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This article helps to fix an issue in which Windows 10 doesn't install specific drivers for USB audio devices on the first connection.

About the Company. In 1996 Audio Visual Driver Int'l. (AVDI) was but a vision to a man whose enjoyment and personal interest in home theater is surpassed only by his desire to share this experience with others.

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Audio Speaker free download - GOM Audio, Acoustica MP3 Audio Mixer, IDT High Definition Audio CODEC, and many more programs. New DAC8 driver for Mac from Audio Research. NAS, Stillpoints under all others. Why don't they put the new drivers on their website to download, like. Here's some additional information. Software rev change for all mac computers for the dac8. Problem fixed: the last mac rev1.27 dac8 driver software caused mac computers to intermittently lock up after awakened from sleep mode when the dac8 is connected via the usb port.

Original product version: Windows 10, version 1703
Original KB number: 4021854

Symptom

When you connect a USB audio device to a Windows 10 Version 1703-based computer the first time, the operating system detects the device but loads the standard USB audio 2.0 driver (usbaudio2.sys) instead of the specific device driver.

Cause

This issue occurs because the USB audio 2.0 driver (usbaudio2.sys) isn't classified as a generic driver in Windows 10 Version 1703. Therefore, the system assumes that a compatible, nongeneric driver is installed for the device even though the driver is generic.

This issue also causes Windows 10 Version 1703 to postpone the search for other compatible drivers through Windows Update that typically occurs immediately after you install a new device.

Resolution

To fix this issue, use one of the following methods.

Method 1

To resolve this issue, install update 4022716.

Method 2

If the device-specific driver is distributed through Windows Update, you can manually update the driver by using Device Manager. For more information about how to do this, see update drivers in Windows 10.

Method 3

If the device is not yet connected, first install the device-specific driver, such as by using the appropriate installer. After the device-specific driver is installed, Windows 10 will select that driver instead of the standard USB audio 2.0 driver when you first connect the device.

Note

See the device manufacturer's user guide for specific instructions about how to install the driver.

Method 4

If the driver isn't distributed through Windows Update, you can manually reinstall the driver. To do this, follow these steps:

1. Install the device-specific driver (see Method 2).
2. Open Device Manager.
3. Right-click (or tap and hold) the name of the device, and then select Uninstall.
4. Restart the computer.

When it restarts, Windows will try to reinstall the device by using the device-specific driver.

March 2020

Audio Research DAC9 Digital-To-Analog Converter(DAC)
An organic sound that draws you into the music.
Review By Tom Lyle

Thispast summer I was in a showroom auditioning a new line of speakers that includeda system that was made up of mostly Audio Research components. Even though Iheard four other products from that same line of speakers that day, it was theirsmallest model that impressed me the most. As it just so happens, this systemincluded the Audio Research DAC9 digital-to-analog converter that is the focusof this review.

I heard Audio Research's DAC9 within other systems that day,too, and I was so impressed that the next day I sent a request to obtain areview sample. Those who know me are aware that I'm mostly an analog kind ofguy, and to have a music epiphany that included a digital component surprisedme. Although the DAC9 had already been on the market for a while,the part of my brain that controls, or at least tries to control, my audiophilefantasies that included a picture of this converter in my system, auditioning itfor review.

The problem was that Audio Research's DAC9 is a very popularcomponent. I had to wait a while before a sample was available for me to review,which wasn't until the winter of 2019. As they say, good things come to thosewho wait.

Series
The DAC9 converter is from Audio Research's latest Foundationseries, which was created by the same team that wasresponsible for their Reference Series, which I never heard, but read many, manypositive reviews, and just about every audiophile I've ever had contact withthat had any experience with a Reference Series components speak of it as if ithad some sort of supernatural powers. Audio Research's DAC9 has a vacuum tubeanalog section that uses a pair of 6H30 tubes, and this combined with thecompany's latest digital design that can decode DSD, plus PCM files up to 384kHzaccording to Audio Research. It does this with superior musicality.

Audio Research designed two separate data paths to the DAC9'sconverters, one for the PCM files that can decode the signals up to 384kHzsample rates, and the other to handle serial DSD files at 1x and 2x DSD clockrates. This ensures that the conversion of the signal is free of distortionerrors, and which pretty much guarantees 'sonic purity'. The DAC9's PCMnative sample rate is upsampled to 384kHz, and there are also selectable digitalfilters available for all the incoming digital signals.

The DAC9 has an asynchronous USB input, which I used for mostof the review period, with four other 'galvanically isolated' inputsincluding, RCA (coax), BNC, AES/EBU, and TosLink. Audio Research claims thatthey pioneered implementing quad D-A converters with each channel using dualstereo DACs running in mono and provides a balanced digital signal. They saythat this architecture increases the component's dynamic range and at the sametime lowers the noise floor.

Looks
What may appeal to many audiophiles is the fact that thisAudio Research component looks very much like an Audio Research component. Eventhough the DAC9 is also available with a black finish, to me, thearchetypal Audio Research component has a silver finish. Regardless of thecabinet's finish, critical to its appearance are the large handles on eitherside of its front panel. To my surprise, the DAC9 only weighs only 14 pounds,making these handles for the most part decorative, although the handles did makeit a little easier to carry it and set it up on my equipment rack.

Below its easy to read vacuum fluorescent display on the frontpanel are 6 push-buttons – power on/off, menu, option (used with a menu), enter(used with a menu), input, and mute.

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The DAC9's remote also has all the front panel controls, alongwith six controls that are accessible only with the remote. The first one ofthese is its 'Hours' button, which displays the total accumulated hours ofoperation. This can come in handy because Audio Research recommends changing thevacuum tubes after their approximate 4,000-hour life-span, so this display willcount these hours off for the user. On the remote is also the 'Input'selector, a 'Display Brightness' adjustment, 'Upsampling' (for PCMsignals), 'Invert', so absolute phase can be switched between 'normal'(in-phase) and 'invert' (180° inversion), and 'Filter' (fast and slow).

The DAC9 is a full-function, modern DAC. It is certainly nicethat the DAC9 digital-to-analog converter decodes most current formats with 'state-of-the-art vacuum tubetechnology', but to me, the manufacturer cantout any design elements it wishes, but the most important thing about anycomponent will end up being its sound quality.

Arrived
As soon as the DAC9 arrived at my doorstep I unboxed it andset it up in my system. I placed the DAC9 on my Arcici Suspense equipment rack,which replaced my solid-state reference, the EMM DA2 converter. I connected aUSB cable from my computer-based music server's USB output. On my music server, Iuse both Foobar2000 and J. River Media Center software to play music files thatare stored on hard-drives, which are also accessible through my home network. Ialso had on hand an OPPO UDP-203 Blu-Ray/universal disc player to spin theoccasional 5-inch silver disc, the player's digital coax output connected to theRCA coax input on the DAC9's rear panel.

I connected the DAC9's analog output to the Nagra ClassicPreamp, which was connected to the Pass Laboratories X250.8 power amplifier. Theamp's speaker outputs were connected to a pair of Sound Lab Majestic 545electrostatic speakers. Even though Sound Lab claims that these speakers arefull-range (their specifications say that they reach to 32 Hz (+/-3dB) in thebass), I augmented them with two SVSound SB16-Ultra subwoofers that each has asingle 16' driver, an internal power amp that puts out 1500 Watts, and israted to a subsonic 16 Hz (+/-3dB).

The speaker cable, USB cable, digital cable, and all theinterconnects in the system were made by KimberKable, which I reviewed at the end of last year, their Carbon 8interconnects, Carbon 18 XL speaker cables, Ascent power cables, and SelectCopper USB cable. Speaking of power cables, the listening room has two dedicatedpower lines that run straight to our home's circuit box in the basement.However, much of the front-end equipment uses a battery power supply, the GoalZero's Yeti 400, while the power amp uses a separate, more powerful batter powersupply, the Goal Zero Yeti 1000. I only use the power amplifier's battery powerduring the daylight hours, other times the power amp is plugged directly intothe wall receptacle made by Virtual Dynamics. Even with the battery powersupplies, there were still some more power cables, such as those coming from thesubwoofers that were connected to a Chang Lightspeed ISO 9300 power supply thatwas plugged into the wall outlet.

The listening room has acoustic treatment panels on its side,back, and front walls, as well as LP shelves throughout. Commercial-gradecarpeting covers the floors, and the walls are painted with Sherwin Williams'Sky Fall' blue indoor acrylic-latex. Psychology Today says 'the color blue affects us both cognitively andaffectively making us feelmore comfortable'.

Understanding
Now that you know all about the system in which this digitalconverter was used, I hope this will lead to a greater understanding of anysonic descriptions I will use in this review. My system is very revealing, eventhough it isn't an esoteric one, but still, I think it is more than good enoughto appreciate the sound of the Audio Research DAC9, and also let me hear thenuances that differentiate this digital converter from others.

The Audio Research DAC9 costs $8500. After my showroomaudition I was surprised! I expected it to cost much, much more. Istill wanted to hear it within my system. As my reference DAC costs a littlemore than three times as much, I was expecting this Audio Research converter tosound good, but not as good as the converter that I was using daily.And, that is one of the reasons why I was practically floored when I firstplayed some music through the Audio Research DAC9.

What I heard when playing music through the Audio ResearchDAC9 was a sound that distinguished itself from my reference, not in huge nightversus day, yin versus yang sort of way, but there was a large enough difference thatI don't think it would take an audiophile with trained ears to hear thedifference between the two. Still, there was not a huge differencebetween the two, and that is one of the reasons why I stated above that I was sosurprised.

I played the DSD file of Mahler's Symphony No. 2 'Resurrection' with David Zinman conducting Zurich's Tonhalle OrchestraI was amazed that the Audio Research DAC9 could make me not only forget that Iwasn't listening to my reference converter, and at the same time sound so goodthat it reminded me of the times I heard this piece played live. There wasn't atime that I was listening to the DAC9 when I would think to myself that this DACcouldn't handle any of the many complex passages that are in Mahler's complexmasterpiece. Compared to my reference I think that the female soloists mighthave sounded even better than my reference! The midrange of the DAC9 was itsstrong point, and I think that when the female vocal soloists entered, in thiscase, Julianne Banse, and especially when Swedish contralto Anna Larsson sangtheir parts in the fourth movement, it was as if the DAC9 was purposely takingadvantage of my speaker's midrange prowess. Reality occasionally showed itsface, as a huge stage in a large hall with a gigantic orchestra on its stage innothing that will ever be able to be replicated in my listening room.

Yet the DAC9 was able to capture the gestalt of Mahler'soverly long and exhausting piece, despite this not being the greatestperformance of Mahler's Resurrection in my collection. However, its soundquality might be one of the best in my collection. I love it when I haveeverything dialed in, and my system can transport me to the original event. Thissymphony is one that I've always loved, as its a tour of Mahler's neurosis, asthe piece is full of funeral music and many orchestral complexities. During thislistening session, the DAC9 made me also realize that I was hearing one of thebest string sections I've ever heard captured with a bunch of microphones and aDSD recorder.

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On this masterpiece, the DAC9 demonstrated that its bassresponse was excellent, its upper treble, too, was excellent. Mentioning thatthese traits weren't as good as my reference isn't the point here, even thoughthere was a scintilla of softening in the frequency extremes. I bet there arelikely many audiophiles who would be willing to trade-in the ultimate infrequency extension for these organic sounding frequencies that the DAC9delivered to my preamplifier. But, also for a midrange that is practicallyunbeatable at any price. The tubes in this unit are what is at least partiallyproviding the listener with a sound that draws one into the music that willeventually be emitted from their speakers.

Audio Research's DAC9's rendering of the vocalsand string sound was second to none, as the bass, upper winds and cymbals werenot only stripped of any stealth digital nasties, but these instruments andvocals were brought into my listening room as for all intents and purposes real-sounding instruments and voices, to the extent that any high-end audio systemcan. No, my reference DAC's treble does not sound like it has any digitalartifacts in its treble. It does expose any of these types of sounds that may belurking in the background due to the recording it is processing.

It's no secret that I've been listening to lots of types ofmusic that make up the genre that is called metal for at least the last coupleof decades. More than ever, young rock musicians choosing this genreover all others. I've been told by many who practice this art that they do sobecause it lets them use as many of the technical skills on their instrumentsthat they've acquired over the years, and perhaps even more than this, they arein love with the volume and distortion that the band Black Sabbath conceived inthe late 1960s that they can bring into countless modern sub-genres.

There is a band from Montreal formed in the early 1980s namedVoivod that plays metal with overtones of punk, progressive rock's unusual timesignatures and atonal guitar chords with plenty of tri-tones. Their lyrics areinfluenced by post-apocalyptic literature, politics and science fiction. I know,on paper this might sound weird, but in actuality, this band is very engaging.Most of their fans consider Voivod to be part of the progressive-metalsub-genre. That they are still releasing records to this day, despite the deathof their original guitarist in 2005 is a testament to their appeal.

One of their recent albums, Target Earth, from 2013 isone I've been listening to often, a plain vanilla 16-bit/44.1kHz file I playthrough my music server via Foobar 2000. The complex arrangements of their songsmake for a good test of a high-end audio system, but especially the converterthat along with my power amplifier seems to me to be the component that is doingthe heavy lifting (pun not intended). Even though the addition of reverb to thevocals that make it seem as if he's performing in an arena, it sounds like forthe most part the instruments are recorded with very little signal processing.The drums pound, the bass guitar growls, and the guitar sounds as if it mightdamage one's speakers if turned up too loud. These are all positives whenconsidering what makes a good sounding metal album.

Despite the reverb added to the vocals, the Audio ResearchDAC9 places them apart from the din of the raging band, on a recording thatseemed to occupy every frequency that my speakers can reproduce. Thevocals were still clearly audible, and if I preferred to pay attention to thelyrics rather than the rest of the band, I could easily do so. The DAC9 had noproblem separating the instruments in its large soundstage, and so, as I didwith the vocals, I could follow each one if I wanted. The DAC9's overalltransparency drew me into the music, and honestly, it made it more difficult toanalyze its sound for reviewing purposes when attempting to listen to thebarrage of music at the same time. This album is a great recording that usesstereo imaging not only by simply placing of instruments and voice in the leftor right channels, but using digital processing to fill the soundstage bymultiplying the guitars with delay, and then routing the delayed signal to bothchannels.

With all this going on, it was still tough to miss the DAC9'sability to project a vast soundstage between, around, and behind the speakers.The background vocals added to the huge soundstage with engineering and mixingtechniques beyond my understanding, with the lead vocals centered between thespeakers as if it was a three-channel recording… and system with a centerspeaker. Imaging was also provided via the drums in a big way – its' ridecymbal locked in space as the crash cymbals exploded into an expanding spacearound the speakers and throughout the soundstage. Listening to this albumthrough the Audio Research was a blast. Literally.

Review
I'm sorry I haven't reviewed the Audio Research DAC9 untilnow, with my only excuse being that I wasn't aware of its presence until Ivisited World of McIntosh Townhouse to audition the latestSonus faber speakers. The components used for one of the speakers includedthe DAC9, and it was obvious that its presence in this system was making a majorcontribution to the excellent sound I heard that day. The Audio Research DAC9has been on the market for a while. As Audio Research is a manufacturer thatdoesn't replace models very often, one shouldn't hesitate in considering thisconverter for one's high-end audio system. This digital-to-analog convertershould be considered if shopping for a converter anywhere near its price. This component should also be considered if shopping for a converter quitea bit higher than its asking price, as it can easily compete with converterscosting much, much more.

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The DAC9 takes advantage of its vacuum tube innards. Itsmidrange is its strong point. Although I commented about its slight softening ofthe frequency extremes, this shouldn't be taken as a pure negative, as itsorganic sound is one that many will be drawn to. In fact, the sound of the DAC9is one that draws the listener into the music. It has enough power in itsfrequency extremes to contribute to the lifelike reproduction of all instrumentsregardless of where its major frequencies lie, as this is the nature of theAudio Research DAC9. It is obvious that the DAC9's raison d'être ismusic, converting signals in the most transparent way possible, at the same timethe DAC9's innards somehow realize that these signals are of music. It is as ifthe designers of this digital-to-analog converter included sonic magic as partof its design. Recommended.