The Brooklyn is also at the cutting edge when it comes to MQA (Meridian Quality Authenticated). This streaming format is downward compatible and promises hi-res quality at a volume of data that usually corresponds to that of CD quality. The streaming service Tidal has announced it will support MQA streams in the near future at the same price point as CD quality audio at the moment. But we will probably still have to wait a while for that, though. You will also need to be a little patient if you want to find out more about the quality of the phono input, the balanced and unbalanced headphone output and the effect of using a linear power supply. The latter is on order, as well as the balanced headphone adapter. Since we kindly received one of the still rare Brooklyn converters at a very early time, I still felt the need to tell you about its features and capabilities as soon as possible; even though I can only speak of its function as mere D/A converter at the moment.

The new model is a delight, even when connecting it. Contrary to its predecessor, the Brooklyn does not require a driver to work with Mac or Linux systems. That also considerably simplifies connecting up to Melco, AURALiC, and others. Before comparing the Brooklyn to another converter, I gave it almost a whole week to burn in; with the exception of a few hours at the photo studio. Of course I still listened to it right after I was done hooking up the cables. As expected, at the beginning the resolution was not stunning, yet. I had "seen" a bigger room appear in front of me when listening to that same record before. Nonetheless, dynamics and low frequency punch told me that the Brooklyn would continue the Mytek tradition in the best possible way—and at that time I was not yet aware of the new output stage.

My writing of one the first chapters was accompanied by one of the few albums I own both on vinyl and as files ripped from CD, one of my then-indispensable test records from the analogue days: Paul Motian's Le Voyage. With "Folk Songs for Rosie," the double bass of J.-F. Jenny-Clark snarls and pushes delightfully with seemingly endless depth and dynamics. Charles Brakeen's soprano saxophone shines through a wide (reverberant) space. The cymbals have a colourful, detailed sizzle. I definitely need to listen to this song again through the more than twice as expensive Chord Hugo TT. Said and done. Here, the sound of the cymbals is slightly more nuanced, the saxophone has a touch more air to it—but the bass is somewhat lacking. The Mytek, in comparison, sounds more like a vinyl record through an EMT pick-up: peerless in the bass frequencies but with a little bit less detail in the highs. I have to admit that the Hugo TT is slightly closer to the high fidelity ideal. It reflects many things just a little bit better. As a lover of the double bass, however, I find this song to be a lot more fun through the Mytek.

Also, with one of the overused test records that I don't dare to name anymore, the Hugo TT clearly has a tiny bit more to offer through my high-resolution listening chain. Still, the by now burnt-in Brooklyn is really close in terms of dimensions and plasticity of the stage. When it comes to dynamics, low bass, and splendour of tonal colours, there is no need for the Mytek to hide. Instead of performing more comparisons, I preferred to listen to some tracks with plenty of bass through the Brooklyn. Jonas Hellborg's The Silent Life offers enough material in that regard. In spite of the density of the rapidly occurring impulses, "Iron Dog" plays back with ample differentiation. This track is not able to reveal the Mytek's limits. Instead, its tremendous dynamic abilities make it rather delightful to listen to the piece. The more subtle "Purple Mind" has impressive colour and the Mytek shines during the few forceful onsets. Listening to "Wounded Knee" I can't keep my feet still. Absolutely thrilling!