MyST 1866 Wireless DAC and headphone amp for your iPhone
Last month, Musica Acoustics had me photograph their new MyST 1866, a portable DAC unit from MyCroft that Dimitri was very excited about. The lad is almost always lost for words about cool new things, so I patted him on the shoulder and took the unit to my office. I shot the thing. I turned it on and off. I listened to it. Then I emailed Dimitri and threatened a review.
A DAC like no other
The MyST 1866 isn’t like any other amp/DAC combo out there. Some of the usual stuff got stuffed in: line output, USB input, and a good headphone out. Today, most portable ‘DAC’ units merely convert USB digital signals to analogue. If you’ve got something smaller than a netbook, or if you have a dedicated DAC like the AlgoRythm Solo or Venturecraft Unit 4.0, you’re stuck.
The 1866 is different. There are NO analogue inputs, so you can’t just connect your iPhone/iPod/iPad LOD and have at it. Instead, the following inputs bristle from the back: USB, coaxial (3,5mm mono or stereo jack), and toslink (optical). Somewhere in the front is an antenna, and get this, a Bluetooth receiver.
It does sound a bit gimmicky, and it probably is, but let me explain it this way: with Bluetooth input, you no longer need cables to connect your iPhone/iPod touch to your amp/DAC. Evidently, the unit I photographed is a prototype. Its edges are rough, its rear case doesn’t fit flush with a USB cable so the thing comes unplugged from a computer with the slightest nudge. I’ve been told this will be fixed. It had better.
Because this unit is damn fine sounding and unique. If it weren’t for the aluminium, it would look like an excited Twinkie. But the real deal here (honestly) is that you can forgo the cables. Bluetooth isn’t just a gimmick.
I tested this out on the train for many hours. Typically, to enjoy a portable amp and my music, I have to strap my iPhone to an amp with ALO’s rubber bands, or broccoli elastics. It’s not hard, but after 1,5 hours of nudging and old men fondling my bump, it gets hard to keep an amp AND an iPhone up. The MyST 1866 makes things easier because it can stay in the pocket while your iPhone stays in your hand. Headphones, then, plug into the MyST, and you look less the geek, and more ready to defend yourself from concupiscent gaffers.
At least, that is the theory anyway.
Currently, the prototype allows about 20cm of distance between your iPhone and it before its Bluetooth signal gives out. In other words, an 1866 in your pocket will mean that your iPhone will have to stay near your junk, which isn’t comfortable. The problem, it seems, is that the prototype’s antenna isn’t finished. I’ve been told that the new version will have better antenna with a stronger signal. Good.
I don’t have much information apart from that. Spec list is brief: AD1866 16-bit DAC, 24-bit receiver, and some other stuff. Musica Acoustics have this written:
Digital input is received by a 24/192 chip and decoded by the famous AD1866 multi bit DAC. The circuit is laid out in an R2R ladder for the utmost in precision and sound quality. It doesn’t get better than this. This is the world’s first 4-source portable digital-to-analogue-converter to combine optical, coaxial and USB with bluetooth.
I’m no engineer, but countless hours slaving over potential purchases and simple hobby research has led me to the conclusion that R2R ladders can be more accurate in DACs than some other resistor implementations – and I’m all for that. How that pans out in the end, however, isn’t at the DAC’s sole behest.
In actual use
Apart from the short distances with which Bluetooth can be used to connect to a computer, iPhone, iPod touch, or Android device, things are mostly peachy. Of course, that pesky back plate keeps USB from jacking in securely, but if you are at a desk, and actually listening to a pair of headphones, that isn’t a bother. Still, MyST MUST move the back plate back. There is no excuse for USB jacks to fall out.
Coaxial and toslink connections work flawlessly. Selecting any input source is easy: just click the button on the front panel. A light will flash under the input source until connected. The only other controls are volume pot and the stubby on/off switch.
Devices I’ve used with it are:
- MacBook Pro
- iPhone 4/s (bluetooth)
- iPod touch 4G (bluetooth)
- iPad 1G (bluetooth)
- iPhone and AlgoRythm SOLO (via coaxial RCA to 3,5mm)
- Colorfly C4 Pro (via coaxial RCA to 3,5mm)
- iBasso DX100 (via coaxial 3,5mm to 3,5mm)
USB or not, DAC-laden amps really suck down battery. The 1866 is no different. I reckon my best streak was about 8 hours, but on average, 7 or so was what I managed to get. That’s not bad at all, but it’s not groundbreaking. My SOLO gets about the same battery life, and my DX100 is no better. Using Bluetooth or plugging your iPod/iPhone/iPad into a SOLO will drain the source battery faster, too. It’s just one of those tradeoffs you get with discreet external components. Assessing its worth to you is your job.
Frenchbat of Headfi said it best “the tracking is flawless” (or something like that). The 1866’s internal gain is set low enough that sensitive earphones can be used without turning the volume up too far to achieve balance between left/right channels. There is some volume mismatch between channels, but it is remedied quickly. If you are using Bluetooth input, you can adjust output level from the iPhone to further balance the signal. If you are using the 1866 with a computer or an Apple Airport Express-type device, you can adjust output levels from software. None of my sources allow that luxury via coaxial.
Similarly, the noise floor is rather low. It’s not completely silent, but it’s in line with or below the vast majority of amps out there. For reference, an iPhone 4s has less noise, an ALO The National has more. Suffice it to say that most IEM users, unless they are using extremely sensitive earphones such as the Shure SE530/5, will probably enjoy the relatively silent background of the 1866.
What keen-eared music lovers will discover is a sound that is softer, more relaxing than some DAC units. That may come from the AD1866, which seems to have a low-pass filter applied in its extreme high frequencies. Of course, to really hear its effects, you earphones have to be capable of hitting highs, and your music has to have information in the highs to be rolled off.
The MyST 1866 passed the Frenchbat test, which, I assure you, isn’t chicken soup. In the same day, I saw him tear through another amp that I was keen on, but we found common ground in the Vorzuge amps, though he wasn’t as keen as I am on the ALO The National. Ho hum.
I’ve not tested this yet, and will probably refrain until I have a production model in my hand (if that happens). What I can say is this: if your earphones drop down below 8Ω at any place when playing back music, the MyST will lose some resolution. It’s nothing like what the Graham Slee Voyager suffers, but it may be audible under some circumstances and with certain earphones.
My reference low Ω beast, the Earsonics SM2, did a small number on the MyST 1866’s frequency response, but it is a beast. With the FitEar To Go! 334, you might also hear a difference, that being small reductions in bass, a slight smear in upper mids, and more compression in soundstage versus, say, an iBasso DX100. With an iPhone 4s, the difference is less pronounced.
Moving to the likes of an Audio Technica CK10 or Grado GR8 or similar high Ω earphone and you won’t hear the differences. The 1866 runs those earphones fine. Headphones are almost all equal. I’ve encountered no headphone that isn’t fully driven by the 1866. That said, output voltage isn’t as high as some desktop amps. The National will best it for delivering fidelity at extreme volumes.
The internal amp is obviously geared towards portable headphones and higher Ω earphones, though it sounds great through low Ω earphones as well. If you’re absolutely set to make a stack, the MyST 1866 has a good line out that is entirely separated from the analogue amp stage.
When Dimitri asked me to photograph this amp, he was unsure of pricing. I was told it might be around 600$. A few years ago 600$ seemed incredible. Today, many portable units tip the scales around that price. The MyST, which has even more functionality, and evidently is made by hand in an aircraft assembly plant, is considerably more expensive. Dimitri’s webpage shows a pre-order price of 899$ and a full retail price of 999$. Yikes says me.
In Japan, that translates to something like 85.000 yen. Even at that price, the MyST 1866 generated a LOT of interest at the headphone festival. I have a feeling that international portable audiophiles are comparative misers to their Japanese counterparts. Partly this could be because we spend (you, not me) less time on the train, packed in with hundreds of other bodies and grabby old men. Japanese audiophiles spend everything on their portable systems. I’ve seen a number of FitEar To Go! 334 out in the wild. And even an AKG K3003. Both earphones tip the scales at over 1300$. Amazing.
You will know if the MyST 1866 is for you or not. The truth about me is that as much as I appreciate its innovative technology and Twinkie good looks, I’m just not its market. But, the tech idiot in me loves it. And, the smooth, soft, and powerful sound is something I like, especially paired with my GR8 and DT880. To each her own.
I’m quite sure that Musica Acoustics will be joined by other dealers soon enough as this product – as a technological wonder, and an audiophile machine – is exciting. One thing I’m quite sure of is that this is probably the most expensive portable audiophile unit of any kind to connect to an iPhone. If nothing else, that should generate a LOT of interest.
Hot damn! Headphones really are a rockin’ way to enjoy music, right? Feel free to explore TMA’s headphone oubliette
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