Mola Mola is a Netherlands-based company that manufactures products for the hi-fi industry. The name "Mola Mola" comes from the Latin term for the ocean sunfish. The company was founded in 2012 by engineers Bruno Putzeys and Jan Peter van Amerongen. They often name their products after exotic fish species. Tambaqui, for instance, is an aggressive type of piranha native to South America.
Tambaqui
The Mola Mola Tambaqui employs a highly sophisticated and unique architecture that sets it apart from conventional DAC designs on the market. Unlike traditional DACs, it does not contain a standard DAC chip. Instead, the digital signal—whether DSD or PCM—is first routed to a fully custom-built digital processing platform. This platform is based on FPGA (Field-Programmable Gate Array) technology.
To understand the Tambaqui DAC’s conversion process, it is helpful to briefly explain FPGA circuits without going into excessive detail.
FPGA (Field-Programmable Gate Array) circuits are integrated chips that can be reprogrammed by the user even after manufacturing. They contain thousands—or even millions—of logic gates that can be configured via software to perform any desired digital function. The millions of gates inside allow the circuit’s behavior to be defined entirely through programming.
This software flexibility enables execution at hardware-level speeds. It is not a processor in the traditional sense; rather, it operates like a reprogrammable, application-specific computing platform.
Field-Programmable Gate Arrey
Customizing the system via software provides significant advantages, particularly in DAC circuit design.
PCM signals are upsampled to high resolutions (such as 384 kHz or 768 kHz) directly within the FPGA.
Jittery (unstable) signals from asynchronous sources such as USB or Ethernet are reclocked inside the FPGA. By reducing jitter levels, the result is a cleaner and more analog-like sound presentation.
Unlike traditional DAC architectures, in FPGA-based designs the conversion process is carried out directly through logical circuits within the FPGA itself. Brands like Mola Mola, dCS, CH Precision, and Weiss either avoid using standard DAC chips entirely or handle all digital filtering through FPGA-based implementations.
We can now return to the Tambaqui’s conversion process. The incoming digital signal is first upsampled to 768 kHz using FIR (Finite Impulse Response) filtering. To be more precise, Tambaqui increases the sample rate of the incoming digital signal to an extraordinary 3.125 MHz.
This means that a 44.1 kHz signal is upsampled by approximately 70 times. One of the key advantages of FIR filtering is that it prevents time-domain distortion during the oversampling process while also smoothing the signal as the sample rate is increased. At this stage, no oversampling is applied to DSD signals.
When it comes to the actual conversion stage, Tambaqui distinguishes itself from traditional DACs. Conventional designs rely on Delta-Sigma or R2R (Resistor Ladder) architectures. Tambaqui, however, does not use a standard DAC chip. Instead, it converts the digital signal to an analog voltage using a high-speed Pulse Width Modulation (PWM) architecture.
Pulse Width Modulation (PWM) is a highly effective and intriguing method for digital-to-analog conversion. Conceptually, it is similar to how a DSD signal is converted at the analog output stage. In this technique, digital pulses of constant frequency but varying width (duty cycle) are generated. The width of each pulse represents the amplitude of the information being carried. Tambaqui operates a multi-bit PWM algorithm at a frequency of 3.125 MHz (unlike DSD, which uses a single bit).
The signal produced by the PWM stage is then passed through an analog low-pass filter. Compared to conventional Delta-Sigma DAC chips or R2R resistor networks, Pulse Width Modulation inherently exhibits a much lower noise floor. Due to its nature, PWM also delivers a very analog-like feel. Its clocking accuracy is significantly higher than other designs, resulting in extremely low jitter. With PWM, digital precision and analog naturalness are successfully combined.
Pulse Width Modulation
At the analog output stage, Tambaqui features a DC-coupled design, meaning there are no capacitors in the signal path. The absence of capacitors at the output ensures that the audio signal is transmitted directly, eliminating issues such as phase shift, coloration, and low-frequency roll-off.
The analog output stage is fully balanced in design. Both the input and output circuits are symmetrical, utilizing differential (positive and negative) signal paths. This significantly reduces common-mode noise and allows for lower distortion and a wider dynamic range. The circuit is built using a discrete component design.
No op-amps (integrated operational amplifiers) are used. Instead, the output stage is composed of a carefully engineered circuit built with individually selected transistors. It is designed with extremely low output impedance and high current capability. The noise level is measured below -140 dB.
One of the major advantages of using PWM for conversion, combined with the low-feedback and fully symmetrical circuit design, is the achievement of total harmonic distortion (THD) values below -140 dB and a noise floor reaching as low as -120 dB—figures that are beyond reference level for high-end audio.
As I will emphasize in the listening impressions, Tambaqui’s most striking sonic traits—utter silence, near-total absence of coloration, superb channel separation, precise stereo imaging, and analog-like presentation—are all direct results of these design principles.
Tambaqui Dac Back Panel
After covering the technical aspects of its design, let’s take a closer look at the Mola Mola Tambaqui DAC itself.
On the rear panel of the DAC, you’ll find USB Type B, Toslink, AES/EBU, S/PDIF, Network, and I2S over HDMI inputs. Bluetooth connectivity is also supported. Both the USB Type B and Network inputs support resolutions up to 32-bit / 384 kHz and allow for DSD256 playback via DoP or native DSD. The AES/EBU, S/PDIF, and I2S over HDMI inputs support up to 192 kHz but do not offer DSD support.
During all listening sessions, I used AudioQuest Diamond USB and Echole Limited Edition S/PDIF digital cables, and for the preamp connection, Tara Labs The Muse XLR analogue interconnects.
The Mola Mola Tambaqui DAC arrives in a beautifully crafted flight case. Upon opening the case, you're greeted by the user manual and warranty/manufacturing documents. Just beneath them, wrapped in a luxurious black velvet cloth, rests the Tambaqui DAC itself.
Weighing approximately 6 kg, the build quality and precision CNC machining are immediately apparent. Inside the case, you’ll also find a stock power cable, a pair of XLR-to-RCA adapters, and a remote control.
Tambaqui features a fully balanced architecture and also functions as a headphone amplifier. As such, it does not have RCA outputs. If your preamp or integrated amplifier has XLR inputs, you're in luck. While not ideal from a purist standpoint, XLR-to-RCA adapters are included in the case for use with unbalanced systems.
The front panel of the unit is designed with a minimalist aesthetic. It features four input buttons, each of which can be assigned to a specific source, along with a clean, understated display and LED indicators. To power on the device, simply press any button.
The corresponding input becomes active depending on the detected signal from the selected source, and the Tambaqui is instantly ready for listening.
The Tambaqui DAC has a dedicated app available on the App Store. Connection to your phone or tablet is established via Bluetooth, and as soon as you install the app, it pairs instantly without requiring any additional setup.
On the app’s main screen, you'll find a control panel where you can adjust settings such as channel balance and display brightness. If you enable the “Volume Control Mode,” you can control the volume directly through the app—particularly useful when using the Tambaqui as a headphone amplifier or when connecting it directly to a power amplifier.
The app also allows you to adjust the output level, with selectable options like 0.6V, 2V, and 6V. Throughout the entire testing period, I used the 2V output setting.
When I received the Tambaqui DAC from Extreme Audio, the unit had never been used before. The topic of burn-in has always been a significant factor in overall performance, especially for devices like DACs and phono stages where current flow is extremely low. For this reason, I waited until approximately 100 hours of burn-in time had passed before beginning any critical listening sessions.
Tambaqui is a DAC for which the choice of power cable must be made with great care, depending on the overall tonal balance of your system. I experimented with the Vovox Excelsus (one of the best price/performance power cables on the market), AudioQuest Hurricane, and AudioQuest Dragon. I generally avoid recommending cables for a specific device, since every system is composed of different elements with unique tonal characteristics. However, in my setup, the AudioQuest Hurricane allowed the Tambaqui DAC to fully express its capabilities.
The Tambaqui comes equipped with a ceramic fuse. If you’re considering upgrading the fuse, I recommend using a ceramic-based option such as one from AMR.
For context, over the past three years, I’ve been listening mostly with tube-based DACs like the Jadis MkV and Allnic.
Switching to the Mola Mola Tambaqui, the first impression was a sound character that leaned toward the "cool" and almost clinical side. It honestly took me some time to adjust to this presentation. Once the burn-in reached around 100 hours, what struck me most was the incredibly silent and dark background it presented.
The level of clarity in instrument presentation—crystal-like detail and a completely uncolored tonality—is simply captivating. The ultra-low total harmonic distortion plays a major role in achieving this.
Tambaqui is the kind of DAC that a mastering engineer would want to use to hear their finished work as truthfully as possible.
The high-frequency performance, in particular, deserves a separate discussion. Tambaqui’s treble presentation is distinguished by an openness that should never be confused with the typical “digital brightness.” Cymbal overtones, upper harmonics of string instruments, and the breath between vocal phrases all emerge with an almost tangible realism in the soundstage. The sense of resolution and naturalness is prominent in every aspect—and the role of its PWM modulation technology in achieving this is undeniable.
Soundstage and stereo imaging are also areas that deserve special attention. Every instrument is placed in the soundstage with pinpoint accuracy and presented in its proper scale. On the 2xHD Trio De Curda album, the Tambaqui showcases its full capabilities: the accordion, cello, and double bass are rendered with remarkable clarity and spatial definition.
The placement of nearly all instruments mirrors that of the actual recording studio. In the track Los Maraedos, the low frequencies are so authoritative and well-controlled that you might find yourself wondering, “Is there a hidden subwoofer somewhere in the system?”
The Violin & Harpsichord Sonatas album, released by Eudora Records, was recorded in Pure DSD 256. The performances by Andoni Mercero and Alfonso Sebastián are truly captivating.
With a harpsichord emerging from a backdrop of profound silence and a three-dimensional rendering of the violin, the Tambaqui demonstrates its full potential in Native DSD playback as well.
Despite having listened to this album dozens of times, I was struck by the natural tonal balance and the uncolored, organic presentation it delivered.
Brahms’ Symphony No. 4, conducted by Bernard Haitink with the London Symphony Orchestra—Allegro non troppo.
The melancholic theme of the symphony weaves a sense of sorrow and introspective depth throughout the entire piece, showcasing Brahms’ compositional genius at its finest. With its structural simplicity and emotional richness, this symphony invites the listener on a calm, inward journey.
From the very first notes, the soundstage is rendered with remarkable accuracy: the first violins are positioned exactly where they should be, and their wave-like melody unfolds with fluid grace. The wind instruments come through with complete naturalness, and the tone of the timpani is spot-on. The pizzicatos are deep and sharply defined. The presentation flows like water—effortless and utterly musical.
The Crescent album, performed by Atzko Kohashi and Tony Overwater, is a tribute to Coltrane’s spiritual melodies—woven together with musical elegance and grace.
Thanks to the Tambaqui’s exceptional resolution and an imperceptibly low noise floor, the piano harmonics float effortlessly throughout the room, while the notes from the double bass are incredibly tight and controlled, capable of pressurizing the entire listening space with authority.
In conclusion, the Mola Mola Tambaqui is the result of a refined engineering philosophy. Thanks to its high internal sample rates, advanced digital filtering architecture, and uniquely designed analog output stage, it delivers music with exceptional transparency and resolution. While its level of detail and clarity in the upper frequencies is especially striking, this character never crosses into artificiality.
Its three-dimensional holographic presentation, ultra-quiet background, and razor-sharp spatial precision place it among high-end DACs that carry significantly higher price tags.
The Tambaqui's total harmonic distortion (THD) measurement at around -140 dB is a remarkable engineering achievement.
This figure offers a telling clue about its tonal character: such incredibly low distortion means the device transmits the signal with maximum neutrality and without coloration or interference.
This is the kind of DAC a mastering engineer would reach for when listening to their finished work.
Sonically, some listeners may describe the Tambaqui as “cool” or “clinical.” Others—myself included—would interpret this not as a lack of character, but rather as a commitment to absolute transparency: it presents the recording exactly as it is, without embellishment or reinterpretation. For this reason, your system's overall tonal balance and accompanying components will play a significant role in shaping the final listening experience.
Tambaqui is a compelling choice for listeners seeking a DAC that doesn’t color the sound, but reveals every detail with precision. The better the recording, the more this DAC will reveal. It is a long-term companion—never fatiguing, yet always offering new surprises through its microscopic insight into the music.