Outboard DACs

Many manufacturers building tube-based products seem to prefer retro-nostalgic designs but Slovakia's Canor is one of the few that favours a more modern, progressive aesthetic. It not only produces tube amplifiers but also integrates line-level tube stages into source products, such as the CD 2.10 CD player [HFN Apr '21]. The partnering DAC 2.10 also marries an output stage containing four Electro-Harmonix 6922EH triode tubes with a digital mainboard, the latter equipped with a pair of ESS9038Q2M DACs. Otherwise this is a dyed-in-the wool 'legacy' DAC with no network or wireless functions and a fixed rather than variable output. So that large rotary is not a volume control…

At first glance, one might wonder why Matrix Audio felt any need to update its Element X network DAC [HFN Jan '21], the latter receiving our 'Outstanding Product' tag at £2795. However, look at this new X2 model and – while it's still conceptually the same, with a broad retention of technology from the ESS ES9038PRO DAC to the Crystek clock – it's clear much has also changed.

The trouble with many modern hi-fi ranges is trying to work out what each of the boxes does. I've recounted before the tale of the tower of identical-looking Linn components stacked up in the premium lounge of a well-known airline, and the amusement there was in watching 'elite' passengers trying to work out where to insert their Dire Straits CD. Similarly, Auralic also has a wide range of digital devices, and given that they all look alike, it's sometimes hard to work out what does what.

Since launching in 2012, iFi Audio has established a reputation for delivering affordable, compact, often portable audio products. And at some pace too – looking back over the past decade, it's hard not to feel overwhelmed by the number of devices the company has released. Not all are entirely 'new', because iFi Audio likes to 'tweak' its products, which is why the xDSD Gryphon tested here follows the EISA Award-winning xDSD DAC [HFN Jul '18], and also serves as a successor to the xCAN [HFN Feb '19].

You know that old saying about the devil making work for idle hands? While the periods of lockdown over the past couple of years left a lot of hands idle in the hi-fi industry, the wisest turned this fallow period to good use, regrouping and rethinking. That's certainly the case with the engineers at Cambridgeshire-based Data Conversion Systems, better-known as dCS.

For anyone still labouring under the misapprehension that Chinese-made hi-fi means cheap and cheerful alternatives to the big-name brands, it's time for an eye-opener. In practice, not only are quite a few of those big names having their products made in China, but its home-grown brands are upping their game and making inroads into markets once dominated by Western and Japanese names. A case in point is the Matrix Audio X-Sabre 3 we have here, following on from the X-Sabre Pro DAC [HFN Nov '17], Element X [HFN Jan '21] and more recently the Mini-i Pro 3 [HFN Feb 22].

The exact definition of what constitutes a DAC has become a little blurry in recent years. Where once the outboard 'Digital-to-Analogue Converter' offered S/PDIF and possibly USB digital inputs together with fixed and/or variable outputs on RCAs and/or XLRs, the latest generation has undergone a fair bit of mission creep. Some of this is undoubtedly in response to the wealth of new digital sources but it also speaks to the relaxing of the principles of hair-shirt minimalism that audio has worked to over many years.