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Reference DACS: An overall perspective

There has been many threads the last few months regarding the sonic signature of some of the highest regarded reference DACS (Dcs,Meitner,Ensemble,Audio Note,Zanden,Reimyo,Accustic Arts) here on the GON. I have been very fortunate to audtion many of these wonderful pieces in my home or friend's systems. I wanted to share, in a systematic way, my impressions/opinions with you GON members for a two reasons: 1)That my experiences might be helpful to fellow members interested in audtioning these DACS. 2)Starting an interesting discussion regarding the different "sonic flavors" of these reference digital front ends. I totally agree with the statement, "if you have not heard it you don't have an opinion". Therefore, I have no comments regarding DACS from Weiss,Goldmund,Audio Aero and Burmester because I have never had the pleasure of audtioning them. I would love to hear from members who have and share their experiences with us. My overall impression is that these DACS(Dcs,Meitner,Ensemble,Audio Note,Zanden,Reimyo,Accustic Arts) can be grouped into two molar categories regarding their overall sonic signature. By the way, all of them can throw a large/deep soundstage with excellent layering in the acoustic space with "air" around individual players on that stage. However, than they start to part company into two major categories. Category #1) These DACS "flavors" revolve around pristine clarity, fine sharp details,speed,very extended top/bottom frequencies,and great PRAT. These DACS never sound "etched" or "in your face" but are more "upfront" then "layed back" in their presentation. The DACS, to my ear's, that go into this bracket are Dcs,Ensemble,Meitner. My personnal favorite in this group is the Ensemble, which I owned for two years. These DACS remind me of the sonic signature of speakers such as Wilson,Thiel,Dynaudio, Focal/JM Labs. Category #2) These DACS "flavors" revolve around a "musical/organic" sense, natural timbres,and an easy flowing liquidity. Their "less forward" presentation my give the impression of less detail, but I think in this case its an illusion fostered by their more relaxed/organic manner. The DACS, to my ear's, that go into this bracket are Audio Note,Zanden,Reimyo,Accustic Arts. I did find that the tube DACS did not have the top/bottom frequency extenstion and PRAT of the SS DACS in this bracket. For me, the Accustic Arts DAC1-MK3 gave me the best of both categories, therefore it is now the resident DAC in my system. These DACS remind me of the sonic signature of speakers such as Magnepan,Von Schweikert,Sonus Faber. Well, it's all just my opinion regarding these digital pieces, but I hope this post was at least informative/somewhat interesting and would lend itself to other GON members sharing their impressions, not about what DAC is the "BEST" in the world, but your personnal taste and synergy with your system.
teajay
exlibris
392 posts
 
Teajay,
Thank you; I'm positive I'll have a chance to do the comparison.
To my great surprise, it turns out that changing transports doesn't make much of a difference with the Attraction DAC (with JISCO re-clocking device) but it will certainly make a big difference with the Zanden DAC.
I'm guessing that the AA is better than the 31.5 because it does of better job of keeping the signal time aligned (it doesn't add as much jitter).
I should have the Zanden next week and regardless of what I think of it as compared to the Attraction DAC, I will keep both for a few months at least. I want to see how each 'synergizes' with a pair of tubed preamps that I'm going to be listening to next month.
exlibris
392 posts
 
Well, I received a used Zanden 5000 mkIV today.
It goes without saying (but I'll say it anyway) that the following are just MY opinions of how the two DACs sound in MY system.

The Attraction DAC has a more extended bottom end, more bloom from the midrange to low frequencies, better image density, and throws a larger sounstage. The Attraction offers a big, enveloping sound. The Attraction is more 'lusty' and in some ways more typically 'tubey' than the tubed Zanden.

As expected I really enjoyed the vocals through the Zanden. The Zanden has better high frequency extension, better prat, better microdynamics, it is more transparent and it lights up the soundstage with more ambient information.
The Zanden is a cleaner sound and the Attraction is a more seductive sound. On a scale where 1 represents 'analytical' and 10 represents 'romantic': in my system and room (which can be a little bright) the Zanden is a 5 and the Attraction is a 7 or 8. One might think it should be the other way around.
tabl10s's avatar
tabl10s
1,008 posts
 
How much is the Altmann in USD?
nilthepill
842 posts
 
Exlibris, Thanks for Zanden and Attraction initial comparo. I am sure you would like to break the Zanden a bit, even though it is used, before making a final rating scale on it. But inital comparision would indicate, per your earlier definition of 7 being perfect, Attraction to be more desirable? Which one's tonal balance, weight and articulation sounds like live music? If it is true that is some achievement at the attraction's going price. Let us know your final conclusion on these two.
exlibris
392 posts
 
It depends on what options you pick for the Altmann.
The model with all the bells and whistles (this is the one that I have), is about $1,700 USD.

Nilthepill,
'All things being equal', 7 is perfect for me.
The tonal balance of the Altmann sounds like live music.
The weight of the Altmann sounds like live music.
The articulation of the Zanden sounds like live music.

I hope to get the Zanden close to the Altmann in the first two categories by adding Altmann's JISCO re-clocking device.
Adding the JISCO to my Attraction DAC helped the weight, tonal balance, low frequency extension and mid-bass bloom. These same aspects improved in an older digital configuration that I had when I added the Stealth Vardig Sextet digital cable. Like the JISCO, I believe that this cable helps to keep the time signature marching along at the proper pace. I have thus come to the temporary conclusion that getting the timing right in the digital domain goes a long way to 'fleshing' out the music, especially below the midrange.

I think I could get the articulation of the Attraction close to that of the Zanden if I changed the battery that I am currently using to a much more robust one suggested by a user on another 'Altmann' thread (which for some reason has been pulled by Audiogon).
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