http://www.stereotimes.com/amp012006b.shtmI first installed the DAC1 via its coaxial output from the Rega Planet. The DAC1’s variable RCA outputs were connected directly to the inputs of my dbx 14/10 analog equalizer. (Yes, I use an equalizer to fix a broad bass rise at 125Hz, get over it!) The output of the EQ then fed the NuForce Reference 9 amps. I keep my EQ settings constant when reviewing other gear, and that way, I get an accurate representation of how the unit under evaluation compares to my reference.
With the introduction of the Benchmark DAC1 the holographic imaging capabilities of the Ref 9s, as well as the micro-dynamic aspects of the sound field, improved even more—as did the immediacy and clarity. As veils lifted from vocalist’s lips, I could hear tiny changes in the syllable-to-syllable micro-dynamic contrasts that made the singers sound, well, more human. Try a track like Buddy Holly’s “Well…All Right,” on his CD, Buddy Holly—From The Original Master Tapes [MCA MCAD-5540] to illustrate this phenomenon perfectly. There are lots of low-level volume changes in his voice as well as wide, macro-dynamic bursts of vocal volume. The combination of the NuForce Ref 9s and the Benchmark DAC1 let Holly’s voice soar, unbridled and clear.
Another aspect of the Benchmark’s resolution, possibly due to its very low noise floor and exceptional clarity, is its uncanny ability to allow the listener to hear deeply into an almost infinitely layered soundstage. The image specificity of different instruments and sounds within the sound field was impressive because the subtle ambient clues are not lost. On live recordings, for example, one can hear people talking, yelling, and making odd noises with astounding clarity and precise positioning.
Still, I felt something was amiss, and I suspected it was a lack of dynamic slam in the lower frequency registers. Lacking weight in the bass seemed to put more focus on the highs, which imparted a slightly bright system balance. This caused me to experiment with the DAC1 in different system configurations.
I was quite surprised to hear how similar the DAC1 sounded to the Rega Planet when I routed them both through my active preamplifier. Indeed, if that was the configuration I’d have stayed with, I probably would have concluded that the DAC1 did not offer me enough improvement to consider buying it. I definitely felt that the DAC1’s previous transparency and micro-dynamics suffered. I tried both the DAC1’s variable and fixed outputs and it seemed that the fixed configuration was slightly more solid sounding in the bass; but that going through my solid-state preamp’s gain stage had essentially destroyed the finer points of the DAC1’s translucent presentation.
Then, on a whim, I did something as easy as pushing a button. I bypassed my preamp’s active gain stage and fed the DAC-1’s fixed outputs through the preamp’s direct, buffered, unity-gain circuit. This required turning the preamp’s volume control much higher to achieve the same sound level, but I still had plenty of gain for all the CD’s I encountered. And the relative noise level did not appear to change.
This more direct path proved to be a revelation. Playing through A GRP Christmas Collection [GRP GRD-9574] I was literally stunned by the difference. All of a sudden the lower registers came alive. The sound was smooth, full-bodied, and simply glorious. From the very first track, Daryl Stuermer’s rendition of “The Little Drummer Boy,” was so emotionally involving that I felt tears welling up in my eyes at the sheer beauty of the musical tapestry. “Sold!” I said to myself; this was the kind of sound I was missing and the kind of sound I’d been searching for.
It soon became clear that running the DAC1 through my buffered line stage and then through the EQ was the highest performance signal path for the system. Best of all, it gave me the ability to use other sources (like my turntable) without disconnecting and reconnecting interconnects.
Okay, so judging from my brief weeping spell, it was obvious to me that the midrange and highs were spot on. Additionally, the extra heft in the lower frequencies served to balance the highs, making for a neutral system balance. Proceeding to break out my arsenal of bass-heavy recordings, I needed to determine just how articulate and dynamic the bass had become.
With bated breath, I loaded The Ray Brown Trio’s Summer Wind/Live AT The Loa [Concord Jazz CCD-4426] into my trusty Rega Planet. Listening to the reproduction of Brown’s double-bass and Jeff Hamilton’s potent drum kit, I was confident that the DAC1’s pitch definition, articulation, and freedom from overhang were all first rate. Going to the Manger test CD and spinning The O-zone Percussion Group’s “Jazz Variants” gave me new insights into the depth of field my system could produce. The cymbals shimmered with air and delicacy and the individual strikes were clear and palpable. Cymbal crashes were fast and potent, and when those drums started to roll, the tuning of the skins was evident as the weight of the big drums coupled to the room and enveloped me. This is a great recording because you can hear the room echo from the drums being smacked. This was bass at its best!
Going to Us3’s Hand on the Torch [Blue Note CDP 07777 80883 2 5] produced very credible sound. I intuitively made a fine-tuning adjustment nestling a pair of super-ball type feet under the business ends of the NuForce Reference 9s. At first I thought the bass had diminished slightly, but then, as I returned to my seat, I realized it had tightened up even more. Now we’re talking vice-grip, sledge-hammer bass. In terms of dynamic slam combined with detail and articulation, I had achieved a solidity to bass lines that I’ve never heard in my system and frankly, didn’t think was possible.
Summary
Being confronted by this much musical truth can be daunting if other aspects of your system setup are wanting. Both the NuForce Reference 9s and the Benchmark DAC1 are capable of providing such transparent windows that any distortions, brightness, dullness, or shortfalls of any type will be immediately exposed. However, both pieces of gear can be mated successfully with modest components as long as the overall system balance is not tilted up in the treble—because trashy or distorted highs will be mercilessly revealed. The DAC1 will also let you know if high-frequency distortion is part of the particular recording itself. Conversely, if the recording’s treble is pure, fast, and precise, you are likely to hear these qualities with greater precision, clarity and comprehension than you’ve ever experienced before.
I believe the addition of the NuForce Reference 9 amplifiers and the Benchmark Media DAC1 has brought my system to near state-of-the-art performance. These components are exceptional in their holographic imaging, transparency, resolution, and musicianship. Using them has provided an emotional connection to the music that I’ve never felt—except during a live concert experience. I can fully comprehend why the Benchmark DAC1 has been chosen for mastering duty by respected recording engineers.
My hat is off to Benchmark and NuForce for their prescient engineering abilities and their willingness to offer these fine products at such incredibly reasonable prices.
Topic: good DAC1 review, interesting read (Read 2278 times)