Beer Budget Digital for Analog Buffs

Beer Budget Digital for Analog Buffs

 I finally broke down several years ago and added some digital “front-end” components to my main system. I’ve never invested heavily in digital gear given that my mainstay format has long been LP.

I’ve been buying vinyl records for almost 60 years- and have barely scratched the surface. If all production of the LP stopped tomorrow, I’d still have access to millions of existing records in circulation.

But I first learned the value of digital in the archival world, where I heard ancient recordings brought back to life. And for both work and pleasure, I’ve had the need to listen to material via digitized files or CDs.

These days, the answer seems to be “streaming” from “lossless” platforms like Tidal, Amazon Music or Qobuz, among others.  A lot of audiophiles appear to have gone that route, judging by discussions on audio chat boards-  offering a wide selection of music to explore and no physical media to store.

I did not go in that direction for several reasons—I thought Qobuz sounded good when I tried it but looking up some of the deep jazz artists like Cecil McBee, there seemed to be little available. And unless you are downloading the tracks, my understanding is that you must maintain a subscription to retain access, at least with the services that provide higher resolution formats. There’s also the possibility that licenses can expire and music that was once on a service is no longer.

I do have a good CD transport—the C.E.C. TL5- a belt driven CD spinner that requires a DAC. But for higher resolution files, something more is needed. (SACD was once considered the next step, but was effectively abandoned by Sony, the inventor, and the format, while still available from other companies is at best a niche). 

I also set up a dedicated Mac Mini using Audirvana software some years ago—it sounded good, but I think there are issues using a general-purpose computer for music duties. And I’ve had my share of complications arising from the use of a “headless” computer- no screen or keyboard, using an old iPad to operate the Audirvana app as the remote. For reasons that may have more to do with my ineptitude as a computer user, I found myself rebooting and wound up using another remote tool—Splashtop- to get access to the Mac to navigate the Audirvana menus and select files.

I had recently sent the C.E.C. off for a checkup at the US based distributor (first class service on that front) and was intrigued by a relatively inexpensive player which had some additional and unexpected features—the Shanling ET3, which received a fair amount of Internet coverage in the past year or so. It is a CD spinner with some interesting capabilities:  up-resing the original content, a usb output, among others, to feed a DAC and a USB input to enable the use of a “local” external hard drive, enabling the unit to act as a music player for files, in addition to its CD transport functions. The Shanling also has an I2s output, which is capable of transmitting DSD signals as well as the more conventional PCM format. It is also a top loading CD transport, eliminating the need for the additional mechanical elements associated with a drawer.

I got the ET3 in house for almost nothing using points on Amazon and started playing with it. Using a small Samsung 1TB SSD drive, it is impressive, both as a CD transport and a file “player.” I had some stumbling blocks at first in connecting the “app”—something you need not worry about if you are using the unit only to spin CDs. Once Shanling support pointed me in the right direction via a series of emails, the app has connected readily and is very simple to navigate on the iPad.

There are two DACs here at present- a Border Patrol (r2r type) and a Gustard X26Pro, which was a hot bargain several years ago, with a great amount of flexibility, including an I2S port.

I quickly discovered that the biggest obstacle to using the I2s connection is the lack of a standard.

Although the cable required looks no different than a conventional HDMI cable (of the type commonly used on 4k TVs and other audiovisual equipment these days), the pin configurations for I2s do not conform to HDMI—which involves transmitting video as well as audio, and often includes an audio “return” channel- something that allows audio from the TV to be sent to a pre-pro or AV receiver. At bottom, the wiring for HDMI set ups for televisions and A/V components is not the same as I2S configurations despite the use of the same type of plug.

Usually, the manufacturer of a device employing I2s inputs or outputs will supply the “pinouts” or a diagram of their particular pin configuration. I had those for both the Shanling transport and the Gustard DAC, but in reaching out to a dozen different cable suppliers, none could custom manufacture a cable to match the Shanling ET3 I2s output with the Gustard I2s input. Some gear does share the same standard, but that can be hit or miss, and several digital audio devices offer user configurable pinout settings using dip switches or other methods. It is advisable to verify before you buy if you plan on using the I2S protocol.

You can DIY these cables, but you are working with very fine wire packed into a very small plug housing- the parts are easily enough found- including an HDMI plug with a snap enclosure housing that contains tiny, jeweler sized screw terminals. I started building one, but time and eye strain got to me, and I literally bagged that project for another time.

Instead, I installed a DDC, which is essentially a digital interface that affords a digital input (usb) and a variety of digital outputs. I did another Amazon “point deal” and got the Gustard U-18, which I knew would be compatible with the same brand DAC that is here.

Installing the DDC was a snap. The Gustard I2S standard is apparently the same as a common HDMI cable, so I bought a decent one that was as short as possible (remember, these were originally intended for use connecting circuitry within a component so longer length can be problematic)- from DH Labs, a good cable outfit that doesn’t charge crazy money; I also use their AES/EBU cable between the C.E.C. transport and the Gustard DAC. Interestingly, the U18 DDC does afford some limited options for user configuration of its I2S output.

The signal path is Shanling as a CD transport or music rendering device for an external drive>Gustard U-18 DDC via USB; then Gustard U-18 output as I2S into Gustard DAC I2S input. Literally plug and play between the Gustard devices. And it worked!

With zero burn-in time on the U-18 digital interface, I could hear a difference: tighter bass, greater spaciousness within the soundfield and a larger overall presentation. Whether that was the result of cleaning up the usb signal (you can read up on what the U18 does in that respect) or the I2S output (which I was finally able to utilize), the results were impressive, particularly on DSD files (legit downloads from various commercial platforms). Even files at standard Redbook resolution sounded impressive.

The only downside, on DSD files, was a nasty click/pop between tracks. I gather this is not an uncommon phenomenon when there is no signal being passed during the “gap” between the tracks. It bothered me. But the Shanling allows me to convert the signal from native DSD to DOP, a standard that has also been around for a while. (In essence, the DSD file is packaged like a PCM signal and the DAC doesn’t lose connectivity when it is “seeing” PCM). No more nasty pops! And converting from “native” DSD to DOP apparently doesn’t involve much processing; there’s a fair amount of publicly available literature about how, once unpacked from the PCM “stream,” it’s basically DSD.

I haven’t had enough time to compare the DSD (native) to the DOP as I let the U18 break in more, but I’ll cross that bridge soon enough.

Next step: adding an external clock. Apparently, jitter, which is supposed to be a thing of the past in modern DACs, is still with us and may be exacerbated by multiple digital components. Highly stable external clocks are a “thing” in pro audio to sync multiple devices to a rock steady timing device. These external clocks can get spendy but in keeping with the spirit of doing a beer budget digital front end, I ordered a relatively cheap GPS calibrating OCXO clock from the Far East and am waiting for delivery. It will require an external DC power supply, but that is no big deal. (I have a multichannel linear power supply here and can buy a reasonably priced unit dedicated to the clock for little money). If the clock addition proves out, I may opt for a higher quality clock.

In the meantime, I offer this to show that one can get into digital without spending a fortune. Yes, there are downsides to buying gear from abroad. And my analog system components are far more expensive, making my limited investment in a digital front end disproportionately inexpensive (if money spent is any indication of quality, which is often not the case) compared to the vinyl front end and remainder of the analog chain.

But the proof, as they say, is in the listening. And for what may be the first time since I embarked on the digital front, I’m impressed with what I hear playing hi-res files (and even some Redbook standard 44.1 files). Drum skin sounds, and the spaciousness of the sound field that allows you to hear the attack and decay of the harmonics of an instrument are now quite evident. A pretty grainless midrange too—far less “plasticy” sounding than my early experiences with CD players, which admittedly prejudiced me when the format was first introduced at a consumer level back in the ‘80s.

For those of us committed to the vinyl format, there is also a good reason to be budget conscious; record pricing and grading inflation is still ongoing, and finding clean copies of rare records at a price you can swallow is more difficult than ever. The “investment” (read: cost) of playing vinyl records is relatively high, both for the hardware as well as most records these days, especially older pressings of desirable music. (I consider some new releases, such as those offered by Tone Poet, to be a bargain). And there is that period, largely in the ‘90s, during which few releases in the States were made on LP. In fact, in another piece on these pages I review a Pharoah Sanders record that had not been released on LP until a few years ago; it was only available on a CD.

So, if you are budget conscious, or working to build both a good vinyl front end and a listenable digital source combination, there are some good possibilities in the marketplace, despite inflation.* I cannot say that my digital playback is at the same level as my LP front end, but it is a fraction of the cost, and for me, it makes sense given my priorities. What ultimately led me to write this commentary was the quality of performance I was able to get using “beer budget” digital gear.

Bill Hart

February, 2025

Austin Tx.

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*Without delving into geopolitics, as of this writing, the tariff situation in the US with respect to China is in flux. Goods selling for under 800 dollars US enjoy an exemption, and if the price of a product from China is burdened by a tariff, one can look to the domestic market, other markets or for used components supplied by reputable dealers. The Shanling ET3 comes in at retail below $800 and the current Gustard DAC similar to the unit discussed above, the X26III, retails for US$1599. The U18 DDC is US$499. Of course, there are other DACs and digital devices at lower prices and from other countries. I would verify “no penalty” return policies before I buy.