Editor's note: the Arcam rDac wireless edition is very similar to the Editor's Choice-winning Wireless performance section below., but we cover the differences in the
Arcam has taken the DAC blue-print established by rivaland expanded upon it with the release of two new models: the rDAC (AU$598) and the rDAC wireless (AU$775). If you buy a standard rDAC you have the option of buying an upgrade with a kit costing AU$198.
To use the wireless features of this edition you'll need to purchase one or two dongles: the rWave PC adapter (AU$198) and/or the rWand 30-pin iPod/iPhone (AU$198) adapter.
Design and features
As with the standard rDac, build quality is exemplary with a sturdy rubber base and a compact design, meaning it can fit into tighter spots than the DacMagic. If you're buying the upgrade kit version of the wireless edition, there is a rubber grommet on the back of the unit that peels off and lets you attach the antenna.
The rDAC features a higher specification than the DacMagic with the inclusion of a 24-bit/96kHz BurrBrown DAC that will also decode USB files at the same rate. This feature is welcomed as we criticised the Cambridge Audio product for its inability to process the free, high-quality music from the likes of Nine Inch Nails and Radiohead.
The rDAC features fewer inputs than the Cambridge though as it only has one optical, one coaxial and one USB. On the output side it does both kinds of (non-PC) digital and stereo RCA. Like the Cambridge it also jettisons a remote control. The device instead uses a push button on top to cycle through the four different inputs including wireless.
We used a mix of different devices to test the rDAC including the iPhone (using the digital output of the Onkyo ND-S1 dock), the Oppo BDP-83 Blu-ray player and the network player. As we hooked the rDAC into the Sony STR-DA5400 receiver we also compared it to the onboard sound as well.
There are many benefits of buying an outboard DAC, especially if you have an older receiver or analog amplifier. Using the rDAC we were able to dig out much more of the sound imprinted in the disk or held between the zeroes and ones of the digital files. Music had more impact and vibrancy, with details that might have seemed throwaway before now suddenly given their rightful attention.
Vocals were simply more expansive than the Sony could muster and once-woolly basslines such as in Nick Cave's "Red Right Hand" were now given enough space to swing their meat cleavers around. This more expressive bass was also able to propel rock and dance music forward, getting the feet tapping (or running away, in St Nick's case).
Compared to the Marantz NA7004 and the DacMagic, the Arcam rDAC was able to carry a touch more exposition, and the ability to play 24-bit files meant that a new raft of music untouchable by the DacMagic was now playable.