Tube-Rolling not necessary
Given the inherently “swappable” nature of tubes, it is understandable that people are interested in trying alternatives. However, before opening a SW1X component, it must be noted that Dr. Slawa creates audio components like a Michelin-starred cook prepares a meal: all the ingredients are carefully selected and applied in an ideal balance. Therefore, it is not necessary to swap the tubes for other types.
Review Context
The two DACs will be listened to in the main system using the XACT S1 Music Server and Aqua LinQ Network Interface as digital sources, with the CH Precision C1.2, Denafrips Ares 12th-1, Laiv Harmony, and Aqua Formula xHD v2 DACs for comparison. The rest of the system comprises the CH Precision L1 preamplifier, CH Precision A1.5 power amp, and Magico S1 MkII speakers.
Running In and Warm-Up
In a dedicated article, SW1X emphasizes the importance of granting the components ample running-in and warm-up time. This is because of the Black Gate capacitors that need some time to sound their best. Both DAC III versions contain Black Gates, so I took this advice to heart. With the exception of a brief listening session right after switching the DACs to obtain first impressions, they were left powered on for the entire review period.
Listening
Entirely against the recommendation, I started by listening to the two DACs right after switching them on so that I could report on the ensuing differences after a proper warm-up. Each DAC was set up on its own Artesania Aire floor platform with carbon fiber linear arms and a KSH2 Krion Shelf. They were powered using Belden 19364 cables with a Bals Schuko and an Oyaide C-004 IEC connector and connected to the preamp using Driade Flow Link Reference 808 RCA interlinks.
DAC III
The DAC III has a high output level, requiring a lowering of 3dB to align it with the CH C1.2 DAC I use as a reference. The CH DAC sits in a very different price range, but even so, I was impressed by the DAC III’s solid, impactful, rhythmic, and propulsive sound. Even though it had not yet been granted any warm-up time, despite an initial measure of bluntness, it had so much gusto and sounded engagingly exciting.
As the DAC warmed up, the sound improved very noticeably. At roughly 30 minutes in, the initial bluntness had subsided, and another 30 minutes in, I noticed the sound had become a bit smoother and more fluid. In the following hours and days, I no longer heard any substantial changes, and it consistently provided a grounded, hip-swingingly rhythmic, gripping, and impressively dynamic performance.
In contrast to some products that possess DAC III levels of robustness and dynamic slam, the DAC III evokes Rock and Roll feelings while also being agile and articulate. Its well-balanced nature allows it to relay the emotion and intent of soul and acoustical music as well as the energy, impact, and excitement of electronic or rock music.
Tonally, the DAC III is very well-balanced, sounding beautifully neutral and very natural, and that is precisely how I like it in any audio component. It lets the music shine through just the way it is without editorializing.
Tubes are often associated with a soft, romantic, or golden sound, but the DAC III is not what I would call a romantic-sounding DAC because it does not add bloom or warmth as some other (tube-) DACs do. However, not adding coloration or warmth is not the same as sounding cool or distant. The DAC III offers a refreshing lack of electronic signature and provides captivating realism, which is especially evident with vocals and acoustic instruments.
Musically and emotionally, the DAC III puts in a superb performance. However, there are a few areas in which other DACs perform better. These are predominantly the finer aspects of the recording, such as soundstage layering, resolution, air, and refinement. However, with the exception of the Aqua and CH, the other DACs also provide a flatter, whiter, and more technical approach.
This, of course, is where the DAC III Balanced SP comes in!
DAC III Balanced SP
The DAC III Balanced SP is a true-balanced design, but since I came from the DAC III using an unbalanced cable, I used the same cable to form my initial impressions of the DAC III Balanced SP. The balanced DAC’s output level is lower than the DAC III but still higher than the C1.2, requiring a reduction of 1,5dB to align it.
The DAC III and DAC III Balanced SP designs are closely related, but upon first comparing them, you’d think they are two very different DACs. Like the DAC III, the DAC III Balanced SP plays surprisingly well even when not yet warmed up. Unlike the DAC III, however, the Balanced SP version sounds gentler, lusher, and remarkably spacious from the start. For the first hour, its overall performance did not really change. Still, sure enough, as the hours accumulated, the DAC slowly but steadily attained a quality that I can only describe as “magical”. In the days that followed, the DAC’s performance remained stable. Knowing this, it does not seem necessary to leave it on all the time, as long as one remains aware of the benefits of a couple hours of warm-up time.
So, what does the DAC III Balanced SP sound like?
Like the DAC III, the DAC III Balanced SP sounds beautifully neutral yet deliciously natural. It does not induce additional warmth or coloration but is airier and sweeter and has a considerably more sophisticated and refined touch. Whereas I would not describe the DAC III as romantic, I would still not say this of the DAC III Balanced SP, although it certainly moves more in that direction. It strikes a delicate balance between neutrality and euphony, providing richness and a particularly seductive quality to vocals without tipping over into becoming soft.
Besides providing a massive increase in fluidity, delicacy, and refinement, the DAC III Balanced SP also stands out with its large soundstage. Whereas the DAC III images solidly between and slightly in front of the speakers, the Balanced version is more relaxed and extends meters deeper into the room while adding extra space on the sides.
This brings me to what I feel is the essence of the SW1X designs. Whether listening to the DAC III or the DAC III Balanced SP, the sound is decidedly non-digital, with an utter lack of electronic signature. This can be attributed to the “tube magic”, but that is not the whole story. The unique implementation of the famous TDA 1541 DAC and the careful selection of exotic components are also very important.
I have owned many CD players from the ’80s and 90’s and a few more current DACs based around the TDA1541 chip. One of this converter’s hallmarks is its continuous almost tape-like sound, as opposed to the “choppier” sound of many other DAC chips. However, none of the implementations I heard so far can match the mix of natural flow and dynamic impact of the SW1X designs.
What makes the TDA 1541 implementation so unique is the use of exotic materials and components. Notably, the DA stage features Black Gate and Silmic audio capacitors, both of which have been discontinued, as well as Allen Bradley resistors, which are also no longer in production. Additionally, many other matched components are included. The result is that SW1X DACs exhibit a certain liveliness and realism often lacking in typical oversampling and upsampling DACs.
Cable Swaps
When changing the Belden RG59 S/PDIF cable to a Mogami 3080 Neglex AES/EBU cable, the DAC continued at the same performance level, if in a slightly more controlled manner, precisely as I am used to hearing from any AES/EBU interface. It’s always good to note that different input methods still yield essentially the same sound performance.
So far, I’ve been using analog RCA interlinks to the preamp to compare the two DACs fairly. However, given that the DAC III Balanced SP is truly balanced, no matter how great it sounded already, I realize was probably undermining its true potential. And indeed, after connecting the XLR versions of the Driade Flow Link 808s, the sound improved considerably!
With balanced connections, the DAC became significantly more articulate and precise, with crisper transient behavior and more expressive dynamics. In addition, the balanced outputs provide broader and deeper soundstaging and an even more organic and free-flowing nature. Go figure!
With many audio component ranges from other manufacturers, refinement, delicacy, and sophistication increase as one climbs the performance level. Simultaneously, the raw power and dynamic impact often decrease. With SW1X, however, this is not really the case. The Balanced SP version sure is sweeter and arguably less “Rock and Roll” than the regular DAC III, but it retains very solid bass performance and most importantly, very good dynamics.
Next: Experiments, Perspective, and Conclusion
