Digitale Audio Systeme

21/05/2026

Digitale Audio Systeme (DAS) ist eine Manufaktur für Entwicklung, Bau und Vertrieb digitaler Musikserver, Streamer und Verstärker höchster Güte. Unabhängige Testberichte zählen unsere Produkte zu den besten der Welt.

21/05/2026

07/05/2026

We are preparing something big for you!

It will be quite sensational.

Details to follow.

07/05/2026

WELCOME HIGHEND TO THE WORLD CAPITAL OF MUSIC!

From 2026, Vienna – our home city – will be the official venue for the HighEnd, the world’s leading exhibition for audio electronics. We will of course be there, exhibiting alongside our dear friends from the Wiener Lautsprecher Manufaktur:


DATES:
4 to 7 June 2026

OPENING HOURS:
Thursday: 10:00 to 18:00 h
Friday: 10:00 to 18:00h
Saturday: 10:00 10 18:00h
Sunday: 10:00 to 16:00h

VENUE:
Austria Center Vienna (ACV)
Bruno-Kreisky-Platz 1
1220 Wien

ROOM:
Raum 2.97/2.98 (Level 2)

You will find a clickabel map of the ACV here: https://digital-audio-systems.com/welcome-highend-to-the-world-capital-of-music/?lang=en

21/01/2026

ALBUM OF THE MONTH

ARVO PÄRT: THE SYMPHONIES
NFM WROCŁAW PHILHARMONIC, TÕNU KALJUSTE

Today, Arvo Pärt is one of the most widely-performed contemporary composers. The music that Pärt is mostly appreciated for, is based on his technique of “tintinnabulation”, which he developed in the mid-1970ies and allowed him to bring familiar melodic shapes and tonal harmonies into a totally new musical world.

Before that stylistic sea change, Pärt had been a very different kind of composer and this album shows the long and arduous musical and spiritual journey that Pärt completed to get there. Forty-five years separate his Symphony No. 1 (“Polyphonic”) written in 1963 from his Symphony No. 4 (“Los Angeles”) written in 2008. There’s dissonance and angular 12-note polyphony in the First and almost Webern-like compression in the Second (1966), while the Third, from 1971, shows the first signs of the new direction Pärt would subsequently follow, with references to Gregorian chant and Renaissance polyphony, and a much clearer emphasis on melodic writing.

Tõnu Kaljuste has become Pärt’s most trusted conductor and his interpretation leaves nothing to be desired.

What is particularly remarkable about this album is the transparency and clarity of the recording in the Main Hall of the National Forum of Music, Wroclaw. Each instrument is clearly positioned in the acoustic space and one can hear through that space like in a live concert.

Recording: Main Hall of the National Forum of Music, Wroclaw, Poland, August, 2016

Label: ECM Records

Format: PCM 44,1kHz, 24bit

16/12/2025

FROM ALL OF US HERE AT DAS:

WE WISH YOU A HAPPY AND BLESSED ADVENT SEASON FULL OF MUSIC AND GOOD CHEER!

16/12/2025

ALBUM OF THE MONTH
IGOR STRAVINSKY: THE FIREBIRD
LONDON SYMPHONY ORCHESTRA, ANTAL DORATI

The Paris-based Ballets Russes acquired fame in the early 20th century through the staging of exotic ballets on Russian themes. The ballets that Stravinsky composed for the company’s ingenious impresario Sergei Diaghilev between 1910 and 1913 trafficked in these neo-nationalist stereotypes.

Stravinsky’s first ballet for Diaghilev, The Firebird, composed in 1910 had a profound influence on French society: The look of the ballet was so dazzling as to influence French fashion, and the music provided relief from the trends of Impressionism and Expressionism.

Ironically, nothing in the ballet was original or new. The scenario is a kasha of Russian fairytale and myth. The ballet unfolds in two tableaus, relating the story of the good Prince Ivan, who frees 13 princesses from the evil Kashchei the Immortal, falling in love with one of them on the way. Throughout, the Firebird serves as Ivan’s magical helper. The music is likewise rooted in the past, still under the powerful spell of Stravinsky’s teacher Nikolai Rimsky-Korsakov, yet quite raw and powerful.

The performance of the London Symphony under Dorati is congenial with perfect balance, colourful orchestral palette and the lyrical beauty of the score clearly presented.

The sound of the recording is exceptionally lucid, dynamic, and well spread out in a very wide acoustic space. The dynamic range is truly scary. The strings are particularly rich and sweet, especially for a Mercury recording. Not only is the sound subtle and wide-ranging, it has a nuanced atmospheric signature that pulls you into its sphere, notwithstanding the audible tape noise.

If you love hearing INTO a recording, actually being able to “see” the performers, and feeling as if you are sitting in the audience, this is for you. It’s what great vintage analog recordings are renown for. This is a masterpiece of Wilma Cozart and Robert Fine, the driving forces behind Mercury Living Stereo, recorded in England’s Watford Town Hall in Mid-1959. Indeed, it is one of the best-sounding recordings of all times - a real sonic treasure.

Recording: Watford Town Hall, June 7, 1959
Label: Mercury Records
Format: PCM 192kHz, 24bit

02/09/2025

ALBUM OF THE MONTH

GETZ/GILBERTO

STAN GETZ AND JOÃO GILBERTO (FEAT. ANTÔNIO CARLOS JOBIM & ASTRUD GILBERTO)

It is still summer. So some Bossa Nova is quite appropriate. The Album ‘Getz/Gilberto’ is one of the best selling jazz albums of all time – winning 3 Grammy Awards in 1965. It also includes one of the biggest smash hit singles in jazz history – ‘The Girl From Ipanema’, a Jobim classic sung by João's wife, Astrud Gilberto, who had never performed outside of her own home prior to the recording session. The whole album is a masterful lesson in musical simplicity and sophistication. The musicians all play with an effortless grace that's arguably the fullest expression of bossa nova's dreamy romanticism.

For all its fame and success, it is easily forgotten, how well recorded this album is on top of everything else – irrespective of all the talk about the state of the master tapes, of a possible reverse in the left and right channels as well as a dropout in ‘Ipamena’, dropouts and bass distortion in ‘Corcovado’ and a fair amount of pitch instability in the piano. The quality of the tone colours heard from Getz’s playing is spectacular. His breath control and tone manipulation through reed pressure and articulation is captured in all their subtlety. The whole presentation has a large sound stage and life-like immediacy that you rarely get even with the best recordings.

Recording: A&R Recording Studio, New York City, March 1963
Label: Verve Records

Format: PCM 176,4kHz, 24bit

02/05/2025

SEE AND HEAR OUR HD-PLAYERS AT THE HIGHEND MUNICH 2025!

You will find us in the WLM (Wiener Lautsprecher Manufaktur) room, Atrium 1.4, Room E103 (1st floor)

Location:
MOC München
Lilienthalallee 40
80939 München

Date: 15. - 18. May 2025

Opening Hours:
Thursday 10:00 - 18:00h
Friday 10:00 - 18:00h
Saturday 10:00 - 18:00h
Sunday 10:00 - 16:00h

14/03/2025

LIVING STEREO IN THE DIGITAL AGE

The decade between the mid-50s and the mid-60s of the last century are considered the ‘golden age of the vinyl record’ – but also of ‘analogue recording’ in general. The most important artists of the time made recordings of exceptional quality – both artistically and technically. The leaders in this field were:
• RCA Victor with their legendary ‘Living Stereo’ series,
• DECCA with its ‘ffss’ (full frequency stereophonic sound) series and
• Mercury with its Living Presence series.

These recordings have long been staples of any serious audiophile. Here is a brief history and overview of RCA’s Living Stereo series:
Link to English version: https://digital-audio-systems.com/living-stereo-im-digital-zeitalter/?lang=en
Link to German version: https://digital-audio-systems.com/living-stereo-im-digital-zeitalter/