful bass. "My personal best just got better," JM concluded. Now ships with asynchronous USB input (not yet auditioned). (Vol.34 No.8; Vol.35 Nos.2, 3, & 9 Read Review Online)

dCS Debussy: $11,499 The slim, sleek Debussy D/A processor has a digital volume control, offers a full range of digital inputs including a true asynchronous USB port, and uses the latest version of dCS's Ring DAC. The USB input was upgraded in the summer of 2011 to handle 176.4 and 192kHz data and in the summer of 2012 to handle DSD data. Though it lacked the sophistication of dCS's more expensive Scarlatti system, the Debussy had a fast and delicate sound, with powerful bass, dramatically solid, three-dimensional images, sensational rhythmic drive, and outstanding dynamics, said MF: "A very easy and enthusiastic recommendation." JA agreed: "It was a pleasure to test such a superbly engineered product." Compared with the Weiss DAC202, the Debussy offered greater resolution, transient snap, and low-bass weight, but lacked midrange warmth and overall body, said EL. Compared with the Bricasti M1, the Debussy was slightly less transparent, said JA; compared to the Classé CP-800, the Debussy offered more ambience and propulsive drive but lacked some lower-midrange energy. Compared to the MSB Diamond DAC IV, the Debussy sounded refined and very polite but lacked image precision and spatial depth, said JI. (Vol.34 Nos.1 & 12; Vol.35 Nos.2, 9, & 10 Read Review Online)

Grace m903: $1995 Made in the US, the m903 looks like earlier Grace models, but has a USB 2.0 input and an asynchronous-mode USB converter. It provides balanced and single-ended analog inputs, two sets of line-level analog outputs, and two front-panel headphone jacks. Though it couldn’t match the Antelope Audio Zodiac's punchy dynamics and speed, the Grace offered exceptional clarity and truth of timbre. Compared to Grace's m902, the newer version had a similarly warm, rich, full-bodied sound, but added greater resolution and delicacy. "The Grace Design m903 offers remarkable clarity, continuity, and roundness of tone, and is better in almost every way than the m902," praised JM. (Vol.34 No.12 Read Review Online)

MSB Diamond DAC Plus: $21,995 The Diamond DAC Plus (called IV when reviewed) is a solid-state, remote-controlled D/A converter with a volume control, a top-panel iPod dock, and an auxiliary analog input. In addition to its balanced and single-ended outputs, the MSB provides a complete array of digital inputs: coaxial S/PDIF (RCA and BNC), TosLink, AES/EBU, MSB Network, and USB 2.0 digital inputs operating in isochronous asynchronous mode with 24-bit word length and sample rates from 44.1 to 384kHz. Options, as reviewed, include: FemtoSecond Galaxy Clock (now included as standard, $4995 for retrofit to older Diamond DACs), Diamond Stepped Attenuator ($2995), Pro I2S input board ($995), USB2.0 384kHz input ($1395), and Diamond Power Base ($5995). With its smooth and detailed midrange, pinpoint imaging, and superb spatial performance, the Diamond DAC IV produced "the best digital sound" JI had ever heard in his system. JA was similarly impressed by the MSB's measured performance. (Vol.35 No.10 Read Review Online)

NAD M51 Direct Digital: $1999 $$$ The M51 is an attractive, full-width D/A converter with a digital volume control and useful front-panel vacuum-fluorescent display that indicates input, volume status, and sampling rate. It offers AES/EBU, coaxial, optical, USB, and two HDMI inputs, as well as analog (one pair each single-ended and balanced) and digital (HDMI) outputs. While all of the NAD's inputs can handle PCM audio data of resolutions up to 24-bit/192kHz, the M51 converts everything it receives to a pulse-width-modulation (PWM) signal at a sampling rate of 844kHz, controlled by a clock running at 108MHz. The NAD had a "wonderfully detailed and revealing sound," said JI. JA noted measured performance that was "almost beyond reproach." (Vol.35 No.7 Read Review Online)

Weiss DAC202: $6966 Made in Switzerland, the DAC202 is a digital-to-analog converter with an onboard volume control, a headphone amp, and a FireWire input. It offers AES/EBU, S/PDIF, and TosLink connections; uses an ESS9018 DAC chip; and can accept data resolutions up to 24-bit/192kHz. The Weiss had a smooth, delicate overall sound with a forgiving top octave, but lacked bass extension, jump factor, and involvement, said EL. Nevertheless, he concluded: "I think the Weiss DAC202 can easily offer Class A performance, especially for the audiophile who prizes its graceful, organic musicmaking." Compared with the Bricasti M1, the Weiss had a smoother overall sound but lacked bass definition, said JA. On the test bench, the Weiss proved the best-measuring D/A processor in JA's experience: "It just doesn’t get any better than this!" DAC202U ($7694, not auditioned) offers USB input. (Vol.35 Nos.1 & 2 Read Review Online)

Class A

Abbingdon Music Research DP-777: $4995 $$$ Built into a large (17.7" W by 4.7" H by 14.6" D), well-braced, beautifully finished aluminum chassis, the tubed DP-777 is a versatile digital-to-analog processor that incorporates separate chips for handling high-resolution files and "Red Book" CDs. It offers the user choices of: five digital filters (two "Red Book," three hi-rez), six sampling rates, two jitter-reduction settings, sampling rates up to 192kHz, and word lengths up to 32 bits. There are five types of digital input jacks; two types of analog output jacks; and an optional volume control and analog inputs, to allow the DP-777 to be used as a conventional preamplifier. A Russian 6H11P dual-triode is used as an S/PDIF input amplifier on two of the DP-777's digital inputs. AD: "The DP-777's characteristic sound was one of openness, a generous sense of scale, detail without artifice, and a barely perceptible but undeniably consistent timbral warmth." JA was disappointed by the DP-777's measured performance in HD mode. (Vol.35 No.3 Read Review Online)

Antelope Zodiac Gold Bundle: $4495 The Gold version of Antelope's Zodiac D/A headphone amp is housed in a gold-toned, shoebox-sized chassis and can accept PCM digital data sampling rates up to 384kHz. It offers multiple digital and analog input and output options, has a front-panel Mono button, two front-panel headphone jacks, and comes with a stylish, all-metal remote control. Compared to the more expensive Bricasti M1, the Zodiac Gold lacked precision, control, and treble extension, but nevertheless offered a full-bodied, musically satisfying, emotionally engaging sound with a warm midrange and a delicate treble, said JM. Price includes Voltikus power supply ($995). (Vol.34 No.10 Read Review Online)

Arcam FMJ D33: $3199.99 Designed and manufactured in the UK, Arcam's FMJ D33 is a remote-controlled D/A processor with three digital filters. It handles resolutions up to 24-bit/192kHz and offers coaxial and TosLink S/PDIF inputs, an AES/EBU input, two USB ports, and a Type A port for iDevices. Though its treble had a bit too much bite, the D33's overall sound was clean and clear, with excellent low-frequency definition and extension, said JA. Switching to Filter 1, a minimum-phase filter with a fast rolloff, produced high frequencies that were better integrated with the midrange and bass. JA noted impressive measured performance. See JA's "Follow-Up" in the April 2013 issue. (Vol.36 Nos.2 & 4 Read Review Online)

Bel Canto e.One DAC3.5VB Mk.II: $3495 Like other Bel Canto products, the e.One DAC3.5BV is roughly half the width of a typical audio component and boasts a black-painted steel chassis with a beautifully milled faceplate of naturally finished aluminum. It accepts resolutions up to 24-bit/96kHz and offers a wealth of inputs: RCA and BNC digital, balanced AES/EBU digital, TosLink, ST fiber-optic, and a single pair of analog RCA jacks. While its D/A section is similar to that found in Bel Canto's e.One DAC3, the DAC3.5VB has revised jitter-rejection circuitry for improved performance with high-jitter sources. Meanwhile, the optional VBS1 power supply ($1495) provides 12V DC and adds heroic LC filtering and energy storage. EL was most impressed by the Bel Canto's ability to produce big soundstages with exceptionally quiet backgrounds. Adding the VB-REF power cable ($495) opened up those stages even more, reduced treble grain, and lowered the perceived noise floor. On the test bench, the Bel Canto exhibited high resolution and low jitter. The Bel Canto traded the sweet tone of Weiss's DAC202 for greater overall clarity and cleaner highs; compared with the dCS Debussy, the Bel Canto lacked some bass, but offered a warmer, more musical sound, with blacker backgrounds and fleshier images, said EL. Review was of original version; Mk.II has improved power supply and a master clock with lower phase noise. (Vol.34 No.6, Vol.35 No.1 Read Review Online)

Benchmark Media Systems DAC1: $995 $$$ ✩ Benchmark Media Systems DAC1 USB: $1195 ✩ Benchmark DAC1 HDR: $1595 Features two front-panel headphone jacks, RCA single-ended and XLR balanced analog line outputs that are switchable between line level, trim-pot set, calibrated level, and variable level. Compared to the three-times-more-expensive Marantz SA-14, JM found the DAC1 to be "slightly more articulate in the musical line, and slightly more detailed in spatial nuances, particularly the localization of individual images in space, and in soundstage depth." A terrific value, feels JA, thinking the DAC1 is a great way of getting modern sound from a DVD player or an older CD player. JA discovered superb measured performance in both the DAC1's digital and analog domains, and decided, "Whether considered as a standalone D/A converter or a versatile headphone amp, Benchmark's DAC1 is an audiophile bargain." The USB version adds a USB 1.1 port to take audio data directly from a computer at sample rates up to 96kHz and bit depths up to 24. Additional improvements over the standard DAC1 include: two gain settings for the headphone amp, a defeatable muting of the line outputs, and high-current output drivers for the XLR and RCA outputs. Used as the primary digital source in JA"s system, the DAC1 USB offered a "very appealing" sound, with smoother highs and less grain than the original DAC1. Problems arose with the original sample, however, when using the Benchmark to play back 16-bit files from either a PC or a Mac via the USB connection. Subsequent modification of the DAC1 USB's firmware has eliminated dropouts of 16-bit audio data below –70dBFS while preserving the Benchmark's "superbly transparent soundstaging, clean high frequencies, and powerful lows," said JA. Compared to the YBA WD202, the Benchmark via USB had a slightly more forward, natural, precise sound, said JI. DAC1 PRE (discontinued in January 2013) adds a pair of unbalanced analog RCA inputs. It offered a sound that was "slightly toward the lean side of neutral," said ST. In terms of dynamic shadings, tonal color, and control flexibility, the Benchmark's performance was "remarkably close" to that of the best dedicated line-stage preamps. JA agreed: "As an analog preamplifier, the DAC1 PRE is about as good as it gets, measurement-wise." The DAC1 HDR offers slightly better build quality than earlier models and adds a motorized Alps volume potentiometer. National Semiconductor LM4562 op-amps are used throughout its analog stage, as well as Teflon RCA connectors. Though it maintained the tonal balance of earlier DAC1s, the HDR proved more musical and engaging, with a bigger soundstage, better solidity and separation of instruments in the stereo image, and better treble resolution, said EL. The Benchmark was tonally similar to the Bel Canto e.One DAC3.5VB, but lacked the more expensive DAC's high-frequency clarity, bass depth, and soundstage size, felt EL. Compared to the NuForce CDP-8, the DAC1 produced a slightly richer sound with more air and less bite, said WP. Compared with the Peachtree iDac, the Benchmark offered greater clarity and control but was less forgiving of poor recordings, said JI; compared with the Musical Fidelity M1CLiC, the Benchmark offered greater resolution and accuracy; compared to the NAD M51, the Benchmark was just as detailed, but lacked some finesse and body, said JI. Compared to the much more expensive MSB Diamond DAC IV, the DAC1 USB produced a harder, more congested midrange, and had trouble controlling complex imaging, said JI. (DAC1, Vol.26 No.7, Vol.27 No.5, Vol.29 No.4, Vol.33 No.11 Read Review Online; DAC1 USB, Vol.31 Nos.1, 7, & 10, Vol.32 No.3, Vol.33 Nos.6, 9, & 11, Vol.35 No.7 Read Review Online; Vol.34 Nos.6 & 10, Vol.35 Nos.3 & 10 Read Review Online)

Bryston BDA-1: $2195 Bryston's first standalone DAC is a slim, rugged component with a simple, brushed-aluminum faceplate and eight digital inputs: two S/PDIF optical, four S/PDIF electrical, one AES/EBU XLR, and one USB 1.1 accepting signals with sample rates at or below 48kHz. It uses a Burr-Brown SRC4392 sample-rate–converter chip and a pair of 128x-oversampling, 24-bit delta-sigma Crystal CS4398 DAC chips. With its open highs, detailed imaging, deep soundstaging, and well-defined bass, the BDA-1 offered "the best-sounding digital playback" LG had ever heard in his listening room. Though the BDA-1 measured well overall, JA was puzzled by some very low-level noise modulation in the low treble. Partnered with Bryston's BDP-1 digital audio player, the BDA-1 produced enormous dynamic range, black backgrounds, and deep soundstages, said LG. Add $375 for BR-2 remote control. (Vol.33 No.2, Vol.34 No.6 Read Review Online)

CEntrance DACmini CX: $799.99 $$$ With a footprint to match Apple's original Mac mini, the CEntrance DACmini CX is a solid-state D/A processor, line preamplifier, and headphone amp with an external power supply. Its slim front panel holds an input selector, volume control, and 1"4" headphone jack. The DACmini's AKM 4396 DAC chip accepts signals with word lengths up to 24 bits and sample rates up to 192kHz via its coaxial input, and up to 96kHz via USB. Though it lacked the resolution and bass impact of the much more expensive dCS Debussy, the DACmini offered a big, bold sound that was forgiving of poorly recorded material. Compared to CEntrance's own DACport, the DACmini offered better low-bass control and greater treble extension, said EL. Available Mods for $99.95 each: black-anodized finish; Headphone Linearity; Rock and Roll; Variable Output. (Vol. 34 No.12 Read Review Online)

Classé CP-800: $5000 D/A preamplifier with serial and asynchronous USB inputs. (See "Preamplifiers.") On the test bench, the Classé's digital input showed about two bits" worth less resolution than the current state of the art, but was excellent-sounding. (Vol.35 No.9 Read Review Online)

Halide Design DAC HD: $495 $$$ The DAC HD is a solid-state, bus-powered, plug-and-play digital-to-analog converter with tethered input and output cables. The circuitry, all surface-mount, is contained in a small (1.875 cubic inches), black-anodized, machined-aluminum enclosure, and is carried on a small double-sided printed circuit board. The input cable is Wireworld's Starlight USB (2m is standard; other lengths available); output is via two 6" lengths of silver-conductor cable terminated in Eichmann Silver Bullet RCA plugs. The 24-bit Texas Instruments TAS1020B USB interface chip operates in isochronous asynchronous mode with sample rates up to 96kHz. The DAC HD had an "analog-like ease to its sound," coupled with excellent reproduction of recorded space, said JA, who also noted "superb digital audio engineering." Compared to the AudioQuest DragonFly and CEntrance DACport LX, the Halide DAC HD offered slightly smoother highs and produced more spatial depth with stereo recordings, said JA. (Vol.35 Nos.8 & 10 Read Review Online)

Halide Design USB-S/PDIF Bridge: $395 In this utilitarian-looking USB-S/PDIF converter, a 6" USB cable terminates in a 3"-long black aluminum tube with, on its other end, either a 75 ohm BNC plug or an Eichmann Silver Bullet RCA plug. The Bridge gets its 5V power from the USB bus and feeds the USB datastream to a Texas Instruments TAS1020B receiver chip, enabling the Bridge to operate in asynchronous mode without the host computer having to install a driver program. It operated properly at sample rates of up to 96kHz, and produced a very clean datastream free from timing uncertainty; and with its relaxed, grain-free sound, the Bridge excelled at conveying recorded ambience and low-level detail, said JA. (Vol.33 No.12 Read Review Online)

Meridian HD621 HDMI Audio Processor: $2995 ✩ Meridian's HD621 HDMI Audio Processor smoothly integrates six HDMI inputs, HD audio processing, and SD upsampling with any Meridian processor that can handle a Smartlink/MHR, including the G61R, G68, C61R, and the 861. It extracts the PCM audio data from the HDMI input, FIFO-buffers the PCM, and up/downsamples it for output to the main processor. Upsampling is accomplished by "apodizing" filters identical to those used in the Meridian 808i.2 player-preamp. HDMI from the HD621 sounded "more detailed and open" than PCM data via the Oppo DV-980H's three S/PDIF connections, while "Red Book" CD sounded "superb" through the Meridian. "So rejoice—the HD621 brings HD audio to Meridian systems, and it sounds superb with non-HD sources as well," said KR. (Vol.32 No.9 Read Review Online)