Direct Heated Triode Tube DAC by Allnic Audio Labs




The New Allnic D5000 DHT tube dac is finally available world wide. I have been a huge fan of Allnic since my introduction to them two years ago by John Wright, former engineer for Ed Meitner. I recently became familiar with Direct Heated Triode tubes with the purchase of a used Allnic L5000 Linestage (preamp) which lists for $23K. So my heart leapt like a gazelle when I heard this was in production.

I have not myself heard the D5000 yet but expect to in the near future. However, I am very impressed with Waversa Systems digital architecture design. Most of the components are custom designed for this application. I believe the designer offers a fresh perspective and addresses areas where other dac designs fall short. Most important to me is complete galvanic isolation of the USB input which eliminates noise from the switch power supply of source components. This will likely negate the sonic benefit of my custom ten-rail linear power supply designed by Paul Hynes ($5000). But this alone to me makes their dac competitively priced, given the potential front end savings. I will also perform a USB cable comparison to determine any sonic benefit between a range of cables, including my $1600 Vertere Pulse-R USB 1.5 meter cable.

The analog output uses a fully balanced circuit from input to output with no coupling capacitors, only all pure nickel permalloy cored transformers. Each channel uses twin 3A5(DCC90) DHT tubes. The DHT 3A5 amp’s frequency range is from 20 Hz to 50 kHz (-3dB) with a perfect square wave form of 20 kHz. 3A5 tubes operate at a very low temperature that ensures long tube life. The circuit displays no negative feedback, not even a partial feedback. This design has absolutely no microphonic issues, which is the biggest obstacle to DHT realization. KS Park’s design resolved this issue through a newly designed 7-pin gel damper socket. In addition, the main PCB is floated with a drum rubber specific for this application. High S/N ratio and dynamic operation is achieved through full tube designed automatic voltage regulation which protects the DHT amp from both internal and outside voltage irregularities. The front panel displays a current meter which monitors safe operation and status of the tubes.

The D5000 is very unique in today’s DAC world because most of its components are not from any routine audio market source except the DAC chips. The USB interface, SPDIF receiver and high end upsamplers are all specifically customized for this application. D5000 uses very unique technologies for audio signal processing. The clock does not directly connect to the DAC chip. Instead, the audio processor uses clock alignment algorithms that determine exact alignment for the DAC chip in a real-time manner. The ES9018K2M SABRE 32 Reference DAC chip is a high performance 32-bit, 2-channel audio D/A converter with sampling to 32/384 kHz, 128 DSD and uses a 1.5 MHz upsampler through a field-programmable gate array USB interface.

While most ES9018K based DACs use the dac chip for audio processing, the D5000 has a proprietary internal processor that performs real time PCM upsampling or upsampling and conversion to DSD. The SABRE Reference DAC chip only performs the digital to analog conversion.

Real-time PCM to DSD conversion function is implemented when “conversion” is selected. All input samples are converted to 128 DSD with an internal 5.6 MHz/32 Bit upsampler and DSD converter. When de-selected, input audio sampling is either upsampled, if selected, or bypassed to the DAC chip.

The USB interface is implemented through custom hardware by Waversa Systems and is UAC2 standard compliant. This provides very clean audio through complete galvanic isolation, thereby stripping the digital signal of any PC noise commonly created by the server’s internal power supply. Thesycon driver is provided for Windows application. Drivers are not required for Mac/Linux.

I2S input will be provided in the near future. This separate system will be connected to DAC by a proprietary method through the AES port and provide not only PCM but also DSD. This system has the capability to support extreme upsample and cross conversion between DSD and PCM. Details will be published on a future date.

Every source component has a word clock that sends an impulse to the D/A converter ‘x’ times per second triggering it to take a sample -- this becomes the sampling rate. The precision of this clock determines accuracy of the conversion process which is essential to avoid frequency drift between the internal oscillators of the device. The D5000 frame clock provides synchronization information to the outside device allowing it to precisely match the D5000 MEMS clock. If word clock input is provided then the D5000 internal system will use word clock for playback. By providing an exact data rate, data overrun or underrun are avoided and this reduced jitter creates clearer transients, pronounced attack, crisp inner detail in the higher frequencies and overall improved stereo image.

Unlike the EMM DAC2x which uses a Service USB, firmware updates are completed through the USB input designated for music data using a special interface unique to Waversa Systems.

Inputs:

2 Coax
1 Toslink
1 AES/EBU
1 USB

Output:

Balanced XLR
RCA

Analog Specifications:

1) Output RMS voltage: 2.5V
2) Output impedance: 150 ohms constant
3) Frequency range: 20 Hz-20 KHz flat
4) THD: less than 0.1%
5) Tubes: DHT: 3A5 X4; Tube-based internal power supply: 7233X1, 5654X1
6) Dimension: 430mm, 290mm, 150mm (W, D, H: 17", 7.4", 6")
7) Weight: 9.2 Kg
8) Power consumption: 23W /230/50Hz Or 23W/120V/60Hz for North America.

Digital Specifications:

1) Toslink Sampling limit 96 kHz (Note: In case of TOSLINK, some devices will work correctly with D5000 at any rate. This depends on the signal quality of the transport.)
2) AES/EBU and Coax sampling limit 192 kHz (if the source is SPDIF standard compliant). Higher sampling rates have been demonstrated with some source components.
3) USB Sampling limit 384 kHz, DSD128
4) USB Input Custom USB Audio Interface design with Cypress FX2/FPGA
5) DAC Dual Mono/Mono ES9018K-2M Reference Audio DAC
6) Word Clock: Clock Reference Output, Clock Reference Input
7) DSD Conversion FPGA Based DSD Converter: PCM to input DSD128
8) Upsampling FPGA Based Upsampler: Up to 384 KHz
9) Mac OSX 10.6, Linux OS with UAC2, Windows OS (Thesycon Driver)

List Price: $11,900 USD.

Contact your regional Allnic dealer or Allnic international distributer David Beetles at www.hammertoneaudio.com

Hammertone Audio
252 Magic Drive
Kelowna, British Columbia
Canada V1V 1N2

Contact Person: DAVID BEETLES
Office Phone: 250.862.9037

Disclaimer: I have no professional relationship or financial interest with Allnic Audio Labs.

Please post your experience with this dac or any questions regarding the summary itself.
ketcham

Showing 10 responses by wisnon

Tubes allow you to build the light and pure circuitry for the Dacs.

Have a listen to the lampi Big 7 and you will understand. Those use 45 triodes. Sublimely good.
I have a Level 4 Lampi and it certainly beats the Snott out of the Schitt.

The Big7 sounds better than the EMM Labs Dac2x to me. My pal here recently sold his Weiss for a Big6 and we both livenin Switzerland.

The US Lampi dealer used to have a Metrum and traded it for a L4 ad now he has a 7 soon to come..

Never heard the Meitner nor dCS. Many of the Dacs you quote above are more pricey than my L4 and at least 2 are priceier than the Big7. I'm just saying...
Mordante,

Why do you think I am upset? Not at all.

Many people bought the L4 at about $3.5K new when there were group buys last year. Many people traded up, so many almost new ones are available for great discounts 2nd hand.

My point was the L4 does not cost the same as a typical car and sounds great.

The Weiss model my pal had was higher than the one you quoted.

The MA1, can it do DSD2x yet? Its a $7K Dac and is more comparable to a L4 with DSD. The L7 is likely way better, as it bested the EMM Labs Dc2x to me.

No comments on the tube rationale I posted?
Mord…I live in CH and the VAT here is 8.5%. LoL

VAT in (closeby) France is 19%.

The L4 full retail in the US is at or just below $4K, not $5K.

Again, if your car is used at $5K, what does a L4 cost used?

The rationale for tubes is clearly given by Lukasz, in that it allows him to have an ultra-light circuit and get the sound he likes. Try one on a demo and see if that is the sound you desire. If it is, then you can get one used, sometimes even from the dealer, as people want to trade up all the time.

Anyway, we both understand each other's point now.
OK, in NL…so you are in Europe too.

Lukasz does run sales from time to time and the amber Dac is an option in Europe.

Yes, Lampis do go on sale 2nd hand, but a lot less frequently than in the US.

If and when he does, I will let you know.
No Soc, the Aries is a Streamer, not a Dac. AGear has a Lampi B7 (and an Aries), so he would never point you to the Vega when you are considering the Allnic, tube converter solidarity and all that. LoL
Why does the LampizatOr use tubes?

http://www.monoandstereo.com/2012/08/interview-with-lukasz-fikus-lampizator.html

Why tubes in the audio path?

I have no particular attachment to tubes. If the parrot guano gave better results in signal amplification, or transistors - I would use them. Tubes sound good not because they are made of glass, or because they have vacuum inside, but because I can get away with simple amplifier stage without local or global feedback and without high part count. The tube circuit can be as simple as humanly possible - in my case the stage has just one resistor, one triode and one capacitor. Thats why I love tubes. Listening confirms that the signal is pure, uncorrupted, and the musical content comes through, shining in full musical glory.

What would you say, that Lampizator- Lukasz Fikus is doing different and specific to other DAC’s?

Mainly I am very open to listening test and comparisons. I don’t follow so called datasheet and white paper specs - I use the chips the way I want and I make the chips sound the way I want, even if the approach is far from textbook or dogmatic respect for manufacturer’s suggestions. I realized that chips for DAC are not digital devices (like in computers) but they are analog devices, responding really strongly to strange manipulations like power supply filtering, capacitor quality, connection topology, clock frequencies, materials used for wiring and soldering, vibrations, magnetic fields, grounding schemes and so on. Making a chip sound in a specific way is like building violins. Yamaha can’t duplicate what Stradivari did, it is a secret of the trade. It is like cooking, or gardening, or animal training. It is not about zeroes and ones.