15 USB/SPDIF converters shootout

[Elberoth]

For the past year, I had a chance to try and compare over 15 different USB/SPDIF converters.

 

It was a fascinating journey into the world of computer audio, which eventually, made me sell my CD spinner and join The Dark Side of the Force – something I thought would never happen just 2 or 3 years ago.

 

I have already shared some details of my converter shootout in some other threads, most recently in State-of-the-art CD transports vs USB/SPDIF converter shootout thread, but since people kept me asking for the complete USB converter story, I promised to start a separate thread, dedicated exclusively to the USB/SPDIF converters.

 

 

Here is the complete list of converters I tried (from the cheapest to the most expensive one):

 

Matrix USB 24/96 - $59

Musical Fidelity V-Link II - $199

Hegel HD2 - $350 (this primarly an USB DAC but can be also used as standalone USB/SPDIF converter)

Halide Design The Bridge - $399

JK SPDIF Mk3 - $436 (335 EURO)

Stello U3 - $495

M2Tech HiFace Evo - $499

Audiophilleo 1/2 -$579/$979

M2Tech HiFace Evo + Evo Supply - $990

M2Tech HiFace Evo + Evo Supply + Evo Clock - $1485

Berkeley Alpha USB - $1890

Empirical Audio Off Ramp Turbo 5 - $2249 (as tested, with $700 Dual Turboclock and $250 S/PDIF Hynes regulator options installed)

Soulution 590 - $3000

dCS U-Clock mk1 (24/96) - $4990

 

All the converters were tested on my dCS Scarlatti and Metrum Octave DACs. In the ‘second round’ of the shootout, I have also tested them with Accuphase DC-801, Metrum HEX, Berkeley Alpha Series II and McIntosh MDA-1000 DACs.

 

On the computer side, I was using my hi-man PC server (equipped with powerful i5 processor, fast RAM, SSD, Seasonic fanless PSU, various SOtM bits including PCI/USB SOtM card), running Win 7/64, JRMC 17 and JPlay v4.1.

 

 

The cables I used for the shootout were the excellent AudioQuest Diamond USB, Kimber D-60 RCA->BNC, dCS generic BNC to BNC cable and later on, also the Stealth Varidig Sextet AES/EBU.

 

As a point of reference, I have used the dCS Scarlatti CD/SACD transport, with the external clocking feature disconnected (to level the playing field between the USB converters and dCS transport). Enabling the external clocking and slaving the dCS transport to the dCS DAC (or an external dCS clock) further improved the performance of the dCS transport, but for this shootout, I was interested in its SPDIF performance only.

 

 

Further references included Stello CDT-100 CD transport and Bryston BDP-1 digital transport.

 

 

To give you a better perspective on the magnitude of differences between all of those converters, I have chosen to give every converter a simple numeric score. I’m not a big fan of any numeric scoring systems, even though German magazines like AUDIO and STEREO have been using them for years, since in my opinion, the sonic signature is just too complex to describe it using a single score. Two components may have an identical score, but have a completely different sonic flavor, and as a result – appeal to completely different people. It is not difficult to imagine a situation, where a component with a lower score, may actually be a better fit in our system, because of our preferences and/or system synergy, than a component with a higher score.

 

However, in case of USB/SPDIF converters, where most of the changes are down to the difference in level of resolution, smoothness (where by smoothness, I mean a lack of digital glare, grain and artificial edge) and instruments layering, I thought that the numeric score could actually give you a much better idea of the differences between the respective converters.

 

The dCS Scarlatti transport, which was used as a point of reference, was given a base score of 100 points.

 

One of the recordings I used most often during those tests, was 'La Spagna' by Atrium Musicæ de Madrid and Gregorio Paniagua (BIS-CD-163) - a fabulous recording of XV century music. This recording has lots of percussive instruments - triangles, hi-hats etc and was recorded in a very lively acoustics and makes spotting for differences much easier.

 

The results of the 'first round' of the shootout were as follows:

 

Matrix 24/96 - 60

Hegel HD2 - 65

Musical Fidelity V-Link II - 75

Stello CDT-100 - 75

Bryston BDP-1 - 80

Halide Design The Bridge - 80 (+5 when powered from SOtM USB card)

M2Tech HiFace Evo - 80

Stello U3 - 85

JK SPDIF Mk3 - 90

M2Tech HiFace Evo + Evo Supply - 90

Audiophilleo 1/2 - 95

Empirical Audio Off Ramp Turbo 5 - 95

M2Tech HiFace Evo + Evo Supply + Evo Clock - 100

dCS Scarlatti CD/SACD transport - 100 (+5 when used with dCS DAC and the Clock Link feature enabled)

 

Not surprisingly, the cheapest Matrix converter was also the poorest performing of the lot. It was the most 'digital sounding', with a lot of digital glare and grain, and the poorest rendition of space - as if the whole air just got sucked out.

 

The full Evo stack on the other hand was clearly the best, having the best resolution and HF extension, great layering of instruments and sounding very refined, ultra smooth and fluid. It was even better than Scarlatti CD/SACD transport in terms of resolution, articulation and lack of grain. It lacked a bit in terms of tonal color and texture, sounding at times a little bit lightweight and 'ethereal', but in general, they were both on the same level. Of course, the Scarlatti transport could be further improved by adding a clock link to the DAC or an external clock, but that only shows how flawed S/PDIF interface is to begin with.

 

Other converters had fallen in between those two.

 

Even though some of the converters got equal score, it doesn't mean they sounded exactly the same. Case in point are the ORT 5 and AP1/2 converters. Both scored 95 points, and yet, they sound a bit different.

 

ORT5 is a bit dark sounding. You will not get the vast sound stage that AP1/2 will throw, you will miss some spatial clues and decay trails. On the positive side, ORT5 had the best texture out of all converters I tried up to that point, and was the only converter that fully matched my Scarlatti CD/SACD transport in that regard.

 

AP has superior resolution and better microdynamics than the ORT5. If you voice your system around the AP, ORT5 will most likely sound a bit muted.

 

That being said, in some systems AP may be too much of a good thing. Some people reported that AP sounded a bit bright in their systems. I believe this is may be computer dependent (since AP is USB powered, it relies heavily on the quality of USB power, so cards like SOtM USB with their own ultra low noise voltage regulators can help here).

 

Both converters can be improved by adding a dedicated PSU.

 

A friend of mine - Marcin of JPLAY fame - who borrowed ORT5 from me, reported what he called 10% improvement in SQ by substituting the supplied switch-mode wall wart PSU with his KingRex linear PSU (please note that the 10% he stated have no direct relation to my scale). Aparently, Empirical even makes their own battery PSU, called Monolitic, but it adds another $1k to the hefty price of ORT5.

 

AP recently introduced what they call a PurePower battery PSU. This is a $449 option for both AP1 and AP2. I recently tried one, and recommend it.

 

I felt the AP+PurePower could now rival the M2Tech 3-box solution sound wise, but it is cheaper and much less hassle - M2Tech full Evo stack comes in three boxes, a lot of extra cables, manual sample rate switching is necessary. On top of that - the battery depletes in just under 3.5h, which means that most users will need a separate power supply for the clock and the converter for any extended listening sessions, which further adds for the system cost and complexity. AP PurePower PSU lets you listen for like 15h straight, and then recharges itself via USB when you stop listening.

 

After the ‘first round’ of my shootout, I decided to keep the Audiophilleo 1 and return/sell the rest of the converters, including the Halide Bridge, which was my old reference. As much as I wanted to go with the M2Tech full stack, the lack of userfrendliness of that setup was a show stopper for me. Plus, the AP1 offered a host of additional features, making it completely unique among USB/SPDIF converters - full function digital preamp, remote control, display showing sample rates, to name only a few.

 

*****

 

A few weeks after completing the ‘first round’ of my shootout, I managed to borrow two very expensive USB/SPDIF converters that I always wanted to try, but wasn't able to secure on time for the shootout - dCS Puccini U-Clock and Soulution 590. At $4990 and $3000 respectively, they are one of the most expensive converters available on the market today. They were not bad, but M2Tech stack was still better – and much cheaper (if pita to use).

 

 

Around the same time, Peter from Audiophilleo sent me a Pure Power battery PSU for my AP1. It made the AP sound smoother, with slightly better color density and even better soundstaging that the plain vanilla AP.

 

If I was asked to expend the ranking to include those 3 new converters, I would award them with the following score:

 

Matrix 24/96 - 60

Hegel HD2 - 65

Musical Fidelity V-Link II - 75

Stello CDT-100 - 75

Bryston BDP-1 - 80

Halide Design The Bridge – 80 (+5 when powered from SOtM USB card)

M2Tech HiFace Evo - 80

Stello U3 - 85

JK SPDIF Mk3 - 90

M2Tech HiFace Evo + Evo Supply - 90

Soulution 590 – 90 (+5 when powered from SOtM USB card)

Audiophilleo 1/2 - 95

dCS U-Clock - 95 (+5 when used with dCS DAC and the Clock Link feature enabled)

Empirical Audio Off Ramp Turbo 5 - 95

AP1 with the PurePower battery PSU - 95 (borderline 100)

M2Tech HiFace Evo + Evo Supply + Evo Clock - 100

dCS Scarlatti CD/SACD transport - 100 (+5 when used with dCS DAC and the Clock Link feature enabled)

 

At that point, I decided to stop the search for the ultimate USB/SPDIF converter. After trying 14 different designs from all price points, I simply felt that there is nothing that could surprise me anymore. As it later turned out - I was wrong !

 

During a dinner I had with Chris on his trip to Europe in November, Chris suggested me to try the Berkeley Alpha USB he reviewed for Computer Audio. He also offered me a help in contacting Berkeley people, as my first attempts a few months earlier were unsuccessful (there is no Berkeley distributor in Poland).

 

 

Berkeley Alpha USB showed up a few weeks later at my doorsteps, and literally – had blown me away, both with its sonics and quality of engineering behind this product.

 

Let’s start with the engineering part first. I haven’t seen another USB/SPDIF converter, designed with this level of attention to details.

 

The whole converter is divided into two parts - 'dirty' part (on the right) fed from the USB power, containing the XMOS USB receiver chip, and 'clean' part, fed from the onboard linear PSU, containing the clocks and SPDIF out.

 

Alpha USB is based on the the XMOS chip. The little 24M crystal oscillator above it (X101) is there just to make USB work.

 

The 'dirty' and 'clean' sides are both isolated by a chip. The lettering on the chip was removed, but I’m pretty sure this is the ADuM* chip, isolating the I2S lines between the XMOS chip and the SPDIF output.

 

*The ADuM chips are digital isolators based on the Analog Devices, Inc., iCoupler® technology. Combining high speed CMOS and monolithic transformer technologies, these isolation components provide outstanding performance characteristics superior to alternatives, such as optocouplers.

 

The chip is screened by an unusual ferrite 'gate' - this is the first time I see such an arrangement in any hifi product. The 'gate' forms a 'ring' that screens the chip 360' (over and below the PCB):

 

A metal screen further improves the isolation by dividing the internal volume into two compartments:

 

Clocks used come from Crystek - this is an ultra low phase noise design, one of the best - if not the best - currently available. From the outside they look like CCHD-957 model (also used in the Off Ramp Turbo 5, with the $700 Ultraclock option), but the markings say otherwise. They may be custom made for BADA, who knows.

 

Digital output transformers have the word quality written all over them:

 

BNC socket is a precision 75 Ohm design (you can tell from the white 'collar' around the center pin) from connector specialist Bonar:

 

One of the coolest design details of Alpha USB is the way the USB input is mounted. 99.99% manufacturers make a suitable hole in the metal enclosure and mount there the USB input. Not the Berkeley. They made the 1 by 1 inch cutout in the metal enclosure, and surrounded the USB input by plastic in order to reduce the possible capacitive coupling between the two. How clever !

 

 

Sound wise – this is by far the best sounding USB/SPDIF converter I tried, better than the dCS Scarlatti transport.

 

The other top converters were very, very good, but still not perfect.

 

M2Tech stack for example, has a very distinctive sound. I would describe it as ethereal - great resolution, smoothness and vast soundstaging, but at the same time it is a bit light on its feet, lacking some substance and midrange texture.

 

ORT5 on the other hand sounds warmer, fuller with more texture, but at the same time, lacks the top end resolution and extension that Evo (and to lesser extent the Scarlatti transport) is capable of.

 

You can say that BADA is best of both worlds, and then some. Alpha USB has all the texture of the ORT5 and Scarlatti transport, but combines that with the outstanding resolution, smoothness and soundstaging of the Evo stack. In fact, it even goes one step further that the Evo in that department - with BADA not only you can hear all the detail, but you can actually feel a sound wave developing and moving the air, which makes the instrument outlines more 3D. Quite frankly, I was stunned when I first heard this.

 

The BADA Alpha USB made the sound smoother, with ZERO artificial edge, grain or digital glare.

 

There was also much better layering of instruments, and air around the outlines. The instruments sounded not only better separated in space, but also much more 3-dimensional.

 

The resolution also improved quite a bit. You could hear the sounds that you were not aware are on the recording, the HF decays had much longer trails and hung in space much longer.

 

The most fascinating thing was that sound had better resolution, but at the same time, was so much smoother and fluid. Usually, it is another way round. Very often we try a new component or a cable and at first are fascinated by improved resolution, only to find out a few days later (after we had X-rayed all our recordings), that the increased resolution brings listener fatigue and makes the listening far less enjoyable.

 

Not this time. BADA pulls this incredible trick of sounding both more resolute, more transparent, and much smoother at the same time.

 

To me Berkeley Audio Designs Alpha USB defines the current state of the art in USB/SPDIF converters design.

 

The final shootout score is as follows:

 

Matrix 24/96 - 60

Hegel HD2 - 65

Musical Fidelity V-Link II - 75

Stello CDT-100 - 75

Bryston BDP-1 - 80

Halide Design The Bridge – 80 (+5 when powered from SOtM USB card)

M2Tech HiFace Evo - 80

Stello U3 - 85

JK SPDIF Mk3 - 90

M2Tech HiFace Evo + Evo Supply - 90

Soulution 590 – 90 (+5 when powered from SOtM USB card)

Audiophilleo 1/2 - 95

dCS U-Clock - 95 (+5 when used with dCS DAC and the Clock Link feature enabled)

Empirical Audio Off Ramp Turbo 5 - 95

AP1 with the PurePower battery PSU - 95 (borderline 100)

M2Tech HiFace Evo + Evo Supply + Evo Clock - 100

dCS Scarlatti CD/SACD transport - 100 (+5 when used with dCS DAC and the Clock Link feature enabled)

Berkeley Audio Designs Alpha USB – 110

[Elberoth]

Some final thoughts:

 

The value for money for each converter will depend on the fact if it needs USB and SPDIF cables or not. Halide Bridge converter for example, apart from the fact that it was the most bullet-proof design of all converters tested, comes with a built in USB cable and doesn't need a SPDIF one - that is easily a $200 saving. Same for the AP1. On the other hand, the BADA Alpha USB needs both cables, and in the setup I tested it with ($600 AQ Diamond USB + $600 D-60 SPDIF cable) is over $3k. This is 3x as much as the AP2 + PP (AP2 is the same as AP1, but with less features) which can be had for $1k.

 

Please take this ranking with a grain of salt though. First of all, the converters were tested with my Metrum Ocatve and dCS Scarlatti DAC, and my hi-man music server. Since converters are a bit system dependent, you may come to different conclusions (although I doubt the differences would be greater than +/- 5 marks). Secondly, the converters can sound very different to each other (I already explained that in case of ORT5 and AP1, which both scored 95 but sound very different; the other pair that sounded slightly different were M2Tech stack and Scarlatti transport), so sometimes a converter with a slightly lower score may be a better fit in your system.

[Elberoth]

Adam:

 

If CA had a contest for "Computer Audiophile Forum Member Post of the Year" your USB-SPDIF converter posts would be up for consideration in my view. Great work!

 

Thanks ! Took me a better part of the day to write.

[Elberoth]

Quick thought on system "synergy" and architecture. I believe your Scarlatti over S/PDIF (or AES/EBU) operates in synchronous more, meaning the source provides the masterclock to the DAC. This makes the system very sensitive to the Jitter performance of the source (i.e. USB converter). In my experience, switching from synchronous to asynchronous (i.e. the DAC buffers and reclocks the signal) AES/EBU or S/PDIF yields dramatic improvements, and dramatic difference between the impact of the source on final sound quality. My first data point to support this claim is upgrading the PS audio perfectwave DAC to MKII level, which basically makes the DAC fully asynchronous, and the second is switching between reclocking on/off on my MSB DAC. In both cases no comparison! Asynchronous wins hands down. I'm not even sure exactly how the dCS clocking works with an S/PDIFor AES/EBU source, but I'm simply bringing this up because I suspect outcome of your shootout are highly DAC and architecture dependent (as you mentioned yourself).

 

Both dCS Scarlatti and Metrum DAC work the same way, as 99,99% of the DACs available on the market - they extract the clock from the SPDIF signal in the PLL loop.

 

Both of your DACs are actually unique with their reclocking features. But even with full reclocking, the DAC will still be suspectible to the RFI grunge coming from the computer, so a converter offering a higher level of isolation could still sound better than lesser designs.

[Elberoth]

Sure, but if the two main USB converter performance parameters that impact sound quality are jitter and noise, than using a DAC that is fully asynchronous on its S/PDIF input will change the relative performance of the USB converters with that DAC (probably quite dramatically so).

 

You would expect it to move the ranking of relatively low noise converters up the list and diminish the weight of jitter performance of the converter (theoretically, jitter performance should become irrelevant).

 

True, but I do not know any other - as you call it - fully asynchronous DACs other than the PSA and MSB you mentioned.

 

I have had a demo unit of the Bel Canto Reflink at home for the last few weeks and it is a great device.

 

Yes, as I already commented in another thread, on paper the new BelCanto models look very interesting, and the first reports I've read are encouraging.

 

What seems to be missing in BelCanto designs are the heroic efforts the BADA team has made to isolate the dirty USB side from the clean SPDIF output. BADA not only uses the galvanic isolation on SPDIF outputs (as most manufacturers do) but they also use what seems to be the ADUM chips (those are digital isolators based on Analog Devices, Inc., iCoupler® technology - they combine high speed CMOS and monolithic air core transformer technology) which they put on I2s lines - in the junction between the dirty and a clean side. This, plus some other clever tricks they made, gives the Berkeley Alpha USB converter an unprecedented level of isolation from computer grunge, and IMO is one of the reasons behind its extraordinary performance.

[Elberoth]

What are the benefits of using devices like these between a computer and dac? I never realized converting from usb to spdif or aes before going into the dac could improve things so much.

 

Well, the first, most obvious, is the fact that some of the DACs that do not have the USB input at all.

 

Then you have DACs that do have the USB input, but the input doesn't accept all the rates up to 24/192 (some are 16/48 limited, some 24/96).

 

And last but not least - many USB equipped DACs simply sound BETTER with the outboard USB/SPDIF converters.

[Elberoth]

I findperceived ' differences ' tend to disappear when equipment is level matched and tested 'blind'.

Keith.

 

There is no need to level match USB/SPDIF converters.

[Elberoth]

mayhem13 - you belive that $23k Scarlatti DAC is immune to any incomming jitter, even though you haven't tried one. I would rather see people talk about their first hand experiences than beliefs, but I'm ok with that. It is a free world and anyone can belive in whatever he wants to belive.

 

I would like to get some facts straight though. You sugested that 'results matched the units selling price ladder too closely', which is another way of saying that the reviewer doesn't know what he is talking about.

 

Your statement is inacurate and quite simply - insulting.

 

Contrary to what you have said, there were three converters that were considerably more expensive than the Berkeley Alpha USB (U-Clock was almost 3x more than Berkeley) and yet, I felt that it was the cheaper Berkeley that offered (by far) the best sound quality. And Berkeley is not the only example on that list, where a cheaper converter turned out to perform better.

[Elberoth]

I'm sorry, I started writing and posted my comment to Mayhem before I have noticed Chris response.

[Elberoth]

(...)could the BADA pass DSD (...) ?

 

No converter I know is able to pass DSD. bhobba posted a link to a new converter that supposedly does DSD, but then you need a suitably equipped DAC.

[Elberoth]

I'm still finding though my Wadia 3200 CD transport feeding my dac to be clearly superior in SQ to my CA/BADA set up.

 

I'm finding that hard to believe, as Wadia 3200 is an ancient Marantz CD player in disguise:

 

WT3200

 

This is a stone age technology, with $0.05 crystal oscilator that is already 20 year sold (oscilators age, loosing their accuracy).

 

How do you define better ?

[Elberoth]

Sorry, I'm not a Mac guy, so did not have a chance to try the Weiss FireWire interfaces.

 

I'm not convinced though, that the FireWire interface has any advantage over USB anymore. It used to have one, since it was asynchronous from the start, and USB wasn't. But right now, all modern USB implementations work in asynchronous mode as well, so this stopped beeing a differenciator.

 

IMO, both FireWire and USB converters are only as good as their clocking and isolation they provide. Weiss does not use those new Ultra Low Phase Noise clocks that Berkeley Alpha does, so I would bet my money on the Berkeley, that it sounds better.

[Elberoth]

Sometimes less is more.......and if an early production player sounds more analog and less analytical, who are we to argue the point. I find Onthebeach's conclusion quite plausible. I have an older Sony ES player that gives my DAC a serious run for its money on some material.

 

I believe what they are hearing is the effect higher jitter has on this DAC. What I would be most interested in, is the high frequency performance they are getting, as that would probably tell us more which source has less jitter. I would also bet that this performance advantage would not be consistent DAC to DAC.

[Elberoth]

What does the age of the $0.05 crystal oscillator have to do with any of this?

 

I doubt it is any worse, or better, than when new.

 

(You don't want to know what I think of it, new or old. Hint: you claim it only costs $0.05)

 

(Translation: why do you think something that is brand new is any better? Just because they now cost closer to $1.)

 

What I meant is, that 20 years ago, there were no crystal oscilators with this level of Phase Noise available on the market, not for $0.05, $1 or $20. So whatever they put in there (and most likely, Philips put the cheapest XO that got the job done) it is nowhere near the performance of the modern crystal oscilators - like the one used in Berkeley, your converter, MSB stuff etc.

[Elberoth]

We tried a PC using JRiver with a Weiss INT202 + dual Canorus AES/EBU against Berkely Alpha USB + WW Platinum + Valhalla BNC. We prefered the Weiss solution.

 

You are comparing apples to oranges here. Apples to apples would be to compare single AES output of Weiss to single AES output of Berkeley, or BNC to BNC.

 

What you are hearing may be down to the fact, that your DAC sounds better via Dual AES digital inputs than it does via the BNC one, and/or different sonic signatures of different digital cables used (AES cable vs BNC cable).

[Elberoth]

Think so? You mentioned 3 brands. How many others do you think have that level of performance?

 

99% of the rest use something just as bad as the "cheapest XO that got the job done". Trust me.

 

Yes, that is why I said that the chances, Philips used some special, ultra low phase XO in their 20 year old design, are pretty slim.

[Elberoth]

What's most important may be that on a FireWire bus, any device may be defined to be the host (= in contrast to a USB bus, it need not be the computer), even if somewhere down the line of a daisy-chain of devices. Any device defined host (= master) can effectively assume the computer's (= slave's) clock.

 

This is exactly what asynchronous USB does - it becomes the master, feeding the clock back to the computer. Just like the firewire.

 

Have you read the dCS white papers? The conclusion is simple: synchronicity between units is more important than accuracy (i.e. an atomic clock to synchronise a master clock to is merely the icing on the cake).

 

What you probably meant is the clock stability. And yes, clock stability it is by far more important in digital audio replay than clock accuracy. (never claimed something different, so I do not really understand the point you are trying to make here).

 

If you want to read good papers on clocks and PPL, I recommend you read those by Grimm:

 

Grimm Audio

 

The idea of every unit down the chain extracting the clock signal and re-clocking time and again (pun intended - ideally, in the case of a USB DAC without the need of a USB converter, once only, but it's the latter that are the subject of this thread) has never appealed to me, even if admittedly, an accurately internally clocked converter like the Berkeley is going to make things easier on the PLL circuit of whatever (hopefully accurately internally re-clocked) unit follows it down the chain. Still, a lot of effort to perfect something that's "inherently flawed", i.e. omitting wordclock I/Os.

 

It has been pointed out many times. There is no disagreement between anyone in this thread on this.

[Elberoth]

Blake - thanks for your informative review. Quite recently, forum member guydebord also came to similar conclusions, having compared BelCanto REFLink vs Berkeley vs Audio GD DI-V3s TCXO + DI-PSU in another thread:

 

Bel Canto REFlink in the house

 

Berkely Alpha USB is really a brilliant piece of digital audio engineering.

[Elberoth]

If what you say is true, these products should start fading quickly and pretty much die out since they are a transitional product no one will need once enough legacy DACs are replaced by modern designs with good USB inputs.

 

That is probably how it is gonna look like, although an open question remains, how fast it is gonna happen. If you take into account, that most (if not all) modern DAC do not have USB inputs that would approach the level of sophistication and engineering of the Berkeley Alpha USB (and those DACs will still be with us in 5 years time), I would guestimate, that the outboard USB/SPDIF converters will be still with us in 5-10 years time, although their importance will certainly be smaller.

[Elberoth]

barrows +1

ar-t +1

 

Thank you for your contribution to this thread.

[Elberoth]

10Hz is still pretty high. A lot of incoming source jitter will pass.

[Elberoth]

Ben,

 

Unfortunately, the Hydra-X never found its way to my listening room. A friend of mine, who writes for highfidelity.pl/6moons.com and who happens to have the BADA USB as well, tested the Hydra-x and found it offered good value for money, but did not beat the BADA USB.

[Elberoth]

I am Sorry, but I had to register just to tell you how dumb this discussion is.

Has anyone of you any idea what a USB SPDIF Converter does? It is recieving NUMBERS that represent music via USB and delivers these exact NUMBERS via SPDIF. Since both protocols are protected by checksums, there is absolutely no way, any Data can possibly be sent wrong!

These adapters don't do anything than digital calculations without any loss of quality.

If you still believe there is a difference between these devices in terms of sound quality, you should probably either visit your doctor or change your hobby. Maybe believing in the Flying Spaghetti Monster could be something you like.

 

When it comes to DACs or Amps, i can not totally deny every influence on the sound quality, but these completely digital devices are just neutral in terms of signal conversion.

 

Your idea on how USB and SPDIF interfaces work is very wrong. I recommend you research this very subject first.