{"id":30063,"date":"2021-11-10T15:05:17","date_gmt":"2021-11-10T13:05:17","guid":{"rendered":"https:\/\/www.hifi-advice.com\/blog\/?p=30063"},"modified":"2022-10-07T13:42:36","modified_gmt":"2022-10-07T11:42:36","slug":"cos-d10-dac-preamp-and-network-player","status":"publish","type":"post","link":"https:\/\/www.hifi-advice.com\/blog\/review\/digital-reviews\/spdif-dac-reviews\/cos-d10-dac-preamp-and-network-player\/","title":{"rendered":"COS D10 DAC, preamp, and network player"},"content":{"rendered":"

Review sample supplied by hexagonaudio<\/a><\/h4>\n

Retail prices in the Netherlands including VAT:
\n<\/strong>D10 without modules: \u00a0\u20ac 5.350
\nStreaming module: \u20ac 1.070
\nMM\/MC Phono preamp module: \u00a0\u20ac 830
\nD10 complete with both modules: \u20ac 7.250<\/h4>\n

The D10 is a highly versatile control point, built in a modular fashion. As standard, it contains a preamp and DAC. Optionally, one can add a streaming input and a phono preamp. Looking at its exterior, the D10 is not only beautifully finished but also very cleverly constructed and made to extremely high tolerances. All the panels are assembled blindly (no screws in sight) and fit absolutely perfectly and that is something that is not to be taken for granted, not even with the most esoteric high-end brands.<\/p>\n

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Features<\/h3>\n

The D10’s preamp section’s volume control is carried out via a precision discrete resistor array that is controlled via magnetic relays which are, in turn, controlled from the front panel’s rotary volume dial, leading to 140 0.5dB steps ranging from -64db to +6dB. There are two XLR inputs and two RCA inputs, and two XLR and RCA outputs.<\/p>\n

The D10’s DAC section offers USB, SPDIF BNC, AES\/EBU, TOSLink, and I2S HDMI inputs while being capable of processing PCM sample rates of up to 192Khz at 24 bits and DSD rates up to DSD256 (USB) and DSD64 on all other inputs.<\/p>\n

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COS’s proprietary algorithm with a linear-phase delay FIR filter can up-sample original data to 176.4K or 192K. The D10 stores digital data in a one-second buffer before converting to analog signals, under the coordination of a crystal oscillator with a jitter precision of less than 1ps and dedicated re-clocking circuitry.<\/p>\n

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The D10 has an NCT internal chassis and an aluminum exterior. This design provides a fortified frame that makes possible lowered noise and minimized interference, plus convenient assembly\/disassembly, and not to forget, seamless aesthetics.<\/p>\n

The D10 is capable of driving headphones of high and low impedance, via a pair of 3-pin XLR connectors that accommodate two unbalanced headphones or 1 balanced one. An extra 4-pin XLR connector is provided for a balanced headphone.<\/p>\n

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The optional streaming module provides wired and wireless compatibility with \u00a0TiDAL, Spotify, Deezer, and Qobuz. In addition, the D10 is compatible with MQA, Roon, and UPnP\/DLNA.<\/p>\n

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Supplied wireless USB adapter and felt sleeve for the remote control unit<\/em><\/p>\n

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The optional phono preamp module provides 5 loading resistors ranging from 470 to 22 ohm and 3 loading capacitors, all selectable from the rear panel’s DIP switches. The 5 resistors work in parallel to enable a very wide array of values, thus accommodating a wide array of phono cartridges. For example, if 470 and 350 ohms are enabled, the overall resistance will be 470 * 350\/(470 + 350) = 200 ohms. The same goes for capacitance switching.<\/p>\n

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Other features include a JFET input stage, on-board low-noise linear regulation, handpicked components for the RIAA curve matching, and no capacitors in the audio signal paths.<\/p>\n

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The supplied IR remote control is made entirely of aluminum and it has to be one of the best samples that I have seen and used, irrespective of the audio component’s price.<\/p>\n

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Next: Review Context.<\/p>\n

<\/p>\n

Review Context<\/h3>\n

The D10 will be reviewed in the context of the main reference system<\/a> where it will be compared to the Aqua LinQ<\/a> network interface and Formula xHD<\/a> DAC in combination with the Audio-GD Master 1<\/a> preamp. Cables used include the Driade Flow Link Reference 808<\/a> RCA and XLR and the AudioQuest Fire<\/a> RCA. The power cables for all components are my preferred Belden 19364 with Bals schuko and Oyaide C-004 IEC connectors.<\/p>\n

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Buffer<\/h3>\n

The D10 has a switch on the rear labeled “Buffer”. As I quickly found when using its digital inputs, this switch is as important as it is small and unassumingly positioned! With it enabled, the DAC sounds more free-flowing, more spacious, and the music becomes more emotionally involving. Switch it off, and the music behaves more stilted and “normal”. For me, there is no doubt that the Buffer sounds better but for those who want the absolute cleanest and tightest sound, and in video purposes where a delay would not work well, it can be switched off. Needless to say, I left it switched on.<\/p>\n

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Listening<\/h3>\n

Since the D10 is analog at its heart, I started by using it as a pure analog preamp. Before listening to it, I left it switched on for several days while selecting several sources, just to make sure that it was nice and warmed up. In the meantime, I disconnected the CH Precision C1 DAC that I normally use directly to the power amp and reconnected the Audio-GD Master 1 analog preamp to the CH Precision A1.5<\/a> power amplifier via the balanced Driade cables while using the Aqua LinQ and Formula xHD as a digital front end, connected via de RCA Driade cables.<\/p>\n

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The COS D10 was listened to in various locations: as here, on an Artesania Modula Floor platform as seen here, or in an Exoteryc rack as seen below, as well as on top of the CH C1 DAC.<\/em><\/p>\n

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Every time I use the Master 1 preamp, I remain fascinated by its cost\/performance ratio. Of course, it’s not as good as the direct CH to CH connection, mainly trading some ultra-refinement for a subtle roughness and a slight reduction in terms of naturalness but still, it remains one of the best preamps that I have heard under 10K. Therefore, changing from the Master 1 to the COS D10, I’ll admit that I did not have huge expectations. Honestly, I wholly anticipated that the D10’s analog preamp would be good but that it would also perhaps be its least “special” section, with higher scores for the DAC and\/or streamer. But I was quickly proven wrong.<\/p>\n

As an analog preamp<\/h3>\n

With the Aqua Formula xHD DAC as a source, the D10 sounds remarkably articulate, well-focused, open and expressive, fabulously detailed, and incredibly transparent. I couldn’t believe my ears but in these areas, it surpassed the Master 1. But between these two preamps, it is not only a matter of more precision and resolution but there’s also a different perspective. Whereas the Master 1 excels in the areas of robustness and impact, offers a wide and generous soundstage, and rich timbres while remaining commendably neutral if not the most highly resolved or refined, the D10 is considerably tighter and cleaner, and more revealing, with an immense sense of control and focus that makes it sound more upfront and immediate and less spacious. Perhaps, as a result of its incredibly high precision, the D10 also has more of an analytical quality, and it is certainly less romantic or forgiving than the Master 1. Is that a bad thing? Not at all! It’s simply something to be aware of. I found that the D10’s more revealing nature made some recordings sound better than with the Master 1 while others were unmasked as being less than stellar. So be it. What counts is that most of the time, I enjoyed the heck out of the D10’s performance as a preamp. Oh, and a less rich timbre doesn’t necessarily mean that it’s any less natural. Sometimes, lean timbres can make a component lean toward sounding synthetic but with the D10, this simply isn’t the case. To me, it sounds highly neutral and while not smooth or particularly organic, also highly natural.<\/p>\n

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While it may seem like the D10 is thoughtlessly plonked somewhere on top, the CH C1 actually functions superbly well as a solid platform with all the devices that I tried this with. More specifically, the Aqua La Diva CD transport sounds better on top of it than in any other way that I can place it. In that capacity, it’s a bit of an expensive platform, but that’s another discussion…;-)<\/em><\/p>\n

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As a phono preamp<\/h3>\n

Adding one more step in the D10’s analog domain by using the optional phono module (and making sure to select the ideal DIP-switch values) revealed that this option was designed very much in the same spirit as the device’s main analog preamp. Replacing my usual CH Precision P1<\/a> phono stage and Ayon Stealth<\/a> preamp, the D10’s phono section easily extracted the same levels of detail and resolution from\u00a0the Origin Live Calypso mk4<\/a> turntable with ViRa Aidas Rainbow<\/a> MC cartridge, while further increasing the transparency.<\/p>\n

While the P1 is as close as one can get to perfection in every sense (and it should be given its 31.000 euro price tag), I’ve never felt that the Ayon preamp was particularly linear or very precise. And indeed, the D10 is significantly more neutral and linear, and more revealing, too! Furthermore, I’ve always known that the Ayon was a little dark and the D10 readily confirmed this with its positively lit upper midrange and treble. Don’t take this for the D10 being overly bright or overbearing, it most definitely is not. In fact, I think its treble is perfectly balanced. It’s well-defined and precise but without losing fluidity or refinement.<\/p>\n

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While my bouncing leg proves that the performance is musically engaging and highly rhythmic, I did note that it was tonally a little bit on the lean side. Naturally, tube preamplifiers almost universally tend to sound harmonically richer and often timbrally fuller than their transistor counterparts. With the Ayon, this is most definitely the case. Most notably, it has a fuller and more robust bass, albeit with lower precision.<\/p>\n

The D10’s tight and perfectly chiseled bass was a joy with digital sources, but now, I find that this takes away some of the romanticism that I crave when playing records, whether that is actually “correct” or not. But that says more about the marriage between turntable, cartridge, and preamp and how the D10 sounds relative to the other two preamplifiers, or perhaps my listening preferences, than about its absolute quality.<\/p>\n

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As a streaming DAC<\/h3>\n

In order to assess the D10’s streaming capabilities, I started with a single music source, Qobuz, accessed either from within Roon or streamed directly using the BubbleUPnP Android app.<\/p>\n

Almost always, I hear a distinct difference between Roon and UPnP, but with the COS D10, the two sound closer than ever. Yes, there is still a slight difference, Roon sounding a tiny bit fuller and smoother and BubbleUPnP sounding a tiny bit more direct, but in essence, the two are comparable in quality. And what quality, may I add!<\/p>\n

When streaming to the D10, it sounds bouncy, immediate, and spritely, with fabulous expression and fine delicacy in equal measure. When comparing its streaming inputs from said Qobuz source either directly or via the Aqua LinQ’s AES\/EBU outputs and connected to the D10 via a Jorma digital cable, I was amazed to find how little there was between the two. Only by swapping repeatedly, I noticed a difference in terms of soundstaging width and depth and the amount of breathing. By that, I mean that the Aqua combo presents the music with more of a gushing quality, whereas the D10 has a slightly more static approach. But tonally, and in terms of detail or transparency, there is simply too little to differentiate. This confirms that the D10’s streaming input is superbly engineered and very well-implemented and I’ll note that it’s rare for any streamer, either built-in or standalone, to approach the LinQ’s performance.<\/p>\n

When comparing the D10’s direct streaming options to an analog signal from the Aqua LinQ and Formula xHD DAC and using either Roon or UPnP, the combo does make a case for why it costs four times as much as the D10 with its streaming module. It’s not a night and day difference but there’s more solidity and depth to the bass, more deeply saturated timbres, and a wider and deeper, more “breathing”, soundstage. Together, these little differences make for a more atmospheric and ultimately emotionally more involving delivery. But comparisons with far more expensive equipment aside, the D10 sets an incredibly high standard and is certainly performing way beyond its price class.<\/p>\n

The component that springs to mind as being very close to the D10 in terms of sound is the Weiss DAC502<\/a>. At less than half its costs, I’d say that’s a mighty good association.<\/p>\n

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Next: Digital Inputs Compared and Conclusion.<\/p>\n

<\/p>\n

Digital Inputs compared<\/h3>\n

Sometimes a component’s digital inputs (or outputs) can sound quite different from one another. But using two Jorma digital cables (one BNC-BNC and one AES-AES) and switching between them using the same source component, either the Antipodes K50<\/a> or the Aqua LinQ, I can confirm that the D10’s AES\/EBU and BNC inputs perform absolutely uniformly. All that I can hear are the always present and very small format-induced differences, where the BNC cable sounds ever so slightly leaner and tighter than the AES\/EBU cable that sounds slightly fuller. Which of the two is preferred is an entirely personal matter but with a difference so small, one might as well not pay attention to it and use whichever cable or input is most convenient.<\/p>\n

USB is a topic that I have written a lot about on this site. I won’t repeat it all here but what it comes down to is that the format’s performance is highly reliant on the quality of the interfaces on both ends. As a result, the format can sound wonderful (as it should, given its specs and usually asynchronous nature) but all the same, it can also sound over-technical, boxed-in, and stilted. Well, I’m happy to report that the D10’s USB input sounds remarkably good! When using the Antipodes K50 with Roon and comparing AES\/EBU to USB, the latter actually sounds even more spritely and communicative. Granted, as is usually the case, USB also sounds more controlled and less organic, and less free-flowing than the traditional outputs but in this case, I’d really say it’s a matter of taste, not of quality. In any case, I always advocate the presence of various inputs and outputs, just as the D10 offers them because that allows the end-user to pick whichever connection sounds best.<\/p>\n

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Conclusion<\/h2>\n

Function after function, the D10 has surprised me with consistently fantastic performance. Either used as a pure analog preamp, a DAC + preamp, or a streamer + DAC + preamp, the D10 simply always aims to retrieve the maximum amount of information from any source.<\/p>\n

Without exception, the D10 presents sources with immense transparency and resolution, strong pacing, and unbridled enthusiasm. It offers highly focused precision, expression, and fine delicacy in equal measure.<\/p>\n

One thing the D10 is not is romantic<\/em>. Or at least not when this is not in the recordings. It simply does not overlay any richness, smoothness, or color of its own. Indeed, with its immense sense of control and focus, I would place it halfway on the analytical side of the scale, with a presentation that is less lush, warm, or spacious than some competitors. However, in spite of its highly precise delivery, I find that it consistently puts the music first. Not once over the course of reviewing the D10 did I feel the urge to switch it off or to switch to another source component. Clearly, this is not a case of precision at the cost of soul or emotion but rather a very happy marriage.<\/p>\n

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

External Links<\/h3>\n

Distributor for the Benelux: hexagonaudio<\/a>
\nManufacturer’s website: COS Engineering<\/a><\/p>\n

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