Emm Labs DV2 versus Tambaqui

So I received the Mola Mola Tambaqui, this is Day Two in my system. I am sure it will improve over time.

For reference, the other DACs I’ve heard at home are totaldac (my reference), the latest Weiss, latest Meitner, and the Sonnet Morpheus.

The Mola Mola strikes me as a cross between Weiss and Meither. Like Weiss, it gives you a clear and raw view into the recording, tremendously good resolution. Unlike the Weiss and more like the Meitner, there is a touch of fluidity to the sound, which for me increases the engagement factor and eliminates the fatigue factor. Nothing clinical or mechanical here. There is also a great sense of force and pace with the Tambaqui, it really throws music into the room. Maybe that’s the 6V output, it’s nice that you can select lower voltages as well (which I haven’t tried yet).

These very early impressions are using the Tambaqui’s internal Roon endpoint. I will be trying it with the Grimm MU1 as well (a popular combination), which should be quite a step forward (but raises the cost vs. value issue).

@metaldetektor

Thank you for your very helpful and concise feedback. When you ‘actually’ compare DAC’s that are comparative in both performance and price, it gives our readers a true perspective on what to expect vs anyone who loves sharing their biases with a particular DAC without having the need to compare.

Please continue to share your objective impressions in your journey.

Purchasing products based purely on price is rather like confirmation bias in regard to faulty posits.

I’ve heard this argument many times before. I’m sure there are a few people who fall under this category, but by and large most people I know who purchase higher-priced DACs buy them after considerable research. Their top priority is system synergy. They are very clear in their heads about what kind of sound they're after. Price is usually not the driving factor. The DAC that I have today is the best that I can afford. But I don’t feel the need to validate my decision by questioning those who buy DACs that are significantly more expensive. I’m sure sure there are exceptions, but by and large the more expensive DACs do perform at a higher level, provided, and this is an important point, that the rest of your system is on par. You can’t put performance tires on an affordable family sedan and expect it to perform like a Ferrari. Same holds true for the higher end equipment.

@lalitk thank you! I have long admired your contributions to this forum, as they are based on direct experience. I have also found that folks with wonderful systems (like yourself) are more open minded about what’s possible in hifi (less bias), which makes for more productive conversations!

@arafiq well said. I had the Weiss in my system twice, separated by many months. What’s interesting is that the first time around, I heard it with budget speakers but fairly honest cabling. The second time, much better speakers but lower resolving cabling. It was a more impressive DAC the first time around! The second time around, I needed to switch cabling to hear it at its best. Point being, sometimes folks make hasty judgments on the quality of electronics (this DAC blows this other DAC out of the water and it’s way cheaper!!!) when it’s really a synergy problem they’re experiencing (they didn’t hear what the component was truly capable of).

@sns  I agree.  I have 28.500 LPs, 7,000 78s and 7,000 CDs.   I love both LP and CD formats with the latter being the most convenient/easy to use.   I'm knocking the other guy (or anyone) who dismisses vinyl, good vinyl (good mastering and pressing).  My favorite recordings (in both CD and vinyl versions) are Mercury Living Presence & RCA Living Stereo/London from 50's and 60's and Jazz on Contemporary (and all the Fantasy group), World Pacific, etc. generally.  Orchestral, chamber, solo violin/piano, etc. recordings of the past several decades suffer from distant miking, sometimes sounding like the mikes were facing away or backwards.  Other times they are often as you described rear of hall.   The great older recordings were a mix of up front miking combined with either natural or added slight reverb for capturing hall sound.  

What I say, after 55 years of performing (35 years as an amateur recording engineer) with orchestras, chamber groups and choruses is that live performances sound different generally from recordings heard at home.  I have not SOTA high end audio gear in a SOTA (one version) listening room.  My friends include reknown remastering engineers who cut LPs (as well CDs when they were more popular).  

I am not going the streaming route as I have both plenty of recordings and 1/3 or more of my collection will never be available for streaming (ethnic, esoteric labels such as Biddulph, Marston, Romophone, 50+ year old recordings with reduced interest for reissuance on line).   

I am searching for a better CD playback and tried several higher end DACs (including a COS Engineering D1v).  My current DAC is a Benchmark from 2011 super upgraded using a pair of $50 regulators (they used 50¢ ones), audio caps instead of computer caps, a new audio board and superior power filtering.  I haven't had success with transports (last was PS Audio-wow, a disappointment but nice company) as either too clean or lovely/warm sounding but smeared.  Next either a Jay's Audio transport or a Luxman D-03X CD player.  If I like the D-03X, maybe a D-10X.   Is the Mola Mola really a 2007 DAC design?  The May didn't hold up to the Musetec 005 (was the reviewer biased as a dealer)?