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    Berkeley Audio Design Alpha USB Review

    alpha-usb-front-200x63.pngThe Berkeley Audio Design<sup>®</sup> Alpha USB<sup>®</sup> converter was one of the most highly anticipated computer audio products of 2011. Fueling the anticipation were several delays during development and initial production. Many computer audiophiles wondered what Berkeley Audio Design was doing since early 2010 when rumors of the product started circulating. During that time the perfectionists at Berkeley Audio Design fine tuned the Alpha USB using unique design approaches, the best measuring techniques available, and extensive listening sessions. Shortly before production began Berkeley Audio Design rejected critical components from suppliers for quality unbecoming of a true reference converter. Following many months of research and development 'Berkeley' wasn't about to rush the Alpha USB to market. Fortunately good things come to those who wait. Sonically the Alpha USB is extremely impressive. After four months using the Alpha USB, in combination with the Alpha DAC<sup>®</sup> Series 2, I'm continually astonished by its level of performance. In fact, the Alpha USB is so good I've yet to hear a better digital interface. Period.

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    <center><img src="http://images.computeraudiophile.com/graphics/2012/0303/alpha-usb-front-584x187.png"></img></center>

     

    <b>The Alpha USB Interface</b>

     

    The Alpha USB from Berkeley Audio Design is an external asynchronous USB to AES or S/PDIF interface. It's strictly a D to D converter accepting USB digital audio input and delivering AES or S/PDIF digital audio output. Because humans can't hear digital signals a Digital to Analog Converter (DAC) is also required to reproduce music in one's home. A simple audio playback flow chart consists of a PC -> Alpha USB -> DAC -> Preamplifier -> Amplifier -> Speakers. Such an interface can play a critical role in presenting the cleanest audio signal to a DAC or may be necessary in order to use a DAC without a next generation interface such as USB or FireWire. Plenty of wonderful DACs without USB or FireWire interfaces are as good or better than new DACs with interfaces for every source imaginable. When users find a sound they like there is no need to change. Fortunately these users can add a device like the Alpha USB to extend the life of their already great digital to analog converter.

     

    There are a couple competing schools of thought when it comes to the best place for a USB interface. Just as in everyday life, there is no free lunch with either design approach. One school advocates for the USB interface to exist within the digital to analog converter. This allows the DAC chip to receive data using its native I<sup>2</sup>S protocol. In theory this design is capable of lower jitter if implemented without an intermediate conversion to S/PDIF before I<sup>2</sup>S. This USB implementation can also incorporate such methods as opto-isolators and grounding to isolate an internal USB interface from the sensitive DAC circuitry. The other school of thought insists USB interfaces must be completely separate from the chassis of the DAC. Physical separation allows for an otherwise unobtainable level of isolation between the noisy computing environment and the delicate digital audio environment. This isolation eliminates any direct electrical connection to the DAC's chassis and is required to reach the highest levels of USB audio performance according to proponents of the separate chassis design. In addition these proponents believe the benefits of a direct I<sup>2</sup>S data path are not worth the tradeoffs of reduced isolation and increased noise from a single chassis design. Needless to say Berkeley Audio Design believes strongly in separating the USB interface from the chassis of the DAC.

     

    No matter what USB interface school of thought is most appealing one mustn't hyper focus on this single element of component design. Each design element or internal part selection only equates to a certain level of potential. Reaching that potential is what separates the armchair engineers and the component assemblers from the truly brilliant designers. The bottom line is not about numbers and theories. It's about the component as a whole being much more than the sum of its parts and the sound it helps reproduce in one's audio system.

     

     

    <b>Separating The Alpha USB From The Pack</b>

     

    The Alpha USB's retail price of $1,895 is the most readily visible item that distinguishes it from much of the competition. This interface is expensive and that fact is not lost on Berkeley Audio Design. The company is intent on producing products with great value. As such the wholesale margin on the Alpha USB is lower than the Alpha DAC which is already one of the lowest in the industry. Berkeley Audio Design is a humble, down to Earth company. Trust me these guys won't be retiring to a private island with the spoils collected from Alpha USB and Alpha DAC sales. The fact remains that it's expensive to build components that achieve the highest levels of performance. The Alpha USB is no exception.

     

    The Alpha USB is all about clocking and isolation. This sounds fairly straight forward at first blush. Upon closer inspection and research it appears the Alpha USB is in a class all by itself. The Alpha USB employs clocking components that weren't available prior to its development and isolation techniques that may be unique in all of high end audio. Now comes the part where I, and every journalist, grow frustrated. Because of the highly competitive nature of consumer electronics and the value placed on intellectual property, manufacturers are unwilling to divulge too many technical details in public. This is a fact of life. Fortunately consumers have the option of listening to the end product to decide if any of the public or private details really matter. In my conversations with Berkeley Audio Design's Michael Ritter I was able to glean some details worth noting.

     

    Design work on the Alpha USB began in 2009. At that time the clocking components used in the final production version of the Alpha USB weren't available. Berkeley Audio Design knew it wanted to use dual fixed crystal oscillators that performed to a certain level not seen in any digital audio interface product. Thus, 'Berkeley' was involved in co-developing new oscillators not yet commercially available. New computer audiophiles should understand that crystal oscillators are used to generate the clock signals for 44.1, 88.2, 176.4 kHz and 48, 96, 192 kHz audio. These components are critical to accurate sound reproduction. The entire Alpha USB development process was fraught with delays and less than desirable results. After rejecting early components from the vendor, "Everything just came together." said Michael Ritter. The final production version of the Alpha USB contains dual fixed oscillators. One for each sample rate family of 44.1, 88.2, 176.4 kHz and 48, 96, 192 kHz. Only a single oscillator is operational at a time. Even very good low jitter oscillators can produce relatively high levels of low frequency phase noise. Not so inside the Alpha USB. I was unable to obtain actual numbers for these specific oscillators, but I talked to an engineer from a competing high end audio company who was familiar with the products in use by Berkeley Audio Design. He stated a couple times that the low phase noise from these oscillators was unique and remarkable.

     

    Adding to the Alpha USB's excellent clocking is the use of Streamlength<sup>™</sup> asynchronous USB code in conjunction with the XMOS USB receiving chip. Small companies such as Berkeley Audio Design need to leverage design talent. In this case there was no reason to reinvent the wheel. The Streamlength code was selected because it was already well developed and was very robust. Streamlength asynchronous USB code controls the data flow from the computer or music server and the newly developed crystal oscillators take control as the master clock generators. No matter what one believes about the importance, or lack thereof, of asynchronous USB and its oscillator design "requirements" it would be hard to second guess the Alpha USB's design approach.

     

    The Alpha USB's non-standard 2.3”H X 10.5”W x 5”D dimensions (2.55”H including feet) serve one purpose: function. According to Berkeley Audio Design the Alpha USB's unprecedented level of isolation can't be accomplished in a smaller chassis. "The unit is the size it has to be" says Michael Ritter. Mr. Ritter explained that the unique isolation techniques used in the Alpha USB are very difficult to implement and theorized that this difficulty is a major reason nobody else in high end audio has gone to this level. I gathered that many isolation design choices are like a balloon in that pushing in on one side causes the opposite side to stick out. Reduce the measured numbers in one area and increase the numbers in another as a result. All engineers have dealt with similar phenomena in other design endeavors. Michael Ritter hinted that tracing secondary and tertiary coupling paths in addition to minimizing capacitive coupling by surrounding the USB input connector with an inch of plastic were just a few of the isolation elements addressed. The inch of plastic on the rear of the chassis is one item I noticed as being unaesthetic the first time I saw the Alpha USB. It's good to know the Alpha USB's form entirely follows function and there's a good reason for every design decision.

     

    Another major contributing factor to isolation is how the USB interface is powered. Berkeley Audio Design elected to power the USB receiving chip in the Alpha USB via USB bus power from the computer. Power emanating from the computer's USB port doesn't traverse any further than the USB receiving chip inside the Alpha USB. 'Berkeley' uses its proprietary isolation techniques that are said to provide much better performance than traditional opto-isolation methods while keeping computer generated noise away from the sensitive output clocking and driver circuitry. Powering the audio output side of the Alpha USB is a low noise linear power supply. This noise filtered linear supply feeds clean power to the oscillators and the digital audio output circuitry.

     

    On the rear of the Alpha USB are two outputs; balanced AES (XLR) and coaxial S/PDIF (BNC), and an output selection switch. Many devices with more than one digital output keep all the outputs live continuously no matter what output is in use. According to Berkeley Audio Design the highest levels of performance simply cannot be reached without deactivating the unused output(s). Thus, the reason for the Alpha USB output selection switch. The user must toggle either the balanced AES or the coaxial S/PDIF output on/off.

     

    Berkeley Audio Design strongly recommends using the balanced AES output of the Alpha USB when possible. In theory a true coaxial 75 ohm S/PDIF connection is better, all things being equal. However, all things are not equal in practice. Given that balanced AES does not use true 110 ohm connectors I inquired into this recommendation a bit further. The answer I received from Michael Ritter was mainly voltage, and some noise rejection. Even though S/PDIF when implemented with 75 ohm BNC connectors is a true 75 ohm coaxial connection its limitation is that it delivers .5 volts peak to peak. Balanced AES on the other hand benefits from a 2 to 7 volt signal amplitude. In fact the Alpha USB's AES output delivers 4 volts or eight times the signal level of the S/PDIF output. This higher voltage is key to maximizing data receiver performance and reducing effective jitter. The balanced AES connection also offers common mode noise rejection. In addition to recommending the balanced AES output Berkeley Audio Design also recommends using a 1.5 meter AES cable and USB cable when possible. This recommendation has everything to do with reflected versus original digital signal energy caused by return loss. A cable and its connectors is not a perfect transmission line as it suffers from reflected energy. When a 1.5 meter cable, 3 meters round trip internally, is used this reflected energy is delayed enough to minimize confusion with the original signal at the data receiver. These may be small or insignificant details to some, but are important and critical details for those seeking the highest level audio reproduction.

     

    All of the aforementioned design elements including oscillators, isolation, asynchronous USB transfer mode, USB bus power, and linear power are only equivalent to potential. Data sheets and application notes for each internal component contain nothing for designers seeking to push the boundaries of what's possible. A brilliant engineer and a holistic design approach are required to master the interaction between all the potentially excellent internal components. All of this must come together to produce an excellent product such as the Alpha USB.

    <center><img src="http://images.computeraudiophile.com/graphics/2012/0303/alpha-usb-rear-480x161.png"></img></center>

     

     

    <b>Where The Rubber Meets The Road</b>

     

    After all design and engineering is complete any product can still be a colossal failure if the sound quality doesn't meet expectations. The Alpha USB is far from a failure. Its unprecedented design is commensurate with its astounding sound quality. The Alpha USB has opened the door to use almost any DAC with any computer or music server source. The old formula of using a Lynx AES16 audio card in a desktop computer to feed an AES signal to my Alpha DAC now seems antiquated and mid-fi at best. The Alpha USB works flawlessly with desktops and laptops running Windows, OS X, and Linux. It also works perfectly in combination with the Aurender S10 and SOtM sMS-1000 Music Servers. All sample rates from 44.1 kHz through 192 kHz are supported on all platforms. Because Windows does not support Class 2 audio, users are required to install the supplied device driver for proper operation. The driver in use today is the same driver I received when the unit was first delivered to my house. This is a good sign that the driver is stable and developed by people who know what they are doing. The same can't be said for all USB device drivers used in other products.

     

    The Alpha USB paired with the Alpha DAC Series 2 is possibly the best digital I've heard in my listening room. At the time of this writing the Alpha USB alone is the best external audio interface I've heard anywhere bar none. During the extended four month review period I used the Alpha USB with numerous sources and DACs from many different manufacturers. The standard AES and S/PDIF digital outputs on the Alpha USB make it compatible with almost any DAC. Even the BNC output can be connected to a coaxial RCA input through the use of an adapter. I compared the Alpha USB to a few different D to D converters I had on hand between November 2011 and early March 2012. Most of the compared interfaces were fairly inexpensive ranging from around $200 to $500 with one interface retailing for near $1,000. The results were unambiguous. Only the $1,000 interface came close to the performance of the Alpha USB. However, close isn't good enough for those of us seeking the ultimate interface.

     

    The Alpha USB provided an immaculate digital audio stream to my Alpha DAC Series 2. The result was incredible detail and extremely controlled bass. This was very evident listening to both Ray LaMontagne's Are We Really Through [<a href="http://www.amazon.com/God-Willin-Creek-Dont-Rise/dp/B003QCCS36/ref=sr_1_3?ie=UTF8&qid=1330804650&sr=8-3">Link</a><a href="http://www.amazon.com/God-Willin-Creek-Dont-Rise/dp/B003QCCS36/ref=sr_1_3?ie=UTF8&qid=1330804650&sr=8-3"><img src="http://images.computeraudiophile.com/ca/icons/ex.png" style="padding: 0pt 0pt 0pt 3pt;" alt="link"></img></a>] and the Kansas City Symphony's performance of Passacaglia at 24 bit / 176.4 kHz [<a href="http://www.referencerecordings.com/HRx120_DETAIL.asp">Link</a><a href="http://www.referencerecordings.com/HRx120_DETAIL.asp"><img src="http://images.computeraudiophile.com/ca/icons/ex.png" style="padding: 0pt 0pt 0pt 3pt;" alt="link"></img></a>]. The detail I heard in Ray LaMontagne's voice made me giggle. When something is so good I tend to respond in abnormal ways. I was almost in disbelief because of the incredible breathy detail. Changing styles with the Kansas City Symphony I was again thrilled by what I heard. I've used Passacaglia (track #6) many times to evaluate components and I've never heard more detail or better controlled bass from my system. The entire 7:16 track is full of low level detail and wonderfully powerful bass. Less patient readers may want to jump ahead to the 4 minute and 25 second mark for a minute and a half of serious dynamics that will test the quality of any component. Don't get me wrong, this is not an audiophile demonstration disc. I simply love this recording more every time I listen.

     

    Over the course of four months I listened to a fair bit of music. A few recordings played through the Alpha USB really grabbed my attention. Ottmar Liebert's One Guitar at 24 bit / 96 kHz [<a href="https://www.hdtracks.com/index.php?file=catalogdetail&valbum_code=HD783707392707">Link</a><a href="https://www.hdtracks.com/index.php?file=catalogdetail&valbum_code=HD783707392707"><img src="http://images.computeraudiophile.com/ca/icons/ex.png" style="padding: 0pt 0pt 0pt 3pt;" alt="link"></img></a>] can really demonstrate the sound of an unamplified acoustic guitar. If I were a guitar player I'm sure I could identify the strings and model of guitar he used on this album simply by listening. Near the end of the review period I started listening to the newly released Leonard Cohen album Old Ideas [<a href="http://www.amazon.com/Old-Ideas-Leonard-Cohen/dp/B0067LY4WG/ref=sr_1_1?s=music&ie=UTF8&qid=1330804987&sr=1-1">Link</a><a href="http://www.amazon.com/Old-Ideas-Leonard-Cohen/dp/B0067LY4WG/ref=sr_1_1?s=music&ie=UTF8&qid=1330804987&sr=1-1"><img src="http://images.computeraudiophile.com/ca/icons/ex.png" style="padding: 0pt 0pt 0pt 3pt;" alt="link"></img></a>] and a Blu-ray rip of Leonard's Songs From The Road at 24 bit / 96 kHz [<a href="http://www.amazon.com/Songs-Road-Blu-ray-Leonard-Cohen/dp/B003VSVWAA/ref=pd_sim_m_35">Link</a><a href="http://www.amazon.com/Songs-Road-Blu-ray-Leonard-Cohen/dp/B003VSVWAA/ref=pd_sim_m_35"><img src="http://images.computeraudiophile.com/ca/icons/ex.png" style="padding: 0pt 0pt 0pt 3pt;" alt="link"></img></a>] (both albums Mastered by Doug Sax and Robert Hadley at <a href="http://www.themasteringlab.com/">The Mastering Lab</a><a href="http://www.themasteringlab.com/"><img src="http://images.computeraudiophile.com/ca/icons/ex.png" style="padding: 0pt 0pt 0pt 3pt;" alt="link"></img></a>). Leonard's 77 year old baritone has wonderful texture on both albums but more so on Old Ideas. Using the Alpha USB this texture was palpable. The tones of his voice and the bass guitar weren't smeared in the least as can happen with less refined digital interfaces. I felt like Leonard was singing / talking right in my ear. Either that or the microphone used to record him was placed directly in front of his larynx.

     

     

    <b>Conclusion</b>

     

    <a href="http://images.computeraudiophile.com/ca/cash-logo-black.png" class="thickbox" rel="cash-alpha-usb"><img src="http://images.computeraudiophile.com/ca/cash-logo-black-thumb.jpg" style="padding: 2pt 10pt 5pt 0pt;" align="left" alt="CASH-List"></a>Slow and steady wins the race and good things come to those who wait. Alpha USB design work started in 2009, before some components used in the final product existed. Production units began shipping in September 2011. The many months in between were filled with more R&D than many high end audio products. During this time Berkeley Audio Design participated in development of highly accurate oscillators with incredibly low phase noise. In addition 'Berkeley' mastered the balancing act required when using the unprecedented methods of isolation found in the Alpha USB. All of this isolation, clocking accuracy, and low noise design means nothing without proportional sonic performance. Fortunately the Alpha USB was well worth the wait. As it stands now I know of no better digital interface converter. The sonic purity heard through the Alpha USB is something to behold. In fact there is no way I'm giving up the review sample. This level of design and sound quality comes at a price above that which most people are willing to spend. Audiophiles prepared to part with $1,895 will no doubt be delighted with the Alpha USB connected to any source or any DAC. The Alpha USB has solidified my view that a reference level digital interface will play a critical role in achieving all that computer audio can deliver.

     

     

     

     

     

     

     

     

     

     

     

     

     

    <b>Product Information</b>:

    <ul>

    <li>Product - Berkeley Audio Design Alpha USB</li>

    <li>Price - $1,895 (black only)</li>

    <li>Product Page - <a href="http://www.berkeleyaudiodesign.com/products4.html'>http://www.berkeleyaudiodesign.com/products4.html">Link</a><a href="http://www.berkeleyaudiodesign.com/products4.html'>http://www.berkeleyaudiodesign.com/products4.html"><img src="http://images.computeraudiophile.com/ca/icons/ex.png" style="padding: 0pt 0pt 0pt 3pt;" alt="link"></img></a></li>

    <li>Where To Buy - <a href="http://www.berkeleyaudiodesign.com/us_sales.html'>http://www.berkeleyaudiodesign.com/us_sales.html">For U.S. Customers</a><a href="http://www.berkeleyaudiodesign.com/us_sales.html'>http://www.berkeleyaudiodesign.com/us_sales.html"><img src="http://images.computeraudiophile.com/ca/icons/ex.png" style="padding: 0pt 0pt 0pt 3pt;" alt="link"></img></a> | <a href="http://www.berkeleyaudiodesign.com/world_sales.html'>http://www.berkeleyaudiodesign.com/world_sales.html">For International Customers</a><a href="http://www.berkeleyaudiodesign.com/world_sales.html'>http://www.berkeleyaudiodesign.com/world_sales.html"><img src="http://images.computeraudiophile.com/ca/icons/ex.png" style="padding: 0pt 0pt 0pt 3pt;" alt="link"></img></a></li>

    <li>User Guide - <a href="http://files.computeraudiophile.com/2012/0303/Alpha_USB_User_Guide_v1_1.pdf">Link (PDF)</a><a href="http://files.computeraudiophile.com/2012/0303/Alpha_USB_User_Guide_v1_1.pdf"><img src="http://images.computeraudiophile.com/ca/icons/ex.png" style="padding: 0pt 0pt 0pt 3pt;" alt="link"></img></a></li>

    <li>Data Sheet - <a href="http://files.computeraudiophile.com/2012/0303/Alpha_USB_Preliminary_Data_Sheet.pdf">Link (PDF)</a><a href="http://files.computeraudiophile.com/2012/0303/Alpha_USB_Preliminary_Data_Sheet.pdf"><img src="http://images.computeraudiophile.com/ca/icons/ex.png" style="padding: 0pt 0pt 0pt 3pt;" alt="link"></img></a></li>

    </ul>

     

     

     

     

    <b>Associated Equipment</b>:

    <ul>

    <li>Source: <a href="http://www.aurender.com/">Aurender S10</a>, <a href="http://www.computeraudiophile.com/content/Computer-Audiophile-Pocket-Server-CAPS-v20">C.A.P.S. v2.0 Server</a>, <a href="http://www.apple.com/macbookpro/">MacBook Pro</a>, <a href="http://www.sotm.sonore.us/">SOtM sMS-1000</a></li>

    <li>DAC: <a href="http://www.berkeleyaudiodesign.com/">Berkeley Audio Design Alpha DAC Series 2</a>, <a href="http://www.dcsltd.co.uk/product/debussy-dac"><i>dCS</i> Debussy</a></li>

    <li>Preamp: <a href="http://www.spectralaudio.com/">Spectral Audio DMC-30SS Series 2</a></li>

    <li> Amplifier: <a href="http://www.spectralaudio.com/">Spectral Audio DMA-260</a></li>

    <li>Loudspeakers: <a href="http://tad-labs.com/en/consumer/cr1/">TAD Labs CR1 Compact Reference</a></li>

    <li>Remote Control Software: <a href="http://itunes.apple.com/us/app/aurender/id426081239?mt=8">Aurender iPad App</a>, <a href="http://www.jremote.net/">JRemote</a>, <a href="http://www.katoemba.net/makesnosenseatall/mpad/">MPaD</a></li>

    <li>Remote Control Hardware: <a href="http://www.apple.com/iphone/">iPhone 4</a>, <a href="http://www.apple.com/ipad/">iPad</a></li>

    <li>Playback Software Windows 7: <a href="http://www.jriver.com/">J River Media Center 17</a></li>

    <li>Playback Software: <a href="http://www.apple.com/macosx/">Mac OS X 10.7.x</a>, <a href="http://www.channld.com/puremusic/">Pure Music</a></li>

    <li>Cables: <a href="http://www.spectralaudio.com/">Spectral Audio MH-770 Ultralinear CVTerminator Series II Loudspeaker Cable</a>, <a href="http://www.spectralaudio.com/">Spectral Audio MI-350 Ultralinear CVTerminator Series II Analog Interconnects (RCA)</a>, <a href="http://www.mogamicable.com/category/bulk/dig_interface/aes_ebu/">Mogami W3173 Heavy Duty AES 110 ?</a>, <a href="http://www.mitcables.com/available-in-stores/power-products/oracle-ziii.html">MIT Oracle ZIII Power Cables</a>, <a href="http://www.wireworldcable.com/products/107.html">Wire World Silver Starlight USB Cable</a>, <a href="http://www.audioquest.com">AudioQuest Diamond USB Cable</a>, <a href="http://www.kimber.com/products/interconnects/digital/usb/bbus/ag/">Kimber Kable B Bus Ag USB Cable</a>, <a href="http://www.wireworldcable.com/products/53.html">WireWorld Ultraviolet 5 S/PDIF Coax Cable (BNC)</a>, <a href="http://industrialcomponent.com/oem/mi1005.html">Baaske MI-1005 Ethernet Isolator</a>, <a href="http://store.microconnectors.com/servlet/-strse-NETWORKING/Categories">Micro Connectors Augmented Cat6A Ethernet Cable</a></li>

     

     

     

     

     

     

     

     

     




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    Chris, you have hinted before that you were going to review the dCS Debussy. Now that Berkeley has a complete package It would be very very interesting to review the Debussy as compared to the Berkeley set. They are of similar price range and are pretty good representation of their price range.

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    I am not angry. I just like being direct. As I said before I have not made any comments about the general usefulness of Chris's reviews or this site.<br />

    <br />

    My biggest concern in getting a new BA DAC would be the limitation on its sampling rate (at 192hz). If I were in the market for a new DAC I would at least make sure it can play DSD or 384hz (after all this is the one advantage digital music has over analogue - whatever your feelings about that might be), if I wanted to keep the dac for more than 3 years.<br />

    <br />

    Anyway in answer to your question about SQ I think BA DAC employed the same technology (or at least general technical approach) in the USB unit than with its DAC (i.e. electrical isolation + clocking). I said in my post above, the system did not benefit from this but what I really meant was it did not benefit it in the way I liked (because of course, more isolation always benefits).<br />

    <br />

    I feel its dynamic range and response could have been better and it was not as full in the upper mid range (surprising given the help it had from the valve setup from the lamms). But it improved transients and has good frequency response - so it is up to you which characteristic you are going for (and type of music you like). I personally felt the extra isolation was not required because the characteristics in the dac remains and will never be improved without overhauling the dac.

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    <cite>I did my testing in a room at a local store where I do a lot of testing (as much as I can when new components come in) so I am familiar with the sources and components. [...] The setup (with the lamms and magico) was recommended by the owner.</cite><br />

    <br />

    Since you're familiar with the Lamm ML3 + Magico Q5 combo, could you describe its general characteristics? On the one head, I read somewhere that the Q5 is a real power hog and even Spectral DMA-360 is not enough to bring them to live. On the other hand, SET amps are generally quite finicky about speaker load. Being a SET head, I find this combo rather counter-intuitive. So can the Lamm actually light up the Q5? What front end does sound alive with the combo? Just curious...<br />

    <br />

    Andy

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    easternlethal - Can you point me to a review that was written to your satisfaction?<br />

    <br />

     <br />

    <br />

    <i>"I have not made any comments about the general usefulness of Chris's reviews or this site."</i><br />

    <br />

    With all do respect I think you are either trolling or trying to rewrite history. You said -> "Review method leaves a lot to be desired. I don't understand. CA had this unit for four months and instead of comparing against other similar products, he uses that time to compare between different sources and DACs. Sorry but this is as faulty a review process as I ever seen."<br />

    "So what... proper comparisons are wrong, but incomplete impressions based on subjective opinions are okay. Is that the kind of style you want us to get accustomed to?"<br />

    <br />

    To me this is clearly a statement that the review / site is not useful.<br />

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    Hi Andy - What you've heard is 100% correct with respect to the Q5 and that the 360 amps don't have enough power to push the Q5 to perform its best.

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    <i>" It seems bobbha came to the same conclusion as well with the Offramp (which does not adopt electrical isolation but I think has better oscillators)."</i><br />

    <br />

    Can you clarify your statement about the oscillators?

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    @accwai - sorry it was the Q1. I got confused with the magico model numbers (it's hard when one can't even tell what they look like from their site). Yes ML3 wouldn't have been able to drive those big units. The general characteristic... hmmm lets just say I think I would have preferred something with higher sensitivity like horns :-) but that shop does not sell horns so... <br />

    <br />

    @chris - i said I did not make any comments about the GENERAL usefulness of your review or site. This was a response to Paul's comment about your previous recommendations being helpful as well as your own earlier comments about me not liking your 'service'. Why do you insist on broadening the scope of what I am saying? I criticised your specific review of the BA USB unit and that was it. So if you think I'm trolling, then fine. I'm trolling. My comments are STILL valid.

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    Hi easternlethal - I believe you've made a distinction without a difference with respect to comments on the site in general versus my Alpha USB review. All my reviews are similar. So be it. You're not a fan and that's totally OK with me. <br />

    <br />

    I agree with you 100% that your comments are valid. I think this is just a case of two points of view that couldn't be more opposite. <br />

    <br />

    P.S. The Magico site has full photos and diagrams with measurements of each speaker. I would love to hear the Q1 with Lamm electronics. Not so much the Q5. The Q5 is one of my favorite speakers but the amplifications requirements are huge. The Q7 is a whole new animal. Low power requirements and sound like I've never heard before.

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    Chris is reviewing a USB to S/PDIF converter here. Not a DAC. Leaving aside the sales puff from Berkeley, it comes across as a good one. Rather more expensive than, for example, a Musical Fidelity V-Link 192, but so what?<br />

    <br />

    If you want a USB to S/PDIF converter and can afford the Berkeley, audition it. Maybe alongside the M-F and others. The Berkeley is only one of lots of these things, at lots of different prices.<br />

    <br />

    Forget the 'Berkeley philosophy' or whatever, it's a USB to S/PDIF converter review. You want Chris to run comparisons? Fine, but they should be comparisons with other USB to S/PDIF converters and one DAC, not comparisons of this converter performing with many DACs, most of which don't need such a converter anyway. <br />

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    <cite>@accwai - sorry it was the Q1. I got confused with the magico model numbers (it's hard when one can't even tell what they look like from their site). Yes ML3 wouldn't have been able to drive those big units. The general characteristic... hmmm lets just say I think I would have preferred something with higher sensitivity like horns :-) but that shop does not sell horns so... </cite><br />

    <br />

    Hmm... What in the sound of the combo makes you prefer higher sensitivity and what changes do you think a pair of horn would bring?<br />

    <br />

    The reason I'm asking is I have heard the Berkeley sounding delicate and *very* lit up in front of much more mundane SET systems. Certainly not dull and milky as you stated. Now Wilson Benesch, for example, has partnered with deHavilland and uses the latter's Aries GM70 amps on their mid size speakers at shows quite a bit. So amps in the ML3 and Aries power class can work with the medium efficiency speakers. But still a lot depends on the load characteristics and linearity of the speakers. I don't think optimal match can be taken for granted in all cases.<br />

    <br />

    This brings me to my original question: What is an example of a front end that would sound alive in front of the ML3 and the Q1?<br />

    <br />

    Andy

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    I didn't say the Berkeley sounded dull (that was somebody else). I said it lacked dynamic range and response (not quite the same) and the USB solution did not really improve on that. I'm not sure what you mean by 'lit' but if you mean frequency range and response and transients then I agree (the USB did improve on it). I'm not saying DAC+USB is no good at all. Just not good enough for what it charges.<br />

    <br />

    I just think low wattage SETs benefit high sensitivity drivers because they are extremely detailed and the 'greater acoustic output' of horn topology gives all that fineness and sensitivity the 'oomph' without destroying too much of it. Something loudspeaker cabinets just don't achieve as well (even for the very best designs).<br />

    <br />

    What do you mean by 'front-end'? Do you mean source or other converter? If converter I think sonicweld is better and I am very curious about the off-ramp. If you mean source then that'll be for another discussion. But if I had to change something in the ML3 - Q1 combo I would not change the 'front-end'. I would ditch the Q1 and get something better (like a Cessaro).

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    <cite>I'm not sure what you mean by 'lit' but if you mean frequency range and response and transients then I agree [...] I just think low wattage SETs benefit high sensitivity drivers because they are extremely detailed and the 'greater acoustic output' of horn topology gives all that fineness and sensitivity the 'oomph' without destroying too much of it.</cite><br />

    <br />

    That's what I meant by lit from within. It's almost like the music is shimmering light. In my mind though, doing this almost inherently requires staggering PRAT and micro dynamics. So what you described of the Berkeley can't a very lit up.<br />

    <br />

    <cite>What do you mean by 'front-end'? Do you mean source or other converter? If converter I think sonicweld is better and I am very curious about the off-ramp.</cite><br />

    <br />

    If I'm not mistaking, the Sonicweld costs quite a bit more than the Alpha USB. As for the Offramp, I believe it has many configurations. I bet the ones that people are doing shoot out with are pretty maxed out, which can also costs quite a bit more than the Berkeley. So one would certainly hope they are better.<br />

    <br />

    <cite>If you mean source then that'll be for another discussion.</cite><br />

    <br />

    Yup. I'm pretty discussed out now. So lets leave it at that.<br />

    <br />

    Andy

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    Hi Guys<br />

    <br />

    When I posted my comment I was on my way down flood ravaged Eastern Australia trying to figure out a route that was not flooded out. We made it to our destination - Canberra - just. I have come down to help a friend install a home theater set-up.<br />

    <br />

    Anyway now have a bit of time to post more info. Here is a link about it:<br />

    http://www.stereo.net.au/forums/showthread.php/43836-Listening-sessions-with-the-PDX-amp-BRYSTON-DACS.<br />

    <br />

    I also tested the Berkeley into a Metrum and the Bryton compared to a fully optioned Off-Ramp with other audiophiles on more than one occasion. The Off-Ramp was clearly superior. I was using a Patek amp and Mac 501's into Lenehan Audio ML3 Reference fully optioned with Dueland VSF Copper capacitors through-out. The Off-Ramp was clearly better. Guy out US way and elsewhere may not know these speakers but they are EXTREMELY transparent.<br />

    <br />

    Thanks<br />

    Bill<br />

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    Would be good to know which version of the offramp, and options (clock, power supply, AES or bnc cable etc) was used to test your comparison with the Berkeley.

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    Chris mentions 1.5 m for USB and AES cables. Is there any advantage to having them equal in terms of the sound quality? Running from computer via USB to Berkeley Alpha USB and on via AES to BAD2.

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    Steve licences the technology but it is not a re-branded product - he hand builds everything.<br />

    <br />

    The Evo is good but an actual re-branded Hiface is used in my PDX and battery powered and it is clearly better than the Evo.<br />

    <br />

    I have tried externally modified Hiface boards (eg the John Kenny) similar to whats in my PDX against the standard Hiface and they best the Hiface. The Audiophellio, Stello, and Wavelength does as well and the Off-Ramp bests them all. I would put the Berkeley just a little below the Wavelength and above all the others - it is third on my list below the Wavelength and Off-Ramp. <br />

    <br />

    The only thing that has been able to equal the Off-Ramp was the the internal HiFace board in my PDX. This shocked the maker of the PDX because he knows what goes into the Off-Ramp but I have done some extensive comparisons to verify it. The suspicion is its the tight integration in the PDX that does it ie the I2S paths are optimized to be as short as possible.<br />

    <br />

    Thanks<br />

    Bill

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    Interesting to hear about the off-ramp. Would you care to speculate on why it is better? It is the clocking or power do you think? Based on comparisons with the hiface board inside the pdx (which means data path = usb-i2s?) I suspect it is clocking, which supports my earlier statement about better oscillators (further because both converters use two oscillators). It also supports my belief that Berkeley's approach to spend all that time on electrical isolation was not the most optimal way to improve usb conversion (off-ramp employs none i don't think). I haven't been able to find out about what the 'turbo clocks' are.

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    Hey Chris,<br />

    <br />

    Excellent write up, thanks for the hard work. This stuff is so helpful to us tinkerers.<br />

    <br />

    I was curious why the Berkeley guys in the Alpha Converter manual suggest that kernal streaming mode is still experimental. I find it to sound better than Wasapi in my experiments, which are of course not exactly scientific, done on a Zalman Win7 machine. I tried playing KS mode through the Alpha usb into my Alpha dac and couldn't get it to work. No sound.<br />

    <br />

    I went back to the standard Wasapi driver and thought the sound was great, very high resolution, but perhaps too much for my ears (on my system). I also preferred the spdif sound to the preferred aes, again because it sounded more natural to my ears, less digital.<br />

    <br />

    Has anyone else had any success with kernal streaming using the Alpha usb--> Alpha Dac setup? Is it possible? Any chance the Berkeley guys might consider a KS driver for Win7?<br />

    <br />

    I also played with the Sotm usb interface but got too many FIFO errors (using XXHighEnd) in the control panel. The onboard usb2 bus worked better. Not sure why.<br />

    <br />

    Am now comparing a Phasure NOS1 (usb) dac and hope to come up with some findings to report. <br />

    <br />

    /Lee

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    >> Chris is reviewing a USB to S/PDIF converter here.<br />

    <br />

    Understood, what I am curious about is how it would compared with DACs in similar class with built in USB interfaces. The design goals of the built in Vs the separate converter camps are different, and it would be interesting to hear how they would compare. Say, a dCS Debussy via its built in USB converter Vs via the Alpha USB.<br />

    <br />

    For me, I am also interested in how the Alpha DAC+USB as a complete package compares Debussy USB. They are similar in pricing as a complete package.<br />

    <br />

    >> If you want a USB to S/PDIF converter and can afford the Berkeley, audition it.<br />

    <br />

    That is always an option. And reading reviews is another point of reference.<br />

    <br />

    >> Forget the 'Berkeley philosophy' or whatever, it's a USB to S/PDIF converter review. You want Chris to run comparisons? Fine, but they should be comparisons with other USB to S/PDIF converters and one DAC, not comparisons of this converter performing with many DACs, most of which don't need such a converter anyway.<br />

    <br />

    Referring to my first point, I as one who owns a DAC with built in USB. But I am also exploring the option of either "upgrading" with an external converter or move to the whole Alpha setup.

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    I think you can try upgrading the converter first with something cheaper like a hiface to see what kind of improvement it brings. Maybe that will help with understanding the 'trajectory' of going down the converter route vs upgrading the dac. <br />

    <br />

    In our hi-fi world, most of the current engineering breakthroughs are happening in the dac-related space, which when compared to amps and speakers have not reached the same perceived level of importance (similar to amplification circuits in the early days). That, and the rapid pace of development in our understanding of digital data transfer means - short product life cycles + components selling for relatively less compared to other components + rapid improvements in performance (small diy manufactured dacs of today can outperform the majority of the best and most expensive from large manufacturers made 1 or maybe only 2 years ago).

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    ...publishes a great review and the sh%t hits the fan. <br />

    <br />

    We are a fussy bunch, that's for sure but his statement stands...the best digital I've heard! <br />

    <br />

    Surprising that any of us can get laid.<br />

    WDW

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    Now I have DCS Debussy,Alpha USB and Alpha DAC II<br />

    I will try 3 diferent setups:<br />

    Alpha USB plus alpha Dac via AES/EBU<br />

    Alpha USB plus Debussy<br />

    Debussy connected to mac mini with SL via its usb.<br />

    Both dacs connected directly to Ayre Amplifier via XLR 1 meter.<br />

    All cables are Audioquest diamond,columbia and hawk(only 0.5 m.<br />

    I am openpen to suggestions.

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    Chris, thank you for sharing your experience with the Alpha USB. <br />

    <br />

    I'm under the impression that Berkeley Audio design the Alpha USB around Macs and they recommend using Pure Music right in their owners manual. If the Alpha USB was dialed in / voiced around Pure Music did this perform near or better than Windows with J Rivers?<br />

    <br />

    Did you try the Alpha USB into a DAC8 and if so was it a large improvement?<br />

    <br />

    Thanks Again<br />

    Dave

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