Disclaimer: The black Hugo2 unit described below was provided by Chord as part of a demo tour, in exchange for posting an honest review when I was done with the unit. The loaner unit has been returned to the tour organizers (thank you @Barra). No other consideration was given nor received.
UPDATE: I did not have my Blu2 in time for this review (I originally wanted to do a comprehensive review of the Chord Mojo to Hugo2 to DAVE to BluHugo2 to BluDAVE), but have since received it, and posted a second part to this review covering all things Blu. You can find it here:
https://www.head-fi.org/showcase/chord-blu-mk-ii-digital-cd-transport.22848/reviews#review-19675
Background
After many years of life getting in the way of enjoying high fidelity music, a couple years ago I went through a process of upgrading my two channel system (documented here:
http://thingssoimpossible.blogspot.com/2016/10/speaker-quest.html), then diving deep into headphones to be able to take that experience with me (documented here:
https://www.head-fi.org/threads/adv...-head-first-into-the-head-fi-deep-end.824351/ )
After spending countless hours with delta sigma DACs of various levels (mostly with my Oppo HA-1) and R2R DACs (mainly Schiit DACs, all the way up to the Yggy), I saw a posting pointing to $400 Mojo’s on the German Amazon site (score!). In my initial research, it had come down to the Oppo HA-1 vs Mojo/Hugo, but I went with Oppo because the Chord DACs were so butt ugly (and didn’t have a remote, but the ugly part makes the story better). $400 was too good to pass up, so I jumped into the Chord world.
On first listen Mojo was awesome, but also disorientating for some reason. It took a couple weeks, but my brain adjusted to the Mojo to the point where it was very difficult to go back to my Oppo or my buddy's R2R DACs. I considered that my Red Pill moment, where I started to hear things in recorded music that I hadn’t heard before. Based on that promise, I ordered a Chord DAVE and preordered a Chord Blu2. Although my left brain was certain those would be good decisions, my right brain was nervous as hell until the DAVE arrived, and my left brain was proven right.
I’m now a convert to the Chord sound, and the intoxicating effect of what I call the Chord Magic: music feels real and physical, and the emotionality of the performance becomes tangible. How does the new Chord Hugo2 compare to its two siblings, and how best to capture and amplify that magic?
Philosophy
Unlike other audio components, I find it extremely difficult to audition DACs, and nearly impossible to do direct A/B comparisons across DAC signatures. For me, the DAC is a critical component in creating the synergy between source material to DAC to analog reproduction to your brain and how it bends and adapts to what it is hearing. It can take me weeks to really become part of the new system and understand what it evokes. If I focus on any particular detail with a particular DAC, unless the DAC is defective that detail will almost always be there in other DACs if you focus hard enough.
What matters for me is how the notes come together to something larger, a resonance that is greater than the sum of its parts. Once I hear that something special, I can look for words to describe it (transparency, clarity, etc), but I find it very difficult to listen for those things a priori. DACs are at that crucial pivot point between a recorded representation of the sounds, emotion, and artistry at a moment in time, and recreating those sounds, emotions, and artistry in a different time and place. In a very real sense, it becomes a proxy for the artist, and the new source of all those sounds, emotions, and artistry. When evaluating DACs, I need to let go of the left brain, and immerse myself in the sounds, emotion, and artistry as I would at a live performance.
As an imperfect analogy of that experience for me, mixing coal + chalk + water + iron filings in ever more precise proportions using ever more esoterically sourced materials won’t result in a child that you will cherish and adore and make the center of your life. Arguing about the purity of the water or where the coal was sourced from and the magnetic properties of the iron changes nothing. The real debate is how they come together, and how it comes alive and becomes meaningful for you.
The Mojo then DAVE have completely changed my experience of music. For the first time I've gone from “listening to music” to “participating in a performance”. Even with DAVE, different recordings evoke different levels of what I characterize as intoxication or euphoria from the performance. Classic recordings from the late 50s and early 60s in particular are remarkable with DAVE. They give a glimpse of transcending even “participating in a performance” to directly “experiencing an emotional truth” (what I think of as the art of the performance).
For me, this echos my experience of being delighted to happily listen to an amateur performance in a coffee shop or a subway that I wouldn’t in a million years listen to as recorded music (style or quality or content of music/performance); being in the presence of a real person expressing themselves through music is a magical thing. How close can you get to reproducing that emotional and artistic experience, and not just those noises?
Chord DACs are the best I’ve ever heard at crossing over from music to performance to even occasionally offering glimpses of emotional truths. I very much appreciate the opportunity to audition the Hugo2, and see where it sits on the spectrum between the Mojo and the DAVE. I was hoping to have my Chord Blu2 delivered in time for this review (to compare BluHugo2 vs BluDAVE), but that was not to be. When my Blu2 arrives, I will update this review with that comparison, with the sincere hope that it will take us even farther on that journey toward experiencing emotional truths.
As always, the chronicle of the journey is long. For those that want to jump to the end, I have a
tl;dr section, and a story to sum it all up.
Hardware
Source setup:
- Macbook Pro and Mac Mini, running latest OS X, content on local SSD, running Roon 1.3
- Bit perfect either direct USB, or via direct ethernet to a Sonore Sonicoriber SE running Roon Bridge to USB, to the DAC
DAC setup
- Chord Mojo ($600)
- Chord Hugo2 (black tour loaner unit) ($2400)
- Chord Hugo2 (silver) ($2400)
- Chord DAVE ($13000)
- MIA: Chord Blu2 ($13000) (hopefully coming soon)
Headphone setup
- Sennheiser HD800 (with SR mod) ($800 used)
Traditional Two Channel Setup
- RCA from DAC to Benchmark AHB2 amp ($3000) to B&W 802D3’s ($22000/pair)
Direct Two Channel Setup
- RCA direct to Omega Super Alnico Monitors ($2000/pair)
- For Chord DAVE, XLR direct (in parallel) to JL Audio F112v2 subwoofer ($3700), tuned to room and low end fall off of Omegas (~45Hz)
- For Chord Hugo2, no connection to subwoofer
DAC settings
- For headphones, crossfeed set to 2 for DAVE and Hugo2 (no crossfeed setting on Mojo), unless recording is binaural (0 crossfeed)
- Neutral filter for Hugo2
- PCM+ mode, HF filter on for DAVE
- All DACs volume matched using a SPL meter
- For A/B/C DAC comparisons, I put all the DACs in the same Roon zone for synchronized playback and switched headphone from DAC to DAC
Tag alongs for fun
- Schiit Lyr 2 tube amp ($450) and Schiit Bifrost Multibit DAC ($600)
- Martin-Logan Motion LX16 speakers ($500/pair)
- Audio Zenith PMx2’s headphones (heavily modified Oppo PM-2’s) ($1800)
- Noble Katana CIEMs ($1600)
- MrSpeakers Aeon Flows headphones (closed) ($800)
- Grado HP1000 (HP2) legendary old skool headphones ($priceless)
Content
My Go-To Chord DAC Demo tracks and what I look for in each:
Pink Noise (mono), from “The Ultimate Headphone Demonstration Disc” bu David Chesky (Chesky, 24/192 FLAC)
Yeah, its pink noise, but it tells you a lot about a set of headphones as you get oriented to system. For 2 channel, great way to see if your speakers are aligned and you’re in the right spot. Great baseline reference to make sure things aren’t wonky and you’re in a good place (and it is sort of fun to think about all this technology being using to play a 24/192kHz noise file
Murakkaz Ah Ya Muddasin, from “The Splendour of Al Andalus” by Calamus (MA Recordings, DSD64)
Remarkable recording in what sounds to be a majestic and spiritual centuries old cathedral in Spain. With the right equipment, you are transported to a place you’ve never been to but always want to get back to. When the full group joins in, it is profoundly challenging to reproduce the mids and highs without sounding shrill and congested. When the reproduction is effortless, it is magical (to say the least…my jaw drops every time when it’s “right”) If the sound chain is able to maintain that glorious soundstage, it is off the charts. Todd Garfinkle is a magician behind the microphone.
Noche Maravillosa, from “Salterio” by Begonia Olavide (MA Recordings, 16/44.1 FLAC)
Another gem of a recording and performance from Todd. The precision and clarity of the instruments (particularly the percussive ones) is intoxicating and tangible.
Voglia Di Vita Uscir, fremo “Buenos Airers Madrigal” by La Chimera (MA Recordings, 16/44.1 FLAC)
Todd also is a master at capturing performances in a more orchestral setting. These performances by La Chimera are a joy.
Mahler: Symphony #2 'Resurrection’, 1st movement conducted by Iván Fischer (Channel Classics, DSD64)
Mahler: Symphony #2 'Resurrection’, 5th movement conducted by Iván Fischer (Channel Classics, DSD64)
Near perfect performance with a perfect recording. The dynamics and power of this performance are vivid and real: the orchestra virtually screams with one voice during the climaxes. This recording beautifully captures the essence of horns and low strings, which are very difficult to reproduce. The closest I’ve heard to the experience of the dynamics of a live orchestral performance.
Rimsky-Korsakoff: Scheherazade, 1st movement conducted by Fritz Reiner (Analogue Productions Remaster, DSD64)
The most perfect recording of the most perfect performance I’ve ever heard. Listening to this recording on a transparent system is a life changing experience: you are standing with Maestro Reiner in Chicago as his orchestra reaches for a performance for the ages. A cultural treasure, and worthy of building a world class system around.
Organ Prelude, JS Bach Magnificat by Dunedin Consort (Linn, DSD64)
Motet, JS Bach Magnificat by Dunedin Consort (Linn, DSD64)
A breathtakingly lovely recording! The dynamics and harmonics of the organ can range from a muddy “eh” to “holy crap!” depending on the quality of the reproduction. Standing in the middle of choir is a lovely test of imaging and voice reproduction: the more precise the soundstage the more you can pick out individuals (including depth and height…remarkable).
Handel: Messiah - Chorus. O thou tallest good tidings by Dunedin Consort (Linn, DSD64)
Handel: Messiah - Hallelujah by Dunedin Consort (Linn, SACD)
A magnificent recording, reconstructing the original version of Handel’s Messiah, with a total of 12 singers. The normal complexity of the piece is captured in a way where you can hear each voice in the chorus, and how it comes together into a larger whole. An amazingly intimate performance when the reproduction chain can manage the complexity and dynamics and not have the soundstage become muddy and flat.
Arnesen: Magnificat - Fecit potentiam by TrondheimSolistene (2l, 24/192 FLAC)
This is such a lovely recording at any quality level, but goes from incredible to other worldly as the chain scales up. The orchestra, choir, and church should all have equal contribution to something far greater than the sum of its parts. When it all comes together, you can feel the three core elements feeding off each, creating a profound joy that is sweeps you into euphoria.
Stardust, from “Duets” by Rob Wasserman (16/44.1 lossless)
Every track on this album is a gem, but this one is particular is a fantastic test of sound stage and imaging. At its best, you hear each backing voice precisely in space, but still presenting as a harmonious whole. In real life, detail and precision spatial placement isn’t hard and clinical, why should it be in reproduction?
Oh, Lady Be Good, from Bassface Swing Trio Tribute To Cole Porter (DSD64)
Night and Day, from Bassface Swing Trio Tribute to Gershwin (DSD64)
These direct to disc Stockfisch recordings are extraordinary. Imaging and dynamics FTW. Recordings like these are why we obsess over the things we obsess about. I’m looking to get lost in the music, and the band appearing to be sitting right there. When tonal balance is just right, these performances just jump off the SACD.
Shamas-Ud-Doha Bader-Ud-Doja, from “Shahen-Shah” by Nusrat Fateh Ali Khan (16/44.1 lossless)
The first track from what was my surprise 2012 album of the year (see
http://thingssoimpossible.blogspot.com/2012/12/2012-albums-of-year.html for that backstory, with the surprise ending). A remarkable supremely spiritual performance by a remarkable man, captured in an “eh” recording. The question for me is what these DACs can do to elevate a middle of the road recording that is worthy of elevation.
Let Me Touch You For Awhile, from “Live” by Alison Krauss (DSD64)
I adore Alison Krauss. Having equipment that can reproduce the wonderful emotion and musicality of these amazing artists is why I spend so much time looking for the right speakers/cans/etc. Their Live album is special, and you can feel the humanity and emotion in this track.
Tenderly, from “While She Sleeps” by Art Lande (Blue Coast, 24/88.2 FLAC)
Cookie Marcenco has a gift for capturing piano, guitar, and voice as if you’re sitting in the room with the artist. If you’ve ever sat next to a wonderfully tuned piano with an extraordinary player, you know how magical that experience can be. The best pianos sing with resonances that envelop you. The best musicians know how to coax beauty and life out of the instrument. This recording from Art Lande captures that magic. The stronger the dynamics, soundstage, and precision of the system, the more lifelike this track becomes for me. I haven’t experienced this track topping out: the better the reproduction chain, the more lifelike it becomes.
One World, from “Session 1” by Sareena Overwater (Blue Coast, DSD64)
One World (Instrumental), from “Session 2” by Sareena Overwater (Blue Coast, DSD64)
Real magic from Cookie. These tracks are wired directly to deeply held memories for me, and the stronger the reproduction chain, the stronger the emotion that they evoke. There are better examples of piano performance and better examples of vocals, but the emotional truth and power of this performance is unmatched. More on this track at the end of this review.
99, from “Blue Coast Special Event 43” by Meghan Andrews (Blue Coast, 16/44.1 FLAC)
Cookie knows how to record guitar too, and Meghan Andrews knows how to bring a performance that is worth catching in a bottle.
Vous et Moi, from “Night and Day” by Willie Nelson (SurroundedBy Entertainment, 24/96 FLAC)
What if Willie Nelson was in a dispute with his label, got pissed off, and invited the best musicians he knew to the studio to record an instrumental album in full surround? Yeah, this actually happened, and it is as awesome as you think it is. The album is amazing in a musical surround setup, but a proper 2 channel system puts you right in the middle of the band. Incredible stuff.
Music in My Room, from “The Folkscene Collection, Vol. 3” by Cheryl Williams (Redhouse Records, 16/44.1 FLAC)
We’ve all had the experience of being in a coffee shop or small venue, when someone with a guitar and something that has to be shared commands the attention of everyone in the room, and you have a moment where the whole room is one. These CDs where engineer Peter Cutler captured intimate in studio performances at KPFK in Los Angeles are replete with those moments, but this performance by Cheryl Williams stands out for me. With a great reproduction chain, the guitar is real and present, and the voice and singer connect at a deep emotional level. A jewel of a moment, waiting for the right equipment to be a moment again.
All I Want, from “After Blue” by Tierney Sutton (BFM Jazz, 16/44.1 FLAC)
Tierney Sutton has a striking clear and present vocal style, and that is on full display on her “After Blue” album of Joni Mitchell standards. I continue to be amazed how ever better DACs extract ever more nuance and subtly of performance from top tier vocalists. It is a joy to hear the depth of craft and art of vocal performance on tracks like this.
Rosa fresca, from “Il viaggio d’amore” by Arianna Savall and Petter Udland Johansen (Carpe Diem, 16/44.1 TIDAL Lossless)
“The journey of love” is a marvelous exploration of love through the ages, from multiple cultures and times. The whole album is a joyous wonder, but the opening track (“Fresh Rose”) of a traditional song from the 1500s is an invitation to join in joy and unbounded hope. The company of players is feeling it, and you do too. When you’re hearing every string pluck in the strums and the voices comes together into something much larger than the sum of its parts, you’ll be glad you accepted that invitation.
L’Amor, from “Bella Terra” by Arianno Savall (Alia Vox, 16/44.1 FLAC)
If “Rosa fresca” makes you fall in love with Arianna Savall singing about love, you’ll want to seek out her “Bella Terra” album. An accomplished harpist and vocalist, Savall is at her best when she brings both together: voice and instrument are one, and evoke marvelous sound and emotional resonances in each other.
Traveler, from “Little Crimes” by Melissa Menago (Chesky, Binaural 24/192 FLAC)
Airplane, from “Little Crimes” by Melissa Menago (Chesky, Binaural 24/192 FLAC)
A gem of a recording from Chesky: direct binaural recording, made in a church while it is raining outside. Like all Chesky binaural recordings, you are there sitting with the performers (Airplane), with special magic from the sound of the rain outside of the church (Traveler). Fantastic test of soundstage and spatial detail.
Hold On, from “Sessions from the 17th Ward” by Amber Rubarth (Chesky, Binaural 24/192 FLAC)
Don’t You, from “Sessions from the 17th Ward” by Amber Rubarth (Chesky, Binaural 24/192 FLAC)
More Chesky magic. No rain this time, but Amber’s rich voice + violin + guitar + percussion are amazing on any system, but the sense of being there scales beautifully as the reproduction chain improves (it is magical when your system crosses some threshold of transparency…all of a sudden you are there).
Stuck In A Moment You Can’t Get Out Of, from “Open Your Ears” by The Persuasians (Chesky, Binaural 24/96 FLAC)
One last gem from Chesky. There is a profound difference to listening to a recording of a group of people sing, and being with a group of people that are singing. This is another recording that (at least for me), when you cross some magical threshold of transparency, the people become real.
Karamawari, from “Gamushara” by YAMATO the drummers (TIDAL MP3)
Drums are notoriously difficult to reproduce in the way you experience them in person. There is a physicality that is lost in most systems. Hearing a group of percussion masters really bring it on a system that can approximate that in person experience? Amazing.
Get Lucky, from “Random Access Memories” by Daft Punk (24/88.2 FLAC)
Another track that transcends pop when played back through equipment that really reproduces the full range and dynamics of the recording. The subtlety and layers on Nile Rodgers’ guitar work is incredible, and the recording is outstanding so you should be able hear it all. I listen for whether it is washed out, and how well I hear all the (considerable) nuances in his playing.
Take Five, from “Time Out” by Dave Brubeck (Analogue Productions SACD)
An excellent test of dynamics at the high end. As an aside, these Analogue Productions remasters are off the charts!
No Love Dying, from “Liquid Spirit” by Gregory Porter (24/192 flac)
Another lovely recording and performance, that on a balanced system hits a resonance that is next level for me (just sounds “right” and get the “wow!”) When things are not in balance or boomy/shrill, I hear it loud and clear.
Beethoven: Symphony #9, 4th movement by Suitner (OG Denon, 16/44.1 lossless)
This was the first CD I ever bought in 1984 (first CD ever made?) I know every second of this movement and every nuance. My current 2 channel setup was the first time I had ever heard the entire movement without a break (every other system I’d ever had/auditioned had some break at some challenging passage).
So What, from “Kind of Blue” by Miles Davis (Japanese single layer SACD version)
One of the finest recordings and performances of the 20th century. Always the last track I play during any audition. Until there is a time machine to take me back to March 2 and April 22 1959, I will buy every new remaster of this album, and play it on every piece of high end audio kit I can find.
Physical Impressions
Yeah, our listening session was a bit out of control (see photo above). From left to right, you have a lovely
Scott Radke marionette, my JL Audio F112v2 sub, my beloved B&W 802d3 speakers, Omega Super Alnico Monitors (with some $100 speakers I forgot about sitting on top), Martin-Logan Motion LX16’s, a buddy's Silver Hugo2, a buddy's modest Schiit stack (Lyr2 amp + Bifrost multibit DAC), Black Hugo2 (tour loaner), and my Black Mojo. Heading down, you have my Chord DAVE (with Sonicorbiter SE hiding behind it) and my Benchmark AHB2 amp.
The Hugo2 is (physically) a mixed bag. It was much lighter than I expected (esp. after the Mojo) while still feeling very robust, but the sharp corners seem unnecessary. As a transportable, you’d definitely want a case to protect the unit and protect everything else in your bag. The weight of the Hugo2 was also surprisingly reasonable (esp. compared to that mini tank that is the Mojo). It could easily be an everyday carry device.
Having the silver and black Hugo2 side by side, both were very nice. Chord did a lovely job with the finish on the silver unit, exuding a refined sense of quality and depth. The black is consistent with what I have on my Mojo and DAVE, and my preference to keep everything in the family. I think most people would be delighted with either finish.
I was shocked at how horrifically bad the button/light design/scheme was for the unit. Any modern device where you have to study the instructions and fiddle with garish buttons and obscure color schemes to figure out what the hell is going on has taken designer affectation way too far. The only saving grace was that I had a clear favorite filter (so I could ignore that button), only used USB input (so I could ignore that one), and cross feed has such an obvious sonic impact that it is hard to screw up what setting you’re on. As frustrating as the button/light scheme is, the remote makes everything better. Keep it close and keep your sanity.
Listening Impressions: Headphones
Lets start with the most important question, and settle the debate that has been raging: Silver Hugo2 vs Black Hugo2?
After 40+ hours (maybe it was seconds) of critical listening, I can definitively state that they sound the same (sorry @doody
With headphones, the comparison between the Mojo, Hugo2, and DAVE is much more interesting. What does each 5x step in price at each level buy you?
I went through my full song list, switching back and forth between the three sibling DACs (see end for my detail notes/impressions). The differences were clear and consistent, regardless of track/genre/etc.
Mojo was very satisfying, and created a better listening experience than almost any other non-Chord DAC I’ve heard, but it only hints at the sense of euphoria and emotional engagement I get from the Chord DAVE and Hugo2. I consider it the best value DAC available anywhere, even up to 5x its price, but the danger is you hear that “something more” and your brain gets that rush of being in front of real musicians, and all sense of fiscal control goes out the window (guilty as charged).
With the Hugo2, those hints of clarity/reality become sustained. Spatial resolution goes WAY up, and individual instruments and people become much more resolved and distinct. Phrasing (vocal and instrumental) becomes vivid, and the musicality and emotion of the performance goes next level. An incredibly emotionally satisfying sense of presence at the performance, and a window into the artistry of the musicians.
With the DAVE, what the Hugo2 does so well goes off the charts. For me, this is the musical crack, tapping right into the emotional centers of my brain. Whereas with the Hugo2 I can hear individuals and their performances really for the first time, with the DAVE I get a vivid sense of how they are feeding off each other and the space they are performing in. Mesmerizing and enthralling, and emotionally vivid. This is an experience I never thought was possible with reproduced music, and like any good junkie, I want more MORE
MORE. I can’t wait to hear what the Blu2 will bring to the party.
Some quick summarized impressions from headphone listening:
- Mojo is better with crossfade, even if no longer bit perfect (bite the bullet and set up the filter in your playback software)
- Musical congestion (large scale orchestral pieces, etc) really challenges resolution on the Hugo2, but is revelatory when a DAC like the DAVE can keep up (so much power in groups of people expressing music together)
- As you go up the stack, there is a big difference for nuances in vocals, strings, drums, etc. The artistry really becomes palpable
- Resonances and ambient reflections make a big difference for reality and balance. Space and mix get so much more natural as you move up the stack
- The nuance of vocals and performance in a group setting is startling when you are able to start hearing it. I've changed my music listening mix to include far more choral and orchestral pieces than I ever listened to before (from <1% to maybe 40% now)
On my non-scientific impression scale of 1-10, calibrated so the Mojo was at the low end and DAVE at the high end so it is easier to see where the Hugo2 lands in between, the Mojo came in around a 2, the Hugo2 a 4, and the DAVE around an 8. Interestingly, this is close to the ratio of additional bits of temporal resolution as you go up the Chord stack (+1 bit from Mojo to Hugo2, +1 1/2 bits from Hugo2 to DAVE)
On this scale, almost any other DAC I’ve heard wouldn’t even get above 0. Rob’s DACs are in a league of their own. Within the Chord stack, the differences are not subtle, the experience fundamentally different and better, crossing some sort of phase transition from listening to music to being part of a performance. Great stuff, and I can’t wait to hear what the next +2 1/2 bits that the Blu2 gives us.
Listening Impressions: Traditional Two Channel
My perception of what I think of as the Chord Magic is more subtle in my traditional two channel setup. Like most things I’ve experienced with these kinds of high end system, you can move the needle in obvious ways, but very difficult to get transformational changes.
As I went from Mojo to Hugo2 to DAVE, there was progressively more richness and reality, and I know enough of what the rush from that Magic felt like that I’m able to find it easier and easier as you go up the ladder. However, you do need to listen for it, rather that it overwhelming you like the headphone experience.
That being said, this was with the Benchmark amp, which is a particularly fast/low distortion/low noise amp (to say the least). With the Schiit Lyr2 tube amp, the Chord magic was basically gone.
I’m fairly certain that a fundamental transformation of the traditional two channel listening experience will need to wait until Rob’s digital amp becomes available. I’m very eager to hear what my B&Ws can do once the digital amp becomes available.
Listening Impressions: Direct Two Channel
Based on Roy’s (@romaz) recommendation, I’ve long been intrigued about connecting the DAVE direct to a high efficiency single driver speaker like the Omega Super Alnico Monitors. If you can eliminate the power amp and the cross overs and the imbalance between different speaker drivers, could this be close to the ultimate two channel experience?
For this eval, I ordered a set of Omega Super Alnico Monitors (thank you Louis!) so we could try them in a traditional 2 channel setup (DAC to amp to speaker) and direct from the DAVE and Hugo2. During our listening tests, we also discovered the marvel that is near field listening with these single driver speakers. For kicks, we also did listening tests with the Martin Logans (high efficiency multi driver speakers with what should be a fast a ribbon tweeter)
Starting with the Martin Logans, the traditional two channel experience was OK for what you would expect for a modest bookshelf speaker (nothing special here). The Hugo2 (~1W) wasn’t beefy enough to drive them direct, but the DAVE (~2W) was. In far field, imaging was very limited and at best OK. I had zero sense of depth, and very limited spatial resolutions (maybe 4 distinguishable zones, and virtually no height). Dynamics were muffled, with no pop or attack. In general, playback was smeared, with limited detail. Piano sounded like a recorded piano, not a real piano. I’d give it maybe 1/10 (for the price) even driven directly from the DAVE. Not an auspicious start to our experiment.
Near field with the Martin Logans direct from the DAVE was a much better experience. Imaging may have improved to maybe 8 zones, but still no depth. For complex orchestral pieces, the soundstage collapse to seem like it was coming from two speakers. The speakers also lost musicality at low volumes. Maybe 4/10 (for the price). Better, but at best incremental and not transformative.
Net net: the Martin Logans are OK mid to low end bookshelf speakers, and except for brief flashes can’t keep up with the Chord kit, and can’t recreate that Chord Magic. Big miss.
On to the Omegas. With single drivers (no cross over, no concerns about matching the tweeter with the mid/bass driver, etc), and fast and responsive Alnico magnets with a low mass cone, we should get near perfect phase alignment between the channels. So how do the Omegas do? The Omegas were a completely different experience, and one of the finest experiences of music reproduction I’ve ever experienced and enjoyed.
Driving the Omega’s in traditional two channel setup (DAVE to amp to speaker) was incredible: vivid imaging, ultra fast and effortless highs, with amazing spatial resolution. Good resolution for height and depth, and a real physicality for things like horns and strings. The bass extension was surprisingly rich and deep, and highly musical. You can get away without a sub, but the right sub (fast enough to keep up with the Omegas and low distortion) adds that something extra that takes it over the top. Piano now sounds like a real piano, and you can close your eyes and see where people are standing in the choir. Let’s call it 7/10 (for the price, even though the Omegas are 4x the price of the Martin Logans)
Listening to the Omegas near field in a traditional two channel set up was next level again: depth and height imaging became fantastic, with a much more spatially balanced soundstage (esp. for more complex orchestral pieces). The musicality was preserved whether at loud volumes or extremely low volumes (amazing). Left right resolution is excellent, up down OK, and depth resolution very coarse (but it is there). Piano even more real, and voices the same. Call it 9/10 for price. An incredible two channel experience, well beyond anything I had ever experienced before getting the Chord DACs.
With all that, the real revelatory experience was going direct from the DAVE to the Omegas. In far field, soundstage becomes massive (all dimensions) and precise. Scheherazade is everything you dream it to be…you can almost hear individual instruments (almost), violin is angelic and soaring, and you can look in an arc around the orchestra like you’re standing in the conductors spot. Choral recordings cross into real territory, where you don’t have to use your imagination to imagine what the setting was like. Strings much more precise and real, and Stardust is a wonder…the vibrations on the bass are distinct and blend with the voice marvelously (interestingly, the precision of the bass vibrations makes the bass sound like it goes deeper). Much better depth resolution, and height resolution, and piano takes me back to sitting next to a real piano as my daughter is playing it. Cheryl Wheeler on guitar is that coffee shop experience (the humming of the guitar strings is what it sounds like on my guitar). 100/10 for the price…absolutely incredible and an experience that you must seek out.
As incredible as DAVE direct to Omegas is, listening to them in near field takes it to a completely different level: INSANE imaging, depth, height, evenness of soundstage…it is a real world stage. Everything that was awesome in far field made more incredible by the depth and vividness of the soundstage. The low volume musicality is off the charts….you can hear everything and lose no musicality by losing volume. 200/10 for the price. I am restructuring my living room so I can have this experience going forward.
Omega’s driven directly by the DAVE is (without hyperbole) among the finest music listening experience (reproduced or live) I’ve ever experienced. If this is any indication of what we can expect with Rob’s digital amp is available, I am grateful to still have the hearing to be able to appreciate something this amazing.
So what about the Hugo2? Can that tiny little box with <1W output touch that magical experience of driving Omegas directly from the desktop DAVE with its <2W of output? Incredibly, the answer is a definitive yes (with some notable asterisks).
First of all, it is otherworldly to hook up a Hugo2 direct to speakers and hear that kind of volume and music from a tiny portable. It seems like magic and an impossible thing emanating from that tiny box, but you can drive extremely satisfying music levels direct from the Hugo2. The experience is very reminiscent of the DAVE direct experience, but a similar step down as what I heard from the DAVE to Hugo2 with headphones. In this case, going from 100/10 to 50/10 far field, and 200/10 to 100/10 near field is a wonderful first world problem to have to deal with. In the right circumstances, Hugo2 driving the Omega Super Alnico Monitors is dollar for dollar the best musical experience I’ve ever had.
So what are the asterisks and right circumstances and all the caveats clouding the last paragraphs? For less complex pieces, like vocal, small jazz ensembles, etc, this is an ideal pairing. Make sure to be careful to adjust volumes for different albums that are mastered to different levels, since it is easy to over push the Hugo2 and start get some harshness (esp. in far field…in near field with comfortable listening levels, I never had to worry about it). With more complex pieces (orchestral pieces or pieces with driving bass or trashing hard rock), you lose the magic quickly: things just collapse back to “normal” (a very nice normal, but the magic is gone). The poor Hugo2 has limits on the complexity and dynamics it can drive on the Omegas vs what the DAVE can do.
If this is the path you’re going, I would drive direct Hugo2 to Omegas as much as possible, even if it means changing what you listen to. For pieces that overwhelm the Hugo2, get a nice baby amp like the Temple Audio Bantam Gold and swap it in when you want to rock the house, or spin up a large scale orchestral piece. Yeah, swapping wiring is a pain, but you’ll be very very happy. If you can swing the extra expense for DAVE, you’ll be happier still, esp. how amazing large scale orchestral pieces are with the DAVE direct to the Omegas.
For those use to full range two channel setups like mine, what does this mean for you? If you have a highly musical sub (like my JL Audio) that is fast enough to keep up with the Chord kit, low distortion, etc., you’re left with a very very hard choice. The combo of DAVE direct to the Omegas and JL Audio (via DAVE XLR outputs) is breathtaking. Do I really need full range $20k speakers and all the goodies/baggage that come with them?
(Note: I did not try to drive the Omegas and sub directly from the Hugo2, so I can’t speak to whether that impacts how far you can push the Hugo2)
For now, I’m structuring my living room to have a “Direct Chord/Omega” zone, and a separate traditional two channel zone (B&Ws, Benchmark, etc), and waiting to hear how Rob’s work with his digital amp progresses. If Rob can even approximate what I’m hearing from the Omegas direct through the B&Ws, that will be an amazing experience. I can’t wait to see where this goes.
If/when I again have a private office at work, the headphones will get put away and I’ll have some Omegas on my desk in a near field configurations, being driven by a Hugo2. Until then, I’ll be using my close Aeons, driven by my Mojo (pending an upgrade to a Hugo2 once I sort out what the BluHugo2 brings to the party).
Listening Impressions: Scaling headphones with Chord DACs
I did the bulk of my critical headphone listening tests with my Sennheiser HD-800’s (with the SR mod), which I know well and scale nicely with my DAVE. But what about other headphones? How do they scale with the Chord Magic as you go from the Mojo to the Hugo2 to the DAVE?
For this test, I did a matrix comparing AudioQuest Nighthawks to MrSpeaker Aeon Flows (closed) to AudioZenith PMx2’s (modified Oppo PM-2’s) to Sennheister HD-800’s (with SR mod) to Noble Katana custom in ear monitors to a vintage set of Grado HP1000's. I did not evaluate which headphones are best from the usual criteria of tonality, distortion, etc (that is highly subjective, with different tonal signatures appealing to different people). Rather, I listened very closely for that unique Chord Magic of resolution and speed and musicality and physicality. Which cans were able to express the extra Chord awesome sauce as you go up the Chord stack?
To my ear, the Sennheisers were the best (consistent with my experience with my DAVE) with a surprising close second place going to the Aeon Flows. Katanas came in a bit behind, then the Grados, Nighthawks and PM-x2’s. Since Rob uses the Nighthawks in his development of these DACs, that was a surprise to me.
For the Mojo and Hugo2, there were differences, but all the cans were very close. It wasn’t until you got to the DAVE where the differences were more pronounced. I suspect that the Blu2 will do more to help find out where these cans top out.
Based on this test, I am motivated to sample some of the other TOTL cans. If there is anybody in the San Diego area with Hifiman HE-1000 v2’s or other cans that are well matched to Chord kit, drop me a note and we can try to set up a listening session.
tl;dr
- Source material matters. Try to get as close to expertly mic’ed and minimal mixing as you can, and avoid compression like the plague. High res content is a bonus, but the Hugo2 elevated traditional redbook to high res levels (including lossless TIDAL streaming). Since getting my Chord DAVE, I don’t purchase high res music anymore, and the same applies to the Hugo2.
- Hugo2 is surprisingly light, but really needs a case to avoid cutting up things. Definitely transportable, and portable for the committed.
- Hugo2 delivers more of the Chord magic than the Mojo (at 5x the price), but not in the same league as the DAVE (at 5x cheaper). The differences are not subtle, but you’re going from very good to great to world class awesome.
- Going direct from the Hugo2 or DAVE to high efficiency single driver speakers like the Omega Super Alnico Monitors is a revelation, and everyone owes it to themselves to find a way to hear these things…wow!
- There is not quite enough oomph in the Hugo2 amp to direct drive the Omegas for complex music (how amazing would that have been?), but a remarkable experience at modest volume levels and more intimate music. One of the best dollar for dollar musical experiences I’ve ever had.
- It takes surprisingly little of the suboptimal or wrong stuff (Martin Logan speaker, Schiit Lyr2 amp, etc) between the Chord kit and your ears to completely kill the magic. It takes very little for things to collapse back to normal (a very nice version of normal, but no longer transcendent). Minimize everything you can between the output of the Chord DAC and your ears. The more you can eliminate and more you can simplify or lighten, the more the Chord magic can shine through.
- In theory BluHugo2 and BluDAVE should be very close in audio quality, but I can’t test that theory yet. If that theory works out, a reasonable play would be to put the money you would put into a DAVE into a Blu2 to go with a Hugo2. Stay tuned.
- For those that have already taken the red pill, the Hugo2 a VERY worthy upgrade to your Mojo, and a great approximation of the DAVE at the office and when out and about. For those that haven’t taken the red pill yet, grab a Mojo if you’re nervous if the hype is real. If you like the hints of what you’re hearing, you’ll love the Hugo2.
- Headphone experience can't touch the experience of DAVE and Hugo2 direct to Omegas (not even in the same zip code, with even Sennheisers….TBD if other headphones can close that gap, but these are the best Chord Magic headphones I have right now)
- Winner scenario for sane people is Hugo2 direct to Omegas in near field, with a reasonable amp like the Bantam Gold as a stop gap when listening to more complex/dynamic music. Add a fast musical sub like JL Audio F110 to fill out the bottom and be in awe of what you’re hearing. Down the road, dive into Blu2 and Rob’s digital amp once that dust settles and cost gets better.
A closing story
I’ve shared this story publicly and privately to Rob and Cookie before, but I wanted to share it here to give a sense of why I care about this stuff and what it means for me.
Earlier I mentioned how Sareena Overwater’s “One World” (Blue Coast Records) is wired directly to startingly deep emotions for me. When I listen to it, I’m taken back more than a decade. My older daughter is in college now, but when she was younger she was a very serious pianist. As she began to blossom as a musician (around age 8), we needed to upgrade from our ratty console piano to something more appropriate.
After 6 months or so of looking, I found a used 1924 Steinway in Rhode Island that looked perfect. The woman who owned it had received it new as a gift from her parents when she was around age 8, but no longer had room for it as she moved into the final phases of her life. A miraculous instrument, maintained and played with love. My daughter was and is the second owner, and I am hopeful she too will be able to enjoy it for many decades to come, and pass it to some deserving musician when it is her time to do so.
I spent countless hours lost in the sound of my daughter playing that piano, and know the sound and feeling of that vintage Steinway in my DNA. Cookie Marcenco also has a vintage Steinway in her studio at Blue Coast Records, and she is the most gifted person I’ve ever heard at recording piano. With the Chord DACs, I listen to recordings of Cookie's vintage Steinway, and with some of her musicians I have the visceral experience of going into a time machine and hearing my daughter play piano all over again. It is like catching a smell or hearing something that instantly transports you back to your mothers kitchen: the emotional connection is intense and overwhelming, and the closest I can be to experiencing my daughter's music now that she's at college. The feeling and emotion of my daughter playing her piano is made real in Cookie’s recordings.
My daughters piano is in long term storage, waiting for the day she has her own place and is able to enjoy making music with it again. While I can’t wait to hear her play again, I am grateful to be able to enjoy the echoes and evocations from Cookie’s studio, via Rob’s DACs.
When I first listened to this song (which I knew well and loved as a song) with my Mojo, I felt glimpses of reality in this song and felt the emotional presence of my daughter. It persuaded me to order a DAVE sight unseen, reaching out for that completely unexpected hint that I had felt in the music. Listening to this song with my DAVE, I am overwhelmed with emotion and end up weeping every single time. With Hugo2, while not as intense as with the DAVE, the emotion and sense of connection is very real, and I am swept away in memories and a sense of overwhelming love and pride for my daughter.
Can I put a finger on what combination of timing and taps and noise floor modulation and voodoo and whatever else can take a piece of well known recorded music and turns it into an emotional time machine that brings me to my knees every damn time? I can't, but I am enormously grateful to feel the presence of my daughter and her piano again. An unexpected and precious gift that was hidden in the music all along, without me knowing it was there. Thank you Sareena, Rob, and Cookie for helping me find that emotional connection all over again.
APPENDIX: Detailed Ratings and Notes
Note: these ratings are calibrated so that Mojo is on the low end and DAVE on the high end, so it is easier to see where the Hugo2 falls in between them.