Currently, there is a lot of hype about high sampling rates. Now it has about as high a level of prestige as how much horsepower a car has. To avoid any discussion, Brient has decided to optimally support both of them. One must, of course, keep in mind that the rest of the system also has to be on par. It doesn't do any good when the DAC – like the one here that has a S/N ratio of -160(!) dBFS gets lost again in the hum of the amplifier. There may be one or another unit that can even offer more resolution, but I have never come across it. The question is whether the music can be reproduced as harmoniously and naturally on that as on the totaldac. Basically, for me resolution means that if my guitarist sounds like he is playing in the living room on his acoustic guitar, then I have 100% resolution. No one really thinks about such a topic, but that is just the way it is. When first noticing stupendous detail while listening to a hifi system and then for a while not any more, this can quickly lead to a tiring effect after listening for a long time. At least for me. Resolution is one of the mosaics needed to create perfect musical reproduction, but not the only thing. The decisive factor is rather the right balance between musicality and resolution. To a great extent, the totaldac did a great job attaining this. Overall, its reproduction is slightly leaner, or shall we say, rather slimming! In addition, it is very open and neutral, which is not necessarily suitable to systems that are very brightly tuned or inherently tend to have a more analytical reproduction. However, this is no fault of the DAC. The quality of sound is  reproduced with such fine grading, that I am really only familiar with from very good analog sources. With the emphasis on very good. You get used to the clarity of reproduction very quickly, just how distinct it is. You realize this again only when you take the totaldac out the system.

Of course, I also played high-definition formats on a Macbook Pro with Amarra software. Brient recommends the software JPLAY in the "extreme hibernate" mode. Then, all the troublemakers such as the mouse, keyboard, monitor, and everything else like that should be turned off. But this only works with Windows computers. So back to the Macbook and the selection Keith Jarrett's “Köln Concert”. I have the record, CD and 24/96 HighRes versions. The differences between the CD and HighRes are minimal and in a double blind test, I would probably have difficulties.

Next, I tried a 24/192 recording: “A Trace of Grace” by Michel Godard. I have an advantage with his recording because I have also heard this group live and therefore, I can really imagine what this should sound like. Here again, the difference to the Redbook format is not such that it would cause me sleepless nights. It was most noticeable with the violin by Fanny Pacoult. It sounds a bit more natural on the high-definition format. Admittedly, this may be the decisive improvement for a classical music fan. Nevertheless, it is remarkable what the totaldac brings out of the Redbook format.

And now with a vengeance: In a heroic self-experiment, I then played a file with the lousy sampling rate of 256 kbits/s, ZZ Top Live: “Blue Jeans Blues”. I was totally blown away how the totaldac dealt with this recording. Actually, I was expecting the worst, but the incredible force of the music from the three men with the long beards is amazingly live sounding. The quality of the recording as well - the tube DAC didn't gloss over anything. Of course, no fine resolution is required here - which doesn't exist. I didn't want to subject myself to a classical recording in this format. Nevertheless, it was quite amazing. Um, a plea for the mp3 - or whatever that thing is called - this is certainly not one!