The Devil’s In the DAC, part deux
Posted on | May 26, 2008 |
So, last post I mentioned the San Diego-based Devilsound DAC. Let me clarify that this is a USB converter meant to be the go between from your computer to a home theatre, stereo system or great pair of powered desktop computer sound monitors.
I’ve spent part of the evening listening to music on it, switching back-and-forth between my mastering room setup (RME 9652 soundcard into a Lavry Engineering DA10) and the Devilsound DAC. (For you audio geeks out there, my playback system is a pair of Vandersteen’s powered by a Creek amplifier, connected by DH Labs Silversonic interconnects and speaker cable. This, in a room setup by George Augspurger. So, a fairly critical listening environment!)
I was somewhat limited in listening selections, as I can’t go above 16/48 for the Devilsound, but still have lots to use for comparitive listening. But then I thought, “I’m going to cut to the chase and toss in what I consider to be the best recording I’ve ever heard: David Chesky’s Area 31.” It’s an amazing audiophile recording that really shows off the timbre of instruments and the spaceousness of a great recording space.
In listening to this recording using my RME/Lavry setup and the alternate Devilsound USB DAC, I think that the Devilsound has a bit “softer” (less defined) sound to it than my RME/Lavry setup, but this is mainly evident in transients. In addition, less prominent elements of a mix seem to be a bit more hidden with the Devilsound, and come to the front a bit more with the RME/Lavry. But, I think this difference in detail is to be expected given that I’m comparing a USB-based converter with a dedicated PCI digital card going to a $1,000 recognized world-class DAC.
It’s hard to say where sound differences may come from. The Devilsound is a different architecture than the Lavry, and their different animals altogether. Suffice to say, I’m just giving my sonic opinion here, not reverse engineering each converter!
I’m not ready to give up my RME/Lavry…for two reasons. First, the Devilsound can’t handle the bits/kHz I work with in mastering. Second, it’s a bit less accurate sounding than my current setup. However, the Devilsound DAC is a really good sounding converter, and a great bargain. There’s a 60-day return window, so I think it’s a no-brainer to at least try it out.
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From Ohm to Om reflects the opinions of mastering engineer Paul Abbott, owner of San Diego's ZenMastering.
We welcome comments from readers...pro or con!
May 26th, 2008 @ 6:50 pm
Hi Paul,
Well, it makes sense that the DAC can’t compete at the higher bit
depth / sample rate. But it’s really encouraging that you found it
pretty close to the setup that cost 6x as much for the CD rates! That makes me think that we can certainly nail the design for higher-res,
once that comes around.
And also, as I mentioned, I think a lot of people 1) don’t have the
money for the higher end setups, and 2) don’t have 24-bit recordings.
Jonathan (www.devilsound.com)