Digital To Analog Converter X-Factor DAC Mk. III
The creative thinking of enthusiasts who design the X-Factor’s equipment cannot be stopped, so, now, a third generation of this no-holds-barred Digital to Analog Converter is in front of us. In terms of its grandiose ambitions and thoroughness of their implementations the current model is unprecedented, and even compared to its previous versions, sonically, the current one significantly surpasses the performance of the older ones.
The same way as during the last time, when we auditioned the previous version of the DAC, we are auditioning the ambitious Russian endeavor in an audio system which includes the highest performance components installed in a properly acoustically treated listening room.
A THIRD OPTION
The new model by X-Factor asserts that there is no limit to perfectionism in audio. And the proof is in its engineering, as opposed to all sorts of esoteric claims. However, as you can’t reach the outstanding sonic results without seeing the goal, the main foundation for the new DAC’s R&D resides in its designers’ deep love for music. While the goal was formulated as following: to design a Digital to Analog Converter whose sonic signature will be indistinguishable from an outstanding analog source.
The Taming of The Digital Sonic Signature
Despite its weight and dimensions are very close to its previous version, while its functionality is almost the same, the design of the new unit is built from a scratch. The main improvement is in the design of the DAC’s “heart”, that is, its digital to analog conversion stage. In the current version, it’s built on doubled 18-bit AD1865 DAC chips, whose signals are summed up in such a way that allows to achieve full 32-bit resolution at the unit’s output. To achieve that, a fourth generation SHARC 2165 DSP processor, clocked at 1 GHz, and executing eight commands per a cycle, is used. It outputs four signals, two per each of the left and right stereo channels, where the AD1865 couples’ total resolution scale is shared within a channel. While to achieve the maximum simplicity of the summary process in the analog domain, a special technique is used. It allows for a very fine tuning for the closest match of the two signals. Using an oscilloscope, you can easily see both increasing and disappearing digital signal steps of the final 32-bit sinusoid signal during the adjustment procedure (the steps’ magnitude is magnified on the following picture for the illustration purposes).
Design process
During the new DAC’s development stage, its sonics were constantly compared to the sonics of its previous version (which implemented PCM 1704 DAC chip), and the overall sonic advantages of AD1865 DAC chip were completely obvious to the designers.
A new motherboard with ARM Cortex M controller processor was developed for the DAC’s new version. This more advanced chip allows for the new DAC model’s additional future upgrades. As all the necessary provisions – such as separate control lines and the dedicated processor’s outputs – are already implemented, for instance, a new volume control can be installed. Such an upgrade is already available (a 40 step/0.5 dB per step volume attenuator using reed relays).
“…it’s built on doubled 18-bit AD1865 DAC chips, whose signals are summed up in such a way that allows to achieve full 32-bit resolution at the output.”
Besides, there is an opportunity to use the SHARC processor to decode DSD-streams, as 32-bit DoP conversion sounds much better than a delta-sigma one. To remind you, the X-Factor DAC Mk. III currently decodes all DSD recordings using the AK4497 chip. The two-channel capability per the chip notwithstanding, there are two such chips implemented here anyway, as using a half of each for both the left and the right channel allows for the DAC’s elevated signal to noise ratio and improved conversion’s precision.
The DAC’s analog stage is built using some powerful microwave FET transistors idled at 300mA. All its amplification stages are single-ended, which facilitates that this DAC stage distortion’s harmonic spectrum to closely resemble the vacuum tube triode’s one. All the sound signal path, including the conversion stage and the signal output buffers, is assembled on ten (!) layer, 3-mm thick, PCBs. To obtain quasi-litz wire conduction properties at the highest frequencies, the most critical PCB traces in different layers are used in parallel. The DAC’s analog stage’s frequency response extends from 0Hz to all the way up to 50 MHz, while its output’s real frequency response is limited only by the digital signal input’s resolution.
Control boards
There are six layers in the control PCB board, and there are eight layers in the display PCB board. However, with a very intricate traces topology which is spread over its ten layers, the most complicated PCB in the whole DAC is its power supply board.
The PS unit weighs 60 kgs, it contains 18 power transformers with a magnet inductance of 0.6 and 0.7 T each, moreover, even if they operate at substantially below their power limit, each one of them is still enclosed within 2 mm steel shield cover. The overall power of all the transformers is 780VA. Total filtering capacitance of ELNA Cerafine capacitors used in the power supply’s rectifier is about a single Farad. The total number of voltage regulators in the power supply is 36. On turning the unit on or off, a system of relays feeds the power or cuts the power to separate groups of transformers in a special sequence.
“The DAC’s analog stage is built using some powerful microwave FET transistors idled at 300mA. All its amplification stages are single-ended, which facilitates that this DAC stage distortion’s harmonic spectrum to closely resemble the vacuum tube triode’s one.”
There are separate power lines for the digital section and the analog one. There are 32 conductors in the cable that feeds the power to the DAC’s digital section, and there are 24 conductors in the cable that feeds the power to each channel’s analog one (that is, the total number of the conductors feeding power to both left and right analog channel sections is 48). Each power conductor is inside of its own screen, plus, there is a common outer screen for all the power conductors inside. All these screens are grounded in a proprietary manner.
The DAC’s chassis is composed of several layers: the central inner chassis is made out of 2-mm thick steel sheet, the side panels are made out of 16-mm thick aluminum slabs, while, to prevent sonic distortion due to Foucault currents, the back panel with all the connectors is made out of 4-mm thick glass-fiber textolite plates.
In Search of Life
As the DAC designers’ goal was to arrive at a sound signature which would make its digital nature to disappear, we compared the sound of X-Factor DAC Mk. III to various highest-tier analog sources. First, we listened to some High-Rez audio files stored on a hard disc drive via Aurender W20SE network player, then, we listened to some vinyl records played on a humongous V.Y.G.E.R. Indian Signature IV record player equipped with Stein Music Aventurina cartridge, and, finally, we auditioned some “master” tapes played on Studer A81 open-reel-to-reel tape deck.
The whole equipment set up is listed at the end of the review.
“The overall sonic balance is faultless: the low end is not as much heard as it is felt by your body, moreover, it still happens even during some not very loud musical fragments; while the midrange is painted in the whole gamut of life colors…”
And now, hi-rez recordings. A famous Reference Recordings’ “Dance of the Tumblers” from Rimsky-Korsakov’s “The Snow Maiden” suite for orchestra. The aural assault immediately overwhelms you. The humongous Montana loudspeakers project a totally palpable wall of sound, in which you can’t find a tiniest hole or crack. The sonic liquidity is truly enthralling, the audio system is literally playing real music in real space. The micro- and macro-dynamics are astounding, while during the recording’s renowned dynamic peaks, you are literally pushed by the sound pressure waves to the back of the sofa. The after-sounding subtle nuances during the quietest passages are presented to the slightest detail – you can easily hear even the least minuscule elements of the music tapestry.
The overall sonic balance is faultless: the low end is not as much heard as it is felt by your body, moreover, it still happens even during some not very loud musical fragments; while the midrange is painted in the whole gamut of life colors, when you can easily hear each music instrument performing simultaneously both as a part of an ensemble and as a separate entity. The triangle’s hits are reproduced like some sparkles firing at the rock-solid background of the orchestra.
Captivating picture
Although, all this constitutes a truly breathtaking music presentation, nevertheless, I caught myself thinking that such an ideal beauty doesn’t really exist during a life performance. As an element of the whole audio system, the listening room was simply absent. Its two walls with some mineral grit put between them, its concrete floor, its well-thought-out acoustic treatment, never mind Stein Music acoustic tweak boxes – all these facilitate the impression that the room dimensions seem to expand significantly. In real life, music instruments sound somewhat rougher and their balance within a group is usually much less predictable due to all sorts of interferences and reflections from the auditorium’s walls.
“The soundstage sheer volume and its “air” was the most obvious when Aurender network player would receive its master-clock from the DAC, however, while using its own clock, the soundstage size would be perceived as somewhat shrank in its dimensions.”
Anyway, the X-Factor Mk. III sonic accomplishments exceed anything I can think of. It’s not only that it can assemble a very complex piece of music as a whole, and to make it easily accessible, it can also present the soundstage in such a way that, despite you sit very close to these two-meter-high loudspeakers, they literally disappear within it, while all the musical events take place between a meter and a half behind the speakers’ positioning and all the way up to well behind the front wall.
The soundstage sheer volume and its “air” was the most obvious when Aurender network player would receive its master-clock from the DAC, however, while using its own clock, the soundstage size would be perceived as somewhat shrank in its dimensions.
The most interesting aspect of the DAC’s sonic presentation was that, even while reproducing 44 kHz/16-bit music files, you would never tell that it’s a digital playback, and I would reiterate here one more time – would never. Yes, the DAC’s presentation is slightly different from conventional expectations of the technology, however, you can’t really point a finger to any sonic manifestations inherent to the hardware per se. It’s really a case of when you involuntarily switch from being subconsciously aware of listening to music reproduction to just being drawn into listening to the music itself.
Sound reality
Now, let’s talk about vinyl reproduction, including the aforementioned “Dance of the Tumblers” track. Now, its sound brings us back to the real world: the low end, deep and energetic, comes to the forefront. Although, sometimes, it does become excessive and lacking in its pitch and articulation qualities. During listening to the vinyl reproduction of the track, it becomes obvious that the orchestra performs in a real hall. While during listening to hi-rez digital playback, the truly majestic sound of the orchestra notwithstanding, it seemed as being put into a space with slightly rarefied air. As of now, we are listening to real instruments in real space – the string instruments dominate over the brass ones, while the 18-inches speaker bass drivers visibly resonate during the powerful drum strikes. Although… this same strike, that left an impression of a real thunder during digital playback, sounds a touch constrained from the vinyl rig, leaving you a bit disappointed. However, the vinyl sound’s openness, even including some of the format ‘s rough edges while delivering the timbres, leaves an impression of something slightly imperfect but still closer to real life.
“It’s a whole new ball game while we were listening to master tapes: here we get an absolutely stunning dynamic range and a strong vibe of the musicians’ palpable presence in the room.”
It’s a whole new ball game while we were listening to master tapes: here we get an absolutely stunning dynamic range and a strong vibe of the musicians’ palpable presence in the room. As with the digital reproduction, the hardware completely disappears – and you are listening to an ideal copy of a musical event, when music seems to flowing by itself, without resorting to any help from any technical means. However, there are some sound quality deficiencies here too. Like, the low frequencies below 30 kHz on most of the recordings made during pre-digital years were cut off (due to application of the so called “rumble filters”, used to avoid infra-low noise which could leak to the recordings from the microphone stands and the floor), or fairly obvious roll-off at the highest frequencies (due to some limitations of the magnetic tape-recording technology, and even at a tape speed of 38 cm/sec used for this auditioning). Nevertheless, anything between 30 Hz and 18 kHz is reproduced with a stunning splendor. Contemporary recordings demonstrate better overall quality, however, as a rule, they are definitely lacking in the recording production department.
DAC research
While the DAC under review’s sonic potential exceeds both the vinyl technology’s and the open-reel-to-reel tape’s one, the older formats still have certain advantages. However, digital music recordings played by X-Factor DAC Mark. III charm the listener unconditionally with its very smooth and liquid music presentation, that is very close to the Studer’s one, moreover, accompanied by tectonic low frequencies and extremely clear high ones. At the same time, its bass pitch reproduction and articulation, as well as, a palpable life-like delivery is on a par with the best vinyl recordings, at this, with much more detailed overall music’s dynamics reproduction. Of course, nothing is 100% perfect, so, even if some imperfections have been noticed during this review, they seemed to have nothing to do with this particular source component. You can’t really find a fault with it – it’s a true audiophile ideal component which leaves an indelible impression.
So, the bottom line is that we deal here with not exactly an “analog” character of music playback per se, inherent to the two established conventional analog formats – X-Factor DAC Mk. III presents us a third kind of it, which in total count, wins over both the vinyl’s one and the open-reel-to-reel tape’s one too.
THE LIST OF EQUIPMENT
Source Components:
Electronics:
Cables:
X-FACTOR Mk.III Digital-To-Analog Converter (made in Russia) – TECHNICAL SPECIFICATIONS
Analog outputs: stereo XLR, stereo RCA
Digital inputs: 4 x XLR AES/EBU, 2 x SPDIF (Coax), 2 x USB B 2.0.
Supported bit-depths and sampling frequencies: XLR and Coax - up to 24 bit/192 kHz, USB – up to 32 bit/384 kHz, SPDIF – up to 24 bit/384 kHz. DSD: DoP – 64/128/256, Native – 64/128/256/512.
Signal-to-noise ratio: 119 dB
Output voltage: 2.1 V RMS.
Output impedance: RCA/XLR: < 10 Ohm.
Bandwidth: 0 Hz is lowest frequency limit while the highest one is determined only by the sampling frequency/bit depth of the incoming digital signal.
Dynamic range: no less than 147 dB (@ -60dBFS).
AC Power supply voltages: 220/230/240 V, 50/60/400 Hz.
Power consumption during full operation: no more than 100 VA
Weight – DAC/PS: 40 kg/60 kg
Manufacturer’s Suggested Retail Price (with a volume control installed):
75 000 Euros
The same way as during the last time, when we auditioned the previous version of the DAC, we are auditioning the ambitious Russian endeavor in an audio system which includes the highest performance components installed in a properly acoustically treated listening room.
A THIRD OPTION
The new model by X-Factor asserts that there is no limit to perfectionism in audio. And the proof is in its engineering, as opposed to all sorts of esoteric claims. However, as you can’t reach the outstanding sonic results without seeing the goal, the main foundation for the new DAC’s R&D resides in its designers’ deep love for music. While the goal was formulated as following: to design a Digital to Analog Converter whose sonic signature will be indistinguishable from an outstanding analog source.
The Taming of The Digital Sonic Signature
Despite its weight and dimensions are very close to its previous version, while its functionality is almost the same, the design of the new unit is built from a scratch. The main improvement is in the design of the DAC’s “heart”, that is, its digital to analog conversion stage. In the current version, it’s built on doubled 18-bit AD1865 DAC chips, whose signals are summed up in such a way that allows to achieve full 32-bit resolution at the unit’s output. To achieve that, a fourth generation SHARC 2165 DSP processor, clocked at 1 GHz, and executing eight commands per a cycle, is used. It outputs four signals, two per each of the left and right stereo channels, where the AD1865 couples’ total resolution scale is shared within a channel. While to achieve the maximum simplicity of the summary process in the analog domain, a special technique is used. It allows for a very fine tuning for the closest match of the two signals. Using an oscilloscope, you can easily see both increasing and disappearing digital signal steps of the final 32-bit sinusoid signal during the adjustment procedure (the steps’ magnitude is magnified on the following picture for the illustration purposes).
Design process
During the new DAC’s development stage, its sonics were constantly compared to the sonics of its previous version (which implemented PCM 1704 DAC chip), and the overall sonic advantages of AD1865 DAC chip were completely obvious to the designers.
A new motherboard with ARM Cortex M controller processor was developed for the DAC’s new version. This more advanced chip allows for the new DAC model’s additional future upgrades. As all the necessary provisions – such as separate control lines and the dedicated processor’s outputs – are already implemented, for instance, a new volume control can be installed. Such an upgrade is already available (a 40 step/0.5 dB per step volume attenuator using reed relays).
“…it’s built on doubled 18-bit AD1865 DAC chips, whose signals are summed up in such a way that allows to achieve full 32-bit resolution at the output.”
Besides, there is an opportunity to use the SHARC processor to decode DSD-streams, as 32-bit DoP conversion sounds much better than a delta-sigma one. To remind you, the X-Factor DAC Mk. III currently decodes all DSD recordings using the AK4497 chip. The two-channel capability per the chip notwithstanding, there are two such chips implemented here anyway, as using a half of each for both the left and the right channel allows for the DAC’s elevated signal to noise ratio and improved conversion’s precision.
The DAC’s analog stage is built using some powerful microwave FET transistors idled at 300mA. All its amplification stages are single-ended, which facilitates that this DAC stage distortion’s harmonic spectrum to closely resemble the vacuum tube triode’s one. All the sound signal path, including the conversion stage and the signal output buffers, is assembled on ten (!) layer, 3-mm thick, PCBs. To obtain quasi-litz wire conduction properties at the highest frequencies, the most critical PCB traces in different layers are used in parallel. The DAC’s analog stage’s frequency response extends from 0Hz to all the way up to 50 MHz, while its output’s real frequency response is limited only by the digital signal input’s resolution.
Control boards
There are six layers in the control PCB board, and there are eight layers in the display PCB board. However, with a very intricate traces topology which is spread over its ten layers, the most complicated PCB in the whole DAC is its power supply board.
The PS unit weighs 60 kgs, it contains 18 power transformers with a magnet inductance of 0.6 and 0.7 T each, moreover, even if they operate at substantially below their power limit, each one of them is still enclosed within 2 mm steel shield cover. The overall power of all the transformers is 780VA. Total filtering capacitance of ELNA Cerafine capacitors used in the power supply’s rectifier is about a single Farad. The total number of voltage regulators in the power supply is 36. On turning the unit on or off, a system of relays feeds the power or cuts the power to separate groups of transformers in a special sequence.
“The DAC’s analog stage is built using some powerful microwave FET transistors idled at 300mA. All its amplification stages are single-ended, which facilitates that this DAC stage distortion’s harmonic spectrum to closely resemble the vacuum tube triode’s one.”
There are separate power lines for the digital section and the analog one. There are 32 conductors in the cable that feeds the power to the DAC’s digital section, and there are 24 conductors in the cable that feeds the power to each channel’s analog one (that is, the total number of the conductors feeding power to both left and right analog channel sections is 48). Each power conductor is inside of its own screen, plus, there is a common outer screen for all the power conductors inside. All these screens are grounded in a proprietary manner.
The DAC’s chassis is composed of several layers: the central inner chassis is made out of 2-mm thick steel sheet, the side panels are made out of 16-mm thick aluminum slabs, while, to prevent sonic distortion due to Foucault currents, the back panel with all the connectors is made out of 4-mm thick glass-fiber textolite plates.
In Search of Life
As the DAC designers’ goal was to arrive at a sound signature which would make its digital nature to disappear, we compared the sound of X-Factor DAC Mk. III to various highest-tier analog sources. First, we listened to some High-Rez audio files stored on a hard disc drive via Aurender W20SE network player, then, we listened to some vinyl records played on a humongous V.Y.G.E.R. Indian Signature IV record player equipped with Stein Music Aventurina cartridge, and, finally, we auditioned some “master” tapes played on Studer A81 open-reel-to-reel tape deck.
The whole equipment set up is listed at the end of the review.
“The overall sonic balance is faultless: the low end is not as much heard as it is felt by your body, moreover, it still happens even during some not very loud musical fragments; while the midrange is painted in the whole gamut of life colors…”
And now, hi-rez recordings. A famous Reference Recordings’ “Dance of the Tumblers” from Rimsky-Korsakov’s “The Snow Maiden” suite for orchestra. The aural assault immediately overwhelms you. The humongous Montana loudspeakers project a totally palpable wall of sound, in which you can’t find a tiniest hole or crack. The sonic liquidity is truly enthralling, the audio system is literally playing real music in real space. The micro- and macro-dynamics are astounding, while during the recording’s renowned dynamic peaks, you are literally pushed by the sound pressure waves to the back of the sofa. The after-sounding subtle nuances during the quietest passages are presented to the slightest detail – you can easily hear even the least minuscule elements of the music tapestry.
The overall sonic balance is faultless: the low end is not as much heard as it is felt by your body, moreover, it still happens even during some not very loud musical fragments; while the midrange is painted in the whole gamut of life colors, when you can easily hear each music instrument performing simultaneously both as a part of an ensemble and as a separate entity. The triangle’s hits are reproduced like some sparkles firing at the rock-solid background of the orchestra.
Captivating picture
Although, all this constitutes a truly breathtaking music presentation, nevertheless, I caught myself thinking that such an ideal beauty doesn’t really exist during a life performance. As an element of the whole audio system, the listening room was simply absent. Its two walls with some mineral grit put between them, its concrete floor, its well-thought-out acoustic treatment, never mind Stein Music acoustic tweak boxes – all these facilitate the impression that the room dimensions seem to expand significantly. In real life, music instruments sound somewhat rougher and their balance within a group is usually much less predictable due to all sorts of interferences and reflections from the auditorium’s walls.
“The soundstage sheer volume and its “air” was the most obvious when Aurender network player would receive its master-clock from the DAC, however, while using its own clock, the soundstage size would be perceived as somewhat shrank in its dimensions.”
Anyway, the X-Factor Mk. III sonic accomplishments exceed anything I can think of. It’s not only that it can assemble a very complex piece of music as a whole, and to make it easily accessible, it can also present the soundstage in such a way that, despite you sit very close to these two-meter-high loudspeakers, they literally disappear within it, while all the musical events take place between a meter and a half behind the speakers’ positioning and all the way up to well behind the front wall.
The soundstage sheer volume and its “air” was the most obvious when Aurender network player would receive its master-clock from the DAC, however, while using its own clock, the soundstage size would be perceived as somewhat shrank in its dimensions.
The most interesting aspect of the DAC’s sonic presentation was that, even while reproducing 44 kHz/16-bit music files, you would never tell that it’s a digital playback, and I would reiterate here one more time – would never. Yes, the DAC’s presentation is slightly different from conventional expectations of the technology, however, you can’t really point a finger to any sonic manifestations inherent to the hardware per se. It’s really a case of when you involuntarily switch from being subconsciously aware of listening to music reproduction to just being drawn into listening to the music itself.
Sound reality
Now, let’s talk about vinyl reproduction, including the aforementioned “Dance of the Tumblers” track. Now, its sound brings us back to the real world: the low end, deep and energetic, comes to the forefront. Although, sometimes, it does become excessive and lacking in its pitch and articulation qualities. During listening to the vinyl reproduction of the track, it becomes obvious that the orchestra performs in a real hall. While during listening to hi-rez digital playback, the truly majestic sound of the orchestra notwithstanding, it seemed as being put into a space with slightly rarefied air. As of now, we are listening to real instruments in real space – the string instruments dominate over the brass ones, while the 18-inches speaker bass drivers visibly resonate during the powerful drum strikes. Although… this same strike, that left an impression of a real thunder during digital playback, sounds a touch constrained from the vinyl rig, leaving you a bit disappointed. However, the vinyl sound’s openness, even including some of the format ‘s rough edges while delivering the timbres, leaves an impression of something slightly imperfect but still closer to real life.
“It’s a whole new ball game while we were listening to master tapes: here we get an absolutely stunning dynamic range and a strong vibe of the musicians’ palpable presence in the room.”
It’s a whole new ball game while we were listening to master tapes: here we get an absolutely stunning dynamic range and a strong vibe of the musicians’ palpable presence in the room. As with the digital reproduction, the hardware completely disappears – and you are listening to an ideal copy of a musical event, when music seems to flowing by itself, without resorting to any help from any technical means. However, there are some sound quality deficiencies here too. Like, the low frequencies below 30 kHz on most of the recordings made during pre-digital years were cut off (due to application of the so called “rumble filters”, used to avoid infra-low noise which could leak to the recordings from the microphone stands and the floor), or fairly obvious roll-off at the highest frequencies (due to some limitations of the magnetic tape-recording technology, and even at a tape speed of 38 cm/sec used for this auditioning). Nevertheless, anything between 30 Hz and 18 kHz is reproduced with a stunning splendor. Contemporary recordings demonstrate better overall quality, however, as a rule, they are definitely lacking in the recording production department.
DAC research
While the DAC under review’s sonic potential exceeds both the vinyl technology’s and the open-reel-to-reel tape’s one, the older formats still have certain advantages. However, digital music recordings played by X-Factor DAC Mark. III charm the listener unconditionally with its very smooth and liquid music presentation, that is very close to the Studer’s one, moreover, accompanied by tectonic low frequencies and extremely clear high ones. At the same time, its bass pitch reproduction and articulation, as well as, a palpable life-like delivery is on a par with the best vinyl recordings, at this, with much more detailed overall music’s dynamics reproduction. Of course, nothing is 100% perfect, so, even if some imperfections have been noticed during this review, they seemed to have nothing to do with this particular source component. You can’t really find a fault with it – it’s a true audiophile ideal component which leaves an indelible impression.
So, the bottom line is that we deal here with not exactly an “analog” character of music playback per se, inherent to the two established conventional analog formats – X-Factor DAC Mk. III presents us a third kind of it, which in total count, wins over both the vinyl’s one and the open-reel-to-reel tape’s one too.
THE LIST OF EQUIPMENT
Source Components:
- Aurender W20SE network player
- V.Y.G.E.R. Indian Signature IV turntable
- Studer A81 professional open-reel-to-reel tape deck
Electronics:
- EMT JPA 66 preamplifier (upgraded)
- DarTZeel NHB-108 Model One power amplifier
- PBN Montana WAS SE loudspeakers
- Pure Power 3000 power conditioner
Cables:
- X-Factor interconnects and loudspeaker cables
- Fisch Performance-7 M1f1 power cables (upgraded)
X-FACTOR Mk.III Digital-To-Analog Converter (made in Russia) – TECHNICAL SPECIFICATIONS
Analog outputs: stereo XLR, stereo RCA
Digital inputs: 4 x XLR AES/EBU, 2 x SPDIF (Coax), 2 x USB B 2.0.
Supported bit-depths and sampling frequencies: XLR and Coax - up to 24 bit/192 kHz, USB – up to 32 bit/384 kHz, SPDIF – up to 24 bit/384 kHz. DSD: DoP – 64/128/256, Native – 64/128/256/512.
Signal-to-noise ratio: 119 dB
Output voltage: 2.1 V RMS.
Output impedance: RCA/XLR: < 10 Ohm.
Bandwidth: 0 Hz is lowest frequency limit while the highest one is determined only by the sampling frequency/bit depth of the incoming digital signal.
Dynamic range: no less than 147 dB (@ -60dBFS).
AC Power supply voltages: 220/230/240 V, 50/60/400 Hz.
Power consumption during full operation: no more than 100 VA
Weight – DAC/PS: 40 kg/60 kg
Manufacturer’s Suggested Retail Price (with a volume control installed):
75 000 Euros
by Nikolai Yefremov
