Autosky 发表于 2012-3-21 20:55:32

YBA WD202 评测

本帖最后由 Autosky 于 2012-3-22 09:41 编辑 ... headphone-amplifier

Digital Processor Reviews YBA Design WD202 D/A headphone amplifier
By Jon Iverson • Posted: Jun 21, 2010
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?). Still, piles of the awesome tunes that redeem that era beckon from every chapter, and with CD prices in free fall on, I started grabbing dozens of titles. Most could be had used, or even new, for a couple bucks or less. (Quite a few are at 1 cent plus $2.98 shipping and no tax—I have no idea how they make money.) In many cases the earlier CD releases, not yet remasticated to make them LOUD, were available, providing the best sound at the lowest prices. Take that, lo-rez iTunes downloads at $10/album. And what sound! Some of these early-'70s recordings are absolutely primo, and the best of them were my core listening material for this review. They were recorded before the widespread use of digital reverb, and I love the dry, honest acoustic of many of them—it puts the instruments right in my room. And speaking of '70s music, who knew that John Atkinson was a huge Sylvester fan? With Erick Lichte and Jason Victor Serinus as my witnesses, there he was at the 2010 Consumer Electronics Show, rocking out to "You Make Me Feel Mighty Real." But I digress . . . Thanks to music servers and all the new digital source options, digital-to-analog converters are hot again. This time around, USB and FireWire have been added to the connection mix, and while some DACs are optimized for only USB connection, others sport such options as input switching from multiple digital connections and formats, headphone jacks, and volume controls that turn them into useful digital preamps. The YBA Design WD202 is one of these multipurpose solutions. In and Out of the Box
The YBA arrived attractively wrapped in a black cloth sleeve inside a sturdy box. The first thing I noticed was that it's very solidly built, and heavy for its size—at a little over a foot wide, the WD202 is smaller than a standard component, but larger than the Benchmark DAC1 USB. On the bottom are three padded supports—actually small extensions of the thick metal case—and on the front is a small strip of reflective metal; I like the overall clean, concise design. And for such a well-made product, I also like the price: $879. My review sample was accompanied by a robust metal remote that can control several other components in YBA's Design series. For the WD202, the remote can be used to change the input source and volume, or to bypass the volume control for fixed audio output from the rear panel—which is what I did for all of my DAC evaluations, except when I listened through headphones. Designed by YBA in France and built in China, the WD202 is a versatile digital product along the lines of Benchmark's DAC1 USB, which means it has ample digital input options, and can be used as a digital preamp and headphone amp. From left to right on the front panel are the power switch, input selector (Coaxial/USB/Optical/AES), infrared receiver, minus and plus buttons for volume control, and a ¼" headphone jack. On the rear panel, from left to right, are the balanced and unbalanced left and right line-level output jacks; a coaxial digital output; optical, coaxial, USB, and AES/EBU digital input jacks; an IR port; and an upgrade port. On the right are the three-pronged IEC AC connector and fuse holder. A fully symmetrical design based on Texas Instruments' PCM1796 Audio Converter and codec, the WD202 reclocks and upsamples to 24-bit/192kHz signals it receives at sample rates of 32, 44.1, 48, 88.2, 96, or 192kHz, and at bit depths of 16, 18, 20, or 24.

乖乖老爸 发表于 2012-3-22 08:50:50

本帖最后由 乖乖老爸 于 2012-3-22 09:03 编辑

这部DAC走的韵味路线,解析,动态不是强项 。欧洲情怀之一:法国YBA WD-202 WD202 DAC (参考价格:3800元左右)

經過這麼多年,YBA先生為何想推出DAC了呢?很簡單,一方面他認為數位技術已經夠成熟了,許多以前不能克服的問題現在都迎刃而解。另一個原因,就是他發現時下的年輕人都用電腦聽壓縮音樂,一部優質的DAC正是引領他們進入Hi End世界最好的敲門磚。換句話說,WD202是專為年輕的電腦族而設計的產品。YBA特別將售價下壓到具有 hi end 等級的平民價。

YBA WD202數位類比轉換器規格

    輸出入端子:RCA單端類比輸出 × 1、XLR平衡類比輸出 × 1、RCA同軸數位輸出 × 1、TosLink光纖輸入 × 1、RCA同軸數位輸入 × 1、AES/EBU平衡數位輸入 × 1、B型USB數位輸入 × 1。
    外觀尺寸(WHD):320 × 62 × 280mm,重量4公斤。


Autosky 发表于 2012-3-22 09:21:42

目前設備:ASUS ST-->同軸線FTVS-510(WBT-0110Ag)-->YBA WD202-->W5000
W5000+YBA WD202综合聽感:
1: 低頻緊實有力~量感恰恰好
2: 解析相當高~但是人聲仍帶有厚度
3: 聲音柔美(柔美較適合人聲)~但樂器高頻似乎也被修成較柔美而不夠銳利(銳利較適合樂器)
4: 音場近似圓形雖沒有D7000大~但包圍感相當好
5: 聲音聽起來沒有隔閡(像隔著一塊布在聽歌)~透明度相當好

總結: W5000的聲音在W系列算較堅硬~但是YBA WD202柔美的特性把W5000聲音修正
怪不得有其他玩家用STX + YBA WD202說這種搭配可以媲美幾10萬的CDP

试听专辑:《round up》、童丽某张专辑、《STAX人头录音试音碟》、《阿隆·尼维尔》



Autosky 发表于 2012-3-22 09:27:36

YBA WD202 reviewFrench hi-fi company YBA returns to the UK with a new DACBy Richard Black November 28th 2009

It's been almost a year since we last reviewed any YBA products, the last was the YBA YA 201 integrated amp. We have just had another YBA product delivered for review which is the YBA WD202 Digital to Analogue Converter.

[*]Read TechRadar's YBA YA 201 review
The brand goes back a long way, though, to 1981 when Yves-Bernard André set up the company that bears his initials. His past included work with some of the classics of French hi-fi, including Goldmund and Pierre Lurné (both among the most rarefied names in turntables), but his own company has been his main focus since its foundation.
The range currently includes CD players and amplifiers – integrated and pre/power separates – and has recently been extended to incorporate this, the first YBA DAC, as well as a matching receiver and CD player.
Unlike most other YBA products, however, they are made in China, but are still designed at the French headquarters. The design offers a tempting array of features.
Obviously there are S/PDIF inputs on both coaxial and Toslink connectors, but also the professional-style AES-EBU on XLR and a USB socket for computers. Audio outputs are both unbalanced and balanced and a headphone socket on the front makes this potentially a one-stop-shop.
Volume control is provided and this is separate for headphones and line outputs (and can be disabled entirely for the latter). There's even a remote control, something of a rarity with DACs.
Construction is to a high standard, with a smart and well finished solid-aluminium case. An array of familiar integrated circuits inside handles the usual functions, including upsampling to 192kHz, while good quality op-amps look after analogue output. Technical performance is to a high standard, with excellent rejection of jitter, including via USB.
Sound quality
We had some very satisfying times with this DAC, which seems to be an assured and confident all-rounder.
If it has a weakness, it's very bright and busy music, which sounds like a close-miked orchestra or jazz with a lot of wind instruments. With such material the sound can be just a touch on the strident side and a little detail is sacrificed in both treble and midrange.
Otherwise, there's a great deal of poise and insight in the sound. Midrange is particularly beguiling, with plenty of detail but also some very nice distinction between the timbres of different instruments. This makes it uncommonly easy to follow what each instrument, or indeed voice, is doing in a complex piece of music and if one prefers to listen to the overall soundscape rather than its constituent parts it is perfectly possible to do so.
There's also some fine rhythmic integrity and drive. It would be an exaggeration to say that this is the most foot-tapping piece of audio kit we've ever encountered, but for a component that offers such fine melodic flow it is unusually persuasive in terms of timing.
Playing an assortment of more-or-less funky tracks quickly convinced us that this DAC understands how to make a rhythm communicate. Part of that must be due to the particularly tight bass, which extends well but never loses grip.
It's also tuneful – sometimes this is less apparent than the grip, but it's still there and prevents low-lying melodies from becoming an indistinct dull thud. Jazz fans will appreciate that, as it makes the old jazz favourite of the walking bass line much easier to follow and we enjoyed a similar benefit with piano recordings, especially those of works that exploit the bottom register of the instrument.
At the other extreme, the high treble is clear and open, though as noted above it closes in slightly when there's a lot going on. It's nothing short of gorgeous with subtle, small-scale recordings.
We would be unkind if we neglected the headphone output, which is clearly no afterthought: it is a very capable addition to the unit and gave excellent results with various models of cans plugged in.
It has enough output to drive moderate-impedance headphones quite loud and maintains a high degree of control which makes for very satisfying listening.
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[*]Digital to Analogue Converters
[*]Audiophile DACs

Autosky 发表于 2012-3-22 09:43:39

续一楼的帖子: YBA Design WD202 D/A headphone amplifier Page 2

I'd love to tell you about the digital filter used in the WD202, since I've found that I can easily hear differences among the filter settings of products that let you adjust them. But YBA isn't talking, and there are no settings to mess around with. When I asked Michel Rousseau, of YBA Design, about the filter, he said that designer "Jérôme tells me that he can't remember what filter was used (!!??) or he just won't tell me." I didn't like this answer, but thought, Okay, maybe it's better to go into the listening tests with no preconceived ideas. Listening
Listening was done in two batches. The first go-round focused on S/PDIF connections from my Meridian Sooloos music server to the YBA, a Musical Fidelity V-DAC, powered by its wallwart supply ($299), and a Cambridge Audio Azur DacMagic ($449). For Round 2, which included more expensive DACs, I zeroed in on a USB source. I also did a little headphone listening. Now that the Sooloos's new 2.2 update lets me sort everything by original release date, I set a focus for 1970–1975, which gave me 499 albums in chronological order from which to choose. Over the next several days, using the Breithaupts' Precious and Few as my guide, I cycled through dozens of classics. The best-sounding included David Essex's "Rock On" (1973), The Guess Who's "American Woman" (1970), Sugarloaf's "Green Eyed Lady" (1970), and a handful of tracks from the recent Mobile Fidelity Sound Lab remasterings of the Doobie Brothers' The Captain and Me and Marvin Gaye's Let's Get It On (both 1973). The DACs quickly sorted themselves, the YBA WD202 consistently shining with overall better control and clarity when I tried to listen deep into a mix. The Cambridge was the closest of the other two, with a sense of being a little looser around the edges, but the V-DAC had a relatively distinct sound. These were very minor differences in the overall scheme of a system, but I was in "sharpening" mode, so they came to the fore. For those who remember the early-'70s version of the TV sitcom The Odd Couple (1970–1975), the V-DAC was the Oscar Madison (Jack Klugman) of the three DACs: the sound was a little messy and rough around the edges, but lovable. The YBA and DacMagic were different degrees of Felix Unger (Tony Randall): neat and well-mannered, but minus the pout. The YBA was a more pleasant Felix—always on his best behavior, and with that slightly sweet smile Randall had when he cocked his head to the side. As I had with the T+A Music Player media streamer, which I reviewed in the August 2009 issue, I invited my neighbor Matt over to see what he thought—he's always quick to identify what he hears, so I enjoy getting his perspective. We stuck with the early '70s once again, and warmed up with "Le Grange," from ZZ Top's second album, Tres Hombres (1973). The 2006 Rhino remastering is an amazing example of the visceral power of a rock trio—through a big system, it simply explodes into a living room. We agreed that with the YBA, everything was there and under control—especially the impact when the band kicks in after the stick-tapping intro, which brought the amps and drums right into the room with us. Switching to the V-DAC compressed the glorious sense of dynamics all around, and toned down the snarling guitars a tad. The DacMagic opened things back up again, but still fell a nanotad short of the YBA's precise control—just enough to notice. We needed to be sure, so next we cued up the 1999 remaster of Robin Trower's Bridge of Sighs, from 1974 (Capitol 20811), and skipped to the title track, which begins with some varispeeded metal chimes before the Hendrix-ian guitar riffs take over. As we switched from DAC to DAC, those chimes proved quite telling. Once again, the YBA kept everything under control, while the DacMagic almost kept up. The V-DAC slightly flattened the dynamic contrasts, however, and while its sound was somewhat more euphonic, it also made us want to switch back to the YBA so we could hear all those details again. Bottom line: I could live with the DacMagic but not the V-DAC, though I can see where some folks might want what the Musical Fidelity offers in terms of sound for price ($299). The DacMagic vs YBA was a closer call; I encourage you to listen yourself, especially since the DacMagic costs $439 less than the YBA. But I'm going with the YBA. More DACs!
Getting those three DACs sorted was too easy, I suppose, so JA and assistant editor Stephen Mejias decided to throw a couple higher-priced DACs my way: the Benchmark DAC1 USB ($1295) and the Ayre Acoustics QB-9 ($2500). The stack was now one Brady short of a complete Bunch: five DACs, from toddler to teen, in assorted sizes at various prices. The question now was where the two new DACs would sit, and whether a USB source (the Ayre has only a USB input) might resort the pecking order. Article Continues: Page 3 »

Autosky 发表于 2012-3-22 09:44:17

YBA Design WD202 D/A headphone amplifier Page 3
For a USB source, I turned to a new MacBook Pro (2.66GHz Intel Core 2 Duo, 4GB RAM, 320GB HDD). Using Sonic Studio's Amarra Computer Music Player software (highly recommended) with its USB dongle, I created a playlist of several early-'70s tracks ripped from CDs to iTunes as uncompressed AIFF files. A note about comparing DACs: Using my preamp to switch back and forth between DACs during a single playing of a song never seems to work for me. I've found that it takes at least five or six comparisons using a single track, played all the way through each time, to lock on to what each DAC was doing. Sometimes I needed to do this a dozen times back and forth, or play the same track several times in a row through one DAC, then try it with the next. (By this point, usually, our cats had left the room.), by this time, nothing had popped out at me, I'd then pick another track and start over—some tracks highlighted differences (if they exist) better than others. Some tracks sounded so close on all of the converters that I couldn't reliably pick one over another. Of the dozen or so tracks I used, the two below made it easier to hear what was going on. This was all tedious work, but I found that if I took the time, I eventually could confidently identify the character of each product—even if I sometimes concluded that those differences were so minor as to not matter at all. Starting with the title track of Roxy Music's 1973 release, For Your Pleasure (Virgin 8 47449 2), I quickly gave the edge to the Ayre for midrange control, and that sense of real space and detail that you hear with analog tape. As the drums roll around in the intro and then the electric-guitar washes enter, the Ayre had just that extra touch of seductive clarity. Bryan Ferry's voice, in particular, just sounded more real and easy to listen to. In fact, I've heard analog master tapes played through this system, and the Ayre gets remarkably close to the immediate sound of a good analog recording. I can hear into the mix and focus on any of its parts. This is not the same as the sound of live music—what the Ayre excels at reproducing is what is on the tape. Credit to the recording and digital mastering as well, but Wow. The Ayre does it right. The Benchmark trailed the Ayre with this track, sounding closer to but very slightly bettering the YBA WD202. It was quite close, though. Both the YBA and Benchmark sounded great, letting me hear into the soundstage as the Ayre did, but to lesser degrees. I'm not looking for some euphonic enhancement of the recording, but an honest representation of it, and all of these DACs could do that—the Ayre just did it better. At this point the Cambridge Azur DacMagic, and especially the Musical Fidelity V-DAC, were trailing by enough that I unplugged and retired them. I also tried "For Your Pleasure" through the YBA's USB and S/PDIF inputs, respectively sourced from the computer and the Sooloos, to see if that might reveal a variable. Nothing, nada—could not hear a difference. I later learned from my YBA contact that "Schonfeld informs me that the USB is converted directly to S/PDIF and then converted like the others." So maybe that explains it. He also added that "they only use the data transfer pins from , and not any of the other functions, like analog conversion, which is of very poor quality. Also, the WD202 uses a proprietary dedicated power supply and not the feed from the PC, thus substantially reducing the SNR and improving performance overall." I also used the Roxy track to compare the Benchmark and YBA with my trusty Grado Labs HP1000 headphones. Using the YBA's remote, I switched it back to variable-output mode and set both DACs at the same volume. Here was where the Benchmark's analog volume knob was an advantage: it helps you quickly find a level. The YBA uses the four source LEDs on its front panel as a kind of volume indicator when you push the Volume Up or Down button—a bit awkward, and much slower. But once the levels were matched, I found the Benchmark to sound more natural and precise. Back to the USB shoot-out: Next I cued up "Guajira," from Santana III (Columbia/Legacy 82796 90270 2), released in 1971. This tune's abundance of high-frequency percussion instruments proved a torture test for all the DACs. Through the Ayre, I could clearly hear each of the percussion textures: shakers, guiro, Vibra-Slap, cymbals, cowbell, timbale. By comparison, these complicated transients were smeared a bit through the YBA and Benchmark, reducing the apparent resolution of the top end. Once again, the Benchmark and YBA were almost tied, but I give the edge to the Benchmark. A pattern was beginning to emerge. I now understood what all the fuss was about last year, when the Ayre QB-9 was named Stereophile's 2009 Product of the Year. While the overall tonality, bottom end, and dynamic impact of all three DACs were very similar via USB, the Ayre made it easier to differentiate each part of the ensemble, had more spatial detail, depth, and width, and removed a slight glaze around instruments, and especially voices. To be fair, the Ayre has no digital inputs other than USB, no headphone jack, and no volume control—all of which are found on the YBA and Benchmark—and sells for almost three times as much as the WD202. But credit where credit is due: Judging the sound quality via USB, the Ayre easily held its ground, and reminded me of what I liked last year about the T+A Music Player when I used it as a DAC via S/PDIF. If you can afford it, and plan on running only a USB source, the Ayre QB-9 is the one. What about the Benchmark and YBA? Via USB, these two were the closest-sounding of the bunch so I moved my focus back to the Sooloos, and the S/PDIF inputs on both DACs, for another comparison. My copy of Come On, Get Happy! The Very Best of the Partridge Family (CD, Arista/Legacy 82876 68199 2) showed up just in time to provide my next test track, the brilliant "I Think I Love You." Say what you will about this type of TV "band" (footnote 1), this song is one of the better pop tracks of 1970, and was deployed to great sardonic effect at the end of the Korean horror film The Quiet Family (1998). But no matter how many times I switched back and forth with "I Think I Love You," I couldn't pick a clear winner, so I retreated to the handful of tracks I'd used at the outset. Over time, I sensed that the YBA was a trifle less precise and rounded around the edges, the Benchmark just a touch more forward. But don't hold me to it—every time I thought I'd gotten a firm grasp on a difference, it would slip away with the very next track. Although these two DACs consistently stumped me, in the end I give the nod to the Benchmark for what I felt was a marginally more honest sound. Conclusion
Which is to say that, for $879, YBA Design has really accomplished something in the WD202. The Benchmark DAC1 USB has been around a while and has stood the test of time, consistently impressing many Stereophile reviewers with its great build quality and clean sound. But by virtue of its (to my ear) similar sound and lower price, the WD202 deserves to be heard. In the meantime, Benchmark has not been idle—their new, remote-controlled DAC1 HDR ($1895) may move the sonic ball forward even further. [Erick Lichte is working on a review.—Ed.] But if you want something for less than a grand that has more than just USB, and/or if you want a headphone jack, the YBA Design WD202 should be on your short list.

Footnote 1: According to Wikipedia, "The only cast members of the television show to actually participate in the recording of the song were David Cassidy and Shirley Jones. The music on the song was played by veteran studio musicians such as Hal Blaine, Larry Knechtel, Joe Osborne, Louie Shelton, Tommy Tedesco, and others." Article Continues: Specifications »

Autosky 发表于 2012-3-22 09:45:17

YBA Design WD202 D/A headphone amplifier Specifications

Sidebar 1: Specifications
Description: 24-bit/192kHz upsampling D/A processor with headphone outputs and remote control of volume. Digital inputs (4): AES/EBU (XLR), S/PDIF (RCA, TosLink), USB. Sample rates handled: 32, 44.1, 48, 88.2, 96, or 192kHz, at 16, 18, 20, or 24 bits (S/PDIF and AES/EBU); 32, 44.1, or 48kHz, at 16 bits (USB). Digital output: S/PDIF (RCA). Analog outputs: 1 pair RCA, 1 pair balanced XLR, 1 &frac14;" stereo headphone jack. Other inputs: IR, Upgrade Port. Frequency response: 20Hz–20kHz. Maximum output level: variable up to 2V (unbalanced), variable up to 4V (2V/phase, balanced). THD+N: <0.001%, 20Hz–20kHz.
Dimensions: 12.6" (320mm) W by 2.44" (62mm) H by 11.02" (280mm) D. Weight: 8.8 lbs (4kg).
Serial Number Of Unit Reviewed: WD202A040 APL.
Price: $879. Approximate number of dealers: 5.
Manufacturer: YBA Design, 5 Avenue du 1er Mai, 91120 Palaiseau, France. Tel: (33) (0)1-60-12-51-00. Fax: (33) (0)1-60-12-50-60. Web: US distributor: Audio Plus Services, 156 Lawrence Paquette Industrial Drive, Champlain, NY 12919. Tel: (800) 663-9352. Fax: (866) 656-0686. Web: Article Continues: Associated Equipment &raquo; YBA Design WD202 D/A headphone amplifier Associated Equipment

Sidebar 2: Associated Equipment
Digital Sources: Apple MacBook Pro computer (2.66GHz Intel Core 2 Duo/4GB RAM/320GB HDD) running OS 10.6.2, iTunes 9.0.3, and Sonic Studio's Amarra Computer Music Player 1.2; Oppo BDP-83 universal player; Sooloos Music Server (Control Ten, TwinStore x3).
Digital Processors: Ayre Acoustics QB-9, Benchmark DAC1 USB, Cambridge Audio Azur DacMagic, Musical Fidelity V-DAC.
Preamplifiers: Integra DTC-9.8, Lexicon MC-12.
Power Amplifiers: Classé CAM 350 monoblocks.
Loudspeakers: MartinLogan Prodigy & Descent subwoofers (2).
Headphones: Grado Labs HP1000.
Cables: USB: Cardas Clear. S/PDIF: Cardas Neutral Reference. Speaker: Kimber Kable BiFocal XL. Kimber Kable various line level, XLO HT Pro line level, XLO S/PDIF.
Accessories: Dedicated 20A line for amplifiers, separate dedicated 15A lines for digital and analog components.—Jon Iverson Article Continues: Measurements &raquo;

Autosky 发表于 2012-3-22 09:45:35

YBA Design WD202 D/A headphone amplifier Measurements

Sidebar 3: Measurements I examined the measured behavior of the YBA Design WD202 using the Audio Precision SYS2722 system (see and "As We See It" in the January 2008 issue), as well as, for some tests, my Audio Precision System One Dual Domain and the Miller Jitter Analyzer. I mainly drove the YBA with the SYS2722's AES/EBU output; I also used the USB 2.0 output of my Intel MacBook running OS10.4.11 for the testing, playing back WAV files using Bias Peak 6.2. Examining the WD202's USB properties with the USB Prober program for the Mac identified the device as "USB Audio DAC . . . Burr-Brown from TI," and revealed that while the YBA's USB input would handle sample rates up to 48kHz in adaptive, isochronous mode, it was limited to 16-bit data via this input. The WD202 successfully locked to AES/EBU datastreams with sample rates ranging from 32 to 96kHz, but I couldn't get it to accept 192kHz data. All of its outputs preserved absolute polarity (ie, were non-inverting), with the balanced XLRs wired with pin 2 hot. The maximum level (at 1kHz) from the YBA's line outputs was to specification, at 2.02V RMS unbalanced and 4.05V balanced. A maximum of 5.23V was available from the headphone output. As set up for review, the YBA's volume control affected only the headphone output; with this control set to its maximum, the headphone output clipped with a signal below 0dBFS. The output impedance from the unbalanced outputs was a low 100 ohms across the audioband, doubling as expected from the balanced jacks. The headphone jack also offered an output impedance of 100 ohms at high and middle frequencies, rising to 161 ohms at 20Hz. This is on the high side for a headphone amplifier; with low-impedance 'phones like the Grados, the lows might sound a little lean and there will be some modification of the frequency response, depending on the headphones' impedance characteristic. All the remaining tests were performed using the WD202's balanced outputs. The traces in fig.1 show the WD202's frequency response with sample rates of 32, 44.1, and 96kHz. In each case, the response follows the same profile: flat in the audioband, but with a slight (+0.25dB) boost in the top octave interrupted by a sharp cutoff just below half the sample rate. Note the excellent channel matching in this graph. Channel separation (fig.2) was superb, at >125dB in both directions below 1kHz, and still 112dB at 20kHz. Fig.1 YBA Design WD202, balanced frequency response at –12dBFS into 100k ohms with data sampled at 32kHz (left channel green, right gray), 44.1kHz data (left blue, right red), and 96kHz (left cyan, right magenta). (0.25dB/vertical div.) Fig.2 YBA Design WD202, channel separation. For consistency with my library of digital test reports, I first examine a product's resolution by sweeping the center frequency of a 1/3-octave bandpass filter from 20kHz to 20Hz while the DAC reconstructs a dithered 1kHz tone at –90dBFS with 16- and 24-bit data. The top pair of traces in fig.3 show the spectral analysis for 16-bit data: the traces peak at exactly –90dBFS and are dominated by the dither noise used to encode the signal. Increasing the word length to 24 bits (middle traces) drops the noise floor by almost 20dB, implying a DAC resolution of at least 19 bits. This is superb performance for a relatively affordable D/A processor—15 years ago, you would have had to spend around $10,000 for similar resolution—and the YBA readily decodes a 24-bit tone at –120dBFS (bottom traces), though with a slightly negative linearity error. Fig.4 repeats the analysis using a more rigorous FFT technique. Again, with 16-bit data (cyan and magenta traces), all that is shown is the dither noise, but now with 24-bit data (blue and red traces), even though the noise floor again drops by around 19dB, some discrete tones to either side of the 1kHz fundamental have been unmasked. However, as these are all below –130dBFS, they will be subjectively inconsequential. Fig.3 YBA Design WD202, 1/3-octave spectrum with noise and spuriae of dithered 1kHz tone at –90dBFS with 16-bit data (top) and 24-bit data (middle at 2kHz); and of dithered 1kHz tone at –120dBFS with 24-bit data (bottom at 1kHz). (Right channel dashed.) Fig.4 YBA Design WD202, FFT-derived spectrum with noise and spuriae of dithered 1kHz tone at –90dBFS with 16-bit data (left channel cyan, right magenta) and 24-bit data (left blue, right red). With 16-bit data, any linearity error is negligible down to –110dBFS (fig.5), and the WD202's reproduction of an undithered 16-bit tone at exactly –90.31dBFS is flawless, with excellent waveform symmetry, and the three DC voltage levels that comprise the signal readily resolved (fig.6). The DAC's self-noise is sufficiently low that the symmetrical Gibbs Phenomenon "ringing" on the waveform tops and bottoms can be clearly seen, suggesting that the WD202 uses a conventional FIR reconstruction filter. With undithered 24-bit data, the YBA offers a superbly well-defined sinewave (fig.7). Fig.5 YBA Design WD202, left-channel linearity error, 16-bit data (2dB/vertical div.). Fig.6 YBA Design WD202, waveform of undithered 1kHz sinewave at –90.31dBFS, 16-bit data (left channel blue, right red). Fig.7 YBA Design WD202, waveform of undithered 1kHz sinewave at –90.31dBFS, 24-bit data (left channel blue, right red). The WD202 offers very low levels of distortion, primarily the subjectively benign second and third harmonic, though the fact that it is also very quiet unmasks a regular series of higher-order harmonics (fig.8). But as these are all well below –110dBFS, they will be inconsequential. This spectrum was taken into the high lab load impedance; commendably, the distortion didn't rise into the punishing 600-ohm load. The WD202 also offers very low levels of intermodulation distortion, the second-order difference component at 1kHz (arising from a mix of 19 and 20kHz tones, each at –6dBFS, into 100k ohms) just reaching –100dBFS (0.001%), and all higher-order components lying at or below –110dBFS (0.0003%, fig.9). Into 600 ohms, the level of the spurious 1kHz tone didn't change, but the spuriae at 18 and 21kHz rose to a still negligible –94dBFS (0.002%, fig.10). Fig.8 YBA Design WD202, spectrum of 50Hz sinewave at 0dBFS into 100k ohms, 24-bit data (left channel blue, right red; linear frequency scale). Fig.9 YBA Design WD202 HF intermodulation spectrum, 19+20kHz at 0dBFS peak into 100k ohms, 24-bit data (left channel blue, right red; linear frequency scale). Fig.10 YBA Design WD202 HF intermodulation spectrum, 19+20kHz at 0dBFS peak into 600 ohms, 24-bit data (left channel blue, right red; linear frequency scale). Finally, testing the WD202's S/PDIF for its rejection of jitter, using the Miller Audio Research Analyzer and my worst-case source of a PC playing a 16-bit J-Test tone via 15' of plastic TosLink cable, gave 455 picoseconds peak–peak of jitter-related spuriae in its analog output. This mainly comprised data-related sidebands at ±229Hz, and is low in absolute terms. The central peak representing the Fs/4 tone was narrow and well defined (not shown). Via the USB input, all the sidebands disappeared, which is commendable; but analyzed with the Audio Precision SYS2722, the central peak broadened (fig.11) due to the presence of random low-frequency variations in the sample frequency. Fig.11 YBA Design WD202 high-resolution jitter spectrum of analog output signal, 11.025kHz at –6dBFS, sampled at 44.1kHz with LSB toggled at 229Hz, 16-bit data via USB. Center frequency of trace, 11.025kHz; frequency range, ±3.5kHz (left channel blue, right red). Despite its relatively low price, YBA Design's WD202 offers excellent digital audio engineering. Its only failing is its inability handle high-resolution data via its USB input, but that can be addressed with one of the inexpensive USB-S/PDIF converters from Stello or Bel Canto that I reviewed in the May issue.—John Atkinson

Autosky 发表于 2012-3-22 10:13:57

【ZT】清秀俊逸的解码器YBA wd-202新近对比音乐传真m1 dac



自从上了年纪,我听流行和摇滚的时间一天比一天少,到是对NEW AGE这种适合放松的音乐很感兴趣。WD202的声音就很像是NEW AGE音乐的声音特点。怎么说呢,它的声音不是特别的扎实饱满,但是小提琴、和钢琴的线条感和形体感却不会让我觉得软绵无力,而且可以发出很正确很真实的质感,同时却不会细瘦;不会让人觉得钢琴体型庞大,但是也绝对不会像电子合成器的钢琴声那么单薄。总之听起来非常宽松非常舒服,又不会让音乐听起来软弱无力。在音色上,WD202不会像傍晚的阳光那样带着太多的热度和色彩,却像是清晨时分的太阳光,有着恰恰好的亮度,感觉就是爽朗清透,就像喝了雨后龙井后口鼻回甘生香的那种舒服。




聆听kari Bremnes的《gate ve gate》,可以很清楚的听到低频BASS圆滚滚的,每一个低频就像一个弹力球,尤其是第一首和第三首的BASS堪称控制力与弹性的典范结合。这些圆滚滚的弹力并非反应缓慢的,而是干净利落、收放快速的,这代表WD202的低频控制力很好,不会有多余的赘肉感。《音响论坛》评论形容WD202的低频很结实的时候用了一个比喻:就像把瘫软的毛巾使劲的拧干,剩下了毛巾的线条和少许的水分。我觉得很准确,我另外打个比喻,如果拿一个美女的蛮腰以下比作低频,U2就像一个高个美女穿了一条运动裤,大致可以看得出身高、臀围和腿长,但总有点看不清曲线,WD202就仿佛是同一个美女穿的是紧身短裙和丝袜,整个曲线都可以看得一清二楚,哇咔咔!
听KENNY G的萨克斯风吹奏时不但非常真实直接,而且声音凝聚,穿透力特别强。萨克斯风演奏还有一个特点,如果你的器材解析力够班,每一次按键的手指动作可以听得到清晰的金属的滑动的声音。
听Sara K 轻刷吉他的开场白中,WD202立刻就会将听者带到现场并呈现出一个绝佳的舞台的感觉。这种感觉无法形容,应该就是来自于空间感、透明度、定位感、细节与解析力的综合,总之听上去很像是现场的感觉。



最近对比了音乐传真m1 dac和YBA wd202,各有所长。m1胜在中频厚润,听人声有一种音乐传真招牌的暖色,yba则在解析力、空间感、定位、高频甜美度、低频扎实度等各方面略胜一筹,应该说是比m1稍高阶。两者均为完成度较高、平衡性不错的机器。听人声选m1,听纯乐较多选yba。
耳放为SPL2910、耳机为HD650,音源分别用cd机同轴输出和PC FLAC文件USB输出对比。

Autosky 发表于 2012-3-22 10:16:54


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