Trans

New York Diary (20-27): Trans

The music included here immediately invoke (in me) many trans- words: transformation, transfiguration, transference, transcendence...On the other aide of the divide are music that don't - let's call them cis-music.

Silvestrov Fugitive Visions of Mozart comprises 6 short movements, one of his tribute to past masters. It was commissioned by the superb Canadian ensemble, the Gryphon Trio, and included on their excellent For the End of Time CD (Analekta). Their performance is on youtube, unfortunately in 6 separate videos that don't autoplay. Theirs is superior in sound to the other 2 youtube's available, one of which is included below. The youtube that follows is also superb.



Vasks Castillo Interior was commissioned by the brilliant cellist Sol Gabetta. The youtube is by her and Patricia Kopatchinskaja - that's two fire-breathing and -eating ladies! It is supposed to evoke the mysticism of St Teresa of Avila. I learned of this piece from streaming a new NML album of Violin and Cello Duo's (Paquin and Vega; see This Round's Pick, top right); that album is just as great, maybe even better!



Bach D Minor Concerto is originally for harpsichord, but this Organ transcription has a majesty its own. Period specialist Violinist and Conductor Ricardo Minasi I have recommended many times before. There are more of this series, and I also look forward to them.



Piazzolla's Otono Porteno is from his take on the Four Seasons. I felt I owe something to the Gryphon Trio and so post their excellent performance here.

Bitsream Micromega Overview Stage 2 Philips TDA-1305 SAA7321 SAA7350 TDA1547

Click pics to enlarge. Micromega Stage 2 to left of Yamamoto CA-04L.

Review: Micromega Stage 2
Overview: Micromega, Pinnacle of Bitstream

This article is about Re-Discovering an Old Love, or rather Sibling of one (it happens). Our memories (not just of audio) are both surprisingly reliable and unreliable at the same time.

My Digital Journey really started with the Bitstream era. Simultaneously in Hong Kong I was exposed to all the 14- and 16-bit classics, which immeasurably broadened my horizon. In HK I have owned the majority of the Bitstream Micromega, so this article will start with the Stage 2 player, which will be followed by an Overview of Bitstream and Micromega. My own audio journey is tightly coupled with my digital exploration; if interested, please read my last article.

The Concept Series, to which the Stage series belongs, are all housed in the same box. Here we will deal only with the CDP's. The rest will be treated in the Overview Section.

Recently, I chanced upon a Stage 2 at reasonable price. The owner had re-greased it (this is of vital importance and will be discussed later too in the Overview). Given my fond recollection of my old Stage 1 in HK, I decided to purchase it. It works flawlessly.

For the difference between the Stage players, I translated the included manual, which was only in French (owner had been in Europe).

Stage 1: it is the youngest of the range and yet stage 1 benefits from all the technological achievements of Micromega. It allows itself for a product of this level to be built with the same care as its elders, with the same type of components such as 1% film resistors, polypoprylene or polycarbonate capacitors and the latest models of "Bitstream" circuits, The result is felt from the first minutes of listening with a sound that combines accuracy of timbres and dynamics without forgetting the legendary transparency on which Micromega has built a reputation that many envy him.

Stage 2: thanks to an analog-to-digital conversion using differential time alignment mode, Stage 2 takes a new step in sound reproduction which, while preserving the qualities acquired on the previous model, goes much further in the low register with increased dynamics.

Stage 3: This is the player integrated at the top of the range and Micromega wanted to make it a figurehead.The analog section receives two specific transformers allowing to overcome the problems due to the interaction between the digital and analog sections and to go even further in the search for the primordial micro-information in the perception of the emotions of the performers.

All of these employ the Philips TDA-1305 1-bit chip. The 1 uses just one, The 2 uses two, and the 3 adds more power supply. The TDA-1305 has a very good reputation. Some regard the TDA-1305 as a cheap implementation and it was indeed used in quite a few budget CDP and DAC (like Cambridge). Nonetheless, Micromega's implementation was brilliant and, from transformers (Schaffner) to caps (Wima and Philips), Micromega used good parts. Google Images and you shall see.

I am not going to spend too much time describing the sound. Right off the bat, even from memory it is obvious to me it trumps the Stage 1 in every parameter. Surely 20+ years on I must have gained a little setup skill yet this simple system is not that different from what I used then. I mentioned in my detailed Review of Yamamoto CA-04 that a good bit of the excellent sound in CD replay should be credited to the Stage 2. I also did briefly compared the Micromega to the Sparkler S303 CDP (NOS). I also used the digital out of the Stage 2 with the Micromega MyDac (AD1835 chip) and Sparkler S306 NOS DAC. In the case of MyDac, there is little question I prefer the 1-bit Stage 2. In the case of Sparkler, the Stage 2 also proves to be as good in PRaT (!) and is simply sweeter in the treble. It is the highest accolade for me to say the Stage 2 is as good as the Sparklers! Or: I am in love with the Stage 2.

I also tested briefly the headphone output. As soon as headphone is inserted, the display above changes. As you see from the pic, a "4" replaces the "2". No, it has not become a Stage 4, as that is now the volume indication. Sound? Surprisingly excellent! Crisp and involving.

Overview: Bitstream

As chronicled in my last article, bitstream, particularly at the cheap end, can be thoroughly uninviting. This is unlike the 16-bit era, where the cheap TDA-1543 NOS players sound thoroughly enticing to some of us now (they were completely ignored by the audio press). For those who want some history of DAC chips, see DutchAudioClassics (rather incomplete).

Even with mid-priced and high-end bitstream, truly outstanding products are few. Usually, bitstream is quite smooth, and some would call it musical. But usually, the last bit of detail is not there, and hall sound and bass definition is not as good as multi-bit designs. Also, few truly distinguish themselves in PRaT. Here are some famous and not so famous ones.

Philips The most beloved of their bitstream is probably the well-built 850 Mk II (SAA7350; and Mk I and 840 [SAA7321]). Many units are still working. I find it reasonably musical but lacking in some detail; many others find the same, and employ it as Transport (in this role it is above average, but still not the best). Its successor, the less solidly built 950 (SAA7350; and its cheaper siblings 930 [7350] and 920 [7341]) can be written off. Better sound can be found in the higher priced and better built statement LHH series. I have heard the LHH-200R, but it is definitely nothing special compared to the LHH-300R that I owned (very sweet and solid sound). I have not heard the even more expensive ones in the series. Earlier ones used the SAA7321; later ones, usually with an "R", used the famed TDA-1547.


Marantz The first Marantz that I heard was the excellent CD72 Mk II (TDA-1547; Mk I SAA7350). It was ubiquitous and always made a musical sound, preferable to Philips I thought. I still own the predecessor, CD62 (SAA7350) which is excellent. Later I owned and heard many of the wildly popular CD63 (including Mk II, SE and KI; SM5872) but they are not as good as the better built 62/72. I have heard the more upmarket CD10 and CD16 (TDA1547) many times but somehow they never impressed me. Neither did the CD17 (TDA1547) which I briefly owned. My thinking is the CDM12 machines, like the CD63 and CD17, have a lighter sound.

Studer The D730 (TDA-1547) is excellent and highly desirable, but I prefer the A730 (16-bit).

DPA (Deltec) Now, this gets interesting. I owned the 2-box DPM 1.3 (TDA1547). Designer was Robert Watts, now of Chord fame. There was a lot of then-cutting edge design, including re-clocking. 4 toslink connect the 2 units. If not for Micromega, this would get honorable mention. It was quite detailed and musical enough but, ultimately, a little too literal (as is always the case with Chord). I have also heard the lower-end Little Bit (SAA7350), which was quite nice and sweet!

Meridian 203 This used the SAA7321. Musical but kind of veiled and lacking in detail.

Pioneer I owned briefly the PD-T05, pretty good but not as good as the T-07 (SAA7350), which however is still lacking in ultimate resolution or excitement. The Stable Platter is a classic though and many use them as transports.

Metronome This is another French company that specializes in digitals. Mine was an early 1-bit unit, the model name of which I have forgotten about. Its resolution was not the greatest but unusually it excelled in dynamics, which made classical music replay superb. BTW, this company is OEM for the digital products of Jadis.

Audio Alchemy DDE 1.0 (SAA7323) This budget bitstream DAC was a bestseller and fairly good, but I prefer its non-bitstream sibling DITB (AD1853). Audiolab 8000 DAC (TDA1547) Pretty good but not very dynamic. Cambridge Audio Dacmagic (TDA1305) A bargain but it is a little coarse and lacks the last degree of slam and heft. Museatex Bidat (TDA1547) and Melior (7350) I heard many times in second-hand shops. Musical but still lacking. Naim I owned briefly the CD3.5 (TDA1305). Quite good, but it was bested by the 16-bit CD3, not to mention the CDI and, my favorite, the CD2. Proton AC-422 (Dual 1-bit) I bought at Harvey's clearance for $100. Smooth and detailed but lacking in slam and rhythmic finesse.

There are many others that I have heard but forgotten about. Just as well.

Overview: Micromega

Although not founded by him, Micromega is basically Daniel Schar. For some interesting French audio lore, read the first few paragraphs of this article. First, the products that Micromega OEM'ed:

Leedh When I first got to HK, I actually saw the leedh CD players many times in second-hand shops, commanding princely sums. They look exactly like the higher end Micromega then, except they have gold instead of black facades. Haven't come across them in a long time, anywhere.

Goldmund Only the original Goldmund CDP was a re-branded Micromega. Later ones range from modified Japanese multiplayer to designs that look like Metronome.

Revox Micromega made at least all the electronics in the Elegance Series. Note the familiarity to the later Micromega Minium series. I once owned the S22/S25, and they sound no different from the Minium.

Now, the Micromega brand:

Digital Although Micromega make full systems, they make digitals best. There is no if's, and's or but's, Micromega Bitsream products represent the Pinnacle of Bitstream! They are even better than their later designs, which are no slouch.

CD F1 and 16-bit Era These all use the classic TDA-1541. The CD F1 series, integral players and transport, are rarely seen now, and coveted. The original bread loaf Duo DAC is 16-bit and I never managed to get one in HK somehow. I also had a Micromega badged Modifed Philips CDP but I forgot the name - it could be the Optic, but I think it is even earlier.

Modified Philips Bitsream CD Players The Leader and Logic (SAA7321). This happened very early on, as lower-end offerings. I have not heard them.

Solo, Duo, Trio These represent Micromega at their best. They span the time of the classic Philips swing arm mechanisms, from CDM1 to CDM3 to CDM9/9 Pro. They are all top-loading players with a puck that is attached to a CD sized disc (there is knot pattern that looks somewhat like kevlar, surely for damping). The Solo is obviously a one box player. Earlier ones have a slanted front (I still have one). The sound is musical. The Duo obviously comprise a Transport and a DAC. There are several iterations. The Transport is named Duo CD, with later 2.1 and 3.1 (the original has either CDM3 or CDM9 Pro; the 2.1 CDM9 Pro; the cheaper 3.1 CDM9). The cheaper Duo DAC is a slim bread loaf (The BS and BS2, using SAA7321; I still own the latter) This sweet DAC is probably no better than the one in the Solo and can be improved (like others) by adding a anti-jitter device. But the Duo Pro DAC is another story. It is designed to be placed underneath the Transport (which has spike feet). I still have the Duo CD 3.1/Duo Pro combo. The sound is a big step up from Solo. Much higher resolution and dynamics. It also has balanced out. The Trio adds one more box of re-clocking/anti-jitter, and the sound is for sure the best Micromega has ever produced (still SAA7321). It has the most amazing dynamics, fantastic for classical replay. I used to have one but unwisely sold it to conserve space. Tip: 1) be careful with the heavy acrylic top lid, which can come banging down if improperly handled; 2) as with any top loaded machine, the disc initiates after the the lid comes down. Disable the mechanism and operate manually with the lid open; this will improve the airiness; removing the cover or box of an ordinary CDP will achieve the same result)

The Concept Series After Philips moved to CDM12, Micromega launched the Concept Series.  all are housed in the same black box with blue display and red buttons (this is French red and blue, quite beautiful to my eyes; unfortunately our own red and blue are much more problematic). The first CDPs were the Stage 1, 2 and 3 (treated in the first part of this article in detail). The lasers often developed problems. Although there were other theories, I think it is fair to say we now know it is due to grease drying up. A proper cleaning and re-grease (with something like lithium grease) usually solves the problem. This problem was Philip's problem, and in this era many other CD players also suffer from the malaise. No matter, the problem basically capsized Micromega and it never recovered its scale before the plague. The problems were probably what led Golden String, then distributor, to dump them in big sales. I bought a Stage 1 and had to exchange a couple of times. One time I put in a disc, and the drawer suddenly opened and the disc came flying out with a spin (much like 007 Goldfinger, remember that hat?) It was the first time I heard the CDM12, and I was entranced by its openess. Mind you later I acquired my second-hand samples of Solo, Duo, Trio and I still held the Stage in esteem, which was why recently I bought the Stage 2. There is something unforgettable about it. My friend Hoi auditioned all three and bought the 2, saying the 3 was too hifi for him, but should a good and reasonably priced sample of the 3 (or 6) comes my way I shall grab it to complete my assessment. Stage 4, 5, 6 When the European Union made a rule that all machines must have an on-off switch, Micromega revised the Stage series (if you google pics the circuit boards are somewhat different from the corresponding 1, 2, 3) but the sound (and the problems) remain the same. Drive 1, 2 and DAC 1, 2 These separates are similar in design to the integrated players. I bought the Drive 1 and DAC 1 and the sound was certainly a cut above the Stage 1 alone, difference likely due to separate power supplies. The Concept Series was a Full System, and are here some of the other products. Tempo 1, 2 These are amplifiers. I owned the Tempo 1, which runs fairly warm. It is very sweet sounding but not quite powerful enough for loudspeakers like LS3/5A, but if you paired it with a more efficient loudspeaker like Audio Note UK AN-K, the sound is astonishingly good (I found out when I sold that as a set to a friend). There was also a tuner, but it was not cheap and I never got to hear it.

T Series Slightly earlier but overlapping with the Concept series was the T Series. T-Drive 1, 2 and T-DAC These are half-size components with are slightly more upmarket than the Stage series, with balanced input and outputs. I have never owned them but have borrowed them. Sound is similar to the Stage series.

Micro Series This mini-sized series predated the Concept series. It is also a full system (no tuner I think). I own a full set. Microdrive This small top-loader used the CDM9 and a small puck. Sound is excellent but as with many Philips servo of that era, some of the strokes of the display can go missing. Microdac This is a beautiful machine, the only one in the series with an acrylic top. Sound (SAA7321) is so sweet! I had two and sold one to my friend whlee. Our Toronto friend Joe (remember Quad system?) swears by it too! Variodac This is a DAC with Preamp function and extra inputs built in. Microamp This is the craziest one. It has the same size, but runs really hot, so there are two long and jarring heat sinks attached to the back. Stacking on it is not recommended. Sound? Surprisingly excellent and, unlike Tempo 1, it can drive LS3/5A to acceptable level! Considering this is before the time of space saving SM power supply, a super accomplished Mini Series!

Minium Series This is precursor series to their current products, after the debacle of the CDM12. The style harks right back to the Revox S Series. I have only heard the CDP, musical enough (the rarer TDA-1549). The sound is likely similar to the current products.

Aria and Classic Solo Much later Micromega made some half-hearted effort to revive the classic looks. The Aria was visually striking but expensive, but for the price CDM12 and AD1853 did not seem attractive. The Classic Solo was also a curious product. It looks very much like a Solo, but also uses the CDM12, though with the TDA 1547 chip, but its price, again was on the expensive side.

The Current Products For this I refer you to their webpage. The lineup hasn't changed in a LONG time. I have used the CD-10 and IA-60 (here) and they are quite decent and under-rated. Undoubtedly, the most striking direction of Micromega is the M series products, which take after Devialet (I wonder if they are OEM), but are significantly cheaper. I'd not mind a chance to hear the M-one in my system (I doubt I'll get it).

My Series I have to single out this series from the current lineup, as they offer compact form and great sound. In NYC I have the MyDAC, MyZic and MyGroov; in HK, the MyAmp. I have covered all of them in this blog. Incredible values!

I am sure I have forgotten something but, there, finally an Overview of one of my favorite companies.

Hearing Test Auralic Vega

Letter from Hong Kong (20-7): Another step closer to CAS Nirvana? Eric L makes a major acquisition

Editor: This installment of Eric's is fascinating; it made me want to actually hear one, no mean feat (as I am so set in my ways)! But, for low tech me, I find some of the proceedings puzzling.

Most expensive equipment in HiFi

What is the most expensive or invaluable Hifi equipment? Full range speakers, megawatt power amps, DACs or exotic cables? Before, I would not hesitate to point out the answer, which is the listening room, especially in HK where a square foot of an average flat can easily cost up to USD 2000. Today, I found out I was wrong.

I realize (but may have tried to avoid that) that, as you grow older, your hearing ability would deteriorate, and the ability to hear high pitch decreases year after year, and ear after ear. If your eyesight has deteriorated, you can wear bifocal lenses to adjust and you can still take photos with it. But if your listening ability has deteriorated, then the "air" of the ambience and instruments cannot be picked up. Have I been hearing music with highs chopped off? With all the great delicacies and fine wines in this world, I could not imagine my taste buds becoming insensitive... So I took the test below:

Some friends reached the limit at 11khz; some just slightly above 10khz. I was lucky to reach  13.5khz, but it got very hard to hear the pitch when approaching my limit. Now I would like to confirm the ability to hear high pitch is the most valuable asset to evaluate sound quality [Ed: see Footnote 1] Music appreciation and understanding of what is good sound quality can be acquired, but, once gone, loss of hearing ability cannot be recovered...

CAS Journey Ongoing, A Step Closer perhaps, A Proper DAC for Hi-Rez Files

While BT is definitely a good and handy streaming method, my curiosity led me to explore more options. During the search, I have come across so many new and really hard to understand technical terms which prove to be very difficult for me to comprehend. All I know is that I would need a DAC that can handle high bits, up to 32bit/384ks for PCM or 1 bit with 512 times oversampling for DSD. But what these numbers stand for I as a civil engineer  really don't get; I have to bow to the electronic engineer! Of course the DAC should preferably have a decent quality USB input with low jitter noise. Another thing that I don't fully get is the "clock". With so many different protocols on how it works, it's definitely proven too much for an old man like me. The higher the numbers the better? I was trained to be skeptical that it could well be a gimmick to make HiFi users pump in more cash to upgrade to ever improving digital equipment. The biggest question to me is that I always believe in KISS [Keep it Simple, Stupid] and have been a fervent less-is-more practitioner. So, is this one of the biggest scams of the audio industry, a most lucrative market waiting for innocent sheeps like I to fall into the trap? Before, 4x O/S was the most I would need and NOS has been my preferred DAC mode...

Gone are the Benchmark DAC1 and iFi Zen Blue thanks to the active 2nd market in Review33, a well known audio forum in HK for trading 2nd hand gears. Those 2 pieces of equipment proved not to be my taste unfortunately. While I was happily waiting for my new NOS Lite DAC AH to arrive, something happened, as Forest Gump had said, "Life is like a box of chocolate, you never know what you going to get!" While regularly searching on Review33 for anything new in the DAC and CAS categories, usually nothing much would register. One day (there is always that "One Day"), something caught my eye, an Auralic Vega DAC (original version, not G1 or G2) on sale at an unbelievable price (MSRP of $3500USD). However, the USB does not work and the seller was selling as is. I knew it would be gone real soon. Immediately I made some inquiries and at the same time began extensive research on the internet to find out more about this once reference DAC for many HiFi reviewers and users. I do have reservations, since I am not a high-bit believer and it really violates my general "beliefs". And then there were some less favorable comments from some of my knowledgeable HiFi friends. Also, this DAC had been around for 7 years and was replaced by the what the factory claimed to be far superior G1 and the even better G2. Given the ultra fast pace of advancement of the CAS technology, is it obsolete? There were so many odds that I had to consider. I remember Vega when it was first released. I had read a rave review from 6 Moons, which compared it favorably to the Metrum's Hex, while portraying their difference as Starred Michelin Restaurant (Vega) vs hearty and delicious meal at home (Hex). Which one do I really like? If the food analogy is correct, Hex would be more to my taste. In reality I wanted for a little more guts from the Metrum Adagio that I had auditioned earlier, so perhaps the Vega would be a better fit? At the price, if I find it not to my taste, I can re-sell it in seconds. So I decided to take a plunge. Seller is a really nice Malaysian Chinese who, because of personal reasons and the recent social happenings in HK, has decided to move back to Kuala.Lumpur. Since I was the first one to approach him and have shown the most interest, he gave me 24 hours to make the decision. Cut the long story short, I bought the DAC and become friend with the seller (C) and he actually took my recommendation to buy a pair of GAC4 I.C. from Gotham and it replaced the PAD he has been using with immediate good results.

Auralic Vega , My Cup of Coffee?

The way I approached this DAC in the beginning was very simple, I even thought about getting the contact of the second-in-line who approached C after me, Well, I have heard and read enough to "predict" that this DAC would not be to my taste. Too sterile, over-analyzing things, unnatural and inorganic. Well, I always want to hear for myself. at least while I can still hear up to 13500Hz~

CD Playback To start, I hooked it up to my Sparkler CDP as a DAC and A/B'ed with or without Vega. Gotham GAC4 was used as I.C. and Mogami was used as Digital cable. The Vega allows you to change Clock Accuracy and Filters. Initially, the DAC will set the clock as Auto and after an hour's run in, you can adjust it to Coarse, Fine or Exact. Coarse mode means you can feed it anything, even material with a lot of jitter. Fine and Exact mode will stutter from time to time if signal is noisy , but yields better Sound Quality (SQ). When I played Youtube through my Laptop without proper run in, it really stuttered. However, there was never a glitch with my Sparkler, even using Exact mode when the DAC is ice cold. As for Filter modes, 1 is for Orchestral music, 2 is best performance but only good for measurements only, 3 is for Jazz and Piano while 4 is for best overall. I found out that Mode 3 suits me best with enough punchiness and pace to sound lively. After extensive listening, I found out both CDP alone and with the DAC are very close in terms of performance. Sometimes I would prefer Sparkler to Vega, but Vega has the better resolution and instrumental separation which allows one to hear deeper into the music, though in terms of excitement the Vega is slightly behind Sparkler.

USB Vega does provide a USB connection and, though C said it was not working, I decided to give it a try. With my office laptop running through Windows, I downloaded the Auralic driver to my laptop and connected it to a Black Cat USB cable which was gathering dust in the cabinet. Connection was easy and swift to my pleasant surprise. On the DAC, it registered 44.1ks but the sound coming out was lacking in highs and dynamics, and soundstage crumpled. Playing through Tidal improved things a bit but it was yet far from the best. Compared to H10U, my reliable BT Receiver, I would prefer the H10U. My initial guess is I need a proper streamer to make things work out and I began to hunt for a streamer on the market [2].

Laptop Upsampling I keep thinking if I had missed anything in the setup. I search through the tedious sound setting in the Laptop and finally got to the performance column and it allowed me to push up the bit/sampling rate! from 16 to 24 bits and 44.1 to 384 kHz! I maxed it out and started playing again. With the change, I heard a major upgrade in SQ across the spectrum. The level of details and information, the ultra quiet background allowed me to hear more deeply into the music, and instrumental separation, staging and extended highs were all present. The sound did not sound even a tad clinical, but very transparent and natural, in a cooler manner which was not unwelcoming though resolution is not of top notch, as expected. However, the transients and PRaT are still slightly behind Sparkler alone. Judging from the performance, it had bettered the H10U hands down. But that should be the case, given the huge price difference! But H10U can hold its head up high! [3]

Tweaks Approaching the end of the week , I also picked up a power cord for my Vega to replace the cheapo cord. After a few days, it did sees some improvement, but nothing too dramatic. Then yesterday, on a whim, I put the cheap Taobao bought "Finite Element" look-alike device under my Laptop; they were just lying around unused, no harm giving it a try. To my utmost surprise again (I was surprised time and time again this week), the sound took a big leap. I streamed a lot of Cantopop (singers like George Lam, Lowell Lo and Danny Summer) through Tidal. The result was so musical, yet detailed; I could hear, in every instrument, every note played with different touch; the singing technique was laid out with ease; not a bit mechanical and with lots of emotion, heart and soul. All the songs that I play frequently in my Tidal playlist yielded the same results. I could fully immersed myself in the world of the musicians playing great music! I was often forced to focus on the music while doing something else!

Back to CD performance of Vega. To test, I mainly revert to the Sampler CD from Manger, which I think is the most musical, dynamic, natural disc; I can enjoy the music content while ticking all HiFi boxes [4]. I liked both with or without DAC to be honest, now that the Vega had picked up a lot more PRaT, probably due to the power cord? Vega has more authority and weight: the instruments have more body and speed; attack is 90% of Sparkler but the slower passages are simply superior, enhanced by the abundance of details. Summing up, it has speed, attack, authority and control. The Sparkler's take no prisoner approach generates oodles of excitement but falls behind Vega in slower passages. I can easily live with both settings. So I'll call it a near-tie, with the Sparkler retaining a slight edge over Vega, just that slightest edge. Sparkler is definitely no slouch at all!

Verdict

After a week of listening and letting the DAC settle down to my system, I would say this DAC is a keeper, maybe until the day I can afford the Vega G2, Cee's Sonnet, red hot Denafrip Terminator, Totaldac or Rockna's Wavelength? But would I even bother to spend more than 5 to 8 times to get 20 to 30% improvement?

SQ improvement on my computer streaming using USB  is totally out of my expectation. You Tube playback definitely benefits from upsampling and the result is more harmonics, details and extension while being quite musical. Tidal music upsampled to 384ks is highly satisfying most of the time as well. However, (quoted from internet source) "AURALiC introduces several cutting-edge technology for VEGA: Megahertz upsampling algorithm up-samples all PCM music to 1.5MHz in 32bit.".

While some say this DAC musically does not connect, I am of the opinion that this DAC is neither colored nor clinical, but more of what-you-see-is-what-you-get unit; it may just as well be a problem elsewhere in the system and the Vega reflects it honestly! Well, I will keep listening more to double confirm my impression.

Which makes me wonder if I ever need to buy a proper Streamer to further eliminate the noise and jitter? But who knows, at least I'm totally happy right now with the overall performance coming out from my current system! Wait, I still haven't put any spikes under my DAC yet!

That said, my friend who carries British brands and Portuguese made Innous, will lend me a discontinued demo streamer Zen Mini Mkii for trial. Why not I said, I'm always open to anything new and am excited about the proposition! It'd also be interesting to compare the SQ of ripped files to the original CDs.

SQ of CD is still highly respectable despite its humble 44.1 format. I do not see I would abandon this format in the near future.

Which is the happier news, being able to hear close to 14000Hz or the positive result of streaming? I cannot tell but will gleefully accept both results. Until then, adios~~

P.S. I did not forget about the Lite DAC, I will lend it to my friend first and see how it fares in his system. I 'll then bring it back to have a face-off with the Vega later on. Right now, I would not hurry; given the sheer enjoyment my current setup is giving me, I'm a step closer to HiFi Nirvana!!

Editor's Footnotes: 1) I have always meant to write about this, but Eric beat me to it! :-) Well, not quite. The medical auditory test, which I went through as recently as 3+ years ago, is absolutely fascinating. It is conducted in a heavily damped room, as in a recording studio, possibly anechoic. The subject is alone in the isolated chamber, with the technicians in a booth, and asked to wear a headphone, and to press the button every time he hears a note. Now, the notes are delivered random in pitch (not a sweep; no predictability) and vary in loudness, from audible to barely audible. Sometimes it is almost like a tactile thing, even if barely audible. My former student (who is actually also an audiophile), who conducted the test, told me he was amazed, as I scored in the 95th percentile for my age. Now, the catch. The test is only for speech frequency, up to only 8-9k Hz! So I cannot claim golden ear! Now, let's go into the medical aspect of this. A sudden hearing lost can be a harbinger of disaster. I didn't learn this in medical school, but from an audiophile!!! Many years ago, in HK, I had an audiophile friend whose moniker was blanka (a very nice fellow). He suddenly lost his hearing one day, went to the general doctor, who gave him some pills and, when he did not improve, consulted an ENT specialist, who told him it was too late. See, usually, this has a prodrome, or is an aftermath of a viral infection. But, if you don't get to the specialist within a 48-hour window and take high-dose steroid for a month, you are at risk of losing your hearing. My episode was not related, but a year later I saved my wife, who had problem with one ear after mild flu symptoms. Testing showed she suffered severe hearing loss, and the steroid therapy saved her! Back to my friend blanka, he is still listening to music and enjoying audio with just one ear! NOW, back to the Eric test, I don't think we need to take it too seriously. Perception of musical values is a notoriously complicated thing and cannot be laid down to simple and rigid parameters. Also, we accept a +/- x db loss in normal audio use, and a reasonably loud level (speech level) to be tested at. So, if you ask me, better use this test with an earphone in a quiet environment, and your device, with a cheapo "full-range" driver, most likely may not have the frequency demanded (better USB out to a DAC). For myself, I just listened to it and could not hear beyond 11kHz on the laptop, but through my LS3/5A I could hear to 12.5k! I'd like some feedbacks from regulars. In any case, I am not sure high frequency is the most important aspect in hearing; 2) This is a somewhat implausible scenario. The Vega is noted for its USB input. Eric's initial finding is at total odds with all the reviews. As much as I don't care about those, I'd not think they are totally off. My humble Micromega MyDAC does very well by USB, and it is simply hard to believe that such a statement product does not; 3) This is even crazier! Any signal into the Vega gets upsampled to to 32/1.5M. As it is now, some upsampling is done at the laptop (Eric and I back and forth'ed many times on this; he thinks it is the Auralic Driver that upsamples, but it looks like the laptop to me; see pic below). But the Vega will further upsample to 32/1.5M anyway. The implication is the partial computer software upsampling somehow improves the sound, and that the Vega likely handles data with higher bit rates and oversampling better than redbook 44.1/16 (but then CD sounds fine to Eric). This despite the Vega using a costly oversampling in order to bypass the oversampling of the Sabre chip. Eric's finding can be further tested by losslessly ripping a CD, then compare its playback with or without computer upsampling to 24/384. This brings also the question of whether BT will sound better if oversampled. Unfortunately I cannot conduct the experiment, as my current cheapo chromebook and Windows 10 Home do not have the option in Sound Settings (My Micromega MyDAC is only 24/192); 4) The Manger CD is also a personal quick-test favorite; I use only a few tracks (don't like derivative Livingston Taylor tracks, and there are too many jazzy tracks).

Too much!

New York Diary (20-26): Epiphanies, Milestones and the Making of an Audiophile

Several important discoveries propelled me inexorably towards the debauchery of audiophilia or, as Eric L would have it, Hell! Due to senescence, the datelines are likely an approximation, but I'd think not by too much.

Dahlquist DQ10 My formative years in NYC. This was chronicled here. After I got them I was happy for a few years.

Analog Rules My very first CD Player bought in the late 80's was a bitstream Magnavox. As I wasn't really an audiophile then, I listened gladly to it on my Dahlquist setup. UNTIL, one day, I was ready to give away some LP's. That day I compared Milstein's Solo Bach (DG) and was stunned at how inept the digital replay was. When I moved I gave it to my sister. I didn't buy another CDP until several years later. This happened to be the first golden period of buying LP, when people were just switching to CDs (led by the audio press; just like when they ripped all their CDs to files and now find Streaming easier and more enjoyable), and the time when I became a card carrying vinyl junkie, scouring bins all the time.

Tube is King Shortly after swearing in analog for life (above), I made a new audiophile friend. One day he brought over his McIntosh MC-60 and my Dahlquist DQ10 just rocked! I was flabbergasted and an instant convert. Not so long after, I started buying vintage. I perused his Audiomart after he read it, and so was almost always too late. So at first I had to settle for less "desirable" stuff, like Eico. Among my purchases were the Eico HF-87 and the seller persuaded me to also buy the HF-86 and that was how I fell in love with EL84/6BQ5. I also bought an HF-85 preamp, which was highly veiled but very sweet. It came with all Mullard tubes. I had some Russian tubes but was shocked how much better old-stock tubes were. Back to the friend, later I often hung out at his Canal Street loft. He had a pair of Maggies, which I liked. He also had a pair of the original Watt, before the birth of the puppies, supplemented with Entec subwoofer columns. That was how I first started to detest Wilson and the press; how could such an expensive loudspeaker be so bland and yet praised? He drove them with a pair of Jadis JA-80 but they never sounded that great (I preferred his friend's Quicksilver 8417). Unlike many others, I started with vintage amps. It was only later in HK that I heard and tried some modern tube amps (aside from earlier ARC, few appealed to me). Preamp is another thing and classic tube preamps from ARC, Counterpoint, Melos etc became a passion.

Intermission: Then Came Hong Kong, HiFi Paradise. Or Hell, or Purgatory at least. In the HK of those days, audiophiles were everywhere. The first ones I got to know were my colleagues. It helped that we went for Happy Hour everyday (a lot of expats then, from the UK, Australia, Sri Lanka etc, but few of the Westerners were into audio). Two used Audio Research (both were classical oriented and educated abroad). One used SP9/Classic 30 to drive double LS3/5A; the other LS5/V35 to drive Sonus faber Electa Amator I. As source, the former used a Marantz CD-72 Mk II and the latter Micromega Duo (see the influence?) It was also with them that I first visited Excel and Golden String, two of the biggest distributors then. After I started buying and trading things, the number of acquaintances grew exponentially. Now, this was still in usenet days. One day I spotted an Illuminati D-60 (which I still have) and called the fellow. He said: "hey, we are in the same place! Yours is a hospital extension!" That was how I got to know Lee, an Emergency Room Physician who was famous for his vinyl collection and site Vinyl Paradise (now defunct, not the one on facebook). He was a pivotal figure in the HK vinyl renaissance. People like me don't know the classic Cantopop albums but he very early on knew their musical as well as historic values (I am sure this scene was/is also played out in many South Asian places, like India). He also introduced me to even more audiophile colleagues in other departments. Neonatal Physician Cheung (a person I most admire) had these Martin Logan's at home, bi-amped with Jadis Defy 7 and an ss amp, but we knew the ML's could not sound good in such humid environment (it didn't help that he lived atop a hill). Another vignette. Around the millennium, I was living on the ground floor of a 3-story building in a gated community. One day I saw 2 heads bobbing in my front garden. I went out to confront them. They said sorry - they thought nobody's home and they wanted to get a better look at the Marantz 9's I had close to the sliding doors (in America perhaps they would have been shot dead)! So! They told me that the fellow across from me was also one of "us". Now, this fellow had 4 vintage Volkswagen's in his front yard. One day I visited him. Boy! Tannoy drivers, vintage gear, everywhere. Apparently, he once owned a store in the famed Apliu Street. He was also an early practitioner of the SET amp movement. I bought from him at very good prices a grey Garrard 301, and a Japanese San Ei VT62 SET amp. Fast forward, in 2012, just a few days after I moved into a small high-rise apartment, I heard from the even smaller next door unit, Take Five, and from the sound I knew it was a proper audio setup (never went in though). See, just to tell you, audiophiles were everywhere in HK; you don't even have to look. In Covid terms, "Carriers" and "Silent Spreaders" were everywhere! BUT, most people still think of us as Aliens. 

Wading into Digital and BBC Waters I didn't have a proper setup the first year in HK. But, as mentioned, I heard some decent setups. When I moved out of the University Quarters, I started with 2 cheap Philips CD players (chronicled here) and never stopped. Up to that time, my own experience with bitstream was downright negative, but I knew from my colleagues that Marantz and Micromega could be good. I got a pair of used 11 ohm LS3/5A, paired it with Dynaco ST-70 that I brought back from the US, and a DIY Marantz 7 (made by a student of mine) and the sound was excellent, almost on par with what I have in front of me right now. Sometime later, Golden String had a clearance sale, and I bought the Spendor SP 2/1 (later also the SP1/2) and started my exploration of BBC and BBC-related loudspeakers beyond the LS3/5A (if interested, see my Spendor Overview). From then on, I bought, tried and sold a huge array of vintage CDP's and UK loudspeakers. For digital, basically over more than 10 years I tried everything bitstream and 16-bit classics (and earlier 14-bit ones). I am going to say more on this in a later Micromega Overview.

Horns, no looking back My first exposure to horns was a humble one. In HK, I heard at the aforementioned Lee's place his Klipsch KLF-30, a large floorstander. This was a three-way tower, with ferrite tractrix treble and midrange horns, and double woofers. I was impressed by the presence. Not so long after, I spotted a pair of La Scala's in the back of the shop (Sound Glory) and got them for a good price. Owner was just too happy to get rid of these (I later bought from him stuff nobody else wanted, like Loth-X BS1 and Magnpan SMG). This was the period when I was living on the ground floor, and I had much more room than before. A Malaysian fellow was relocating back to his country and was trying to sell his Lowther TP-1 (here). Someone (now a well known tube guy who operates a vintage shop) made a really lowball offer that he couldn't stomach. The night before his departure I made him a fairer offer and he delivered them the next day on an open top truck (along with a Garrard 301)! It was fun having them side by side, which was why I knew very early on that the Lowther was not nearly as efficient as the Klipsch. This was a fecund period. I also bought a pair of Tannoy 12" Gold in original Lancaster cabinets. My loudspeakers were definitely getting bigger! It's regrettable that I don't have even one picture of this period! That was at the start of my Ebay days, before smartphone and picture hosting! Then, a lot of words, few pics; now, lots of pics, few words..

SET Amps With efficient loudspeakers, I started to explore SE amps. I loved the combination. Once I started with SE amps, I basically abandoned larger PP amps. It's not necessarily the sound, rather the convenience, simplicity and reliability. I have never had any of my SE amps break down, something I cannot say about vintage PP amps.

Cables Once I started using professional cables from Mogami and Gotham I never bought anything else.

Ebay addiction For almost 10 years I was just addicted. Basically I just stopped abruptly. I should be a seller, not a buyer!

So, I had my beliefs formed relatively early on. Then for almost 2 decades I just wallowed in excess, and now have a big mess to clean up. Let my example be a warning to you!

First Sound and Panda Baby

New York Diary (20-25): First Sound and a Rare Moment of Joy

It's hard to Keep the Spirits Up these days. This is especially so with those who live alone or have limited mobility. We need more good news.

The first thing I do when I get up is to make coffee and turn on the hifi. As it is very early in the morning and dark outside, I'd play a CD (or stream BT) and listen at quite a low volume. With my setup I still hear a tremendous amount of microdynamics at low volume (a must for good sound).

Yesterday I played the CD of Zino Francesscati's Mozart Concertos (Columbia/Sony) and marveled at his tone and how good the system sounded. This is because this great violinist's tone on his Strad (and Columbia's recording) is hard to get right: a little off and the high notes would be grating. Yesterday it was pure and almost sweet. This morning, I streamed pianist Dina Ugorskaja's Bach Well-Tempered Clavier, Book I, and it was nourishing. The First Sound everyday is always the best. It is hard not to conclude that our ears inevitably get worn out a little (not because of the system) as the day goes on - we are not meant to be listening to music for hours on end.

After about an hour of music, I'd watch the news, which is rather monotonous these days. Today however brought news of the birth of a Panda at the National Zoo. Like many others I am sure, I broke into a big smile and felt that Serotonin Rush. How wonderful!



Basic Repertoire: Bach's Keyboard Works are of immense importance in the development of music. Most accessible would be his keyboard concerti. Then I'd say the Goldberg Varaitions, Chromatic Fantasy and the Italian Concerto. The mammoth Well-Tempered Clavier is not meant to be listened to in one seating. Below is no. 24 from Book I. The excellent pianist Dina Ugorskaja tragically died young, at 46.

Almarro A205A Mk II Nagra BPS Micromega MyGroov Schiit Mani

Brief Review: Almarro A205A Mk II
Brief Review: Nagra BPS vs Micromega MyGroov vs Schiit Mani

Last time I tried to fire up my Almarro amp, it produced some crackling noise and I turned it off immediately. A few days ago I decided to try it again. I noticed the transformer fuse cap (not the power fuse; on the side) was not entirely properly seated so I corrected that. No problem now! Strange.

Almarro A205A Mk II
This amp needs no introduction. The younger (and more sensible) Jeff Day owned the original and reviewed both for 6moons (link for Mk II which contains link to Mk I). He preferred the the Mk I by a little, but only recently discovered that his Mk I had the stock caps replaced by Jensen (see Positive Feedback)! That is, the Mk I was sent to him for review without telling him that it had the coupling caps replaced!

This is not unheard of. Many years ago, in HK, we went to a shop to hear a bargain Chinese amp, and it sounded reasonably good. My friend insisted on the one on demo and took it away. Another friend who bought one never got the sound he heard at the shop, just slow and soft. Finally they compared the innards. Guess what! The demo was modifed to fixed bias from the original's auto-bias! Of course that sounded punchier! Deception! That's not all, some years later, someone's had a problem with one of the output transformers and found out that the big potted transformer only has a much smaller one inside! So, size and weight can still be deceptive.

Although 6moons was the only review at the time, this model sold pretty well, and you often see it turning up second-hand, many modified with V-caps by the dealers. I bought mine second-hand many years ago and rarely used it. I substituted it for the ss Akitika and used the 16 ohm tap for my 15 ohm loudspeaker in my Streaming System:

CDP: Micromega Stage 2 or Magnavox CDB-492
Bluetooth: Dayton BTR-01 digital out to Micromega MyDAC
Analog: Technics SL-1200 Mk II, Denon DL-103; Micromega MyGroov
Preamp: Yamamoto CA-04L

I started with an RCA 12AX7 and a pair of Sovtek EL84. I was immediately grabbed by the excellent sound. Although just 4.8 wpc, it did not sound anemic at all. As a matter of fact, the bass was fuller and better shaped than the Akitika amp! There was a trace of leanness at the top. I rolled in a pair of old-stock Mullard's (one of their better tubes). Now, very sweet indeed! It really doesn't need a preamp. I used it directly and it was just as beautiful, but I need more than 2 inputs.

This is an amp with a very small footprint, yet it is laden with features. 2 inputs, headphone output at the back (decent) and, best for people like me, choice of 8 ohm and 16 ohm taps instead of the more usual 4 and 8 ohms. It generates some heat, but is not excessive. A great choice in a smaller space.

I did open mine. Guess what! Although the designer recommended value for the coupling cap is 0.01 to 1.0 (stock is 0.047), mine is 2.2 Sonicap!!! Someone before me must have wanted for bass! However, after listening for days, I don't think there is anything that I need to change, the bass certainly was not slow nor bloated, though one day I may still restore it to official value and see what it is like. Also, the signal wires going from the volume pot (below pic, silver colored) to the 12AX7 look different from the pics of Jeff Day. I was suspecting they were changed too. I googled the cached pictures of the many second-hand units and found a couple identical to mine, so I concluded they were stock. Power supply caps can be different too. So Almarro had some variations over its production span. My unit (serial # E16869) is likely a later unit.

For not much money on the second-hand market, often with extra's, this is an excellent starter SE amp employing one of my favorite tubes. The Almarro is definitely better than the Wavelength I heard more than 20 years ago (not the Junior, likely a simpler precursor). I'd advise those interested to look at the innards carefully to see whether there had been mods.

pic of BPS from 6moons.

Nagra BPS, Micromega MyGroov vs Schiit Mani

There is no miracle. Although the Schiit Mani is a good buy, it is outclassed.

The Nagra BPS is a fantastic battery operated phonoamp which I have written about here. It is not cheap, but I regard it as a bargain. In this system its incisive (but not oppressively so) nature is displayed to perfection.

The Micromega MyGroov also shines even more than before. Its detail retrieval is more than Schiit, almost approaching Nagra, while tonally it is warmer than the BPS. It is staying in this system. MyGroov is now not available stateside, but in Europe and The UK you can get one for Euro/GBP 200 (including VAT), a great bargain!

Micromega MyZic Meier Corda Swing MF V-Can II, Beyerdynamic DT880 300 ohm

click pics to enlarge. Top to Bottom: innards of MyZic, Corda and MF.

Headphone Amp Meet: Micromega MyZic, Corda Swing, Musical Fidelity V-Can II, Schiit Magni 3 and Vali 2 (using Beyerdynamic DT-880 300 ohm)

For someone who hardly listens to Headphones, I sure have more cans and amps than some Head-Fi people! I really should sell of most of them, but so lazy am I. After the lockdown started I am by myself and the daily routine just gets boring. How many hours can one listen to music or write? Many, yes, but not all day and night! To put a little variety into it, I sometimes retire into my bedroom a little earlier and listen to a little music through the Headphone while reading. So! Might as well do so comparisons.

I use only the Beyerdynamic DT-880, not because it is my favorite (that would have to be Sennheiser HD-600 and, even more so, my Stax 2170 System)  but because it may not be broken in (I have no idea about how long it takes). I deliberately did not include my Schiit Valhalla 2, and Schiit hardly needs more coverage. My AKG 701 and Grado SR-80 are also just bystanders.

For source I used the 14-bit Magnavox FD-2041 (here). Unlike the vast majority of head-fi people, I don't listen at very high volume and only classical music at bed time (sometimes I listen to WQXR on my clockradio).

For all I know, except for the Corda, which I bought used (report here), all the amps are probably not quite run-in! The Corda is undoubtedly the best built, with a built-in LPS. The worst built is the V-Can II (fortunately I bought them cheap when it was closed out at a HK Show). The 2 Schiit's employ fairly hefty LPS wall warts, whereas the MF uses a small SM supply. The Micromega is SMS too, but built in. Surprisingly, almost all were not built in China. The Schiit in the US, the Micromega in France, the MF in Taiwan. The only uncertainty is Meier Corda, which says "designed in Germany", which I take to mean it was built elsewhere.

Sound There is going to be relatively little here. Given that almost everything is underused and perhaps not broken-in, I consider it a level field. My goal is to give praise to under-sung gear, and there are surprises here.

• Schiit Magni 3 and Vali 2 Using only high gain, the sound of the two are more similar than different. Tube rolling helps in the Vali 2 but not enough. Both, despite reasonable driving power, seem to constrict the sound to the center of the head, making these a failure in classical replay. Dynamics are blunt, with little subtlety.

• MF V-Can II This was very well regarded in its day (see here). Despite its built, it sounds pretty good and not electronic, very close to the Corda in presentation and air.

• Corda Swing Now, we are talking. The orchestra panned out, with superior micro- and macrodynamics. The symphony, whether Brahms 4th (Bernstein/VPO, DG) or Franck (Paray/Detroit, Mercury) has breath and depth. Pleasurable and musical. But the Crossfeed thing is useless for me. The Swing is a discontinued model, but I note that the next step up, the long running, well reviewed and similar Jazz, is trashed by audiosciencereview. I have read this site quite a few times. IMHO while this fellow may know something about measurement, I'd wager he knows little about music (like his trashing of Dayton B652), a manifestation of the worst of head-fi.

• Micromega MyZic This is the most distinctive sounding of the bunch. I was immediately captured by the sense of massed strings. More, there is a sense of separate instrumental groups, like when the Wind Choir chords. the sound field is also the widest in the bunch. Before fully warming up, there is a trace of veil, but musically it is faultless. The Official Page contains many review links, and it has received accolades in Europe and HK (I got mine at a good discount in HK), though it has no presence whatsoever in the US. It deserves to be better known.

My brief observations are based on classical music, which makes my observations likely completely different from other reviews. YMMV.

CAS and LPS, to be or not to be (Unanswered)

Letter from Hong Kong (20-6): Pandora's Box? LPS did not pass muster and Eric L keeps wondering

Editor's Preface: Eric is toying with the idea of getting into hi-res audio or CAS. Given his love of Bluetooth and somewhat populist sympathies, this is a bit surprising. I'd urge blog authors and others to weigh in. Instead of using Comment, Blog authors, like I, can directly add their thoughts to the end of the article. 

CD Diehard
All through the years I have been a CD diehard. Would have loved to be an LP diehard if I had not sold my Linn LP12/ Naim combo and my generous cousin had not given away all my valuable vinyls to others after I flew back to HK. CD then became my only choice of source and I never bothered to look at CAS as I always believe, to get good sound one has to put in some physical effort, like getting out of my seat to change discs!

Myself as Top Audio Salesman...
Little have I mentioned to friends that, back in my days in Canada, some 30+ years ago, I was a top salesman in the Audio Department of the now closed down Future Shop. Well, although I was not good enough to sell a refrigerator to an Eskimo, I did set a record of earning $10k in commission in the month of December selling audio equipment, a legend back in those days! The so-called Audio Department sold mostly low-fi, but there were some good gears like CDPs from Technics (I sold plenty) as well as Philips (CD473). With my hifi background, selling to the mass was a piece of cake. CD was the main mediium used to demonstrate, though some stereo combos (from $499 up) still threw in a cheapo plasticky turntable!

My store manager Rick, whom I look up to, is a wise man. He used to be store manager at a Hi End HiFi shop on Broadway. He once said to me (and I took it to heart): "You sell to the Class, you drink with the Mass; you sell to the the Mass, you drink with the Class". [Ed: just brilliant] To this day, I still remember that vividly. To be a high end hifi salesman, one must have passion and love for this hobby, otherwise one would not last long.

Why CAS/NAS?
Kinda drifted away as usual~ After I acquired the Gaincard some years ago, due to the lack of input selection, CD playback have been my sole and trusted choice. I was happy about the quality so there's no urge for me to venture into CAS which was then starting to bloom. My recent acquisition of the passive preamp icOn4 gave me 3 more inputs, and now I could play CD, stream music through Tidal using my cheapo BT unit and also hook up my TV or perhaps and a radio tuner or a Server/Streamer/DAC combo. I want to actually experience for myself if hi-res PCM or DSD formats are really superior to CD's humble 16 bits.

As a newbie to CAS, to kick start the process, I would like to buy some hi-res DSD/PCM files for playback. I also gathered that, since I have a sea of CDs, I would like to rip and store them in a server, so the streamer can search through the TBs of memory to send to the DAC. Even more convenient would be is to directly send the digital signals to a pair of active speakers with power amp, bluetooth, wi-fi and DAC built-in!

My ideal streamer shall also receive signal from multiple music platforms like Tidal, Qobuz, but I don't care if it is ROON ready or not. It shall also be Bluetooth ready. There are standalone units , Server/Streamer combo, or all-in-one Server/Streamer/Dac/Dig preamp available in the market for one to choose. I would prefer to use separates. I estimate, to go cheap but not too cheap, I need a server (at least USD 400 for a I-O Data Soundgenic, 600 for a Volumio and 1.3K for an Innuos Zen Mini MkIII). Then a Streamer and a decent standalone DAC that is better than the DAC inside my Sparkler CDP. There are many well known "new" brand names such as Auralic, Aurender and Cocktail brands, as well as conventional brands like LINN , NAIM, PS Audio etc which offer numerous solutions for CAS and NAS. Where should I start???

In addition, to clean the digital noise from server or streamer, I would also need a LPS as well as high grade USB and Ethernet cables etc etc which costs $$$ and the minimum bill adds up to $2.5k+. Wait, my good ole Sparkler S503II only cost me a little less than $1.2k USD! Is it worth the investment??

If I did not have my cheapo Bluetooth H10U (7 USD) and Tidal subscription (only $18 USD/month, good for 5 "family" members), $2.5K is still not a hefty investment. But to outperform significantly my H10U (the little wonder) is not easy. Given the landslide spread, I am very hesitant indeed. If I truly want to listen to best quality, I'll go back to my CDP . But if I want convenience, I can switch back to my H10U/Gotham GAC4 combo and control everything from my Huawei P40 Pro+!

I need a damn good reason to setup a proper Streaming system! [Ed: you said it!]

LPS, to be or not to be
Not only streaming units needs clean DC, I also discovered the DAC inside the S503 can be hooked up to an external 12V LPS. As one way or the other I would need an LPS, why don't I try them out first to see if it can really improve the sound of my built in DAC!

I discussed it with another friend, who said his friend is using an ultra expensive DIY LPS individually for each of his component, at a cost close to 5k USD each unit !!! Also, he is using a very decent one himself too. He would lend me a no name LPS to try out first, and predicted that, once hooked up, it will be like a night and day experience and I'll be forever humbled in front of the almighty LPS!

Reality check, while I was full of expectation that even a pedestrian LPS would give me a glimpse of the Holy Grail of LPS, it was far from being the case! With the LPS connected, music does not sound natural at all and the microdynamics are completely gone; there were more cons than pros.

My friend and I concluded that we were too naive and had concluded that the Sparkler Audio had done a respectable job on power treatment that ordinary LPS could not match, but instead deteriorate the sound. He then was so kind to lend me another better LPS from Zero Zone, still not expensive but yet costs 150 USD. The look, feel and built is much better than the previous one.

This time, there were improvements: instruments had better separation, every note was more clearly portrayed and the background had less veil. The music presentation seemed to stabilize, even slow down, with more ease. It was as if it had a different tempo! However, the best trick of the Sparkler, that is the brilliant portrayal of the silent gaps between the notes is simply missing. The difference among slightly fast, quite fast, fast, faster, very fast, freaking fast and fastest that is usually clearly heard from Sparkler had become blurred, which is also true for the "Slow" category! Need to give tons of credit to Tsukahara san for the effort on designing the S503II ! Well, I guess I would need a really great LPS (maybe Plixir or KECES etc) in order to better the built-in circuitry of the CDP! Or another option is to get a Power Conditioner from Long Yu to stabilize my voltage.

S503II follow up
Performance of S503II goes from strength to strength. I think the the whole setup running through 47 Lab cables , the precious icOn4 and Gaincard has successfully maintained the nuances, timing, shades of music! The gaps or empty space between notes are so well portrayed that music just flows, wholesome and mesmerizing. Speed and Capture are spot on. With that, any minor HiFi flaws are easily tolerated. I could use more slam, more flesh, lushness, better soundstage, instrument separation etc, but none of these factors are important if the whole picture doesn't sound musical and right. With S503II, I can hear and connect with how the musicians perform more than ever! Even I'm actively looking for ways to improve the sound by adding a LPS or DAC, my gut feeling is that I would have to pay a fortune in order to improve the already satisfying sound. Well, who knows, I absolutely welcome surprise and improvements! Wonder if the first generation Auralic Vega DAC or Meitner MA-1 can further improve the SQ...hmmmm

doctorjohn: 1) North American Hong Kong immigration history was closely tied to the city's capital and political developments. In the 70's to 80's, HK did not have nearly as many universities as now, and many students went to study abroad. Many of my secondary school classmates came to the US for study, and stayed. In the 90's, before the handover to China, many HK citizens chose to emigrate (Canada was by then even more popular than the US; Australia came later) and start over. Many of these were professionals who had to start all over in more menial jobs (due to lack of jobs). Some years later, when it seemed China was more or less leaving HK alone, many returned. Given what is happening in HK now, this is ironic, as people are once again considering emigration, some for the second time; 2) On CAS, I'd do it on the light, and not bother with hi-res at all; 3) On Power Conditioning, personally I feel this is rarely done right. To each his own. For those who value PRaT I suspect it is usually detrimental. Think PS Audio Power Plant, a friend was using the flagship, and we always joke that his system sounded better when the Power Plant was off. Overdone power supply are a dime a dozen and that is probably behind the deadly dull performance of a CD transport (recorded at the end of this article).

To Dr. J
Why the interest in hi-rez ?I would like to test the territory of hi-res which is something that I always want to prove whether it's worthy or not, by my own assessment and of coz without spending too much. Much like the use of LPS or power conditioning etc. , I need to go through the process before I can say it out loud. There's a lot of heresay  which I tend to agree to but I want to prove it to myself and judge whether I am for or against it~

Yes, I graduated in civil engineering in Canada and am now 30 years into this profession involving in many mega projects in HK since I came back from Canada after quitted my job as a top salesman (one of my sales TRAINEE was the GM of Watxxxs who flock from HK!). I landed Canada long before the 1989 and never dreamt of coming back to HK during that time, but here am I more than 30 years back to HK, such is fate. Anyway, I have no intention of moving back to Canada in near future until the day I would retire~

Wim Wenders Soundtracks

New York Diary (20-24): The Journey

Audio is a Journey in every sense of the word. Once one embarks, there is adventure and frustration in equal parts, and often there is no telling how it'd end. Hopefully, it is spiritually nourishing (you really need to be a music lover for that), does not bankrupt you and become memorable for the wrong reasons.

A good album on a good system can impart a sense of journey. Nick Cave's The Boatman's Call, Marvin Gaye's What's Going On, Van Morrison's Astral Weeks and Moondance all do that for me - it is impossible not to listen to the whole thing.

I am a film buff and a fan of Wim Wenders, who is one of the few filmmakers for whom the soundtrack is not an afterthought (another is Terence Malick, one of my idols). I have many of his soundtrack CDs but I think Until The End of The World is the best one (see here; the film though is not his best, rather contrived, as he can be sometimes). I bought my first at a second-hand HK media shop for $2, and the second for less than that. I have listened to it tens of times, always from start to finish. I did that this morning twice. Though streamed through bluetooth, it sounds even better than it had in HK. Half of the artists I knew before but singers like Nick Cave and Neneh Cherry I discovered through this album.

Wim Wenders films evolved from Road Movie, and that sense of journey never left him. This track from Paris, Texas is a favorite with HK audiophiles.

To enjoy a journey one must retain a sense of wonder. May you all enjoy your life!

Streaming Classical Dvorak Symphonies 7 8 9

Streaming Classical Music (2): Full Concerts of Dvorak Symphonies 7-9 in HD

Dvorak's Symphony No. 9, From the New World, is a warhorse deservedly beloved by audience all over.  The second movement, a largo, has the most meltingly beautiful melody. Even non-classical listeners may know the tune via the song "Going Home" (which we sang in middle school in HK). Paul Robeson included it in his 1958 Carnegie Hall Concert.





Comparatively less often played, Dvorak's Symphonies 7 and 8 are actually masterpieces on the same exalted level. I never tire of any of them.

My first 8th is Bruno Walter on Columbia Odyssey, still a favorite! This performance by Manfred Honeck is superb  (this one is for some reason only 720p)!



As for the 7th, many regard it as the best constructed of the three. Here is the under-rated Peter Oundjian, former first violinist of the Tokyo String Quartet.

Review: Yamamoto CA-04 Preamp 6AK5 403A Tube Rolling 45 Micromega Stage 2

Click pics to enlarge. Micromega Stage 2 CDP to the left of the Yamamoto CA-04.

Review: Yamamoto CA-04 Line Preamp, A-08S Amp
Talk Tube: 45, 6AK5
My Japanese Fetish

Amended Aug 13. 2020 (twice): Triode vs Pentode paragraph added. Also more comparisons. And re-write of the Japanese Preamp section.

The good old days! In Central, Hong Kong, there was a well known second-hand store, Reference Audio (now in Mong Kok). Over the years, I bought many things from them, including the EAR 912, but what I bought most were Sun Audio kits. They used to carry the entire Sun Audio line, at special prices, half that of US or Japan. Hence I built their 2A3, 300B, VT-25 and yet another 300B amp using the VT-25 kit's 5K tap. All this was before I started this blog (in 2008) so I never wrote about them here. It's about time I do an Overview of Sun Audio, sadly under-represented in the US.

pic of A-08S from TNT.
 

Yamamoto A-08S
It was at Reference Audio that I first saw the Yamamoto products. One look, and I knew I wanted them! But they were kind of pricey for me (I was more of a cheapskate then). I can't be sure when, but it was before 2008 (when I started this blog; I'd have written about the A-08S otherwise), when I was back in the US, that I ordered a kit A-08S through the US dealer Brian Bowdle (now defunct Venus Hi-Fi, very nice guy). I also bought my Almarro A-318B and MA-1 through him. I chose to have them in NYC because I had too many SET amps back in HK (and most of the Japanese SET amps do not have multiple taps for voltage conversion).

For a detailed introduction to Yamamoto Products, including the original A-08, read this early Jeff Day 6moons article. The article features several home visits, including at Cain and Cain (of Abby fame). There is also an Art Dudley review of the A-08. The A-08S adds a sexy meter, as well as some change in DC coupling to lower the noise level even further. Read the TNT A-08S review.

The A-08S is lovingly nicknamed "The Sushi Table". It took a while to build the kit. Parts are of high quality, and a pair of NOS Western Electric 717A and 45's, as well as an 80 was included (amazing!). If you are interested in the building process, my friend daiwok chronicled it here, with many pics. Incidentally, the use of the "mini doorknob" pentode WE 717A is one reason why I chose this amp. Any WE can only be a plus. More useful info and great pics can be found on this page of jacmusic.

Sound I shall not elaborate on the sound. It is as described in those reviews. To summarize, very quiet, clean and neutral, yet with no etching. Surprising power for 2 wpc, a fast and tactile bass, and of course, great presence (the sine qua non of SET). It will fit a rich sounding system with good bass foundation more than a bright system (usually light in bass). It is entirely possible that some SET aficionados will not like this kind of sound. Often I read that SET amps are sweet, rich, chocolaty...that puzzles me to no end and I attribute that to wrong design and component choice. Most of my SE amps are not like that, just varying but small degrees on the tube side of neutral. The A-08S is certainly not rich sounding. Is this the Yamamoto sound? Partly, but I'd not attribute the sonic character entirely to Yamamoto...

45 The immortal Triode 45 itself has a very clean sound (even more than the Beam 6V6) akin to the single-plate 2A3 (vintage as well as current), which sounds cleaner (leaner) than the vintage double-plate 2A3. I know the sound of 45 well, as I have another DIY one in HK. That one has a WE 417A as driver and Tango Output trannies, and sounds a little sweeter than Yamamoto (the 417A is a great tube). Nonetheless, the character of 45 is very much in evidence. The 45 is one of the best triode tubes. Brands are not important. There are hundreds, if not thousands of types, so getting a "matched pair" would be difficult. I'd not bother, take any two and they will sound great in a SET amp. The 45 goes back a long way, to the WE era. ALL of the currently produced Triode tubes, be it 300B, 2A3, so-called PX25 etc, will pale in comparison. Of course, for 2 wpc, you need efficient loudspeakers. 45 is also cheap, much cheaper than some of the boutique, high-priced but under-performing tubes now. Globe 45's are more expensive, and usually they sound warmer, but one may just prefer the ST shouldered ones, which are bargains. As I have heard 2A3 PP to great effect (Brook 10/12, and I have also heard a pretty good DIY effort using vintage trannies) one day I hope to hear a 45 PP amp (I have seen the vintage RCA monoblocks but never heard them)!

My Japanese Fetish is largely confined to SET amps I have a long relationship with Japanese Single Ended Amps. After all, they were among the first to revive SET. American SET makers come much later (and we can forget about the few European efforts, except Verdier). Having heard some Wavelength, Welborne and Bottlehead, I must come to the conclusion that they don't reach the standards of the better Japanese products. A crucial factor is in the transformers - it is my belief that the Japanese make better SE Trannies. Of course, topology and component choice all contribute to the sound. Let's just say the Japanese amps have a little more of that je ne sais quoi. I know, some would think of it as an "ephemeral" thing but, having been in this hobby for so long, that's an important aspect of the audio lore (think WE). PP Amps But when it comes to PP I am not interested at all in current Japanese (or American or European) products, at any price level. I own a Shindo preamp, but I am not interested in a PP Shindo amp. Why? Because vintage PP trannies are better! There is no way any current PP amps can sound better than vintage amps in good condition. Hence, imagine my puzzle (and my friend Hoi too) when I heard the uninspiring Sun Audio 2A3 PP monoblocks (not even close to the Brook 12A that I have) which is essentially the same as the 300B PP Gizmo raved about (here). Preamps Readers may think I am really interested in Japanese Preamps, as they don't have to use output trannies. Well, not really. I just have too many good Preamps already. But I have made several exceptions: I decided to buy the Wavac PR-X2 after I bought the wonderful Wavac MD-300B (here) and Kondo M7 sometime after I got the Ongaku (so a desire to hear a full system after I got the amp); Leben RS-28CX (here) independently, since I am not interested in their PP amps; and now, the featured Yamamoto CA-04, also because I already heard the A-08S amp. And of course, given my kit building bent, the overachieving (and now legendary) Elekit TU-875 and the current TU-8500. Well, that's quite a few I guess, more than I'd have thought...

Yamamoto CA-04 Line Preamp
The Preamp did not receive nearly as much attention as the A-08(S) amp. The only review is in Positive Feedback. Although  I saw almost the full line in HK, I didn't think much about them. That changed after I got the A-08S. Recently, I chanced upon one in NYC, and bought it. The nice seller delivered it to me, no shipping!

Confession. My interest in this preamp is also in part due to its unusual use of a pentode, the 6AK5, which has a Western Electric Equivalent, the 403A. This is a good sounding (and small) tube. The Chinese equivalent 6J1 is widely used in cheap preamp/headphone amps. Since I have the FX Audio TUBE-01 (here) I already have some old-stock 6AK5s around for rolling. And old stock tubes (6AK5/EF95/5654/403A) are not expensive.

Some more data and great pics of the innards can be found on this page of jacmusic.

Contruction, Parts Quality and Circuit I love its size and proportion. It is a lovely looking unit. Inside the wood trim is a solid steel chassis. Unusually (for Japanese high end) it uses a U-shaped circuit board. The 2 sides are broad. In my line stage version, basically only 1 side is used for the PS (the other and largely empty side is for the phono option). A slender strip bridges the 2 sides and this houses the 2 proprietary Teflon tube sockets for the 6AK5. Inside the trough are anchored the selector and double-ganged volume pot, which are very ordinary looking things, frowned upon by many DIY people. This is not cost-cutting. Almost down to the last one, Japanese designers feel simple selectors with small contact points and carbon pots, despite their tracking anomalies and other perceived faults, are more musical. I must say, based on my past, hanging out with DIYers, auditioning of a huge number of expensive but sterile sounding components, I concur. Funny, I posted a pic of this preamp on my Chinese wechat audiophile group, and the first comment I got from a DIY friend was: "change the volume pot!"  😃. Now, the PS is on the circuit board, and the only thing I have reservation about is the power transformer is soldered onto the board. Given my Dynaco PAS3 experience I'd have preferred an isolated PS. Here I cannot provide more isolation. The power transformer is actually very nice and looks to be a quality double C-Core. Here it is interesting again. Different from many other Japanese manufacturers, this has both 120 and 220V winding's, as the seller was using it in HK and took it back to the US and had a technician convert it. Rectification is SS. It should be mentioned that the circuit is quite simple. The signal travels a short path via the circuit board (only around the few components associated with the tube amplification). Otherwise, the preamp is largely hard-wired (inputs to selector to volume pot to studs on the circuit board (on the slender bridge). The output cap (and one in the PS section) is encased in wood. It is certain the designer tuned the gear to his satisfaction.

The unit came with Telefunken 6AK5s, which are the original tubes supplied (as with the A-08S, Yamamoto is classy, always good tubes). I hooked it up to my streaming system:

Bluetooth: Dayton BTR-01 digital out (Belden 1694A)
DAC: Micromega MyDAC (Kimber KCAG)
CDP: Micromega Stage 2 (Gotham DRG-1)
Turntable: Technics SL-1200 Mk II/Denon DL-103
Phonoamp: Schiit Mani (old Audio Note AN-V)
Preamp: Yamamoto CA-04 (Gotham GAC-2111)
Amp: Akitika GT-102 (Gotham 50025)
Speakers: Almarro MA-1

Initially, I was pleased by the refined sound, but soon some dark clouds rolled in. I was missing some microdynamics. Also, the spec says 16 db gain, but it sure didn't sound like that as my volume knob was way up. I was puzzled. With this kind of gain, the -20db setting for each input would be unusable!

I decided to tube roll a little. I swapped in a pair of Sylvania old-stock tubes. Holy cow, all the gain is back, and microdynamics galore! So, the stock tubes were on their last legs! But the Tele's still seemed to have a little more detail. So I went onto Ebay and got some used (but test strong) Telefunken's and WE 403As as well as some others.

Sound Most of the words used to describe the A-08S can be used to describe the CA-04, though I think the CA-04 is perhaps just a little sweeter in nature. It throws a cavernous and airy soundstage. It is very quiet, clean and neutral. This is a "lighter", refined, yet lithe and nimble kind of sound, with a pacey but fluid delivery. I actually take issue with what the Positive Feedback reviewer said about the "lack of a bit of sparkle at the top". No, more would not be right, because it is so right! I attribute that to the wood cones he was using - not my favorite tweaks.

By "lighter" I don't mean tonality, which is spot on; I don't mean microdynamics, which it has in spades; I don't mean lack of heft, the midbass and bass are all there. What I mean is: there is no excess baggage. With Nick Cave's The Boatman's Call, I usually listen to the last few tracks. This time, in almost every cut I discovered new nuances in the vocals as well as the instrumental flourishes. The last cut, Green Eyes, popped open mine. I have heard this CD many times, but I was still surprised by the separation between Cave's singing and overdubbed recitation, one in the back and one in front. Each is in its own space, no smearing. It was so good I went back to hear the first cuts. The same phenomenon happens in Save The Children, which also has similar dubbing, from Marvin Gaye's What's Going On: it has never been easier to separate the two. On Van Morrison's Astral Weeks, the guitar strumming is almost real! Now, some of the effects are due to the system, in particular the highly articulate bitstream Micromega Stage 2 CDP (review to come). To give you some idea: the Motown does not in this system sound like it is played by a quality tube amp driving the JBL 4343 (that actually would be lovely) but my smaller system still displays that almost relentless groove of Motown to perfection. If the system were a curry, it would be Thai Green Curry, not even Thai Red Curry, and definitely not Indian Vindaloo (which I love BTW)! A food comment: my mother, a devout budhist, for the last 3 decades of her life, was vegetarian, and I could also eat very little meat. I always say, there are only 2 ways to go for vegetarian: Chinese or Indian (including South Asia)! Well, not entirely, I do like a Quinoa Salad. Come to think of it, Middle Eastern Mezze are great too! Ah, I am hungry!

More on excess baggage. Welcome to the tube world! Start from the basic preamp or amp, there really is no fixed rule on the value of the coupling capacitors. Too small, and the sound would lack heft; too large, and the sound would get sluggish. There is a cost to everything. Take tube rolling, Mullard (in general) is the best example of excess baggage. While some like the sweetness, others like me and audiopro feel things just become blurry and slow. With choice, judgement becomes important. Again, those who view tubes as tone controls may not warm to the Yamamoto, which is antithesis to preamps that are more colored and heavy handed, from the likes of "classic" Conrad-Johnson, ANUK and Jadis, to cite just a few.

Tube Rolling Tube rolling has an effect on the sound, but the fundamental character is unchanged. Telefunken I got some strong ones. The sound at first seems a little more detailed than the US tubes, but one finds out that is because while it seems to have a little more air on top it is a little lean from midbass down, so I prefer the US tubes for the better tonality from midbass down. This I must say happen to me often. For daily listening I use mostly modern components and my systems, though tubed, are neutral in character. What I am saying is, it is not always wise to use Telefunken in modern gears - it depends. When using vintage gears, however, Telefunken's often can be beneficial. RCA Mine have round getters. They are almost as airy and resolving as the Tele's. They seem to be particularly punchy. Sylvania These have D-getters. Sound is even warmer and just a little less in resolution. Western Electric 403A My samples are from the 50's. Boy, this tube sounds substantially different from the others. It made me re-listen to all the tracks. This tube definitely is more midrange-centric. There is less treble air, making Van Morrison's undulating guitar strumming stand out less. But the modulation of voices gains significantly. audiopro would easily pick it out when the singer shifts from using a part of the body to another. Marvin Gaye's singing becomes more soaring, indeed majestic. The back-up singers become more real. So do the cymbals and piano, because of gain in texture. I think I'll use mostly the 403A, but change to RCA and Sylvania once in a while.

vs other Preamps As I just came off the Schiit Valhalla 2 (here), you may want to know what's the difference. Well, it's subtle yet substantial. The OTL Schiit has much less gain and is more literal in comparison; the Yamamoto comes across as significantly more refined and nuanced, indeed possessing a je ne sais quoi quality that delights me! I did not do a comparison with the Shindo Monbrisson, but I know the Shindo is more gutsy, ballsy and bassy (but not in a heavy handed manner, in contrast to the other preamps named earlier).

Triode vs Pentode In SE amps I am positive the pentodes, even if run as triodes, and good as they can be, do not approach the direct heated triodes (particularly in presence). But in the first stage(s) of amplification, I am not so sure; here some of my favorites use pentode/beam, witness Western Electric, Wavac and Yamamoto. There is a large crowd following the all-triode dogma, but I believe that is too narrow, as a mix can yield miraculous results.

Caveat In this preamp, the lack of a balance control is a minus. The reason is more pertinent than usual. Perhaps because of the simple circuit, gain difference between the 2 tubes can be easily heard as a shift from center. Two tubes that have similar readings on the tube tester can have different gains in circuit. This is much more dramatic than most preamps using double triodes. So, aside from having matched tubes, pay attention to the center focus. It is impressive that the 2 stock Tele's that came with it maintained the traction despite the weakening, but my sympathies lie elsewhere.