Foresquare answers. "My audio designer's name is Mr. Abel Kang. He graduated university as a Master of Computer Science, then worked as semiconductor DSP designer. That's how he could almost customize the ES9018S for us, hexadecimally from 0 to F. Our ODM business has focused on supplying digital amplifiers, DDC and DAC, occasionally active speakers for almost 10 years. The only further clue I can give you about those activities is on our very last DAC project. Its customer isn't a very well-known brand but one that's positioned at the upper end. Their top preamp for example sells for $100'000. They are masters of analogue audio. They will attend Munich this year as they always do. Their new DAC now retails between $10'000 and $15'000.


"The DAISy 1 is a fully balanced circuit whose 6922 vacuum tubes work only as buffers. They're coupled via capacitors because we didn't think that transformers could match our bandwidth. Output stage JFets take tare of constant current. As you know, the ES9018S is an 8-channel converter chip. By using one per channel, we parallel those streams for 135dB of dynamic range. Inside these chips there are discrete filters for PCM and DSD. We use those. The digital input stage detects the type of signal. We believe PCM/DSD or DSD/PCM conversion is the proper role of a media server and the listener's choice. Our own philosophy is to render the signal as is, but perfectly. The S/PDIF indicator verifies PCM up to 24/192. The USB PCM indicator shows PCM and DoP up to 32/384. The USB DSD indicator reflects native DSD up to 256. In the DAISy 1, native DSD and DoP are totally different and divided. DoP is a kind of PCM.


"We know that very famous very expensive converters champion upsampling but I'm personally doubtful about it. From my personal experiences in recording studios and from discussions with recording engineers, there is a law on the constancy of the original recording. It simply means that you cannot improve the sound afterwards. We see how the mastering engineers manipulate the post-production process. There's nothing automated about that. They check their mix manually, with countless repeat listening sessions and their hands. But they don't upsample. They only downsample their final high-resolution master for commercial consumption. My point is, professional sound engineers don't use upsampling. I believe there's very good reason for it. For I/V conversion, we use eight op-amps in an original circuit. Ditto for our digital filter which has extremely enhanced response flat to 96kHz."


Here we look at DAISy's analog stage followed by...


... the digital goings-on and...


... the power supply.


Finally, here is Miss DAISy's listening room.