Aqua La Scala MKII Optologic DAC
The original Aqua La Scala DAC debuted in 2010, a Burr Brown PCM 1704-K (four) conversion-based DAC with ECC82 tubes. The tubes act as part of the preamp circuitry. Italian and gorgeous, it caused a bit of a buzz in the high end audio world. As for sound and usage, mixed reviews.
As I’m a sucker for HiFi good looks, I noticed the upgraded La Scala MKII Optologic DAC ($8320) at the Rocky Mountain Audio Fest in Denver the last time we were allowed out of the house. And a happy coincidence, the Canadian distributor contacted me a short time after about writing a review. This newer version of the La Scala debuted in 2016 and is the model I heard at length in several rooms at RMAF. It was also getting buzz like the original, but this time consistently as a leading HiFi DAC in both looks and sound. Sure, I’d like a listen.
The DAC was kindly shipped from Montreal to the island by Atelier Audio’s Samuel Furon and arrived unharmed. Also in the box was the Intona USB 3.0 SuperSpeed Isolator ($389). This small box was getting quite a big up from Furon and how it enhances the La Scala’s performance, so, I’ll be sure to add a follow up in the future. In the here and now, this review is about the La Scala MKII Optologic DAC only and how it fit into my system and sounded in my room.
The DAC is a gorgeous piece, shown in some detail by our video unboxing (please subscribe). The front shape is unique with a thick faceplate treatment, flawless silk screening and a very interesting rear panel (Italian signage, for sure). Before we start telling stories of idiosyncratic Italian high end audio design, my experiences over the past ten years have been bump-free. Gear I’ve reviewed from Audia Flight, Chario, Franco Serblin and others have provided exceptionally musical and reliable results for very positive notices in Audiophilia. This gorgeous DAC from Aqua is my fifth Italian component. As such, buy for the style and sound, but stay for the reliability. The DAC did not put a foot wrong in over three months in my system.
This ‘Optologic’ MKII version of the La Scala ($8320) is the next step after the original La Scala’s upgrade to MKII.
Aqua owner/designer Cristian Anelli explained to me:
After the first appearance in the flagship Formula DAC, the proprietary D/A conversion system developed by Aqua is now available for La Scala MKII DAC. So, current owners have the opportunity to upgrade their unit in order to reach to the revolutionary Optologic D/A conversion system. The already extraordinary sound quality of this icon is now improved in every aspect: time coherence, microdynamics, timbre, and without losing that magical atmosphere for which La Scala is widely renowned. La Scala MKII keeps the VALVE / MOSFET hybrid circuitry, with now a pair of specially selected ECC81 tubes—a High-Frequency triode—for its extremely low noise and superb transparency.
My Use
Setup is as simple as connecting the cables (see rear panel photo below). Power IEC, USB, and interconnects. Our Roon Whisperer and DAC aficionado Karl Sigman likes USB connections but lately has been convinced of Ethernet connectivity, which, in turn, means I’m convinced. So, I usually connect my reference MBL N31 CD/DAC with Ethernet via its LAN port, but for this review of the La Scala, I used an Audioquest Carbon USB Cable in Input 2 to my music server. It worked very well.
The front plate of the unit is simple: buttery rotary switches for power and input (Roman numerals indicating the 5 inputs), a phase toggle switch and a peekaboo window to look at your glowing tubes. On the rear panel, outputs are a pair of gold-plated RCAs and a pair of XLRs. I used XLRs (Anticables).
The Aqua La Scala MKII Optologic DAC is a ‘Roon Tested’ device, meaning Roon plays via the Aqua’s USB port. ‘Roon Tested devices are profiled by the Roon team to ensure simple setup and effortless daily use. If you own a Roon Tested device or are thinking about buying one, you can have the confidence that you will enjoy the best possible experience of it.’ I did. It was seamless in daily use with my Roon app.
The rear panel is as beautiful as the front. One of my all time favourite rears!
Features and Specifications
Without getting into the digital weeds—the DAC landscape seems to change with wind direction—the La Scala is a R-2R resistive ladder with FPGA digital decoding (without digital filter; more on this in the sound section). Much like the PS Audio DACs reviewed in Audiophilia, FPGA allows for software upgrading eliminating expensive hardware changes. As such, the Aqua can be upgraded in two ways and future proofed as educated consumers expect—module upgrade (factory) and FPGA software upgrade.
The MKII Optologic features:
• Galvanic and magnetic isolations between the FPGA and R2R ladder converter
• Discrete R2R ladder DACs with low noise precision resistors
• Jitter free digital interface AQlink (I2S protocol):
[Uncompromising digital connection from La Diva CD Transport to La Scala DAC can carry I2S serial bus, employs CAT6 cable can connect both RJ45 and professional etherCON RJ45]
• Zero S/PDIF Jitter design, digital receiver stage PLL (phase locked loop) technology
• High-performance AQ Discrete Regulator (MOSFET, J-FET, BJT) for analog and digital DAC’s power supply
• Valve-Mosfet direct coupling analog stage in pure class-A without negative feedback
• MOSFET Virtual battery circuit for analog anode supply
• Soft-start power up for extended tube life
• 2 separate low noise power transformers, one for the analog and one for the digital section
• Fully discrete analog stage
• Proprietary USB Firmware / driver: Apple MAC OS - Linux OS : USB asynchronous native support, no need to install drivers software
• Fully upgradeable asynchronous USB module with resolution 44.1kHz to 384kHz PCM up to 24 bits, DSD64, DSD128, operates with computers running OSX 10.7 and above, WINDOWS 10 , 8 , 7 and XP ASIO - WASAPI bit perfect high-speed
• High-quality parts selected for sound quality: 105° long life capacitors, low noise Metal Foil ultra-precision resistors, double metallized film pulse capacitor, ultra-fast diodes, halogen free cables
• Aluminium anti-resonant cabinet with Nextel
• Designed and handmade in Italy
• Inputs:
- RJ45 AQlink (I2S serial bus) - PCM 24 bit / 384kHz – DSD64, DSD128 via DoP
- BNC coax (S/PDIF) 75 ohm - PCM 24 bit / 192kHz – DSD64 via DoP
- RCA coax (S/PDIF) 75 ohm - PCM 24 bit / 192kHz – DSD64 via DoP
- AES/EBU balanced 110 ohm - PCM 24 bit / 192kHz – DSD64 via DoP
- USB port - PCM 24 bit / 384kHz – DSD64, DSD128 via DoP
- AT&T (ST Fiber) - PCM 24 bit / 192kHz – DSD64 via DoP (optional)
As you can read from the specs, feature set and see from the lead photo, the unit packs a punch, is future-proofed and is exquisitely made. A Ferrari of a DAC—a Zegna suit in metal casing with HiFi parts. Italian design at its very best. Sure, $8320 is a lot of money, but you are getting a serious piece that will stand the test of time. It was interesting to throw it in the mix against Jurgen Reis’ MBL digital masterpiece, the N31 CD/DAC at $15,400.
Sound
Listening was via streamed Qobuz. Connection via USB was easy and we were up and running in a few minutes. Although you can throw just about any digital file at the La Scala, I listened to PCM files up to 192.
Anelli told me how he felt about his unit’s sound. It uses ECC81 tubes—a High-Frequency triode—for its low noise main feature. This is directly connected to High-Voltage MOSFET to enable :
- simplicity
- wide bandwidth
- fast response
- no overshoot, no ringing, no roll-off
- lower output impedance compared to conventional circuits
- no feedback
- low distortion
The unit was broken in so I wore my judgement hat after an hour warm up. I was streaming from my Roon Labs Nucleus + ($2559), which I love—it fulfills its unglamorous, computer-based, digital role flawlessly. And my first day with the La Scala had me agreeing with Anelli’s litany of excellence above.
For digital purists, it does exactly what you expect from an expensive DAC—a dead quiet, black background, highly detailed and the ability to decode anything you throw it. Job done. Just like many other high end, expensive DACs. But, that’s just the smallest part why I absolutely love the La Scala.
Anelli uses no digital filters. He thinks the sound this way has more emotional impact, more connection. I’m inclined to agree. The musical connections I felt to the music files through the Aqua were emotionally very rewarding. And, a reminder there is no MQA support.
Rather than simply admire the sound, which is how I experience many DACs, the partnership between the Roon Labs Nucleus + and the La Scala produced intense, beautiful sounding musical experiences. Instrumental and vocal timbres were rich and accurate, but there was a sheen, a tactile softness, a delicacy to the sound that kept me truly beguiled. I’m usually a ‘play a CD or file or two’ then back to vinyl. Like all great components, the Aqua had me thinking about its sound long after the sessions were over.
To reference Anelli’s descriptors above, these colourful tenets were all in service to producing the La Scala’s beautiful sound. And though I’m no digiphile—I’ve heard a lot of DACs and way more live music—I’d place the Aqua as among the best I’ve heard. I’d be proud to have such a musical DAC in my reference system.
Comparison with my reference DAC was instructive. The MBL’s price is almost double because it includes a wonderful CD player. If it was a DAC alone, it would probably be in the same ball park price wise. Maybe a Euro or three more expensive, but a fair comparison.
The MBL does not support SACD or MQA, and Reis, (a very deserving, recent entrant into TAS Hall of Fame 2020) explains why he makes these choices in my N31 review. His reasoning is based on science and research. It’s a marvellous, musical device. I’ve never heard my small CD collection sound so musical, so analogue, so brilliant. Digital with Reis is always a tactile experience much like Anelli. As I already have Reis’ DAC in my reference system, I have no need to hunt down a replacement. It’s that good. However, if you are in the market for a high quality, stand alone DAC, the Optologic is as good a place to start as any. For those of you who like the visual of a high quality screen with recording cover art, the MBL has one of the best. No screen on the La Scala. Once you succumb to streaming and have a screen, it’s difficult to go back.
Back to streaming with the Aqua. The middle voices of string quartets often get swamped by enthusiastic 1st violin and cello lines or the prejudices of the composer for melody and moving bass. The detail the MKII gives is very appealing and made many recordings’ musical lines more democratic. You won’t want for any more detail. Layer upon layer of inner detail in all genres of music are heard unveiled. But always with the tactile gentle touch I mentioned above. No hard as glass, etched digital detail. Yes, we can say it. ‘Vinyl-like’.
Sir John Barbirolli’s Sibelius’ 2nd Symphony is tops in this repertoire. Unmatched in many recordings. And the treble soared on his Chesky reissue.
No one does the ecstatic violin rising figure to the opening movement’s incredible climax as well as ‘Glorious John’ (to quote Vaughan Williams). The brilliance of the DAC’s decoding had me look at the score in more detail.
All conductors, every recording, plow through this beautiful violin line as a sexual climax. Hey, no harm in that, right? And the musical inspiration certainly warrants it. But, take a good look at the dynamics in the score below. f (loud) followed by piu f (very loud) followed by sempre cresc (always, consistently getting louder) and at the final rise to the ‘Poco Largamente’ (essentially, a little slower, broadening) we get the magical and always overlooked poco f (little forte), a brilliant thought by Sibelius to do the opposite of what excited interpreters and orchestras would normally do. Father knows best. It is absolute magic. Tactile. Stupendous. It’s difficult to control a climax when it’s almost upon you. Yet, Barbirolli and the Royal Phil achieve it and the MKII gives you everything they offer. And this, while the DAC’s treble purity maintains the players’ intensity. This is the kind of in the weeds digital that makes for superior musical experiences. And why the Aqua La Scala MKII Optologic is a superior DAC.
And you’ll be getting the same delicate, nuanced sound from vocals high and low as you do from all the various instruments. So, from young Norwegian operatic superstar Lise Davidsen to Madonna to Norah Jones, each of the three ladies’ unique styles and vocal timbres are heard clearly. And beautifully. The latter is what is missing in many DACs, entry level and mid price. You really have to go up to the higher priced DACs such as the Aqua to appreciate the beauty and natural timbres of vocals and instruments.
Conclusion
In Anelli’s email exchange with me, he writes:
The already extraordinary sound quality of this icon is now improved in every aspect: time coherence, micro dynamics, timbre, and without losing that magical atmosphere for which La Scala is widely renowned.
I’m assuming ‘time coherence’ is that rhythmic unknown, impossible to describe, but felt in the emotion and connection of the moment. Yes, the La Scala does this extremely well, in addition to its other magical qualities. So, not really PR speak, more a proud papa’s objective view of his masterpiece of a DAC. Very impressive and very highly recommended.
Further information: Aqua Acoustic Quality
