Digital playback technology is now commonly viewed as a mature field, where groundbreaking discoveries have already occurred, and the consumer can expect a higher level of performance, more features, and a lower price tag as the industry moves forward. After all, the first digital PCM recording was created in 1971 by NHK, and Sony and Phillips debuted prototype compact disc players in 1979. Today a 4K blue-ray DVD player can be bought for a couple of hundred dollars, and they practically give away a standard run of the mill compact disc player anymore, and they typically reside at the lower end of the market. Although not all is lost, and there is certainly a selection of mid-priced machines targeted at the traditional audiophile. It cannot be denied that audio streaming sites such as Tidal or Qobuz have moved to the forefront of our hobby, and these venues provide high bit rate files at a reasonable monthly subscription cost. So, what does this mean for audiophiles who are searching for exceptional digital playback and want a solid return on investment for their monies spent? On one hand you can purchase a Topping DAC that will support DSD 512, have balanced outputs, and boasts an ultra-low jitter receiver stage. To the typical hobbyist this kind of product checks all the audiophile boxes, right? On the other end of the spectrum are the top-of-the-line pieces from MSB, dCS, Gryphon, or Esoteric. These are components that can range from $35,000 and continue well past $100,000. What course of action should the thoughtful audiophile take these days? Over the years I have listened to a wide array of Digital to Analog converters and have yet to find one that soundly trounced my long-time reference multi-bit DAC that utilized the Burr Brown PCM1704 chip set. Last year I purchased a Trinov Amethyst preamplifier, and one attribute it has is an internal DAC. Now the presentation of music differed from my reference machine, yet I found this DAC to be an incremental improvement, and so I put my Audio Magic Kukama out to pasture. As fate would have it, this summer I received a call from Arthur Power of Power Holdings Inc about a DAC from Cen.Grand Audio that he strongly encouraged me to audition. Normally I take the summer off and take the time to refresh and recharge. Yet after listening to Arthur I was intrigued, so we arranged delivery of the DSDDAC 1.0 Deluxe DAC, and I have to say spending time with this piece has been an eye-opening experience. The DSDAC 1.0 Deluxe sells for $6219.95, which falls into the niche of affordable high-performance audio. I suggest you look closely at this machine, because this DAC plays music in a way that resets the paradigm of what high end digital should cost. In addition, it has eye catching good looks and a build quality that is not expected at this price range.

       数字播放技术现在被普遍视为一个成熟的领域，已经取得了突破性的发现，随着行业的发展，消费者可以期待更高水平的性能、更多功能以及更低的价格标签。毕竟，NHK于1971年创造了第一次数字 PCM 录音，而索尼和飞利浦在1979年推出了原型紧凑光盘播放器。如今，一台4K蓝光DVD播放器可以用几百美元买到，而普通的标准紧凑光盘播放器几乎被送出去了，通常位于市场的低端。尽管情况并非一片绝望，当然也有一些中价位的设备针对传统发烧友。不可否认的是，音频流媒体网站如Tidal或Qobuz已经成为我们爱好的前沿，并且这些平台以合理的月费提供高比特率的文件。那么，对于那些寻求出色数字播放，并希望对他们花费的资金有稳健回报的发烧友来说，这意味着什么呢？一方面，您可以购买一款Topping DAC，它支持DSD 512，具有平衡输出，并拥有超低抖动的接收器级。对于典型的发烧友，这种产品符合所有发烧友的标准，对吗？另一方面，还有来自MSB、dCS、Gryphon或Esoteric的顶级产品。这些组件的价格范围从35,000美元到远远超过100,000美元。现在，深思熟虑的发烧友应该采取什么行动？多年来，我听过各种各样的数字模拟转换器，但还没有发现一款能够彻底击败我长期参考的使用Burr Brown PCM1704芯片组的多位 DAC。

      去年，我购买了一台Trinov Amethyst前置放大器，它具有的一个特点是内部DAC。现在，音乐的呈现方式与我的参考设备有所不同，但我发现这个DAC是一个渐进的改进，所以我把我的Audio Magic Kukama淘汰了。命运似乎安排，今年夏天我接到了Power Holdings Inc的Arthur Power的电话，他强烈建议我试听来自Cen.Grand Audio的一款DAC。通常我会在夏天休息，花时间恢复和充电。然而，在听完Arthur的介绍后，我感到很好奇，于是我们安排了DSDDAC 1.0 Deluxe DAC的交付，我不得不说，与这款产品共度的时光是一次开阔视野的经历。DSDAC 1.0 Deluxe的售价为6219.95美元，属于价格实惠、性能出色的音频产品。我建议您仔细观察这款设备，因为这款DAC以一种重新定义高端数字音频价格的方式播放音乐。此外，它具有引人注目的外观和在这个价位上意想不到的建造质量。

The DSDAC1.0 (Deluxe) is the flagship model from Cen.Grand that is a DSD based DAC which resamples all incoming data to the DSD format. The proprietary software to achieve this is a custom program that took five years to develop. The software is embedded on a pair of Field Programmable Gate Array (FPGA) chips and allows for DSD conversion starting at DSD128 and scales up to DSD1024. The reality is this DAC is unusual as it is a sophisticated design that attacks the challenges of digital playback in a thoughtful and sophisticated manner. I could write pages about the remarkable details of the construction of this DAC, yet I will try to be concise and touch on the highlights that you need to be aware of to understand why this piece is uniquely special.

Audiophiles often feel that jitter is no longer a major issue in the realm of digital playback, yet that is not the complete story. Timing errors are still a critical sector of digital playback, and the Cen.Grand DAC employs an ultra-precise femtosecond clock generator to address one aspect of this issue. Furthermore, this clock signal is not passed through a frequency divider, which can increase the jitter factor. The result is you get a jitter level of 100 femtoseconds or .1picoseconds.

       DSDAC1.0（Deluxe）是Cen.Grand的旗舰型号，是一款基于DSD的数字模拟转换器，可以将所有传入的数据重新采样为DSD格式。实现这一功能的专有软件是一个定制程序，历时五年开发。这个软件嵌入在一对现场可编程门阵列（FPGA）芯片上，允许DSD转换从DSD128开始，扩展到DSD1024。事实上，这款DAC非同寻常，因为它是一种复杂的设计，以一种周到而精致的方式应对数字播放的挑战。我可以写下关于这款DAC构造的卓越细节的篇幅，但我将尝试简洁扼要地介绍您需要了解的亮点，以便理解为何这款产品独具特色。

      发烧友们通常认为在数字播放领域，抖动不再是一个主要问题，然而这并不是完整的故事。时间错误仍然是数字播放的一个关键领域，而Cen.Grand DAC采用了超精密的飞秒级时钟发生器来解决这个问题的一个方面。此外，这个时钟信号不会通过频率分频器，这种设备会增加抖动因素。结果是您得到了100飞秒或0.1皮秒的抖动水平。

USB input is accomplished by a XMOS XU208 interface that is an asynchronous data transfer portal. Typically, this is thought to be the accepted solution to jitter issues with incoming data signal. Cen.Grand has a proprietary feature named "clock blocking" that solves anomalies created by the digital source clock, and does it without using asynchronous sampling rate conversion (ASRC), which is an often-used solution by many designers. Here is the interesting part about asynchronous data transmission and what clock blocking protocol accomplishes. When ASRC is selected, one or more interpolation algorithms will be utilized such as Linear Interpolation, Bilinear Interpolation, Cubic Spline Interpolation, etc. The use of interpolation adds non-original data to the music stream, the data is no longer bit perfect. A-synchronous is an improvement over synchronous USB audio in that it allows the use of a higher quality local clock in the DAC instead of the one in your computer, however, it also has an inherent flaw or drawback in that it adds this non-original data to the music stream. Audio data is not removed, but additional data is added so, it is no longer technically bit perfect. Cen.Grand states that ASRC is an advanced technology, but it negatively affects audio quality. So JianHui Deng has been able to implement a process that synchronizes a low jitter clock signal at the same time without ASRC. This is the underlying magic! The integrity of the data including its timing markers is maintained, but the input clock is replaced with a very high-quality local femtosecond clock that improves the accuracy of the digital to audio conversion. This new incorporated high quality clock signal added to the music data (without the interpolation algorithms) ensures a highly precise DA process, so the purity of the signal is perfect, and the original music quality is maintained. Now JianHui Deng has been able to implement a process that maintains a continuous data flow throughout the DAC, and synchronizes a low jitter clock signal at the same time. This is the underlying magic! The integrity of the data signal including its timing markers is maintained in such a way that the purity of the signal and thus the music is maintained.

      USB输入是通过一个XMOS XU208接口实现的，这是一个异步数据传输门户。通常，这被认为是解决传入数据信号抖动问题的可接受解决方案。Cen.Grand拥有一项名为“Clock Blocking”的专有功能，用于解决数字源时钟引起的异常，并且在解决这个问题时不使用异步采样率转换（ASRC），这是许多设计者经常使用的解决方案。以下是关于异步数据传输以及Clock Blocking协议的有趣部分。当选择ASRC时，将使用一个或多个插值算法，例如线性插值、双线性插值、三次样条插值等。使用插值会向音乐流添加非原始数据，数据不再是完全位完美的。异步比同步USB音频更好，因为它允许DAC中使用高质量的本地时钟，而不是计算机中的时钟，但是它也有一个固有的缺陷或弊端，即它会向音乐流添加这些非原始数据。音频数据没有被移除，但是额外的数据被添加，因此它不再是技术上的完全位完美。Cen.Grand表示，ASRC是一种先进技术，但它对音频质量有负面影响。因此，邓建辉已经成功实施了一个进程，可以在没有ASRC的情况下同步低抖动时钟信号。这就是其中的奥秘所在！数据的完整性，包括其时间标记，得到了保持，但是输入时钟被替换为一个非常高质量的本地飞秒级时钟，提高了数字到音频转换的精确性。这个新加入音乐数据的高质量时钟信号（没有插值算法）确保了高度精确的DA过程，因此信号的纯度是完美的，原始音乐的质量得到了保持。现在邓建辉已经成功实施了一个在整个DAC中保持连续数据流，并同时同步低抖动时钟信号的过程。这就是其中的奥秘所在！数据信号的完整性，包括其时间标记，得到了保持，从而保持了信号和音乐的纯度。

The output stage is another building block of the DSDAC1.0 (Deluxe) DAC. The circuit is a linear balanced circuit designed by JianHui Deng. The power supply uses dual toroidal transformers to supply the digital and analog halves of the DAC. Discreet components are exclusively used in the output stage, there are no op-amps to be found at all. The chassis is built from substantial aluminum material, and the power supply is in a sectioned compartment away from the main circuit board. A crosscut finish is applied to the aluminum, which gives the chassis a refined presentation. Finally, there is electromagnetic isolation between the USB input and the main board of the DAC, so every effort to combat system noise is being used in the DSDAC1.0 (Deluxe) by Cen.Grand.

       输出级是DSDAC1.0（Deluxe）数字模拟转换器的另一个基本构件。该电路是由邓先生设计的线性平衡电路。电源使用双环形变压器为DAC的数字部分和模拟部分供电。输出级别专门使用离散元件，完全没有使用运算放大器。机箱由坚固的铝材料制成，电源则位于主电路板的隔断区。铝材经过了交叉切割加工，使得机箱呈现出精致的外观。最后，在USB输入和DAC的主电路板之间采用了电磁隔离，因此Cen.Grand的DSDAC1.0（Deluxe）采取了一切措施来对抗系统噪音。

This DAC does have preamplifier capability also. The user can choose to configure the unit as a stand-alone DAC or select the variable output option where a volume control using a resistor ladder format allows both precise volume control and retains the purity of the audio signal. This allows for connecting the output of the DAC directly into a power amplifier with either XLR or RCA output cables. Please note that additional inputs are not available on this piece, so it will not be a control center for other components. One thing to notice is the quality of parts used throughout this DAC, as you will find Nichicon Muse capacitors,  Neutrik XLR sockets, and many other upper tier parts. Every piece of the DSDAC1.0 (Deluxe) has been selected for superior performance, and prospective owners are receiving a piece built to demanding expectations.

Many of my listening sessions with the Cen.Grand DAC occurred as a stand-alone component, with the preamplifier duties overseen by a Trinov Audio Amethyst. AS McIntosh Mini desktop computer is the music server with Roon and Audirvana software used in conjunction with Qobuz for streaming duties. A pair of Classe Audio Omega mono-block amplifiers drive my Martin Logan CLX ART electrostatic speakers. A pair of restored Velodyne HGS12 subwoofers take care of the lower registers. A BPT 3.5 Signature Plus power conditioner is paired with the PI Audio Group power cords to provide clean filtered AC power. Interconnects are the Wireworld Gold Eclipse XLR, and speaker wire is Wireworld Eclipse 8. I should also mention that I spent time listening to the DSDAC1.0 (Deluxe) as a standalone unit, so we can discuss how it functioned as a preamplifier.

       这款DAC还具备前置放大器的功能。用户可以选择将该单元配置为独立的DAC，或选择可变输出选项，使用阻值阶梯格式的音量控制器，既可以进行精确的音量控制，又可以保持音频信号的纯度。这使得可以使用XLR或RCA输出电缆将DAC的输出直接连接到功率放大器。请注意，此器件上没有额外的输入，因此它不会成为其他组件的控制中心。值得注意的是，该DAC所使用的零部件质量，包括尼吉康Muse电容、Neutrik XLR插座以及许多其他高级零件。DSDAC1.0（Deluxe）的每个部件都经过精心挑选，潜在的拥有者都将收到一款满足严格期望的产品。

       我与Cen.Grand DAC的许多听音会都是作为独立组件进行的，由Trinov Audio Amethyst负责前置放大器的职责。McIntosh Mini桌面电脑是音乐服务器，与Roon和Audirvana软件一起使用，并搭配Qobuz进行流媒体播放。一对Classe Audio Omega单声道功放驱动着我的Martin Logan CLX ART静电扬声器。一对恢复过的Velodyne HGS12子音箱负责低频段。BPT 3.5 Signature Plus电源调节器搭配PI Audio Group电源线，提供干净的过滤交流电源。连接线是Wireworld Gold Eclipse XLR，喇叭线是Wireworld Eclipse 8。我还要提到，我花时间将DSDAC1.0（Deluxe）作为独立单元进行听音测试，因此我们可以讨论其作为前置放大器的功能。

If I were asked to sum up the sonic character of the Cen.Grand DSDAC1.0 (Deluxe) DAC, I would unhesitatingly use the phrase "sounds like vinyl." This comparison is not an exaggeration or hyperbole, but rather as accurate a description as I can imagine. My reference record spinner is a SOTA Cosmos Eclipse/SME 5 combination that is fitted with a Transfiguration Audio Proteus cartridge. This pairing has a cohesive presentation that ebbs and flows with a refinement that is not equaled by any of the digital to analog converters I have spent time with. The SOTA combination does not lack low level detail, is not dynamically limited, and does not roll off the frequency extremes of music. The Cen.Grand DAC has a cohesive presentation that closely tracks the essence of my vinyl rig, yet has all the detail and precision that quality digital playback is renowned for. On "I Can See Clearly Now" by the Holly Cole Trio I am deeply appreciative of how natural and unforced Cole's vocals come through the system. This presentation truly reminds me of my best moving coil cartridges, with nuance and detail while maintaining an ease of presentation that just does not occur with most digital systems. The acoustic bass is powerful with remarkable extension to the lowest registers, yet the resonance and tone of the wood body clearly comes through in spades. The piano passages also have lovely tone and texture, yet detail and harmonic structure is authentic and natural. What is absent from the Cen.Grand DAC is any etched instruments, cold and harshness, or lean and clinical tone. The DSDAC1.0 (Deluxe) DAC does not prioritize detail retrieval, yet it maintains all these critical elements, yet the essence of the performance is honored and preserved. This is what audiophiles should expect from their systems, and the Cen.Grand DAC certainly meets this expectation.

With the DSDAC1.0 (Deluxe) the user has a variety of sampling rates to select. With PCM source data DSD256 is the only output available in non-rising mode. With Rising mode select the choices range from DSD128, and then you progress through DSD256, DSD512, and top out at DSD1024. Additionally, DSD64 can be inputted via S/PDIF cable in DOP mode, and DSD512 native through the USB input. This leads to the question of which sampling rate is the best? This is a more nuanced question than one might first expect, and the answer really depends on both the system and the listener. On one hand a person might expect the highest DSD rate to have the greatest detail and resolution, yet on the flip side the first DSD rate may represent the least altered signal. At least this is the way the typical hobbyist would look at this question, and I do believe there is an element of truth in this perspective. Within the context of my system, I find a preference for DSD128 in rising mode or DSD256 non-rising, as these settings provide a higher degree of tonal density and texture to instruments; while voices tend to ebb and flow naturally. Now in another system with a different voicing, I can see where the higher settings of DSD512 and DSD1024 would be preferable, and I can appreciate the flexibility that is available with this DAC. When playing "Small Blue Thing" by Suzanne Vega the presentation of the song was dark, complex, and melodic without any hard edges to the music. Do remember that the Martin Logan CLX ART speakers are truth tellers at their innermost core, and any music that is etched or bright will not be romanticized in any way. When changing the rate to DSD1024 the spatial footprint of the music is diminished, and the decay pattern of the acoustic guitar notes shifts to being clipped and truncated. These are not large-scale differences, yet still very apparent within the context of my system. Yet this alternate presentation that occurs may be exactly what a different type of system appreciates. For instance, a horn-based system may respond quite positively to these differences. The choices of sampling rates allow the owner of the Cen.Grand DAC to find the proper fit between source component, the program material, and the rest of the system. This is a valuable tool for owners to have access to.

       如果有人问我总结Cen.Grand DSDAC1.0（Deluxe）DAC的声音特性，我毫不犹豫地会用“听起来像黑胶唱片”这个词汇。这个比喻并非夸张或言过其实，而是我能想到的最准确的描述。我的参考唱片播放器是SOTA Cosmos Eclipse/SME 5组合，配备Transfiguration Audio Proteus唱头。这种搭配呈现出一种连贯性的音质，有一种细腻的流畅性，是我所接触的任何数字模拟转换器所不及的。SOTA组合不缺乏低级别的细节，也没有动态限制，并且不会在音乐的频率极限上出现滚动。Cen.Grand DAC呈现出一种连贯性，密切追踪着我黑胶设备的本质，同时又具备了优质数字播放所具备的所有细节和精准度。在Holly Cole Trio的“I Can See Clearly Now”中，我深深欣赏到Cole的自然和不做作的声音穿透系统的方式。这种表现真正让我想起了我最好的动圈唱头，带有微妙的细节，同时保持了一种不多见于大多数数字系统的表现轻松。低音吉他的表现非常强大，延伸到最低音域，但木体的共鸣和音色清晰地传递出来。钢琴乐段也有美妙的音色和质地，同时细节和谐波结构是真实而自然的。Cen.Grand DAC缺少的是任何雕刻感的乐器、冷酷和刺耳的音色，或者单调而临床的音色。DSDAC1.0（Deluxe）DAC并不优先考虑细节的检索，但它保持了所有这些关键元素，而性能的本质也得到了保留。这是音响发烧友应该从他们的系统中期望的，并且Cen.Grand DAC确实满足了这一期望。

       使用DSDAC1.0（Deluxe），用户可以选择各种采样率。对于PCM源数据，DSD256是非升级模式下唯一可用的输出。在升级模式下选择，选择范围从DSD128开始，然后逐步提升到DSD256、DSD512，最高达到DSD1024。此外，可以通过S/PDIF电缆以DOP模式输入DSD64，也可以通过USB输入进行DSD512的本机输入。这就引出了一个问题，哪种采样率最好？这个问题比人们最初想象的要复杂得多，答案实际上取决于系统和听众。一方面，一个人可能期望最高的DSD速率具有最大的细节和分辨率，但另一方面，第一个DSD速率可能代表着最少的改变信号。至少这是一个普通发烧友会考虑这个问题的方式，我相信这个观点有一定的道理。在我的系统环境中，我更倾向于升级模式下的DSD128或非升级模式下的DSD256，因为这些设置为乐器提供了更高的音色密度和纹理；同时，声音也自然地起伏流动。现在在另一个系统中，我可以看出DSD512和DSD1024的更高设置可能更可取，并且我也能欣赏到这款DAC提供的灵活性。

       当播放Suzanne Vega的《Small Blue Thing》时，歌曲的呈现是暗淡、复杂而且旋律优美，没有任何音乐中的生硬边缘。请记住，Martin Logan CLX ART音箱是最为真实的音箱，在其内核中，任何轮廓清晰或明亮的音乐都不会被赋予任何浪漫的想象。当将速率改为DSD1024时，音乐的空间特性被减弱，且原本的木吉他音符的衰减模式变得被剪裁和截断。这些差异并不是大规模的，但在我的系统环境中仍然非常明显。然而，这种不同的呈现方式可能正是另一种类型的系统所欣赏的。例如，基于喇叭的系统可能会对这些差异产生积极的反应。采样率的选择使Cen.Grand DAC的用户能够在源组件、程序材料和系统的其他部分之间找到合适的匹配。这对于用户来说是一种有价值的工具。

The Cen.Grand DAC deftly balances aspects of resolution and tonal density with a smooth and unforced delivery that brings the beauty of music to the forefront. The spatial presentation of the DSDAC1.0 (deluxe) consistently stood out in my listening sessions. The album House of Sleeping Beauties by Lucia Hwong has been a reference piece for me for many years, and early on I planned to give this album an in depth listen. What I discovered is this piece creates a wondrous tapestry of music, with a cohesive presentation that I have not experienced with another digital component. I have encountered other DACs that generate a large soundstage, but in certain ways the music feels either fragmented or presents as a patchwork of sounds. What amazes me is this album is a synthesis of acoustic instruments and vocals that blends with electronic instruments, yet the final sound is organic and seamless. Certainly, the CLX ART speakers are significant contributors to the final sound, yet if the source component is unable to faithfully resolve the source material, then all the delicacy and beauty is inevitably lost. In this album the flutes are haunting and melancholy, the traditional Chinese stringed instruments are precise as their notes cascade through songs. The synthesized drum lines blend naturally with other instruments and have a level of resolution that belies its synthetic nature. Deep electronic bass movements underpin songs and provide a solid foundation to the higher register instruments. With the Cen.Grand DAC in the system, I have experienced the finest presentation of this album that I can recall, which is quite a memorable experience.

One weekend I bypassed the Trinov preamplifier and connected the Cen.Grand DAC directly to the Classe Omega mono-block amplifiers via the XLR connections. This component has a proprietary linear balanced output stage and a sophisticated volume control based on a resistor ladder design. These elements hint at preamplifier functions that are worthy of being used in a high-performance audio system. Once installed I decided to play the album Graceland by Paul Simon. In "Diamonds On the Soles of Her Feet" the opening vocal passages are remarkable in terms of texture, acoustic space, location in the soundstage, and an overall natural presentation. Once the music started the drums were dynamic and forceful, and yet still had a wonderful decay pattern following each strike. Guitar passages are precise and sharp, and Simon's voice retains a natural presentation and is clearly defined within the soundstage. I followed this song up with "At This Point in My Life" by Tracy Chapman, also sounded fantastic playing through this system configuration. Vocals are clearly defined, natural in tone, and emotionally expressive. The electric bass guitar is resonant and rich, with a large presence in the song. What struck me is how real all the instruments are presented, with proper texture, tone, and dynamic contrasts. If a person wants to run a digital only system, the DSDac1.0 (deluxe) is an excellent standalone component that only needs a quality power amplifier and speakers to complete a system.

       Cen.Grand DAC 巧妙地平衡了分辨率和音色密度的各个方面，带来流畅而自然的效果，将音乐的美好展现得淋漓尽致。DSDAC1.0 (deluxe) 的空间表现始终在我的聆听过程中脱颖而出。Lucia Hwong 的专辑《睡美人之家》多年来一直是我的参考曲目，一开始我就计划仔细聆听这张专辑。我发现，这首作品以一种凝聚的方式创造了奇妙的音乐织锦，这是我从未在其他数字器件上体验过的。我遇到过其他能够营造宽大音场的 DAC，但某些方面，音乐要么感觉支离破碎，要么感觉是声音的拼凑。令我惊讶的是，这张专辑融合了原声乐器和人声，与电子乐器完美融合，但最终的声音却是浑然一体的。当然，CLX ART 扬声器对最终声音做出了重大贡献，但如果源器件无法忠实解析源材料，那么所有的细腻和美妙都将不可避免地失去。在这张专辑中，长笛音色幽怨动人，中国传统弦乐器精准清晰，音符层叠如歌般流淌。合成的鼓声与其他乐器自然融合，其解析度让人难以相信其合成的本质。深邃的电子低音贯穿歌曲，为更高音区的乐器提供了坚实的基础。搭配 Cen.Grand DAC 时，我体验到了迄今为止最好的这张专辑呈现，这是非常令人难忘的体验。

       一个周末，我绕过了 Trinov 前置放大器，直接通过 XLR 连接将 Cen.Grand DAC 连接到 Classe Omega 单声道功率放大器。这款器材拥有一个专有的线性平衡输出级和基于电阻梯形设计的精密音量控制。这些元素暗示了在高性能音频系统中值得使用的前置放大器功能。安装完成后，我决定播放保罗·西蒙的专辑《Graceland》。在《Diamonds On the Soles of Her Feet》中，开场的演唱段落在纹理、声学空间、音场位置以及整体自然呈现方面都令人印象深刻。音乐一响起，鼓声就充满活力和力量，但击打后的衰减仍然非常悦耳。吉他演奏精准犀利，西蒙的声音保持着自然的呈现，在音场中清晰可辨。接下来，我播放了 Tracy Chapman 的《At This Point in My Life》，在这套系统配置下听起来也同样精彩。人声清晰、音色自然、情感丰富。电贝斯共鸣丰富，在歌曲中占据重要位置。让我感动的是所有乐器都呈现得如此真实，纹理、音色和动态对比都恰到好处。如果想建立一个纯数字系统，DSDAC1.0 (deluxe) 非常适合单独使用，只需搭配优质的功放和扬声器即可完成系统。

Technology, build quality, and visual appearance are aspects of audio components that pull at the heart strings and speak to our inner audiophile. Yet at the end of the day, the most overriding factor of a piece needs to be "How well does this piece allow me to enjoy music?" Outstanding components transport the venue and artists to our listening room and provide an experience of a slice of time that has passed us by. Tom Waits had the following quote that expresses this idea concisely: "Songs really are like a form of time travel because they really have moved forward in a bubble. Everyone who's connected with it, the studio's gone, the musicians are gone, and the only thing that's left is this recording, which was only about a three-minute period maybe 70 years ago." The Cen.Grand DSDAC1.0 (deluxe) is one of the few components that can harness all the technology available to us and provide a musical experience. If I were asked to sum up the presentation of music, I would say it is analog like. Which means there is detail and resolution, yet the music flows and ebbs in a way that is unhurried and graceful. Performers are tightly focused, the timing between instruments is believable, there is an even tonal balance in all registers, and the acoustic space is clearly defined. The overall build quality and construction of this DAC is superb, and you get a finely crafted component. Yes $6000 is more expensive than the average DAC in our current market, yet in this case you get what you pay for. This piece is certainly one of my favorite components I have had the good fortune to take up an extended residence in my home. I hope you can listen to the DSDAC1.0 (deluxe) as this is an outstanding machine on so many levels, as you get first rate sound quality combined with artisan level build quality.

       技术、质感、美观，音响器材的这些特质往往触动发烧友心弦，唤醒内在的乐迷灵魂。但归根结底，衡量器材的最高标准只有一个：它能让你多沉浸于音乐之中？ 杰出的器材能将演奏现场和艺术家们带入你的聆听室，让你体验到那逝去的时光片段。正如汤姆·威茨所说：“歌曲是时旅的一种形式，它们被包裹在气泡中前进。所有与之相关的人，录音室和音乐家都已消逝，只剩下了这段录音，也许是70年前的三分钟片段。”

       Cen.Grand DSDAC1.0 (Deluxe) 就是少数能驾驭现有技术，为你提供卓越音乐体验的器材之一。用一句话概括它的音乐呈现，我会说它是 类比般的 。既有丰富细节和解析力，音乐流动自然，舒缓优雅。演奏者清晰精准，乐器间的配合精准可信，各音域音色平衡，声场清晰明朗。这款 DAC 的整体品质无可挑剔，精工细作，堪称艺术品。 是的，6000 美元的价格高于市场平均水平，但这笔投资绝对物有所值。它是目前我非常喜爱的器材之一，有幸长期占据我的聆听空间。我希望你也能够有机会聆听 DSDAC1.0 (Deluxe)，这是一台各方面都出色的机器，为你提供一流的音质和匠人级别的品质。