*Don’t miss Steven Stone’s follow-up to this review (located at the bottom of this page), which addresses what he found when he upgraded the Divinity’s incoming AC power. 

A new brand with a new name  

Garlubidor is a word (in this case, a name) that you have likely never heard of before. That’s to be expected since, to my knowledge, this word was not known to humanity until recently, when someone dreamt it up as a new brand name.  When I asked about the name, I was told that it: 

carries a symbolic meaning, representing the harmony between technical precision and the emotional depth of music. Our vision goes beyond creating finely engineered audio instruments; we also strive to respect the very nature of sound itself and preserve the emotion that gives music its life. The name embodies a simple yet profound idea: Not just reproducing sound but expressing emotion. 

Well, OK then.  

Guangzhou, China-based Garlubidor currently has five products: two DACs, two power amplifiers, and one stereo bookshelf loudspeaker. According to the Garlubidor, it “works together” with Denafrips. The Divinity, which is the subject of this review, is Garlubidor’s flagship digital-to-analog-converter (“DAC”). It retails for US $1,849. The Divinity’s features and circuitry tell a somewhat unique story when compared many DACs out there. Let's dig in. 

What is an R2R DAC?  

The Divinity is a resistor-to-resistor (“R2R”) DAC. Most DACs convert the digital signal via an integrated Delta-Sigma chip made by companies like ESS Technology (a/k/a ESS), Asahi Kasei Microdevices (a/k/a AKM), Texas Instruments, Philips, or Cirrus Logic. These chip-based DACs often employ relatively complex technologies such as oversampling, noise shaping, and/or filtering.  

R2R DACs employ a simpler conversion method involving an array of binary resistors containing the values “R” and “2R.” Some R2R DACs, including the Divinity, employ Field Programmable Gate Array (FPGA) chips that work in conjunction with their digital decoding engines. The Divinity employs an array of precision-matched 24-bit resistors with a specified deviation tolerance of 0.005% combined with an FPGA chip. 

R2R fans claim that compared to Delta-Sigma converters, R2Rs provide a richer, more organic, and non-fatiguing sound. Proponents of chip-based DACs champion their precision, linearity, and detail. Obviously, the ideal DAC combines all of these sonic characteristics into one device. Does the Garlubidor achieve this goal? Let’s find out. 

Tech and specs 

Many DACs from China deliver similar specifications and performance regardless of price, though they provide additional options as they become more expensive. However, to optimize the Divinity’s performance, Garlubidor has omitted some features that, as discussed below, many DACs include.  

Although the Divinity DAC’s technical specifications may not be spectacular, they are quite respectable: 120 dB S/N, 0.002% total harmonic distortion, 110dB crosstalk, and 120dB dynamic range. These figures indicate that, aside from its conversion architecture, the Divinity is in some ways similar to other contemporary DACs.  

The Divinity supports up to DSD1024 via i2S and USB, and PCM up to 1536 via I2S and USB. Digital inputs include RCA S/PDIF coax, Toslink, AES/EBU, USB, and I2S over HDMI. Analog outputs include one pair of single-ended RCA connectors producing 2 volts at 625 ohms, and one pair of balanced XLR producing 4 volts at 1250 ohms. The Divinity DAC employs two high precision low-phase noise oscillators. It also has two low-noise toroidal power transformers, one for its analog digital circuits, respectively. 

Features unique 

The Divinity has at least two fairly unique features: it can reverse phase and swap stereo channels. Both can be accessed via the Divinity’s front panel controls and remote control. While a reverse phase feature was more common in the past when audiophiles often made their own recordings, it is still useful today. Some digital devices can reverse channels on DSD material. Further, a surprising number of recordings of all types were recorded with reversed channels.  

A simple explanation of phase in this context is that most speaker drivers function pistonically--they either push out or pull in. Reversing the phase causes what was blowing out to suck in and what was sucking in to blow out. Sonically, this affects the apparent spatial relationships between the mix’s musical elements, especially if one or more of the microphones are in reverse phase to the others. Through phase reversal you can often flip the lead vocals from the front of the soundstage to its rear. The late Clark Johnson wrote an entire book, called The Wood Effect, about this phenomenon. It is a fascinating read for anyone who is interested. 

Features paired down 

What features do I regularly see on DACs that the Divinity lacks? Well, forget about spending hours with the Divinity comparing digital filters. It has only one. I like this commitment to a single sound as opposed to offering multiple ones for the consumer to choose from, some of which are often only subtly different.  

Another area where Divinity limits choice relates to its user display. Most displays can be turned on or off or dimmed. The Divinity’s bright yellow display is always on when the Divinity is powered up. This is unlike say, the FiiO K13 DAC/headphone amp (review coming), which I had on hand during this review. It offers choices of colors and intensities for its display. When I asked Garlubidor about this, the response was that LED output controls produce noise, so that feature was omitted. 

Finally, the Divinity’s menu options are limited. They are I2S mode selection, phase reversal, channel swap, and firmware update. 

Guided tour 

With its matte black chassis, the Divinity has an understated aesthetic that implies functionality rather than luxury. The chassis’ front panel has a large, knurled volume and mode knob that turns smoothly. The maximum level is 60, and front panel display changes in 1 dB increments. Other front panel controls are for power, input selection, and menu activation. 

The chassis’ rear panel is also simply laid out. Analog and digital outputs are on the left and right chassis sides, respectively. The AC IEC connector is on the panel’s lower center portion. This is because the Divinity employs a multi-level, isolated circuit layout to optimize performance.  

Many components are undergirded by four footers. However, the Divinity has only three  footers placed in a triangular configuration. Each has a rubber insert at its tip. 

To the point 

Due to the subjective nature of how we hear sound, I am going to dispense with references to specific music recordings and the attendant flowery review language. With most music, including that which is pretty well recorded, the sonic differences between the Divinity and several competing DACs that I have had in my audio system were minimal. It was only with recordings of exceptional sound quality that the differences became more apparent.  

Further, these differences didn’t manifest themselves by delivering a seemingly wider frequency response or better dynamic impact. Instead, they were subtler in comparison, yet more important. While most of the DACs caused my system to render exceptionally recorded music with clarity and dynamic acuity, the Divinity DAC accomplished this in a more convincing and realistic manner. Particularly with exceptionally recorded music, the Divinity caused my audio system to sound more like music. 

Hard to resist  

Over the years, I have read many reviews praising R2R DACs. However, I have never been a big fan of them. Instead, I have been quite happy with the performance of chip-based DACs. The Divinity (and to a lesser extent the FIO K13, which I also had on hand during this review) have opened my eyes and ears to the positive sonic attributes of the R2R design. And while the Divinity lacks several features that are standard on most DACs, such as the ability to turn off or lower the brightness of the display, it includes other useful ones, such as channel swapping and phase reversal.  

Whether you will be as enamored with the Divinity as I am will likely depend on whether its sparse feature set meets your needs. People who like a multiplicity of options may feel a bit underwhelmed. But I find Garlubidor’s willingness to take a unique stand with this DAC to be courageous and refreshing. While there are many similarly priced DACs in the marketplace, the Divinity is a strong and unique option. Topping, Gustard, SMSL, FIIO, Sabaj, and even Denafrips are hereby on notice that there’s a new kid in town. 

Garlubidor Divinity DAC 

Price: $1,849 USD  

Warranty: One-year parts and labor, 30-day direct replacement  

Dimensions: 332mm (W) × 330mm (D) × 107 mm (H)  

Weight: 22 lbs. 

Garlubidor 

Guangzhou, China 

www.garlubidor.com 

Associated Equipment  

• Digital Software: Roon, Qobuz, Audirvana, Audirvana Studio, Apple Music, Magic Beans Target App 

• Digital Sources: Gustard A-26 connected to AnCoalas Double Pi Roon endpoint, Fosi ZD3, Gustard X-16, Roon server on Intel i7 NUC, Synology DS-2024+ NAS, Raspberry P4B using Diet Pi software and a capacitor bank in power supply employed as a Roon Endpoint, Ancolas/Diretta double Pi Roon Endpoint. 

• Preamplification: Schiit KaraF, Schiit Freya S  

• Amplification: Pass 150.8, Pass A30, Orchard Audio Starkrimson Ultra, Sebaj A-20, LSA Warp 1  

• Loudspeakers: Spatial Audio X-2 with 2 JL Audio F-112 subwoofers, MoFi Sourcepoint 8 with Velodyne DD-10+  

• Power Conditioning: PS Audio Dectet and Quintet, 2X Croson CE-352, Entec and Noise-sniffer AC noise test devices.  

• Cables: WireWorld Series 8 30’ balanced, Kimber KCAG 1 meter, ½ meter balanced and unbalanced, Audience AU24 SE speaker cables  

• Equipment Racks: Arcici Lead Balloon, VPI TNT stands for both turntables, Arcici Suspension rack  

• Listening Room: RoomTunes absorber panels, Acoustic Sciences (ASC) Tube Traps, GIK acoustics panels, ¼ inch industrial felt pad on the desktop, custom ceiling clouds and corner bass traps  

Follow up: Improving the Divinity's incoming AC power  

During this review, I improved the Divinity’s incoming AC power. This was despite that the Divinity contains two high-quality power transformers and connects to AC only via a standard IEC connector. Let me explain how I did this and why it’s relevant.  

Two AC circuits power my audio system. One feeds the power amplifier (the “Power Amp Circuit”). The other covers the system’s front-end (the “Front-End Circuit”). This defies the conventional “best practices,” which is to keep all gear on the same circuit. I do this because of the noise that travels on those lines. 

I have two devices that measure AC noise, an Audioprism Noise Sniffer and an LHY Audio Line EMI Meter. With them, I found that the Power Amp Circuit was noisy, measuring around 375 on the LHY’s meter. The Front-End Circuit measured only 185. On each of the AC circuits are a PS Audio Dectet AC power filter. On the Front-End Circuit, the Dectet lowered the noise to 155. On the Power Amplifier Circuit, it lowered the noise to 350.  

I was very happy with the above circuit configuration. But then a friend brought over his DIY 500-watt balanced power transformer, and we installed it in my system. The LHY meter then measured only 16! The improvements in the Divinity’s sound that occurred when it was fed better AC power were obvious and included less digital hash and better soundstaging.  

Further, using the transformer on my audio system's front end, the sonic differences between Shanling’s Onix Zenith XDA20 DAC (which I also had on hand during the review) and the Divinity became more noticeable. Compared to the Divinity, the XDA-20 rendered a sound that was more mechanical with a slightly smaller soundstage. The takeaway is not only that the Divinity thrives on clean power. It’s also that its capabilities may not be fully evident without it. 

For these tests I performed real-time matched level blind A/B comparisons between the two DACS thanks to ROON’s ganged output feature where two endpoints can receive the same signal at the same time. On most commercial releases, even those that I would consider well-recorded, the sonic differences between DACS were minimal. It was only on exceptionally well recorded live concert recordings such as those supplied by recording and mixing engineer Mike Morgan and from my own library of live recordings did the differences become obvious.  

The Garlubidor sounded more like music. It wasn’t a question of one DAC having wider frequency response or greater dynamic impact, instead it was both subtler yet more pervasive. While both DACS could render all the sonic information with clarity and dynamic acuity, the Garlubidor Divinity DAC accomplished this in a more convincing and realistic manner.