ever before, until now, have I seen or heard products from Auralic located in Hong Kong. While “High Fidelity” has published a review of the Auralic ARK MX+ D/A converter, its author was Marek Dyba, not me. In the conclusion he stated that it was a fine device performing great on both ends of the frequency range that slightly overshadowed the midrange. He saw its place in systems with a dominating midrange that needed some “opening up” on both ends. The ARK MX+ got favorite reviews from all over the world, including Srajan Ebaen from 6moons.com (see HERE). The owner and editor of this Swiss (earlier Cypriot and earlier still American) magazine emphasized its mature functionality and bode well for its future. As it turned out, he was right.

Even then, two years ago, the work started on a more advanced flagship converter, the Vega. Presented for the first time at High End Show 2013 in Munich (see HERE) it gained immediate recognition. Called by its designers the “Next-Generation Component”, it houses a D/A converter and preamplifier in one enclosure. The DAC receives PCM signals with up to 32-byte word length and 384 kHz sampling frequency (read: Digital eXtreme Definition [DXD]) AND DSD 2.8224 MHz (DSD64) and 4.6448 MHz (DSD128). The latter two seem to be increasingly recognized as a natural complement to converter capabilities, as both the recently reviewed Mytek Stereo 192-DSD and the Ayon Audio Stratos I reviewed for the Polish “Audio” support that format. This wide functionality is becoming a standard and the sound itself started fighting hard for its rights.

To achieve the feat, the engineers from Hong Kong dived right in the middle of the issue and instead of assembling the device from ready-made components and modules they decided to program the processor themselves, writing appropriate algorithms and digital filters. Recognizing the capabilities of their newborn baby they did not call it “DAC” but “Digital Audio Processor” instead.
The heart of the device is a multi-core micro-processor with ARM9 architecture, running at 1000 MIPS. Femto Master Clock was used, i.e. a clock with extremely low phase distortion. It is based on a quartz oscillator used in space projects, complex power supply and temperature change compensating circuit. In effect, the jitter is down to 82 fs (femtoseconds!). Such precise clocks are extremely rare and even then the price tag is sky high, like the Platinum DAC IV from MSB. There are some clock-related settings in the menu that are user adjustable. The Vega user is allowed to adjust the sound to his/her own system and taste. There are six digital filters to choose from – four for the PCM signal and two for the DSD. They were optimized based on auditions followed by adjustments. Unfortunately, the selected digital filter is not displayed on the huge and extremely easy to read front display and to change it you have to enter the menu.
The unit has five digital inputs, including USB with the proprietary Active USB circuit. The enclosure has been given a careful thought and is not made of aluminum but of the special AFN402 alloy including iron, nickel, silicon and rare earth metals. To further minimize vibrations, the enclosure components are coated with a special material called Alire Resonance Damper, consisting of several layers of different materials.

A few simple words from…
Wang Xuanqian | President & CEO

As it can be seen, AURALiC is focused both on two-channel and headphone systems. Our current product lineup includes the VEGA, the TAURUS PRE and the MERAK for two-channel systems and the GEMINI 2000/1000 and the TAURUS MKII for those that use headphones.
Three years ago we started thinking about a D/A converter with asynchronic USB input and as a result the ARK MX was our first design that came to life (replaced later by the ARK MX+). The ARK MX+ turned out to win us many awards and found its way to many audio systems.
A year ago we came up with a new design called the VEGA. It was the first D/A converter to accept the DSD, double DSD and DXD signal. We were the first to offer the Femto Clock at a reasonable price. A year later the Vega is still a top product and is used by well-known audio reviewers as a reference DAC in a number of systems.
We have recently launched the GEMINI, a headphones dock, which is another revolutionary product that features a DAC and Class A headphone amplifier. The Gemini immediately won a reward at CES audio show for its unique design.
Many people are wondering what the next step will be. As you can see, the only product we are still lacking is a source. And to be frank, we have been working for years on a network streamer platform (yes, it is a whole platform rather than a single product) and now we are ready to conclude our work. This product has so many functions that you would find it hard to even imagine them. We are going to launch it at the next year’s show in Munich. It will be another component to redefine the audio business.
Digital audio is undergoing very rapid changes, more rapid that people can imagine. AURALiC will always be in the vanguard of technological changes and will try to implement new technologies in real world products at a reasonable price.

Albums auditioned during this review

CDs

• Black Sabbath, 13, Vertigo/Universal Music LLC (Japan) UICN-1034/5, 2 x SHM-CD (2013).
• David Sylvian, Sleepwalkers, P-Vine Records, PVCP-8790, CD (2011).
• Depeche Mode, Should Be Higher, Columbia Records 758332, SP CD (2013).
• Mel Tormé, The Legend of Mel Tormé, Going For A Song GFS360, CD (?).
• Mike Oldfield, Tubular Bells, Mercury Records/Universal Music LLC (Japan) UICY-40016, Platinum SHM-CD (1973/2013).
• Mills Brothers, Swing Is The Thing, History 20.3039-HI, “The Great Vocalists of Jazz & Entertainment”, CD (?).
• Mills Brothers, Spectacular, Going for a Song GFS275, CD (?).
• Siekiera, ”Nowa Aleksandria”, Tonpress/MTJ cd 90241, 2 x CD (1986/2012).

Hi-Res audio files

• Opus3 DSD Showcase, Opus3, DFF 2,6 MHz + DFF 5,2 MHz.
• Opus3 DSD Showcase2, Opus3, DFF 2,6 MHz + DFF 5,2 MHz.
• Charlie Haden & Antonio Forcione, Heartplay, Naim Label, 24/96 FLAC, źródło: NaimLabel.
• Dead Can Dance, Anastasis, [PIAS] Entertainment Group, PIASR311CDX, "Special Edition Hardbound Box Set", CD+USB drive 24/44,1 WAV (2012);
• Depeche Mode, Delta Machine, Columbia Records/Sony Music Japan SICP-3783-4, FLAC 24/44,1, źródło: HDTracks (2013);
• Miles Davis, Kind of Blue, Columbia/Legacy/Sony Music Entertainment, FLAC 24/192, mono i stereo [źródło: HDTracks] (1959/2013).
• The Joe Holland Quartet, Klipsch Tape Reissues Vol.II, Klipsch, DFF 5,6 MHz (1955, 67/2013).

Japanese editions of CDs and SACDs are available at

The Vega is not a budget DAC. It is considerably more expensive than the Mytek Stereo 192-DSD, the main “dealer” among PCM/DSD DACs. On the other hand, it is half the price of the Vaughan from M2Tech (see HERE) and the Ayon Stratos mentioned earlier. It is not as versatile as the others as it does not feature analog inputs (and analog pre-amp) or headphone amplifier. At a closer look, though, and I am talking functionality here, the verdict can be different. As I have emphasized, the headphone amplifier is something extra in the Mytek and it does not appear in the Ayon at all. Analog inputs in the Ayon are useful but only when our system includes a turntable, FM tuner, reel-to-reel or cassette deck. This is highly unlikely, though, as the standard today is one or more digital sources. There is still a matter of digital volume control in the DAC from Hong Kong. For me, it always sound inferior to analog volume control and I almost always prefer the sound of an active pre-amp regardless of its location, whether built in the CD player or a standalone unit. Great many systems based on modern sound sources, mainly a computer, will actually be friendly with the Vega volume control, i.e. potential gains from using an external device for that purpose will be greater that losses, such as the need for additional device, additional pair of interconnects and a power cord, another remote and further system complication. Hence, I do understand those who will see volume numbers other than “100” on the DAC display.

Having said that, I kneel and touch the Vega tenderly as it gives something I have longed for: its technical design aspects are not made to serve the PR, nor do they strive for higher definition and purity at the loss of body. Employing the technologies I mentioned earlier, backed up with multiple auditions and probably some other factors that I am not aware of and never will be, resulted in fulfilling their purpose – they provide an extremely resolving and selective sound but the resolution and selectiveness are “hidden” behind the sound. This is not the best DAC I know. My CD player plays CDs better, even compared against high resolution files on the Vega. Not in every aspect, as there are elements that are unquestionably better on the Auralic, but my overall opinion was biased by the fact that I preferred CDs to audio files. The difference was minimal, though; much smaller than I am used to comparing other similar devices. I reviewed only three, maybe four that were clearly better than my Lektor. They were the Accuphase DP-9000/DC-901, the Ancient Audio Lektor Grand SE and maybe the Platinium IV system from MSB Technology. I would also add the Mark Levinson No. 512 in certain aspects. The price of the first three is one order of magnitude higher than that of the Vega; the No. 512 is four times more expensive. More or less, of course, as the prices may differ from country to country.

I did not exactly kneel, though; I just wanted to precisely convey my feelings when listening to the DAC. “Kneeling” stood for my respect and joy for the so-called “presence”. Religious readers should understand what I meant.
The device differentiates recordings, instruments, sounds, details and acoustics in an unbelievable way. It does not drag the problems to the front or boast by presenting them, but we know, nevertheless, what is going on. If analog tape-sourced recordings feature a slight noise, it is constantly present as a soft background. It gives real touch and credibility to the presentation. The same happens with older recordings. During this review I listened to CDs with material recorded in the 1930s and 1940s of the last century. I might be getting older. Or, maybe, it simply turns out that what says the most about the sound quality is the way the device builds its structure, the information about the depth of sounds and the freedom of transition between them and the way the DAC handles the recordings’ shortcomings. Those elements are best audible on those recordings. I prefer the second option.

It reminds me what I heard while reviewing the pimped up Stratos DAC/preamp from Austrian Ayon. But then it was a Class A, zero feedback, tube-based output unit, powered by a full-wave tube rectifier with anode voltage filtration solely on huge polypropylene capacitors (no electrolytes!). The Auralic is painfully modern, i.e. it has not much to do with vacuum. There are some intersecting points, though.
What drew my attention was the way the Vega builds the instrument bodies. The DAC does it like a pro, i.e. the way that constitutes the high-end, not fooling around with detailness and other crap. I was presented with a very clear foreground that extended deep into the soundstage in every dimension. It seemed tall at the same time. The vocals of Mills Brothers became absolutely three-dimensional, almost holographic, although these are mono recordings from the 1930s. The presentation seemed a bit warm – I will talk about it later – and energetic, as a teenager in a coeducational tent.
At the same time the sound had one hell of a resolution. To verify that, I compared several Mills Brothers tracks released by Going For A Song on a much better looking double album Trumpets of Jericho. The former wins in every aspect, especially its consistency. It might just be due to the CEDAR remastering system used there. The Vega presented both versions in a pleasant way. From the very beginning it was clear, though, that if something had a more saturated and fuller midrange, it would be identified and emphasized. In this case it translates into a deep refined sound.

I usually divide my descriptive part into what happens with the standard CD signal, i.e. 16-byte 44.1 kHz, and with high resolution files. There is no need for that here. The dividing line is mainly between the signal from the external CD drive and from the computer, or in a broader picture between PCM and DSD files. C’est la vie.
The Vega’s USB input is extraordinary. In my opinion it comes very close to the Platinium IV MSB Technology mentioned earlier. The latter was the best USB DAC I’d ever heard. Image stability, its substance and depth were exceptional. Still, I could not shake off the impression that the same records played on physical media sounded even deeper and more natural. Comparing their high resolution versions I had more breath and better macro dynamics, but the elements I am talking about remained the same. And they are decisive, for me at least, when it comes to presentation fidelity and its ability to enter the mind and heart. One can always argue that having an even better “equipped” computer would make me change my mind. This just might be, but my experience suggests otherwise. All this applies to PCM files, though. DSD files sounded different, especially DSD128. It breaks my heart to think how few files will be available in this format and most of those will be some audiophile garbage. It is the second or maybe third time that I can hear a DAC that is fed the signal from a computer, which sounds the way audiophiles have always dreamt about, since the time that digital source became the main method of music distribution. DSD has its weaknesses that I described in my Mytek review. But right now, to my knowledge, it is the best existing format. It might just be that people responsible for preparing those files pay more careful attention to their work than in the case of PCM files, and that the latter could sound better still. Maybe, but here and now the reality is that DSD recordings sound exceptional.

As I said, I did not divide the review into separate parts for CDs and audio files. The reason being that the Auralic handles both in a similar way.

With the albums where most important is the midrange, it emphasizes just that. With those that have a proper tonal balance, the bottom and top ends are strong. The bass is emphasized in the region responsible for the kick drum and electric guitar sound. These are strong and energetic, slightly dominating some of the recordings. They often benefit from that as this type of boost is positive for the overall tonal balance, but on classical recordings the accent is shifted down. The top end also seems to be slightly emphasized, but in a very attractive way.

With albums like David Sylvian’s Sleepwalkers, where the vocals of ex-Japan member are very strong and forward but still on a verge of tonal correctness, even such slight interference draws our attention to sibilants. They are not overabundant – that is not the point – but are simply more “present”. On the other hand, the albums that have some inherent problems, like the vocals on Siekiera’s Nowa Aleksandria did not show any abnormalities. It very much depends on a particular recording.

Summary

The best digital sources I know, and to some extent also my Lektor AIR, will present a more refined gradation of the sound depth and holographic instrument presentation as well as the room response. At first glance, the differences do not seem profound and are easy to swallow even for me. One should remember, though, that it can still be improved. One will be hard pressed, however, to find any weak points in the presentation of space as a whole. Phantom images have considerable body depth, which by itself puts the Vega in a unique place. It can be heard in the most astounding way with DSD recordings, where space is as natural as that from a top turntable. It has a proper consistency and bass foundation, giving the instruments a big volume as if performing live. This is an exceptional DAC. Moreover, it is really not that expensive, at least if we consider the components it is compared to. It is easy and pleasant to operate, slender, equipped with a splendid front display and offering plenty of settings. It also sounds as a tube component. I am sure this is due to lower jitter and proper processing of the digital signal. Apparently, people from Auralic know the field inside and out.

The DAC receives the RED Fingerprint Award.
Since it already received an award from “6moons.com”, it also receives a joint “High Fidelity” and “6moons.com” BLUE Fingerprint Award.

The Auralic Vega arrived at my place in a special moment. Either just before or at the same time, I had the pleasure to put my hands on a couple of very interesting DACs – the MSB Analog DAC from, the Ayon Audio Stratos and the Mytek Stereo 192-DSD. Each one of them sported a different set of features but all of them proved to be great. The Vega seems to offer the best value for money and is only slightly inferior to the two most expensive units. The only DAC that was clearly better was the Reimyo DAP-999EX Limited. Their character was very similar but the Japanese converter came out on top in every aspect. But only with CDs. The Vega was tested with the Ayon Audio CD-T transport (Philips CD-Pro2 LF) and the Ancient Audio Lektor AIR V-edition CD player (Philips CD-Pro2 LF). The USB input was fed the signal from my HP Pavilion dv7 laptop with Windows 8 Professional x64, 8GB RAM, 128SSD + 520GB HDD, and JPLAY/foobar2000. As with the Mytek, I experienced problems with sending native DSD files. I would like to thank (again) for the help of Marcin Ostapowicz, the owner of JPLAY, who solved all the problems. This kind of help is of paramount importance in case of computers – the Vega comes with a free copy of JPLAY software. The computer was connected via the Acoustic Revive USB-1.0PLS cable and the JCAT cable (JPLAY Computer Audio Transport).
The DAC rested on three Franc Audio Accessories Ceramic Disc Classic feet and the Acoustic Revive RIQ-5010W quartz insulators. I put a couple of books on top of it to further dampen the slightly “working” top panel. The power supply was fed via the Harmonix X-DC350M2R Improved-Version power cord. The test itself had a character of an A/B comparison with the A and B known. The music samples were 2 minutes long and whole albums were also auditioned.

The stylistic design of Auralic products seems to be well thought out and matches the demands of a modern, computer audio oriented music lover as well of those with a more traditional knack. The latter, usually older than not, will appreciate the excellent, pretty and legible orange OLED display screen. It will tell them the currently selected source, volume level, master clock setting as well as input signal sampling frequency. In case of DSD signal, the information will read “DSD64” or “DSD128”. Inputs have pretty associated icons. There is no information about the selected digital filter, though. The display is also a convenient interface to move around the menu, which is quite elaborate. In addition to the already mentioned settings, one can control channel balance, absolute signal phase and other useful things. The front panel, apart from the display screen, features a knob that acts as a button and encoder. We can use it to adjust the volume level and to navigate around the menu.

There are five inputs – two coaxial (2xRCA; one BNC wouldn’t be out of place), AES/EBU, optical TOSLINK and USB. All of them receive PCM signal from 44.1 kHz (the display will show this as 44.1 KS/s) to 192 kHz and 24 bytes. The USB input is much more versatile as it is capable of DSD64 (2.8224 MHz), DSD128 (5.6448 MHz) and PCM up to 32-bit, 352.8 and 384 kHz. The PCM input signal is converted to 32-bit and upsampled to 1.5 MHz. The input connecters are from Cardas – with rhodium contacts – and the XLRs are from Neutrik with gold contacts. The enclosure has already been described; I’ll just add that the unit rests on three feet.

Although the whole electronics is mounted on a single PCB, it is divided with a screen into two sections: input and the converter proper. Next to the inputs we see isolating components. RCA and XLR connectors are coupled via impedance matching transformers, and the USB input features a receiver with power supply. The signal then goes to a massive DSP chip with the ‘Auralic Sanctuary Audio Processor. Powered by Archwave’ print on it. Archwave is a Swiss company that specializes in audio signal processing. There are only a handful of companies that can afford such advanced customization. The DSP chip includes a digital receiver, upsampler and digital filters.
The same part of enclosure also houses a power supply with a large Schaffner filter and sizable toroid transformer with three secondary circuits, separate for each section. On the other side of the screen there is the DAC part. The input stage sports DAC chips in a metal enclosure together with master clocks. It is supposed to improve circuit temperature stability. Unfortunately, I have no idea about the DAC chips used. I/U conversion is based on IT OPA1621, accompanied by nice Wima and Elna capacitors. Near the output there is a buffer and output amplifier stage. It is placed inside metal “caps” and filled with epoxy to eliminate vibrations. The modules sport a heat sink mounted to the top. It comes handy as the output circuits operate in Class-A. Their topology was designed in-house and they are called ORFEO Class-A Output Modules. As described in the company literature, it is based on the amplifying circuits of the legendary Neve 8078 mixing console. The components are surface mount and temperature stabilized. The DAC can handle ultra-low impedance loads, down to 600 Ω. The assembly quality, both mechanical and electrical, is top notch.

The remote control included is a generic unattractive plastic unit.

MICRO-TEST
JCAT USB

JPLAY produces specialized software dedicated to the playback of computer audio files. JPLAY software player is used by many leading audio reviewers all over the world. Some time ago, Marcin Ostapowicz (the owner) decided to extend his product lineup. He worked on the assumption that while he provides a great software tool, he has absolutely no influence on what happens to the signal after it leaves the computer. Relying on his experience and tests in his own system, he prepared several products intended to improve the signal coming out of computer and also became a distributor of several brands of products that were designed, as he says, with a similar philosophy to his own.

One of the new products from JPLAY is the JCAT USB cable. I saw it for the first time at the Audio Show 2013, where Marcin told me a few things about it. Its mere look says a lot about it – the cable has got exceptional connectors. While it might seem that the connectors “do not play”, the truth is to the contrary. I thought that Acoustic Revive from Japan use top shelf connectors and I was right, but the JCAT sports even better ones. The conductors are made of silver coated stranded copper wire (20% silver) in Teflon isolation. The plugs with anodized aluminum body have standard USB impedance of 90 Ω.
I compared this cable to my reference Acoustic Revive USB-1.0SPS which in turn replaced the former USB-1.0SP. This is the cable with separate signal and power runs, which is why we have two plugs at the computer end instead of one. It allows for yet another upgrade, i.e. connecting the power plug to a battery power supply.
Before the audition I did some online reading, interested in opinions where the names of Acoustic Revive and JCAT occurred in the same sentence. To be honest, I ended up in the same place as many of “High Fidelity” readers who write to me. I found as many different opinions as the number of their authors, and each next opinion seemed to be more radical. This would confirm my hunch about the importance of audio magazines in our “online” world, where audio salons with their experts virtually died out, and what remains is just distributing stores and the real sales take place online. In this new reality, the importance of knowledge centers is even greater and is still growing. Contrary to common expectations, the greater number of opinions does not translate into their quality and does not help in a better understanding of a given issue.


The comparison between the Japanese and Polish cables yielded very interesting results. The JCAT sounded smoother, more pastel-like. In turn, the AR sound was deeper and set a bit lower. It was also darker. It seemed to have more air and better resolution. But it is not the case where I would bet all my money on the one or other interconnect. JCAT’s presentation is exceptionally well balanced and coherent. The AR sounds s bit raw in comparison. The JCAT is a great cable. For its performance and build quality, it is also very reasonably priced. The AR shows some characteristics that are undoubtedly better. However, the differences are so small that JCAT’s slightly different, more pastel-like presentation could even prove better in some systems.

Price:
349 euro
299 euro (special price for JPLAY owners)
Shipping costs – 10 euro

jplay.eu