{"id":28354,"date":"2021-05-02T20:57:15","date_gmt":"2021-05-02T18:57:15","guid":{"rendered":"https:\/\/www.hifi-advice.com\/blog\/?p=28354"},"modified":"2025-11-14T14:05:44","modified_gmt":"2025-11-14T12:05:44","slug":"mola-mola-tambaqui","status":"publish","type":"post","link":"https:\/\/www.hifi-advice.com\/blog\/review\/digital-reviews\/network-player-reviews\/mola-mola-tambaqui\/","title":{"rendered":"Mola-Mola Tambaqui"},"content":{"rendered":"

Review organized by Marc Loubeau \/ Prestige Audio Diffusion<\/a>
\nReview sample provided by Terrason<\/a>
\nRetail price in the EU (incl VAT): 10.000 euro<\/h4>\n

Originally available only as a two-board stack for use inside the Mola-Mola Makua preamp, the DAC with its special proprietary design is also available as a separate unit. Admittedly, it has been on the market for 2 years so I’m a bit late to the party, but still, better late than not at all, right?<\/p>\n

All incoming digital audio is upsampled on the first board to 3.125MHz\/32 bits and converted to noise-shaped PWM. On the second board are two mono DACs, in which a discrete<\/em> 32- stage FIR DAC and a single-stage 4th order filtering current to voltage converter convert the PWM into analog with what may well be a record-setting 130dB signal to noise ratio. According to Mola-Mola, this is near the theoretical limit for 24-bit files and far beyond that of even quad-speed DSD. Further, the measured distortion is claimed to remain below the noise floor even for full-scale signals.<\/p>\n

Although the implementation is proprietary, in essence, the Tambaqui is a bitstream DAC. Historically, I have always preferred multibit DACs or NOS DACs over bitstream variants. But, as the listening tests would soon reveal, the Tambaqui threads a unique sonic path.<\/p>\n

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In addition to I2S, S\/PDIF coax, AES\/EBU, TOSlink, and USB, the Tambaqui is also RoonReady, and it offers an RJ45 network input that can be used to stream Roon signals to the unit. Inside is a full-fledged endpoint\/network renderer that makes external streamers superfluous. The analog outputs are available only on XLR but there’s also a headphone output on the rear that can be controlled separately from the Mola-Mola remote control software for iOS and Android that can run on a phone or tablet.<\/p>\n

The Tambaqui can process PCM up to 384kHz\/32 bits (>192kHz and >24 bits via USB and Roon only) and DoP and Native DSD up to quad speed (USB and Roon only).<\/p>\n

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Operation<\/h3>\n

While the Tambaqui is originally designed to be used with an analog preamp (the Makua), it does contain a digital volume control that works via the supplied standard Apple IR remote control or the excellent iOS\/Android app (see image above). The Apple remote control works with RC5 code, and as such, any other likewise-coded remote control for a similar device should also work.<\/p>\n

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With its volume control enabled, the volume can be controlled directly from within the Roon interface. Incidentally, the Tambaqui’s 4 front panel buttons can be freely assigned to any function from the app. For instance, they could be representing 4 inputs or volume buttons, an input toggle, and another function.<\/p>\n

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Additionally, a Premium Remote Control is optionally available for 750 euros (see image above). Milled from an aluminum block and possessing a curvy and svelte shape, it contains all the required buttons for the Tambaqui as well as functions for the Makua preamp and the Kula integrated amplifier.<\/p>\n

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Review context<\/h3>\n

The Tambaqui will be listened to in combination with two different Music Servers: the Antipodes K50<\/a> and the Grimm Audio MU1<\/a>. In its capacity as a DAC with a fixed volume level, the Tambaqui will be compared to the Aqua Formula xHD<\/a> DAC (with V2 output board<\/a>), both connected to the Audio-GD Master 1<\/a> analog preamp that in turn feeds the CH Precision A1.5<\/a> power amplifier. In its capacity as a DAC with variable volume level, the Tambaqui will be compared to the CH Precision C1<\/a> DAC, connected directly to the A1.5 amplifier. The speakers, for the most part, are the Magico S1 MkII connected with Jorma Trinity<\/a> speaker cables but I will also briefly involve the Aequo Stilla Active speakers. To assess the Tambaqui’s built-in Roon endpoint, finally, I will also involve the Aqua LinQ<\/a> dedicated network interface. All power cables are Belden with Bals Schuko and Oyaide C-004 IEC connectors and the interlinks are CH Precision Balanced Link XLR cables.<\/p>\n

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Warm-up<\/h3>\n

I was informed that the Tambaqui needs a couple of hours of warm-up time (literally) in order to sound its best. While I often also listen to how a component sounds straight out of the box, in this case, I switched it on and left it alone for more than a day prior to my listening tests. Thus, I have no impression of what it would sound like when cold. The DAC becomes warm to the touch but it does not get not hot and it can safely always be left switched on.<\/p>\n

<\/p>\n

Listening – first round<\/h3>\n

I’m starting my listening tests with the Antipodes K50 Music Server, connected via a Jorma AES\/EBU cable to the Tambaqui (set to 6dB fixed volume level), the Audio-GD Master 1 preamp, CH Precision A1.5 power amp, and Magico S1 Mk2 speakers.<\/p>\n

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Remember that I wrote earlier about my preference of Multibit or NOS DACs over Bitstream DACs? well, the Tambaqui turns that idea on its head. Not only does it not sound like a typical Bitstream DAC and more like a truly superb Multibit design, but it also seems to even offer much of the very aspects that I hitherto only attributed to NOS designs such as the Aqua.<\/p>\n

What I have against Bitstream DACs is that they can sound lean and overly bright, in addition to having a subjectively less soulful delivery, even if they are often more highly refined and\/or more detailed than comparable Multibit designs. Indeed, it takes a lot of engineering effort to design a really good Multibit DAC, which is probably one reason why you only see this type of DAC in extremely high-end products such as the CH Precision C1.<\/p>\n

Well, bright, the Tambaqui is certainly not, and neither is it overly lean, at least, not when compared to the Aqua Formula xHD. Actually, the Italian DAC (a NOS, multibit design) is slightly leaner and also a little brighter than the Dutch DAC, go figure! What I like so much about the Aqua is its incredible transparency, resolution, and neutrality. Amazingly, the Tambaqui performs very similarly in each and every one of these aspects, whilst being even more linear. The Aqua can indeed be slightly lean and appear to have a “tipped up” sonic balance, and the Tambaqui provides a flatter and more even-handed balance.<\/p>\n

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Although the Tambaqui sounds incredibly neutral and linear, it does<\/em> add a touch of warmth and sweetness in the midrange, compared to the Aqua. Whether this is interpreted as coloration on the Tambaqui’s part or as a lack of color on the Aqua’s, remains up for debate. I can add that the Tambaqui has more of a velvety approach while the Aqua is more of the immediate and direct kind. I hasten to add that both DACs sound highly articulate and neither sounds soft or rounded and in terms of dynamics or impact, I also can’t say that there is very much between the two. But, compared directly, the Aqua has just slightly sharper transients which makes for a slightly snappier sound whereas the Tambaqui tends to excel more with tonal richness. For instance, the transient of a piano note has more immediacy with the Aqua (which I like) while the sustain and tonal body is better conveyed by the Tambaqui (which I also like). Ahhh, you got to love the complex world of high-end audio. While I feel that the Aqua has the edge with highly rhythmic music and the Tambaqui with vocals, strings, and wooden instruments, I’d have a hard time choosing between these two DACs.<\/p>\n

On balance, I really can’t state that one is better than the other. It’s much more a matter of taste. As mentioned, in terms of resolution, there’s nothing between the two DACs and both have an absolutely grain-free presentation.<\/p>\n

If all that sounds like swings and roundabouts it’s worth noting that the Tambaqui costs 3.700 euros less than the Aqua while also offering volume control and a Roon endpoint. Which is what I will look at next.<\/p>\n

In order to assess the quality of the onboard Roon endpoint, I added the Aqua LinQ Network Interface to the mix.\u00a0Fed via HQPlayer with an NAA stream from the Antipodes K50, the LinQ provides an even more transparent, precise, and articulate AES\/EBU signal than straight from the K50, which is perfect for very high-level comparative tests such as this one.<\/p>\n

Before moving on to assessing the Roon functionality, I made a last comparative round between the Aqua Formula xHD and the Mola-Mola Tambaqui, now both fed from the LinQ via Jorma AES\/EBU cable. On these assessments, I can be short, for although the baseline has shifted a little, the aforementioned differences simply remain in place. It’s worth noting that the K50 by itself is a smooth, relaxed and warm-sounding source while routing the network signal through the LinQ makes for a cleaner and tighter, and arguably also drier sound, which, depending on the rest of the system configuration, may swing the opinion on the most ideal DAC match more toward the Tambaqui.<\/p>\n

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Roon Input<\/h3>\n

Switching from the LinQ’s AES\/EBU output to RoonReady, straight from the K50, the Tambaqui responds entirely in line with other DACs that offer both inputs, by sounding smoother and a little rounder, at the expense of a small measure of directness and bass incisiveness. Otherwise, it sacrifices very little compared to the LinQ’s output via AES\/EBU. When comparing the K50’s AES\/EBU output to the unit streaming directly to the Tambaqui, similar differences are heard, although less distinct. Given that the LinQ is a 5.680-euro standalone endpoint, I’d say that these results speak very well for the Tambaqui.<\/p>\n

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Listening – Round two<\/h3>\n

The Tambaqui review overlapped with the Aequo Stilla Active loudspeaker review, and as part of that review, I first listened to the Tambaqui using its built-in volume control in comparison with the CH C1. Interestingly, the Tambaqui steered the sound in a different direction from the CH DAC. One might think of the CH sound as being very neutral and, across their product line, this is indeed the case, but the C1 DAC, in particular, deviates from that preconception by sounding quite full-bodied and tonally well-developed. In the past, I have compared its sound to that of classic Wadia but with higher resolution and airier treble, but I’m aware that the Wadia glory days are by now a distant memory and this reference may not serve everyone.<\/p>\n

In any event, switching from the C1 to the Tambaqui straight to the Stillas makes the latter actually sound more similar to what one might expect a typical Swiss product to sound like. In comparison to the C1, the Tambaqui’s is just as highly resolving and revealing and every bit as refined which is not that big of a surprise, given earlier comparisons between the C1 and the Aqua Formula xHD but what I did find surprising is the sheer solidity and even-handed balance of the Tambaqui’s performance. If I didn’t know any better, then I’d have assumed that it was a multibit DAC.<\/p>\n

The biggest difference I heard was in terms of soundstage, which the C1 portrayed considerably bigger, mostly in terms of width, whereas the Tambaqui tends to focus more within the speakers, and it does this with razor-sharp definition.<\/p>\n

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Compared to the sonorous and full-sounding C1, the Tambaqui’s delivery is tighter and cleaner and possessing of remarkable purity and crispness but, like the Aqua, it is also leaner and tonally less rich. But whether that’s a plus or a minus will greatly depend on the rest of the system. With my Magico S1 MkII’s, for instance, using the Tambaqui directly connected to the A1.5 amplifier yielded a fantastically detailed, open, and precise sound but ultimately with less soul and natural flow than I like. But in the combination with the inherently rich, full, and spacious-sounding Stillas, the Tambaqui all by itself made for an absolutely perfect match.<\/p>\n

<\/p>\n

Grimm MU1<\/h3>\n

When swapping the Antipodes K50 for the Grimm MU1 Music Server, the Tambaqui further ups the game by providing even finer levels of detail. I already pronounced it grain-free with the K50 and LinQ, meaning that it has now become beyond Retina-like if that makes any sense. I mean, there’s grain, the absence of grain, and then there’s superlative refinement, and that’s what the MU1 adds.<\/p>\n

Additionally, the Grimm matches the Tambaqui’s clean and articulate presentation and further pushes the boundary in these aspects. Whereas this could normally result in an overly septic sound, the Grimm actually never steers in that direction. Granted, the MU1 does not sound quite as smooth and relaxed as the Antipodes, but in spite of its immense resolution and even when coupled with the very pure and direct-sounding Tambaqui, the music remains fluid, naturally flowing, and breathing. In a way, the MU1 combines the virtues of the K50 and the linQ to make for a technically perfect, yet musically highly appealing presentation.<\/p>\n

Output Voltage<\/h3>\n

On the subject of the Tambaqui sounding dry in certain combinations (and when used without a preamp), it is good to know that this can be altered by selecting a lower output level. Going from 6V to 2V made a big and entirely beneficial difference while a further reduction from 2V to 0,6V added an extra dose of fluidity but also reduced transient attack and the overall liveliness. Overall, I preferred the 2V setting when using the DAC with its volume control.<\/p>\n

Ultimately, I think that in many situations the Tambaqui will sound its best when used with a high-quality analog preamp. With its volume control disabled and its output level set to 6V, and used with the affordable but truly great Audio-GD Master 1<\/a>, the Tambaqui gains fluidity, richness, and natural flow while retaining all of its precision and transparency. I have no doubt that the Mola-Mola Makua preamp will do the same while further upping the performance.<\/p>\n

For those who have analog sources but are interested in obtaining the Tambaqui sound, the Mola Mola Makua analog preamp may be an interesting option. It can be outfitted with the very same DAC board as in the Tambaqui while offering the exact same inputs and RoonReady streaming section. Additionally, the Makua can be completed with an optional Phono board.<\/p>\n

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Conclusion<\/h2>\n

With the Tambaqui, Mola-Mola has created a truly superb DAC. With its precise, neutral, and articulate yet delicate, fluid, gentle, and refined sound, it is bound to appeal to a wide array of music lovers. Whilst it works arguably even better when used with an analog preamp, its digital volume control works well and the built-in Roon endpoint is the icing on the cake.<\/p>\n

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Associated Equipment<\/a><\/p>\n

Videos on the Hifi-Advice YouTube Channel<\/h3>\n

How Sooloos became Roon<\/a>
\nHFA Front Page<\/a><\/p>\n

Try out Roon for yourself<\/h3>\n

Get Roon 1 month for free<\/a><\/p>\n

External Links<\/h3>\n

Manufacturer: Mola-Mola.nl<\/a>
\nDistributor for the Benelux: Terrason Audio<\/a><\/p>\n

Distributor for France, Monaco, and French part of Switzerland:
\nPrestige-audio-diffusion<\/a>
\nContact : Marc Loubeau
\nTel\u00a0: +33(0)6 49 89 68 88
\nEmail\u00a0:\u00a0contact@prestigeaudio-diffusion.fr<\/a>
\nWebsite: www.prestigeaudio-diffusion.fr<\/a><\/p>\n

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