The Q-DAC also falls short of matching the sound of similarly priced rivals such as the Musical Fidelity M1 DAC, or bettering cheaper alternatives such as the Arcam rDAC by a convincing margin. While we think the Q-DAC is a decent option, it lacks the talent to be considered an ‘M-DAC lite’. So there’s talent here, but we're not bowled over. The Audiolab insists on sounding so inoffensive to the point where it becomes just a touch dull. 5 by the Scottish Chamber Orchestra and rival DACs lead the way in terms of detail and dynamics. Play a 24-bit/192kHz version of Beethoven's Piano Concerto No. Play a spot of Adele's Rolling in The Deep and Audiolab's impartial, innocuous tone is clearly there.īut the Q-DAC just doesn't quite have the resolution of the very best, nor does it communicate dynamic shifts and the rhythm of a track as convincingly as some. Switch to the Q-DAC's headphone socket and the pleasantness continues. Tonally, things are relatively neutral, but perhaps more importantly the balance between the bass, midrange and treble is nicely judged, with no one part of the frequency spectrum gaining undue prominence. Trying a 16-Bit/44.1kHz rip of Dvořák’s 'New World' Symphony (through USB from a MacBook) shows a good level of insight and a precise way with stereo imaging. All the various elements are packaged and presented in a way that sounds completely inoffensive. The Audiolab laps up Paloma's striking vocal, but doesn't detract from what's going on elsewhere in the track. Play a WAV file of Paloma Faith's Never Tear Us Apart though the coaxial input, and the track sounds controlled and balanced. The differences aren’t massive, but the extra smoothness of optical doesn’t outweigh the slight loss of punch and precision it exhibits. ![]() ![]() It deals fairly with all the inputs, though as usual we find ourselves preferring the sound through the coaxial and USB connections to that of optical. Once given time to warm up thoroughly, the Q-DAC turns in a good performance. It just sounded more vibrant and rhythmically surefooted through our reference Bryston BP26/4B SST2/ATC SCM50 set-up Sound quality The differences between them are subtle and the choice comes as much down to taste as anything else.Īfter playing around with all the options we formed a distinct preference for the Optimal Transient settings, particularly the XD option. Compare it to the Arcam irDAC's remote and it's all a bit fussy.Īs is Audiolab’s way there are plenty of digital filter options – seven, to be precise. Downloadsĭeadline for responses is 17.00 on Tuesday 6 September 2022.So, what’s it like in use? The simplified control arrangement – there’s no large control knob to help scrolling or to enable entering a particular option – means working our way through the menu isn’t quite a pleasant as it could be. You will also need to fill out the budget template to complete your proposal. If you’re interested, please read the project specification and send Jen Morgan, Q’s Head of Design and Collaboration, a proposal by completing the response form at the end of that document. ![]() The ability to synthesise research and data into a coherent and engaging written output.Knowledge and knowhow of social innovation lab landscape including the most recent developments in research and practice. ![]() Skills and experience in rapid evidence review methodology as well as methodology for uncovering grey literature and research.An interest and motivation to build the body of knowledge for social innovation labs.It is intended that this review will be published externally. It is intended that this evidence review will be used to inform the development of the Q Lab UK approach (applying a social innovation lab approach to health and care improvement in the UK and Ireland). Q is seeking external expertise to help review and build understanding of the evidence base for social innovation, policy and system change labs as an approach to tackle complex shared challenges.
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