Emm labs DA2 v2 upgrade
- Thread starter awsmone
- Start date
That's not good. But can't you connect the NS1 to the DAC with AES/EBU? That also allows HD resolutions.
Yes, you can. Output include Toslink, AES, and Emm Labs own Optilink, which allows the NS1 to be completely optically isolated to reduce noise induction into the system.
Hi Jeromelang, You cannot be playing sacd thru the emm labs transport and the streamer at the same time!
Yes, won't be playing sacd discs through the transport and dsd files via the streamer at the same time in normal circumstances, but having to physically unplug the optilink terminal, transfer from transport-to-streamer, or vice versa and re-plug it in is not a trivial process - the thin orange colour rubber band cable being as fragile as a newly born baby.
OTOH, dun you ever do comparisons between sacd discs and their higher-than-single dsd fiile varieties?
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Jeromelang, I have done that numerous times without any issue.
Amadeus Meitner says: "the NS1 does not have a USB output to connect to a DAC. We recommend the EMM Optilink/RS232 connection for the best result. For current EMM transport owners we suggest the AES connection." Although USB connection may not be the best option, in my opinion, emm labs should provide that option.
Amadeus Meitner says: "the NS1 does not have a USB output to connect to a DAC. We recommend the EMM Optilink/RS232 connection for the best result. For current EMM transport owners we suggest the AES connection." Although USB connection may not be the best option, in my opinion, emm labs should provide that option.
I would never accept a situation where I have to change cables everytime I change sources in my system. I change sources (CD and Streaming) sometimes up to 7-8 times in a single weekend. If Emm is recommending Optilink for best results for NS1, this is a serious problem for most Emm Transport owners.
That's exactly my point.
And I have noticed that sometimes audio quality can be quite different when the optilink is inserted differently.
Hi folks,
Tom Lyle (September 2019 Enjoy the Music.com), when reviewing the Melco N10 Music Server, says: "When making quick comparisons between the Melco N10 set up and my computer-based music server, the increase in sound quality was immediately apparent when listening to the N10. I don't think anyone would need such an advanced digital processor as I used to test the Melco gear. Just for fun, I substituted the near state-of-the-art EMM Labs DA2 for a Benchmark Media DAC3 HGS. The Benchmark converter is a great DAC that I have recommended to many audiophiles that I feel as though I should receive a payment from Benchmark! But let's be real, the EMM Labs costs eight times as much as the Benchmark DAC. No, it isn't eight times better sounding, but it does sound better in many important areas. Yet the Melco N10 still sounded better than my music server, which is no slouch. (I use a very powerful computer tweaked for listening to music.)
The astounding detail I heard through the Melco N10 contributed to this system's very lifelike sound. And no, I didn't think it sounded very lifelike "for digital" — it sounded very lifelike, period."
Tom Lyle (September 2019 Enjoy the Music.com), when reviewing the Melco N10 Music Server, says: "When making quick comparisons between the Melco N10 set up and my computer-based music server, the increase in sound quality was immediately apparent when listening to the N10. I don't think anyone would need such an advanced digital processor as I used to test the Melco gear. Just for fun, I substituted the near state-of-the-art EMM Labs DA2 for a Benchmark Media DAC3 HGS. The Benchmark converter is a great DAC that I have recommended to many audiophiles that I feel as though I should receive a payment from Benchmark! But let's be real, the EMM Labs costs eight times as much as the Benchmark DAC. No, it isn't eight times better sounding, but it does sound better in many important areas. Yet the Melco N10 still sounded better than my music server, which is no slouch. (I use a very powerful computer tweaked for listening to music.)
The astounding detail I heard through the Melco N10 contributed to this system's very lifelike sound. And no, I didn't think it sounded very lifelike "for digital" — it sounded very lifelike, period."
Hi all,
You might be interested in the following review by Chris of Computer Audiophile (Sonore opticalRendu & Signature Rendu SE Optical Review | Part 2, 28 mins ago): "The time has come for me to stop listening and start writing about the Sonore Signature Rendu SE optical in my reference system. I don't want to stop listening. I'm writing this from my listening chair, with my feet up, and the volume at a nice -33 dB on an EMM Labs DV2 reference level DAC. Midnight Sugar from the Tsuyoshi Yamamoto Trio is playing through my Constellation Audio monoblocks and Wilson Audio Alexia Series 2 loudspeakers. It's truly delightful. ... Listening to the aforementioned Midnight Sugar album (Three Blind Mice / First Impression Music), this transient preservation is evident in spades. On the title track, Isoo Fukui's opening bass lines lumber forward and lay a foundation for Tsuyoshi Yamamoto to work his piano magic from about the 0:20 mark onward. The decay, sustain, and release of this first spattering of piano notes is just wonderful through the Signature Rendu SE optical, but it's the attacks starting at about 2:25 that really get me going. When Yamamoto presses each key, and the hammer subsequently strikes the string, it's a jarring yet beautiful start to some true melodic magic. It's as if he's telling the audience to listen up, then rewards them with terrific follow up notes with lush overtones that seem to decay for miles while giving away ambient details about the recording environment.
On track four, It Could Happen To You, everything is just right with this trio. Fukui's bass and Obara's drums are only there to support Yamamoto's brilliance on piano, and it comes through like a dessert for one's ears. There's a delicacy to Yamamoto's piano throughout this track, with subtle transient attacks and absolutely gorgeous decay, sustain, and release of the notes. The "SE optical" doesn't step on any of this enveloping sound that can transport the listening back to Tokyo in 1974. At roughly the two-minute mark of the track, Yamamoto plays a series of notes several times over. Each of these notes has a distinct and abrupt beginning with a lovely decay and glorious overtones that are pure pleasure for the ears. I want to stress the exceptional ability of the Signature Rendu SE optical, with respect to transients, one more time because it's so critical to realistic music reproduction. Nothing makes me lose interest faster or makes me more bored with my favorite music than equipment that rounds the edges of transients. Conversely, when components get transients right, like my previous all Spectral Audio system, it leads to a transcendent listing experience. Yes, the activity of listening becomes an experience that can bring about goosebumps, chills, and even emotions. ..."
You might be interested in the following review by Chris of Computer Audiophile (Sonore opticalRendu & Signature Rendu SE Optical Review | Part 2, 28 mins ago): "The time has come for me to stop listening and start writing about the Sonore Signature Rendu SE optical in my reference system. I don't want to stop listening. I'm writing this from my listening chair, with my feet up, and the volume at a nice -33 dB on an EMM Labs DV2 reference level DAC. Midnight Sugar from the Tsuyoshi Yamamoto Trio is playing through my Constellation Audio monoblocks and Wilson Audio Alexia Series 2 loudspeakers. It's truly delightful. ... Listening to the aforementioned Midnight Sugar album (Three Blind Mice / First Impression Music), this transient preservation is evident in spades. On the title track, Isoo Fukui's opening bass lines lumber forward and lay a foundation for Tsuyoshi Yamamoto to work his piano magic from about the 0:20 mark onward. The decay, sustain, and release of this first spattering of piano notes is just wonderful through the Signature Rendu SE optical, but it's the attacks starting at about 2:25 that really get me going. When Yamamoto presses each key, and the hammer subsequently strikes the string, it's a jarring yet beautiful start to some true melodic magic. It's as if he's telling the audience to listen up, then rewards them with terrific follow up notes with lush overtones that seem to decay for miles while giving away ambient details about the recording environment.
On track four, It Could Happen To You, everything is just right with this trio. Fukui's bass and Obara's drums are only there to support Yamamoto's brilliance on piano, and it comes through like a dessert for one's ears. There's a delicacy to Yamamoto's piano throughout this track, with subtle transient attacks and absolutely gorgeous decay, sustain, and release of the notes. The "SE optical" doesn't step on any of this enveloping sound that can transport the listening back to Tokyo in 1974. At roughly the two-minute mark of the track, Yamamoto plays a series of notes several times over. Each of these notes has a distinct and abrupt beginning with a lovely decay and glorious overtones that are pure pleasure for the ears. I want to stress the exceptional ability of the Signature Rendu SE optical, with respect to transients, one more time because it's so critical to realistic music reproduction. Nothing makes me lose interest faster or makes me more bored with my favorite music than equipment that rounds the edges of transients. Conversely, when components get transients right, like my previous all Spectral Audio system, it leads to a transcendent listing experience. Yes, the activity of listening becomes an experience that can bring about goosebumps, chills, and even emotions. ..."
If anyone is interested in a Meitner DA-2 upgraded in August with the latest E analog board board, please PM me. I'll make you an offer you can't refuse. It's a truly spectacular DAC at a great price.
It's a rolling line change, not advertised. As you know unannounced line changes are typical is SOA gear. The main advantage is that it is thought to be a "more stable" board, whatever that means. I noticed that my DA2 was putting our DC in 1 channel which apparently was one reason they made the change to the new board. Seems like a "nice to have" rather than a "must have" but I have no way of making the direct comparison. All you can say is that they probably did it for a valid reason. I still feel strongly that the DA2 with the E board is among the finest DACs out there and a genuine bargain. I heard an MSB Reference recently and felt the DA2 out-classed it in every way.
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I don't know Yuen, nor do I know if its even an option. Besides, it's not a "new" board per se. They've been using it for a while. You might even have it in your unit. It's easy to check but it's tricky to take the top off and check. You will need to call them/email them for further instructions on how to do that. I also presume you can provide your serial number and they can tell you what's inside of yours.
Hi Tony, you just have to order the new E analog board and replace the old one with the new one, I supposed.
Hi folks,
Hi Fi+ has a great review of the emm labs dv2 (Issue 176) by Alan Sircom. Here comes the best part:
"Music isn't deconstructed and exposed as it can be on top-end digital replay; it's played with calm authority, and a sense of smooth and satisfying coherence. Strangely, I think this is digital that sounds most like reel-to-reel, in all the right ways; that effortless sense of 'air' and 'rightness' a good open-reel can do so well is reproduced here in digital form.
The unfatiguing nature of this DAC makes writing about it difficult in the extreme, as you start with good intentions and find yourself taken by the music. Again. So, you play a track on an album -the opening title track from Public Service Broadcasting's The Race For Space and the next thing you know, you've just played three PSB albums in a row and made absolutely no notes. Then you do the same thing with Tasmin Little playing the Elgar Violin Concerto [Chandos SACD]; pretty soon you find yourself working your way through to Bax and Finzi and you're lost in music again.
Eventually, you begin to force yourself away from enjoying the music and start to focus on the performance. It has some of the best bass in the business but doesn't shout about it. My torture Trentemøller track 'Chameleon' serves up gut-pummelling bass lines at times, and the DV2 played them with speed, precision, and majestic depth. Where this becomes most noticeable is when the music gets complex, as it can tend to shut down the sound; you get good bass or good stereo; rarely get both at the same time to the same extent. The DV2 ticks this box perfectly. In fact, soundstage space - which should be a function of other parts of the system if conventions are to be believed - was the most highlighted improvement it brings to a system. There was a sense of true three-dimensionality to the sound even of the Rolling Stones, which is often just a tight bolus of sound. Of course, you need a good system to show just how much the DV2 is giving you! One of the things I have most come to dislike about high-end digital replay is how musically uncompromising it has become. Anything with compression, or anything not beautifully manicured and massaged, tends to be highlighted through many top-end digital systems. While this is mostly a good thing - we want to know what's on our recordings - the DV2 show that musical insight need not come with a 'bad recording' filter. The EMM Labs DV2 is notionally no more or less uncompromising than its top-end rivals, and it doesn't sugar-coat bad discs. However, it makes those angular, hard-edged, and overly compressed recordings that make up a lot of modern musical output a lot more palatable.
It's tough to say this given the price tag, but what the EMM Labs DV2 represents is the least-expensive way into top-tier high-end-audio. It's rivals aren't those excellent players and DACs in the 20,000-30,000 pound range; it's a 50,000 pound DAC that forgot to uprate its price tag. And, as many current DACs go for a sound that seems 'etched' next to the EMM Labs, its rival group gets smaller year-on-year."
Hi Fi+ has a great review of the emm labs dv2 (Issue 176) by Alan Sircom. Here comes the best part:
"Music isn't deconstructed and exposed as it can be on top-end digital replay; it's played with calm authority, and a sense of smooth and satisfying coherence. Strangely, I think this is digital that sounds most like reel-to-reel, in all the right ways; that effortless sense of 'air' and 'rightness' a good open-reel can do so well is reproduced here in digital form.
The unfatiguing nature of this DAC makes writing about it difficult in the extreme, as you start with good intentions and find yourself taken by the music. Again. So, you play a track on an album -the opening title track from Public Service Broadcasting's The Race For Space and the next thing you know, you've just played three PSB albums in a row and made absolutely no notes. Then you do the same thing with Tasmin Little playing the Elgar Violin Concerto [Chandos SACD]; pretty soon you find yourself working your way through to Bax and Finzi and you're lost in music again.
Eventually, you begin to force yourself away from enjoying the music and start to focus on the performance. It has some of the best bass in the business but doesn't shout about it. My torture Trentemøller track 'Chameleon' serves up gut-pummelling bass lines at times, and the DV2 played them with speed, precision, and majestic depth. Where this becomes most noticeable is when the music gets complex, as it can tend to shut down the sound; you get good bass or good stereo; rarely get both at the same time to the same extent. The DV2 ticks this box perfectly. In fact, soundstage space - which should be a function of other parts of the system if conventions are to be believed - was the most highlighted improvement it brings to a system. There was a sense of true three-dimensionality to the sound even of the Rolling Stones, which is often just a tight bolus of sound. Of course, you need a good system to show just how much the DV2 is giving you! One of the things I have most come to dislike about high-end digital replay is how musically uncompromising it has become. Anything with compression, or anything not beautifully manicured and massaged, tends to be highlighted through many top-end digital systems. While this is mostly a good thing - we want to know what's on our recordings - the DV2 show that musical insight need not come with a 'bad recording' filter. The EMM Labs DV2 is notionally no more or less uncompromising than its top-end rivals, and it doesn't sugar-coat bad discs. However, it makes those angular, hard-edged, and overly compressed recordings that make up a lot of modern musical output a lot more palatable.
It's tough to say this given the price tag, but what the EMM Labs DV2 represents is the least-expensive way into top-tier high-end-audio. It's rivals aren't those excellent players and DACs in the 20,000-30,000 pound range; it's a 50,000 pound DAC that forgot to uprate its price tag. And, as many current DACs go for a sound that seems 'etched' next to the EMM Labs, its rival group gets smaller year-on-year."
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