To get a first impression, I connected the tube DAC directly to the power amp. This resulted in an incredibly transparent and musical reproduction. Despite all the concerns that the 0.01% precision of the R2R resistors may not be sufficient, the musical reproduction was at an extremely high resolution. I also could not notice any limitations at low volume levels. Then I connected the preamp up to the DAC and set the output level to 0 dB.  Using the preamp as an "afterburner", it played with a little more thrust and volume. Resolution and transparency is slightly reduced due to the additional electronics. The total reproduction also, of course depends on the preamp used, so I continued with a direct connection in order to make a better evaluation of the unit.

First on the turntable is “Mass in B Minor” by Johann Sebastian Bach with Sergiu Celibidache. Well known is the fact that Celibidache refused to publish his music throughout his lifetime because he was of the opinion that his music could only be truly experienced in the concert hall. After his death, his son had finally released all existing recordings on EMI. Regarding Celibidache's conducting, there were very different opinions at that time. Some found his slower tempos completely inappropriate, while others would have awarded him with a medal. In any case, the Mass in B Minor should be predestined as his style of music. This large orchestral work is also a “home game” for the tube DAC. With its extraordinary resolution, the orchestra and choir do not appear as an undifferentiated mush, but very detailed. Not that everything is reduced to their original component parts, but always maintaining the overall unity of the music. Nevertheless, the chorus is so easy to understand that you could almost write down the lyrics while listening. This is also indicative of the maestro's intuition, who has always placed great value on clear articulation. Also, the balance of choral voices among themselves remains true. Very often the alto voice is drowned out by the soprano in other interpretations. Overall, the music exudes incredible strength and calm that is appreciated accordingly by the tube DAC. Too bad that the maestro is no longer able to hear this. Maybe he would indeed have changed his mind.

Contrasting program: Gaspar Sanz “Laberintos ingeniosos”, with guitarist Diaz-Latorre and the veteran Pedro Estevan on percussion. Gaspar Sanz is considered the father of Spanish guitar music. As usual in the 16th Century, Diaz-Latorre plays a five-course baroque guitar. In addition, the guitar of those days had a much narrower body width producing a very fine and clear sound. This comes across on the totaldac with  phenomenal precision. It is immediately evident that this is not a modern guitar. All the subtleties of the attack and the variety of the instrument's timbres have never been heard this well. You can literally count the individual strings! It's also nice to hear the creative use of percussion instruments by Estevan. They come from all over the world, but certainly not from the Spain of that time. Up until now, this fact never occurred to me.

To me, vocals are always interesting for an review. Carlos Lyra together with Baden Powell can show what they've got on the CD “Bossa Nova Guitar”. It is absolutely fascinating how Lyra's voice is reproduced. If you close your eyes, you might think he's sitting right in front of you. Reproduced by a hifi system, voices often sound - like hifi. Using tube equipment they sometimes have a kind of “aura” that can be very pleasant, but still has something wrong. Using transistor equipment, voices sometimes sound so bone-dry and indifferent, that I would prefer the “aura” in any case. Using the tube DAC, an unusually natural tonal reproduction is achieved. The acoustic guitars are also reproduced excellently as well in this recording. One can easily hear, for example, that they are not playing with steel strings. Interestingly, this recording was not made by a gifted recording engineer, but rather quite a standard one.