Traditionally, iBasso digital-to-analog converters are called by names from the snake kingdom, so the portable D12 model received a corresponding ācall signā ā Anakonda. But the D12 is more than just a DAC, itās also a headphone amplifier. Curiously, the two-in-one functionality of the D12 has not had much impact on the size of the device.
iBasso D12 Anaconda
CONSTRUCTION
If you compare D12 with iBasso DB1 Boomslang converter or PB1 Toucan amplifier, which we also tested, you can see that the case of Anaconda keeps its compactness: the width and height is the same: 55Ć24 mm, but the depth is only 22 mm more ā 103 mm. Therefore, as a mobile variant, the D12 Anaconda looks clearly preferable to the DB1+PB1 pair.
On the front side of the device are: a volume control, a +3/+10 dB gain switch and two jacks3.5 mm. The connector on the left is the headphone output and on the right is the analog input/output, which plays a certain role depending on the situation more about that below .
The volume knob at the minimum position turns the unit off. On the back side we can see the familiar from iBasso DB1 set of digital inputs: coaxial RCA , optical Toslink and USB port with the possibility of recharging the device. User can activate or deactivate charging with a toggle switch.
The D12 scheme is made on a double-sided PCB: the digital part with the strapping is assembled on one side, the battery pack and the amplifier circuits are on the other. The digital circuit uses a PCM2906B USB receiver/converter, a Cirrus Logic CS8416 SPDIF receiver, the digital-to-analog conversion is built on two Wolfson WM8740 chips one per channel .
The device is controlled by a microcontroller, which automatically searches for a signal starting with ācoaxialā, āopticsā comes second in line, USB is checked last. When any digital signal is detected, the analog jack defaults to a line output. If you donāt have a digital signal, the analog jack is a line input. In this case the D12 acts as an amplifier and boosts your battery life significantly ā 30 hours instead of the 18 hours the DAC/amplifier pairing should give you.
The headphone output consists of a voltage gain stage and a buffer. Both sections are based on low voltage operational amplifiers, it is not clear what kind, because the markings are painted white and red. But it is clear that the headphone amplifier in the D12 Anaconda is an entertaining constructor: the owner is not forbidden to try different variants of āoperonicsā.
And the circuit allows both single-channel and dual-channel DUs, which gives you dozens of available modifications at once. There is a plastic box with the device in which there are three panels: one of them has a Op-Amp AD8656, the others are pacifier adapters. Letās say right off the bat, the D12 Anaconda DAC/amplifier was tested in its factory configuration and experiments with different DUs were not conducted.
REVIEW
With Sennheiser HD650 iBasso D12 amplifier coped to the limit. So offering the Anaconda āhigh impedanceā headphones should be offered with caution, for them it is better to choose the iBasso PB1, which rocked the HD650 with a large margin. Anaconda, on the other hand, favors something like the 32-ohm KEF M500.
The most delicious impressions from the sound of D12 Anaconda is the top part of the sound spectrum ā good detail, clearly worked out loops of cymbals and other percussion tinsel, quite clear, bright picture, voluminous scene with workable backgrounds. Among the handhelds we know, the Anaconda is clearly in the lead for localization and instrument separation on the virtual stage.
The mid-range timbres are well delineated, even an overtone palette. Correspondingly, there is no deliberate simplification of music, typical of many entry-level devices. Emotional sound is close to neutral, maybe with just a hint of dryness.
This impression is probably due to the precise but moderately strong bass. As a result, the dynamic balance of sound of Anaconda is partly attracted to the upper frequencies, they have more sharpness and accents. Fragments of the treble are reproduced too brightly, and in the vocals the sibilants are prominent, though this effect strongly depends on the headphones.
Perhaps Anacondaās DAC will be higher level than the unitās amplifier. To check the feelings the author of this review decided to compare D12 with something inexpensive from the stationary hi-fi. I came across a well-preserved old CD-player C.E.C. 3300R, after analog conversion the signal was fed to the input of the Burson Conductor amplifier, then to the Sennheiser HD650 headphones.
Well, our initial impressions were not deceived, as the D12 DAC is quite capable at this level. Yes, the Anaconda loses slightly to the āJapaneseā in bass relief and the lower mids, but it is not inferior to it any further.
Both converters slightly color the upper middle/lower top: the C.E.C. The jazz brass and strings are given in too warm tones, the Anacondaās coloring is cooler with a bit of brass glow ā but thatās all trifles.
But Anaconda displayed the music scene more honestly, carefully preserving the original composition of the recording, while C.E.C. I was trying to move forward the central foreground images and to make the bass instruments closer.
PRICE: 11 290 Dollars.
SUMMARY
Advantages of iBasso D12 Anaconda: good functionality with the combination of DAC + amplifier in one case, portability built-in battery , high-quality DAC, natural timbres, good transmission of sound space and localization of images. Anaconda ā an open space for experimentation: all of the output operational amplifiers of the device can be easily changed in search of your own sound.
I would like to inquire about the headphones that were tested with the iBasso D12 Anaconda DAC. Could you please provide some information on the specific headphones used in the review? It would be helpful to understand the capabilities and limitations of the DAC or any recommendations for optimal headphone pairings. Thank you!