Mojo Audio Mystique Y AM DAC
(warning – long)
Perspective: Just about everything in this audio hobby, like most things in life, is related to perspective, developed through one’s experiences and other factors. Since none of us are starting from exactly the same place with respect to our individual perspective, what we hear from a component or system, and how that makes us feel, cannot be universally described or consistently interpreted. Thus lies the problem with reliably conveying and understanding the intent of an equipment review.
When listening to a Mojo Audio digital audio converter (DAC), first-time listeners may focus on the organically natural sound and rich tonal qualities that transcend what they have previously heard from digital equipment. Several first-time reviewers of Mojo Audio DACs have expressed these impressions in their written reviews.
Those of us who have owned Mojo Audio DACs and heard various models, may be more aware of the differences as the line has moved forward. My first listen to the Mojo Audio Mystique v3 created a more life-like musical experience in my home than I had previously experienced through other converters. As the basic design progressed through the Mystique EVO Pro, each step improved on the very successful combination of rich tonality, sweet treble, dimensionality, and full powerful bass. The EVO Pro may have sounded a bit rounded and colored (in a good way), and the bass a bit full-sounding vs. defined, but the overall result was very analog-like and certainly pleasing to hear, at least to me. The X SE continued the evolution of the brand down a path toward higher resolution, and the implementation of the special Z-version of the AD 1862 chips, as well as nano-crystalline (NC) core chokes, further refined the sound in the X SE NCZ model I currently own.
Trade-offs: Another audiophile conundrum is the desire, yet inability, to “have it all.” As it is, most of our audio gear balances resolution vs. warmth, leading edge incisiveness vs. melodic harmonics, full-bodied vs. tightly damped bass, a tonally bright and airy vs. warm and dense sound signature, a dynamic vs. relaxed presentation, and the list goes on. No one audio component is going to float everyone’s boat equally. Therefore, I find it more helpful to look for audio gear that provides a sound I enjoy with the music I listen to, rather than search for perfect sounding gear. In other words, I don’t need the exact truth if I can have a version that sounds good to me.
Seasonings: Of course, any individual piece of kit must be inserted into a system, where it plays with all the other pieces in a specific room, as part of a whole. The peripherals involved in an individual system, including tweaks, room treatments, supports, cables, and more, all make a difference in how things sound, to varying degrees. While these “seasonings” may not fundamentally change the sound of a component, speakers, or an entire system, they may indeed affect the overall satisfaction one has with what they hear their system.
Most of us have our systems set up for the gear that we own, meaning the tweaks, the cables, and other factors are already optimized to provide the sound we want from the gear we have. Therefore, replacing a single existing component can be an uphill battle for the new component, sort of like being the new kid at school and having to prove yourself without having the home field advantage. I am fortunate to have on-hand a variety of cables and cable choices, like a cupboard of seasonings, each offering a unique perspective, or shading, on how things sound. My system also allows the use of fully single-ended (RCA) cabling, fully balanced (XLR) cabling, and any combination between. During the process of listening to the Mystique Y AM, I took the opportunity to try a variety of types and makes of cables.
Introduction: I have spent about a month with Benjamin Zwickel’s Mojo Audio Mystique Y DAC with amorphous core chokes (Y AM). You can research the specific technical and physical aspects of the Mystique Y DAC on the Mojo Audio website, and by reading Ken Redmond’s review of the Mystique Y NC in Tracking Angle, or Howard Milstein’s review of the Mystique Y (both NC and FE versions) in The Sound Advocate. Both Redmond and Milstein have also reviewed versions of Mojo Audio’s Mystique X DAC. Having heard both, as I have, provides them an enhanced perspective on the comparisons between the Mystique Y and the more expensive Mystique X.
My experience with Mojo Audio has been that Benjamin continually pushes his personal envelope to create better performing, better sounding, and correspondingly higher priced DACs. The X DAC was sort of a sideways step from the EVO Pro, as the X was originally created to solve a supply chain problem by replacing the large, harder to get, coated/damped aluminum chassis used with the EVO Pro for a more available and economical extruded (X) aluminum chassis that is used with all the Mystique X and Y DAC versions. However, that seemingly sideways step actually ended up moving the ball forward based on the lower noise floor and other sonic improvements resulting from shorter signal paths, better anti-resonance topologies, improved parts, and other factors. You can read earlier in this thread about my comparisons between the Mystique X SE NCZ DAC that I currently own and the (full-size chassis) EVO PRO that I previously owned (that also used Analog Devices AD1862-Z chips). I ultimately kept the X SE NCZ and sold the EVO PRO, although sometimes I wish I still had both.
The Mystique Y is the newest DAC in the Mojo Audio stable and is unique from a few perspectives. First, the Mystique Y DAC is sort of a step backwards in that it is less expensive (by about half) compared to the current line-up of Mojo Audio DACs.
The second unique aspect of the Mystique Y is that it has only one (USB) input. As a result, according to Benjamin, Mojo Audio was “able to greatly simplify the digital circuitry because there was no need for an input selector, demultiplexer, or S/PDIF receiver. The AD1865 R-2R DAC chip is directly fed by the USB input module."
Third, the Mystique Y uses a different digital to analog processing chip. Beginning with the Mystique v3, the Mojo Audio DACs have used the Analog Devices AD1862 DAC chip. The Mystique Y breaks rank and uses an AD1865 chip, as discussed in a post by Benjamin earlier in this thread and in more depth on the Mojo Audio website. Other than the type of Analog Devices DAC chip and the single vs. multiple inputs, the Y and X DACs are reportedly quite close in both their circuit designs and component parts.
You can read Benjamin’s post in this thread from Feb 16, that explains the Mystique Y is priced at three levels, starting at $3999 for the entry model with ferrous core chokes (Y FE), moving to $5,499 for the model I have been listening to here that has amorphous core chokes (Y AM), and topping out at $6,999 for the (Y NC) model using the same nano crystal core chokes that are in my Mystique X SE NCZ, which retailed for $12,499.
DAC Chips: The Mystique Y uses an Analog Devices AD1865 DAC chip while the Mystique X uses two AD1862 DAC chips. While there are many factors affecting the sound of a DAC, because the Y and X DACs are quite similar other than the DAC chip used, I suspect the different chips used in these DACs are a significant factor influencing the sonic differences I hear between them.
SoundBsessive have posted a DAC Chips List with comments on many of the commonly used NOS chips. In their opinion, the 20-bit AD1862 chips used in the Mystique X are “one of the world’s best audio” while the 18-bit AD1865 chip used in the Mystique Y is a “very good multibitnik, 2 DACs in one case (stereo)”. They seem to hold the AD1862 in higher esteem than the AD1865 but rank them both highly. The reason for two AD1862 chips in the Mystique X is because the AD1862 is not a stereo chip like the AD1865, of which only one is needed in the Mystique Y.
Examples of other manufacturers using the AD1865 chip in their current DAC offerings include, Aries Cerat at one end of the price spectrum, that uses two independent banks of eight R2R matrixes (16 total) Analog Devices AD1865N-K chips in current mode in their $19,000 Helene DAC, and Linear Tube Audio at the other end, where their $3,950 LTA Aero DAC uses a single AD1865 chip, like the Mystique Y.
Ken Redmond described his perception of the sonic differences between the two Analog Devices chips in his Tracking Angle review of the Mystique Y NC where he said, “The sonic differences between the two chips are subtle but noticeable. The 18-bit [AD1865] chip [in the Mystique Y] sounds energetic and exciting, while the 20-bit [AD1862] chip [x2 in the Mystique X] sounds more harmonically dense and liquid. Both units [the Mystique Y and X] have excellent flow and timing that sets them apart from many other DACs. A choice between the two may come down to the important consideration of system synergy.” I would add that the type of music you enjoy may also play a part in which of these DACs you will appreciate more.
In his The Sound Advocate review of the Mystique Y, Howard Milstein also discussed the differences he heard between the two chips by saying, “Because of the AD1865 DAC chip in the Mystique Y, it can sound a “tad” livelier, and a tiny bit more transparent, with a touch more dynamism in its overall character. On the other hand, because of the AD1862 DAC chip in the Mystique X, the X has slightly more liquidity, texture, and harmonic content. This can be summarized as a sound that is a bit denser, and slightly more texture-filled with playback content that exhibits a bit more concert hall realism.”
Milstein’s description borrows from Benjamin Zwickel’s own opinion of the sound on hand from the two chips, as stated on the Mojo Audio website and summarized as; lively, dynamic, and transparent (AD1865) vs. liquid, textured, and harmonic (AD1862).
Listening:
I have added some tunes by Susan Tedeschi to my test playlist that I used to compare the DACs previously discussed in this thread. Her inaugural “Just Won’t Burn”, follow-up “Wait for Me” and “Live from Austin, TX” albums all display her emotion-packed vocals ranging from sweet and pure, to hard and gravelly, depending on the tune, as well as great sounding guitar playing, percussion, piano, Hammond B3 organ, and the occasional harmonica. Her music serves as a good source for comparing components in my system because of the variety of tempo, tone, and drive, and because I enjoy listening to it.
The Mystique Y AM consistently shone a light on slower smoother songs like “Blues on a Holiday,” where the Y DAC highlighted the smoothness and rich tonal qualities of Tedeschi’s voice. The organ, piano, and guitar on the live version of “Wait for Me” were rich and vibrant, and the piano solo left me wanting to hear more. I noticed no compromises when the pace and volume picked up.
Back to my traditional test tracks, the lead-in bass on “Birds” by Dominique Fils-Aime’ displayed the level of impact I hear from most of the more expensive DACs I have had through here, and her breathy voice sounded great, as did the back-up singers. From Astrud’s wonderful voice on “The Girl from Ipanema,” to the signature beat on Steely Dan’s “Babylon Sisters”, the ruggedly pure early James Taylor vocals, and horn section, on “Steamroller Blues”, and Sara Bareilles’ silky smooth, emotionally charged, vocals as they climbed to her crescendo on “Gravity”, all of those selections were enjoyable to listen to through the Mystique Y AM in my system.
To close out my listening, I rocked out for a while to Soundgarden, Neil Young/Crazy Horse, Chili Peppers, Audioslave, and Nirvana. IMO, the Mystique Y handled the harder rock music just fine. I heard no congestion, straining, or thinning out under the load of the hard-hitting rock tunes and especially engaging was hearing and feeling the beat underpinned with solid Mojo Audio bass. I would not hesitate to recommend the Mystique Y AM as a good choice for those who listen primarily to rock.
Clearly, the Mystique Y AM was an enjoyable visitor in my system. Was it the perfect guest, I would say pretty close in that the timbre, tone, dynamics, and solid bass drive that make listening to music fun were all there on the variety of music I threw at it. These are the signature attributes of all the Mojo Audio Mystique DACs I have heard, starting with the Mystique v3. The solid bass provides a platform for the richly textured midrange and smooth treble. The Mystique Y wears the same team colors. During its stay, the Mystique Y AM basically did nothing wrong, no discernable sibilance, excess noise, tinny, muffled, or boomy sound, so, basically no party fouls.
Pretty much all good stuff from the Mystique Y AM, especially at the price point. So, is the Mystique Y AM the perfect DAC for my system and tastes? Certainly a top contender at the price point. However, I didn’t hear quite the depth of soundstage or tonal saturation that I hear from my Mystique X SE NCZ, and that I have heard from a couple of the other more expensive DACs that have been through here. Those improved qualities related to soundstage depth and tone I hear when listening to the Mystique X SE NCZ, increase the sense of musical realism and result in an even greater level of listening enjoyment, beyond what I hear from the Y AM, and other DACs I have had here that were in the $4-7K price range.
Comparison to the X SE NCZ: It seems a rather high bar for a company to encourage comparisons between their flagship component and the newcomer at around half the price. However, based on my listening, I agree with the two reviewers, and with Benjamin himself, that the sonic signature from the two DACs is mostly cut from the same cloth, and not all that far apart. Since both Ken Redmond and Howard Milstein reviewed various versions of both the Mystique X and the Mystique Y DACs, I suggest also going back and reading their described comparisons between the two.
To my ears, the Mystique Y AM displays a dense, natural, organic flavor that is similar to the five other Mojo Audio DACs I have owned. The presentation supports the perception of how music sounds in real life, with vibrant tonal colors, engaging dynamics, and strong bass. The melodies are smooth, and the harmonics are balanced. The soundstage is not overblown or underdone, although it doesn’t show quite the depth that I hear from the X SE NCZ. The Mystique Y AM displays a sense of energy in the upper midrange and high frequencies that leads to a slightly sharper sound in comparison to my Mystique X SE NCZ, from which I perceive a rounder, more physical sound with more body and musical flow, sweeter but less incisive high frequencies, and maybe a bit more resolution.
As much as I respect and enjoy what the Mystique Y brings to the table, and especially at its price, in my opinion, the Mystique X SE NCZ is the current Mojo Audio flagship for a reason. In addition to the sonic attributes described above, hearing music from the X SE NCZ gave me a superior perception of ambience, of where the music was created and what is going on around the musicians, and greater physical depth. The Mystique Y AM provides those positive attributes too, just not to the same extent as the X SE NCZ. This is not faint praise when you consider that I have preferred the sound of the X SE NCZ over some pretty good DACs like the Mola Mola Tambaqui, the Merason DAC1 MkII, and Mojo Audio’s own well-reviewed EVO PRO.
How much are the differences I hear between the X SE and the Y related to the implementation of the different DAC chips used in the two converters? I can’t answer that – you need to ask Benjamin. However, other than the chips and inputs, the two DACs apparently share most of the same construction features and parts. Therefore, as I understand it, there is not much else to be different. As others have reported, the two chips do apparently each have their own unique sonic signature. Also, maybe having a separate AD1862 chip for each channel (in the Mystique X SE NCZ) is beneficial in some way over using a single AD1865 stereo chip (in the Mystique Y AM), but again, you need to ask Benjamin. I cannot answer why I hear differences between the two DACs, but I do know the (over twice as expensive) X SE NCZ provides more of the type of sound I enjoy in my system.
The good news is that the two DACs clearly represent the Mojo Audio house sound. While I believe the differences between the Mystique Y AM and the X SE NCZ are perceptible in a resolving system, in many systems the differences I have described would likely be considered different shades of the same color. In those systems, listeners would likely need to have both DACs in their system at the same time to reliably distinguish how they are different.
I suggest looking at it like this - If you want a natural sounding DAC that enjoyably brings your reproduced music to life, try a Mojo Audio DAC. If you want one of the most enjoyable NOS R2R DACs available, look at the Mystique X SE in whatever variant you can afford. If you don’t have quite that much to spend, consider a version of the Mystique Y and enjoy that you are getting more than a taste of Mojo Audio’s top DAC for a much lower price.
Comparisons to Other Manufacturer’s DACs:
I have a few comparative DACs here in the general price range, including my SMc Audio DAC2 GT-24 (around $6K), a Metrum Acoustics Jade (around $3K), and a Benchmark DAC3 HGC (around $2,400). Two I would have liked to directly compare are the Linear Tube Audio LTA Aero (around $4K) and the Merason DAC1 MkII ($8,500) but, unfortunately, those last two have been gone from my DAC garage for months now.
The Jade is an R2R DAC while the Benchmark uses the delta-sigma conversion architecture so there are basic differences between those two similarly priced DACs. Both of them are clean and articulate sounding in my system. However, what I hear from the Mystique Y AM is a more natural, realistic type sound than what I hear from either the Jade or the Benchmark, based on the Mojo DAC’s greater tonal color and dynamics. In my opinion, the Jade is a bit more musical than the Benchmark, which can tend toward “clinical” sounding. Based on my sonic tastes, I would choose the Mystique Y AM over either the Jade or the Benchmark.
I wish I still had the LTA Aero DAC here since buyers in the $4-$6K price range may be looking at both the overachieving Aero and the Mystique Y. Being biased toward the Mojo Audio house sound, and comparing what I hear from the Mystique Y AM with my recollection of how the LTA Aero sounded in my system, I suspect out of those two I would personally choose the Mystique Y. However, I can certainly understand some buyers choosing the LTA Aero, as I remember being impressed by the clarity and dynamics I heard from the Aero, as I reported in my write-up earlier in this thread where I said it provides a “vivid presence and a dynamic sense of realism.”
I would strongly suggest buyers looking at the Aero also look at the Mystique Y, in whatever configuration they can afford since they are both strong choices. However, I suspect the sonic differences between the Aero and the Mystique Y will result in buyers having a clear preference for one over the other, rather than it being a tight choice between the two. While I would choose the Mystique Y, they both sounded good in my system and either choice would be a win. Also, remember that both manufacturers offer buyers liberal trial/return periods of 45-days for Mojo Audio and 30-days for Linear Tube Audio, so there is no reason not to have the DAC that sounds best in your system.
I still own the SMc Audio DAC2 GT-24 with its CS4328 chip (“good odnobitnik” according to SoundBsessive). Since the DAC2 is a delta-sigma DAC, the comparison to the Mystique Y AM is sort of apples to oranges. The SMc DAC plays a bit smoother and a little more open sounding than the R2R DACs but slightly less organic, dense, and natural sounding, not unlike other delta-sigma DACs I have heard. It doesn’t quite display the smooth, refined, analog-like sound that the Merason DAC1 MkII did when it was here, but the SMc DAC2 is actually more engaging to me based on its good drive, body, and tonal color. A choice between the SMC DAC2 and the Y AM would be a close call for me and would require me to spend more time with each.
Wrap: To close, the Mystique Y AM DAC is another winner for Benjamin, and for Mojo Audio. It is a naturally musical sounding DAC that compares well with other DACs in the $5-6K price range, and above. It displays the Mojo Audio house sound with hard-hitting bass, a rich midrange, smooth treble and big macro dynamics, all leading toward an organically dense, natural, and engaging sonic treat at the price point. In my opinion, the Mystique Y AM gives you about 85-90 percent of the sound of Mojo Audio’s current flagship, the Mystique X SE NCZ, that sits at a much higher price point. The NC version of the Mystique Y may be even closer, but I didn’t get to hear that version.
Postscript Stuff:
(If details and fine print aren’t your thing, here would be a good place to stop.)
RCA/XLR Outputs and Cables: Benjamin has discussed that some of his customers believe the Mojo Audio DACs sound better from their single-ended (RCA) outputs. Fortunately, I was able to accommodate that configuration in my system by first trying the Mystique Y AM using single-ended cables extending all the way through my system, from the Y AM DAC output to the inputs of my SMc Audio monoblock amplifiers. I was not won over with the sound I heard through the single-ended connections. Later, I tried using single-ended cables only from the outputs of the Mystique Y AM DAC to the inputs of my volume control/preamp and then using balanced (XLR) cables for the remainder of the journey from the SMc preamp into the SMc monoblocks. What I heard, aligned with my previous experiences, and with the feedback I have received from SMc Audio, that the SMc Audio preamp to amplifier connection sounds best using balanced connections.
My initial impression was that using the single-ended (RCA) outputs of the Y AM DAC may have sounded a bit smoother and more relaxed, but I eventually decided I was hearing a dulling down of the sound when using single-ended connections. In my system, and to my ears, using the RCA outputs resulted in the musical presentation having less tonal color and vibrancy. I was careful to level-match since using the single-ended outputs lowered the output voltage but, even then, reconnecting balanced cables to the outputs from the Y AM DAC restored a more vibrant and tonally rich sonic signature. I heard basically the same thing when trying my X SE NCZ DAC from its single-ended outputs.
I suspect some of Benjamin’s customers do in fact hear good things from the RCA outputs of his DACs. Unfortunately, it just doesn’t work that way in my system and this recent experience reconfirmed that my system simply sounds better when played through the balanced connections. What I hear is likely related to the design of my other components and shouldn’t be used as a benchmark to judge how the Mystique Y DAC will sound in every system. To be thorough, I tried several different XLR (and RCA) cables out of the Mystique Y AM DAC, which confirmed my preference for the balanced outputs.
Of the cables I have on-hand, Cardas Golden Reference XLR cables ended up as my favorites to use with the Mystique Y AM. They seemed to display the best body and tone, as well as deep bass, and they rounded the sound just a little. Conversely, through the Mystique X SE NCZ, the Cardas interconnects resulted in a presentation that was a little too dull compared with other balanced interconnects I have here. When selecting connections, the design of the individual components will affect how things sound when they are connected together. Cable choices, and the balanced/single-ended issue I encountered is certainly not a one-size fits all proposition.
Is One USB Input Enough: I have played with DAC inputs quite a bit over the past 6 months. As a baseline, my Sonore Signature Rendu SE Deluxe (optical) streamer only has one (USB) output. I worked around that by adding a Singxer SU-6 DDC that allowed me to input the USB from the Sonore streamer into the DDC and then use multiple output options including AES/EBU, RCA, Toslink, or I2S (although I didn’t use I2S since none of the DACs on-hand had I2S inputs).
After comparing most of the DACs involved in the earlier part of this thread, and completing my write-ups on those DACs, I began solely using the USB output of my streamer into the X SE NCZ DAC and later into the Mystique Y AM after that DAC arrived. I then added a Singxer UIP-1 PRO USB Interface to isolate the USB signal. Amir Majidimehr at Audio Science Review (ASR) reviewed the UIP-1 and concluded that it actually improved measurements when connected to certain gear, had little to no effect on other gear and, for most components, it probably isn’t necessary (not unlike most USB “decrapifiers”). In my system, I don’t reliably hear any differences, so it probably isn’t necessary but since it doesn’t seem to do anything wrong, I keep it plugged in.
In my system, I believe the USB input into my X SE NCZ sounds best. I use the Network Acoustics Muon USB cable. That the USB input sounds best is obviously convenient since I have a streamer with only one (USB) output. However, of all the DACs I have owned, the ones that had USB inputs seemed to sound best that way, or at least as good as they sounded through the other inputs, including I2S. Therefore, I would be fine if Benjamin could improve the sound, and reduce the cost, of his upcoming Z DAC by having only one (USB) input. Maybe offer other inputs by special order?
My System: My reference system for purposes of listening to the Mystique Y AM DAC is as outlined below and as posted on my Audiogon virtual system page. Racks and supports are either by Sound Anchors or consist of heavily reinforced wood furniture. Support platforms consist of either hardwood, constrained layer materials (i.e., Zoethecus Z-slabs), a carbon fiber BDR Shelf (under the DAC), and Silent Running Audio Ohio-Class XL+ bases under the amplifiers. Footers mostly consist of platinum silicone hemispheres sized for the weight of the components or speakers being supported. Cables are a variety of what I have found to sound best, including Cardas Golden Cross speaker cables, and interconnects ranging from Cardas Golden Reference to Furutech PCOCC, to Belden or DIY tinned copper cables. Power cords are by Isoclean, Furutech, Neotech, and DIY using Western Electric wire. The components are as follows:
- sonicTransporter i9 music server (located in a network room away from my system)
- Silent Angel Bonn N8 Ethernet switch and Sonore opticalModule Deluxe (to convert Ethernet cabling to an optical cable connected with the following streamer)
- Sonore Signature Rendu SE Deluxe (optical) streamer
- Singxer UIP-1 PRO USB Interface
- Mystique Y AM or Mystique X SE NCZ DAC
- Hattor Big Preamp (in passive mode, for purposes of volume control and display)
- SMc Audio TLC Signature Edition Preamp (operated as a unity-gain buffer, with volume control removed)
- SMc Audio DNA-1 Ultra G20 Monoblocks (650 wpc per side)
- Aerial LR5 Speakers
- Aerial SW-12 Subwoofers (2 ea.)
Disclaimer (the fine print): The purpose of this thread was to provide one person’s perspective when comparing a variety of DACs in a relatively stable system. These writings are nothing more than biased observations and opinions by a hobbyist, and certainly should not be taken as a prediction or guarantee of how something will sound to another listener in their unique system with their unique music and listening preferences. To readers who plan to use the information from this thread to influence buying decisions, I strongly encourage you to also read other reviews and forum posts regarding the components you are interested in. Consider how the reviewer’s systems and listening preferences are similar and/or different from your own.
Before you purchase a component, contact the seller to discuss any questions related to the technical design and construction, physical condition, and quality/estimated longevity of the component being considered. Inquire about, and obtain, the permissions and stipulations for a listening trial, if possible. Returning a component that doesn’t suit you, or your system, even at a monetary loss of the cost of shipping and restocking, is better than feeling stuck with something you don’t want.
Once you receive your new component, be sure to give it time to warm up properly, give yourself time to acclimate to the sound of the new component, and try a few different things (cables, power, tweaks, etc.) to make sure you are hearing the component at its best in your system. After a week or so, try putting your previous component back in your system before making any final decisions.
