YBA Design's new WD202 D/A processor and headphone amplifier showed up while I was turning the pages of Don and Jeff Breithaupt's Precious and Few: Pop Music of the Early '70s, recommended by John Marks in his October 2009 "Fifth Element" column. Each page drips with great examples of why the 1970s often wind up on the wrong end of the culture stick (the Osmonds, anyone? Terry Jacks?).
I have built up a large collection of CDs since the medium's launch more than a quarter century ago, along with a modest number of SACDs and a small number of DVD-As. But I find these days that, unless I'm getting down to some serious listening and can give the music my uninterrupted attention, I use iTunes to feed computer files to my high-end rig (footnote 1). I've mostly been using the superb-sounding combination of dCS Puccini U-Clock and Puccini player/DAC that I reviewed last December to take a USB feed from a Mac mini, but I've also been using the Bel Canto USB Link 24/96 and Stello U2 USB-S/PDIF converters, particularly for headphone listening, when I use one of those two format converters with a Benchmark DAC1 D/A headphone amplifier.
Most of this column is dedicated to two hi-fi products for the massesnot from Lvov, via Vladimir Lamm, of Lamm Industries; or from Leningrad, via Victor Khomenko, of Balanced Audio Technologies; nor from any other Soviet-born audio hero. (Neither Vladimir nor Victor is on the list of "Name of Russia" contenders for greatest Russian of all time.) Nor from any consumer audio company, but from the world of professional audio. An Iron Curtain almost separates the two.
In his July 2005 "The Fifth Element" column, John Marks enthusiastically wrote about the Benchmark Media Systems DAC1 D/A processor and headphone amplifier. Comparing its sound playing CDs with that of a three-times-more-expensive Marantz SA-14 SACD player, he concluded that the DAC 1's "Red Book" performance was at least as good as that of the Marantz, being "slightly more articulate in the musical line, and slightly more detailed in spatial nuances, particularly the localization of individual images in space, and in soundstage depth."
I've been a little remiss in writing about one of the best tools for travel I've experienced recently: Ray Samuels Audio's Emmeline The Hornet ($350), a tiny (3" L by 2" W by 1" H) rechargeable portable headphone amplifier. I tend to travel with my iPod packed with hi-rez music files and a pair of low-impedance headphones. That's not a marriage made in heaven, so I also need a headphone amplifier. Over the years, portable headphone amps have gotten better and better while getting smaller and smaller. The Hornet is the smallest I've discovered so far and is my current favorite.
Looking at all of the high-end headphones and headphone accessories available today, it's difficult to even remember how barren the head-fi landscape was in the early 1990s. Back then, headphones got no respect, except for exotic, expensive electrostatic models, yet most of the world listened to music through headphones all the time, mostly through crappy cans connected to portable players. (Well, maybe it wasn't that different a landscape.)
Back in March, I wrote a reviewlet of Channel Islands Audio's VHP•1 headphone amplifier for the Stereophile eNewsletter. (What—you aren't receiving that free download yet? Well, log on to www.stereophile.com and opt in.) The VHP•1 has continued to enchant me—reason enough to examine it in greater detail, I reckoned. But the real reason I returned to the VHP•1 ($349) is that CIA's Dusty Vawter recently sent me his new VAC•1 ($159), a replacement power supply for the VHP•1's stock wall-wart supply. Could a new power supply really offer a substantial improvement in performance?