How easily can you distinguish between different DACs?

@asctim Let's agree to disagree. I found the differences between DACs as meaningful as Ferrari and Corolla. But I was only able to hear that once my system had evolved to a certain level. However, I agree that if your modus operandi when comparing DACs is to evaluate with the help of measurements than a $1000 Topping or SMSL is just as good as Lampizator Horizon. In fact, the Lampi is far worse as per the measurements.

Mhwilliford,

Thanks for sharing what you hear the differences to be.

Appreciate it.

DACs do two things.  1) They decode a PCM or DSD digital stream and convert it to analog.  2) They amplify that analog signal to a level that feeds into a preamp or to a level that can feed directly into an amp.

The digital side decoding process can take many paths such as R2R ladder D/A or various D/A chips produced by various manufacturers.  Some listeners can tell the D/A chip in use by their sound.  The quality of the power supplies and noise rejection plays a role in producing these delicate voltages that are the musical signal.  And on the analog side, the design can take many paths such as tube, solid state, op amps, ICs or discrete components.  All of these considerations have an impact on the sound quality.

To say all DACs sound the same would be to say all preamps and amps sound the same.  Then we could say all speakers sound the same- and so on.  And beyond that we could argue that musicians do not need to spend thousands of dollars on their musical instruments because a $500 guitar or sax will sound just as good.

When you stop hearing a difference, stop spending money and enjoy the music.

“When you stop hearing a difference, stop spending money and enjoy the music.”
+1, @tonywinga 

Good points by all. Some musicians want top notch instruments, others will perform on whatever is available and adjust their style. If any piece of equipment does something you really like, and you can manage the cost, then get it!

James Booker made some recordings at Paramount that have now become an album called The Lost Paramount Tapes. Apparently they had a bunch of great pianos for him to choose from, and he chose a little spinet that was just a set piece. In the eyes of the producers this amounted to James ruining the entire session. When I listen to those tapes it’s obvious to me that James knew what he was doing. There’s nothing inferior about a spinet. It’s just knowing what to do with it.