{"id":5006,"date":"2025-10-12T18:35:57","date_gmt":"2025-10-12T15:35:57","guid":{"rendered":"https:\/\/www.abbasaudio.com\/?p=5006"},"modified":"2025-10-12T18:35:59","modified_gmt":"2025-10-12T15:35:59","slug":"dac-2-41-euterpe-signature","status":"publish","type":"post","link":"https:\/\/www.abbasaudio.com\/en\/2025\/10\/12\/dac-2-41-euterpe-signature\/","title":{"rendered":"DAC 2.41 Euterpe Signature"},"content":{"rendered":"

The new DAC 2.41 Euterpe Signature is the most advanced model in a line that began many years ago with version 2.0.
Since then, the circuit has undergone countless changes. The power supply has become more elegant and refined \u2014 as perfect as possible within its size and weight class.<\/p>\n\n\n\n

The SPDIF receiver WM8804 is officially rated for 24\/192, but in hardware mode it actually works up to 24\/96. Nevertheless, its use is absolutely justified \u2014 its jitter is quite low, and that can be clearly heard. Or rather, you can hear that the chip is more precise than its predecessor, CS8414. The sound is more focused, the bass articulation is better defined. In choral recordings there\u2019s less harshness and fewer intermodulation artifacts.<\/p>\n\n\n\n

Another great advantage is that the Wolfson can be clocked from an external master clock \u2014 this is used in my flagship model Psyche, where the receiver is driven by a tube master clock based on the famous double triode E88CC. In that configuration, the sound quality is even better and can be tuned by changing the tube. Type, brand, place and year of production, internal structure \u2014 everything affects the sound. So far, I have not found any other SPDIF receiver that offers the same sonic quality and flexibility.<\/p>\n\n\n\n

There is, however, one small drawback: the Wolfson produces a click when switching between different sampling rates. Since I don\u2019t use any additional mute circuits, the click can be heard. Still, I use this SPDIF receiver in my own reference home DAC JUPITER \u2014 and I have no intention of replacing it with anything else. With an external clock, the WM8804 provides sound quality that is not inferior to what can be achieved through an I\u00b2S connection. That\u2019s why I stopped using the I\u00b2S interface in my home system, even though I had spent a lot of time designing complex tube followers and a separate power supply unit for it.<\/p>\n\n\n\n

\n\n\n\n

Power Supply and DEM Circuit<\/strong><\/p>\n\n\n\n

Another important feature of the 2.41 line is its carefully designed power supply section. There are now two separate voltage regulators for the SPDIF receiver and a more powerful \u201315V regulator for the TDA1541 chip. But the most original solution is a tube rectifier 6X5 in the \u201315V supply rail. This is a completely unique design \u2014 no other manufacturer in the audio world uses anything like it.<\/p>\n\n\n\n

My long-term experiments have shown that the way the DEM cells of the TDA1541 are powered is the true secret to obtaining the beautiful sound from this legendary chip.
You may not believe it, but I\u2019ve been perfecting the power supply for the TDA1541 for more than thirty years! And even now I keep discovering new nuances in the simplest circuits. This is the opposite of the technocratic approach \u2014 instead of endlessly complicating bad circuit ideas, I want to reveal the musical essence through perfect simplicity.<\/p>\n\n\n\n

Everything I have learned about powering the TDA1541 has been fully realized in my personal reference DAC JUPITER \u2014 an instrument that, to this day, remains my most accurate and musical tool for listening and comparison. I\u2019ll tell more about it later.<\/p>\n\n\n\n

Another original solution is the tube DEM clock, which improves linearity at low levels and makes the sound smoother, more fluid, and truly analog in character.
I first used this idea in the DAC 3.0, about ten years ago.<\/p>\n\n\n\n

\n\n\n\n

Analog Stage and Filter<\/strong><\/p>\n\n\n\n

The analog section has also undergone serious changes.
The 6SN7 output stage today uses tube-rectified power supply, but I had to improve the current-to-voltage converter to make sure that neither speed nor attack was sacrificed.<\/p>\n\n\n\n

In the Signature version I use a completely new low-pass filter, which turned out to be a real breakthrough.
It finally solved the main problem of NOS converters \u2014 the correct reproduction of frequencies above 10 kHz.
The way this frequency response is formed is far from traditional. I discovered it almost by accident and then fine-tuned it entirely by ear, because every attempt to follow \u201cproper\u201d electronic book guide filtering methods immediately destroyed the life and musicality of the sound.<\/p>\n\n\n\n

The inductors for this filter I wind myself \u2014 using vintage French copper wire on bamboo frames.
It\u2019s painstaking, time-consuming work, but it gives my DAC a clear advantage over any other TDA1541-based design.
Digital filters make the sound artificial and synthetic, while poor analog filters kill its vitality and natural breathing.
After years of listening and experimenting, I found the balance \u2014 a solution that preserves both clarity and the living pulse of music.<\/p>\n\n\n\n

\n\n\n\n

Components, Materials, and Wiring<\/strong><\/p>\n\n\n\n

The choice of components has not changed much \u2014 my digital converters are still assembled using Black Gate capacitors, Audio Note resistors, a mix of vintage and modern audio capacitors, germanium transistors, and the best diodes ever made by the electronics industry.<\/p>\n\n\n\n

The circuit board, as always, has no solder mask on the bottom side and is gold-plated. After assembly, it\u2019s coated with a special varnish, similar to that used on violins \u2014 my own formula, developed through years of experimentation.<\/p>\n\n\n\n

The internal wiring has also improved.
It\u2019s still made from my own designed 18-strand multistrand cable, but now a much higher percentage of rare vintage copper conductors is used.
The combination of different wire diameters and types produces a richer sound.
Over the past year, I\u2019ve managed to expand my collection of vintage copper wires, and this alone has significantly raised the overall quality of the system\u2019s internal wiring \u201ccomposition.\u201d<\/p>\n\n\n\n

I continue to pay great attention to the phasing of transformer windings, and to the direction of connection of resistors, capacitors, and all conductors for the best sonic result.
This is the foundation of good sound. The direction of all electronic parts and conductors, in my experience, is the second most important factor after the quality of the materials themselves.<\/p>\n\n\n\n

\n\n\n\n

Transformers \u2014 The Heart of the Sound<\/strong><\/p>\n\n\n\n

In the Euterpe Signature, I use two EI84-format transformers.
Some of them I wind myself, while others are made by GD Audio, my long-time partner.
The transformer frames are made of wood, the windings are vintage German copper wire, carefully selected for its tone and sound character.
The cores are made of German transformer silicon steel, most often Siemens production from the 1950s and 1960s.<\/p>\n\n\n\n

To give you an idea of how complex this process is \u2014 it all begins with buying old German power transformers.
I disassemble them completely, sort the steel by type, and then we make new coils using wooden frames.
After that, I reassemble the core from several grades of steel, each contributing its own tonal color.<\/p>\n\n\n\n

Yes, today you can easily order modern EI or C-core transformers \u2014 they will look beautiful, with shiny copper frames and immaculate finishing.
But sonically they are lifeless \u2014 lacking the micro-nuances and colorful timbres that only old materials can provide.<\/p>\n\n\n\n

All this extra effort in making transformers has a single purpose: to achieve a completely different level of sound quality, one that stands far apart from what is commonly known as \u201cmodern high-end.\u201d Those who love vintage audio will understand me. This natural, pleasing tonal color, this emotional depth of music \u2014 it simply cannot be found in components made from modern steel and copper.<\/p>\n\n\n\n

The power transformer is the heart of any device. It defines the character of the entire sound \u2014 its pulse, its warmth, and its musicality.<\/p>\n\n\n\n

\n\n\n\n

Current-to-Voltage Conversion and Voltage Regulation<\/strong><\/p>\n\n\n\n

The current-to-voltage converter still uses germanium transistors, but now they are low-noise, high-frequency types originally designed for military applications \u2014 devices made to the highest possible standards of quality.<\/p>\n\n\n\n

All voltage regulators in the DAC are also based on germanium transistors.
I still believe this is the only way to preserve the vivid microdynamics and natural variability of music. Keep in mind that music in the recording studio is often flattened and sterilized by endless processing and equalization.<\/p>\n\n\n\n

However, in this new version, only part of the regulators are of the shunt type, while others are series regulators.
Through many years of work, I discovered that the secret of magic sound lies precisely in the right combination of different regulator types in specific parts of the circuit.
I\u2019ve seen many designs on the internet that try to copy my early works, but their authors usually don\u2019t understand this principle \u2014 they don\u2019t know where shunt regulation is appropriate and where it destroys the rhythm and flow of the sound. My understanding came only through decades of persistent experimentation.<\/p>\n\n\n\n

For the SPDIF receiver, I use an unusual regulator based on the Sziklai pair topology, with a germanium PNP transistor as the power transistor in the regulation stage.
This brought me several steps closer to the smoothness and warmth of LP playback \u2014 that living, breathing sound.<\/p>\n\n\n\n

I also continue to use so-called One-Half Rectifier circuits, popular in the 1920s, because I consider them the most musical of all.
In other parts of the DAC, where greater dynamics and speed are needed, they are combined with Full-Wave Rectifiers.
As always, audio design does not tolerate dogmatism or \u201cideological\u201d purity.<\/p>\n\n\n\n

Audio, to me, is much closer to jazz improvisation \u2014 the shape of the melody emerges as you play, constantly adjusting to reveal the musical idea in the most expressive way.
Trying to find one \u201cultimate\u201d solution in audio and apply it everywhere would be like composing music with only three chords \u2014 the result would be monotony and boredom, the same lifeless \u201cperfection\u201d we hear in much of today\u2019s high-end equipment.<\/p>\n\n\n\n

Sadly, there are no \u201cperfect\u201d solutions. Every circuit type, every assembly method, every electronic component, every conductor, capacitor, or resistor \u2014 all have their own strengths and weaknesses.
Understanding this balance is what makes high-end audio and this craft an art form, not an engineering exercise.<\/p>\n\n\n\n

\n\n\n\n

Inputs<\/strong><\/p>\n\n\n\n

The DAC has two coaxial SPDIF inputs, switching by HF relay.<\/p>\n\n\n\n

\n\n\n\n

Sound Character and Final Thoughts<\/strong><\/p>\n\n\n\n

This DAC is not for everyone. It doesn\u2019t aim to impress everybody with technical specifications or with the sterile \u201cclarity\u201d so often praised in high-end shows.
Its purpose is different: to awaken in the listener the same sense of beauty and harmony that music once gave us before it became a plastic disc, tape, or file.<\/p>\n\n\n\n

I\u2019ve long stopped chasing \u201cmarket trends\u201d or adapting to what listeners expect. Also, creating audio equipment for me is a form of personal expression \u2014 as individual as painting or composing music. This approach limits production, it\u2019s not scalable, not industrial. But it is created by hand, with care, curiosity, and respect for the mystery of sound. Perhaps I\u2019m wrong in minor things, but I am sure in the main direction of my way.<\/p>\n\n\n\n

Ultimately, music is a mysterious substance connected to the demands of the soul. That is, at the beginning and end of the long process of transforming spiritual insights into emotion and then into sounds and then back into emotions, we are dealing with things that science cannot explain. The source of these sounds and the receiver of these sounds are an absolute mystery.<\/p>\n\n\n\n

Therefore, true high-end (if we agree to use this absolutely stupid definition) is not the brilliance of exquisite design, not mind-blowing specifications, not the most complex technology, not an excess of bits, kilohertz, or kilograms. True high-end is when an audio system establishes an invisible connection between the past and the present, evokes resonance between souls, and unites different people in the moment of listening.<\/p>\n\n\n\n

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The new DAC 2.41 Euterpe Signature is the most advanced model in a line that began many years ago with version 2.0.Since then, the circuit has undergone countless changes. The power supply has become more elegant and refined \u2014 as perfect as possible within its size and weight class. The SPDIF receiver WM8804 is officially […]<\/p>\n","protected":false},"author":1,"featured_media":5023,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[79,80,1],"tags":[],"class_list":["post-5006","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-articles-eng","category-news","category-articles"],"yoast_head":"\nDAC 2.41 Euterpe Signature - Abbasaudio<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.abbasaudio.com\/en\/2025\/10\/12\/dac-2-41-euterpe-signature\/\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"DAC 2.41 Euterpe Signature - Abbasaudio\" \/>\n<meta property=\"og:description\" content=\"The new DAC 2.41 Euterpe Signature is the most advanced model in a line that began many years ago with version 2.0.Since then, the circuit has undergone countless changes. 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