[JemHadar]

“Quid Apparatus Magnifice”, what a Magnificent Apparatus. I’m trying to make it sound like some Wizard’s spell. A feeble attempt on my part at describing the magic the Analog Domain DAC1 will bring into your listening space.

The plan was to compare Angel Despotov’s latest creation with the MDA1000, both using their respective internal volume controls. It seemed like a good plan; two, albeit long, Steven Wilson’s songs later that plan became irrelevant. I never was a fan of the variable output stage of the MDA1000; IMHO it needs its sibling, the C1000, to shine. Kind of overkill if all your sources, but one, are digital. In fact, past experiences had left me with a bias that volume controls in DAC’s were for the most part subpar afterthoughts. Today that bias went the way of the Dodo. As the songs “3 Years Older” and “Routine” unfurled layer upon layer, alternating oases of intimate delicacy with crashing crescendo’s, the DAC1 bought me a seat at the mixing desk. Somehow I should have known; the MDA1000 never stood a chance.

As it would play out, another assumption had to be revisited as well. With every addition of an Analog Domain component in my system I had to recalibrate my expectations of what was possible in my listening space aka living room. Two M75P amplifiers had liberated my speakers to feast on all the Amperes the wires would carry but still there were constraints on what was possible. I attributed this to the acoustical parameters set by that listening space. Ladies and Gentlemen, was I wrong.

Staying with Steven Wilson, before today his album “The Raven That Refused to Sing (And Other Stories)” always was hard to enjoy at higher volume levels, the finely crafted layers would tangle up and create this fatiguing mess. Not anymore; enter the DAC1, the Great Enlightener. Expertly mixed and mastered recordings will delight you to no end as the DAC1 unveils their entire splendor. Other, less blessed, recordings will make you shake your head in disbelief muttering “what were they thinking” as the DAC1 mercilessly leaves no stone unturned.

That “sitting at the mixing desk” experience, some recordings are able to deliver if the DAC lets them, has caught me completely off guard. There is simply more to hear, the pieces of the puzzle fit. More is good.

Encouraged by these revelations other tracks just had to reveal their true colors. From darkened death metal to new classical, acoustic gems to full on electronic assaults on the senses, the DAC1 unassumingly weaved its spell. By the time “And the Sky Began To Scream” by “How to Destroy Angels” had finished melting the walls of my living room I began doing the math. I’m pretty sure all members know exactly in what kind of headspace I find myself right now.

The immaculate finished unit has no sonic signature I can discern. For all intents and purposes it is as invisible as its amplifier stable mates.

The room still needs work. At some lower frequencies some annoying droning still builds up. But the full Analog Domain setup seems to corner these gremlins so as to make them manageable.

There is a possibility an Analog Domain DAC with analog input will be brought to market. This would allow one to hook up a phono-stage and use the excellent volume control now available in the M75D and DAC1V. Some brands already offer these hybrid preamp / DAC’s, be it with mixed results.

It is reassuring to know that I could part with my C1000 and lose nothing. On the contrary, I know now that a DAC1V connected directly to the amplifiers is the way to go. No doubt some of the experience will be psychological but this direct hookup allowed me to connect more intimately with the music to a point it was very hard, nearly impossible, to go back to the old setup.

“Be careful what you wish for”…how prophetic these words turned out to be.