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DAC 64 – Chord Electronics Ltd
The DAC64 is the first model to be introduced with this technology and features a radically new type of filter called the Watts Transient Aligned filter (WTA); …
Source: chordelectronics.co.uk
Date Published: 12/30/2021
View: 451
Used dac 64 for Sale | HifiShark.com
Chord Dac64Mk2 Converter _27740 Japan eBay logo … CHORD DAC64MK2 Stereo DAC D/A Converter Digital Analog AC100V specification Japan eBay logo …
Source: www.hifishark.com
Date Published: 7/15/2022
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Chord Electronics DAC64 D/A processor – Stereophile.com
In its announcement of the DAC64, Chord fired a salvo in the numbers wars by talking about a “64-bit” DAC. This sounds like overkill, …
Source: www.stereophile.com
Date Published: 3/5/2022
View: 7611
Measurement’s report Chord DAC 64 MKII
Measurements of Chord DAC 64 MKII were carried out by Roman Kuznetsov on the hardware-software complex RAA. The Chord DAC 64 MKII test was conducted as a …
Source: reference-audio-analyzer.pro
Date Published: 2/18/2021
View: 3242
Chord D/A Converter DAC 64 MKII Original Fabric Dust Cover …
Amazon.co.jp: Chord D/A Converter DAC 64 MKII Original Fabric Dust Cover [Gift Set] : Electronics.
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Date Published: 1/30/2021
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Chord Electronics DAC 64 MKII – Audio – Carousell
over a year ago by nic_wei · S$1,500 · 6 Likes · Used · In Other Audio Equipment · Chord Electronics DAC 64 MKII, this is newer version with dual BNC digital input.
Source: www.carousell.sg
Date Published: 10/6/2021
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Chord DAC 64 Digital To Analog Converter Reviewed
After Chord Electronics’ DAC 64 proved to be such an immediate hit, they sat back, figured out just why everyone fell in love with it, …
Source: hometheaterreview.com
Date Published: 3/21/2021
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Chord DAC64MK2 – Hifi Solution
Chord DAC64MK2 ; Wth: 335 mm ; Depth: 145 mm ; Weight: 4 kg ; Finish: Silver ; Out: RCA + XLR …
Source: hifi-solution.com
Date Published: 11/6/2022
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주제에 대한 기사 평가 chord dac 64 mk2
- Author: James Sung Jin Lee
- Views: 조회수 278회
- Likes: 좋아요 1개
- Date Published: 2019. 6. 19.
- Video Url link: https://www.youtube.com/watch?v=noDLc7SBvxw
DAC 64
Chord is introducing a number of new digital products using advanced technology features. Chord Electronics is the first company in the World to use this exciting new technology, which provides groundbreaking performance. The DAC64 is the first model to be introduced with this technology and features a radically new type of filter called the Watts Transient Aligned filter (WTA); improved fourth generation Pulse Array DAC; 64 bit filter and DAC architecture; and a new all digital DAC receiver chip.
WTA Filter
The WTA filter algorithm has taken twenty years of research to develop. It solves the question as to why higher sampling rates sound better. It is well known that 96 kHz (DVD Audio) recordings sound better than 44.1 kHz (CD) recordings. Most people believe that this is due to the presence of ultrasonic information being audible even though the best human hearing is limited to 20kHz. What is not well known is that 768 kHz recordings sound better than 384 kHz and that the sound quality limit for sampling lies in the MHz region. 768 kHz recordings cannot sound better because of information above 200 kHz being important – simply because musical instruments, microphones, amplifiers and loudspeakers do not work at these frequencies nor can we hear them. So if it is not the extra bandwidth that is important, why do higher sampling rates sound better?
The answer is not being able to hear inaudible supersonic information, but the ability to hear the timing of transients more clearly. It has long been known that the human ear and brain can detect differences in the phase of sound between the ears to the order of microseconds. This timing difference between the ears is used for localising high frequency sound. Since transients can be detected down to microseconds, the recording system needs to be able to resolve timing of one microsecond. A sampling rate of 1 MHz is needed to achieve this!
However, 44.1 kHz sampling can be capable of accurately resolving transients by the use of digital filtering. Digital filtering can go some way towards improving resolution without the need for higher sampling rates. However in order to do this the filters need to have infinite long tap lengths. Currently all reconstruction filters have relatively short tap lengths – the largest commercial device is only about 256 taps. It is due to this short tap length and the filter algorithm employed that generates the transient timing errors. These errors turned out to be very audible. Going from 256 taps to 1024 taps gave a massive improvement in sound quality – much smoother, more focused sound quality, with an incredibly deep and precise sound stage.
The initial experiments used variations on existing filter algorithms. Going from 1024 taps to 2048 taps gave a very big improvement in sound quality, and it was implying that almost infinite tap length filters were needed for the ultimate sound quality. At this stage, a new type of algorithm was developed – the WTA filter. This was designed to minimise transient timing errors from the outset, thereby reducing the need for extremely long tap lengths. The WTA algorithm was a success – a 256 tap WTA filter sounded better than all other conventional filters, even with 1024 taps. WTA filters still benefit from long tap lengths; there is a large difference going from 256 taps to 1024 taps.
The new Chord products using WTA filters all start with 1024 taps. The filters are implemented in FPGAs (Field Programmable Gate Arrays) using a specially designed 64-bit DSP (Digital Signal Processing) core.
Fourth Generation Pulse Array DAC
Pulse Array as a DAC technology has been universally praised for its outstanding natural sound quality. The fourth generation builds on this success; it employs 64 bit, 7th order noise shaping; 2048 times oversampling rates and improved pulse width modulated elements. These refinements give much better measured performance; better detail resolution with a smoother more focused sound quality.
64 Bit DAC and Filter
All filters generate higher output bit data widths – for example 16-bit input multiplied by 16-bit coefficient generates a 32-bit output. All conventional filters truncate the output by discarding bits – however, this discarding may lose information. By using a 64-bit filter and DAC architecture, there is no possibility of degrading the sound quality. 64-bit architecture becomes a very big advantage when digital volume controls are used as no loss of detail or degradation is possible.
Digital Receiver Chip
The receiver chip takes the SPDIF or AES/EBU data and generates clocks and data in a form that the filter can accept. The new chip has two major benefits – all digital data extraction and a RAM buffer (a RAM buffer sequentially takes in all the data, re-times, it then sends it out). The all-digital extraction is error tolerant – it can accept multiple edges, which often happens in noisy environments, without generating errors. The RAM buffer allows a jitter free local clock operation without needing to send back a clock signal to the data source.
All of the above innovations are implemented in Xilinx Virtex series FPGA’s. These FPGA’s offer 200,000 gates per device, and merely updating the EPROM memory chip can easily change the design, thus future proofing is assured.
Chord Electronics DAC64 D/A processor
Such is the pace of development in digital technology these days that it is hard not to become convinced that digital playback is a solved problem. The measured performance aberrations are so low in absolute level—and, more important, so low compared with the typical threshold of human hearing—that it is difficult to see why digital components should sound different from one another.
Yet my experience and that of Stereophile’s reviewers has been that, yes, they still sound different. What has happened is that the cost of owning a state-of-the-art CD-playback component has dropped significantly, compared with only a few years back. So when British amplifier manufacturer Chord Electronics showed its first D/A processor at the 2001 Consumer Electronics Show, I was not too surprised that this statement product was intended to sell not for $20,000 or $10,000 or $5000, but for $3040.
The DAC64 looks as if carved from a solid chunk of aluminum, the only visible highlights being a recess for the gold-plated logo and a convex glass window, though which the circuit board can be seen, illuminated by LEDs of various colors. In fact, these internal LEDs provide feedback to the user: When you turn the DAC64 on, blue LEDs light up. When the DAC64 locks to a data source, red LEDs add a purple hue. When either of the RAM buffers is selected, yellow LEDs illuminate.
The rear panel features three digital inputs—TosLink optical, S/PDIF electrical via a BNC jack, and AES/EBU on the usual XLR—selected by a three-position toggle switch. Although the specification states the DAC64 will accept 192kHz-sampled data, the necessary second AES/EBU jack doesn’t exist. A second toggle selects between no RAM buffer and either of the two RAM settings. Both single-ended (RCA) and balanced (XLR) outputs are provided.
64-bit processing
In its announcement of the DAC64, Chord fired a salvo in the numbers wars by talking about a “64-bit” DAC. This sounds like overkill, considering CD’s and DVD’s respective 14- and 16-bit limits. And, of course, 64-bit performance implies a dynamic range that might well allow the Big Bang itself to be captured in full fidelity. But what is actually meant, as Chord’s literature carefully explains, is that the digital reconstruction filter used in the DAC64 is realized using a 64-bit DSP core, and that the Pulse Array D/A chip uses seventh-order noise-shaping realized with 64-bit mathematical precision. Both mean that any mathematical error due to the filtering and noise-shaping calculations will be way below the analog noise floor, and therefore inconsequential.
The digital filter used by Chord is of a type new to me. Called a WTA filter, for “Watts Transient Aligned,” it is said to minimize timing errors, therefore reducing the need for large numbers of filter taps to be used to achieve a given performance. Nevertheless, the DAC64’s filter uses 1024 taps, compared with the 256 typical of many commercial digital filters. The DAC64 doesn’t offer HDCD decoding, however.
I referred above to the RAM buffer. This is basically arranged as a FIFO (First-In, First Out) store. In theory, the clock accuracy with which the data are clocked into the FIFO doesn’t matter, as the data are clocked out with a high-precision local crystal, which in turn should reduce jitter to vanishingly low levels. In practice, there has to be some means of locking the local clock to the long-term-averaged clock of the incoming data, which will mean low-frequency jitter might still propagate to the DAC chip. But because Chord uses a very much larger FIFO than is usual, all jitter in the incoming data above a very low frequency should be rejected.
Chord Electronics DAC 64 MKII
Chord Electronics DAC 64 MKII, this is newer version with dual BNC digital input. Come with original box & power cable. This is Chord Electronics ex flagship DAC, it is still one of the best DAC till date. Audition available. Asking $1500, price negotiable. Production Information Sheet:
https://chordelectronics.co.uk/wp-content/uploads/2016/08/DAC-64-Information-Sheet.pdf
Chord DAC 64 Digital To Analog Converter Reviewed
Sometimes, manufacturers DO listen. After Chord Electronics’ DAC 64 proved to be such an immediate hit, they sat back, figured out just why everyone fell in love with it, and took stock of the situation. Sure, it sounded wonderful. Yes, it had neat features like balanced and single-ended operation and its three-setting, user-adjustable RAM buffering. But that wasn’t it.
Chord soon identified the aspect of the DAC64 that elicited choruses of ‘oohs’ and ‘aahs’: the enclosure in which it was housed. A solid block of heavy metal measuring 335x60x170mm (WHD), a lozenge with a circular window looking in on the component-filled PCB, it screamed ‘quality’, both through its fit and finish, and the signature glimpse at the innards – no lights kept under bushels here. No lights indeed: the DAC64 lights up a too-cool blue.
Additional Resources
When someone suggested to Chord’s John Franks that he MUST follow the DAC64 with ‘the rest of the system’, Franks responded with both the obvious – a pre-amp and a power amp – and the not so obvious. Considering the high-tech/digital age nature of Chord, not a few were surprised to learn that DAC, pre-amp and power amp would be joined from the outset by a phono stage. And, to ice this particularly tasty cake, Franks even arrived at the 2002 London show with a tailor-made rack, which held the four components at angles so you could gaze lovingly on their internal structures. Franks is smart: not only did he house each in the same enclosure, he provided every one of the ensuing trio with blue-lit windows of their own.
Let’s start with the Prima pre-amp, a device so downright sexy, so delightful and so ‘tactile’ to use that it should be sold alongside Dupont lighters and Montegrappa fountain pens. Because it comes with a chunky, machined-from-solid learning remote, with blue-lit touch screen and no-brainer operation, the Prima can be minimalist without tormenting the user. As the remote operates up to 10 devices with 42 commands per device, the Prima itself need bear but two knobs and two buttons, the former fitted to the front surface and the latter inset in two finger grooves on the top. The left button toggles through the inputs, while the right selects tape; the left knob sets level, the right balance. All you see across the back are an on/off toggle, a pair each of XLRs for balanced input and output, a pair of phonos for tape out, and four pairs for single-ended line-in.
You’ll recognise the Symphonic phono stage because it has not one window but two; once you learn the settings, you can tell at a glance what they are because of internal lighting. The Symphonic provides both single-ended and balanced inputs and outputs, and the unit is fully configurable for impedance from 25 ohm to 47k ohm, and gain of 0-60dB, with a selectable rumble filter (which also adds IEC roll-off to the RIAA equalisation). But it’s here that Franks committed an omission which suggests that the man doesn’t get out much.
At a time when Grado can seemingly do no wrong, when cultists are rediscovering Deccas (or Londons, if you prefer), and when even some of the most flagrant offenders of yore are now admitting that some of those Shure V15s were pretty damned fine, Chord’s phono stage is moving-coil-only. Alas, it appears that Franks reads the wrong magazines: I know at least one analogue guru who swears by certain moving magnets. And I haven’t been without an up-and-running Decca in nearly 20 years.
Completing the system is the Mezzo stereo power amplifier, rated at 30W/ch or 60W when bridged to mono. There’s switchable 180 degree phase on each channel, the choice of balanced or single-ended operation, WBT’s best multi-way binding posts, and far more grunt than anything this small – either in terms of output or sheer physical presence – should be able to deliver. All of which put me in a quandary: do I treat the Choral as a ‘lifestyle’ system [see sidebar], given its obvious appeal to those who have no truck with traditional gear, or do I treat it as seriously as one would, say, an amp the size of a microwave oven?
Given the price, the company’s reputation and the standards of this magazine, I decided the only course of action was to view this as one would any high-end, purist equipment. And believe me: it’s difficult ignoring the indisputable appeal of the blue lights, the made-to-measure rack and that remote. But I did try to wear two hats, using it in two distinctly different contexts. In keeping with ‘lifestyle’, as in ‘Executive’s Office System’, I wired the stack etween the Audio Analogue Maestro CD player used as a transport, and a pair of LS3/5As. The latter were chosen because I suspect that most complete Choral stacks will find themselves sandwiched between mini-monitors. Think Krell LAT-1s or the new Vienna Acoustics series for those who want to maintain the all-metal mien, or – and I’d LOVE to see how this looks – the Sonus Faber Cremona Auditors in the new graphite finish.
To test its mettle as the five-figure system it is, I also used the Choral with the SME 10 turntable, SME Series V arm and Transfiguration Temper m-c cartridge, driving Wilson WATT Puppy System 7. In both set-ups, I used balanced throughout, though it soon became apparent that some users will be disgruntled when they have to choose between balanced connection for the DAC or balanced connection for the phono stage; given the system’s predilection for balanced mode, you’d have thought that the Prima would have two sets of XLR’d inputs rather than one. Naturally, there was a lot of swapping back and forth because of this: balanced certainly is the preferred mode, but I still needed to try both DAC and phono section in both set-ups.
Cable junkies will love Choral, because the system is incredibly
sensitive to changes, and it shows up the differences to a truly vivid
degree. (I can see Chord dealers exploiting this as proof of the worth
of quality cables to doubting customers.) Interestingly, the most
expensive wasn’t favoured. While the Hi-Diamond, Transparent Wave and
Kimber XLRs were used at various times and positions, I used DiMarzios
exclusively for the single-ended interconnects and speaker cables. There
was just something so right about it, the slightly softer DiMarzios
rendering the cool Choral sound a tad less aggressive. But don’t for a
moment think that Choral is the valve addict’s idea of hell.
Despite Chord’s screamingly cutting-edge stance, the Choral system
does not err on the side of ultra-hygienic, ultra-detailed,
overly-etched solid-state officiousness. It was to my great amusement
that the phono section, for example, was far from quiet, though not
noisy enough to detract from its main strengths. And those are
exceptional speed, deliriously deep bass extension, and attack which
caused minor clicks to fly past before you knew it. So impressed was I
with the Symphonic that I spent 75 percent of the review period
auditioning the Choral with vinyl.
It proved capable of preserving the liquid sounds of pedal steel on a
fistful of alt.country records, maintained the impact on mono Blue
Notes, and proved as open as the McIntosh C2200’s (admittedly m-m) phono
section with acoustic recordings. The air around Dylan’s guitar on the
Sundazed monos was so convincing that – complemented by the sparse
nature of his first albums – it was hard to believe it wasn’t stereo.
What sold me, though, on the phono section were Alison Krauss’ vocals on
the Diverse Vinyl editions: clear and natural, with nary a trace of
sibilance.
In contrast to the Symphonic, the pre-amp was deliciously quiet, as
was the DAC. For those who haven’t the conditioning to listen through
minor vinyl weaknesses, like the odd bit of whoosh, the rest of the
Choral package is a textbook study in modern politesse. In most basic
terms, the system never misbehaved, never sounded stressed or ruffled.
Remember: that amp is only rated at 30W/ch, yet it drove the Wilson
systems like a thoroughbred with an extra nought to its power spec.
Plenty of slam, plenty of weight – it delivers far more than it
promises.
If any of the four components shines abov- sorry, but I just can’t
choose. The DAC64, which preceded the rest, is now a familiar and
popular contender in the sub 2500 DAC arena, and deservedly so. It’s
musical, detailed and so coherent that you find it too good for most
transports. The phono stage, though restricted to m-c cartridges, is
flexible, practical, musical and, ironically, a bit vintage-sounding, so
it will charm the vinyl brigade rather than antagonise it. The pre-amp?
Deliriously colourless and neutral, a true ‘control centre’ in the
circa 1957 Hi-Fi year Book usage of the word. But the power amp…aah!
This is a spud you could learn to love, simply because it is – and
there’s no better term – so pugnacious. It all but dares you to find a
speaker it can’t drive. And, should you find one, well, just buy a
second amp and mono the two.
Verdict time: the well-known DAC64 which started the ball rolling
remains at 1960, the Prima costs 2750, the Mezzo sells for 2300 and
the Symphonic lists at 1995. And you can’t go without the rack, so
you’ll need another 995. That adds up to a hefty bill of 10,000 to the
penny. You could, of course, do without the rack, and – if you don’t
use vinyl – the phono stage. Hell, you could just buy the pre/power
pairing and halve the bill.
But we’re looking at a complete package, and I, for one, love what I
see and hear. No, make that ADORE. It is, for me, the defining riposte
to the Bitch Wife From Hell. For the first time in ages, here’s a system
with which to hector BWFHs into submission, the price tag being the
only aspect which might cause insurmountable objections. How do I know
this? Because I’ve seen women swoon in front of Choral. And I don’t mean
civilian distaff audiophiles. I mean NORMAL women.
If there’s even the slightest possibility that something other than
the necessary funds is holding you back, it could only be the lack of a
source component for the DAC64. So please note that there will be –
DEFINITELY!!! – a matching transport to follow this year. Franks is
close-lipped at the moment about its status – CD, SACD, DVD-A or
universal – but I wouldn’t be bothered if he stuck with plain vanilla CD
because Choral is a two-channel delight. Then again, he could whip up
an A/V processor, a DAB tuner, extra amplifiers and anything else needed
to make Choral a multi-channel, all-singing, all-dancing affair. But
even if Chord never issues another component in the range, the Choral
has my vote as the best ‘high-end/life-style’ system I’ve used to date.
And you thought killer performance still meant big, ugly boxes.
Chord Electronics 01622 721444
SIDEBAR: LIFESTYLE OR HIGH END?
By design or default, we often apply the term ‘lifestyle’ to any
products which exhibit certain ergonomic or aesthetic characteristics
not found in traditional high-end components. It may refer to
down-sizing; in the case of the Choral system, you could turn the filled
rack on its back and it would be smaller than some of Chord’s power
amps on their own. We also use the term liberally for products
accompanied by slick remote controls, but the proliferation of trick
remotes even amongst psychotic purists renders that less of a
determinant than it might.
Rather, I think of lifestyle as an attitude which embraces everything
from down-market crud of truly horrendous performance but chic styling,
to better-than-acceptable yet slightly oddball confections ranging from
Linn’s Classik products to T+A’s K6 to the smallest Red Rose system. If
I were asked to define ‘lifestyle’, I would say, simply, that a
lifestyle system serves the owner, where a high-end loony tunes system
is served BY the owner. Note that the Choral will do everything and more
than any respectable hair-shirt audiophile system will do. If you
didn’t know the system was compact and gorgeous, you’d probably guess
that the sounds were coming from something the size of a fridge, with
the aesthetic appeal of a cement mixer. And yet Choral never reeks of
the masochism of single-ended triodes, never issues the discomfiting
heat or bulk of valve or Class-A solid state behemoths. If Choral
represents Lifestyle Circa 2003, then I’d say it’s time to come out of
the closet. And about time, too.
Additional Resources
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