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Luxman L550 AX Mk-II class A amplifier Review

Luxman L550 AX Mk-II: Class A amplifiers are not as popular as they used to be. Nowadays, push-pull or digital amplifiers are becoming more advanced and efficient, making them better for the environment and more versatile. However, some people still believe that Class A amps, which operate without crossover distortion, might sound better. Recently, when testing the INT 25 pass and the Luxman L-550AX-II at amp reviews, it seemed like Class A amps still have an edge in sound quality.

Luxman’s L-530, L-550, and L-560 amplifiers have been on my wishlist for over forty years. It seems I’m not alone, as these iconic Class A amps are highly sought after and expensive on the used market. Luckily, Luxman still offers Class A amplifiers, including the L-550AX-II, which is priced at 6,450 euros. During testing, it proved to be impressive, with a touch of nostalgia for the 1980s.

Let’s start with the impressive build of the “small” L-550 AX-II: right out of the box, you’re met with a hefty weight of 24.3 kilos that needs to be carefully balanced. Luxman’s craftsmanship shines through, reminiscent of renowned brands like Yamaha or Accuphase: smooth edges, impeccable fit,
and a satisfying click of the relays throughout the device. It’s exactly what you’d expect from a top-notch amplifier.

As for its features, the L-550 AX-II takes a pleasingly classic approach. It includes REC-In/Out, preamp output, and power amp input, along with five high-level inputs (including a balanced XLR input) and a built-in phono stage accessible at the back.

The discrete phono board, located behind the connection sockets, offers switchable gains for MM and MC pickups. While there are no adjustable settings, Luxman’s design incorporates average resistances or capacitances, which proves to be more than satisfactory. Testing with both the pre-installed ATR SPU (MC) and the Ortofon 2M Black (MM), the sound was magnificent, retaining the characteristics of each pickup. With the L-550 AX-II, there’s no need to invest in an additional phono stage in the sub-700 euro range you’re getting top-notch performance right out of the box.

The Luxman L-550 AX-II operates as a transistor amplifier with Class A circuitry, effectively eliminating typical takeover distortions. However, the power output within this low-distortion range is relatively modest: 20 watts into 8 ohms or 40 watts into 4 ohms. These specifications are notably conservative, according to Luxman’s measurements.

Despite its old-fashioned design, the L-550 AX-II incorporates several modern features, including the innovative volume control system called LECUA (Luxman Electric Controlled Ultimate Attenuator).
This system utilizes a processor to enable precise volume adjustments across 88 steps, offering enhanced control and reduced noise compared to its predecessor. While some may question the impact of a volume control system on sound quality, the LECUA1000 proves its worth.

Those familiar with passive preamps, which solely rely on volume control, understand the potential for significant improvements in sound quality with such advancements.

Despite efforts to identify significant differences from its predecessor, the Luxman L-550 AX-II doesn’t appear to undergo many noticeable changes. Internal inspection reveals no alterations and technical data doesn’t provide much insight either. However, a few noteworthy updates include borrowing the
power amplifier modules from the larger L-590AX-II, refining the sophisticated negative feedback,
and a slight increase in the damping factor from 160 to 200. While these modifications may seem minimal, their impact on sound quality is substantial.

According to one of the sales managers, the external appearance may not be particularly impressive, but the L-550 AX-II represents a significant advancement in sound compared to its predecessor. This sentiment aligns with Luxman’s commitment to prioritizing sound quality over cosmetic enhancements.

Indeed, the subjective experience confirms this assessment. In comparison to the L-550 AX tested in 2014, the current AX-II model delivers a wonderfully full-bodied sound, demonstrating Luxman’s dedication to continuous improvement and audio excellence.

Build L550 AX Mk-II class A amplifier

When it comes to this type of amplifier, I don’t expect cutting-edge technology. Instead, I anticipate a familiar structure and features reminiscent of the past. In addition to the aforementioned inputs and outputs, this includes classic elements like the characteristic VU meter, a headphone output, tone controls, and a loudness curve. Additionally, there are thoughtful touches such as the ability to switch to mono and the option to bypass all tone controls with the “Line – Straight” button.

One notable aspect is the front panel of the Luxman L-550 AX-II, which is adorned with control switches and buttons. However, some functions can only be activated using the supplied remote control, such as the mono or loudness function. This blend of traditional controls and modern remote functionality adds convenience and flexibility to the amplifier’s operation, catering to both nostalgic and contemporary preferences alike.

As a classic Class A amplifier, the L-550 AX-II tends to generate more heat compared to its AB counterparts. This is due to its relatively high power consumption, even when idle, consuming around 170 watts when not in standby mode. From an ecological standpoint, this high power consumption raises concerns, although it’s worth noting that such amplifiers, like their renowned predecessors, are built to last and rarely end up in landfills—an important consideration for sustainability.

Given its tendency to generate heat, it’s advisable not to place the Luxman L-550 AX-II in narrow cabinets or racks without adequate ventilation. It requires some breathing room to dissipate heat effectively.

Moreover, the choice of speakers is crucial to maximize the amplifier’s performance. While it offers a preamp output for connecting to more powerful power amps, it’s generally not recommended due to compatibility issues. Instead, pairing the L-550 AX-II with high-efficiency speakers such as Blumenhofer or Spatial Europe models yields optimal results. Alternatively, it also shines when paired with smaller, fine-quality speakers like the Dynaudio Heritage Special, B&W 805 D4, or the high-efficiency Stenheim TWO, delivering stunningly good sound in smaller listening environments.

In cases where the amplifier’s performance limit is exceeded, it doesn’t exhibit harsh or unpleasant qualities. Rather, it gracefully rounds off the edges, maintaining its transparent sound image albeit with a slight loss of clarity at higher volumes.

Hearing Test Luxman L550 AX Mk-II class A amplifier

The Luxman L-550 AX-II presents a slightly slower pace compared to classic transistor models like the Neukomm CPA 155S, yet it delivers an outstandingly good integrated amplifier experience. The Neukomm deserves credit for its robust and crisp performance, particularly in the bass range, as well as its superior coarse dynamics and maximum level output.

It may take a moment to adjust to the Luxman’s leisurely pace, but once accustomed, its exceptional qualities become apparent. The timbre, fine dynamics, grace, and authenticity it brings to recordings are simply extraordinary.

For instance, in Rimsky-Korsakov’s Scheherazade, the opening notes of “The Story Of The Calendar Prince” feature a lovely yet slightly plaintive violin tone. Switching between the Luxman and Neukomm amplifiers during this passage reveals that the L-550 AX-II extracts even more power and warmth from the violin tone, along with a wealth of micro-information, resulting in a sound that feels remarkably real.

We also compared the Luxman with other integrated amplifiers from our reference shelf, including the extremely powerful Atoll IN 400 ES and the tube amplifier Fezz Audio Lybra, equipped with a double 300B configuration achieving around 20 watts per channel.

In ideal conditions—like being in a smaller room and sitting closer to the speakers—the Fezz Audio Lybra amplifier came closest to matching the Luxman L-550 AX-II in terms of sound. The Lybra, being a tube amplifier, also had a natural sound with a touch of airiness, although it didn’t quite have the same depth as the Luxman.

A few weeks ago, there was much excitement about the INT 25 pass amplifier, which also operates in Class A. Although I couldn’t directly compare it with the Luxman, it seemed like the INT 25 pass had a bit more power and dynamics when paired with the Dynaudio Heritage Special speakers.

However, this doesn’t take away from the exceptional performance of the Luxman L-550 AX-II. Thanks to a recommendation from Ampreviews sound engineer, I discovered the album “Book Of Romance And Dust” by Exit North. Despite its melancholic tone, the jazz music on the album was received exceptionally well, revealing intricate details that were captivating. Singer Thomas Feiner’s voice, especially when paired with the Luxman amplifier, was incredibly powerful.

Even though I rarely listened to “Book Of Romance And Dust,” the combination of the Luxman amplifier and B&W 805 D4 speakers compelled me to do so. The sound was so captivating, natural, and beautiful that I couldn’t resist. Overall, it was a wonderful experience that I’ll never forget

Conclusion Luxman L550 AX Mk-II class A amplifier

The Luxman L550 AX Mk-II, a “small” Class A integrated amplifier, delivers precisely what you’d anticipate from it: a flawless execution of the distinctive Japanese hi-fi approach. With meticulous attention to detail, flawless mechanics, and premium materials, Luxman has crafted a product that delights the heart. It combines an array of features with an incredibly rich sound.

Potential buyers need to understand that a class-A amplifier won’t deliver earth-shattering volume levels. However, in return, it offers a wonderfully pure tone that is seldom encountered elsewhere. Thus, for those who prioritize sonic purity and appreciate meticulous craftsmanship, the Luxman L-550 AX-II is a standout choice in the world of integrated amplifiers.

January 17, 2025
McIntosh MC275 Amplifier & C22 Preamplifier Combo Review

McIntosh makes top-notch stereo equipment, and the C22 MK V AC preamp and MC275 AC power amp combo is a perfect example. It delivers amazing sound and looks fantastic, all at a price point that isn’t their absolute highest.

The best part? They give you tons of options! With 20 different power amps alone (not counting multi-channel or super high-end ones), you can find the perfect fit for your needs. Even if you just want stereo, there’s still a wide variety to choose from. Plus, they have eleven preamps to match, or you can simplify things with one of their ten integrated amps. It might seem like a lot at first, but it means you can create a custom audio system that sounds incredible.

When it comes to owning a piece of audio equipment, it’s not just about the device itself but the pride that comes with it. Seeing the iconic logo of a company with over 70 years of history, and being surrounded by its signature colors of black, chrome, deep green, and turquoise elevates the experience beyond mere consumerism. As someone who has tested countless amplifiers, some far more expensive than this particular McIntosh combo, I can attest to the unique allure of McIntosh. While many brands excel at their technical functions, McIntosh stands out for its enduring magic.

Spending time with the MC275 and the C22, I’ve come to appreciate why so many music enthusiasts find themselves drawn into the McIntosh fold; it’s not just about the sound quality, but the overall experience that leaves you deeply satisfied and happy. It’s a journey that once embarked upon, often leads to a lifelong devotion to McIntosh.

Turning on the McIntosh C22 MkV preamp and MC275 MkVI amp feels a bit like stepping back to Woodstock. Both use tubes for that classic 1960s sound and guess what? The original Woodstock music festival used McIntosh amps! They had a bunch of the MC3500 model, and some people even say they used the older version of the MC275 you’re looking at here. These amps are built to last – the key part of their design has barely changed since then!

McIntosh MC275 V AC

The combination of the C22 MkV preamp and the MC275 MkVI power amp creates a timeless and visually stunning duo. While they exude a retro aesthetic, they have been updated with modernized technology wherever it enhances sound quality, reliability, and safety. Despite these advancements, the fundamental circuitry and functionality remain unchanged: both the preamp and power amp operate entirely in the analog domain. This includes featuring two complete phono sections in the preamp, catering to both MM and MC systems, and ensuring versatility for vinyl enthusiasts.

The McIntosh power amp continues the tradition of their classic “Unity-Coupled” design, which they invented back in the 1950s. This fancy way of building the amp makes the sound much clearer and richer, but it requires well-made transformers. McIntosh builds their special transformers for this purpose, and they also use high-quality tubes to make everything work smoothly. That’s why there are so many tubes inside the amp – they all work together to create the powerful, clean sound that McIntosh is known for.

Certainly, other tube amps may offer easier setup procedures, but few can match the combination of low distortion, high power output, and low output resistance achieved by the MC275. This is largely due to McIntosh’s use of truly massive output transformers and an impressive power supply. These components enable the MC275 to deliver a robust 2 x 75 watts per channel— or even double that when configured as a monoblock. Importantly, when operating in mono, the two channels are not bridged but instead switched in parallel. This configuration not only doubles the power output but also halves the output resistance, which proves advantageous when driving demanding loudspeakers. Additionally, this design choice ensures that the vacuum tubes are not unduly stressed, prolonging their lifespan and maintaining performance quality over time.

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Modern iterations of the MC275 are potentially even more reliable, benefiting from advancements in materials and manufacturing processes. High-voltage-resistant capacitors, for example, are not only more durable today but also more compact. Additionally, modern components exhibit greater temperature stability, ensuring that their values remain consistent under varying loads. Consequently, while the listener may drift in consciousness during a listening session, the operating points of their amplifiers remain steadfast.

The critical output transformers, integral to the amplifier’s sound quality, have also seen improvements. They are not only of higher quality today but also more resilient, thanks to advancements in enameled wire coatings that enhance their resistance to damage. Furthermore, modern MC275 models are equipped with electronic protection circuits that monitor output currents and power tubes. In the event of any parameter going out of control, the amplifier will automatically shut down, with LEDs indicating which tube is experiencing issues. The LED lighting of the input tubes changes from green to red beside the affected KT88 tube, providing clear feedback to the user. Additionally, a brief amber-orange color signifies the warm-up and stabilization phase after switching on, serving as a less alarming signal during normal operation.

The design of the MC275 amplifier is unique. It doesn’t have a clear front or back, and no matter how you place it, cables and switches can be in unexpected and sometimes inconvenient positions. When you stand the power amp sideways, you can see its cool name engraved into solid metal in an old-fashioned steampunk style. Behind that are the pre-tubes, then the end tubes, and at the back, there are three big transformers. All the audio connections, switches for mono, standby, and input are on the left side of the case. On the right side, you’ll find the power socket, fuse, and switch for energy-saving auto standby.

On and around this amplifier, you’ll find all the technical details printed in black on stainless steel. A lot is happening with this amp, and that’s a good thing. It’s reminiscent of the engine compartment of a 1960s sports car, where everything wasn’t neatly packed in plastic like it is today. Despite the complexity, the power amplifier looks impressive from every angle. Its top surface is now polished stainless steel (originally chrome-plated sheet steel, which could rust over time), while the chassis, transformers, and tube protective cage are painted in clean black. The only thing missing is the iconic blue gauges, which first appeared on a McIntosh power amp in 1967 and would have looked great on the MC275.

The control and connection panel on what used to be the left side wall is quite busy. The upper half, angled backward for easy access, features eight solid connection terminals. These terminals can be tightened or loosened using a 15 mm socket or open-end wrench, though it’s advised not to overdo it. Audiophiles tend to have a lot of strength when using leverage, so caution is advised. Banana plugs can also be inserted from above, which is more practical for finding the best sound connections.

On the lower vertical part of the stainless steel wall, there are two small jack sockets for trigger voltage for remote switching on the far left. Following these are the mono switch and the input selector, which allows you to choose between XLR and RCA socket pairs. The balanced input bypasses the first tube gain stage, making it 6dB quieter than RCA. If you happen to misplace the manual after 25 years, you can also find the information on the right side wall.

Regarding input sensitivity, from 1.7 volts via RCA, it increases. This means that the input voltage required for full modulation is then just 3.4 volts. When using the C22 as the source, we found that the unbalanced connection worked better in a direct comparison. However, in cases of very long connections, the balanced option may be preferred due to its superior interference rejection capabilities.

McIntosh C22 Mk V AC Preamp

The reason why the C22 MkV doesn’t typically sound any better via XLR than via RCA becomes evident when you examine the preamplifier’s block diagram. Essentially, the C22 operates asymmetrically, requiring an additional (semiconductor) amplifier to balance the tube signal for XLR connections. You don’t need to dig through any service manuals to find this information; it’s conveniently displayed on the device cover. In true McIntosh fashion, the signal path through the device is sketched in gold on black behind a real glass pane in A5 landscape format. It exudes style, particularly because the lower third of the glass window showcases the six tubes that play the primary role in the preamplifier’s signal path. These tubes, all double triodes, include five 12AX7s and a low-impedance 12AT7 as the output driver. Of the five 12AX7 tubes, only one is allocated to the line stage, while the others are dedicated to the two phono stages of the C22.

Now it becomes clear that even with McIntosh preamps, there are distinct user profiles, making the selection process less confusing. For instance, the C22 MK V AC seems tailored to my needs: it’s a purely analog preamp with two fully configurable phono inputs, specializing in MM and MC pickups. Its roots trace back to the early sixties, evident in its visual resemblance to the C22 archetype.

The six tubes in the C22 MK V were also present in the MkI, though with more diverse tasks that modern preamps don’t need to handle. For example, tape inputs with variable equalization for tape machines without their electronics. Now, there are two phono inputs, each separately run until the signal reaches full line level and undergoes RIAA equalization. This may seem like a waste, but it allows for specialization for each input’s respective task. Furthermore, all switching processes, from input selection to tone controls, are managed by hermetically sealed, long-term stable, and extremely contact-safe reed relays, indicated by a soft ticking sound.

The volume and balance control, employing an integrated resistance network component, operates silently and seamlessly. Unlike past decades’ C22 examples, the current MkV utilizes digital controls with an ARM processor and updateable operating system, paradoxically offering an analog feel.

Both phono inputs can be paralleled and adapted directly from the front panel, without needing to access the rear or dismantle the preamp. An aluminum rotary knob, in classic McIntosh style, offers MM users seven capacitance values between 50 and 350 picofarads, while MC users can select from seven resistances ranging from 25 ohms to one kilohm, providing ample flexibility for correct pickup termination and fine-tuning to personal preferences.

Both phono inputs operate with minimal noise, even with quiet systems like a Denon DL-103R in the FX512 twelve-inch arm on the Funk Super Deck Grande. The inherent noise of the electronics remains well below the groove noise, even at high volume levels. This indicates either the use of input transformers or, as in this case, an MC-optimized, very low-noise transistor amplification stage, effectively amplifying the sensitive currents from the moving micro-coils.

It’s important to highlight that the phono inputs on the C22 deliver outstanding sound quality, making an external phono preamp unnecessary. It would be illogical, as the C22 in its current form already serves as a fully equipped phono preamp. This reflects the historical significance of preamps, many of which were initially designed primarily for vinyl playback, given that LPs were the predominant medium for music consumption.

Beyond its exceptional phono capabilities, the C22 features five line inputs in both RCA and balanced XLR formats, along with four sets of level-controlled stereo outputs. This flexibility allows for convenient integration of complex setups, such as bi-amping and subwoofers. Additionally, the C22 includes a headphone output with a dedicated powerful amplifier that delivers excellent sound quality, capable of driving high-end headphones like Audeze and quad magnetostats. The McIntosh specialty HXD can be activated, offering a crossfeed process intended to enhance headphone listening by providing spatial depth and a speaker-like stage. However, the effectiveness of HXD can vary significantly depending on individual preferences and the specific headphones used. While it may not have worked as expected with certain headphones, it could provide an unparalleled listening experience with different models.

As a true McIntosh, the C22 comes equipped with classic features that many other preamps lack: bass and treble controls, for instance, with a ±10dB range adjustable in precise 2dB increments, which can be toggled off if desired. Additionally, it features a volume control with a clear LED status display visible from a distance, offering a lightning-fast response. Adjusting the volume is effortless; you don’t need to crank it like an old coach’s steering wheel. Instead, the electronic control responds directly, providing a smooth and even adjustment.

A quick press on the input selection button mutes the signal, while a slight turn of the volume wheel temporarily activates the balance control. Furthermore, a system remote control is included, capable of controlling other McIntosh devices thanks to data ports on the rear of the C22, even if they are obstructed from the infrared signal.

Although it may be hard to imagine someone hiding their McIntosh equipment and thus needing these controls, it might happen occasionally. However, in my listening room, the preamp and power amp were prominently displayed on a Tabula Rasa lowboard, within easy reach. Operating the C22 manually adds an extra layer of aesthetic pleasure, and controls like tone adjustments, balance, and phono settings are not dictated by infrared signals anyway.

Hearing test McIntosh C22 MK V/MC 275

The McIntosh amplifiers achieve something that only the finest amplifier combinations can: they transform the intricate complexity of nearly a hundred feet of electronics into an abbreviated representation of the music signal—a shedding of ballast that allows the notes to dance freely. When a high-quality digital player like the Rega Saturn Mk3 feeds into the line input of the C22 Mk V AC, the MC275 produces an expansive, finely defined, and lively soundstage.

The fact that this is a complete tube chain is only noticeable in a positive sense. The freedom, speed, and immediacy typically associated with puristic, low or no negative feedback, and often underpowered tube amps characterize the sound of the MC275. Remarkably reminiscent of such straightforward designs, the MC275 delivers performance nearly to its limit, even with speakers that are not traditionally considered “tube-friendly.” It exhibits minimal—almost negligible for tube standards—reactions to the impedance curve of the speakers and maintains a friendly, low-distortion performance even at high volumes. It’s not just a single feature that justifies the MC275’s price; it’s the overall experience it delivers.

Albums

Listening to albums like “Thriller” by Michael Jackson, the amplifier combo showcases its ability to handle lustily mastered electro basslines with finesse. Deliberately pushing it to its limits might soften up the basslines a bit, but in everyday listening, what truly impresses is the amplifier combo’s juicy, full, and physical playing style, benefiting all genres of music equally. Despite its magnificent breadth and transparency, the sound always retains a warm, almost creamy quality, which doesn’t compromise transparency but rather enhances naturalness.

This characteristic is particularly evident with the phono inputs. For instance, “Promises” by Floating Points, Pharoah Sanders, and the London Symphony Orchestra demands the utmost transparency—an LP-long jazz meditation featuring diverse keyboards, orchestral arrangements, and, of course, Sanders’ saxophone, all set in the expansive acoustics of the Air Lyndhurst Hall Studios. With the McIntosh amplifiers, the music takes on a provocative breadth, with fabulously fine structuring and nuanced tutti accents. It’s as if the myriad of stimuli captured by the microphones in such a setting undergo a long journey, from the recording studio to the mastering process, pressing, and finally reaching the listener’s ears. It’s like a wormhole has opened up, transporting the listener directly into the heart of the music’s creation, imbuing each listening experience with a sense of nostalgia and familiarity.

The Denon DL-103, McIntosh C22, and MC275 all entered the market around the same time in Japan and the USA. While their compatibility and synergy back then are unknown, today, anyone seeking to push the rich, hearty McIntosh sound to its limits will find a perfect match in the R version of the MC classic. The system sounds fuller on the C22 than on other top phono stages, but also more gripping emotionally, with a wonderfully creamy midrange and a robust, healthy bass driving the whole experience. It’s not just powerful but dynamic and lively.

One doesn’t need audiophile masterpieces to captivate music fans. Artists like the Söderberg sisters from First Aid Kit achieve this with their album “Palomino,” despite its compact pop production. Their great songwriting and beautiful vocals, combined with the McIntosh gear’s ability to lovingly lift their voices out of the mix and project them even closer to the listener, are enough to captivate even the most indifferent listener.

While the Denon DL103R is lively in the presence and brilliance range, it may be somewhat limited at the top end. To avoid misattributing the preamplifier’s sound to the system, I’ve also listened to very modern systems like the Rega Ania Pro or the Lyra Delos, which offer broad bandwidth even for bats and dogs. The openness and transparency of the C22 make such comparisons crystal clear and provide a wider framework than even top pickups can fill. This holds for headphones as well as for the power amplifier and good speakers.

Conclusion

the McIntosh C22 MK V AC and MC275 AC form a wonderfully subtle yet grippingly dynamic amplifier combination. Despite their retro appeal, they sound fresh, cutting-edge, and ultra-modern. With outstanding craftsmanship and future-proof construction, they are sure to deliver exceptional performance for many years to come. Moreover, vinyl enthusiasts will find that the C22 exhausts the topic of phono preamps, making the investment even more worthwhile. This perspective also puts the price of the setup into a friendlier light, especially since it can satisfy amplifier needs for a very long time, if not indefinitely.

Considering a power amplifier that has remained in the lineup for so many years naturally raises the question of whether the current version is necessary. The answer is a resounding yes. While there may not be significant changes in appearance, there are substantial improvements in terms of technology. The MkVI version boasts better transformers, operating at higher voltages, resulting in lower distortion compared to any previous iteration. Additionally, thanks to an intelligent protective circuit, it offers enhanced reliability, making it a worthwhile investment over earlier models.

January 17, 2025
Preamplifier vs Amplifier | A Comprehensive Guide

While Exploring the world of audio equipment, every one of us may encounter terms like preamplifier and amplifier. But what exactly are the differences between a Preamplifier and vs Amplifier? In this comprehensive guide, we’ll unravel the distinctions between preamplifiers and amplifiers, helping you understand their unique roles in your audio setup.

Understanding the Contrast Between Preamplifier vs Amplifier

What is a Preamplifier?

A preamplifier, often abbreviated as a preamp, is an electronic device used to amplify weak electrical signals from input sources, such as microphones, turntables, or musical instruments before they are further amplified by a power amplifier.

In audio systems, preamplifiers perform several important functions:

Signal Amplification: Preamplifiers boost the amplitude of weak signals from input sources to a level suitable for further processing and amplification.

Signal Conditioning: Preamplifiers may include tone controls, equalization adjustments, and volume controls to shape the sound quality according to the user’s preferences.

Signal Routing: Preamplifiers often provide multiple input and output options, allowing users to select and switch between different audio sources.

Impedance Matching: Preamplifiers match the impedance of input sources to the impedance of subsequent amplification stages for optimal signal transfer and fidelity.

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Overall, preamplifiers play a crucial role in audio systems by preparing and optimizing audio signals for amplification and eventual playback through speakers or headphones.

What is an Amplifier?

An amplifier is an electronic device designed to increase the strength or power of a signal. In the context of audio systems, amplifiers are used to boost the amplitude of electrical signals from audio sources, such as CD players, turntables, or digital audio players, to drive speakers or headphones and produce sound at audible levels. Amplifiers come in various types, including integrated amplifiers, power amplifiers, and headphone amplifiers, each serving different purposes in audio reproduction systems.

Power Boost: The core function of an amplifier is to significantly amplify the weak electrical signal from your audio source (like a phone, turntable, or CD player). This feeble current wouldn’t be enough to drive your speakers and produce audible sound. The amplifier takes this signal and cranks up its power, making it strong enough to get the party started.

Types of Amplifiers: There are two main amplifier categories:

Integrated Amplifiers: These are all-in-one units that combine the functionalities of a preamplifier and a power amplifier. They’re a popular choice for home theater setups and stereo systems seeking a simple and streamlined solution.

Separate Preamplifiers and Power Amplifiers: Audiophiles who crave ultimate sound quality and control often opt for separate preamps and power amps. This allows for more customized control over the signal processing and potentially higher fidelity sound reproduction.

Power Requirements: It’s crucial to choose an amplifier with sufficient power output to match the power handling capabilities of your speakers. Mismatched power levels can lead to distortion or even damage to your speakers.

Speaker Impedance: Another important factor is speaker impedance (measured in ohms). Ensure compatibility between your amplifier’s impedance (e.g., 4 ohms, 8 ohms) and your speakers’ impedance for optimal performance.

By understanding the role of the Preamplifier vs Amplifier, you can create a sound system that delivers powerful and clear audio. Whether you choose an integrated amplifier for convenience or separate components for ultimate control, an amplifier is the workhorse that brings your music, movies, and games to life

Functionality Comparison of preamplifier vs amplifier
Preamplifier:

Signal Amplification: Preamplifiers amplify weak electrical signals from input sources to line level, preparing them for further amplification by power amplifiers.

Input Selection: Preamplifiers often feature multiple input ports, allowing users to connect various audio sources such as microphones, turntables, CD players, and digital audio devices.

Tone Control and Equalization: Many preamplifiers include tone control knobs or equalization adjustments, enabling users to adjust the frequency response of the audio signal to their preferences.

Volume Control: Preamplifiers have volume control knobs or buttons to adjust the output volume
level, allowing users to set the desired listening volume.

Signal Routing: Preamplifiers provide the ability to select and switch between different audio
sources, directing the desired signal to the power amplifier for amplification.

Phono Stage: Some preamplifiers include a built-in phono stage or phono preamp, specifically designed to amplify the low-level signals generated by turntable cartridges.

Headphone Amplification: Certain preamplifiers feature a headphone output with dedicated amplification circuitry, allowing users to directly connect headphones for private listening.

Remote Control: High-end preamplifiers may come with remote control functionality, allowing users to adjust volume, select inputs, and control other features remotely.

Amplifier:

Signal Amplification: Amplifiers receive the amplified signal from the preamplifier and further boost its power to drive speakers or headphones, producing sound at audible levels.

Power Output: Amplifiers are rated based on their power output, measured in watts per channel, which determines their ability to drive speakers and deliver sound at different volumes.

Speaker Compatibility: Amplifiers are designed to match the impedance and power handling capabilities of specific speakers, ensuring optimal performance and preventing damage to both the amplifier and speakers.

Source Selection: While some amplifiers feature multiple inputs for connecting various audio sources, their primary function is to amplify the signal received from the preamplifier and deliver it to the speakers.

Amplifier Classes: Amplifiers may be classified into different categories, such as Class A, Class AB, Class D, etc., each with its efficiency, power output, and sonic characteristics.

Distortion and Noise Levels: High-quality amplifiers aim to maintain low levels of distortion and noise, ensuring clean and accurate amplification of the audio signal without introducing unwanted artifacts.

Bridging and Bi-amping: Some amplifiers offer bridging or bi-amping capabilities, allowing users to combine multiple amplifier channels for increased power output or to separately amplify different frequency ranges for improved sound quality.

Choosing the Right Component: Gain insights into factors to consider when selecting between a preamplifier and an amplifier for your audio setup. Consider aspects like system compatibility, audio preferences, and budget constraints to make an informed decision.

User Insights: Hear from audio enthusiasts who have experience with preamplifiers and amplifiers. Discover their feedback on performance, usability, and overall satisfaction with these components in their sound systems.

Conclusion:

By the end of this guide, you’ll have a comprehensive understanding of the differences between preamplifiers and amplifiers. Armed with this knowledge, you can make informed decisions when building or upgrading your audio setup to achieve optimal sound quality and performance.

January 17, 2025

Best AV Receivers Under $500 (2025)

Craving a cinematic experience at home without breaking the bank and finding the best AV receivers under $500? Look no further than a powerful AV receiver! These versatile devices act as the central hub for
your home theater setup, seamlessly connecting your TV, speakers, streaming devices, and gaming
consoles. But with so many options available, finding the best AV receiver is under $500.

This guide unveils our top picks for budget-friendly AV receivers, highlighting their strengths and guiding
you towards the perfect fit for your home entertainment needs.

Finding the Perfect AV Receiver Under $500

Are you on the hunt for the perfect AV receiver to enhance your home entertainment setup without breaking the bank? Look no further! In this comprehensive guide, we’ll explore the best AV receivers under $500. From impressive audio performance to cutting-edge features, these budget-friendly receivers offer exceptional value for money.

Key Features to Consider:

Audio Performance: Look for receivers that offer powerful amplification, high-resolution audio
support, and immersive surround sound capabilities to enhance your listening experience.

Connectivity Options: Consider receivers with HDMI inputs, Bluetooth, Wi-Fi, and streaming services compatibility for seamless integration with your audiovisual devices.

Setup and Ease of Use: Opt for receivers with intuitive setup processes, user-friendly interfaces,
and mobile app support for hassle-free operation.

Future-Proofing: Choose receivers with features like 4K passthrough, HDR support, and compatibility with emerging audio formats like Dolby Atmos and DTS:X to ensure your setup remains relevant for years to come.

Here Is The List Of Some Best AV Receivers Under $500 in 2025

The All-Rounder:

Onkyo TX-NR6100 (around $450)

Denon AVR-S660H (around $400)

Yamaha RX-V4A (around $430)

These AV receivers strike a perfect balance between excellent sound quality, immersive surround sound (Dolby Atmos/DTS:X), and ample connectivity options (multiple HDMI ports, Bluetooth, Wi-Fi). They’re user-friendly with an intuitive setup, making them a crowd-pleaser for both audiophiles and casual users.

Here’s a table to compare their key features:

Feature	Onkyo TX-NR6100	Denon AVR-S660H	Yamaha RX-V4A
Channels	7.2	5.2 (can be expanded to 7.2)	5.2 (can be expanded to 7.2)
Power Output	100 watts per channel	75 watts per channel	80 watts per channel
Dolby Atmos/DTS:X Support	Yes	Yes	Yes
HDMI Inputs/Outputs	6 in / 1 out	6 in / 1 out	4 in / 1 out
Bluetooth	Yes	Yes	Yes
Wi-Fi	Yes	Yes	Yes
Room Correction Technology	AccuEQ	Audyssey MultEQ XT	YPAO

The Powerhouse:

Here are some Powerhouse AV receivers under $500 to consider:

Pioneer VSX-LX305 (around $480)

Sony STR-DH790 (around $450)

Yamaha RX-A4A (around $470)

These AV receivers prioritize raw power, boasting high wattage outputs to effortlessly drive even demanding speakers. They’re perfect for larger living rooms and those who crave action-packed movies with explosive sound effects and takes place in our list of Best AV Receivers Under $500.

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Here’s a table to compare their key features:

Feature	Pioneer VSX-LX305	Sony STR-DH790	Yamaha RX-A4A
Channels	7.2	7.2	7.2
Power Output	140 watts per channel	145 watts per channel	100 watts per channel (8 ohms)
Dolby Atmos/DTS:X Support	Yes	Yes	Yes
HDMI Inputs/Outputs	7 in / 2 out	6 in / 1 out	7 in / 1 out
Bluetooth	Yes	Yes	Yes
Wi-Fi	Yes	Yes	Yes
Room Correction Technology	MCACC	DSEE HX	YPAO

The Tech-Savvy Choice:

Denon AVR-S960H (around $470

Marantz NR1710 (around $450)

Onkyo TX-NR5100 (around $480)

These AV receivers embrace the cutting edge of technology, boasting features that will keep your home theater setup relevant for years to come list of Best AV Receivers Under $500.

Tech-Savvy Standouts:

8K Compatibility and High Frame Rate Support: These receivers can handle the latest 8K resolution videos with high frame rates, ensuring smooth and visually stunning experiences.

Seamless Streaming Integration: Enjoy effortless access to popular streaming services like Netflix, Disney+, and Hulu directly through the receiver, often with voice control capabilities.

Advanced Connectivity: These models might offer features like multiple HDMI 2.1 ports with eARC (enhanced Audio Return Channel) for high-bandwidth audio formats and ALLM (Auto Low Latency Mode) for smooth gaming experiences.

Here’s a table for a quick comparison:

Feature	Denon AVR-S960H	Marantz NR1710	Onkyo TX-NR5100
Channels	7.2	7.2	5.2 (can be expanded to 7.2)
Power Output	95 watts per channel	90 watts per channel	80 watts per channel
Dolby Atmos/DTS:X Support	Yes	Yes	Yes
HDMI Inputs/Outputs	7 in / 3 out (with eARC)	6 in / 1 out (with eARC)	6 in / 1 out (with eARC)
Bluetooth	Yes	Yes	Yes
Wi-Fi	Yes	Yes	Yes
8K Compatibility	Yes	Yes	Yes
High Frame Rate Support	Yes	Yes	Yes
Streaming Integration	Heos Built-in	HEOS Built-in	Chromecast built-in

The Feature-Packed Value King:

Yamaha RX-V6A (around $380)
Sony STR-DH590 (around $350)
Onkyo TX-NR600 (around $370)

While they might not boast the highest power output compared to other options, these receivers compensate with a wealth of features that enhance your home theater experience.

Feature Frenzy:

Multi-Room Audio: These receivers might allow you to create a multi-room audio system, letting you stream music to different rooms in your house simultaneously. This is perfect for setting the mood with music throughout your home.

Bluetooth Connectivity: Directly stream music from your smartphone, tablet, or laptop to the receiver for a convenient listening experience.

Built-in Calibration Tools: Some models come with room correction technology that analyzes your listening space and adjusts the sound accordingly, optimizing the audio experience for your specific room.

Headphone Jack: These receivers might include a dedicated headphone jack for private listening sessions.

Here’s a table to compare their key features:

Feature	Yamaha RX-V6A	Sony STR-DH590	Onkyo TX-NR600
Channels	7.2	5.2	5.2 (can be expanded to 7.2)
Power Output	70 watts per channel	145 watts per channel	100 watts per channel
Dolby Atmos/DTS:X Support	Yes	Yes	Yes
HDMI Inputs/Outputs	6 in / 1 out	4 in / 1 out	5 in / 1 out
Bluetooth	Yes	Yes	Yes
Wi-Fi	No	No	No
Multi-Room Audio	MusicCast	No	No
Room Correction Technology	YPAO	No	AccuEQ
Headphone Jack	Yes	Yes	Yes

Conclusion:

With many options available, finding the best AV receiver under $500 is within reach. Whether you prioritize audio performance, connectivity, or ease of use, there’s a receiver that meets your needs and budget. Explore our top picks, consider key features, and leverage user insights to make an informed decision and elevate your home entertainment experience today.

Remember:

Here are some additional factors when selecting your Best AV Receivers Under $500:

Room Correction Technology: Some receivers come equipped with room correction technology that analyzes your listening space and adjusts the sound accordingly, optimizing your audio experience.

Ease of Use: Consider how user-friendly the receiver’s interface and setup process are. If you’re not a tech whiz, prioritize a receiver with intuitive controls and clear menus.

Brand Reputation: Research the brand’s reputation for quality and customer service. Reliable brands often offer extended warranties and provide helpful support resources.

January 17, 2025

Tower Speakers vs Bookshelf Choosing the best Solution
Discover the differences between tower speakers vs bookshelf speakers to make an informed decision for your audio setup. Our comprehensive guide covers key factors like sound quality, space requirements, and versatility.

Tower Speakers vs Bookshelf: Which is Right for You?

Are you torn between floor-standing speakers and bookshelf speakers for your audio setup? Choosing the right type of speakers can significantly impact your listening experience. In this guide, we’ll explore
the differences between tower speakers and bookshelf speakers, helping you make the best decision for
your needs.

Factors to Consider When Deciding Between Tower Speakers vs Bookshelf Speakers

Size and Bass:

Tower speakers, also known as floor-standing speakers, are larger and more imposing than bookshelf speakers. This size allows them to house larger woofers, resulting in deeper, richer bass. They’re ideal for filling larger rooms with powerful sound and are a great choice for music that emphasizes low frequencies like electronic music, hip-hop, or movies with explosive sound effects.

Bookshelf speakers, on the other hand, are compact and versatile. While they may not deliver the same level of deep bass as towers, they can still produce clear, detailed sound across a wide range of frequencies. Their smaller size makes them perfect for smaller rooms or situations where space is limited.

Placement Flexibility:

Tower speakers are designed to stand on the floor and require more space for optimal performance. Their placement is often dictated by the layout of your room.

Bookshelf speakers offer greater placement flexibility. They can be placed on stands, shelves, or even mounted on walls, allowing you to tailor the soundstage to your listening area.

Soundstage and Imaging:

Tower speakers, due to their larger size and dedicated tweeter placement, can create a wider and more immersive soundstage. This means instruments and vocals can be more distinctly separated, creating a more realistic listening experience. However, bookshelf speakers, when paired with a good subwoofer, can also achieve a satisfying soundstage.

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Power Handling and Budget:

Tower speakers typically handle higher power levels than bookshelf speakers, making them a good choice for larger rooms or listeners who enjoy listening at high volumes. They often come with a higher price tag due to their larger size and more complex design. Bookshelf speakers are generally more affordable and can still deliver excellent sound quality, especially in smaller settings.

Conclusion:

By the end of this guide, you’ll have a clear understanding of the strengths and weaknesses of tower speakers and bookshelf speakers. Make an informed decision based on your audio preferences, room layout, and budget.

Suggestions For Tower Speakers vs Bookshelf

Choose tower speakers for: Powerful bass, larger rooms, immersive soundstage, and high-volume listening.

Choose bookshelf speakers for: Compact size, placement flexibility, budget-friendly, smaller rooms.

Bookshelf vs floor-standing speakers for music

Bookshelf Speakers

Advantages:
1. Compact Size: Perfect for small rooms or spaces with limited placement options.
2. Affordability: Generally less expensive than floor-standing speakers, offering great performance at a lower price point.
3. Neutral Sound: Often designed for precise, focused sound, making them ideal for near-field listening.
4. Flexible Placement: Can be placed on stands, shelves, or desks, adapting to various setups.
Considerations:
- Bass Response: Bookshelf speakers often lack deep bass due to smaller drivers, which may require a subwoofer for full-range sound.
- Limited Output: They may not perform as well in large rooms or at high volume levels.
Floorstanding (Tower) Speakers

Advantages:
1. Full-Range Sound: With larger drivers and dedicated woofers, they deliver powerful bass, clear mids, and detailed highs without needing a subwoofer.
2. Dynamic Performance: Ideal for filling larger rooms with immersive sound, whether you enjoy classical, rock, or jazz.
3. Volume Capability: Can handle higher power and output louder sound with minimal distortion.
4. Aesthetic Appeal: Their tall, sleek designs often add visual appeal to a room.
Considerations:
- Size and Space: Floorstanding speakers require more room and may not be suitable for compact spaces.
- Cost: They are typically more expensive than bookshelf speakers.
- Placement: Proper positioning is essential for optimal performance, which may limit flexibility.
Which Should You Choose for Music?
- Bookshelf Speakers: Great for casual listeners, smaller spaces, and those on a budget. They excel in delivering precise, accurate sound for genres like acoustic or vocal-heavy music.
- Floorstanding Speakers: Perfect for audiophiles, larger rooms, and those seeking a more immersive experience with deep bass and high volume. They’re ideal for bass-heavy genres like EDM or orchestral music.
By understanding the strengths and weaknesses of each speaker type, you can make an informed decision and find the perfect fit for your dream sound system.
January 15, 2025
Ferrum Audio Erco DAC Review
Ferrum Audio Erco: Ferrum Audio a well-known Poland company began to take shape with an unusual set of products. The first was a high-end headphone amplifier called OOR, while the second unit, Hypsos, which at first glance could be mistaken for a DAC, turned out to be a high-end external power supply. Finally, the third device of the Ferrum Audio brand appeared – Erco (read as “Erzo”), capable of taking on the role of a digital-to-analog converter.

A Look at Ferrum Audio Erco DAC Design

As we know the photos do the talking when it comes to the design and craftsmanship of Ferrum Audio devices, let me assure you that they look just as impressive in person. The build quality feels incredibly solid and exudes a sense of luxury. One interesting detail is the company logo “Fe” – it has a built-in dimmer! A wheel on the back panel allows you to adjust the brightness to any level, from full illumination to completely off.

The folks at Ferrum Audio weren’t messing around when they designed the Erco. It’s not just a basic digital-to-analog converter (DAC) – it’s a full-fledged audio powerhouse. This means it acts as a DAC, preamplifier, and headphone amplifier all in one. For connecting your digital sources, you’ve got three options on the back: a USB-C input, a coaxial input, and an optical input. There’s even an analog input using RCA connectors if you have a non-digital source you want to use.

On the output side, the Erco is versatile as well. It has two headphone jacks: a standard 6.3mm jack and a balanced 4.4mm jack for high-end headphones. Additionally, it has RCA and XLR analog outputs for connecting powered speakers or integrating it into your existing stereo system. Basically, with just the Erco and a computer or digital music player, you have everything you need for a high-quality sound source or a fantastic desktop headphone system.

Built on a Strong Foundation

The Erco leverages the power amp expertise from Ferrum’s OOR model. While it doesn’t directly copy the design, it borrows the core circuit principles. This makes sense because the Erco is designed for lower output power and also integrates a digital section. To accommodate the digital side, the Erco’s power supply required a significant overhaul. The engineers added multiple power rails with improved filtering. Importantly, these digital rails are meticulously isolated from those supplying the analog circuitry to maintain pristine audio quality.

When exploring further into the Erco lineage, an intriguing revelation surfaces: the minds behind the Ferrum Audio brand, HEM engineers, had previously been involved in crafting DACs and other electronic devices for the renowned Mytek brand. Therefore, in addition to OOR, Erco’s prototype also shares similarities with the Brooklyn DAC. Notably, they exhibit resemblances in size, and functionality, and feature familiar details.

Under the Hood: Ferrum Audio erco DAC Processing Power

The Erco boasts the top-of-the-line ES9028PRO DAC chip from ESS Technologies for superb digital-to-analog conversion. Working alongside this chip is a powerful ARM processor. This processor tackles several key tasks: decoding MQA and DoP audio formats, managing the USB connection (with custom firmware for optimal performance), and even automating functions like signal gain and output switching. This automation minimizes the number of physical switches needed, keeping things clean and simple.

The processor also keeps a watchful eye on headphone connections. If headphones are plugged in, it automatically disables the outputs for speakers or external amplifiers. It even adjusts gain levels based on where the signal is going. The front panel controls are specifically for headphone volume, while external devices plugged into the RCA or XLR outputs get a standard gain level. This thoughtful design ensures a smooth and consistent listening experience, regardless of whether you’re using headphones or speakers, and you won’t experience any jarring volume jumps when switching between them.

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While the Erco automates a bunch of functions for a seamless user experience, there’s one exception: volume control for the RCA and XLR outputs. These require you to use the dedicated mechanical switch on the back panel. The headphone jacks, however, are independent and receive a signal regardless of the switch position, so you can always adjust the headphone volume using the knob. This doesn’t limit the Erco’s functionality in any way, it just provides more control for different listening scenarios.

On a technical note, the entire Erco’s analog circuitry is balanced. This doesn’t just apply to the signal path from the DAC to the outputs – it goes even deeper. Even the signal coming from the single analog RCA input gets converted into a balanced format right at the first amplification stage. This balanced approach ensures a cleaner and more accurate signal throughout the Erco.

Comparing Amplifier Performance:

I’ve decided to try out Erco as a setup for listening to music through headphones. For this, I’ve picked an Aurender network transport as the music source. To give Erco a boost, I’ve added a special Hypsos power supply. Additionally, I’ve gathered a variety of headphones, some with regular dynamic drivers and others with planar magnetic drivers, ranging from 15 to 250 ohms impedance.

The first thing to mention is that Erco doesn’t seem to have any particular preferences or limitations when it comes to handling different types of headphones. Whether it’s the demanding planar magnetic ones or the more typical dynamic headphones, Erco handled them with confidence, even when using a less powerful unbalanced output. Thanks to its gain switch, it was easy to adjust for differences in impedance and sensitivity, allowing for a comfortable volume range regardless of the headphones used.

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Across all the headphones tested, Erco consistently delivered clear, tight, and focused sound with excellent dynamics and a medium-sized stereo image. While the bass might not reach very deep levels, it remained well-controlled and precise. The midrange was expressive and vibrant, while the treble frequencies were presented in just the right amount, without any harshness or overwhelming presence.

Comparing Erco with the older OOR model, connected to Erco’s balanced outputs, revealed some interesting differences. Music played through Erco tended to have lighter nuances, especially noticeable in vocal performances. For instance, Sting’s voice emphasized upper notes on Erco, whereas OOR provided more richness and depth in the lower register.

The higher-end amplifier, OOR, excels in revealing the subtleties of music, particularly in symphonic works where precision in scale and volume depiction is crucial. On the other hand, Erco’s built-in amplifier shines when it comes to handling brighter, more energetic songs spanning various genres like rock, jazz, pop, and electronica.

Erco’s amplifier, while slightly less resolving compared to OOR, still delivers impressive performance considering its class. This distinction becomes more apparent in complex music compositions abundant with details and nuances, such as Pink Floyd’s “Animals” album in the 2018 sample mix. OOR tends to unveil more subtleties and spatial depth, while Erco’s focus lies more on the main melody and rhythm.

Nevertheless, the gap in resolution becomes more pronounced when using headphones like Audeze from the LCD-X and above in the lineup. However, with dynamic headphones in a more affordable price range, the advantages of OOR are less discernible, and the difference in sound is minimal.

Ferrum Audio Erco DAC Testing with Bigger Setup

In a larger audio system setup, Erco and other Ferrum Audio devices seem to be designed primarily for personal listening, either through headphones or near-field monitors. However, an experiment revealed that Erco’s full potential can be unleashed when used as a USB DAC. Paired with the Hypsos power supply, it fits seamlessly into a rack of Hi-Fi components.

Testing Erco as a DAC involved integrating it into a serious stereo system, including an Aurender N-200 network transport, a Fezz Audio Sagita Pre preamplifier, two Titania Power amplifiers, and two pairs of MartinLogan speakers.

Erco impressed as a DAC with its lively and dynamic presentation of music. It effectively reproduced high-quality HiRes recordings with great energy and expression, capturing even the smallest details and overtones accurately. Surprisingly, Erco managed to minimize the typical characteristics of the ES9028Pro chip found in other DACs, possibly due to a proprietary digital filter algorithm or unique analog circuitry. Overall, Erco achieved a rich timbre and a holographic stereo image, akin to higher-end chips like the ES9038Pro.

Conclusion:

After thoroughly testing Ferrum Audio Erco, it seems there are two main ways you could use it. First, you could start building a really good desktop audio system with Erco as the foundation. It’s ready to use straight away, all you need is a computer and some headphones.

Erco has a good DAC and a strong amplifier, so it can work with lots of different headphones. As you expand your system, you might add some active speakers for more options. You could also upgrade with extras like the Hypsos power supply or a better amplifier like the OOR if you get higher-end headphones later on.

The Erco is a great choice for two situations. First, it’s a fantastic all-in-one solution for connecting your computer or digital music player to your speakers. It acts as a DAC (digital-to-analog converter) to turn your digital files into high-quality audio for your speakers. Even if you’re planning to upgrade your system later, the Erco is a great starting point, and you can always add a separate headphone amp (like the Ferrum Hypsos) down the road. Plus, the headphone amp built into the Erco is already better than what you’ll typically find on most receivers or amps.

Overall, the Erco is a sleek and user-friendly device that delivers a lively, clear, and detailed sound. Right now, it’s likely one of the best options available if you’re looking for a top-notch DAC based on the ES9028Pro chip, with the bonus of a powerful headphone amp built right in.

Pros And Cons Ferrum Audio Erco DAC

Almost every product has some pros and cons according to your usage:

Pors Ferrum Audio Erco DAC
1. Expressive and Detailed Sound: Erco provides an immersive listening experience with its ability to reproduce music with clarity and richness, capturing even the smallest nuances and details in the audio.
2. Powerful and Versatile Amplifier: With its robust amplification capabilities, Erco can effectively drive a wide range of headphones, ensuring optimal performance regardless of the impedance or sensitivity of the headphones being used.
3. Convenient Operation: Erco offers user-friendly controls and a straightforward interface, making it easy to adjust settings and customize the listening experience according to individual preference
Cons Ferrum Audio Erco DAC
1. No Mute Button: Missing a mute button means you’ll need to adjust the volume knob to silence the output, which might be inconvenient if you need to quickly pause the sound.
2. No Remote Control: The absence of a remote control means you’ll need to get up and adjust the volume or other settings directly on the device, which can be a hassle, especially if it’s placed out of easy reach.
Specifications Ferrum Audio Erco DAC

Here’s a summary of the specifications for the Ferrum Audio Erco:
- DAC: ESS Saber ES9028PRO
- Supported Formats: PCM up to 32bit/384kHz, DSD up to 256, MQA
- Headphone Amplifier Power: 1.7W unbalanced into 50 ohms, 6.1W balanced into 50 ohms
- Headphone Amplifier Output Impedance: 0.3 ohm
- Frequency Range: 10-30000Hz (+/-0.05dB)
- Digital Inputs: USB-C, coaxial, optical
- Analog Inputs: unbalanced RCA
- Analog Outputs: unbalanced RCA and balanced XLR
- Headphone Outputs: unbalanced 6.3 mm, balanced 4.4 mm
- Dynamic Range: 120 dB (A-weighted)
- Dimensions: 217x206x50 mm
- Weight: 1.8 kg
Where To Buy Ferrum Audio Erco DAC

Ferrum Audio Erco DAC can be purchased from various sources, including:
1. Official Ferrum Audio Website: The official website of Ferrum Audio may offer direct sales of the Erco DAC.
2. Authorized Retailers: Look for authorized retailers or distributors of Ferrum Audio products in your region. They may have physical stores or online platforms where you can purchase the Erco DAC.
3. Online Marketplaces: Check popular online marketplaces such as Amazon, and eBay, or audiophile-specific platforms like Audio Mart or Head-Fi for listings of the Erco DAC from authorized sellers.
4. Specialty Audio Stores: Some specialty audio stores may carry Ferrum Audio products, including the Erco DAC. These stores often offer expert advice and personalized service for audio enthusiasts.
Before making a purchase, ensure that you are buying from a reputable source to guarantee authenticity and warranty coverage for your Ferrum Audio Erco DAC

Where To Buy Used Ferrum Audio Erco DAC

Used Ferrum Audio Erco DAC can be purchased from various sources, including:

1. Amazon
2. eBay
3. Gumtree

You may also find used Ferrum Audio Erco DAC units available on popular locally used product websites within your country.

Note:

Before making a purchase, ensure that you are buying from a reputable source to guarantee authenticity and warranty coverage for your Ferrum Audio Erco DAC.
January 15, 2025
Best Lightweight Speaker for Hiking lovers

Are You a Hiking lover?

Lightweight Speakers: I love Hiking! and I think many others to, we know that when going for a backpacking adventure packing your bag is quite a tough job to forget anything, and the most important thing is space available in your bag matters, Whether walking through dense forests or going to your favorite mountains listening music is must am I right? and having a reliable and compact speaker with you that accompanies your journey can significantly enhance your overall experience.

As for my experience, I have made a list of some best lightweight speakers for backpacking so that you can enjoy your favorite tracks without compromising on space and weight.

Below is a list of some best lightweight speakers for backpacking.

1. Ultimate Ears WONDERBOOM 2:

At first position on my list is The Ultimate Ears WONDERBOOM 2. You might be wondering why Ultimate Ears WONDERBOOM 2 is at the top of my list because Ultimate Ears WONDERBOOM 2 stands out as the best contender for backpackers. Ultimate Ears WONDERBOOM 2 is best for portability, durability, and impressive sound quality and its weight is too awesome only half a pound and roughly the size of a ball, this speaker packs a punch with its 360-degree sound projection and deep bass. Ultimate Ears WONDERBOOM 2 design is waterproof, dustproof, and drop-proof, making it ideal for outdoor adventures. With a battery life of up to 13 hours, The Ultimate Ears WONDERBOOM 2 ensures uninterrupted music playback throughout your journey.

2. JBL Clip 4:

The second position on my list is The JBL Clip 4. JBL Clip 4 is a compact and lightweight speaker that offers excellent performance in a small package. Weighing a mere 0.5 pounds and equipped with a convenient carabiner clip, it easily attaches to your backpack or belt loop for hands-free carrying. Despite its size, the Clip 4 delivers impressive audio quality, including powerful bass and clear vocals. With an IP67 waterproof and dustproof rating, this speaker can withstand the elements, ensuring reliability during outdoor excursions. Additionally, its built-in rechargeable battery provides up to 10 hours of playtime, ensuring uninterrupted enjoyment on the trail.

3. Bose SoundLink Micro:

The third position of my list is that this speaker is for backpackers who prioritize premium sound quality in a lightweight package, The Bose SoundLink Micro is an excellent choice. Weight is just 0.64 pounds with a compact design, this speaker fits easily into any backpack or pocket. Despite its small size, the SoundLink Micro delivers impressive sound with rich bass and crisp highs, thanks to its custom-designed transducer. With an IPX7 waterproof rating, it can withstand immersion in water up to 1 meter deep for 30 minutes, making it perfect for outdoor adventures. The built-in rechargeable battery offers up to 6 hours of playtime, ensuring ample entertainment during your backpacking trips.

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4. Anker Soundcore 2:
At the Fourth position on my list is The Anker Soundcore 2 combines affordability with impressive performance, making it an excellent choice for budget-conscious backpackers. Weighing just under 0.8 pounds, this speaker is lightweight and compact, making it easy to carry on outdoor adventures. Despite its modest price tag, the Soundcore 2 delivers surprisingly robust sound with enhanced bass, thanks to its dual neodymium drivers. With an IPX7 waterproof rating, it can withstand splashes, rain, and even water immersion, ensuring durability in various outdoor conditions. The built-in rechargeable battery provides up to 24 hours of playtime, allowing for extended enjoyment without the need for frequent recharging.

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Conclusion:

To conclude I can say that when Going great outdoor adventure, having a lightweight and durable speaker can add a touch of entertainment and ambiance to your backpacking experience. Whether you prefer the durability of the Ultimate Ears WONDERBOOM 2, the compact portability of the JBL Clip 4, the premium sound quality of the Bose SoundLink Micro, or the affordability of the Anker Soundcore 2, there’s a perfect option available to suit your needs. Whichever speaker you choose, rest assured that it will enhance your backpacking adventures with immersive sound and reliable performance, allowing you to enjoy your favorite music wherever the trail may lead.

January 15, 2025
Audiophile spotlite #231: Simone Marcato’s 7.1.2 Audiophile Home Theater Setup – Budget-Friendly & High Performance
Simone Marcato’s audio and home theater setup is a meticulously crafted blend of high-quality components, chosen with a balanced approach to maximize music listening and movie-watching experiences. Despite working within a budget, Marcato achieved remarkable performance by leveraging a mix of used gear and strategic new purchases, showcasing a commitment to smart, value-driven audio choices.

Simone Marcato’s 7.1.2 Audiophile Home Theater

System Configuration: 7.1.2
- Front Stage:
  - Klipsch RP-8000F (Main L/R): The main left and right speakers are Klipsch RP-8000F, known for their powerful, dynamic sound and clear treble. These floor-standing speakers deliver a detailed and engaging soundstage.
  - Klipsch RP-504C II (Center Channel): The heart of the system, providing clear dialogue and a rich midrange. The center channel ensures voices and center-focused audio are crisp and well-defined.
- Surround & Atmos Setup:
  - Klipsch RP-600M (Surround L/R): The surround speakers bring immersive, lifelike effects with a refined sound profile, enhancing both movies and concert recordings.
  - Klipsch RP-502S (Rear Surround L/R): These speakers, positioned for rear surround duties, create a three-dimensional audio experience that envelops the listener.
  - Klipsch RP-500SA (Atmos Front Top L/R): Mounted for Dolby Atmos effects, these speakers add a vertical dimension, making sound effects like rain or overhead action truly lifelike.
- Subwoofer:
  - Klipsch SPL-120: This subwoofer delivers deep, impactful bass, perfect for explosive movie scenes and the low-end response in music tracks.
Amplification:
- Carver TFM-45: Drives the main left and right channels, offering a warm and powerful sound signature. The Carver amp is known for its high current capacity, ensuring the RP-8000F speakers receive ample power.
- Rotel RMB-1095: Powers the center, surrounds, and rear surround channels. This multi-channel amp is praised for its clean and dynamic output, ensuring consistent performance across all channels.
- Anthem MRX-740: Serves as the AV receiver, handling processing and power for the front Atmos channels. Anthem’s reputation for room correction and detailed processing enhances system performance.
Source Components:
- Raspberry Pi4 with HiFiBerry Digi HAT: Configured as a Roon endpoint, this setup allows for seamless streaming of high-resolution audio, ensuring flexibility and high-quality playback.
- Pro-Ject Phono Box MM & Debut One Turntable: For vinyl enthusiasts, this phono stage and turntable setup provide an analog listening experience, adding warmth and richness to the sound.
- Sony UBP-X800 Blu-ray Player: A reliable choice for both high-definition video and audio playback, handling a variety of disc formats with ease.
- PlayStation 5: Not just for gaming, but also an excellent source for streaming apps and 4K Blu-ray playback.
Video Experience:
- Casiris OmniStar 1080p Projector: This projector, paired with a 120″ projector screen, delivers a large, immersive viewing experience, perfect for movie nights and gaming sessions.
A Visual Tour

Overall Impressions & Performance

Simone Marcato’s system showcases a thoughtful blend of performance and value. By carefully selecting components from trusted brands like Klipsch, Carver, Rotel, and Anthem, he has created a setup that easily excels in versatility, handling music and movies. External amplification for the main channels ensures dynamic power and control, while the Anthem receiver’s processing capabilities add precision to the soundstage.

Marcato’s approach demonstrates that with a strategic mix of used and new gear, it’s possible to build a high-end audio experience without breaking the bank. His system is well-balanced and highly customizable, allowing him to adapt and optimize as his preferences evolve.

What do you think about Simone Marcato’s incredible audio setup? Feel free to share your thoughts or ask questions in the comments below. Don’t forget to upvote if you’re inspired—your votes help rank audiophile setups and encourage more enthusiasts to share their passion!
January 15, 2025
Experience Audio Excellence with the Auralic Polaris: A Full Review
Auralic Polaris, In view of the compact housing, which after all contains a powerful integrated amplifier plus a fully equipped streamer, he rightly asked himself the question: is such a device more hi-fi fast food or already an audiophile designer drug? The answer was surprisingly clear.

Whenever the author of these lines tests good all-in-one devices, he briefly longs for a solid, steady hi-fi life without constant assembly, disassembly, and conversion, comparing, replugging, unpacking, and repacking. Without cardboard storage in the hallway and all corners and niches of the apartment that can be reached in any way. And without the stacks of devices and the tangle of cables that an active test operation sometimes entails.

A radical counter-utopia to the extreme, nerdy technological presence is the streaming amplifiers that have been available for several years, which can make an entire system including the player almost disappear without having to compromise too much on the sound. T+A, Linn, and Naim were pioneers of this movement, Auralic took its time and presented such an all-rounder with the Polaris just this year: a powerful integrated amplifier with digital and analog inputs, one of which can even be switched to Phono MM, and with a sophisticated streamer that supports the music services Tidal and Qobuz, any hard disks, SSDs and DLNA servers, Internet radio, Bluetooth, Airplay, Multiroom and even the playback protocol of the noble music server Roon.

The Chinese company Auralic generally does not tend to oversleep trends or follow well-trodden technological paths. On the contrary: In recent years, its developers have repeatedly caused a stir with their explosive development speed and, with the Lightning platform, have one of the most powerful and best streaming units on the market in their hands.

Again and again – for example with DSD streaming, the integration of streaming services, or the integrated server function – established competitors had to watch how Auralic co-founder Xuanqian Wang and his team were already reporting that features were being implemented, while others were still in the starting blocks – or even just discussing whether a start was even possible and sensible.

The streaming heart of the Auralic Polaris is reassuringly oversized with an ARM Cortex A9 quad-core processor and plenty of RAM for the demands of a network player. It was first used in the purely digital streaming bridge Aries – a modern successor to the audiophile CD drive, so to speak, tailor-made for the USB DACs that are currently highly valued by computer audiophiles. Then the cute Aries Mini inherited its extensive capabilities, but thanks to the integrated D/A converter it was a complete player and even offered a slot for a 2.5″ hard drive or SSD in its mini housing.

The Auralic Polaris streaming integrated amplifier tested here also has this option: If you want it to be particularly neat and clean, you can integrate the server physically and logically into the Polaris, so you only have to set up this one device in your living room. Not even a network cable has to be laid to the Polaris because the device connects to the home WLAN via the modern 802.11ac standard, which guarantees music enjoyment without dropouts even with super-high-resolution music files. Only power and speakers have to be wired classically.

The Chinese company Auralic generally does not tend to oversleep trends or follow well-trodden technological paths. On the contrary: In recent years, its developers have repeatedly caused a stir with their explosive development speed and, with the Lightning platform, have one of the most powerful and best streaming units on the market in their hands.

Again and again – for example with DSD streaming, the integration of streaming services or the integrated server function – established competitors had to watch how Auralic co-founder Xuanqian Wang and his team were already reporting that features were being implemented, while others were still in the starting blocks – or even just discussing whether a start was even possible and sensible.

The streaming heart of the Auralic Polaris is reassuringly oversized with an ARM Cortex A9 quad-core processor and plenty of RAM for the demands of a network player. It was first used in the purely digital streaming bridge Aries – a modern successor to the audiophile CD drive, so to speak, tailor-made for the USB DACs that are currently highly valued by computer audiophiles. Then the cute Aries Mini inherited its extensive capabilities, but thanks to the integrated D/A converter it was a complete player and even offered a slot for a 2.5″ hard drive or SSD in its mini housing.

The Auralic Polaris streaming integrated amplifier tested here also has this option: If you want it to be particularly neat and clean, you can integrate the server physically and logically into the Polaris, so you only have to set up this one device in your living room. Not even a network cable has to be laid to the Polaris because the device connects to the home WLAN via the modern 802.11ac standard, which guarantees music enjoyment without dropouts even with super-high-resolution music files. Only power and speakers have to be wired classically.

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You can see that the Auralic Polaris is not cheap. With its very precisely fitting housing, the cleanly centered and wobble-free rotary encoder button, and the amber-colored, fine-resolution dot-matrix display, it looks classy in a reserved way – an impression that unfortunately does not continue with the remote control in the cheap DVD player style.

In streaming mode, the infrared spark is hardly used anyway, but primarily Auralic’s own “Lightning DS” app, for example on an iPad: It guides the owner through the setup of the streamer and requires a little patience from time to time, but always remains detailed, clear and logical.

If the streamer is ready to go and if the latest firmware is installed (this is done automatically via the network), the app will ask which music library should be used. If you want to access an existing DLNA server (e.g. on a NAS), then simply let the app take over its data and cover preview images.

The app buffers all lists locally instead of pulling them from the server with each search. As a result, the albums load and scroll very quickly and smoothly during later searches, even if a collection contains a few thousand albums.

However, operation with your server intelligence is even better integrated and more convenient. The integrated Lightning server is a full-fledged DLNA server, which, however, has practical sorting criteria such as file format, modification date, or data rate ahead of its typical NAS colleagues and which, once it is running, is also available to any other streamer in the same network. So you can switch from the main system in the living room to an inexpensive streaming box in the kitchen or the DLNA-enabled surround receiver in the basement without having to get used to a new server sorting every time.

Since the Lightning Server (like any other server program) first reads the metadata of all existing music files, it takes some time to set it up: the test device combed through the approximately 30,000 titles on the author’s NAS in just under an hour. The limiting factor was probably not the Auralic Polaris, but the read and access times of the ten-year-old network storage.

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In addition to NAS disks in the home network, the Lightning server can also search and sort USB storage devices connected directly to the Polaris or the internally pluggable 2.5″ disk mentioned above and offer them clearly for selection via the app. According to an update that has already been announced, it should also be possible to combine several storage locations into one comprehensive collection.

At the time of the test, you still had to decide between internal storage, USB, and network hard drive. The change is very quick, however, because the Lightning Server remembers the different databases and then apparently does not have to create them from scratch, but only has to retrieve them again.

Regardless of the storage medium, the Auralic Polaris plays every hi-fi-relevant file format, including exotic ultra-high-res resolutions that can reach up to eight times the standard sampling rate in the DSD one-bit format, i.e. up to 11 megahertz (DSD512). With PCM formats, the fun goes up to 352.8 or 384 kHz with up to 32-bit data words. “Fun” is relative here, because there is very little music in DSD512 or PCM-based formats beyond 24bit/192kHz.

On the other hand, “normal” HiRes, i.e. around 24bit/96kHz, is completely different, which is available from providers such as Highresaudio.com in an impressive selection that also includes not only jazz, classic, and audiophile piling, but also many rock and alternative records.

The fact that the HighRes downloads often sound better than their CD or streaming equivalents, regardless of the music style, does not even have to be directly related to their higher sampling rate or the additional bits, but is often simply because the downloads were mastered differently about their audiophile target group, namely with more dynamics and less compression.

In addition to many other unanswered questions, this fact is also an argument against MQA’s “One file for all resolutions” approach. If the mass market and the high-end niche can/must be served with the same product, this standard file will logically (must) be optimized for the mass market. The possibility of differentiating the target group accordingly when mastering is retained in principle, but is likely to be used much less frequently.

As a reminder, ordinary streamers treat MQA files or streams like regular FLAC with a resolution close to the CD standard. The high-res subtleties only come to light with a proprietary decoder, which multiplies the basic clock rate of 44.1 or 48kHz accordingly. Auralic takes a spicy middle ground here: Xuanqian Wang did not license the format, but programmed his decoder algorithms for it – which seem to work and in the listening test deliver very similar results to those that the author has already received in his experiments with “official” MQA equipment. Ideally, the comparison would be like the Vivaldi cantatas sung by soprano Tone Wik on the album Bellezza Crudel, where the MQA streams streamed by Tidal and unpacked in the Polaris sounded better than the normal 44.1/16 FLACs from the NAS. Namely, in a peculiar way, at the same time more focused, finer, and richer in substance – a characteristic that also applies to the classic HighRes file, which is compatible with all players, i.e. it is not specific to the MQA format.

This draws its appeal mainly from the fact that the streaming service Tidal has thousands of MQA-coded albums available as part of the normal “Tidal HiFi” subscription at no additional charge. HighRes file compatible with all players applies, i.e. it is not specific to the MQA format. This draws its appeal mainly from the fact that the streaming service Tidal has thousands of MQA-coded albums available as part of the normal “Tidal HiFi” subscription at no additional charge. HighRes file compatible with all players applies, i.e. it is not specific to the MQA format. This draws its appeal mainly from the fact that the streaming service Tidal has thousands of MQA-coded albums available as part of the normal “Tidal HiFi” subscription at no additional charge.

In the test, of course, not only Tidal was on the playlist, but also digital material from the local NAS server and analog material from the Linn LP12, both via the internal phono input of the Auralic Polaris and via external phono stages, which were then connected as high-level sources via the line input. However, the signal path is not 100% analog, since all signals have to pass through Auralic’s hybrid volume control, which combines coarse, analog-switched 12dB level stages with digital fine adjustment.

Compared to purely digital controls, this offers the advantage that the useful signals of digital origin always retain all resolution-relevant bits, even with minimum volume settings. Analog signals, on the other hand, first have to pass through an A/D converter in order to then travel through the Polaris on the same path as their digital relatives.

Vinyl purists will therefore probably not make the Auralic Polaris their first choice – given its opulent equipment with physical digital inputs, streaming standards, and integrated music services, it would also be completely overqualified. On the other hand, its MM phono input sounds very good and you don’t notice the detour through the digital domain in normal listening.

In any case, the very special beauty of good records is fully preserved – an experience that may surprise some, especially since in the Polaris, to top it all off, a Class D power amplifier from Hypex and the associated switched-mode power supply also serves as the power source. However, this has a huge advantage: lots of power, but a compact design and low weight (4.5 kilos). Auralic specifies power values of 2 x 180 watts at 4 ohms (or 2 x 120 at 8 ohms). After the long and sometimes very loud listening tests, I can only say that this is believable.

This is what the Auralic Polaris sounds like

Subjectively, the sonic result is paradoxically even more “analog” than with many fully analog chains: the Polaris makes music powerfully, silky and full, more pleasurable than analytical, more supple than crystalline – and it does not give up these characteristics even at high volumes and/or with more demanding loudspeakers. Among the compact high-end streaming amps – which also include the smaller Uniti and DSM models from Naim and Linn respectively – the Auralic is the one with the smoothest power delivery.

The powerful, relaxed tuning is emphasized by the choice of D/A converter: As with the Aries Mini, Auralic uses the inconspicuous, natural and extremely clean-sounding SABRE9016 chip from ESS. Its characteristics can be subtly influenced by four selectable digital filter algorithms – the author ultimately preferred listening with his older Naim speakers in the “Precise” position, which brought a welcome touch of extra freshness, with the new Klipsch Forte III with the options “Smooth” or “Balanced”. This has nothing to do with tone control.

The digital filter is an integral part of the D/A conversion and removes the high-frequency by-products that are inevitably generated during the conversion. The different algorithms have practically no influence on the frequency response in the audible range, and can, however, affect the sound impression via their time and impulse behavior. You can access this setting via the front display and either the remote control or the multifunction rotary pushbutton on the device. Balance, absolute phase, volume presets, display brightness and the assignment of the two analog connections can also be set here.

All this is extremely well thought out and practical. In everyday use – and comparison to the competitors mentioned – there is only one small annoying thing, but according to Auralic, it is already being fixed: At the time of the test, the Polaris could only be accessed via its app if the streamer was already selected as the source on the device. When changing from one of the analog or digital inputs, you first had to switch to the remote control and only then start the app. Unconditional accessibility and full app control in all operating modes would reinforce the impression of perfect integration.

From a hi-fi point of view, a turntable makes sense as an additional source – for all the music that is available on disk or has never been released in digital form. Everything, That has been released digitally is best played back with the integrated streamer (possibly after having transferred it to the hard drive beforehand). External drives bring no advantage over the internal player clocked by Auralic’s high-precision femto clock, and of course, external complete players do not anyway, since their output signal would be A/D and D/A converted in the Polaris anyway.

Conclusion Auralic Polaris

One could blame the Auralic Polaris for getting in the way of source upgrades. That’s a purely academic limitation, though, as his greatest achievement is creating a situation at home where you don’t have to think about upgrades and hi-fi in general. It may be that the Polaris is also a highly attractive device for many demanding beginners. However, it is a drop-out device – ideal for people who, after many years with ambitious hi-fi and the complexity that it usually entails, are longing for a simpler solution that does not involve compromises: once the right speakers have been found, the only thing that remains to deal with the topic meaningfully is to search for new, exciting music—the solid above.

Pros And Cons Of Auralic Polaris Streaming Amplifier

Pros:

All-in-One Solution: Combines an amplifier, DAC, and network streamer in a single unit, saving space and reducing clutter.

Powerful Performance: Delivers 120 watts per channel, suitable for driving a wide range of speakers effectively.

High-Resolution Audio Support: Compatible with a variety of high-resolution audio formats, ensuring exceptional sound quality.

Versatile Connectivity: Offers multiple input options, including USB, Ethernet, Bluetooth, and more, for seamless integration with various devices.

User-Friendly App: The Auralic app provides an intuitive interface for streaming, managing music, and controlling playback.

Multi-Room Capability: Supports multi-room audio setups, allowing you to enjoy music throughout your home.

Sleek Design: Modern aesthetic that fits well in any audio setup.

Cons:

Price Point: Higher cost compared to traditional amplifiers or separate components, which may not be suitable for all budgets.

Learning Curve: New users may need time to familiarize themselves with the app and all the features.

Limited Phono Input: This does not include a built-in phono stage for turntables, requiring an external preamp for vinyl playback.

No HDMI Inputs: Lacks HDMI inputs, which may limit integration with home theater systems.

FAQs Auralic Polaris Streaming Amplifier:
1. What is the power output of the Auralic Polaris?
  Ans: The Auralic Polaris delivers 120 watts per channel into 8 ohms, providing plenty of power for most speakers.
2. Does the Polaris support high-resolution audio?
  Ans: Yes, the Polaris supports various high-resolution audio formats, including WAV, FLAC, ALAC, DSD, and more.
3. Can I connect my turntable to the Auralic Polaris?
  Ans: The Polaris does not have a built-in phono input, so you’ll need an external phono preamp to connect your turntable.
4. What streaming services are compatible with the Auralic Polaris?
  Ans: The Polaris supports popular streaming services like Tidal, Qobuz, Spotify, and more, making it easy to access your favorite music.
5. How do I control the Auralic Polaris?
  Ans: You can control the Polaris using the Auralic app available for iOS and Android devices, or through the physical controls on the unit itself.
6. Is the Auralic Polaris suitable for multi-room audio?
  Ans: Yes, the Polaris supports multi-room setups, allowing you to enjoy synchronized music playback across different rooms in your home.
7. What input options does the Auralic Polaris have?
  Ans: The Polaris offers multiple input options, including USB, Ethernet, Bluetooth, and digital inputs, allowing for versatile connectivity with various devices.
8. Is the Auralic Polaris easy to set up?
  Ans: Yes, the setup process is straightforward, especially if you follow the instructions in the user manual. The app also guides you through the initial setup.
9. Does the Auralic Polaris come with a warranty?
  Ans: Yes, the Auralic Polaris typically comes with a manufacturer’s warranty, but the specifics may vary by retailer, so it’s best to check the warranty details at the time of purchase.
January 15, 2025
Rotel RAP-1580MKII Review: Power and Precision for Home Theater Enthusiasts
Rotel RAP-1580MKII: This surround amplifier/processor is an updated version of a model that debuted four years ago. The designers have added a Dirac Live automatic sound calibration system for the room and also carried out a number of almost imperceptible cosmetic improvements in the software.

Both externally and conceptually, the device practically does not differ from the previous version. This is the same solid, large device familiar to us with a large informative display – and this screen turned out to be very convenient when you need to change settings without turning on the TV or projector.

I emphasize that in front of me is a multi-channel amplifier processor, but not a receiver at all, since the company decided that a classic tuner and listening to on-air radio broadcasts for serious film and audio fans is a vain and irrelevant business.

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You will not find here the now popular functions of Internet streaming, as well as multi-room and other networking features. And don’t be fooled by the Ethernet connector on the rear panel – it’s here only for service tasks.

This is a conscious policy of the company, which, for the sake of sound quality, does not want to overload the device with additional electronic components, as well as bind itself with unnecessary legal and material obligations to the owners of network technologies (which affects the final cost of the device). Of the wireless functions, only Bluetooth aptX is available.

The developers were faced with the task of making a universal device for film and audiophiles that would confidently and as plausibly as possible, without “drawdowns”, reproduce all the nuances of the sound accompaniment to the video sequence – be it explosions, whispers, the rustle of leaves, glass clinking and, of course, off-screen music.

For cinema, a common 7.1.4 scheme is offered with support for almost all current surround sound formats, including, of course, Dolby Atmos and DTS: X.

Recall that the sound here is not prescribed by channels in advance: first, its general vector is programmatically set according to the type “source pops up from the back left and rushes forward to the right”, and then the processor itself redistributes the sound between the speakers, depending on their configuration. The usual multi-channel recordings with various encodings from Dolby and DTS are also supported.

The RAP-1580MKII uses six Wolfson WM8740 DACs to reproduce natural sound. The built-in amplifier, powered by a hefty “custom designed” 1 100W toroidal transformer, outputs 140W per channel into 4 ohms and 100W into 8 ohms when multi-channeled.

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Fans of traditional stereo are also not forgotten – the company assures that the capabilities of the device will be enough to play various musical genres even with demanding acoustics, but with the proviso that cinema sound is still primary here. In 2.0 mode, the built-in amplifier provides 200 watts per channel with 4 ohm speakers and 135 watts with 8 ohm speakers.

Opportunities

As befits advanced multi-channel audio processors, the RAP-1580MKII supports a room-based audio calibration system. In this case, Dirac Live is from the company of the same name, named after the British physicist Paul Dirac.

It differs from similar systems primarily in the adjustment based on the impulse response of the speakers, and not just the frequency response – and the measurements are carried out not at a single point, but in the entire listening area (up to nine measurements).

For sound measurements, a USB microphone is attached to the device, but you will also need a computer and a special program that can be downloaded personally for the RAP-1580MKII from the Dirac website.

There is also a paid program upgrade to Dirac Live Full Frequency for $ 99 (in our country at the time of the test it will cost 7,181 rubles, including VAT) – this commercial version works with an uncut frequency range of 20–20,000 Hz.

The time limit for the test did not allow us to perform all these manipulations with a freshly unpacked device. Moreover, according to the experience of technical consultants, in a special, acoustically prepared room of the correct shape, it is enough to manually enter the type of speakers and the distance between them into the processor through the menu – and the difference with Dirac Live will turn out to be insignificant.

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But if I were going to install the RAP-1580MKII and a set of acoustics in my living room of a complex U-shaped shape, then adjusting the sound using Dirac Live would help to significantly improve the sound due to more accurate localization of characters, increased intelligibility of music and dialogue, as well as improved returns on the bottom.

It is enough to take a look at the rear panel of the device, and it will become clear that the developers are seriously concerned about the possibility of switching. There are a dozen HDMI connectors alone, of which two work as an output. Digital inputs are available on both coaxial and Toslink connectors, as well as a USB-B port. Enough and analog ports, including Phono MM.

In order not to spread the thought along the tree here, we have provided a more detailed list of possible connections, characteristics of inputs and outputs, video formats, and audio codecs below in the passport data.

As Machiavelli said, “The retinue makes the king” – the processor-amplifier also opens up with decent acoustics. We have B&W 702 S2 front speakers prepared for the test. The related B&W 703 S2 floor standers were responsible for the rears, and the B&W HTM71 S2 speaker was located in the center, while the B&W DB4s active subwoofer supported the bottoms.

How alive

I think that few people will be surprised by the effects of multi-channel sound in our time, so I will not bore you with textbook descriptions of impressions supposedly from the thick of a shootout or the center of a chase – such things are effectively demonstrated and devices are several times cheaper. I’ll go straight to the main thing – what is the peculiarity of the RAP-1580MKII with various kinds of movie sounds?

Describing other cinema audio systems, I often drew attention to the pronounced genre character of certain sets. For example, some perfectly convey the massive dense sound of action films and other action pictures, but are unnatural and rude when transmitting the sounds of nature and light off-screen music.

Others, on the contrary, are very natural when reproducing everyday scenes, but “sag” in battle episodes. Still, others seem to cope with different sounds, but the presentation turns out to be some kind of “synthetic plastic”.

Rotel RAP-1580MKII is always natural in the presence of high-quality acoustics: as they say, “in combat, work and rest.” It seems that if you make him reproduce the chirping of a sparrow against the background of anti-aircraft guns, he will cope with this.

A wide dynamic range is combined with a clear and distinct sound, especially noticeable in a heterogeneous soundscape: for example, voice-overs against the backdrop of a noisy music festival, or the sounds of nature breaking through the windows of a roaring car.

This is one of the key factors that makes long movie viewing comfortable. You no longer “twitch your ears” like an old warhorse, subconsciously comparing surround sound with the picture on the screen, but perceive the soundtrack as something completely natural and self-evident.

Music has tied us

I do not consider myself a cinephile, and therefore the declared musical abilities of the Rotel RAP-1580MKII interested me almost more than the cinematic ones. Moreover, the creators of the apparatus claim that its talents can reconcile the “spectators” and “listeners” within the family without the need to buy a set of multi-genre amplifiers.

The analog stereo sound mode here can be quite honest and puritanical: the signal is bypassed by digital circuits, bypassing all bass, volume, timbre, and time delay control functions – it goes only to the volume control and goes to the connectors for two front speakers. The subwoofer signal is also not provided here.

By ear, this is perceived … just fine: the B&W 702 S2 floor standers, in a manner familiar from numerous listenings, work out various genres very efficiently and conscientiously – without failures, but without any special revelations either. And all because I still have a multi-channel three-dimensional picture in my head from watching music videos.

And the inner voice begins to whisper, they say, in vain, do we have an excellent sound processor on board that can digitize a two-channel “analog” and turn it into virtual surround sound? I turn on the DSP mode with the SUR + button on the remote control – and the sound picture changes.

Digital brains, according to their logic, begin to arrange the performers: for example, we will send the vocalist to the central column, the piano solo here, plus maracas for the company. Let’s separate the guitars and wind instruments according to the front speakers, the subwoofer will take the rap for all the bottoms, and something falls into the “rear”.

And you know – and it’s very good! Let this not coincide with the intention of the performers and sound engineers, but what a sound – continuous, musical, rich, and voluminous. Most importantly – completely without a digital taste, which many more affordable processors sin.

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Instruments still sound very natural and, if you like, “analog”. So I recommend not to neglect such opportunities, whether you are the most orthodox audiophile.

Conclusion

First of all, the device will appeal to avid moviegoers who appreciate high-quality and accurate movie sound. Here, the amp processor can offer a wide range of connectivity, accurate natural delivery, and plenty of headroom for virtually all movie genres.

But supporters of traditional stereo won’t feel left out either. The Rotel RAP-1580MKII will provide them with a coherent, melodic, and at the same time confidently powerful sound, although without much pretension to refined analyticity and micro-detail. And for those who are not averse to experimenting with digital processing and volume, it will give new and very interesting impressions.

Price For Rotel Rap-1580mkii

Starting At $4,499.37 At Audio Advisor

Pros And Cons For Rotel Rap-1580mkii

Pros:
- High-quality Class AB amplification for rich, musical sound.
- Support for Dolby Atmos and DTS
  
  for immersive home theater audio.
- Dirac Live room correction for optimized sound in any room.
- Excellent connectivity, including balanced XLR inputs.
- High-end 32-bit/384kHz DACs for superior audio performance.
Cons:
- The user interface could feel dated compared to competitors.
- Some users may prefer Class D amplifiers for energy efficiency.
- No native Wi-Fi or streaming platform support built-in, aside from Bluetooth.
Rotel Rap-1580mkii Specifications

Amplifier class: AB

Number of channels: 7.1.4

Output power: 1 kHz, THD <0.05%, 4 ohms – 200W (2 channels), 140W (7 channels); 1 kHz, THD <0.05%, 8 ohms – 135 W (2 channels), 20 Hz – 20 kHz, THD < 0.05%, 8 ohms – 100 W (7 channels)

Frequency range: 10 Hz – 100 kHz (±1 dB, line input); 20 Hz – 20 kHz (±0.5 dB, digital input); 20 Hz – 20 kHz (±1 dB, phono input)

Intermodulation distortion: <0.05% (60Hz: 7kHz, 4:1)

Damping factor: 230 (1 kHz, 8 ohms)

Input Sensitivity/Impedance: 300 mV/100 kΩ (line input), 3.85 mV/47 kΩ (Phono input), 600 mV/100 kΩ (balanced input)

Signal-to-noise ratio: 100 dB (analog input), 96 dB (line input)

Built-in decoders: LPCM (up to 24bit/192kHz), Dolby Atmos, Dolby Pro Logic, Dolby Digital Plus, DTS:X, DTS-HD High Resolution Audio, DTS-HD Express, Dolby TrueHD, DTS-HD Master Audio

Preamp Output Level: 1.2V

Auto-calibration system: Dirac Live (USB microphone included)

Built-in DAC: 6 x Wolfson WM8740

Bluetooth support: aptX

Inputs: 8 x HDMI (3 with HDCP 2.2 support), line XLR, 3 x line RCA, Phono MM, 3 x coaxial, 3 x optical, USB port, 7.1ch

Outputs: 2 x HDMI with HDCP 2.2 support, 12.2ch (Pre-Out)

Video input/output resolution: 480i/576i, 480p/576p, 720p, 1080i, 1080p, 1080p 24Hz, 3D, 4K, UHD

AC output: seven pairs of screw terminals

Power supply: proprietary toroidal transformer

Power consumption: 1100 W, standby 0.5 W

Dimensions (WxHxD): 431x192x470 mm

Weight: 22.8 kg

Frequently Asked Questions (FAQs) Rotel Rap-1580mkii

1. What is the Rotel RAP-1580MKII?

Ans: The Rotel RAP-1580MKII is a high-performance surround sound processor/amplifier designed for home theater systems. It supports 7.1.4 channels with Dolby Atmos and DTS for immersive sound and uses Class AB amplification for exceptional audio quality.

2. How many channels does the RAP-1580MKII support?

Ans: The Rotel RAP-1580MKII supports up to 11 channels in a 7.1.4 configuration, providing immersive audio experiences with Dolby Atmos and DTS technologies.

3. What type of amplifier does the RAP-1580MKII use?

Ans: It uses Class AB amplifiers, which are well-known for providing high-quality, warm, and natural sound compared to more efficient but colder-sounding Class D amplifiers.

4. What is the power output of the Rotel RAP-1580MKII?

Ans: The Rotel RAP-1580MKII delivers 100 watts per channel at 8 ohms for its 7 main channels. This power is sufficient to drive most speakers in home theater setups.

5. Does the RAP-1580MKII support 4K video?

Ans: Yes, the Rotel RAP-1580MKII supports 4K Ultra HD video and HDR (High Dynamic Range) through its HDMI inputs and outputs, ensuring a seamless integration with modern TVs and projectors.

6. What audio formats are supported?

Ans: The Rotel RAP-1580MKII supports several surround sound formats, including:
- Dolby Atmos
- DTS
- Dolby TrueHD
- DTS-HD Master Audio
7. Does the RAP-1580MKII have room correction software?

Ans: Yes, it includes Dirac Live, a highly regarded room correction system that optimizes audio performance based on your room’s acoustic characteristics.

8. How many HDMI inputs and outputs does the RAP-1580MKII have?

Ans: It has 8 HDMI inputs and 2 HDMI outputs, supporting a variety of modern 4K sources such as gaming consoles, Blu-ray players, and media streamers.

9. Can I stream music wirelessly to the RAP-1580MKII?

Ans: Yes, the Rotel RAP-1580MKII supports Bluetooth aptX, which allows you to stream high-quality audio wirelessly from compatible devices such as smartphones and tablets.

10. Does it have balanced XLR inputs?

Ans: Yes, the RAP-1580MKII features XLR-balanced inputs for high-end source components, which provide superior noise rejection and improved signal quality compared to traditional RCA inputs.

11. Is the RAP-1580MKII suitable for stereo music listening?

Ans: Absolutely. Thanks to its Class AB amplifiers and high-quality 32-bit/384kHz DACs, the RAP-1580MKII excels in stereo music playback, delivering detailed, natural, and immersive sound.

12. Does the RAP-1580MKII support wireless streaming platforms?

Ans: The Rotel RAP-1580MKII does not have built-in Wi-Fi or native support for streaming platforms such as Spotify or Tidal. However, you can connect external streaming devices via HDMI or Bluetooth for wireless music playback.

13. How does Dirac Live room correction work on the RAP-1580MKII?

Ans: Dirac Live measures your room’s acoustic properties and adjusts the audio output to compensate for any imperfections, such as reflections and distortions. This ensures the best possible sound quality in your listening environment.

14. Can I integrate the RAP-1580MKII into a multi-room audio system?

Ans: Yes, the RAP-1580MKII can be integrated into multi-room audio systems using its array of inputs and outputs, including analog and digital connections, as well as its control features.

15. What is the price of the Rotel RAP-1580MKII?

Ans: Pricing varies depending on the retailer and region, but typically, the RAP-1580MKII is priced at around $4,000. It’s considered a high-end home theater amplifier, offering both home cinema and audiophile-grade music playback.

16. How does the RAP-1580MKII compare to other AV receivers?

Ans: The RAP-1580MKII stands out for its emphasis on audiophile-level sound quality, especially for music playback. While other AV receivers in its price range might offer similar home theater capabilities, Rotel’s focus on high-end audio performance sets it apart, particularly for those who listen to a lot of music in addition to watching movies.

17. What is the warranty for the RAP-1580MKII?

Ans: Rotel typically offers a 3-year warranty on their products, though warranty terms may vary depending on your location and the retailer.

18. Can I use the RAP-1580MKII for gaming?

Ans: Yes, with its 4K HDR support and powerful surround sound processing, the RAP-1580MKII is well-suited for gaming. It can handle immersive audio formats, making it a great choice for both casual and serious gamers.

19. Does it have phono input for turntables?

Ans: No, the Rotel RAP-1580MKII does not have a dedicated phono input. However, you can connect a turntable with a built-in phono stage or use an external phono preamp to integrate it into your system.

20. How can I update the firmware on my RAP-1580MKII?

Ans: Firmware updates are available through Rotel’s website. You can download the update and follow the instructions provided to install it using the unit’s USB port or another suitable method
January 15, 2025