[Alwayswantmore]

Hi all, thanks to a little help from a friend in Connecticut, I've been able to spend a few hours with an Audeze Edition headphone setup (used last week for a show in Charlotte).

But short of IEMs on an iPod, my listening is nearly 100% 2ch. So while I had a chance to try out a number of things, the feature I feel most compelled to share is the Isabellina Pro DAC from my 2ch system. Pro is a fairly recent addition for RWA, and is also available as an upgrade for existing Isabellina DACs. Pro differs from RWA's original in that it is two DAC chips on the same board, allowing you to switch between NOS and hi-rez.

My comparison is limited to Redbook CDs (ripped to lossless digital on Macbook), as I do not have any hi-res files.

I was Vinnie's first customer for both the HPA (which contains an Isabellina DAC) and new Sig 15 integrated amp, so I am very familiar with his NOS DAC. My experience with RWA dates back to the original Signature 30. And I've owned every variation of that amp over the years, thanks to RWA's upgrade policy.

Thanks to a well treated room (GIK bass traps / side panels), near field listening, and the fantastic sounding Omega Super 6 Monitors / Deep Hemp sub (Monitors are single drivers, alnico magnets and hemp cones, in a beautiful enclosure) -- I honestly believe very few people hear more realistic sound than I, and for those who do, likely 98+ percent have considerably more money in there gear. [Notice I use the word realistic. Better is subjective based on taste. But using real unamplified vocals and acoustic instruments as the reference, IMO sounding real is easier to judge.]

I am also fortune to play drums in several bands, including a new Diana Krall wannabe cover band, so I hear acoustic instruments on a frequent basis.

I say this only to point out, that of ALL the systems I've heard over the years, very few sound more natural or real then what I own. I've never heard Liliana's, so I know there is better, but hey, now you're back to RWA.



Isabellina Pro DAC

Let me begin by saying this is not an in depth review, and my listening is confined to 4-5 hours over a few days.

For starters the hi-rez chip has slightly higher voltage (compared to NOS), so while switching between DACs is a simple flick of a switch, proper comparison requires a slight bump up or down in volume to level the playing field.

My first impression was and still is, hi-rez is more impressive. Everything is a little more etched compared to NOS, and it the overall sound presentation is more assertive (in your face), where NOS is more polite and laid back. Before I go much further, please note that impressive in itself is not necessarily better. But if you had 30 seconds to impress a friend (at least with my system), go hi-rez.

I also found hi-rez was able to extract more detail from some recordings. This is a case where many recordings may not have sounded much different, but put on well recorded brushes "stirring the pot" on a snare drum, and hi-rez can step to the front. Hearing Jeff Hamilton on D. Krall's live in Paris, is as close as I've ever heard to live brushes. The amount of texture I hear as the brush is slowly drawn across a textured snare head is absolutely uncanny. Switching back to NOS is wonderful, but there is some lost of detail.

I also felt there were recordings where hi-rez gave me the impression highs were more extended and in many cases the room had a touch more air (like the room became larger via hi-rez).

So where does that leave NOS? IMO Vinnie's original implementation is the king of tone and timbre. Short of vinyl, nothing I've heard does as well of capturing the realistic sound of a piano, flute, guitar, or human voice, etc. It also is very easy to listen to for long periods of time. And I also LOVE what NOS does with the image. Piano or small instrumental / vocal works in my room, feel like I can reach out and touch the musicians. This applies both side to side, and front to back. The image is very impressive. It's the kind of thing where the more I can relax and put myself in the performance, the more I appreciate the NOS DAC. And because the hi-rez is more assertive, my feelings about the NOS DAC would likely hold true over time.

So what does this mean, in this case for RedBook?

It is possible there will be people who's system or musical taste point them squarely at one DAC or the other. But many will likely find the ability to change the sonic character of their system for different recordings and various genres a welcome addition, and worth the $500 upgrade.

Cheers.

[Alwayswantmore]

I neglected a couple details as I gush about the sound...

The Audeze Edition (for the Pro DAC) has a Mullard CV2492

Both my HPA and Sig 25 are running a matched pair of 60's vintage Amperex 7308s

My speakers also stand way from all walls, and like I said before, I listen nearfield with speakers further apart than I am in front of them, and very slight toe in (I still see the sides of the cabinets). They are on Skyland sand filled bases.

Fun and games!

[rlabarre]

Enjoyed reading your descriptions of what Vinnie's "Pro" DAC brings to the equation over what his NOS DAC solutions already do. For those of you who may be interested here's another listening comparison -- this time a NOS-chip, prior-version Isabella/Isabellina against someone else's "pro" version. The Red Wine Audio unit still has a sealed lead-acid battery. And pitted against it is the latest, greatest DAC from the likes of PS Audio: actually an original PerfectWave DAC, owned by me for nearly 3 years now, but just recently upgraded to the new-spec, so-called Mark II (which has just debuted: http://www.psaudio.com/products/audio/media-players/pwd-mki-to-mkii/). That upgrade brings many new features, among them "192kHz 24-bit asynchronous USB, NativeX mode (via a digital "Lens"), non-saturated logic data path, 11 additional power supplies, lower jitter, and a precision balance control for the volume".

I might mention that 3 years ago when I was in the market for my first external DAC, I had narrowed things down to the PS Audio unit (which was just about to debut then for "beta" testers only) and the Isabellina DAC option that Vinnie could provide in his Isabella. The primary appeal of the former was some very attractive promotional pricing as one of those testers, along with an accessory board promised down the line (so-called “Bridge”), meant to enable the DAC to process audio stored on a network server. Secondarily it could also play higher-rez music at native resolutions. The appeal of the Isabella/Isabellina was Vinnie's power-supply solution, a tube-stage preamp, and option for headphones, all wrapped into one (along with Vinnie's exemplary reputation for quality and service). Some might say I was looking at apples and oranges. But the 30-day trial periods with both that soon followed attested differently in at least two essential respects.

To make a longer story short, after mostly a month of very exacting side-by-side comparisons, I decided to keep both. With playback of Redbook CDs from PS Audio's partner PerfectWave Transport, the two DACs were virtually indistinguishable from one another in both sound character and quality, although I gave an ever-so-slight edge to the Isabellina for the way it treated higher treble tones. My reason for keeping the PS Audio unit boiled-down, essentially, to a new and successful justification on my part for a second DAC, the nearly exact similarity in sound and performance (PerfectWave DAC vs. Isabellina), plus the promise of a networked-audio capability to follow.

Now ratchet ahead about two-and-a-half years. I still had and was using both units daily. The Isabella/Isabellina was/is still original, still featuring JJ Electronics vacuum tubes, and still not upgraded to Vinnie's LFP-V solution. The PS Audio unit was still original, too (except for a couple of firmware upgrades), and still without networked audio, although PS Audio debuted their Bridge for that purpose about 1 1/2 years earlier. Frankly, "perfection" on that front still eludes the company and remains months-and-months away from subsequent hardware/software solutions that are meant to correct the way music over a network is presently able to play over their gear. Even so, come last November when PS Audio announced an upgrade for their DAC, (independent of their networked audio work), then later when rave reviews began trickling-in from early adopters, I reserved one for myself for at least a try. The upgrade is nothing more than a (albeit expensive) replacement circuit board. When the board finally arrived a few weeks ago, I was quick to install it and start listening anew. Although I know enough to be leery of relying upon impressions before any kind of burn-in, I couldn't help noticing refinements right-off-the-bat over the original. Then last week, after several hundred hours of playing, I finally pulled the old Isabella/Isabellina from my other system to try to verify what I was hearing. Again, I felt I could rely upon it as a stand-in for the old PerfectWave DAC in any side-by-side comparisons with the new one, since in earlier days the two had tested to my ears as virtually identical.

(Parenthetically, while my testing setup this time may cause some here to cringe, it nevertheless permitted quick-and-easy, microsecond switching between the two units via remote control. All signal and digital cabling was garden-variety. My source was a PerfectWave Transport playing Red Book CDs in native resolution, outputting to both the PerfectWave Mark II DAC (via proprietary I2S HDMI) and to the Isabella/Isabellina (via AES/EBU). According to everything that PS Audio has to say on the subject, I2S HDMI is the better-sounding connection between their transport and DAC, therefore of distinct advantage here in my listening setup to theirs over Vinnie's. The Isabella also doesn't feature a bypass-able preamp section, which further handicapped it during my audition since I wanted remote-controlled switching of inputs and in my testing setup the way I provided that was by employing another preamp downstream [allbeit passive and a very, very good one: a "TAP-X", by Bent Audio]).

And the verdict of that run-off? While native playback of Redbook CD through the PerfectWave combo (via their preferred, proprietary, digital connection) has definitely improved with the Mark II upgrade, the digital-analog rendering by the Isabella/Isabellina (with the same transport but a less-desirable AES/ABU connection) still manages to come out on-top. My ears may tell me that it's just by hair, that if I hadn't been able to do instantaneous switches between the units, I never would have heard a difference. Nevertheless, I find it simply astonishing! Within the confines of the parameters set for this run-off -- and despite expediencies in my testing setup that stood to favor the rival device -- Vinnie's 3-year-old implementation of his NOS chip beat the latest/greatest from a venerable, better-known (and significantly larger and older) maker of higher-end audio gear. While it would be hyperbole here to claim victory of the likes of David over Goliath (actually, the PerfectWave Mark II DAC, with its higher resolution, asynchronous USB, very competent musical performance, plus network-music upgradeability is probably the real "giant killer" here, as its fan boys on the PS Audio forum presently claim), credit should go where it is due, and in this Vinnie deserves far wider acclaim than he gets. I say, let's spread the word!

And, Vinnie, I am glad you are still around, doing what you do!

[Alwayswantmore]

Thanks for your comments rlabarre. And glad to know your experience with Vinnies's DAC was / is positive against a competitive product.

While I have been a loyal RWA customer, I must admit that a year or so ago I purchased a Wavelength Cosecant -- a fairly pricey async USB DAC (as much or more as my HPA, if memory serves correctly). Even after trying a few tubes, I could not find it a benefit for this unit compared to my HPA, and it went to Agon.

You probably know this, but having experienced every level of upgrade offered by RWA for HPA / Sig 30/30.2, I have to say you must still look up to see the top of the mountain. Both NOS tubes and LFP batteries hold meaningful potential to improve what you hear. Not to dis the stock tube, but I could not listen to my system with the JJs. And LFPs will do more than you might imagine to speed, bass punch and other variables. LFPs have much lower resistance, a variable that makes a surprising difference.

Happy listening.

Enjoyed reading your descriptions of what Vinnie's "Pro" DAC brings to the equation over what his NOS DAC solutions already do. For those of you who may be interested here's another comparison -- this time a NOS-chip Isabella/Isabellina against someone else's "pro" version. The Isabella/Isabellina still has a sealed lead-acid battery. And pitted against it is the latest, greatest DAC from the likes of PS Audio, actually an original PerfectWave DAC, owned by me for nearly 3 years now and just recently upgraded to new Mark II specs (http://www.psaudio.com/products/audio/media-players/pwd-mki-to-mkii/). That upgrade brings many new features, among them "192kHz 24-bit asynchronous USB, NativeX mode (via a digital "Lens"), non-saturated logic data path, 11 additional power supplies, lower jitter, and a precision balance control for the volume".

I might mention that 3 years ago when I was in the market for my first external DAC, I had narrowed things down to the PS Audio unit (which was just about to debut then for "beta" testers only) and the Isabellina DAC option that Vinnie could provide in his Isabella. The primary appeal of the former was some very attractive promotional pricing as one of those testers, along with an accessory board promised down the line (the so-called “Bridge”), meant to enable the DAC to process audio stored on a network server. The appeal of the latter was Vinnie's power-supply solution, a tube-stage preamp, and option for headphones, all wrapped into one (along with Vinnie's exemplary reputation for quality and service). Some might say I was looking at apples and oranges. But the 30-day trial periods with both that soon followed attested differently in at least two essential respects.

To make a longer story short, after mostly a month of very exacting side-by-side comparisons, I decided to keep both. With playback of Redbook CDs from PS Audio's partner PerfectWave Transport, the two DACs were virtually indistinguishable from one another in both sound character and quality, although I gave an ever-so-slight edge to the Isabellina. My reason for keeping the PS Audio unit boiled-down, essentially, to a new and successful justification (on my part) for a second DAC, the nearly exact similarity in sound and performance (PerfectWave DAC vs. Isabellina), plus the promise of a networked-audio capability to follow.

Now ratchet ahead about two-and-a-half years. I still had and was using both units daily. The Isabella/Isabellina was/is still original, still featuring JJ Electronics vacuum tubes, and still not upgraded to Vinnie's LFP-V solution. The PS Audio unit was still original, too (except for a couple of firmware upgrades), and still without networked audio, although PS Audio had debuted their Bridge for that purpose about 1 1/2 years earlier. Frankly, "perfection" on that front still eludes the company and remains months-and-months away from a resolution that could persuade me to finally buy-in and implement what they intend for music over a network. Even so, come last November when PS Audio announced an upgrade for their DAC, (independent of any intention to improve their implementation of networked audio with the unit), then later when rave reviews began trickling in from early adopters, I decided to reserve one for myself and at least give it a try. The upgrade is nothing more than a (albeit expensive) replacement circuit board. When the board finally arrived a few weeks ago, I was quick to install it and start listening anew. Although I know enough to be leery of relying upon impressions before any kind of burn-in, I couldn't help noticing refinements right-off-the-bat over the original. Then last week, after several hundred hours of playing, I finally pulled the old Isabella/Isabellina from my other system to do extensive side-by-side comparisons, also to use it as a stand-in for the old PerfectWave DAC (again, since the two tested to my ears as virtually identical a few years earlier).

(Parenthetically, while my testing setup this time may cause some here to cringe, it nevertheless permitted quick-and-easy, microsecond switching between the two units via remote control. All signal and digital cabling was garden-variety. My source was a PerfectWave Transport playing Red Book CDs in native resolution, outputting to both the PerfectWave Mark II DAC (via proprietary I2S HDMI) and to the Isabella/Isabellina (via AES/EBU). According to everything that PS Audio has to say on the subject, I2S HDMI is the better-sounding connection between their transport and DAC, therefore of distinct advantage here in my listening setup to theirs over Vinnie's. The Isabella also doesn't feature a bypass-able preamp section, which further handicapped it during my audition since I connected it and the PWD to a preamp for remote-controlled switching of inputs. [Less objectionable, perhaps, is that that preamp was the passive and very, very good "TAP-X", by Bent Audio]).

And the verdict of that run-off? While native playback of Redbook CD through the PerfectWave combo (via their preferred, proprietary, digital connection) has definitely improved with the Mark II upgrade, the digital-analog rendering by the Isabella/Isabellina (with the same transport but a less-desirable AES/ABU connection) still manages to come out on-top. My ears may tell me that it's just by hair -- that if I hadn't been able to do instantaneous switches between the units in my testing, I never would have heard a difference. Nevertheless, I find it astounding. With respect to the parameters I set in my testing -- and despite expediencies in my setup that stood to favor the rival device -- Vinnie's 3-year-old implementation of a NOS chip beats the latest/greatest from a venerable, better-known (and significantly larger and older) maker of higher-end audio gear. While it would be hyperbole here to claim victory of the likes of David over Goliath (actually, the PerfectWave Mark II DAC, with its higher resolution, asynchronous USB, very competent musical performance, plus network music upgradeability is probably the real "giant killer" here, as its fan boys on the PS Audio forum presently claim), credit should go where it is due, and in this Vinnie deserves far wider acclaim than he gets. I say, let's spread the word!

And, Vinnie, I am glad you are still around, doing what you do!

[rlabarre]

You probably know this, but having experienced every level of upgrade offered by RWA for HPA / Sig 30/30.2, I have to say you must still look up to see the top of the mountain. Both NOS tubes and LFP batteries hold meaningful potential to improve what you hear. Not to dis the stock tube, but I could not listen to my system with the JJs. And LFPs will do more than you might imagine to speed, bass punch and other variables. LFPs have much lower resistance, a variable that makes a surprising difference.

Always good to read another accolade on the benefits of upgrading to LFP's. I intend to do so this summer after a move. Finally tried different tubes last year: some vintage, haloed Siemens that were supposed to be the cat's meow, at least according to a couple of reviewers, at least in their gear. Couldn't hear enough of an improvement, though, over the JJ's to justify what I paid for the Siemens. In retrospect, I may have just picked the wrong brand for the Isabella for a substantive change from what the JJ's deliver.

[Alwayswantmore]

Several times I attempted to use JJs during breakin for a new RWA product or upgrade to an existing RWA component, and in all cases I did not make it to the 100 hour mark without slipping the 7308s back in. To my ears and in my system, the delta was substantial.

Always good to read another accolade on the benefits of upgrading to LFP's. I intend to do so this summer after a move. Finally tried different tubes last year: some vintage, haloed Siemens that were supposed to be the cat's meow, at least according to a couple of reviewers, at least in their gear. Couldn't hear enough of an improvement, though, over the JJ's to justify what I paid for the Siemens. In retrospect, I may have just picked the wrong brand for the Isabella for a substantive change from what the JJ's deliver.

[rlabarre]

Several times I attempted to use JJs during breakin for a new RWA product or upgrade to an existing RWA component, and in all cases I did not make it to the 100 hour mark without slipping the 7308s back in. To my ears and in my system, the delta was substantial.

On that encouraging note, will just have to try the 7308s again. I have improved the sound system substantially since I last listened to them. And there's likely to be another improvement come summer by the name of "Liliana"!

[CSI]

I'm midway through breaking in a Signature 15. I think it sounds terrific with the stock JJ, particularly in the highs. At about the 50 hour mark I rolled in a Genelex Gold Lion. It was even better with some sources but with SACD's the midrange became so aggressive I gave up on it. I put in an old Amperex "pinch waist" and now it sounds amazingly good top to bottom. I guess it depends on which component and how it works out in your system.

[Vinnie R.]

Hi Alwayswantmore and rlabarre,

Thank you for your detailed impressions post in this thread.

rlabarre,

I know you will be very impressed with the LFP-V Edition upgrade for your Isabella when the time comes, and combined with the Lilianas, you'll have it ALL!

Hi CSI,

The Amperex Pinched Waist is in a whole other league compared to the Gold Lion, and I agree with you regarding it being on the aggressive side (Gold Lion) with certain recordings.  Pinched waist is sounds fantastic top to bottom!   

Thanks for your impressions, guys!

Vinnie