Norway’s Hegel Music Systems has taken what some might see as a step back with its D50, eschewing streaming, digital signal processing (DSP), and preamplifier functionality to produce a bare-bones digital-to-analog converter (DAC) of the highest performance. A “racehorse DAC,” company representatives have dubbed it. Earlier this month, George de Sa wrote most favorably about the D50, concluding his review with the assessment that, for some, the Hegel D50 could be an “endgame DAC.”
While it lacks some extras, the D50 doesn’t skimp on the range of connections and audio formats it supports, as George details in his review:
On the left side of the rear panel are the outputs: one pair of fixed balanced (XLR) jacks flanking a pair of fixed unbalanced (RCA) jacks. To their right are the inputs: one AES/EBU S/PDIF (XLR), one coaxial S/PDIF (BNC), one coaxial S/PDIF (RCA), two optical S/PDIFs (TosLink), and one USB Type B. The coaxial BNC and RCA inputs can accept PCM streams up to 24-bit/192kHz and DSD64 (DoP) as well as MQA 8x, while the optical inputs handle 24/96 PCM and MQA 8x. The USB input accepts streams up to 32/384 PCM, DSD256 (DoP), and MQA 8x.
The 14.5-pound D50 measures 3.9″H × 17″W × 12″D. It is enclosed in an all-black, all-metal case and possesses what George describes as “robust build and minimalist aesthetic that is typical of Hegel components.” In keeping with the plain aesthetic, the front-panel screen presents white-on-black lettering; it is not a color display. A small remote control, useful mainly for input selection, is included.
George inserted the D50 in his reference system, which includes a Bryston BR-20 streaming preamplifier and a pair of Bryston 7B3 amplifiers driving Dynaudio Confidence C2 Signature loudspeakers. A Roon Nucleus music server and a Rega Apollo CD player (used as a transport) served as digital sources, feeding the BR-20 through Audio Sensibility Statement S/PDIF and Furutech USB digital cables, respectively. Speaker cables, analog interconnects, and power cords were part of the Audio Sensibility Statement series.
In his listening-impressions section, George comments on the D50’s “graceful, relaxed” presentation and “dead-silent” background. He writes that sonic images were “well delineated and corporeal, but not artificially outlined.”
Listening to Chris Botti’s To Love Again (The Duets), George observed that the “opening guitar notes flowed smoothly, with no undue attention drawn to their leading edges,” and writes that “microdynamics were conveyed wonderfully” and that the “gentle cymbal taps combined palpable dynamic presence with a velvety touch.” He found that “sonic images were drawn with holographic precision, but rather than seeming sharp-cornered, they were rounded and three-dimensional.”
Playing “Midnight Sun” from Elizabeth Shepherd’s Rewind, George recalls that the “impressive solidity of Scott Kemp’s powerful bass notes was juxtaposed against the quickness of the strings. Cymbal splashes had a delicate and feathery quality that was absent of any fizz around the strikes, so that the decays were conveyed with greater clarity.” Then, “on ‘Buzzard Song’ from the same album, the opening tremolo of the strings demonstrated the D50’s clarity and cleanness of expression.”
Moving to Pat Metheny’s “When We Were Free” from his Day Trip, George writes that the D50 surprised him “not just with its dynamic presentation of [Antonio] Sanchez’s cracks on the snare but also with its subtle portrayal of his shimmering cymbal taps.” The D50’s ability to relay microdynamics, George notes, was clearly illustrated by the “elevated sense of physicality and touch” of the cymbal taps.”
On Annie Summi’s “Evaporating Life” from In the Unknown, George describes the acoustic-guitar plucks as precise and tight and beautifully sonorous, and he characterizes Summi’s voice as full, textured, and natural. Once again, he found that images were portrayed “against an absolutely black background.”
From his Roon Nucleus server, George then played a few DSD tracks, including Ray Charles’s “Fever” from Genius Loves Company. He writes: “The impact of the kick drum in the opening was superbly tight and elastic, combining an impressive thump with a strong sense of speed. I noted how authentically the [D50] rendered the finger snaps, clearly revealing the sound of fingers hitting the palm. Likewise, the hand strikes on the bongos had an impressive tactile quality and timbre. Through the D50, Charles’s rich, smoky vocals and Natalie Cole’s sultry singing were completely lifelike.”
On Dave Brubeck’s “Take Five” from Time Out, the D50 “did a great job of revealing the shudder of Joe Morello’s kick drum,” George notes. “The snare sounded not only tight but full, the reverb of the skins very apparent. Cymbals once again possessed a real sense of physical presence, while avoiding aggressiveness.”
George compared the D50 to the DAC section of the Bryston BR-20, his usual reference preamplifier, and found small but meaningful differences, which he outlines in his review. He sums up those differences succinctly: “In a nutshell, the D50 sounded more serene and blissful, while providing a greater sense of realism. On the other hand, the BR-20 was more exciting and flavorful.”
In his conclusion George states that the Hegel D50 “delivers utterly quiet, incredibly smooth, and composed performances with astonishing dynamic presence. . . . It steps out of the way of the music, delivering resolution and detail in a nonchalant manner.” He acknowledges that at $4900 the D50 “can’t be called affordable”, but points out that “given its level of refinement,” compared to the prices of other high-end reference DACs, “it could be considered a bargain.” George’s praise for the D50’s performance and value earned it a Reviewers’ Choice award when his review was published. The D50 is now recognized as the latest winner of our Recommended Reference Component award for its performance.
Manufacturer contact information:
Hegel Music Systems
PB26, Blindern
0314 Oslo, Norway
Phone: +47 22-60-56-60
Fax: +47 22-69-91-56
Email: info@hegel.com
Website: www.hegel.com
