DAC Shootout: Doge 7 vs Gustard R26 vs Holo Audio Cyan 2

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DAC Shootout: Doge 7 vs Gustard R26 vs Holo Audio Cyan 2 

After several years with the Doge 7 tubed DAC as my reference, two serious contenders arrived on the same day: the Gustard R26 and Holo Audio Cyan 2—both modern R2R ladder DACs. What followed was a deep A/B comparison across two very different systems, and the result is clear: 

There is no single “best” DAC here—only the best DAC for a given system. 

Method: 

Equipment: Doge was labelled DAC #1, Holo Cyan was Dac #2, Gustard R26 Dac #3. 

All three DACs were tested in my two main reference systems. Sources were Eversolo T8 streamer transport, Eversolo DMP-A6 Streamer/Dac all-in-one, and Krell MD-20 CD transport. 

Used both coax and AES XLR connections for source OUT and DAC IN.   

Test Method: All DAC comparisons were done via near-simultaneous A/B testing.  

Some were blind to eliminate bias.  

After equipment warmup, compared system sound on various music selections using A/B switching between two DACs at a time, alternating listening with preamp source selector.  

Although somewhat arbitrary (my ears, my systems, my rooms, and my very familiar music choices), DAC differences were easily discernable.  

For each DAC pairing, a winner resulted. The overall winner in that system was selected after comparing the two best sounding DACs in that system.  

Later in the testing, the T8 and DMP-A6 changed places but DAC rankings  were almost the same. 

Systems used for evaluation 

System #1: Audio Research/B&W all‑tube “analog” system 

• Electronics: Audio Research Corp SP-11 tube 2-chassis preamplifier and ARC VT-100 MKIII Power amplifier vacuum tube electronics 

• Speakers: Bowers & Wilkins Matrix 801 S2 (1990) 

• Streamer: Eversolo T8 (swapped with Eversolo DMP-A6 later in test) 

• Vinyl: Empire 598 vintage turntable with Stanton 681 EE cartridge  

• Cables: Cardas Golden Reference RCA interconnects.  

Cardas Golden Hexlink 5C Biwire Speaker Cables 

• System Power: 100 Watts RMS per channel 

• Room: 14 x 12 feet Fully carpeted 

• Character: Powerful, Warm, spacious, organic, classic tube presentation 

System #2: Mark Levinson/Martin-Logan Summit solid‑state “precision” system 

• Electronics: Mark Levinson No 38 preamp and No 23 Power Amp Solid‑state electronics 

• Speakers: Martin-Logan Summit 

• Streamer: Eversolo DMP‑A6 Gen 1 (swapped with Eversolo T8 later in test) 

• CD: Krell MD‑20 CD transport 

• Cables: Kimber Select XLR interconnects. Kimber Bifocal L Biwire speaker cables. 

• System Power: 200 Watts RMS per channel for ESL panel (mids and highs), 200 watts RMS per channel for dual powered woofer. 400 wpc total. 

• Room: 18 x 14 feet Bare wood floors with large wool area rug and leather furniture. Several drapes behind system and acoustic panels added for wall treatment 

• Character: Crystal clear, slightly analytical and revealing 

RESULTS of LISTENING SESSIONS 

DAC 1: Doge 7 (Tubed DAC) 

System 1 (ARC/B&W tubes): The Doge 7 has been my long‑term reference in system #1 for a reason. It sounds alive like analog music, very close to vinyl sound. 

• Sound: 

• Smooth, spacious, rich, and analog‑like 

• Wide and deep soundstage 

• Warm, liquid presentation 

• When I swapped in the Eversolo DMP-A6, (which sounds lighter and brighter than the T8), the Doge 7 shined and tamed the brightness with an analog smoothness. Took 1st chair with the DMP-A6 in this system. 

 

• System synergy: 

• Excellent analog smoothness. Soundstage was wide and deep and natural sounding, like a good MM phono cartridge. 

• Weaknesses: 

• Compared to the Holo, some spatial cues and fine detail are blurred 

• Slightly softer bass definition 

System 2 (ML solid‑state): 

• Here, the Doge fell apart: 

• Sounded blurred, muddy, and out of place 

• Lacked precision and control compared to the R26 and Cyan 2 

• Build : 

• Massive, heavy chassis 

• Excellent metal remote 

• Feels like classic high‑end gear 

Best match: 

• Tube‑based, analog‑voiced systems where warmth and flow matter more than ultimate precision. 

DAC 2: Holo Audio Cyan 2  

System 1 (ARC/B&W tubes): This is where the Cyan 2 shined brightest—and narrowly edged out the Doge. 

• Sound: 

• Effervescent, engaging, sunny, inviting, emotional, and musical 

• Music pours out like a warm liquid flood 

• Analog‑like presentation, but with significantly more clarity than the Doge 

• Wide and deep soundstage, with many spatial cues and nuances the Doge glosses over 

• Mids and highs: Never overbright—Goldilocks “just right” 

• Bass: Impactful and tighter than the Doge 

• When I swapped in the Eversolo DMP-A6 (which sounds lighter and brighter than the T8), the Holo became too much of a good thing=too over bright. 

• System synergy: 

• In this tube system, the Cyan 2 was the most emotionally engaging and complete DAC of the three. Overall, it reminded me of a good quality MC phono cartridge. 

System 2 (ML solid‑state): 

• The Cyan 2 sounded: 

• Detailed, but smaller and more polite vs Gustard 

• Less dynamic and less authoritative than the Gustard 

• Didn’t energize the system the way the R26 did 

• Result: Finished second here, behind the Gustard. 

 

• Build:  

Heavy and solid for its size, well‑constructed. The smallest of the three DACs 

Best match: 

• Tube systems or systems voiced for warmth and musicality where you want analog feel plus modern clarity. 

DAC 3: Gustard R26  

System 1 (ARC/B&W tubes): 

• The R26 came across as: 

• Darker tonally vs Holo and Doge. 

• More detailed than the Doge, but with a slight glare or hardness that I did not find compelling 

• Less emotionally engaging than the Holo 

• Result: Finished third in this system. 

System 2 (ML solid‑state): This is where the Gustard R26 took the crown. 

• Sound: 

• Solid, huge bass foundation 

• Large, authoritative stage presence 

• Many spatial cues and strong imaging 

• Slightly dark with a bit of bass emphasis, but overall the best match of the three 

• System synergy: 

• The R26 locked in with the ML system, delivering weight, scale, and control. 

 

• Note: During testing, replaced System 2 Eversolo DMP-A6 streamer with borrowed Eversolo T8 from my tube system. Big improvement: Bass was tighter and less boomy. Soundstage deepened and imaging tightened. Buying a second T8 now! 

• Best match: 

Solid‑state, precision‑oriented systems where you want bass authority, scale, and control. DAC parameters set to MID and NOS ON 

• Build: Heavy and well‑built for its size 

 

Eversolo DMP‑A6 streamer with internal DAC (reference point) 

System 2 (ML solid‑state): 

Sounded: 

• Nicely detailed 

• Fairly well-balanced top to bottom 

• But lighter weight, brighter, less bass foundation, smaller soundstage and less dynamic than the three external DACs 

 

• Conclusion: Very competent but outclassed by the dedicated T8 streamer and DACs in scale and impact. Soundstage had less depth, more like looking at a flat picture of the outside world while Vs Eversolo T8 and Gustard was more like looking out an actual window into the real world. 

Pros and cons summary 

Doge 7 

• Pros: 

• Rich, smooth, analog‑like sound 

• Wide, deep soundstage 

• Massive, heavy build 

• Excellent metal remote 

• Sound can be tailored to taste with tube rolling. 

• 2 coax inputs 

• Front panel volume knob and headphone jack 

• Cons: 

• Can sound blurred and muddy in highly resolving solid‑state systems 

• Less detailed and less precise than the Holo and Gustard 

Holo Audio Cyan 2 

• Pros: 

• Excellent sonic performance, especially in tube systems 

• Analog‑like but more detailed than Doge 

• Effortless, emotional, “sunny” presentation 

• Excellent synergy with tube systems 

• Heavy, solid build 

• Slim enough to stack with streamer, saving a shelf. 

• Cons: 

• LEDs too bright and no way to dim them 

• Auto input switching not user‑controllable 

• No remote. There is no way to change settings at all. 

• Cheap bumpers instead of feet. 

Gustard R26 

• Pros: 

• Strong bass foundation and large stage 

• Excellent in solid‑state systems 

• Detailed with many spatial cues 

• Solid imaging (especially so with T8 source) 

• Remote control for source selection and DAC parameters 

• Heavy, well‑built chassis 

• Excellent ergonomics in a multi‑source system 

• Slim enough to stack with streamer, saving a shelf. 

 

• Cons: 

• Slightly dark tonality may not suit all systems 

• Can sound a bit hard or glary in tube systems 

• Display too dim even on brightest setting 

• Tiny tiny tiny menu display font for DAC parameters 

 

System‑dependent verdict 

• In System #1: ARC/B&W tube system with Eversolo T8  

(and later with swapped-in Eversolo DMP-A6) 

 

• Winner: Holo Audio Cyan 2 (but close second with DMP-A6) 

• Close Second: Doge 7 (but winner with DMP-A6) 

• Third: Gustard R26 

 

• In System #2: Levinson/ML Summit solid‑state system with Eversolo DMP-A6 (and later with swapped-in Eversolo T8) 

 

• Winner: Gustard R26 

• Second: Holo Audio Cyan 2 

• Distant Third: Doge 7 

Final takeaway: These DACs are highly system‑dependent. 

• For solid‑state / precision systems → Gustard R26 was the best match for my gear. 

• For tube / analog‑voiced systems → Holo Cyan 2 or Doge 7 are the better fit with my gear. 

Where from here? 

Next up on the bench: possibly an Eversolo Z10 trial in both systems.  

Will transfer the DMP-A6 to my vintage McIntosh system and new second T8 installed in Levinson/Summit system. 

Author bio 

Author: 

• Retired with time to listen and an understanding spouse who has allowed me to take over the living room and convert it into a hi-fi music room housing the Mark Levinson system #2 

• Enthusiast in high‑end audio continuously since the 1960s 

• Former owner of a used audio business, having heard/owned over 1,500 components from the 1950s to current gear 

• Experience/ownership spans most models of classic tube and solid‑state designs 

• Long-time Audiogon member.

• Retired Quality Control/Electronics technician in the aerospace industry and IBM Corp. Later served as Facilities Engineer/Safety and Environmental Manager for Yamaha Music Manufacturing Division