{"id":29432,"date":"2021-09-11T13:05:40","date_gmt":"2021-09-11T11:05:40","guid":{"rendered":"https:\/\/www.hifi-advice.com\/blog\/?p=29432"},"modified":"2022-06-15T12:06:39","modified_gmt":"2022-06-15T10:06:39","slug":"aries-cerat-helene-dac-and-incito-s-preamp","status":"publish","type":"post","link":"https:\/\/www.hifi-advice.com\/blog\/review\/digital-reviews\/spdif-dac-reviews\/aries-cerat-helene-dac-and-incito-s-preamp\/","title":{"rendered":"Aries Cerat Hel\u00e9ne DAC and Incito S preamp"},"content":{"rendered":"

Review sample supplied by Callas Audio<\/a>
\n<\/a>Retail prices in the NL including 21% VAT:
\nHel\u00e9ne DAC: 13.500 euro
\nIncito S preamp: 14.200 euro<\/h4>\n

Following his recent experiences<\/a> with Wolf von Langa that led to purchasing the SONs, and subsequently acquiring the WvL dealership for the Netherlands, Ron Ploeger of Callas Audio proceeded to try a range of Aries Cerat equipment with his new speakers. The results were so groundbreakingly good that he decided to go all-Aries Cerat. Now, you should know that Ron has many decades of experience and knows good sound, so when he told me this, I took it very seriously. And when he asked if I wanted to do an Aries Cerat review, naturally, I was more than happy to!<\/p>\n

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To read more about Ron and Callas Audio, or the WvL SON speakers, see the WvL SON<\/a> review.<\/p>\n

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Technical Matters – Incito S preamp<\/h3>\n

In the heart of the Incito S preamplifier beats a zero-feedback power gain stage which consists of a small SET amplifier and a transformer-coupled, ultra-high trans-conductance E280F super triode. This tube, which is made primarily by Siemens, is loaded with the highest quality step-down transformer with a reconfigurable secondary winding to support switchable gain. Switches on the back re-configure the secondary winding to switch between 20db and 14db of max gain. Alternatively, the preamp can be ordered with a different amount of gain, and because of the high-sensitivity SON speakers, this is what Ron has done. My review sample has an 8dB gain.<\/p>\n

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This small SET amplifier can provide voltage swings of over 320V, stepped down to 80Vpp while keeping transistor-like noise figures. The specially designed step-down transformer provides a very low output impedance with more than adequate current to drive any load down to 50 ohms. To enable this, the preamp required a robust power supply.<\/p>\n

The power supply is built around the 5AR4 rectifier and uses separate double pi filtering for each channel with oversized chokes and high-speed capacitors. The power transformer is encased in an external chassis, connected with a permanent umbilical cord. This design choice led to improved noise floor figures of 20db, now well below the -110db mark.<\/p>\n

For volume control, Aries Cerat used what is to their ears the best way of implementing a volume control apparatus, using a transformer. The Incito S uses the same TVC (Transformer Volume Control) and input system of the bigger preamplifiers in the range such as the Impera Reference<\/a> and the same proprietary AC link technology is used for the biasing of the small SET amplifier.<\/p>\n

One thing that fascinated me is how the transformer windings are selected? It seems not via relais, as no clicking sound is heard. I asked Stavros, Directing Manager of Aries Cerat about this and he replied:<\/p>\n

“Yes, they are relay activated, just very quiet ones:) Also, the timing or click\/release is important, as well as some other tricks we do, so that no<\/em>
\nclicks are generated”.<\/em><\/p>\n

The Incito S (for Special) contains two E280F gain tubes. The bias has been pre-set in the factory and should be correct. If desired, however, the user can alter and monitor the bias for the left and right tubes individually by the use of two potentiometers, a rocker switch, and a built-in display that can be seen through the top panel slits. The value should read between 1.8v and 2.8v, and ideally 2.3V.<\/p>\n

There’s a ground lift switch on the rear that is operated with a key, like an ignition contact. It has 4 positions of which 2 are relevant: earth connected, or earth lifted. The vertical, upright position means earthed while the horizontal position means earth lifted. The manual mentions using the grounded vertical position only when using the RCA outputs. When using the XLR outputs, the earth should be lifted (horizontal position), or whenever the need arises to break a ground loop that leads to noise issues. I have listened to both positions using identical single-ended and balanced cables and found meaningful differences. All my findings can be found in the “Preliminary Listening” section below.<\/p>\n

The beautiful supplied full-metal IR remote control offers control for display on\/off, volume up\/down, balance left\/right, and direct 1-5 input select buttons. There’s even an HT-passthrough and it’s implemented very smartly. Rather than simply providing a unity-level passthrough, the Incito S can memorize any volume level for any of its inputs.<\/p>\n

The company is of the opinion that all their units sound best when using single-ended connections but the Incito S preamp does offer both single-ended and balanced inputs and outputs. As with other components that do not use separate buffers for multiple outputs (for purity reasons), one should not use RCA and XLR output at the same time. Further, the maker warns not to use the XLR output of Incito S with pseudo-balanced inputs such as with the Genus power amp’s XLR input. With transistor designs, one could question the effectiveness of doing so because the connection would effectively be single-ended in spite of using a balanced cable, but it wouldn’t be harmful to either component.<\/p>\n

This aspect intrigued me and so I asked Stavros, why not use the Incito S with pseudo-balanced inputs? He replied:<\/p>\n

“This is a very important question. The Incito S XLR input only uses Pin 2 (hot side) and Pin1 (ground). Pin 3 is unconnected. Now, the Helene XLR output uses a floating secondary. That is, Pin 2 and Pin 3 are driven directly from the winding, while Pin 1 is floating.<\/em><\/p>\n

If you connect Helene and Incito S using the XLR method, then not only is the winding terminated incorrectly, but the frequency response will also largely vary due to the asymmetrical loading of the winding. This is true for all floating secondary outputs when connected to asymmetric loadings, such as a pseudo-balanced input. The Incito S XLR output also has a floating secondary, this is why it should not be connected to pseudo balanced inputs (such as those on the Genus power amp for example).<\/em><\/p>\n

In short, it is best to not connect Helene and Incito S using XLR, as the Frequency Response will be significantly varied. However, Ron has the optional true XLR input for the Incito S. That means it can use the XLR output of the Helene and any other XLR output from any source. That said, this is achieved by a conversion input transformer which will impose its own sonic signature of course. The RCA input, being native and without any conversion stage, will sound better, depending on the cable of course”.<\/em><\/p>\n

The manual mentions that, when biased properly, the tube life of the E280F’s can exceed 9000 hours while the rectifier tube can exceed 6000 hours. Further, it mentions avoiding frequent on-off switching of the unit to preserve tube life. That’s why Ron simply always leaves them switched on and told me to do the same. I should note that in this case, the tubes will respectively last at most 250 and 375 days, or, in other words, you’ll need to swap the rectifier tube within a year and the gain tubes shortly thereafter. That said, the tubes are not particularly expensive.<\/p>\n

Ron informed me that the E280F cost around 25 euro while the GZ34 cost 41 euro in the market. He added to expect a much longer lifetime service from the tubes than indicated by the manufacturer. Stavros added:<\/p>\n

“Prices keep increasing lately, but they are still cheap considering you buy original NOS tubes for the price of what modern Chinese tubes cost :)”<\/em><\/p>\n

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The thick black glass front panel hides rows and rows of Nixie tubes. These are vacuum tubes containing discrete numbers or letters. These devices are chosen by Aries Cerat for their lack of noise. That they look nostalgic, is an added bonus.<\/p>\n

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Technical Matters – Hel\u00e9ne DAC<\/h3>\n

The Hel\u00e9ne is the company’s latest and “smallest” DA converter. Smallest? That’s definitely relative because the Hel\u00e9ne is 2cm wider and considerably deeper than the Incito S preamp and when set up next to the CH Precision C1 DAC, the Helene’s sheer bulk makes the already hefty Swiss DAC look almost cute. That’s the thing with Aries Cerat components, only when you see them in person do you realize the scale.<\/p>\n

Borrowing technology from the Kassandra Series, and with the addition of some tricks of its own, the Hel\u00e9ne is intended to set a new benchmark for performance in its price range. Descending from Kassandra Series, the converter banks are implemented around a matrix of eight Analog Devices AD1865NK R2R ladder DAC IC’s per channel, running in parallel and in current mode. These are driven by custom logic that handles the sync, data, and work buses. The SuperClock technology used in the bigger Aries Cerat DAC models is also standard in the Hel\u00e9ne DAC, according to the manufacturer, negating the need of an external aftermarket Word Clock. The USB input, as well as the digital inputs, are double Reclocked using the internal SuperClocks. This is enabled for 44.1kHz or multiples only. Non-synchronous sample rates such as 96kHz are converted directly. No matter the input signal, however, the converter uses no data processing, upsampling, or oversampling, data is converted in the native sample rate and bit rate. For USB, Reclocking is always enabled while the user can manually select double reclocking or bypass for the other inputs on the fly.<\/p>\n

As I found when using the Grimm MU1 as I always do, no sound was heard. Only after a bit of head-scratching and the use of another digital source, did I realize that the MU1 was set to 4x oversampling. With a 44.1kHz source, this resulted in a 176.4kHz stream that the Hel\u00e9ne’s AES\/EBU input does not accept. Some experimentation showed that it does accept 88.2kHz, so I’m guessing that the S\/PDIF and AES\/EBU inputs are limited at 96kHz as per the older standard. The USB input does accept a much higher sample rate, up to 32bit 384Khz according to the website.<\/p>\n

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Unlike the preamp, the DAC has no remote control. The inputs and the use of the Reclocker can be selected by the rotary dial on top.<\/p>\n

The power supplies for both the digital and analog sections are carefully designed around massive capacitor banks and extensive RF choking filters that are distributed to all local points of the circuit.<\/p>\n

The IV (current to voltage) stage that follows the DAC outputs is implemented in the purest possible manner by a special IV transformer with a custom ultra-high MU core, directly modulating the bias circuits of the analog tube stage.<\/p>\n

The Hel\u00e9ne DAC has a relatively high-level voltage output but the unit is fitted with a -6dB switch that prevents clipping of very sensitive preamp input stages. With the Incito S preamp, I encountered no clipping at all but I did find that it was better to use the lower output in order to have enough steps left in the volume control’s lowest range.<\/p>\n

The analog stage is a small SET amplifier, again borrowed from the bigger models, built around two E280F supertubes, loaded by a custom special quality output transformer. The power supply for the analog stage uses tube rectification via the GZ34 rectifier, while triple choke\/film capacitors provide very low noise voltage rails for the SET amplifier.<\/p>\n

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The tube is biased with triple-filtered ultra-low-noise bias circuits. If desired, the user can alter and monitor the bias for the left and right tubes simultaneously by the use of a variable potentiometer and a built-in display that can be seen through the top panel slits. The value should read between 180 and 290 and ideally 230.<\/p>\n

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The Hel\u00e9ne’s thick black glass front panel hides a row of Nixie tubes, chosen for their lack of noise.<\/p>\n

The DAC offers both single-ended and balanced inputs and outputs. As with other components that do not use separate buffers for multiple outputs (for purity reasons), one should not use RCA and XLR output at the same time. There’s a ground switch that should be set in the lift position (not pointing to the earth symbol) when using the XLR outputs or when there are ground loop problems.<\/p>\n

The tube life is indicated as 3000 hours for the rectifier tube and in excess of 9000 hours for the E280F.<\/p>\n

Ron informed me that the E280F cost around 25 euro while the GZ34 cost 41 euro in the market. He added to expect a much longer lifetime service from the tubes than indicated by the manufacturer.<\/p>\n

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System Context<\/h3>\n

For this review, I used my main system<\/a>, in the basis consisting of the CH C1<\/a> DAC, CH A1.5<\/a> power amp, and Magico S1 MkII speakers. For digital sources, I will use the Grimm MU1<\/a> and Antipodes K50<\/a> music servers, the Aqua Formula xHD<\/a> DAC (with v2 output board<\/a>), and Aqua LinQ<\/a> network interface (with the Core+NAA module<\/a>). In all cases, I will use the AES\/EBU connection. After forming my initial impressions I will also involve the Hel\u00e9ne’s USB input in a separate section.<\/p>\n

In order to fully test the Aries Cerat components, I will use them as a complete front-end duo as well as individually. To this end, I will compare the Hel\u00e9ne DAC and Incito S preamp combo directly to the CH Precision C1 DAC, both simultaneously connected to the A1.5 power amplifier. Secondly, I will compare the Hel\u00e9ne DAC to the very similarly-priced Aqua Formula xHD DAC with V2 output stage, and finally, I will add the Incito S preamp between the C1 DAC and the A1.5 amplifier.<\/p>\n

Warming Up<\/h3>\n

As Ron learned from using passive TVC preamps, the running-in of a transformer is something to really take into account. Prior to handing the equipment to me, he made sure to have given the components plenty of running in with all connections, both RCA and XLR. He even went as far as to run in the preamp’s TVC using all of the volume settings within the normal listening range.<\/p>\n

As I mentioned, I was given the green light to leave the two components switched on for the duration of the review and of course, I did so. It’s only fair since I do the same with my CH components. However, it must be said that I did not notice very much of a difference between a cold state and a warmed-up state. Even when cold, the Aries Cerat components sound highly detailed and musically appealing in equal measure, and that balance does not waver with further warming up.<\/p>\n

Reclocking<\/h3>\n

The Hel\u00e9ne DAC offers Reclocking using its internal “SuperClocks” and for all inputs except USB, this process can be manually switched on or off. Naturally, I listened to both settings and found that the bass becomes slightly tighter and the entire delivery a little more controlled. The non-clocked setting sounded comparatively slightly more free-flowing but also with a slightly lower sense of pacing. Given the Hel\u00e9ne’s already rich sound as well as my natural preference for clean bass, I preferred the DAC with the extra clocking enabled and so I used it like this for the entire review.<\/p>\n

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Preliminary Listening – Earthing and XLR\/RCA Cable experiments<\/h3>\n

To get the variables out of the way I have listened to both positions of the Incito S preamp’s earth switch using identical single-ended and balanced cables. Starting with the single-ended cables, I found that the preamp sounds best when the switch is set to the vertical earth position. This way, the sound is most incisive and articulate, with the crispest transients, which is quite noticeable in the bass. The non-earthed horizontal position leads to a softer, dreamier sound.<\/p>\n

With the XLR cables, the sound is approximately 6dB lower which translates to about 3-4 steps on the Incito’s volume control. But when compared directly, even with adjusted gain (either on the Incito or on the CH A1.5), the single-ended cables sound better to me. In comparison, the balanced connection sounds less incisive and direct and comparatively a little vague. Perhaps, more running in time was required?<\/p>\n

Although, I should mention this the other way around, as the preamp sounded mighty fine to me when I first connected it with balanced cables, not having heard the single-ended outputs. It’s just that it simply sounds even better when used with single-ended cables. Put bluntly, with the XLR outputs, I felt that I still heard a moderate amount of what I will call tube downsides in the bass department. Compared to transistors, the degree will vary, but there’s always a little rounding going on in the bass and I also heard this with the Aries Cerat components. As I now found out during the initial cable experiments, this was actually induced for the most part by the balanced cables.<\/p>\n

As a side note, the Hel\u00e9ne DAC also has a -6dB switch on the rear which I have left in the -6dB position because that makes the Incito S preamp operate in the 3-7 volume setting for normal listening and 12-14 when listening very loudly. With the Helene’s output set to 0dB, there’s too little remaining range in the preamp’s volume control. When using the Incito S balanced outputs, however, this switch works to partially compensate for the lack of incisiveness when using XLR cables. But still, I prefer the cinch connection.<\/p>\n

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With the Driade Flow Link Reference 808<\/a> cables between the Hel\u00e9ne DAC and Incito S preamp (RCA) as well as between the Audio-GD Master 1 preamp and CH A1.5 power amp (XLR), the sound with the two Aries Cerat components in place is supremely detailed, refined, and transparent. I did notice a slight softness or lack of incisiveness in the bass which I will admit to first having attributed to the Aries Cerat components being tube devices. However, as I found when swapping the Driade interlink between Incito S preamp and CH A1.5 power amp, first for the Jena Labs Aurora<\/a> and then for the Stealth Indra<\/a>, the sound immediately tightened up, leaving virtually zero tube-associated softness while retaining the super-organic and free-flowing presentation, as well as the impressive dynamics. This is when it dawned on me just how fabulously transparent and revealing these products are.<\/p>\n

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Comparing the Stealth Indra XLR to the RCA Indra between the Incito S preamp and CH C1 A1.5 power amp, the RCA version impressed me most for its more articulate and incisive sound. Since these cables are known to be extremely neutral and non-sounding, I strongly suspect that this audible difference stems from the Aries Cerat inputs and outputs. After a couple more experiments, a preference quickly formed for using the Stealth Indra RCA cable between the Incito S preamp and CH A1.5 power amp, and so, this cable remained in place between preamp and power amp for the rest of the review.<\/p>\n

Listening to the Hel\u00e9ne DAC, alternately connected using the Driade single-ended and Balanced cables, I found that these cables both seem to work better between the DAC and preamp than between preamp and power amp. I’m not sure why and with different partnering components, the result might be different again. In any event, at the output of the Hel\u00e9ne DAC, both the RCA and XLR cables provide a relaxed but open window onto the sound with huge transparency and superb low-level resolution with no lack of impact or incisiveness. However, I did note once again that the RCA connection has a slightly more concise sound. The difference seems smaller than with the preamp’s outputs, but the RCA connection is just that little bit more lively and direct to make me prefer it.<\/p>\n

Finally, I also connected the FoilFlex<\/a> cables between the Hel\u00e9ne DAC and Incito S preamp. As expected, they provide a beautifully clean and pure sound that is faster and more articulate than the Driade cables, even when using the XLR inputs. And if the goal is to wring as much resolution and transparency from the components without breaking the bank, these interlinks sure are an interesting alternative. However, in the company of the Aries Cerat components, it can’t be overlooked that these cables are also quite lean and definitely less magical in terms of soundstaging and organic flow than the Driades. Thus, the Flow Link Reference 808 RCA cable was elected to remain in place between DAC and preamp for the rest of the review.<\/p>\n

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CH C1 versus Aries Cerat Hel\u00e9ne and Incito S using AES\/ABU<\/h3>\n

For this comparison, I used the Driade Flow Link Reference 808 XLR cable between C1 and A1.5 to get the most out of the C1 in terms of fluidity and refinement. Between the Incito S preamp and A1.5, I used the Stealth Indra RCA cable to achieve the most articulate sound from the Aries Cerat preamp. Between the two Aries Cerat components, I used the Driade Flow Link Reference 808 RCA cable.<\/p>\n

Thanks to the MU1’s server’s dual AES\/EBU outputs, the A1.5’s dual inputs, and the convenience of tablet-control, I was able to swap between my regular system and the Aries Cerat DAC + preamp, at the flick of a finger. Now, that<\/em> proved to be very interesting! Not only did the tube combo match the twice as expensive CH DAC in nearly every aspect, it even improved on it in two very important areas.<\/p>\n

For starters, the impact and dynamics did not change very much at all, the two tube components being nearly every bit as impactful, expressive, and thrilling as the direct CH DAC to power amp connection. Seasoned tube aficionados might not be surprised but for many people, tubes are still synonymous with (a little too much) kindness, creaminess, and romance.\u00a0 In other words, tubes are often mostly seen as being seductive<\/em>. But as I personally learned while getting acquainted with tubes, they can actually be shockingly lively and dynamic, depending on the design.<\/p>\n

These Aries Cerat components are clearly designed such that they are as transparent and as lively as possible while retaining the seductive magic that one expects from tubes. They do not, however, put a restraint on the dynamics to make for a “sweet” sound, nor do they add bloom or to make the sound subjectively more pleasing. The sound is linear and even-handed if gently warm.<\/p>\n

But please don’t assume that they must sound clinical, mechanical, or non-romantic, as nothing could be further from the truth. The combo has all the liquidity and organic flow that one expects from a tube design as well as the convincing realism to trigger immediate emotional involvement.<\/p>\n

In some ways, the Aries Cerat components remind me of the Zanden 6000 and 8120<\/a> amplifiers for combining certain transistor strengths with tube magic. Of course, that’s an apples and oranges comparison, but still, that’s how it strikes me. More appropriately, if I recall the Zanden 3100<\/a> preamp, I feel that it sounded more “tubey” than these Aries Cerat Incito S. A close friend keeps telling me that the Zanden 6000 deviates from this by sounding cleaner and less bloomy but so far, I’ve not been able to perform a comparison in the same environment. But all that’s not really relevant for this review so let’s put a pin in that for now. More on point, I will describe the Aries Cerat components’ individual sound in more detail in the “Aqua DAC” and “C1 direct or via Incito S” sections, further below.<\/p>\n

The most impressive aspect of the Aries Cerat combo that you instantly notice when switching from the direct CH DAC to amplifier connection to the Hel\u00e9ne DAC and Incito S combo, is a change in the way that the soundstage is presented. To the CH DAC’s credit, its generic<\/em> soundstaging abilities are a match for the Aries Cerat components. The tube components really do not sound larger<\/em> per se, and they don’t image wider or deeper, but there’s just so much more life and movement<\/em> within the soundstage. I call this aspect “breathing”. As opposed to the direct DAC connection’s more static presentation, with the Aries Cerat duo, the various elements within the soundstage seem more convincingly to possess 3D bodies that inhabit their own spaces within the stage, and reverbs and decays of the recording venue’s dimensions are much more convincingly reproduced. Especially vocals become more lifelike because of this.<\/p>\n

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When going back to the direct DAC connection, this is by far the biggest change you hear. The naturalness remains, there’s no treble highlighting nor any hardness, no lessening of saturation or change in tonality or timbre, and the soundstage remains just as wide and deep. But what happens is that the stage becomes more stilted<\/em>, less free-flowing. The CH components are the least transistor-sounding components that I have heard and that’s one of the reasons why I chose them, but in comparison to the Aries Cerat components, they do sound unmistakably “transistor-y”, or perhaps I should say “not tube-like”. The preamp-less and tubeless CH system is pretty much as refined and fluid as the Aries Cerat duo but sounds comparatively dry. For many, this aspect alone may be an important deciding factor. But of course, this is not all there is to it as the CH DAC also has certain advantages, one of which I find personally important. But it is also something that I have found that many listeners do not pick up on. I’m talking about bass articulation. Or, put differently, the texturing and transient speed in the lower frequencies.<\/p>\n

This is admittedly a special focus of mine that stems from a natural inclination to prioritize bass melodies over the song’s main melody so if you’re a normal person, don’t pay too much attention to this;-) In any event, likely unsurprisingly, the Swiss DAC has better control and definition in the bass. I wouldn’t say the Aries Cerat bass is unfocused, let alone blurred, but especially in the upper bass, it’s certainly less crispy than that of the CH DAC. This is just a fact of (audio)life. Transistors tend to be tighter and crisper and tubes are usually more organic and free-flowing, it’s simply the way it is.<\/p>\n

But as I mentioned, not everyone seems to pick up on this, or at least not when combined with the overwhelming benefits of the tube components in other areas. I’ve had several of my friends come over to let them listen to the two systems, after which I asked for their opinions. Interestingly, all of them commented on the increased organic flow and none noticed the rounding in the bass until I pointed it out to them.<\/p>\n

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Digital or Analog Volume Control<\/h3>\n

Besides tonality, there’s an aspect of using a digital front end rather than one that includes an analog preamp that may also be a pivotal factor. As we all know, a digital volume control takes away bits as it reduces the gain and in doing so, it lowers the resolution. DACs try to counteract this by upsampling the signal and performing the calculations at a much higher resolution than is strictly required for the signal to pass theoretically unhindered. For instance, if the calculation is done at 32 bits and you lose a few bits then the 16-bit signal still comes through just fine even with strong attenuation. However, in practice, digital volume controls often do have an audible impact, sometimes even already when reducing the volume by only one step (and using an analog preamp). In the C1 DAC, the volume control is implemented in a hybrid analog\/digital fashion. To this end, the DAC will automatically switch to the nearest of three analog values based upon the volume level setting and fine-adjust in the digital domain. No doubt thanks to this clever system but also because the DAC inherently has a super-refined sound, the C1 was the first DAC that I could successfully use without an analog preamp, resulting in superbly well-defined bass, without having to put up with grainy treble in return. But as good as the C1 is, there is no denying that the Hel\u00e9ne DAC and Incito S preamp manage to present the music with more refinement, better fluidity, and indeed higher resolution in the treble.<\/p>\n

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Power supply placement<\/h3>\n

As I found, the placement method of the Incito S’s power supply also has an impact on the sound. It’s not an extreme difference but sure worthwhile. While the preamp struts all of its capabilities just fine when the power supply is placed directly on the floor and there are no downsides as such, I did note that the preamp became increasingly expressive and gained precision in its imaging within the soundstage when the power supply was placed on the Artesania Modular Floor Platform<\/a>.<\/p>\n

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Now that the contribution of the combined Aries Cerat units has been established, it’s time to investigate the DAC and preamp separately. First, let’s focus on the DAC.<\/p>\n

AES\/EBU<\/h3>\n

The Hel\u00e9ne DAC has three inputs: Coaxial, AES\/EBU, and USB, and the company feels that the latter provides the best quality. Interestingly, in the large majority of my test so far, AES\/EBU has proved to sound superior to USB. The results have been so consistent that AES\/EBU now is my go-to format. Still, I need to keep an open mind and so, I will of course also assess the Hel\u00e9ne’s USB input.<\/p>\n

To see how they compare, I will listen to all three inputs using the same source, the Antipodes K50 that conveniently offers all three outputs. I should note that this server sounds smooth, rich, and relaxed, and thus deviates from the Aqua and Grimm sources. Since the Jorma cable consistently outperforms my USB cables I will set it aside and to level the playing field, I will start by using standard good quality cables.<\/p>\n

With the Mogami AES\/EBU<\/a> cable and fed from the Antipodes server, the Hel\u00e9ne sounds very smooth and a little thick but seductively romantic and emotionally captivating. It’s not ideal, though, as the balance comes across as being slightly saddled, meaning that the midrange sounds slightly restrained and less expressive compared to the frequency extremes. The bass is big and full and a little sweet and the treble is open and airy, and as I already found when comparing the two units in tandem, the resolution and refinement are first-rate. But compared to what I am used to from the C1 and the Aqua Formula when fed from the Antipodes server, the Hel\u00e9ne DAC definitely has a warmer sound, and while that may actually appeal to a lot of listeners, to me, the midrange lacks incisiveness and liveliness.<\/p>\n

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USB<\/h3>\n

Switching from the Mogami AES\/EBU cable to the no-name USB cable, I sort of got slapped in the face, but in a good way! WOW, the sound became much tighter, much more controlled, and even more transparent! This was expected, and not expected. You see, in all my tests, USB tends to sound more controlled, but always in a negative manner, as if the music is playing with the handbrake on. In this case with the Hel\u00e9ne DAC, however, it seems to really pay off by combining perfectly with the DAC’s inherent smooth sound. The overt control that I usually hear with USB also finds its way into the soundstaging but, with the Hel\u00e9ne, this does not seem to be the case. At this point, I got flashbacks to the Denafrips Terminator II DAC and how impressive its USB implementation sounded, not because the two DACs are in any way similar but in how both their USB inputs compared to the AES\/EBU inputs. Yes, the increased control does make the soundstage feel slightly more stilted but because the DAC has more than enough liquidity in reserve, the result is still plenty organic.<\/p>\n

One thing that Ron mentioned is that while he made sure to run in all the inputs as well as each volume setting, he did not use the USB input. As such, it might still further develop with increased use.<\/p>\n

A weird issue that I experienced is that there is a loud “pop” from the speakers whenever I switch the Hel\u00e9ne DAC inputs between AES and USB or vice versa, and then often again when clicking play in the Roon interface. This is remarkable because otherwise, so far, the two components have been whisper-quiet during all operations. There’s no hum, neither from the speakers nor mechanically (from the component’s chassis) and no hiss whatsoever.<\/p>\n

In any event, what I really like, is that it stays active even when the USB input is not selected, enabling back and forth A\/B comparisons between AES and USB without the stream being interrupted.<\/p>\n

When asked about the switching noise, Stavros provided the following feedback that makes perfect sense:<\/p>\n

“This click, though annoying, is normal and not a faulty unit problem. As you noticed, the USB is still active when not selected, just like the SPDIF\/AES inputs. The click is actually from the interrupted digital stream on the fly. Since we do not use any processing, the data stream is\u00a0abruptly interrupted when changing, thus creating the click. In mechanical terms, it is like shifting gears without a clutch press”.<\/em><\/p>\n

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COAX<\/h3>\n

Between AES\/EBU and Coax and when using Jorma cables for both, I observed the same differences as they are usually induced by the different interfaces. The Coax connection sounded a little leaner and tighter, also in focus, and AES\/EBU connection a little fuller and a little bit wider in terms of imaging. Otherwise, they proved very similar, indicating that there are no meaningful differences between the Hel\u00e9ne’s Coax and AES inputs.<\/p>\n

<\/p>\n

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Aqua Formula xHD with AES\/EBU<\/h3>\n

Substituting Hel\u00e9ne DAC for Aqua Formula xHD DAC while retaining the Incito S makes for an interesting comparison. As I mentioned when using the AES\/EBU connection, even when using the relatively relaxed-sounding Driade XLR cables for the CH DAC and the Stealth Indra RCA cable for the Incito S, the direct DAC to power amp connection remained the most articulate and direct-sounding solution. However, the gap is all but closed when using the Aqua DAC with the Incito S. The Formula xHD has always been one of the most detailed, most linear, and most transparent DACs that I have heard and, fair is fair, while the Hel\u00e9ne DAC does not surpass the Formula xHD in these areas, it does <\/em>very nearly\u00a0equal it in terms of resolution and it’s definitely a tie in terms of finesse and refinement.<\/p>\n

The biggest difference between these two DACs is, you guessed it, in the bass. Indeed, the Aqua DAC sounds considerably<\/em> tighter and more controlled than the Hel\u00e9ne DAC which, as is now definitely confirmed when used with AES\/EBU, sounds quite lush and relaxed. Its bass is of the deep and voluptuous yet unforced, slightly relaxed kind and this takes some getting used to again after having been accustomed to the Aqua. Vice versa, the Aqua’s bass can appear as being a little too <\/em>controlled when you’ve been listening to the Hel\u00e9ne DAC for some time. Of course, we’re talking transistor versus tube output stages and these differences, while larger than anticipated, are not out of the ordinary.<\/p>\n

What this illustrates very neatly is just how transparent the Incito S preamp is! Any warmth that I noted so far, is likely coming from the DAC.<\/p>\n

\"\"<\/p>\n

I certainly like the Aqua’s super-tight bass but it takes little time to hear that the DAC’s superb control also affects the soundstaging which is quite stilted compared to the Hel\u00e9ne’s. And whereas the C1 DAC sounded just as voluminous in terms of soundstage size as the Aries Cerat combo, the Aqua DAC’s firm grip subjectively reduces the distance that the soundstage projects both in front and behind the speakers.<\/p>\n

Given an AES\/EBU source, the two DACs really are very different in their presentations. Exaggerating a little, the Hel\u00e9ne’s natural flow makes the Aqua seem strict and somewhat restrained but the Aqua’s tight and articulate bass, in turn, makes the Hel\u00e9ne’s transient behavior seem rounded.<\/p>\n

When replacing the Mogami with the Jorma AES\/EBU cable, the sound is significantly improved across the board with better focus and higher realism, but still, it doesn’t achieve the same tightness, transparency, and ultimate resolution of the USB connection. And that’s with the no-name cable still in place! When replacing the no-name USB cable with the Vermouth Reference or the Final Touch Audio Callisto, the sound is further enhanced, respectively by becoming fuller and more deeply saturated and by becoming airier and more fluid.<\/p>\n

Aqua Formula xHD with\u00a0USB<\/h3>\n

Switching to USB, the DACs most definitely crawl closer to one another. As observed earlier, the Hel\u00e9ne DAC is absolutely transformed in terms of tightness, control, and overall transient behavior, and although I can imagine either presentation finding favor depending on personal preference, I personally definitely prefer its sound with USB over the other inputs. Comparing the two DACs via USB, I’d say that they are technically equally capable, if still different in presentation. The Aqua remains nimblest and most articulate while the Hel\u00e9ne remains the most free-flowing, naturally breathing, and organic.<\/p>\n

All these experiments perfectly illustrate the relative quality of audio assessments. As mentioned, for the past year, I have consistently found AES\/EBU to perform more consistently and to sound more convincing than USB, and the latter always having a certain technical quality to it, with the Hel\u00e9ne DAC, this quality clearly works in the DAC’s favor, perfectly balancing out the DAC’s inherent smoothness with the interface’s precision.<\/p>\n

With the Hel\u00e9ne’s USB input performing so much more impressively than the AES input, there was one comparison that I just had<\/em> to make with this DAC, which is the Antipodes K50 versus Grimm MU1 music server, with which I started my listening.<\/p>\n

Well, I had already figuratively been slapped in the face when swapping to the Hel\u00e9ne’s USB interface but now, let me be unashamedly Dutch by exclaiming that my trousers dropped and my wooden shoe broke. Indeed, my jaw dropped to the floor, for now, the Antipodes K50 sounded tighter and more direct than the MU1. Believe it or not but despite the K50 having consistently sounded sweeter and more relaxed than any other server, most definitely the MU1, now, the latter got a taste of its own medicine. Even when focusing on the resolution, one of the Grimm’s strengths, I could no longer say that the K50 was in any way behind. But of course, this is when comparing USB on the K50 to AES\/EBU on the MU1. Since the latter does not offer USB, this is as far as I can take this comparison. Boy, you just got to love the mysterious world of digital audio.<\/p>\n

With all this focus on the Hel\u00e9ne DAC, one would almost forget that the Incito S has quietly been in use all this time. As long as I was using AES\/EBU (or coaxial, for that matter), I got the feeling that the Hel\u00e9ne DAC makes the biggest contribution with respect to the harmonic richness and organic flow, while the preamp was performing more or less anonymously. This feeling was further substantiated when switching from AES\/EBU to USB. Now, it was time to put this to the test.<\/p>\n

\"\"<\/p>\n

Using Incito S preamp with CH C1 DAC<\/h3>\n

I invited my close friend JW for this last comparison. Having a complete Zesto system, he is a dedicated tube lover who can’t stand many transistor products. He kindly makes an exception for CH as he notes that it sounds neither tube-like nor typically transistor-like. Of course, CH equipment does not mimic a tube sound and it’s not intended to do so. But the A1.5 amplifier, in particular, does<\/em> manage to not have any of the traditional transistor downsides. The more I combine it with other products, the more I find that it is very much a chameleon.<\/p>\n

Let’s see how the Incito S preamp behaves in conjunction with the CH C1 DAC. For this purpose, I will set the C1’s volume to unity so that it behaves like a regular DAC. I will then listen to the C1+A1.5 combo as I normally do and then add the Incito S in between. When using the C1 DAC directly, I used only the Driade Flow Link Reference 808 RCA cable, and when also using the Incito S, I used the Driade Flow Link Reference 808 RCA cable between DAC and preamp, and the Stealth Indra RCA between preamp and power amp. Now, we will find out how much, or how little, it adds.<\/p>\n

“WOW”, is what I proclaimed, as the first notes flowed through from the C1 via the Incito S to the A1.5. Granted, the direct DAC to power amp remains tighter and more direct but the Incito S did not shave off even the tiniest amount of energy or impact, and the delivery was every bit as impactful and dynamic while adding just the right amount of fluidity.<\/p>\n

Even though I found the C1 DAC to be remarkably fluid and refined when comparing to a direct Wadia to power amp connection (which results in a particularly robust but also considerably dry sound), the Incito S neatly illustrates that the C1 when used with its volume control and no preamp still leaves out a measure of ultimate refinement and fluidity.<\/p>\n

Additionally, the flow, soundstage depth and imaging within, and the music’s lyrical quality all improved quite significantly. Yup, there is no way around it, if one seeks the ultimate in tightness and control then using a DAC direct to a power amp is an almost unbeatable solution but if the music’s breath and the organic flow are paramount, then there seems to be no way around adding a great tube preamp.<\/p>\n

Although this exercise was a little sobering for me when returning to the C1 on its own, it was still very satisfying to realize just how chameleon-like the A1.5 poweramp behaved when it was partnered with the Aries Cerat Incito S preamp. JW also commented that with the Incito S in the signal path, it was as though I had also swapped the power amp for a tube product. Honestly, if we’d do a blind test, I doubt that even the most seasoned tube fanatic will have anything negative to say about the combined sound.<\/p>\n

Still, let’s not forget that the one product that made this possible was the Incito S. Given that it has a transformer volume control, and understanding the principle behind it, I was more or less prepared to be treated to a powerful sound but it was still a big surprise to find how little the Incito S added in terms of tonality or character. In spite of all the abovementioned extra qualities that it managed to extract from my system, it is essentially transparent. It can’t easily be described for what it does, so here’s what it does not do. It doesn’t add warmth or body nor does it subtract richness or saturation, it doesn’t emphasize any part of the audio band and its frequency range seems flat top to bottom, it doesn’t mask any detail nor does it round off transients, resolution, or the overall dynamic impact, and yet it also does not add any hardness or edge. What this preamp achieves has truly amazed me. I’ve not nearly heard all the range-topping preamplifiers that are available but I’ve heard quite a few and I can say with confidence that the Incito S ranks all the way at the top, even surpassing the considerably more expensive CH L1 in several important aspects. As one might expect, the L1 manages tighter bass and an even more direct presentation but it has to yield to the Aries Cerat in the aspects of flow, breath, tonal saturation, and overall richness, and perhaps most importantly; Sheer musical engagement.<\/p>\n

<\/p>\n

\"\"<\/p>\n

Synergistic Research Fuses<\/h3>\n

Along with the Aries Cerat components, I was also supplied with Synergistic Research Orange Quantum Fuses by Kempelektroniks<\/a>\u00a0 to try in place of the standard fuses. I know that some people will frown upon the very notion that something as seemingly insignificant as a fuse might cause any audible effect.<\/p>\n

My personal experience with audiophile fuses started, oh, I don’t know, maybe 10, 15 years ago. After having observed ridiculously large differences between a standard Bals Schuko and one that was treated by Hifi-Tuning, I also tried their fuses as well as some others such as AHP. Priced at 25 euro, and given that a standard fuse costs maybe 25 cents, these were already found to be costly. Extrapolate this to the Synergistic fuses that cost 160 euro each, and I can imagine the uninitiated will walk away while shaking their heads.<\/p>\n

\"\"<\/p>\n

\"\"<\/p>\n

I don’t know why and I won’t try to find a reason but after swapping, all it takes is a couple of notes to hear that the Orange fuses make one heck of a difference. Yes, I’d almost be tempted to call it a day and night kind of difference! The impact is honestly as large as that of swapping a power cord.<\/p>\n

What you notice instantly, is how the soundstage increases in size, becoming both wider and deeper, and secondly, how the sounds within it gain richness and finesse. With audio accessories that add richness, usually, you also lose some dynamics or attack but in this case, this does not seem to be the case, not in the midrange, at least. The overall resolution remains great – it does not seem to increase but neither does it diminish, but because the stage is imaged considerably more widely, the sounds within it are portrayed more in a free-floating manner and with gobs of surrounding air as opposed to the comparatively more clumped-together presentation of the standard fuses. Another notable change, and something that will make one gulp, is that the Orange fuses make standard fuses sound lean and tonally gray. It’s almost surreal.<\/p>\n

However, once I got over the euphoria of the much luxurious sound, I noticed that the bass behavior had also changed. Even though the clarity and texturing in the midrange did not at all seem to be negatively impacted, and the bass actually seemed to have become meatier, there was now a bloom down below that made for a seductive and smooth feel but that also rounded off the transient behavior, making the sound feel arguably less urgent and rhythmic. For me, this was a deal-breaker and therefore, I reviewed the Aries Cerat components with standard fuses. But I know that I am quite specific in the way that I want my bass and imagine that there will be many for whom the benefits will greatly outweigh the downsides.<\/p>\n

\"\"<\/p>\n

Conclusion<\/h2>\n

When you frequently review products, and especially when the target is usually the high-end segment, true surprises are few and far between. So, it’s a treat when a product comes along that truly brings something new to the table. The Aries Cerat Incito S is such a product. It simply does it all while introducing virtually no character of its own. It is, quite simply, the best analog preamp that I have heard so far, irrespective of the cost<\/em>. And based on its superb performance, it’s not at all inappropriately priced. Add to this the classy exterior, the tank-like build, and what will likely be a lifetime of service, and it becomes something of a bargain.<\/p>\n

Although I feel that the Incito S is the star of the show, the Hel\u00e9ne DAC should not be underestimated. It may not be as innovative as the preamp or quite as unique compared to the best converters that I have heard but it is one heck of a musically engaging and thoroughly lyrical DAC.<\/p>\n

It should be noted that the Hel\u00e9ne sounds different depending on the input that is used. With AES\/EBU or S\/PDIF, it sounds rich and lush, even a little voluptuous, but dynamic, if a little laid-back in terms of midrange expression, but always highly seductive. With USB, it seems that all of its powers are released, and then, it becomes tighter, faster, more open and articulate, and highly expressive, while retaining its seductive qualities. With USB, I find it to be most impressive, and indeed, when using this input, I feel that it provides a level of performance that is particularly hard to beat in its price class.<\/p>\n

Feedback<\/h3>\n

Hello Christiaan, thank you for the great words and remarks on our designs. The bias system is a major tool for adjusting and finetuning the sound to taste because each system is different. It might have been a good opportunity to check what that system does because it affects the sound a lot. For example, and from data we have, many users use different settings to match the sound to their speaker\/system character and mostly, taste:) Best, Stavros, manufacturer.<\/p>\n

Please note that with a higher bias setting, the Hel\u00e9ne DAC would likely play tighter and more articulate than as reviewed. Michel Warlop, distributor<\/p>\n

HFA reply: Indeed, my experience with bias systems has illustrated that the bias setting can have a large influence on the sound, typically making it warmer and more relaxed or cleaner and tighter, by adjusting the bias higher or lower. In this case, both components were delivered with the bias set to the theoretical ideal positions and the values did not waver over the course of the review. Because both turned in such great performance, I did not see a need to remove the covers for tweaking.<\/p>\n

\"\"<\/p>\n

Initially, the Incito S preamp had been awarded the “Magnificent Masterpiece” award. It’s dangerous to award the highest-tier award to a relatively affordable product but I was so impressed with the Incito S that I felt it deserved this. After all, it was the best preamp that I had heard until that point.<\/p>\n

Then, the Impera Reference<\/a>, a higher-level model by the same brand, came along, providing even more impressive performance. In comparison, the Incito S is now relatively less magnificent, so, does it still deserve its title? Well, at its relatively “affordable” price point, the Incito S certainly still offers magnificent performance. It’s just that if you spend more, it can get even better.<\/p>\n

As in the Highlander movies, there can be only one, right? So, the badge of honor must now go to the Impera Reference. Just keep in mind that the Impera Reference is even more Magnificent, and, I suspect, the models above it, even more so.<\/p>\n

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

<\/h3>\n

More Aries Cerat<\/h3>\n

Incito S and Impera Reference Compared<\/a><\/p>\n

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

Aries Cerat Helene and Incito S preview<\/a>
\nHFA visits Callas Audio<\/a>
\nHFA Front Page<\/a><\/p>\n

External Links<\/h3>\n

Distributor for the BeNeLux: Ultisone<\/a>
\nDealer for Belgium and Luxembourg: Alpha High End<\/a>
\nManufacturer’s website: AriesCerat<\/a><\/p>\n

Dealer for the Netherlands:
\nwww.callas-audio.nl<\/a>
\n<\/em>Lelystad 8241AK
\ninfo@callas-audio.nl<\/a><\/p>\n

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