After the initial 100 hours of doing raw chores, we stacked the two Brooklyn DACs for easy cable swaps. CDs were the first sources to sample. For this the PS Audio PWT connected initially to the DAC, later the DAC+. On top of a CD pile sat Tony Minasian's production Drums & Bells on which drummers Brad Dutz and Chris Wabich work their kits without any compression or other mastering console fiddling. There's stunning 50dB of dynamic range on what many would think is a low-res 16-bit format. This CD is proof positive that just a handful of bits properly used beat many so-called hi-res 24/32-bit recordings. The point of this production is to play back over a system which can retrieve all its subtleties and has sufficient speed to match the master percussionists' transients. Fortunately Tony did not convert the recording into a testy affair so it's musical in the first place.


Next to this drum disc, we played ®chestra's Weeshuis, Hadouk Trio's Live à FIP and Miles Davis' Live Around the World whilst alternating between silver DAC and black DAC+. With CDs and the PWT memory player in particular, we could easily tell the two Myteks apart. Those differences weren't spectacular but undeniably present. The DAC+ was more refined with a rounded smoother finish but for that it was no gentler or warmer. Attack punches remained very much present and the "+" had the better low bass. This retrieved more 3D information for the virtual soundstage. Stage height went up while horizontal stage info stretched further outside the speakers, Avantgarde Duo Omega in this instance. For CD hence PCM, we preferred the minimum phase filter for the non-plus DAC, the slow roll-off minimum phase filter for the DAC+.



Streaming data were next and involved the Sound Galleries SGM passing on Tidal tracks via HQ Player+Roon or Roon direct. We used 24/352.8 PCM and DSD256. Swapping DACs now was slightly inconvenient as the handshake between streamer and DAC wasn't always quick. We therefore played a few recordings with one DAC before switching to the other. Recordings included Melanie De Biassio's Lillies, Ibrahim Maalouf's Dalida, Yuri Honing Acoustic Quartet's Goldbrun, Raphaël Imbert's Music is my Hope and La Chimera and Eduardo Egüez's Gracias a la Vida. Although quite different in styles and recording techniques—the De Biassio album is "DIY on a laptop"—the DAC+ added just a little extra realism. Between PCM and DSD256, we favoured DSD256. The DAC+ offers seven PCM filter shapes compared to the three of the older model. From these we preferred the slow roll-off minimum phase option.


With so many possibilities for sources, assessing a DAC+ is quite an endeavor. Next was analog from vinyl. For this we hooked up the Dr. Feickert Blackbird turntable after moving the DAC+ into our analog corner. As our Zu DL103 is an MC cartridge, we dialed in MC on the DAC+. This setting results in a load of 1KΩ with 65dB of gain. Again we noticed the clever and intuitive way in which the selector switches and rotary knob navigate through the extensive menu options. This kind of user friendliness is rare these days.