MERK: Norsk tekst nedenfor denne

If measuring is your thing, I’ll spare you the frustrations, you can end the reading here and now. For the rest of us, it is to say that the SW1X DAC II SPX probably does not measure so well that it matters, but the music it delivers is the sound of life itself!

Oddest name in hifi business? SW1X. The name is an abbreviation of the constructor, Slawa Roschkow’s name, and the fact that the DAC’s does not oversample, hence the 1X. The test object, the SW1X DAC II SPX does probably not measure anywhere near perfect, but the way it plays music is the whole point here. Just listen to this!

First, thinking about the product name; with such limitless creativity, can we also risk a near hopelessly old-fashioned DAC? Maybe we find one single input, maybe no filtering, no oversampling, and maybe even old fashioned, antique radio tubes? And yes, I was right in these pessimistic predictions. This is technology from the past, and, it is expensive too! Do we really need such an old fashioned product in 2022, when you can find technological superior units for small change, including the latest filter technology and microprocessors, with associated excellent measurements and performance? One would think that it would be difficult to answer such a terrible and foolish rhetorical question, but no! The answer is self-evident the moment the music plays, ’cause after being led through this impossible circuit, you must be seriously hearing impaired to avoid the fact that this plays absolutely and totally fantastic!

At this stage, having a SW1X DAC in the house, I must talk a little about Audio Note. It is beyond doubt that AN is a strong source of inspiration for Dr. Slawa Roschkow, founder and designer at SW1X. By the way, his name more than suggests that we are not dealing with a genuine Briton here; he arrived in England via East Germany in connection with the fall of the Berlin wall, and the following opening of Europe. And, he discovered both the musical and the technical aspects from producers such as Audio Note and Kondo, and through that, his future found its course. Add that the SW1X products occasionally share both appearance and sound signature with Audio Note, they even share a somewhat diffuse “Level system”, and a rather confusing model flora. Even if all of this is a little confusing for me, the truth is that the SW1X DAC II SPX is one of the few, very special and wonderful DACs I have heard; delivering a musical performance that is completely impossible to argue against. Hell, it plays so new hair is growing on of the head of bald man! We’ll get back to that later, but first let’s talk a little more about what’s inside the box, before moving on.

SW1X DAC II SPX is, as indicated, a DA converter working without filtering or oversampling, where the actual conversion is based on 2 pcs. PMC56P K converters, R2R 16 bit, a seriously sophisticated DAC solution. In turn, it eventually feeds its analog signal through a solid, tube equipped output with 5687 dual triodes. The topology is anode follower, single ended class A without feedback. Solid transformers on the power side, valve rectifier followed by chokes for smoothing; no cheap solution. The component quality of the SPX version is high quality, sophisticated materials and high end manufacturers deliver it all, Audio Note and Allen Bradley included on the supplier list. Wiring in copper and silver rounds off this classy product. Measurements? Just forget it, this is not a DAC Audio Science Review will ever understand. Fortunately, any frustrations you may have regarding distortions, is over the hill and far away as soon as the music reaches your ears. There are many things more important in life than perfect measurements, gentlemen! Also as mentioned, in the same way as the anachronists at Audio Note, this DAC also has only one input, where you can just choose either RCA s/pdif, or BNC, and, since RCA input seemed to be the most sophisticated solution, I have used that throughout the review. On the rear plate you will otherwise find the RCA analog output, IEC power input, and on / off switch. On the front, a moderate red/amber LED lights up, thank’s for avoiding the blue light flashing in the living room of a law-abiding citizen when music is to be enjoyed!

Let’s play. Tom Waits had some fantastic years at Asylum Record between 1973 and 1980releasing a number of wonderful records mostly good recording quality, too, what more can we ask for? I choose a song that has been with me since I started my writing career 30 years ago, an involving duet with none other than Bette Midler, “I never talk to strangers”. The bar atmosphere is obvious and lively, the piano tones are agile and dynamic, in the background a saxophone hovering, very sweetly. Not that this particular recording send me to heaven or anything, but there is something here, an excitement that makes me want to dig deeper; an intensity and nerve that is particularly captivating. Therefore, I open a Pandora’s box of a Norwegian record, Odd Børretzen’s wonderful “Kelner”, and the airy, intense song “Bourbon street blues”. If there was not enough bar atmosphere on the previous song, we will truly find it here! It is beyond doubt that the SW1X DAC II SPX has a focus in the middle of the presence frequency (voices etc.), creating a wonderfully clear and insightful atmosphere, it is almost incomprehensibly open and communicative. One just has to float along with the mood of this song, all the way to the end, and then sit in the silence and let it sink in. Intense!

But let’s rough it up a bit, and bring Walter Trout and his firework of an album “Full Circle”, into the game. This record is from Trout’s most outspoken period, before he became seriously ill, and he called in a raging star team of guitar and vocal friends, who give this record an extra gear, even if you think it should be completely impossible. From the album, we pick the rock solid blues rock belter “She takes more than she gives”, to see how the heavier, guitar based music is handled. As mentioned in the previous section, there is a clear character in the reproduction, slightly illuminated in the mid’s, giving a clear fingerprint from the SW1X DAC II SPX. It comes through as clearly turned on, but at the same time balanced, with full control, and an obvious brutality in the lower regions. The total is ends in a wonderfully entertaining, hefty and engaging rendition. It is with high expectations I go further to the slightly impossible blues artist John Campbell, a man who was neither a brilliant guitarist nor vocalist, but despite this conveyed a realistic and strong from the dark sides of life. This becomes totally clear on the album “One Believer” from 1991, from where we listen to the song “Wild streak”. With the character of today’s test object, I expect a lot from this, but actually I ended slightly disappointed. The whole thing appears surprisingly restrained; where I thought we were going to receive a firework, we are actually balancing on the edge of a certain hardness this time. John Campbell’s voice has exactly this tendency in it, so it may not be a big surprise as such, but strangely enough, the song is otherwise experienced somewhat restrained in dynamic expression, so right here I get a little confused, I must admit.

If we look even further back in time, all the way to the golden 70’s, we find for example Uriah Heep’s solid release “Demons and Wizards”. This was Heep’s fourth album, released in 1972, and we enjoy “Rainbow Demon “, the song is a kind of prelude to what today is labelled “gothic rock “, a heavy, gloomy mood in this one. And it is also fascinating to experience how this song is conveyed from this DAC, the dark mood becomes so obvious, it is almost as if it tightens the muscles, overflowing the listener. The voice stands out as a wonderful contrast to this gloomy music, and sounds somewhat fuller than Byron normally appears. But when he shifts gear, sending his voice to the next level, he triggers this touch of brightness that has been mentioned a few times. I would like to make a few remarks on that, in case it can be interpreted in the direction that it is a problem; No, it is not. Balancing this small character is simple, both selection of valves and choice of partners are easily made. The fact is that the mentioned nature contributes greatly to creating a clarity and a life that is rare, and as such it provides an entertainment factor that is absolutely stunning! Just to emphasize that there are hardly any boundaries here, we throw ourselves over the Norwegian black metal band Khold, and their 2008 release “Hundre år gammal”, and the song “Sann ditt svik”. Forgive me for getting a little giggly at this overly serious darkness, their painted faces and glorification of death , maybe they’re taking it seriously, but to me it seems mostly involuntarily funny. Either way, they deliver the brutal darkness from hell, I’ll give them that much. So if the Uriah Heep example had a certain gloom, Khold sounds like a death struggle. The combination of the clarity of the midrange and the sheer power in the lower regions from the DAC II SPX, creates a certain tension and an atmosphere almost magically fitting this style. We get a great focus on the voice, it is easy to distinguish the text, (in itself a miracle for this style I’d say), at the same time as the roaring darkness from the burial chamber flows towards us from the glowing tubes. Can it be done any better than this…?

Well, let’s calm down a bit after the above death mass. We are looking even further north, to Trondheim, where the Trondheim soloists with Marianne Thorsen and Øyvind Gimse virtuously convey Mozart’s Violin Concertos from a 2L release of excellent quality. With what we now know about this DAC, it is not surprising that Thorsen’s violin becomes somewhat more modern and playful than in real life, at the same time as we are given an unsurpassed control and entertainment value. It’s just so lively, so sparkling! Magnificent, rhythmic, quick, elegant, total control, enormous insight into the soundscapes. Stunning.

Before we finish, I just want to put in a few more words on the sound differences between Audio Note and SW1X, to avoid misunderstandings. First, I have heard a bunch of AN DAC’s through the years, from Zero to Five, and, they all have something in common. Something sweet, a touch romantic, a slightly warmish sound. Regarding SW1X, I have only heard the DAC II SPX, and this has, as mentioned a few times, a more midrange driven power in it, leaning more towards an agile, lively and playful way of delivering music to the listener. Both brands having a lifelike, involving, yes captivating, even, way of playing, to me they brings music to life, no less.

So how do we conclude with this anachronistic DAC? Let me first emphasize that on entertainment and emotional criteria it scores high. Sky high! It conveys the dynamics, grandeur, life, drama and presence of every form of music you can throw at it. Built on top of a bedrock anchored, dark foundation wall, we find a sparkling structure of colors and life, clarity and timbres. It just may need some balancing from somewhat more relaxed partners in the setup, but with this little reservation, this firework of a music provider is highly recommended. SW1X DAC II SPX is quite simply a unique DAC, and insanely fun to have in the system!

International price: GBP 3209,- ex. VAT / GBP 3850,- inc. VAT

Here’s a comment from the founder of SW1X, Dr. Slawa Roschkow:

“Sure, there are some similarities between SW1X Audio Design and Audio Note (AN).

Yes, we do share a similar school of thought but surely do have a different interpretation. Despite the similarities we are very different in the way we express the ideas.

A lot resemblance originated from fact that AN Japan and AN UK were somewhat of my inspiration to creation of SW1X in the past.

More about it was stated in the interview published here:

AN UK is now a large by the audio standards company. We are on the other hand, are a relatively small company.

We are like AN Japan back in the days in that aspect. By the way I am looking to keep the size of the company on a smaller side. There are no intentions to become a mainstream brand and I think it is quite obvious. Being smaller in size has its own advantages. It gives us more freedom to shape our products. We are in process of constant evolution and that takes time.

Unlike with many of our competitors who constantly bring seemingly new products (rendering older ones obsolete), our designs are getting refined over time yet remain fundamentally unchanged in their design.

Besides the massive difference in size, we do not pretend to be original- we are implementing many interesting concepts (best ideas borrowed from many influential engineers) my way and the way I see them. That cannot be even loosely considered plagiarism because we do not simply copy anybody or take anybodies name without referencing to the origin of influence. We may have our different views on many aspects: just like Kondo and Peter Q back in the days- I see many things differently but we all strive to produce the best products possible. That is reflected in our approach, in terms of materials choice and circuit designs- it is all a question how one sees it. The largest influence perhaps is our business model that has been heavily influenced by AN UK.

Many design aspects of our products are indeed similar such as tube amplification, the use of exotic conductors such as silver, Black Gate capacitors etc. but that does that make us a copy of AN?

Some folks see SW1X as a copy of AN UK because we have similarities in chassis design, level system and because there are some few AN components inside our products.

That resemblance is only on the surface and only if one judges a book by its cover. If one looks a bit closer, one can see that we use only the best sounding components & materials- not randomly chosen parts with fancy names based on popularity and recognition.  We only have AN film/foil caps and may be sometimes a pair of Tantalum or Niobium resistors- that is it. It could have been any other supplier as well if the quality of sound was to my liking. The vast majority of passive and active components are not related to AN. By the way, I am not a huge fan of Tantalum resistors or Kaisei caps but I do like how AN Copper foil caps blend with our circuit design. Apart from that and for the record there is really nothing sourced from AN UK.

Just like AN the vast majority of our transformers are designed in house and wound in England. They may look similar and sound similar but these are all our proprietary design.

Personally, I prefer the SHiB over Permalloy core material in the signal output transformers because of their all round sound, cost not being the objective (it never is at real higher end, in my book at least). Permalloy material is a bit more transparent sounding but also has the tendency to be harder sounding as well. It costs more as well and cannot be used in the power transformers applications as it saturates very quickly unlike SHiB. The bass frequency response is not that great as with SHiB material as well. We can also offer line signal output and inter-stage with those cores. If somebody would like to have Permalloy for maximum transparency, they are welcome. We also use silver wire in the windings of SHiB cores- that in my opinion is much better option.

Like many music lovers and audiophiles, I do like the rich, analogue and organic sound character of music and we my best so that our equipment is capable of producing it.

In order to achieve maximum level of musicality, we do everything possible to synergise all aspects of sound (circuit design, materials & components). Ultimately, this results in an unique circuit design with a unique combination of materials & components inside our products. Perhaps the main difference to AN and any other business is our own proprietary approach to harmonic matching. This the way we blend our circuit design and the materials & components together. If anybody noticed, I prefer not to use too much silver wiring inside our digital products (amplification is a different subject). That is just my tonal preference as the sound gains more clarity it also loosing the body of sound and also starts to reveal too much of digital imperfections.

We all perceive our world differently. With all the due respect to AN, personally, I see SW1X Audio Design as a great alternative and in many aspects a different interpretation of AN.”

Dr. Slawa Roschkow

Managing Director


Blå SW1X

Hvis målinger er din greie, skal jeg spare deg, du kan få avslutte lesingen her og nå. For resten av oss er det å si at SW1X DAC II SPX måler nok ikke så godt at det gjør noe, men musikken den leverer, er lyden av livet selv!

SW1X? Det første jeg assosierer med er en herværende produsent av skismøring, men betviler de har vært kilden her, for å være ærlig. Bevare meg vel, når noe sånt er alt man kan trykke ut av seg som produktnavn, kan vi med en sånn grenseløs kreativitet antakelig også risikere en nær håpløst gammeldags DAC. Kanskje vi finner bare én enkelt inngang, kanskje ikke noe filter engang, ikke noe oversampling, og fy og skam, antikk kvalitet på utgangene bestående av radiorør fra en svunnen tid! Og jadda, visst fikk jeg rett i disse pessimistiske spådommer. Dette er jo teknologi fra fortiden, dyrt er det også! Hva skal vi med et sånt skraphandlerprodukt, når det finnes teknologiske underverk for småpenger, med siste filterteknologi og mikroprosessorer, med dertil hørende ypperlige måleresultater? Man kunne tenke seg at det skulle bli vanskelig å besvare et sånt både slemt og tåpelig retorisk spørsmål, men neida! Svaret gir seg nemlig selv i det øyeblikk musikken spiller opp, etter å ha blitt ledet gjennom denne umulige kretsen, for du skal være lovlig plaget av hørselshemninger for å unnslippe det faktum at dette spiller helt og aldeles fantastisk!

I sannhetens navn kommer jeg ikke unna å snakke litt om Audio Note når jeg har en SW1X DAC i huset. Det er hevet over tvil at AN er en sterk inspirasjonskilde for Dr. Slawa Roschkow, grunnlegger og konstruktør hos SW1X. Så la meg i den forbindelse vende tilbake til dette direkte merkelige navnet, S og W finner vi igjen også som første bokstav i fornavet Slawa, samt siste bokstav i etternavnet, og 1X beskriver da selvsagt det faktum at DAC’ene bygges uten oversampling. Roschkow-navnet mer enn antyder at vi ikke har å gjøre med en genuin brite her; han ankom England via Øst-Tyskland i forbindelse med murens fall, og påfølgende åpning av Europa. Og, ganske riktig oppdaget han så vel de tekniske som de ytelsesmessige sidene av Audio Note og Kondo, og med det var veien staket ut. Legg til at produktene tidvis deler så vel utseende som gjengivelsesnivå med Audio Note, ja, de deler til og med et noe diffust “Level-system”, og en nokså uoversiktlig modellflora, så har du klart hva slags produkt vi har med å gjøre. Og sannheten er at SW1X DAC II Special er en av få, helt spesielle og fantastiske DAC’er jeg har hørt, den gir et musikalsk utbytte det er fullstendig umulig å argumentere i mot, den spiller pokker meg nytt hår ut fra huet på en skalla mann! Men nå foregriper jeg selvsagt begivenhetene en smule, så la oss snakke litt mer om det som befinner seg inni boksen før vi går videre.

SW1X DAC II SPX er altså som nevnt en DA-converter som arbeider uten filtrering eller oversampling, der selve omvandlingen er basert på 2 stk. PMC56P K kort, R2R 16 bit, en lovlig sofistikert DAC-løsning. I sin tur mater den sitt etter hvert analoge signal ut gjennom en solid, rørbasert utgang med 5687 doble trioder. Topologien er anodefølger, single ended klasse A uten motkopling. Solide trafoer på strømsiden, rør likeretting med påfølgende choker til glatting, ikke noen billig løsning, akkurat. Komponentkvaliteten på SPX-utgaven er påkostet, det er sofistikerte materialer og high end produsenter som leverer det hele, blant annet er Audio Note og Allen Bradley på leverandørlista. Kabling i kobber og sølv avrunder dette klasseproduktet. Målinger? Ta bare løpafart og glem det, dette er ikke en DAC Audio Science Review har noen som helst forståelse for. Heldigvis er eventuelle frustrasjoner i den retning blåst over alle blåner i det musikken spiller opp. Det finnes mye viktigere ting i livet enn perfekte målinger, mine herrer!

Også som nenvt, på lik linje med anakronistene hos Audio Note har også denne DAC’en kun én inngang, der du kan rett nok velge enten RCA S/PDIF, eller BNC, og det ser ut til å være lagt mest krutt i RCA-varianten, så jeg har benyttet denne. På baksiden finner du ellers RCA analog ut, IEC-brønn og av/på bryter. På fronten lyser en behersket rødorange diode, takk og pris for at vi slipper blålys i stua hos en lovlydig borger når musikken skal nytes!

Vel, vi spiller opp. Tom Waits hadde noen gudbenådede år hos Asylum Record mellom 1973 og 1980, det kom en rekke herlige skiver, disse hadde stort sett god lyd, også, hva mer kan vi be om? Jeg velger en låt som har hengt med meg siden jeg begynte min skribentgjerning for 30 år siden, en sløy duett med ingen ringere enn Bette Midler, “I never talk to strangers”. Barstemningen er åpenbar og levende, pianotonene er våkne og kvikke, i bakgrunnen svever en saksofon, very sweetly. Ikke at akkurat denne innspillingen setter meg helt ut, men det er noe her, noe spennende som gjør at jeg må søke dypere; en intensitet og nerve som er særs medrivende. Ergo åpner jeg en Pandoras eske av en norsk skive, Odd Børretzens herlige “Kelner”, og den luftige, intense låta “Bourbon street blues”. Om det ikke var barstemning nok på den forrige låta, så finner vi det i sannhet her! Det er hevet over tvil at SW1X DAC II SPX har fokus midt i presensområdet, det skaper en fantastisk tydelig og innsiktsfull gjengivelse, det er nær ubegripelig åpent og kommunikativt. Man bare må dvele ved denne låtas stemning helt til ende, og deretter sitte i stillheten og la det synke inn. Intenst!

Vi tar et par karslige steg opp på tøffeskalaen, og henter fram Walter Trout og hans fyrverkeri “Full Circle”, derfra henter vi den bunnsolide blueslåta “She takes more than she gives”. Denne skiva er fra Trouts mest utagerende periode, fra før han ble alvorlig syk, og han har her trukket med seg et rasende stjernelag av gitar- og vokalkompiser, som gir denne skiva enda et ekstra gir, selv om man skulle tro det var helt umulig. Uansett, det utmeisler seg et karaktertrekk her, var inne på det også i forrige avsnitt, det er tydelig belyst i presensområdet, og det gir et klart fingeravtrykk i gjengivelsen fra SW1X DAC II SPX. Den oppleves tydelig påslått, samtidig med balansert, full kontroll, og en tydelig slagkraft nedover. Totalen blir en herlig underholdende, heftig og engasjerende gjengivelse. Litt spent derfor, når jeg går over til den litt umulige bluesartisten John Campbell, en mann som verken var en strålende gitarist eller vokalist, men som til tross for dette formidlet et eller annet ekte, sterkt og levende på brilliant vis. Dette fremkommer med all mulig tydelighet på skiva “One Believer” fra 1991, vi hører på låta “Wild streak”. Med de karaktertrekk dagens testobjekt har, forventer jeg mye av dette, men blir egentlig litt skuffet. Helheten fremstår overraskende behersket, der jeg trodde vi skulle få et fyrverkeri, men til tross for den nevnte påslåttheten, balanserer vi egentlig på kanten av en viss hardhet denne gangen. John Campbells stemme har for så vidt akkurat denne tendensen i seg, så det er kanskje ingen bombe sånn sett, men underlig nok oppleves låta ellers noe behersket i dynamisk uttrykk, så akkurat her blir jeg noe forvirret, må jeg innrøme. Om vi søker oss enda lenger tilbake i tid, helt til det gyldne 70-tall, finner vi f.eks Uriah Heep’s solide utgivelse “Demons and Wizards”, Heep’s fjerde album, som ble utgitt i 1972. Herfra nyter vi av “Rainbow Demon”, låta er et slags frampek mot det som vel i dag kalles “gothic rock”, en tung, dyster grunnstemning i dette her. Og det er da også fascinerende å oppleve hvordan denne låta formidles fra denne DAC’en, den mørke stemningen blir så til de grader tydelig, det er nesten som om den tar sats, og bølger over lytteren. Stemmen danner en herlig kontrast til denne dystre musikken, og er noe fyldigere enn man er vant til å høre Byron. Men når han går opp i et lysere leie, kommer denne påslåttheten som har vært nevnt noen ganger. Jeg vil knytte noen bemerkninger til det, i fall det kan tolkes i retning av det er et problem; nei det er det ikke. Balansering av denne lille egenskapen er enkel, både rørvalg, samt valg av samarbeidspartnere er lett match. Faktum er at nevnte egenskap bidrar sterkt til å skape en tydelighhet og et liv som er sjelden vare, og gir en underholdningsfaktor som er helt ubeskrivelig! Bare for å undestreke at det knapt finnes grenser her, kaster vi oss over det norske svartmetallbandet Khold, og deres 2008-ugivelse “Hundre år gammal”, og låta “Sann ditt svik”. Tilgi meg for å bli litt lattermild av dette overseriøse mørket, malte ansikter og dødsforherligelse, mulig de mener det på alvor, men for meg virker det mest ufrivillig morsomt. Uansett, de leverer et brutalt, helvetes mørke, såpass skal de ha. Så om Uriah Heep-eksempelet hadde en viss dysterhet over seg, er nå dette reneste dødskampen. Kombinasjonen av mellomtonens klarhet og voldsomheten nedover som DAC II SPX er herre over, skaper en spenning og en stemning som er nesten magisk godt tilpasset denne stilarten. Vi får et flott fokus på stemmen, det er lett å skjelne teksten, i seg selv et under for denne stilarten vil jeg bemerke, samtidig som selve gravkammerets mørke brøles mot oss fra glødende radiorør. Kan det gjøres nevneverdig bedre?

Nei, vi får roe oss ned litt etter ovenstående dødsmesse. Vi søker oss enda lenger nord, til Trondheim, der Trondheimssolistene med Marianne Thorsen og Øyvind Gimse virtuost formidler Mozarts Violin Concertos på en 2L-utgivelse av ypperlig kvalitet. Med det vi nå kjenner til om denne DAC’en, er det ikke overraskende at Thorsens fiolin blir noe mer moderne og frekk enn i virkeligheten, samtidig som vi overbringes en uovertruffen kontroll og underholdningsverdi. Det er bare så himla levende! Storslått, rytmisk, kvikt, elegant, total orden, enormt innsyn i lydkulissene.

Hvor konkluderer man så med denne anakronistiske DAC’en? La meg aller først understreke at på underholdningsmessige og emosjonelle kriterier scorer den høyt. Himmelhøyt! SW1X DAC II SPX er et unikum av en DAC, ganske enkelt. Den formidler dynamikken, storheten, livet, dramaet og tilstedeværelsen i en hver musikkform du kan komme til å slenge på den. Oppe på en fjellforankret, bekmørk grunnmur bygges et sprudlende byggverk av farger og liv, teksttydelighet og klanger. Den kan behøve en viss balansering av noe mer beherskede partnere i oppsettet, men med dette lille forbeholdet, anbefales denne livsbejaende musikkleverandøren på det aller sterkeste. Sinnsykt moro!

SW1X DAC uten filter og oversampling, NOK 47 500,- Importeres til Norge av Yesda Audio

2 thoughts on “The SW1X blues

    1. Jo, det kan man til en viss grad si. Men prismessig ligger nok denne DAC’en noe under en direkte sammenlignbar AN DAC, om du ser på de rent tekniske løsninger med komponentkvalitet og strømforsyning etc.

      Hadde gjort seg med noen flere innganger, da.



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