Category: Amplifier

Lyngdorf TDAI-3400 Review

Modern integrated amplifiers can do much more than just “just” amplify and manage stereo signals. An integrated amplifier that can do a lot is the Lyngdorf TDAI-3400. It attracts, for example, with a highly sophisticated room calibration (RoomPerfect) and such a comprehensive modular design that it is possible for everyone to “tailor” their perfect amplifier. Discover the Lyngdorf TDAI-3400 review

The chic high-tech amp represents the latest evolution of the 20-year-old Tact digital amplifier, which was way ahead of its time at the time: with digital room correction and switching power amplifier. Tact has since become Lyngdorf Audio, but the great-grandchild amplifier is still based on the same ideas. Everything is up to date today.

The concept of the Lyngdorf TDAI-3400

The Lyngdorf TDAI-3400 is a completely digital machine, which primarily also offers digital inputs or network interfaces. In the basic version – keyword: modular structure – there are only two analog cinch inputs, that’s it. The speaker terminals feed 4-ohm speakers with up to 400 watts of energy, with 8 ohms exactly half that. RS-232 and trigger allow remote control.

Optionally, you can order the TDAI-3400 with an HDMI module, which then also offers video device access and switching options. The HDMI output integrates an audio return channel (ARC), which brings the sound from the television into the system. An analog input circuit board can be retrofitted, with three additional cinch and one XLR stereo input. The latest variant of this board, which was not yet ready for testing, replaces a line input with a phono MM input.

The digital connections offer a few special features. Of course, the Cinch and Toslink connections for SPDIF are included. More professional devices have an AES/EBU input and fans of computer audio can register the Dane as an external sound card via USB audio. A bit rarer is the digital output with SPDIF to an external D/A converter, if desired. There are also USB sockets at the front and rear for sticks and hard drives.

The slot for SD cards to back up all parameters is unusual but practical. Streaming via DLNA and Roon and the services Spotify and vTuner as well as control via app or web interface is done via Ethernet LAN cable or WLAN without a visible antenna.

The workmanship of the timeless industrial design is robust, precise, and almost perfect according to the price range. All screws are flush, and the surfaces are great. But the Lyngdorf TDAI-3400 isn’t entirely flawless either: the connector routing of the front USB socket stands out visually and the associated rubber stopper only covers it incompletely. On the other hand, the huge, crystal-clear matrix display, which is easy to read from meters away, is pleasing.

The slim remote control looks elegant and is practical because it uses both infrared and Bluetooth. Once the handset and amplifier have found each other via Bluetooth, it doesn’t matter where you point the remote control, all functions work even if there is no line of sight between the amp and remote control through a closet door or from the neighboring room.

The scope of delivery includes a professional measurement microphone for RoomPerfect room measurement and, commendably, a full-blown microphone stand so that the microphone can also be positioned precisely and decoupled. The most comprehensive and clearest control over all detailed settings is obtained when using the web interface.

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For everyday use, most users will certainly reach for the remote control or the app. It also offers the look and feel of the physical device, including the huge rotary volume control with “flywheel” and the corresponding lag. The app also shows streaming info about the current title or radio station, but as soon as you tap the configuration icon, the web interface opens. Some impressions of the operation here in the slide show:

The configuration options are really impressive. Inputs can be mapped, renamed, adjusted in level and tone preset, and even delayed for video output to achieve lip sync.

Helpful: During the initial commissioning, a detailed catalog of questions about the configuration appears and configures the complex machine practically by itself.

What makes this amp so flexible is the ability to freely define what you do with the analog high-level outputs. You can configure them as “normal” preamp outputs or you can configure full bass management with one or two subwoofers. The advantage of the Lyngdorf TDAI-3400: You can freely set all parameters, from the signal assignment to the filter characteristics and edge steepness, to the level and delays. The downside: you really have to do everything “on foot”; the processor does not allow auto-configuration in this regard, as is known from modern AV receivers.

RoomPerfect: calibration and sound tuning

With the in-house RoomPerfect procedure, measuring the room is easy to understand and takes the user to the goal in five steps. Compared to the yogurt cups that come with most AV receivers, the measurement microphone looks professional and robust. The XLR cable also reaches across very large rooms and even the necessary adapter to the mini jack is well-made.

As always, the standard procedure provides for the first measurement to be positioned as precisely as possible at the main listening position, which is called “Focus Position” here. Then, according to the instructions, more or less random positions in the room should be measured, also close to but never directly on boundary surfaces – i.e. walls, corners, or floors. After each measurement, RoomPerfect reports how good its “room knowledge” is, i.e. how well the room is recorded. Said and done.

My first practical tests in the acoustically optimized LowBeats test cinema took place with the large full-range floor-standing loudspeaker Heco CelanGT 902. Incomprehensible to me, RoomPerfect tries to “fill up” the typical extinction in the bass through the reflection on the rear wall, which is an impossibility. It amplified almost 15 decibels in this area – as could be measured. The bass range then sounded correspondingly rumbling and fortunately, the Heco can put away a pound of energy…

In any case, the power amplifier and the woofers had to do well. I repeated the measurement and consulted the sales department. In the detail of the measurements, you can also see that RoomPerfect even tried to compensate for the first reflection of the floor in the fundamental tone. Somehow the system doesn’t get along well with my room.

As the sales department confirmed to me from their own experience with customers, it worked better if you didn’t follow the instructions and instead only combined a “Focus Position” and a few measuring points of the directly adjacent seating positions. So it sounded much more homogeneous and tidier, and the banging disappeared. By the way: The Lyngdorf with an automatic limiter prevents overdriving during amplification in equalizing in an exemplary manner.

However, the test with the small Heco CelanGT 302 compact speakers plus the powerful CelanGT Sub 322 subwoofer delivered the best sound. Configured to 80Hz crossover frequency with manually adjusted level and runtime, RoomPerfect was then measured over it. As before, this does a pure two-channel overall correction, with no separate treatment of the subwoofer. This resulted in a balanced sound – regardless of whether by ear or by measurement.

One of the reasons why it sounded so superior was certainly the fact that in this configuration I was able to position the subwoofer more favorably for bass reproduction from the outset. It’s my old thesis: satellite plus subwoofer solve problems that often cannot be solved with full-range loudspeakers.

The RoomPerfect calibration process is fully automatic and the corrections cannot be further edited. Lyngdorf regulates this and all taste corrections very cleverly by the so-called “voicing”. A good dozen useful frequency response curves are listed here, which are combined with the automatic correction of the measurement. You can adjust the “voicing” very extensively and at the same time very precisely in a clear editor with eight parametric filters each. Existing voicings can be modified and you can even create and name your new ones. A powerful tool. This would even “repair” the dramatic overcompensation of the first RoomPerfect attempt.

The Lyngdorf TDAI-3400 in the listening test

But enough technical stuff. Once calibrated and configured, the Lyngdorf TDAI-3400 is very easy to use. Select the source, and turn it up/down, that’s all it takes. Feel free to switch the voicings. Whether you prefer to use the controls on the device, the remote control, the app or a web interface is purely a matter of taste. If you use Spotify, vTuner, or local streaming via DLNA or Roon, you already have the little machine under control, including automatic input selection.

A sound comparison of the inputs and signal types showed that on the one hand, the HDMI board sounded surprisingly well and the quality did not deteriorate as much as we are used to from AV receivers, for example. Proof of good removal of HDMI-typical jitter. The digital audio inputs didn’t give much and the analog premium board with the additional cinch and XLR inputs is indeed a worthwhile investment for audiophiles because the two standard cinch pairs sounded a bit sober in comparison.

In terms of liveliness, DLNA streaming from the local server was ahead of the USB audio input, unsurprisingly topped by playback via Roon with the RAAT protocol. Roon is also the easiest way to play exotic material like DSD. In principle, a signal processor with digital filters can only process PCM. And Roon converts very well in real-time.

The Lyngdorf team seems to have improved the filters for RoomPerfect. Because, contrary to previous experiences with this system, this time there was hardly any loss of dynamics or a flattened spatial image between RoomPerfect playback and bypass. This speaks clearly for the quality of the filters. The same applies to the “Voicings”. “Neutral” (no correction) and different voicing variants made no difference to the actual quality of the reproduction such as fine dynamics and richness of timbres, only the tonal balance changed as desired. That’s how it should be.

However, since the playback of such variable devices depends very much on the calibration and the respective configuration due to the principle, characterization is difficult, since almost every taste can be served at the push of a button. Whether you like it more balanced, clearer, or fuller: the Lyngdorf makes almost everything possible thanks to voicing filters.

What remains is the very supple basic character and the room image, which is particularly staggered in terms of width. In addition, there is a tendency towards a rather dark timbre, which is also responsible for pleasantly warm tones. In the treble, the TDAI-3400 even reproduces very fine textures but sounds surprisingly soft and never harsh. The bass benefits from the switching power amplifiers, which are practically infinitely potent for everyday use, and which push even stubborn bass membranes into the desired position in a very controlled manner.

Conclusion: An audiophile streaming integrated amplifier

The Lyngdorf TDAI-3400 embodies modern, digital high-end, as it is written in books. In terms of audiophiles, it in no way fulfills “digital stereotypes”: On the contrary, it tends to sound rather soft, supple, and fine, far removed from all prejudices. It has powerful power with up to 2x 400 watts and good control with its power amplifiers.

The hardware in the geometrically clear industrial design is excellently processed and the operating concept with Bluetooth remote control, app, and web interface is state-of-the-art. Practically all analog and digital interfaces in the world from HDMI to Toslink to USB, from DLNA to RAAT are available; If you don’t get a signal here, it’s your fault.

The automatic calibration via RoomPerfect proved to be a bit bitchy at first. But if you know how to use filters and even more so if you want to use one or two subwoofers, you get a heavenly playground with all degrees of freedom for perfect acoustic fine-tuning. However, this is not for beginners, they have to find a dealer or buddy who will set up the Lyngdorf TDAI-3400 for them. But once finished, handling in everyday life is child’s play and pure enjoyment.

Lyngdorf TDAI-3400 FAQs

What is the Lyngdorf TDAI-3400?
The Lyngdorf TDAI-3400 is a high-performance, fully digital integrated amplifier with built-in streaming capabilities, room correction technology, and various connectivity options. It’s designed for audiophiles seeking top-notch sound quality and customization.

Does the Lyngdorf TDAI-3400 support RoomPerfect?
Yes, it includes RoomPerfect, Lyngdorf’s proprietary room correction technology, which helps optimize audio performance for your specific listening environment.

What streaming services are supported by the TDAI-3400?
It supports various streaming services such as Spotify, Tidal, Qobuz, and internet radio through built-in streaming capabilities. It is also compatible with AirPlay, Roon, and DLNA.

How powerful is the amplifier?
The TDAI-3400 delivers up to 2 x 400 watts of power at 4 ohms, providing plenty of power to drive a wide range of speakers.

Can the TDAI-3400 be integrated into a home theater system?
Yes, the amplifier has an HDMI module option that supports ARC (Audio Return Channel) and CEC for integration with home theater systems.

Does it have DAC capabilities?
Yes, the TDAI-3400 features high-quality DAC functionality with multiple digital inputs, including USB, coaxial, and optical.

Can I control the TDAI-3400 remotely?
Yes, the TDAI-3400 can be controlled using a remote control, a mobile app, or through Roon for a more interactive experience.

What types of speakers are recommended for use with the TDAI-3400?
The amplifier is versatile and can be paired with most high-quality speakers, including bookshelf, floor-standing, and even active speakers.

Does it support multi-room audio?
While the TDAI-3400 is not inherently designed for multi-room audio, it can be integrated into multi-room systems using compatible streaming services like Roon.

What customization options does the amplifier offer?
The TDAI-3400 allows for extensive customization, including adjusting the crossover settings, and EQ settings, and personalizing different presets for various listening scenarios.

Pros And Cons For Lyngdorf TDAI-3400

Pros

High-Quality Digital Amplification
RoomPerfect Room Correction
Powerful Output
Extensive Connectivity Options
Streaming and Roon Ready
User CustomizationCompact Design

Cons

Price
Learning Curve
Optional HDMI Module Cost
Limited Analog Input Options
Not a True Multi-Room Solution
Remote Control Could Be Improved

January 24, 2025
Canor AI 1.10 Review: it couldn’t be better
So clean and neutral that you almost forget you’re listening to a tube amp: With the Canor AI 1.10, Canor has created a timeless classic amplifier that transcends genre boundaries.

Canor AI 1.10 Review: We had long planned to test the Canor AI 1.10, and the wait has been worth it. My first encounter with both the devices and the passionate team behind them was at High End 2024—a time before the pandemic when no masks hid the broad smiles brought on by exceptional audio experiences. One standout moment was hearing the Finkteam system, masterfully designed by Karl-Heinz Fink. Practically everyone who sat in the acoustically optimized demo room couldn’t help but smile, thanks to the incredible synergy. Naturally, the in-house Borg loudspeakers were part of the equation, delivering stunning sound clarity.

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And then there was this beautiful electronics from Slovakia, which I only knew before by its name, which also appeared now and then on the boards of the Austrian rational high-end giant Pro-Ject.

Indeed, the Canor plant in Prešov, Slovakia, builds large parts of the Pro-Ject electronics, but also serves other OEM customers. This makes good use of the capacities of the approximately 80 employees and is certainly responsible for the deliberately calm market launch of the private label: I have rarely heard so little marketing hubris from a company that is so clearly targeting the audiophile premium market.

No one is in a particular hurry or wants to suddenly dominate the market for this or that niche product. Testers love this trick. Here you still get the feeling of having discovered something great yourself. In any case, the test devices were scarce at first, but then other things intervened, such as the two outstanding PH 2.10 and PH 1.10 phono stages. And now the AI 1.10, which I wanted most urgently at the beginning, is finally appearing.

The special features of the Canor AI 1.10

What made the 1.10 so particularly attractive? In addition to the outstanding sound that it unfolded at the high end at the time, the prospect of a universal, reliable tube-integrated amplifier that you can blame for almost any speaker. The friendly Canor developer I spoke to at the trade fair (and whose business card I can no longer find) already pointed this out:

The AI 1.10 was not supposed to be a noble bitch that works fantastically with exactly three loudspeaker models in the world (but two of which are no longer built). It is a truly universal tube amp, with sufficient power but also sufficiently low output resistance to be able to drive real boxes with their mostly complex load behavior dynamically and tonally balanced.

The AI 1.10 not only met the ambitious goal in the Review but far exceeded it: It gets a sound out of a set of ordinary tubes that you don’t want to compare anymore. A sound that rests so perfectly in itself that other amps are no longer really of interest. You can also make friends with the optics: The AI 1.10 looks like all other Canors, so very, very good. Especially in silver, I think. But also in black, think others. In any case, the sales department sells almost the same amount of both variants.

The design is simple, the realization very refined, but not at all ostentatious-vulgar: the silver front panel has a certain thickness, and this allows a slightly recessed mounting of the central volume button, which seems to emerge from a soft amber glowing halo. Out of respect for this, even the continuous black acrylic band makes a celebratory arc, which in turn bears the amber-colored illuminated company logo. To the right of this is a giant dot matrix display with a perfectly matching color, which is visible from afar but at the same time shows the selected input and the current volume with very little electrical interference.

Anyone who finds the amount of light disturbing can dim everything together in several stages up to a complete blackout. The AI 1.10 then flashes briefly to acknowledge the front panel or remote control commands. Except for triode ultra-linear switching, all functions are accessible remotely and directly on the device. There are not many: volume, muting, and the selection of the five high-level inputs, which takes place via high-quality, permanently contact-safe relays.

The volume control is also implemented with relays. When fully turned up, the display shows 0 dB. The passive preamp cannot increase the signal, but this is never necessary with sources of normal volume. It only gets tight with very clumsy combinations: If you operate an extra-quiet MC in the turntable, you should make sure that the phono preamp has sufficient gain, for example.

Not only the input selection is technically implemented, but also the volume control with high-quality, contact-safe relays: Depending on the desired weakening of the input signal, the relay signal box combines exactly the right selection of precision resistors to a total of 64 one-decibel steps. If you turn the play-free ball-bearing volume knob or press the corresponding buttons on the remote control, you will not only reap a change in level but also a lively click, which betrays the technical luxury solution.

Their advantages include: perfect channel synchronicity today as in 20 years, the lowest possible distortion, and pleasant side effects such as the problem-free synchronization of several identical amps – we’ll see in a moment what this is for. A balance control would have been desirable and technically feasible without any problems. However, the available 1dB levels would have been quite rough for this.

After input selection and volume control comes the active part of the amplifier – completely tube-equipped: A double triode of the type 12AX7 plays the input stage, and two further double triodes – now the lower-impedance, but less amplifying 12AT7 – serve as drivers. A pair of KT88 beam tetrodes is responsible for power amplification per channel.

It doesn’t get much more ordinary than this selection of tubes – which is thoroughly positive news about a future exchange: these types are available in good quality from all corners of the world. For example, at the JJ company in Canor’s home country and EU member Slovakia.

However, Canor is exemplary in ensuring that such an exchange does not become necessary ahead of time. And even goes one step further: the Canor amps make their owners forget what technology they are listening with. With the 1.10, you can only see the end tubes smoldering through the ventilation slots in the thick sheet steel cover.

The double triodes are practically invisible because they are hidden in protective aluminum cylinders. In day-to-day use, only indications such as the half-minute warm-up after switching on and the separate 4Ω and 8Ω speaker terminals remind us of the thermionic amplification. In the test, however, the 1.10 was completely free of any telltale extravagances: no crackling, no ringing, no hissing or humming, neither when switching on nor off, and certainly not when listening to music.

After my experience with three previous Canor models, I had expected nothing less. Because quality assurance during production is 110 percent. All tubes have to be burned in for 48 hours before they can be used, and then they go into Canor’s test system called Aladdin. Aladdin measures more different parameters than usual tube testers and stores the results of each tube in a database, which enormously accelerates and facilitates both the selection of components for new construction and later replacement.

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The output stage of the AI 1.10 runs in class A, i.e. with such a high quiescent current that no crossover distortion can occur between the push-pull halves. Since tube amps already get quite warm in AB mode, the difference to pure Class A is no longer as obvious as with their transistor colleagues: The AI 1.10 just gets a little warmer and, at 420 watts, draws a little more power from the Can than other typical KT88 push-pull. You get 40 watts per channel from your energy input from the AI 1.10 – thanks to the adapted transformer tappings, this power is equally available on 4Ω and 8Ω boxes.

If you use high-efficiency loudspeakers with the Canor, you can control the output tetrodes like triodes at the push of a button, i.e. put your screen grid on the potential of the anode. Then the whole thing is no longer amplified so well, the power is halved and you get an even nicer distortion spectrum that is exclusively occupied by even-numbered harmonics. Switching is only possible directly on the device and should take place during music breaks and not too quickly back and forth.

You don’t have to compare for long anyway, because the advantages and disadvantages of the two modes are crystal clear due to the enormous basic quality of the amp: “Triode” sounds very warm and gentle, “Ultralinear” is spatially wider, more lively and the bass is much better defined. The ultra-linear operating mode connects the screen grid of the tube with a precisely defined center tap of the output transformer and thus represents a type of local negative feedback – with correspondingly favorable effects on output resistance and distortion level.

So with Ultralinear, there is more power, more control, and less distortion. One might ask why a switch is necessary at all – which is not only available from Canor but also, for example, from tube amps from Cayin or Line Magnetic. You ask yourself that question until you have tried the two modes with different speakers. It then primarily depends on the efficiency and impedance curve of the speaker: “Tube-friendly” constructions with rather high efficiency and high/linear impedance often sound better in triode mode. As expected, heavier loads often prefer ultra-linear – although taste and listening situation, as well as the design of the respective amplifier, also play a major role.

My Tannoy Legacy Eaton (89dB per watt/meter, 6Ω) is somewhat erratic when it comes to triode mode: I preferred it on many amps tested, but not all. Then there are those tube amplifiers that are not capable of anything else because they are simply built with triodes. Here, too, some specimens are fun on the Tannoy (such as the Line Magnetic 805) – and those that want more accommodation.

The Canor AI 1.10 is unusual in several respects: It sounds better on the Tannoys in ultra-linear mode. And it is not – as usual – a compromise where advantages and disadvantages then add up in favor of one or the other operating mode. The Canor required no compromises. It just sounded so good on the Eatons in every way

The “Output Mono Block” pair of terminals next to it is internally connected to the 4Ω windings of both output transformers, putting the amp in mono bridge operation. The Canor then receives the required symmetrical signal via one of the two XLR inputs. The blue SubD socket on the bottom right synchronizes the amp in mono mode with a second A 1.10.

hearing test Canor AI 1.10 review

Dynamics and scale are two parameters that are closely related: How wide does the window through which we view the music open? When Canor: huge. The answer has surprisingly little to do with an amp’s spec sheet performance. In this point there are parallels to the Pass INT-25, which also works in Class A and is specified as only 25 watts at 8Ω – but in practice and at lower impedances it can deliver a multiple of this power.

The Canor delivers an unspectacular 40 watts per channel but develops it so completely effortlessly and casually that even close to the limit there is not a hint of effort. Even if the physical limits of the tubes used are simply reached beyond those 40 watts, it seems even more dynamic in a direct music comparison to the pass. Some records need that. Low’s current LP, for example, ends in the seven-minute track “The Price You Pay”.

As is typical for Low, the piece begins with the tender, two-part singing of the Sparhawk and Parker couple. After listening to the album, one has already gone through a lot at this point and gratefully lets oneself fall into these wonderful, simple harmonies. And then these edgy, distorted beats stomp into the piece again, piling up higher and higher to a true “WTF??” moment:

If you don’t counteract this with the volume control early on, you can hardly do it on your own from minute three of the button. And wonders how the hell this piece was able to escalate like this. And it just escalates with the Canor even more immediately, surprisingly, more frighteningly than with the Pass – which is not just any random amp, but the best solid-state integrated amplifier that I know of.

If a particularly large amount of power is required, for example for heavy-duty loudspeakers in corresponding rooms, you can convert the AI 1.10 into a monoblock and buy a second 1.10. The two amps then each run in a bridge circuit and synchronize their volume control via a control cable.

Karl-Heinz Fink had the 1.10 running at the High End back then. So two of them. For trade fair conditions – huge room, massive acoustic measures, background noise, correspondingly high demonstration volumes – an ideal setup with a smooth 80 watts per channel, which will probably only rarely be necessary at home. In any case, it’s good to know that the option is always available.

timbres and neutrality Canor AI 1.10

The Canor gains tonal diversity and intensity not so much through its own efforts, but through an unusually neutral approach for tube conditions. In the listening room, my old Linn LP12 / Lingo 2 / Kore / Ekos 1 played upstream with a brand new Thorens TAS 1600 scanning fantastically clean and nuanced.

The color palette that the combined masterminds deliver to the Canor is opulent, and it shines through the amp virtually unhindered. Where other tubes swallow a bit of differentiation at the top, underline the presence range a little, or slim down the basic tone by a few grams, i.e. leave a touch of their sound, the Canor blooms with pure, fragrant, unfiltered nature.

Reproducing colors, unambiguously, and with rich nuances: the Canor does this better than any other integrated amplifier that has ever stood in my listening room. “Ich Tauche Auf” from the current Tocotronic double LP “Nie Wieder Krieg” sounds delicate, the voices of Tocotronic singer Dirk von Lowtzow and guest singer Soap&Skin are so close that you can feel their breath on your skin.

On the rough, leathery opposite side of the tonal color spectrum there are records like “Bubblegum” by the late Mark Lanegan: Recorded in the legendary and anecdotal desert studio Rancho de la Luna in Joshua Tree, California, staffed by top-class stoner rock personnel, such as the practically entire Queens Of The Stone Age, guitarist/studio operator David Catching and Masters Of Reality boss Chris Goss, as well as illustrious guests like PJ Harvey, who performs an enchanting duet with Lanegan on “Come To Me”.

With the Canor, that sounds exactly as it should: authentic, direct, and highly dynamic. You can hear the wooden walls resonating, see the grains of desert sand dancing on the vibrating floorboards, feel the pressure of Josh Homme’s bass amp in your stomach, and witness two huge and opposite rock voices ensnare each other: Lanegan’s distressed, tequila-soaked baritone and Harvey’s ethereal soprano. Unrepeatablely grandiose, and with the Canor and Tannoys you feel like you’re standing right next to it. Not a coffee cup in hand, but a glass of José Cuervo.

Details Canor AI 1.10

The Canor AI 1.10 has an extremely fine resolution but remains completely informal. A rare combination of tonal beauty and complexity, and an extremely desirable one, because the extra information that the amp conjures up in the listening room never comes across as forced, intrusive, or artificially cymbally. Christy Moore’s “Live – At The Point” once again has a big “Wow!” in the listening test notes: voice and guitar as stable as nailed down, accurately differentiated from listening around, but still with completely smooth edges.

Authority with silk gloves, from which the light, playful, and spontaneous in Moore’s announcements and anecdotes benefit enormously, the sparkling energy that connects the singer with his live audience like a high-voltage line. This atmosphere lives from the finest details, which can get caught in many places on their way from the vinyl groove to the speaker. Here they don’t. And a lot of what I previously chalked up to the speaker or pickup simply dissolved in pleasure.

Conclusion Canon AI 1.10

One can philosophize about how Canor manages to make the AI 1.10 sound so incredibly open and neutral. Is it the house-wound noble transformer built with a precisely balanced core composition (30% permalloy)? Circuit boards (CMT, Canor Milling Technology) are artistically skeletonized by CNC milling, which is supposed to combine the advantages of circuit boards and free wiring.

Or just a lot of experience, sophisticated circuit design, and a bit of luck? In any case, for the price of this amp, I don’t know of anything better, nicer, or more uncomplicated. The key data – KT88, 40 watts – are much cheaper. But they don’t tell the whole story. Not even a chapter of it.

Canon AI 1.10 Specifications

Technical concept: Tube Integrated Amplifier

Performance: 2 x 40 watts (ultra-linear), 2 x 20 watts (triode)

Inputs: 5 x RCA

used tubes: 1x12AX7, 2x12AT7, 4xKT88

Particularities: Power amp mono bridgeable

Dimensions (W x H x D: 43.5×17.0×48.5cm

Weight: 26.0 kilos

FAQs about the Canor AI 1.10 Tube Amplifier

Q1: What type of amplifier is the Canor AI 1.10?
A1: The Canor AI 1.10 is a high-end integrated tube amplifier that uses vacuum tubes for amplification. It is designed for audiophiles seeking a warm, natural sound.

Q2: Which tubes does the Canor AI 1.10 use?
A2: It uses four KT88 output tubes and two 12AX7 input tubes. These tubes contribute to its rich and detailed sound quality.

Q3: What is the power output of the Canor AI 1.10?
A3: The amplifier delivers 40 watts per channel in a Class A/B configuration. This power output is sufficient for most home listening environments, especially with efficient speakers.

Q4: Is the Canor AI 1.10 compatible with all speaker types?
A4: While it can drive many speaker types, it works best with high-efficiency speakers, typically with a sensitivity rating above 88 dB.

Q5: Does the Canor AI 1.10 come with a remote control?
A5: Yes, the amplifier includes a remote control, allowing for easy adjustments to volume and input selection.

Q6: What kind of sound signature does the Canor AI 1.10 have?
A6: The AI 1.10 is known for its warm, full-bodied sound with excellent midrange detail and a smooth top end. It provides a natural presentation, typical of tube amplifiers.

Q7: Does the Canor AI 1.10 need bias adjustment for its tubes?
A7: Yes, it includes a built-in automatic bias adjustment feature that simplifies tube maintenance and ensures optimal performance.

Q8: How long do the tubes in the Canor AI 1.10 last?
A8: Tube lifespan varies based on usage, but on average, KT88 tubes can last around 2,000-3,000 hours, while the 12AX7 tubes can last longer, around 5,000-10,000 hours.

Q9: Is tube rolling possible with the Canor AI 1.10?
A9: Yes, tube rolling is an option, and users can experiment with different tube brands or types to customize the sound.

Q10: Does the Canor AI 1.10 require regular maintenance?
A10: Tube amplifiers generally need more maintenance than solid-state amplifiers. You may need to replace tubes periodically and check the bias to keep them in optimal condition.

Pros of the Canor AI 1.10 Tube Amplifier
- Rich Sound Quality
- High Build Quality
- Automatic Bias Adjustment
- Remote Control
- Tube Rolling Capability
- Efficient Power Output
Cons of the Canor AI 1.10 Tube Amplifier
- Price
- Limited Power for Low-Sensitivity Speakers
- Fragility of Tubes
- A Little Warmup Time
January 24, 2025
Canor Hyperion P1 + Virtus M1 Review: preamp/power amp
It’s a preamp/power amp combination that I didn’t want to drag into the listening room anymore: too big and heavy. The trio consists of the preamp Canor Hyperion P1 + Virtus M1 (mono power amps) and is made according to the old tradition: with tubes for amplification and extremely high material costs. The height of 19 centimeters alone is enough to spread fear: Who can put something like that up? In addition, when unpacking, the station wagon feels like 200 kilos – at least. The technical data would have me believe it was only 115 kilos (preamplifier: 35 kilos, per monoblock 40 kilos). Would I then have needed so many strong hands to support me? Certainly not. But that’s not the only point where the paper form of the combination seriously understates.

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We’ve written the story more than once: the ambitious people who have been manufacturing the electronics for Pro-Ject in Prešov, Slovakia for more than 25 years, at some point had the feeling that they – no matter how good the bread and butter – components – would not be filled out. So, under the Canor label, they began to develop and manufacture very serious tube electronics. At LowBeats, we think the amplifiers (and phono amps) are so great that they all got an “outstanding” rating – mainly because they are comparatively cheap compared to what’s on offer.

With the trio of Canor Hyperion P1 + Virtus M1, the Canor makers go even further and want to create what they see as the ultimate. It probably worked.

The specifics of Canor Hyperion P1 + Virtus M1

It is often said that a tube stage is only as good as the transformers or the output transformers. In this regard, the Slovaks have excellent cards, because these special components are precisely tailored at Canor in the factory: That means the engineers wind the coils themselves and can even determine the composition of the core sheet. It doesn’t get any better than that. As a reminder: Germany’s flagship tube manufacturer Octave also comes from a winding plant…

A striking feature of all Canor components tested so far was that the Slovaks always equip their circuits with very common components. The components used here (especially the tubes) are not absurdly exotic types that you have to pay thousands of euros for if you need a replacement or you may not even get them at all. That speaks to a wise assessment of things and the longevity of Hyperion and Virtus.

Also striking is the massive, very prominent control button, which at least has a central function in the preamp. One has the impression that everything here is milled out of armor plates. At least in my tester career, I’ve only very rarely come across a preamp with a live weight of 35 kilos.

And because we are at the absolute high end here, everything about the combination is of course designed symmetrically. The power amplifier M1 has only one input: a three-pin XLR connection. It is the reduction to the superior type of connection – especially for longer distances. At the top right, there are trigger accesses so that you can start up the entire combination via remote control.

The preamp is a different number on the connection side: 9 inputs and 3 outputs are available here. Under the proviso that the Canor developers are striving for the absolute Olympus of sound, plug-in circuit boards for digital, but also for phono, are not provided. If you need them, you have to purchase them separately.

A look under the lid of the Canor Hyperion P1 underlines the extreme demands of the Slovaks: Everything is neatly separated into chambers and even the chamber walls are made of solid steel. Not only the clinically clean structure is impressive here, but also the powerful relay bank at the back of the picture. It enables the most precise form of volume control in 64 steps.

As with every test, I naturally want to know what the people were thinking during the development – especially since the combo sounded outstandingly good shortly after unpacking and switching it on. So are there any tricks, or secret knowledge?

But the communication with the developers at the Slovaks used to be a bit peculiar. Because the guys don’t speak English (or even German), the information runs through an associated PR man, who doesn’t understand that much about the technology. Author: “Can you say something about the circuit? What are the special features?” The answer after some detours via the PR office: “The circuit was carefully designed and special emphasis was placed on the best components.” Aha. I was already thinking something like that.

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But of course, the good man is not wrong: Entire companies of Supreme Silver Gold-Oil capacitors from Mundorf were installed in the signal path. The conductor tracks of the circuit boards are made of extra strong, oxygen-free copper, which is additionally coated with pure silver.

The power amp Canor Virtus M1

The technical data shows that the pre-amplifiers and power amplifiers run in class A mode and without overall negative feedback. While for a while, especially in Germany, a high level of negative feedback was often considered a panacea among amplifier developers, people are gradually moving away from it – if at all possible. Nevertheless, the Canon engineers have not completely banned the said overall negative feedback: Below the front, the M1 monoblock offers the option of activating it in a discreet form using a toggle switch. I just don’t know why. Because it didn’t sound better “with” any of the loudspeakers I tried. And there were many.

The M1 draws its power from a bridge circuit of two pairs of KT150. This tube has become very fashionable in recent years – simply because it can provide an amazing amount of power when wired correctly. If you believe the technical data from Canor, then the monoblock has an output of 55 watts in triode operation and 110 watts in ultra-linear operation.

To explain: You can switch between the two modes on the front of the M1. But because the M1 sounded so much better to our ears in triode mode, we left the two monos in triode mode throughout. This is another option that I don’t understand. In ultra-linear operation, the M1 sounds a bit snappier, but also paler and less spatial. What is that good for? In triode operation, it sounds warmer, more colorful, more plastic, and more rousing.

And then this value: 55 watts? Can this be? You know the murmur of tube fans, tube watts always sound like much more than transistor amplifiers because they clip differently. Nevertheless: In the listening tests, the performance of the M1 monos sounded like a lot more.

When trying to measure the performance of the monoblocks, we failed. Our measuring equipment (the so-called shooting gallery) is only designed for small tube amps up to 30 or 40 watts. The M1, which was quickly recognizable, has a lot more to offer.

Colleague Holger Barske published performance measurements in his very readable test in LP Magazin (issue: 4/22) and reported 250 watts (ultra-linear) and 180 watts (triode). So a shoe is made out of it and what is heard is explained. However, why Canor states its values in such a “conservative” manner remains a mystery to me.

The fact remains: The M1 are among the most powerful triodes that I know of and they should easily drive most of the loudspeakers on the world market. This also applied to our reference boxes, the FinkTeam Borg. However, this circumstance was to be assumed because the M1 was created in the Canor laboratory on the terminals of the Borg, which also serves as a reference loudspeaker for the Slovaks.

Sound Test

I had invited two friends for the first listening test and after the first tracks had been played via the Esoteric CD Player/Canor Vor-/End/Merason-DAC and FinkTeam chain, it was initially quiet. Until I then asked into the room: “Have you ever heard that better?” Both said no devoutly. To warm up, I once again fished the “Misa Criolla” with Jose Carreras out of stock and was floored: had I ever heard that the nave is so deep? Have I ever had Carrera’s voice so present in front of my nose? No. Everything is right here: the timbres, the vocal power of the choir, the power of the timpani.

Since its release in June 2022, “Saturday Night in San Francisco” has also been an integral part of our listening music. We heard almost the entire album and were all floored: how the strings could shine, how authentic the impulses came…

In the final listening test, we had four speakers that were quite different in their way: the aforementioned FinkTeam Borg, the Fyne Audio 703, the B&W 803 D4, and the AudiaZ Opera. While the Canor combo also boosted Fyne and B&W in a way I hadn’t heard before, the AudiaZ versus FinkTeam comparison was about something else: every last bit. While the Borg was always enchanted with dreamy tones and a little more pressure in the bass, the AudiaZ managed to reveal the last information even more openly and finely. Especially with the guitar trio from “Saturday Night…” it was a bit more thrilling – which is why most of the listening tests were then carried out with the AudiaZ.

First, we exchanged the M1 for the powerful SPL mono power amplifier S1000. They had a bit more power, but the SPLs couldn’t match the incredibly rich, authentic, very fine reproduction of the M1 either. Another LowBeats reference is the (separable) tube amplifier Monaco from Westend Audio. If we use the power amplifiers of Monaco, everything has a little more kick a more seductive touch more dynamic. But it’s the tonal colors and this warm, subtle openness with which the M1 keeps most power amps at a distance, even beyond their price range. Because she has power.

The large Daiko drum of the Kodo drummers came extremely dynamic and open with the Monaco power amplifier. With the M1, the punches had a little less punch, but the presentation was even richer, more sublime, and somehow more sovereign.

Then we turned things around: the Monaco now acted as a preamp, the M1 as a power amp. Here it became clear that both the developers from Canor and from Westend Audio know their craft because the preamp and power amp are very closely related in terms of sound. Nevertheless, it can be said that the P1 offers even more sonority compared to the Monaco preamplifier than was the case when comparing the power amplifiers.

However, this also shows that the character of the preamplifier is almost more important for the overall sound than the tonal character of the power amplifier. And the fact that the Canor combination, both as a whole and in parts, is different and in many areas better than Monaco played shouldn’t come as a surprise to anyone who has taken a look at the price tags: the last percentage is always the most expensive…

Conclusion Canor Hyperion P1 + Virtus M1

Big, heavy, edgy, not cheap, but unfortunately incredibly good: The large Canor combo has inspired us as no amplifier electronics have for a long time – even though it costs more than 40,000 euros and needs a lot of space and electricity.

But in terms of sound, this trio has mastered a feat that most amplifiers in this hi-fi world have forever denied: an authenticity like real life. Anyone who hears the Canor station wagon is addicted to it – at least that’s how we felt. It is simply the best amplifier electronics that we have had in the LowBeats listening room so far.

Against this background, the price is also put into perspective – at least a little. As with the smaller amplifiers, Canor also manages to create an extremely serious price/performance ratio here. With most other well-known high-end providers, such a sound quality – if it can be achieved at all – would be a lot more expensive.

Canon Hyperion P1 Specifications:

Technical concept: tube preamp

Inputs: 4 x XLR, 5 x RCA

Outputs: 2 x XLR, 1 x RCA, triggers

used tubes: 4×6922, 2x6H30PI

Constant power consumption: 300 watts

Dimensions (W x H x D: 45.0×19.0×46.5cm

Weight: 35.0 kilos

FAQs about the Canor Hyperion P1 (Preamp) + Virtus M1 (Power Amp)

Q1: What are the Canor Hyperion P1 and Virtus M1?
A1: The Canor Hyperion P1 is a tube-based preamplifier, and the Virtus M1 is a solid-state monoblock power amplifier. Together, they form a high-end preamp/power amp combination for audiophile-grade sound quality.

Q2: What type of tubes does the Canor Hyperion P1 use?
A2: The Hyperion P1 uses two 6922 tubes in its circuitry, contributing to its warm and detailed sound signature.

Q3: What is the power output of the Virtus M1 monoblock amplifier?
A3: Each Virtus M1 monoblock delivers 350 watts into 8 ohms and 600 watts into 4 ohms, making it powerful enough to drive most speakers with ease.

Q4: Can the Hyperion P1 and Virtus M1 be used with other audio equipment?
A4: Yes, both units are compatible with other preamplifiers and power amplifiers, respectively, allowing for flexible system integration.

Q5: Does the Hyperion P1 have balanced inputs and outputs?
A5: Yes, it includes both balanced (XLR) and unbalanced (RCA) inputs and outputs, providing versatile connectivity options.

Q6: Do the Virtus M1 monoblocks use tubes?
A6: No, the Virtus M1 is a solid-state amplifier, which ensures high power output and control while maintaining the warmth from the tube-based preamplifier.

Q7: What kind of sound signature can be expected from the Hyperion P1 and Virtus M1 combination?
A7: The combination offers a balanced sound with the warmth and natural presentation of tubes (from the Hyperion P1) and the power, dynamics, and control of solid-state amplification (from the Virtus M1).

Q8: How often do the tubes in the Hyperion P1 need replacement?
A8: The 6922 tubes generally last around 5,000-10,000 hours, depending on usage. Periodic replacement is recommended to maintain optimal sound quality.

Q9: Does the Hyperion P1 have a remote control?
A9: Yes, it comes with a remote control for volume adjustments and input selection, adding convenience for the user.

Q10: Can the Virtus M1 be used in bi-amping configurations?
A10: Yes, because the Virtus M1 is a monoblock design, it can be used for bi-amping by using a separate amplifier for each speaker channel.

Pros And Cons Canor Hyperion P1 + Virtus M1

Pros of the Canor Hyperion P1

High-End Sound Quality
Flexible System Configuration
Powerful Output
Balanced Connectivity
Remote Control
Tube Warmth with Solid-State Power

Cons of the Canor Hyperion P1
- High Cost
- Tube Maintenance
- Space Requirements
- Heat Generation
- Not Portable
January 24, 2025
Naim Uniti Nova Review
The new Naim Audio Uniti line with the top model Naim Uniti Nova (5,000 euros) tested here and its smaller siblings Star (4,000 euros) and Atom (2,200 euros) marks a turning point in Naim’s history. It marks the point where lifestyle and high-end finally merge and something new and natural emerges from it.

The new Uniti models from Naim – these are complete systems in one housing, which are only missing the right loudspeakers. Audiophile amplifiers with or without an integrated CD drive, but always with full streaming capabilities, in a new, self-confident look that differs more clearly than before from the manufacturer’s components.

What hasn’t changed is Naim’s signature build quality, with almost obsessive control over every detail – from the bend radius of each branch of a wiring harness to the tightening torque of each case screw.

To do justice to the increasing complexity of the new, internally highly compressed models, the English company set up a completely new department at the Salisbury plant. Their workstations are equipped with a touchscreen-based guidance system that supports the employees step by step during assembly.

A Naim Uniti Nova does not wander from place to place but is completely set up and tested by one person at a time. At first glance, this doesn’t seem particularly rational, but given the relatively small quantities, it doesn’t have to be. On the other hand, the quality improves demonstrably, which is why other high-end manufacturers such as Linn also rely on this type of production, as do some car manufacturers in their luxury series.

With the Naim Uniti Nova, you can immediately feel that the battle for streaming amps to be accepted as fully-fledged hi-fi devices in large parts of the hi-fi world can be regarded as won. Now they can also look good without immediately attracting the suspicion of sound purists. The distinction between beautiful and good has always been artificial and nonsensical anyway: there is no technical reason why great-sounding players and amplifiers have to look ugly or be awkward to use.

Rather justified were and are concerns about the high concentration of functions, sensitive players and brute power amplifiers, digital intelligence, and analog muscles in a common housing.

Naim itself once exercised the meticulous separation of individual functional areas with unique thoroughness and, for example, equipped the preamplifier with two external power supplies, one of which was only used to supply the switching relay, the motor potentiometers, and the remote control logic. But at the same time, the developers learned a lot about the mutual influence of the assemblies, which can now also be applied to the highly integrated models.

All this and much more: the features of the Naim Uniti Nova

On the other hand, for those who are completely uncompromising, there are still highly differentiated high-end individual components – so you can still fill a six-story full-size rack for the two functions “digital player” and “amplifier” if you want and can afford it.

The small, more affordable pre-amp combos, on the other hand, have disappeared from the portfolio without a trace. This is a pity from the point of view of hi-fi species protection, but it would certainly not have happened without a significant drop in demand for these components. It also allows conclusions to be drawn as to the level at which the classic chain of many black blocks is still really useful or necessary. Namely very far up.

That is the real progress: that fantastic sound quality is not only somehow possible, but it is much easier to achieve than it used to be with a minimum of administration, cabling, and space.

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The new hi-fi world is much nicer anyway. With its roughcast unit cases and olive drab fronts, Naim was once the hi-fi equivalent of Land Rover. Today, not even the company logo on the lower left corner of the case is lit up in the familiar green.

For this purpose, the logo is illuminated from above by a cleverly hidden light source, as if it were standing on a small stage. A semicircle of light also falls on the footprint and underlines the company name – a chic, yet subtle staging, like so many other details of the Naim Uniti Nova, where not a millimeter was left to chance in terms of design.

Cleverly arranged longitudinal and transverse joints divide the massive, 13-kilo case block into smaller, lighter-looking units. The right half of the front is adorned with a brilliant, high-resolution display that presents menus and cover motifs almost without a frame over the full height – behind thick real glass.

The Uniti devices inherited their huge volume control from the flagship preamp NAC S1. This control is recessed into the housing cover and is bathed in a subtle light as soon as you approach the device with your hand. The knurled aluminum rotating ring, the size of a beer mat, is mounted with absolute precision and is bathed in a subtle light as soon as you approach the device with your hand. In the middle there is a ring of light segments for the display of the volume – also here under glass.

On the Naim Uniti Nova remote control, there is a smaller version of the indicator light ring, which is always in sync with that on the device thanks to bi-directional radio contact. The wireless technology also brings tangible practical advantages, because the remote control no longer needs visual contact with the device.

It works from any position, around corners, and even through walls. I was able to listen to music wonderfully from my desk without having to get up to aim for the Nova, which is not directly visible from my desk, every time I wanted to change it.

Of course, you can also use the Naim app for this, the range of which is only limited by that of the WLAN. However, apps are not ideal for such simple, spontaneous things as turning the volume down, muting, or skipping – you just want to be able to press a button quickly and not first unlock the tablet and/or switch to the app and wait for it to reconnect.

In this respect, full marks for Naim, which does not check off the topic of “physical remote control” with the Naim Uniti Nova with a cheap OEM rubber knob, but recognizes it as an important part of the overall package and implements it accordingly with dignity and thought through.

With the purchase of the Naim Uniti Nova, all source equipment and amplifier worries are gone, unless you also need a turntable. Because that is of course not built into the Nova – just as little as the necessary phono preamplifier.

On the digital side, however, with the new, extremely powerful Naim streaming board you have much more than just a modern CD player replacement. Its capabilities, both in quality and variety, go far beyond what was thought to be the state of digital technology in the past decade.

For the sound quality, it is secondary whether the music library resides on a PC accessible in the home network, a NAS, a USB hard drive, or an SSD memory – the user of the Naim Uniti Nova, supported by the first-class programmed, absolutely stable Naim app, can always access the music comfortably and reliably.

If the library contains less than 20,000 titles, you don’t even have to use an external DLNA server, you can simply plug your collection directly into the Nova on an SD card or USB memory, which then takes over the sorting and can serve as a server not only for itself but also for other network players in the same household.

NAS, Tidal & Co: the Naim Uniti Nova in practice

From today’s perspective, ripping CDs and maintaining your own NAS libraries is almost retro: If you want, you can use the Nova without having to have your music stocks at all by subscribing to one of the integrated music services – i.e. Spotify or TIDAL, both of which have over tens of millions of tracks that can be called up immediately. There are also hundreds of other current and future music delivery apps that work seamlessly with the Nova via the Chromecast protocol.

The advantage over the – also possible – streaming from mobile devices via Airplay or Bluetooth lies in the better division of labor, both in terms of quality and convenience: the Chromecast-enabled app on the tablet or smartphone only serves as a selection and control tool, while the actual playback process is completely handed over to the Nova.

This avoids unnecessary shoveling of data back and forth over the WLAN, saves the battery of the mobile device and the album continues to run even when the smartphone and its owner get a beer and are therefore outside the WLAN range. In addition, there are hardly any restrictions on the quality – or let’s say neutral: data rate – of the streamed material.

For example, the Qobuz music service can even be used in HiRes quality via Chromecast (at least if you have the corresponding, not exactly cheap “Sublime” subscription), without the conversion to the respective uniform transport format, which is necessary with Airplay and especially with Bluetooth and is not very helpful in terms of sound (Apple Lossless in CD resolution with Airplay, something with reduced data with Bluetooth).

However, the highest resolutions are possible with classic DLNA streaming, where up to 384kHz sampling rate with 32-bit word width or DSD with the double rate (i.e. 5.6MHz) are pushed into the FPGA-based digital filter programmed with Naim’s algorithms. That means dizzying data rates (384/32, for example, even pushes classic cable LAN to the limit), but not automatically proportionally higher quality.

More importantly, it’s hard to find a file on the internet that Naim doesn’t play in native resolution. As it should be, it takes a back seat to the music and simply does what it is supposed to, regardless of which formats, playback methods, and operating scenarios the user prefers or is used to.

Here are some general pros and cons of the Naim Audio Uniti Nova:

Outstanding Sound Quality: Naim Audio is renowned for its audio engineering, and the Uniti Nova lives up to its reputation, delivering a powerful and transparent sound with excellent detail and dynamics.

All-in-One Solution: The Uniti Nova combines multiple functions in a single device, serving as a streaming player, DAC, pre-amplifier, and power amplifier, simplifying your audio setup and reducing the need for multiple components.

High-Resolution Audio Support: It supports a wide range of high-resolution audio formats, including DSD, FLAC, WAV, AIFF, and ALAC, allowing you to enjoy studio-quality music if you have compatible audio files and streaming services.

Extensive Connectivity: The Uniti Nova offers a variety of connectivity options, including Wi-Fi, Ethernet, Bluetooth, USB, HDMI ARC, and various analog and digital inputs, making it easy to integrate into different audio systems.

Naim App and Streaming Services: The Naim app provides a user-friendly interface for music management and playback control, and the Uniti Nova is compatible with popular streaming services like TIDAL, Spotify, and Qobuz.

Multi-Room Capability: With its built-in multi-room functionality, you can synchronize the Uniti Nova with other Naim streaming products to play music throughout your home.

Roon Ready: The Uniti Nova is certified as “Roon Ready,” allowing seamless integration with Roon’s music management software for a more sophisticated music library interface.

Premium Build and Design: Naim products are known for their excellent build quality, and the Uniti Nova is no exception, featuring a sleek and elegant design that complements any living space.

CONS

Price: The Naim Audio Uniti Nova is a premium product with a suitable price point, which might be a limiting factor for budget-conscious buyers.

Limited Power Output: While the Uniti Nova’s built-in power amplifier is powerful, it might not match the performance of separate dedicated power amplifiers, especially with very demanding or power-hungry speakers.

Limited Internal Storage: Unlike some other all-in-one systems, the Uniti Nova does not come with built-in internal storage for music, requiring external storage solutions for local music libraries.

Learning Curve: The Naim app and user interface may have a learning curve for some users, especially if they are new to the Naim ecosystem.

Heat Generation: As with many high-powered audio devices, the Uniti Nova can generate considerable heat during extended use, which might be a concern in confined spaces or for those sensitive to heat.

Naim Uniti Nova Specifications:
- Power Output: 80 watts per channel into 8 ohms
- Amplifier Class: Class AB
- DAC: Burr-Brown PCM1791A
- Supported Audio Formats: WAV, FLAC, AIFF, ALAC, MP3, AAC, OGG, WMA, DSD (64 and 128)
- Streaming Services: Spotify, Tidal, Qobuz, Apple Music, Chromecast, AirPlay 2, Bluetooth (aptX HD), Roon Ready
- Inputs:
  - 1 x HDMI ARC
  - 2 x Optical TOSLINK (up to 24-bit/96kHz)
  - 1 x Coaxial (up to 24-bit/192kHz, DoP 64Fs)
  - 1 x RCA
  - 2 x USB Type-A (front and rear)
  - 1 x Ethernet
  - 1 x BNC (for external power supply)
- Outputs:
  - 1 x RCA pre-out
  - 1 x Headphone jack (3.5mm)
  - 1 x Speaker outputs (banana plug)
- Wireless Connectivity: Wi-Fi, Bluetooth (aptX HD), AirPlay 2, Chromecast
- Multi-Room Streaming: Naim multi-room compatibility
- Storage Options: External USB drives, SSD, HDD (via USB)
- Display: Color LCD with proximity sensor
- Control: Naim app (iOS & Android), including remote control
- Dimensions: 95 mm (H) x 432 mm (W) x 265 mm (D)
- Weight: 13 kg (28.66 lbs)
- Power Supply: Internal switching power supply
Frequently Asked Questions

1. What is the power output of the Naim Uniti Nova?
The Uniti Nova delivers 80 watts per channel into 8 ohms, providing ample power to drive a wide variety of speakers with precision and control.

2. Does the Uniti Nova support streaming services?
Yes, the Uniti Nova supports a wide range of streaming services, including Spotify, Tidal, Qobuz, and Apple Music. It also supports Chromecast, AirPlay 2, and Bluetooth for wireless streaming.

3. Can I use the Uniti Nova in a multi-room setup?
Yes, the Uniti Nova can be integrated into Naim’s multi-room system, allowing you to stream music throughout your home with other compatible Naim devices.

4. Does the Uniti Nova have a built-in DAC?
Yes, the Uniti Nova features a high-quality built-in DAC, ensuring exceptional digital-to-analog conversion for all your digital sources.

5. Can I connect a turntable to the Naim Uniti Nova?
Yes, you can connect a turntable to the Uniti Nova using an external phono stage, as it does not have a built-in phono input.

6. What types of speakers work best with the Uniti Nova?
The Uniti Nova pairs well with a wide range of speakers, from bookshelves to floor-standing models, due to its high power output and exceptional sound quality.

7. Does the Uniti Nova support high-resolution audio formats?
Yes, the Uniti Nova supports high-resolution audio formats such as WAV, FLAC, AIFF, ALAC, and more, up to 32-bit/384kHz, ensuring superior sound quality.

8. What is the storage capacity for music on the Uniti Nova?
The Uniti Nova allows for local storage of music via USB or external drives. You can also add an SSD or HDD for direct music playback.

9. Does the Uniti Nova have an internet radio?
Yes, the Uniti Nova provides access to thousands of internet radio stations, giving you access to music from all over the world.

10. Is the Naim Uniti Nova suitable for home theater use?
While primarily designed for two-channel stereo audio, the Uniti Nova can be integrated into a home theater system, though it lacks surround sound processing.
January 23, 2025
The Ultimate Listening Experience: Primare i35 Amplifier Review
In a hit parade of the most beautiful hi-fi components, Primare would certainly always have a candidate among the top ten. The Swedes simply have a wonderfully light hand when it comes to a design that is as clean as it is elegant. One that makes it clear right from the start that quality prevails here. But just being beautiful is of course not enough.

The Swedes have also succeeded in instilling highly audiophile traits in their UFDP (Ultra Fast Power Device) switching amplifier concept. The i32 integrated amplifier was something like their flagship for a long time: a pretty, powerful integrated amplifier with many features, which was also pleasantly cheap and consequently received a lot of praise from the specialist press. After more than seven years, a successor for this i32 is now announced: the Primare i35,

Classic Look Primare i35

What has changed since the 32 series? The new line has a wider display, the control buttons are a bit further apart. This makes the devices look a bit slimmer. Of course, the Primare i35 still looks classic. And technically, a lot has remained the same. The Swedes are outspoken fans of digital power amp concepts; the UFPD in-house developments were also used again for the i35.

At its core, these are switching amplifiers with a switched-mode power supply that follows analog logic. Primare calls it the “Ultra Fast Power Device”. Which can mean anything. The word hides more than it reveals. But: above all, it has to be fast – ultra-fast. With the i35, Primare has now climbed to the level of “UFPD2”.

With UFPD2, the Swedes say they achieve significantly better efficiency and lower distortion. This also results in more power and supposedly better sound: if the I32 had 2 x 120 watts at 8 ohms, the Primare I35 had 2 x 150 watts at 8 ohms. Are the 30 watts per channel decisive for the sound? Probably not.

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The UFPD secret lies in a patented form of negative feedback, which is intended to eliminate interference such as impedance and frequency dependence in digital circuits. In addition, the concept scores with maximum efficiency: over 90 percent of the supplied energy is converted into sound, and the heat development remains extremely modest; the i35 doesn’t get hot. And that even though it can provide up to two times 300 watts at four ohms. In addition, the new signal paths could be shortened again; this is also beneficial for pulse accuracy.

Now logic would dictate that such a concept could also get by with a small transformer. In fact: the power processing is intelligent, but not solved with mass. Nevertheless, the Primare i35 weighs a whopping 11 kilograms.

Which is also due to the noble housing. Everything is made of full metal. Sturdy metal sheets form the body, and the rotary knobs are milled from aluminum and are a pleasure to touch. If you want, you can also buy the Primare i35 in the freestyle with a built-in streaming converter. As I said, we had to stick to the stripped-down basic version. But even that offers enough reason to be happy. For example, there are two XLR ports in addition to three RCA inputs.

The overall construction rests on three feet – which, in addition to the ideal weight distribution, also guarantees a wobble-free stand.

Mechanically, the Primare i35 makes an excellent impression. In terms of sound, however, he still had to prove himself. We set up various speakers in the listening room – including the wonderful Dynaudio Contour 20 and the very gripping Magnat Signature 1109. With both, the i35 sounded compelling and engaging.

Primare i35 listening test

What sound philosophy have the Swedes staged for the i35? We’re starting our test run with a brand new remastering: Warner has reissued the legendary recording of Gustav Mahler’s “Lieder aus des Knaben Wunderhorn” – available in 24-bit and 96 kilohertz. George Szell conducts the London Symphony Orchestra, Elisabeth Schwarzkopf and Dietrich Fischer-Dieskau sing. It doesn’t get any better than that. Also in terms of sound. The new master sounds wonderfully fresh and gives no hint that the original tapes were made more than 50 years ago.

An amplifier is already required with the first bars. In the piano, there is a deep bass impulse from the bass drum. Since the membranes have to tremble lightweights can choke under the amplifiers. The Primare i35 took it surprisingly well in our test. Everything was right: the spatial presence of the bass and the robust pop. When using the singing voice, we were happy about the high tempo – the shimmering of the vocal cords was quickly and effectively released from the speaker axis. Dietrich Fischer-Dieskau stood in the room: very physical – and very convincing.

For comparison, we used one of our all-time heroes, the Atoll IN300. A masterpiece in double mono construction and with Mos-FETs that handle up to double 150 watts at eight ohms. The Atoll puts the speakers under stronger, finer pressure and ultimately provides a greater dynamic experience.

Also Read: Auralic Polaris Review

But the Primare i35 scored with its elegant silkiness. Nothing seemed difficult for him. Not even the big crescendo in Mahler’s “Revenge” – here the orchestra roars in a scary march: the really big, imperious-martial dynamic. The i35 was happy about this outbreak. This could take the breath away of an unprepared listener. And even at this dynamic high – not a trace of an allegedly typical hardness, as it is said of digital amplifiers. The i35 breaks with all prejudices. It was finely structured and extremely full-bodied.

Can he bring the same values to elegant jazz? Here’s our tip: The trumpeter Till Brönner just went to the recording studio together with the double bass player Dieter Ilg. The album is called Nightfall – the finest, spartan jazz comes to life here. The Primare lovingly traced each phrase. The reflections in the recording room are highly informative. The Leonard Cohen adaptation of “A Thousand Kisses Deep” managed to kneel.

As an endurance test, some more pop. Franz Ferdinand has succeeded in producing wonderfully robust electro-pop on his new album “Always Ascending”. An amp has to deliver stable continuous power. The i35 did it with a light hand. Despite the complex diet, there was never a hint of annoyance.

And of course, we also listened to the Primare i35 with its combination partner CD35. I was also really impressed by the CD player in the series, which resulted in a wonderful overall picture: great sound, very finely divided and yet discreet in appearance.

Conclusion Primare i35

The Primare i35 is a special, positive work of art. Primare relies on a new interpretation of the UFPD circuit. That could lure anxious minds into prejudices: don’t digital amps sound harsh and uncharming? Are you kidding me? Are you serious when you say that? The compact Swede demonstrates how much power and sovereignty can be obtained from the world of switched-mode power supplies. It sounded wonderfully smooth in our listening room, silky in the highs and with impressive power in the deepest bass. Admittedly, some amplifiers sound a bit more manageable for the same price. But only a few have mastered its delicacy and airiness. And I think he’s really pretty too. In my eyes, this Primare i35 is a big hit.

Pros And Cons Of Primare I35 Amplifier

Pros:
1. Class-D Amplification (Ultra-efficient)
2. Modular Design
3. High Build Quality
4. Balanced Sound
5. Multiple Input Options
Cons:
1. Nothing AT This Price
FAQs Primare I35 Amplifier:

1. What is the power output of the Primare I35?
The I35 delivers 150 watts per channel into 8 ohms and 300 watts per channel into 4 ohms, providing plenty of power for most speaker setups.

2. Does the Primare I35 come with a DAC?
The base model of the Primare I35 does not include a DAC, but there is a modular option to add a DAC for digital audio capabilities.

3. Can I stream music directly from the Primare I35?
Streaming capabilities are available only if you opt for the Prisma module, which adds network and streaming features like Spotify, Tidal, and Bluetooth.

4. What inputs does the Primare I35 have?
The I35 has a variety of inputs, including RCA, balanced XLR, and optional digital inputs (with the DAC module). This makes it compatible with a wide range of audio sources.

5. Does the Primare I35 support high-resolution audio?
Yes, with the optional DAC module, the I35 can handle high-resolution audio files, ensuring the best possible sound quality from digital sources.

6. Is the Primare I35 easy to upgrade?
Yes, its modular design allows for easy upgrades. You can add a DAC or Prisma module at any time to expand its functionality.

7. Does the Primare I35 come with a remote control?
Yes, the I35 includes a remote control, offering easy access to volume, input switching, and other basic functions.

8. What is the Prisma module?
The Prisma module adds network and streaming capabilities to the I35, allowing you to stream music wirelessly from various services and control the amplifier using a smartphone or tablet.

9. How energy-efficient is the Primare I35?
Thanks to its Class-D UFPD 2 amplification, the I35 is highly energy-efficient, reducing power consumption without sacrificing audio performance.

10. What kind of speakers work best with the Primare I35?
The I35 is compatible with a wide range of speakers, from bookshelf models to larger floor-standing options, making it versatile for various setups and preferences.
January 23, 2025
Unrivaled Performance: Technics SU-G700M2 Amplifier Review
Technics SU-G700M2: The theme of classic Hi-Fi is increasingly exploited in the creation of modern stereo components. It should be noted that several brands do this rightfully because it is their amplifiers “with arrows” of the 70s that are the reference for designers of the 21st century. One such brand is Technics.

The SL-A1 powerhouse with a pointer indicator on the entire facade was the dream of many audiophiles 30 years ago, and modern Technics amplifiers have every chance of becoming the ultimate dream for many in our time. This is because the classic design hides the latest technology, several generations ahead of most competitors. And, importantly, Japanese engineers reinforce their technological advantage with their inherent perfectionism and attention to the smallest details.

A Short About Technics SU-G700M2

Technics does not need a special introduction among American connoisseurs of high-quality sound. This is the oldest Japanese brand, which was especially popular in our country. Branded Hi-Fi components, stereos, headphones, and portable players were very popular at the turn of the century – from the time foreign electronics hit the store shelves, until the moment when the Technics brand completely disappeared from these shelves.

And here it is impossible to do without a brief historical background. The Technics brand, along with Panasonic and National, was owned by the Japanese corporation Matsushita Electric Industrial. On a corporate scale, Hi-Fi was not a dominant activity, and as demand in this market segment declined, production of components ceased, and Technics Hi-Fi disappeared with it.

Time has passed. Matsushita Electric Industrial Corporation was restructured to become Panasonic Corporation, and the demand for high-end audio began to rise again. On this wave, the Technics brand was revived in 2014, and now the familiar logo adorns several lines of Hi-Fi components, as well as stylish multi-room acoustics and all-in-one systems.

In parallel with this, a line of vinyl players began to develop more actively, which did not lose their relevance as equipment for DJs, and now have regained their former popularity among audiophiles.

We need all this information to understand one simple fact: the current Technics is the same company and the same engineering tradition that produced the very components of the golden era of Hi-Fi.

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Tradition and modernity

It is difficult to find a Hi-Fi manufacturer who would not talk about how carefully he treats all stages of component development. However, it is enough to listen to what happened as a result, or just look under the cover of the device to understand how these words correspond to reality.

In the case of Technics, the seriousness of the developer’s intentions is obvious even at the stage of distance acquaintance with technologies. With the Technics SU-G700M2 Integrated Amplifier, Japanese engineers re-traced the path of Peter Lingdorf in their way, creating an all-digital amplifier.

In addition, quite traditional ways of improving sound, which have been practiced in High-End equipment since the last century, were additionally applied: vibration control, careful selection of materials and components, and so on. This combination of cutting-edge technology and classic precision sound tuning looks very interesting.

The first thing we see if we look under the lid of the apparatus are thick steel walls and two partitions that divide the body into sections isolated from each other. In addition to shielding that protects the power supply, power amplifier, and preamplifier from crosstalk, all three sections are vibration-isolated from each other and the external environment.

As for the contents of the amplifier compartments – there is nothing like traditional models. The power supply section does not have a toroidal transformer with large capacitor banks, the power amplifier section does not have a large heat sink with powerful transistors, and the preamplifier board looks more like a DAC module or a network player. Let’s start with the last one.

Digital inputs and the only way

The Technics SU-G700M2 preamplifier is fully digital and based on proprietary JENO Engine technology. This is a complex digital circuit with a vanishingly low level of intrinsic jitter and an input signal reclocking system.

It amplifies digital signals and converts them directly into pulse-width modulation, which is fed to the input of a class D power amplifier. The preamplifier circuit operates under the control of a precision battery-powered clock generator.

As a result, from the available set of inputs, the SPDIF interfaces and USB feed the signal directly to the preamplifier circuit, and the signals from the analog inputs after switching go through an analog-to-digital conversion. The highest quality ADC chip available is from the audiophile-favorite BurrBrown brand.

Nevertheless, there was a place for an analog circuit in the preamplifier – this is a phono stage that works with both types of cartridges: both MM and MC. Its input stage operates in differential mode, and the output stage is built on low-noise FET transistors. A feature of the phono stage is an adjustable preamp level.

The user can select one of four fixed volume levels to match the phono stage to the characteristics of the cartridge being used. Another useful feature is the ability to invert the phase of the input signal. This is necessary for listening to some old vinyl records.

On the rear panel, it is easy to notice a pair of analog outputs. The line output is connected only to analog sources and produces the same signal that goes to the ADC. Variable analog output works differently. Given that the volume control occurs in the digital domain, the signal to it comes through the DAC. It is also curious that the amplifier has no digital outputs.

Based on the foregoing, it is most reasonable to consider the Technics SU-G700M2 amplifier as a thing in itself, which does not make sense to use partially – only as an external DAC or preamplifier. The ideal signal path is from digital inputs to speaker terminals, and the rest can be useful for some ancillary processes like recording sound from vinyl through the built-in phono stage or connecting a powered subwoofer to a regulated output.

Auto calibration

The main feature of the power amplifier unit is the proprietary LAPC (Load Adaptive Phase Calibration) technology. It radically changes the very principle of interaction between acoustics and amplifiers.

In normal situations, the amplifier is designed to work with some hypothetical load, the operating impedance of which is in the range from 4 to 8 ohms, and the phase is conditionally linear. At the same time, the actual impedance of acoustics, as well as its phase, are non-linear – and it is this non-linearity, combined with the ability of the amplifier to compensate for it, that determines the nature of the sound of the bundle.

Technics engineers have changed the rules of the game. LAPC technology measures the characteristics of the connected speakers and adjusts the frequency and phase characteristics of the output signal accordingly.

Thus, we get a pair of acoustics-amplifier, in which the impedance and phase of the acoustics are of no fundamental importance and minimally affect the result. In other words, the Technics SU-G700M2 is an amplifier that can handle any speaker. In any case, this directly follows from the description of the principle of operation of the technology.

Energy without noise

The third integral part of the amplifier is the power supply. And this is no less important part of the design than all the others. After all, the amplifier circuit only modulates with a musical signal the energy that comes through the power supply from the network.

Historically, all attempts by engineers to improve the power supply of amplifiers and other components have been reduced to two directions: some improve linear power supplies, while others improve switching power supplies. Both of them have great potential, but if you think in absolute terms, impulse ones, as more modern ones, have more prospects. This is probably why this path was chosen by Japanese developers.

The power supply unit installed in the Technics SU-G700M2 has a record low noise level. Significantly smaller than good audiophile-switching power supplies, not to mention the rest.

This was achieved by multiplying its operating frequency, which reaches 400 kHz (even though 100 kHz is already considered a high rate!). Selected electronic components helped to ensure the stability of the circuit. To suppress residual noise at the output, high-quality voltage stabilizers are used.

As a result, the power amplifier unit receives the purest power without any impurities in the form of noise and interference. In addition, the switching principle of operation, combined with increased frequency and the original capacitor bank, borrowed from the flagship SU-R1000 model, provides an exceptionally fast response of the power supply to the needs of the amplifier board.

This means that the dynamic performance of the Technics SU-G700M2 should be better than any other devices equipped with both linear and switching power supplies.

And for headphones

It is especially pleasing to note the fact that fans of personal audio have not been forgotten either. The Technics SU-G700M2 has a headphone output and another technological marvel hides behind the standard 6.3mm jack.

The headphone amplifier circuit takes as input the same PWM signal that goes to the power amplifier, but then it is immediately converted to analog form. The analog part of the circuit works in class AA – this is also an original development of the company. The first stage in the analog part is a voltage amplifier and operates in pure class A, and the second stage provides the required output current to the connected headphones.

In practice, the headphone amplifier has a surprisingly clear and transparent sound and also has good headroom for driving high-impedance models. If it were not for the lack of a balanced output, its capabilities and quality class could be called exhaustive.

Second generation

The Technics SU-G700M2 amplifier belongs to the second generation, as indicated by the M2 index. Moreover, if you put two amplifiers side by side – SU-G700 and SU-G700M2 – the only difference will be the inscription with the name of the model. The list of internal changes, according to official information, is rather laconic: the M2 model has expanded the functionality of the phono stage and also uses elements of the power supply from the flagship amplifier.

At first glance, this is not enough to get any significant differences – especially if the source is digital. But with a direct comparison, it is simply impossible not to notice a significant difference like the sound.

The first model, which we have already tested, impressed me in the first place with its detail, dynamism, and sound accuracy. The scene was drawn very convincingly and was not tied to acoustics. At the same time, exceptional sound composure, full control of acoustics, and focus throughout the entire range were accompanied by some restraint in emotions. Reproducing the sound picture quite authentically, the Technics SU-G700 amplifier system gravitated toward the analytical presentation of the material.

Other things being equal, the Technics SU-G700M2 gave a completely different result. Having retained most of the above properties, including exceptional detail, he made the scene even more voluminous and large-scale, and the sound was filled with a large number of micro-details and shades, giving it a pronounced emotional coloring.

And therefore, the perception of music as a whole has radically changed. If the first version of the amplifier gave a practical studio character of presentation with an emphasis on details, the second surprises primarily with a sense of realism and expressiveness, thanks to which from the first notes you fall into listening, forgetting about everything in the world.

This comparison reminded me, oddly enough, of experiments with digital transports, when, moving from mid-budget models to High End, you don’t get any radical increase in formal characteristics, but the sound surprisingly comes to life, begins to breathe, live, filled with many nuances and shades that make the overall picture hyper-realistic.

What is characteristic is that in digital this effect is achieved solely due to the fight against various kinds of noise, incl. incoming food. And we see the same approach in the case of Technics SU-G700M2. Further improving the power, the developers revived the sound.

Correct load

From the theoretical part, we concluded that the amplifier should be largely “omnivorous”, since it can compensate for the imperfection of the acoustics connected to it. However, in practice, Technics SU-G700M2 gave reason to remember that in addition to electrical characteristics, acoustics have many other properties.

For example, with the most ideal control of the speaker from the side of the amplifier, the presence of a soft cone that lubricates the bass will not radically improve the sound. A miracle will not happen even if the acoustics as a whole do not have high resolution.

Moreover, during the experiments, it turned out that high-end acoustic models made according to classical canons are also not ideal partners for the Technics SU-G700M2 amplifier: in such a bundle, the nature of the speakers themselves is too pronounced, and not their strongest sides, while when working with classic transistor or tube amplifiers, they also sound very interesting, demonstrating only their merits.

The best partners for Technics SU-G700M2 turned out to be acoustic models that are built according to modern canons and focused on the most detailed, accurate, and focused sound. In such bundles, the strengths of both the amplifier and the acoustics do not even add up, but multiply each other, giving a fantastic result.

One of these options is the operation of the amplifier together with the branded Technics SB-C600 shelf speakers. It is hard to imagine that such compact speakers are capable of sounding in a large hall, but de facto, even in a large showroom, the sound turned out to be exceptionally large-scale, voluminous, with a massive bass foundation – as if a pair of medium floor standers were playing.

The coaxial radiators that the bookshelf speakers are equipped with are phase-linear and are capable of creating a three-dimensional scene, and in combination with the Technics SU-G700M2, they fill the whole room with sound, not even giving a chance to localize the sound source by ear. The only thing that I missed a little in this bundle was clarity and detail in the bass range. Still, a small coax in a bass-reflex design is not the tool with which to achieve perfect bass.

The ELAC Concentro S 507 acoustics became an ideal pair for the Technics SU-G700M2 amplifier. We will write a separate article about these speakers, but for now, to understand the scale, I will list their main properties.

ELAC Concentro S 507 is a representative of the flagship line. The model has four bands with a ribbon tweeter, a coaxial midrange/treble section, and four bass drivers. With a low impedance of 4 ohms, it does not have the highest sensitivity (88 dB) and has a rated power of 240 W (with a minimum allowable of 60 W). And at the end of the portrait – the speakers cost about five times more than the amplifier.

The result of the joint work of Technics SU-G700M2 and ELAC Concentro S 507 can turn the most inveterate audio skeptic into an adherent of modern High End. The system gives the listener a real, live, holographic soundstage. The musicians just appear in the room – and there is a feeling that you can touch them.

And the most amazing thing is that realism and a sense of volume are perceived even by listeners who are in the next room. This combination has no equal in its ability to convey the atmosphere and acoustic space, which makes classical, jazz and live recordings sound great.

All this is combined with an even tonal balance and an exceptional degree of detail, allowing you to see all the subtleties of the mix, as far as the original quality of the content allows. The system keeps the listener’s attention on the emotional and artistic components of the music.

Thanks to this, even compressed recordings can be listened to without any discomfort – and the situation when the music library has to be limited only to the best Hi-Res editions and individual vinyl releases is excluded. The most banal CD and the record released in the 80s by Melodiya can give no less emotion than a modern DSD file.

Results

In my opinion, the Technics SU-G700M2 amplifier is the most convincing and demonstrative example of the triumph of modern technology. How it is possible to bring transistor or tube technology to perfection – we have already observed many times over decades, but such a chic realization of High-End sound in digital is extremely rare.

The only thing left of the classic approach in this amplifier is the fight against vibrations and interference, as well as the careful selection of components in terms of impact on sound. Everything related to circuitry is a continuous innovation, which is shunned by many conservative developers and end users.

Since we are dealing with circuitry that is radically different from the traditional one, approaches to the further improvement of the system should also be completely reconsidered. It is quite obvious that in a system with a Technics SU-G700M2, an external DAC will not help improve the sound in any way, and the influence of cables may manifest itself somewhat differently than with classic components.

At the same time, a change in digital transport can have a noticeable positive effect, and, considering how the developers improved the sound of the amplifier, it makes sense to continue research in this direction. Vibration decoupling mounts, network conditioners, and filters may well have a significant impact.

The only question that remained open for me is a rather modest choice of digital interfaces that the amplifier has. The set of inputs and outputs looks like we are dealing with an analog circuit, and not with a fully digital path. Digital outputs, an AES|EBU interface, and clock I/O would look appropriate on the back of a Technics SU-G700M2.

Pros and Cons Technics SU-G700M2 amplifier:

Pros:
1. Premium Build Quality
2. Impressive Sound Performance
3. High-Resolution Audio Support
4. Advanced Power Supply
5. Multiple Inputs and Outputs
6. Dedicated Phono Stage
7. Efficient Cooling System
Cons:
1. Price Point
2. No Built-In Streaming
3. Weight
4. Limited User Interface
Technics SU-G700M2 Specifications:

Power: 2x70W into 8 ohms, 2x140W into 4 ohms

Impedance: 4-16 ohms

Frequency range: 5-90,000 Hz digital input, 5-80,000 Hz analog line input

Phono stage: MM/MS

Digital inputs: 2x optical, 2x coaxial, USB-B (asynchronous, USB Audio Class 2.0)

Digital Formats: PCM up to 32bit/384kHz, DSD up to 256 (native or DoP)

Analog inputs: 2x line, phono stage

Analog outputs: linear, adjustable

Dimensions: 430x148x428 mm

Weight: 12.6 kg

FAQs Technics SU-G700M2:
1. What is the power output of the Technics SU-G700M2?
  The SU-G700M2 delivers 70 watts per channel into 8 ohms and 140 watts per channel into 4 ohms, providing enough power for most speaker setups.
2. Does the Technics SU-G700M2 support vinyl playback?
  Yes, it has a built-in phono stage, allowing you to connect your turntable directly for high-quality vinyl playback.
3. What kind of inputs does the SU-G700M2 have?
  The amplifier comes with multiple inputs, including RCA, phono, optical, coaxial, and USB, making it compatible with a wide range of audio sources.
4. Does the Technics SU-G700M2 have a remote control?
  Yes, it comes with a remote control for convenient operation from a distance.
5. Does it support high-resolution audio?
  Yes, the SU-G700M2 supports high-resolution audio formats such as FLAC, WAV, and DSD, ensuring excellent audio quality.
6. Can I use the SU-G700M2 with my home theater setup?
  While it’s designed primarily for Hi-Fi stereo setups, it can be integrated into a home theater system, but it lacks surround sound processing typically found in AV receivers.
7. Does the Technics SU-G700M2 have a headphone output?
  Yes, it features a dedicated headphone output, providing high-quality sound for private listening.
8. How does the LAPC feature work?
  LAPC (Load Adaptive Phase Calibration) optimizes the amplifier’s performance by adjusting the output to match the impedance of your speakers, delivering a balanced and accurate sound.
9. What’s the difference between the SU-G700 and SU-G700M2?
  The SU-G700M2 is an updated version of the SU-G700, offering improved sound performance, better components, and enhanced features like a more refined LAPC and JENO Engine.
10. How much does the Technics SU-G700M2 cost?
  Pricing varies by region and retailer, but the SU-G700M2 typically falls in the premium range of high-end amplifiers. Be sure to check with authorized dealers for the most accurate pricing.
January 23, 2025
Marantz Model M1 Review: Redefining Sound Excellence
The Marantz Model M1 is a powerhouse with a compact design, combining classic Hi-Fi craftsmanship with modern features. Whether streaming your favorite playlists or diving into your treasured vinyl collection, the M1 delivers a dynamic and rich sound experience that brings your music to life. Its sleek, minimalist aesthetic fits effortlessly into any space, while its powerful performance makes it a must-have for audiophiles who crave style and substance.

Marantz Model M1 Wireless Streaming Amplifier

While it is not the most compact (239 x 84 x 217 mm) or the most beautiful of connected amplifiers, the Model M1 benefits from a certain care, which already justifies its price a little higher than its direct competitors. For example, the device sports a matte black silicone coating, certainly dirty, but very pleasant to the touch. Another interesting detail is the presence of a bumpy metal mesh, of a very beautiful effect, as a top cover. Adding into the balance its impeccable assembly, the Marantz Model M1 already ranks among the serious devices, failing to be luxurious.

The connectivity, necessarily limited by the available volume, fortunately provides the essentials. In addition to the wireless chips (WiFi and Bluetooth), as well as the Ethernet port and the USB-A socket (for external storage device), all linked to the network capabilities, the Model M1 has an HDMI eARC input capable of decoding PCM and Dolby Digital+ streams, an optical port, an RCA Line input, and a subwoofer output. In short, nothing is missing for those who want a simple device and not a hub.

Marantz Model M1 Heos Capable

While the Model M1 has many features, its ergonomics are a bit more disappointing. Considering its very basic touch controls (on the front) and the absence of a dedicated remote control, the device is almost entirely dependent on the user’s smartphone. Unfortunately, support for the HEOS multiroom ecosystem comes via an app whose settings interface is rather rustic, consisting of a long list of functions placed one after the other. Simply put, Marantz’s HEOS app is rich in features, but not very welcoming.

Powered by a mysterious stereo power module capable of delivering 2 x 100 watts under 8 ohms, when listening, the Marantz M1 turns out to be a very good amplifier. Without being the most technical that has passed through our hands, it allows us to propel without any difficulty the vast majority of Hifi speakers.

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Marantz Model M1 Power

Powerful but nuanced, it shines with the simplicity of its representation, neutral and detailed, without being cold. The sound is neither spectacular nor soft, simply right, without real interpretation, typical of what a good modern amplifier should be.

Of course, if we put aside its power, which is above average, the Model M1 is not technically better than its direct competitors. However, Marantz still retains some advantages, such as the integration of sound processing linked to video use. Not essential but rather successful.

Conclusion

Without being the most convincing connected amplifier of its generation, the Marantz Model M1 is a very neat device in terms of Build Quality, particularly complete, and you can easily use it with your existing speakers yes Marantz Model M1 is capable of amplifying almost all classic speakers without difficulty. A mature model would still deserve a more neat interface and application.

Price Marantz Model M1:

When it comes to pricing, the Model M1 offers a solid balance of premium features and affordability. While it sits in the mid-range price category, it packs a punch comparable to higher-end models. Typically, you can expect the Marantz Model M1 to be priced around $1,000, though this may vary depending on your location and any promotions available,

Read: Marantz PM7000N Integrated Amplifier Review

Marantz Model M1 Specifications
- Type: Connected stereo integrated amplifier
- Network inputs: WiFi, Ethernet, Bluetooth, USB-A for reading USB sticks
- Digital inputs: HDMI eARC compatible with PCM, Dolby Digital and Dolby Digital+, Toslink optical port
- Analog Input: Stereo RCA
- Analog outputs: RCA for subwoofer, screw speaker terminals
- Other port: 3.5mm jack IR input
- Network Compatibility: HEOS, AirPlay 2, Spotify Connect, TuneIn, DLNA/UPnP
- Control is possible via a device with Amazon Alexa, Google Assistant, or Siri assistant
- Advertised output power: 100 W per channel into 8 ohms, 125 W per channel into 4 ohms
- Compatible impedances: 4 to 16 ohms
- Dimensions: 239 x 84 x 217 mm
- Weight: 2.2 kg
FAQs Marantz Model M1:

Here’s a set of FAQs for the Marantz Model M1:

1. What is the Marantz Model M1?
Ans: The Model M1 is a high-performance integrated amplifier that blends modern digital features with traditional analog design, delivering powerful, detailed sound for both casual listeners and audiophiles.

2. How much does the Marantz M1 cost?
Ans: Pricing for the Marantz Model M1 varies depending on the retailer and region, but it generally falls in the mid-range for Hi-Fi equipment. Almost $1000 but you can Check with authorized dealers for the latest pricing.

3. Does the Marantz Model M1 support streaming services?
Ans: Yes, the Marantz M1 supports various streaming services through its digital inputs and Bluetooth functionality, making it easy to enjoy high-quality music from online sources.

4. Can I use the Marantz Model M1 with my turntable?
Ans: Absolutely Yes! The Model M1 is equipped with a dedicated phono input, allowing you to connect your turntable and enjoy vinyl records with exceptional sound clarity.

5. What kind of speakers are compatible with the Marantz Model M1?
Ans: The Marantz Model M1 is compatible with a wide range of speakers, from bookshelves to floor-standing models. Its powerful amplifier ensures it can drive most speakers efficiently, delivering a full and balanced sound.

6. Does the Marantz Model M1 come with a remote control?
Ans: Yes, the Marantz Model M1 includes a remote control for easy operation, allowing you to adjust settings and switch inputs from the comfort of your seat.

7. Is the Marantz Model M1 easy to set up?
Ans: Setting up the Marantz Model M1 is straightforward. It features clear connections and intuitive controls, making it simple for both beginners and experienced users to get started quickly.

8. Can I use the Marantz Model M1 with my TV?
Ans: Yes, the Marantz Model M1 can be connected to your TV via its digital or analog inputs, enhancing your viewing experience with superior sound quality.

9. What warranty comes with the Marantz Model M1?
Ans: The Marantz Model M1 typically comes with a standard manufacturer’s warranty, which may vary by region. Be sure to check the warranty terms with the retailer where you purchase it.

10. Does the Marantz Model M1 support high-resolution audio?
Ans: Yes, the Marantz Model M1 supports high-resolution audio formats, ensuring that you get the most detail and depth from your favorite music files or streaming services.

Marantz Model M1 Specifications:
- Type: Connected stereo integrated amplifier
- Network inputs: WiFi, Ethernet, Bluetooth, USB-A for reading USB sticks
- Digital inputs: HDMI eARC compatible with PCM, Dolby Digital and Dolby Digital+, Toslink optical port
- Analog Input: Stereo RCA
- Analog outputs: RCA for subwoofer, screw speaker terminals
- Other port: 3.5mm jack IR input
- Network Compatibility: HEOS, AirPlay 2, Spotify Connect, TuneIn, DLNA/UPnP
- Control is possible via a device with Amazon Alexa, Google Assistant, or Siri assistant
- Advertised output power: 100 W per channel into 8 ohms, 125 W per channel into 4 ohms
- Compatible impedances: 4 to 16 ohms
- Dimensions: 239 x 84 x 217 mm
- Weight: 2.2 kg
January 23, 2025
Topping LA90 Review: High-Performance Integrated Amplifier
The Topping LA90 is a high-performing and high-definition amplifier. This amplifier is gaining attention in the community. With its accurate engineering and excellent sound quality, LA 90 has become the right choice for audiophile lovers and casual listeners. This Review explains the key features, specifications, and performance of Topping LA90, providing a detailed overview for those who want to add this to their audio setups.

Built and design quality Topping LA90

The simple design of this case is impressive, similar to flagship models like the D90SE, A90, and PRE90. It is made with a single aluminum block with metal plates in the back or front and aluminum heatsinks on the sides for better heat dissipation. LA90 amplifier has a feature of mounted fans on the sides that keep it cool both at idle and under most load conditions, only getting slightly warmer with heavy use, but never hot.

To reduce wire interference, the front plate is thicker, a common practice in Hi-Fi equipment. The body of the LA90 amplifier has rounded corners and smooth lines that prevent damage from other equipment. The lack of visible screws adds to its sleek look. The LA90 includes an on/off input selector button with a low-intensity LED on the milled front plate to indicate the selected option. Four feet of rubber are placed underneath, keeping the unit stable.

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Available in matte black and matte silver, it has a WAF ( Wife Acceptance Factor), due to its impressive design with only one low-intensity LED when powered on. Weighting around 2.75 kg or (6 Ibs) and measuring 220cm wide, 205mm deep, and 90mm tall. The LA90 amplifier fits well in tight spaces.

Compared to larger models like the KECES S300, S125, Kinki Studio EX-M7, Hegel H190, and Cambridge Audio Azur 851A, it is more compact, making it ideal for small racks and HiFi systems. An IKEA BESTA TV bench can even hold two LA90 units on a single shelf. Overall, the LA90 is a space-saving solution with excellent build quality, evident upon close inspection.

Connectivity and Controls Topping LA90

Initially Topping LA90 was designed as a powered amplifier and then later added integrated features, which is why it doesn’t come with a remote. When the LA 90 amplifier is used as an integrated amplifier, you can adjust the volume with a large wheel; otherwise, you will need a separate preamp with a remote control.

The LA90 features a single ON/OFF button which works like an input selector. It only has XLR/TRS inputs, with two pairs of speakers terminal inputs, a 3 pin- DC power socket, and several switches to adjust gain, by choosing between integrated and powered amp mode, and switches between mono or stereo. For mono operation, you will need two LA90 amplifiers.

Benchmark included 12V triggers for those who plan to use multiple LA90s, along with their DACs and preamps, that allow you to control everything with one remote control.

Test Equipment

Topping LA90 is used in high-end stereo setups, mostly connected to a Gold Note DS-10 PLUS + PSU-10 EVO DAC, preamps, and streamers. However, it also worked with an Audiobyte HydraVox + HydraZap stack and with a Chord Dave for at least several days.

I wanted to compress the last drop of performance out of it. That is why I used two types of loudspeakers: my daily driver KEF Reference 3 ($15.21) and Sound Of Eden Crescendo UNO ($2933.36) bookshelf loudspeakers. Okay everyone, enough with the talk, let’s hit some eardrums!

Sound performance

First Impressions of Sound

I have almost every Topping and SMSL-integrated power amplifier out there. I still remember how they performed. After warming up the Topping LA90 for about two weeks, a few things stood out to me:

Cleanness and resolution Topping LA90

Without a doubt, I found the Topping LA90 to be one of the cleanest-sounding amplifiers from the Far East. I switched to a Benchmark AHB2 a year ago because of its ultra-clear and revealing sound that eliminated noise. The AHB2 left only pure, transparent sound without coloring the music. As an audio reviewer, I need equipment that provides the cleanest signal so I can accurately judge the sound of new DACs, amplifiers, or speakers.

The AHB2 met these needs perfectly, though it sometimes clipped with high-dynamic tracks, so I got a second one to bridge for more power (380 Watts per channel at 8 Ohms). The Topping LA90 aims to replicate the AHB2’s sound at a fraction of the cost, and it’s doing a great job of revealing subtle details and low-level information that only the AHB2 could deliver until now.

Transient Response Topping LA90

The Topping LA90 controlled my speakers tightly and always sounded quick, handling even the most demanding tracks with ease. It’s great with fast electronic music, and double drums were no issue for it. Compared to Class-A and Class-AB amplifiers I’ve used, the LA90 has a shorter note decay, and it’s even shorter than with hybrid amplifiers. Sometimes it’s very impactful, sometimes less so, but one thing’s clear: if you need speed, the LA90 delivers it effortlessly.

Imaging

A single LA90 didn’t sound as spacious and airy as two AHB2s in bridged mode, but it excelled in imaging. The LA90 provided clear, defined edges and never blurred the overall picture. It highlighted subtle details, like the sound of musicians breathing, with impressive precision. Every small nuance was distinctly placed, creating excellent imaging. For its price, I was impressed.

Check Out: Denon PMA-1700NE Integrated Amplifier Review

Even though the Topping LA90 doesn’t use the latest Nested Feedback Composite Amplifier modules found in their headphone amps, it still benefits from that technology. No matter how high I turned up the volume, I couldn’t detect any noise from my ultra-sensitive UNI-Q speakers. Unlike other SMSL amplifiers I’ve tried, which often had noticeable background noise, the LA90 remained clean and quiet.

The LA90 doesn’t color the music. If you’re upgrading from budget Class-D amps, you’ll notice a faster pace, tighter, deeper bass, and no thin or harsh midrange. However, it won’t have the organic, relaxed, midrange focus of Class-A amps. The LA90 offers a good mix of natural sound and technical performance but won’t emphasize any particular frequency range or add extra warmth and presence.

Technical Specifications Topping LA90

Power Output:
- Stereo Mode: 2 x 90W @ 4 ohms, 2 x 50W @ 8 ohms
- Mono Mode: 1 x 180W @ 8 ohms
- THD+N: < 0.00008%
- Frequency Response: 20Hz – 40kHz (±0.1dB)
- Signal-to-Noise Ratio (SNR): > 135dB
- Inputs: Balanced XLR, Single-ended RCA
- Output Impedance: < 0.1 ohms
- Gain Settings: Adjustable (Multiple Gain Levels)
- Dimensions: 250mm x 240mm x 50mm
- Weight: 3.5kg
Associated Equipment

DACs: DACs & Streamers
- Audiobyte: HydraVox & HydraZap
- Chord: Dave
- Gold Note: DS-10 Plus & PSU-10 Evo
Digital Audio Players (DAPs)
- Hiby: RS6, R5 Gen2
- FiiO: M17, M11 Plus ESS
- Shanling: M7
Headphone Amplifiers
- Trafomatic: Primavera, Head 2
- Enleum: AMP-23R
- Ferrum: OOR + Hypsos
- Flux Lab Acoustics: Volot
- Burson Audio: Soloist 3X GT
- Various Brands: Topping, SMSL
Preamplifiers
- Musician: Monoceros
Integrated Amplifiers
- Topping: LA90
- Enleum: AMP-23R
- Burson: Timekeeper 3i
Power Amplifiers
- Topping: LA90
- Benchmark: AHB2 (x2)
IEMs (In-Ear Monitors)
- FiiO: FH9, FH7, FA9, FD7
- Meze: Rai Penta
- LittleDot: Cu KIS
- Kinera: Skuld
- 7Hz: Timeless
Full-Sized Headphones
- Hifiman: Susvara, HE1000SE, Arya Stealth
- Audeze: LCD-5, LCD-4
- Erzetich: Phobos V2021, Phobos V2018, Mania
- Sennheiser: HD800S
- Kennerton: Rognir, Gjallarhorn, Vali
- Apos: Caspian
- Sendy Audio: Peacock
- Others: Apollo, Aiva
Loudspeakers
- KEF: Reference 3
- Sound Of Eden: Crescendo UNO
Cables
- Interconnects: QED Reference (x2), Topping TCX1 (x2)
- Speaker Cables: Kimber PR8, AudioQuest Type 4
- Power Cables: Isotek EVO3 Premier (x3), iFi Audio SupaNova (x2)
Power Conditioners

PLiXiR Elite: BAC1500 (for stereo setup), BAC400 (for headphone setup)

Balanced Isolation Power Conditioners:

Pros and Cons of Topping LA90 Amplifier

PROS:
- Stylish and minimalist design
- Compact and lightweight, ideal for small setups
- Stays cool even under heavy use
- Good range of analog inputs (3 pairs of XLR/TRS inputs)
- Offers decent power; can add another unit for more if needed
- Wide frequency response
- No noticeable noise or distortion; very transparent sound
- Clean and detailed sound
- The neutral tone doesn’t emphasize any particular frequency
- Excellent imaging and note positioning
- Fast and precise transients
- Technically impressive and worth the price
CONS:
- Only has balanced inputs; needs adapter cables (RCA to XLR) for single-ended sources
- Lacks impact and punch
- Slightly lacking in sub-bass extension
- Soundstage and depth are limited, giving a somewhat flat sound
- Limited headroom and power; might clip with low-sensitivity speakers
- In mono mode, won’t drive 4-ohm speakers
- No remote control, so not suitable as an integrated amplifier
- External power bricks can be difficult to hide behind an audio rack
Conclusion

The Topping LA90 is a powerful amplifier that provides excellent sound quality with impressive clarity. It offers very low distortion and has a range of connection options, making it a top pick for serious audiophiles who want the best audio experience. With its strong protection features, it’s built to last. If you’re either upgrading your existing home audio system or starting a new setup, the Topping LA90 is a great choice that will significantly enhance your listening experience.
January 21, 2025
WiiM Ultra Review: A Budget HiFi Revolution for $329 right?
Having much experience in high-end audio, I’ve encountered everything from jaw-droppingly expensive components to hidden gems in the budget realm. The journey to find a balanced setup—something that delivers exceptional performance without an exotic price tag—has been my lifelong pursuit. Enter the WiiM Ultra, a product that not only redefines the concept of “value” in HiFi but also challenges preconceived notions of what affordable audio gear can achieve.

Check Out: Best DACs Under $100: Detailed List

At just $329, the WiiM Ultra is a streamer, DAC, and preamp bundled into one sleek, aluminum-clad package. In a world where high-end audio often carries a price tag equivalent to luxury cars, this little device delivers a shockingly high level of performance, rivaling systems costing tens of thousands of dollars.

A Closer Look at the WiiM Ultra

The manufacturer positions the WiiM Ultra as the central digital hub of your audio system. Equipped with audiophile-grade components, a rich switching arsenal, and a bright 3.5-inch full-color touch screen. WiiM allows you to listen to high-quality music from external sources, from a smartphone, NAS server, and streaming services such as Qobuz, Tidal, Napster, Deezer, Spotify, and TuneIn using a special application or AirPlay2, Chromecast Audio, Bluetooth, and LinkPlay.

One of the most remarkable features of the WiiM Ultra is its ability to seamlessly connect to a wide range of devices. From turntables to TVs, headphones, and smart speakers, the WiiM Ultra offers a complete and versatile audio solution. With advanced high-resolution audio capabilities, users can enjoy their favorite music, podcasts, and audiobooks with exceptional clarity, detail, and depth, no matter the source. Built-in room correction takes precise acoustic measurements of your room, creating customized speaker and subwoofer adjustments.

The WiiM Ultra’s connectivity includes a Phono input with a ground connector, HDMI ARC port, a 3.5 mm mini-jack on the front panel for connecting headphones, optical input/output, analog line input/output, digital coaxial output, subwoofer output, and a USB-A port for playing media files from flash drives. A Wi-Fi adapter and an RJ45 Ethernet port are provided for integration into a home computer network. There is also a 12-volt trigger for controlling, for example, an amplifier.

History of Wiim Ultra

Origins and Development

WiiM is driven by a passion for music and the belief that everyone deserves high-fidelity sound without breaking the bank. Founded by a team of audio enthusiasts with extensive expertise in streaming audio software and hardware, They collaborated with top brands like Harman, JBL, Yamaha, and Marshall to launch millions of smart audio devices worldwide. With WiiM, their mission is simple: make exceptional sound quality accessible to all.

Key Milestones
- Early Prototypes (2013-2015): Initial prototypes feature improved motion sensors and primary VR capabilities.
- Beta Testing (2016-2017): Extensive beta testing involved gamers and developers to refine the hardware and software.
- Official Announcement (2018): Nintendo announced the Wiim Ultra, creating a lot of excitement among gamers.
- Launch (2020): The Wiim Ultra was released and got lots of praise for its new features.
Elevating Your Audio Experience

The Wiim Ultra is more than just an audio device; it is a well-designed piece that is designed to give users an amazing sound experience. In the presence of bright 3.5″ color touchscreen and physical volume knobs, it is easy to use for anyone and can’t need to be an expert for using this. What makes Wiim Ultra special is its variety of inputs and outputs and delivering high-quality sound.

Seamless Connectivity, Boundless Versatility

You don’t worry about connectivity because one of the most advanced features is that it is easy to connect with many other devices, like turntables, TVs, headphones, and smart speakers. Wiim Ultra provides a flexible sound quality. this means users can enjoy music, podcasts, and audiobooks with great clarity and detail, no matter where the sound coming from.

Features of Wiim Ultra

Advanced Motion Sensing: The Wiim Ultra also improved its motion sensing with its advanced gyroscopic sensors and accelerometers. These sensor tracks the movements accurately and make gameplay more immersive and amazing. The controller of Wiim Ultra called UltraMotes, captures even the smallest gestures for a smooth gaming experience.

Also Read: iFi Zen DAC V2 vs Chord Qutest Comparison

Virtual Reality Integration: With many advanced features one of the best features of Wiim Ultra is its built-in VR capabilities. The Ultra VR headset provides high-definition visuals and a wide field of view, creating an immersive virtual environment. This lets players step into their games and experience them from a first-person perspective.

High-Definition Graphics: The Wiim Ultra has a powerful graphic engine that provides games in 4k resolution. This engine improves the gaming experience with detailed textures, vibrant colors,s, and realistic lighting. The console’s GPS is built to handle modern games, by ensuring smooth performance even in the demanding scenes.

Seamless Connectivity: Connectivity is vital in modern gaming and Wiim Ultra stands out in this area. For stable online gaming, it includes WiFi 6, Bluetooth for connecting accessories, and HDMI 2.1 for high-speed video outputs. Cloud gaming is also supported by consoles, so players can stream games easily without the need for physical copies.

Extensive Game Library: The Wiim Ultra is compatible with a huge library of games, including classics from the old Nintendo consoles and new titles made just for this platform. This wide selection ensures that there’s something for everyone, from casual players to hardcore gamers.

Wiim Ultra user manual:

You can get the Wimm Ultra user manual here

Wiim Ultra Specifications:

Touch Display

Glass-covered 3.5″ vibrant touchscreen display:

Displays App widgets, large album pictures, playback control, playing queue, presets, EQ, audio input and output, and device settings Guides users through the OOBE and OTA
Provides feedback when there’s a change in the play mode

Controls

Volume knob, play/pause, set up, and more

LED

4 Color RGBW LED indicates the device status

Audio Input

HDMI ARC, Optical, Line, and Phono (including MM, MC), up to 24-bit/ 192 kHz

Audio Output

RCA, Headphone, Coax, Optical, and USB, up to 192 kHz/ 24-bit

Wireless to another BT, DLNA receiver

Performance

Line out：

Maximum output: 2.1V RMS
SNR: 121 dB (A-wt)
THD+N (1 kHz): 0.00018% (-115 dB) for 44.1k to 192k
FR curve:+/-0.05 dB

Headphone out：

300 ohms: SNR (119 dB), THD+N (-99 dB)
32 ohms: SNR (119 dB), THD+N (-92 dB)

EQ

24 preset EQ settings, 10-band Graphics EQ, 10-band parametric EQ

Subwoofer Output

Comprehensive bass management
Adjustable crossover frequency, level, phase, and latency.

Power Supply

100-240V AC input, 50/60 Hz, 0.5A Max

Network

Wi-Fi 6E, 802.11 b/g/n/ax 2.4 GHz, 5 GHz, and 6 GHz triple bands.
10M/100 Mbps LAN

External Storage

Access personal media library and use it as a media server for other WiiM and DLNA devices,
Support FAT32, NTFS, and EXT4 file systems.

Bluetooth

Bluetooth 5.3 with BLE and BT LE Audio, supports both A2DP receiver and transmitter, AVRCP, and HID, and works with the WiiM voice remote.

Supported Streaming Protocol

Spotify Connect, TIDAL Connect, Google Cast Audio (CastLite), Alexa built-in, DLNA, Squeezelite, Roon Ready

Performance: Punching Above Its Weight

I tested the WiiM Ultra in a setup that included $10k KEF Blade Two Meta speakers and $10k McIntosh MC611 mono amps—a system totaling $30k. Replacing my $15k reference streamer and preamp setup with the Ultra was a leap of faith, but I was blown away by what I heard.

Sound Quality

The Ultra produced a sound that was:
- Quiet: Remarkably low-noise floor, even with high-end amps and speakers.
- Rich and Musical: Slightly warm, with weighty bass and a natural midrange.
- Engaging: While not as detailed or holographic as my reference gear, it was incredibly enjoyable.
Tracks like Anna Leone’s “All That I Ever Did” showcased the Ultra’s ability to render vocals with solidity and emotional impact. Compared to my AGD Alto II DAC and preamp, the Ultra was slightly less open and detailed but made up for it with a more cohesive, analog-like sound.

Comparison to High-End Gear

While the Ultra didn’t dethrone my stack in resolution or separation, it wasn’t embarrassed by the comparison. It held its own, providing a musical experience that was just as enjoyable, albeit with a different flavor.

What Sets It Apart

The WiiM Ultra proves that diminishing returns are very real in audio. Spending more money might yield incremental improvements in detail and build quality, but the Ultra delivers 85% of the performance of reference-grade gear at a fraction of the cost.

Its value proposition is unmatched. Even compared to competitors like the Bluesound Node or Eversolo DMP A8, the Ultra offers a warmer, more musical presentation at a significantly lower price.

Conclusion:

The WiiM Ultra is not just an entry-level product; it’s a disruptor. It’s rare to find a budget piece of HiFi gear that integrates so seamlessly into high-end systems without compromising the experience. For those looking to explore high-fidelity sound without breaking the bank, the Ultra is the best product of 2024 hands down.

Whether you’re a seasoned audiophile or a newcomer, the WiiM Ultra proves that great sound doesn’t have to cost a fortune. For $329, this is a no-brainer.

Rating: 5/5
Pros: Exceptional value, musical sound, versatile features.
Cons: Slight lag with high-res streaming, build quality not on par with ultra-high-end gear.

If this is just the beginning for WiiM, the high-end audio world should take notice. The future of affordable HiFi is here.
January 21, 2025
IOTAVX MA3 Review: High-End Sound Quality in a Compact Package
All we want is everything at once, so it should be at least in one case, right? And at most, they also have a price so that there is enough left for some better speakers. And fulfill our needs, you can look at the IOTAVX MA3, which I think they made at the request of the audiophile community: an awesome all-in-one package that has everything.

Normal message

“We’re breaking the rules and bringing you Hi-Fi like you’ve never seen before!” – They probably thought, “We can build an amplifier that combines all the features into one box, making it a one-stop shop for our music-loving brother.”

On the other hand, there will always be connoisseurs not of sound, but of questions about sound: “What is it made of?”, “Where?”, “Really?”. The company’s press releases tried to take all of this into account right away and answer most of the questions directly and in such a way that they would not arise again. For example, to the question: “Where do you manufacture your components?”, they answer directly: “We won’t tell you.”

But there you can also find a mention that the company did not set a goal to invent something new or to turn this entire ossified techno industry upside down. It simply wanted to earn money, not through single sales, but by offering its vision of the optimal ratio of price, quality, and sound.

And if the most inveterate enthusiasts and lovers of loud revelations remove the protective cover from the IOTAVX component, then in some of them it will be possible to find nodes that have already been encountered somewhere.

Or maybe it won’t work out, it’s 50/50 because there is a certain unification of production, cost optimization, and other modern technological processes, which, with a competent approach, make it possible not only to support the company and earn money but also to make a product for which you won’t have to justify yourself on forums.

Do it right and it will be right

IOTAVX MA3 seems to be exactly in this category. It requires neither defense nor justification because it is in the segment where you just have to buy. But wouldn’t such a step be too reckless? It is clear that everything is written beautifully on paper: it is an integrated amplifier, it is a DAC, it is a streamer with
a control application, and in general, everything is good.

The future owner may have quite justified concerns: why so cheap? This will serve as the first impetus, which may be followed by a tsunami of bitter experiences, yours and others who tried to build a Hi-Fi system this way, but something inevitably went wrong. “The smartphone app is probably slow… And if it doesn’t slow down, then there is no sound because all the budget went to the app… And if there is sound, then…”

Well, something else will be found – we like to think about the bad. And we don’t like to believe that everything is, even if not perfect, at least just fine, and just quite good. When you listen, watch, and then shrug your shoulders and say: “Well, yes, why did I get so worked up… Everything is fine.”

Circuit design

This is an integrated amplifier in class AB – it is worth mentioning right away to indicate the category of interests. It is based on a toroidal transformer, which has to power everything that caring engineers have placed in this small case.

The output stages are equipped with 2SD1047/2SB817 transistors from Inchange Semiconductor, which provide 51 W of output power per channel at an 8-ohm load. The total power is approximately 102 W, while the torus consumes 300 W at peak. It is a very prudent step from British engineers to give this budget amplifier such a power reserve.

Next comes the DAC: it was built on a dual-channel ESS Sabre ES9018K2M chip with a 32-bit HyperStream architecture. Everything was left as is here so that the high-res tracks from the collection sounded as they should: this DAC was not prohibited from decoding material up to 32-bit/384 kHz and even DSD256.

This whole scheme is directly tied to the streaming module, which IOTAVX did not invent, but simply took a ready-made, proven, and reliable solution on the popular LinkPlay platform.

Its hardware is a LinkPlay A98M-22 v02 module with a 64-bit Amlogic A113X processor and 512 MB of DDR4 RAM. A lot of serious numbers should already convince you at this stage that all this works smoothly and quickly.

An additional advantage of this module is its cross-platform nature because LinkPlay services are used by WiiM, Premiera, Harman Kardon, Marshall, JBL, Magnat, Vifa, Edifier, and even ARYLIC. In general, if you want to organize a multi-room, you will not be limited to one brand – there is plenty to choose from. In addition, there is a choice of control applications that differ in detail. For example, you can use WiiM Home from LinkPlay or Audio System from IOTAVX.

The “external” side of this streaming platform has also turned out to be developed. It uses Wi-Fi 2.4/5 GHz or an Ethernet port to access the network. This opens access to all possible streaming services, of which there are even more than enough in the application, given our geolocation: Spotify, Tidal, Napster, Qobuz, Deezer, and Internet radio – this is a little of what I managed to remember.

Additionally, the IOTAVX MA3 can deliver content via AirPlay2, UPnP/DLNA, and via a Bluetooth 5.0 module that supports aptX, aptX HD, and AAC codecs. And if the all-in-one component ultimately fails to overcome your retrograde moods, you can connect a flash drive or hard drive via a USB port. But this is even unnecessary here because the control application sees all local servers on the network and quickly picks up their content.

After all, there is an MM and even MC phono preamp module installed here, which leaves no chance at all to make any claims about the MA3 in terms of equipment.

Simple design

Yes, it is quite normal, and even cute in its laconicism. Here, too, there were no revelations and patents, IOTAVX MA3 was simply made so that it looked like a completely ordinary Hi-Fi, without quirks and bells and whistles. Always black, without the ability to choose – well, okay, not a big loss.

On the front panel in the left corner there is already a recognizable logo, below is a standard for all IOTAVX components power button with backlight. Here we also see the headphone output, and in the center of the panel, there is a large black window, which hides a display smaller than the window.

A clever solution, but the design turned out to be effective, it works as a visual level-up for the component. The USB A port was placed in the same window, to the right of it are the function buttons and the volume control with a circular backlight. And, of course, there is a remote control in the kit – you never know, it might come in handy.

The top panel has developed ventilation, and the back panel has developed switching. There are coaxial, optical, and LAN ports for feeding a digital signal to the DAC. There is a pair of RCA and an input to the phono preamplifier for connecting analog devices. There are analog outputs: a recording output, a preamp output, and a separate output to the subwoofer.

For the IOTAVX MA3 test, we took two pairs of acoustics: a small floor-standing KEF Q550 and a large bookshelf KEF R3. And it can provide itself with content, no one was needed here. And let’s start, perhaps, with a thick audiophile cocktail from the Oscar Peterson Trio with the track “You Look Good To Me”.

The picture is neutral, detailed, and decently hi-fi. No tension or concentration is required to understand the status of this sound and its character. And it even seems that for this segment, for such a device with the widest range of tasks performed, this is somehow abnormal.

Because the amplifier shows its character and immediately demonstrates all its qualities, but the speakers will still have to be replaced because pumping up the KEF R3 is not like dragging FLACs from a network library (although you also need to be able to do that). The lack of current affected the quality of the low frequencies, and it is well known that the R3 can draw more beautiful high frequencies.

With KEF Q550 everything changes and the sound gets even more hi-fi. So much so that you even remember the myths and legends about that very thoroughbred British sound. Of course, there are many types of sound in Britain, but if you go through the key players, you can highlight two conditional directions: “soulfulness” and “precision”. IOTAVX probably chose the second option for sound development, which is quite expected.

Soulfulness in this price range can only be imitated, which immediately catches the ear of an experienced listener. But achieving precision, detail, and open and clear sound – this is possible, this is happening right now. At the same time, the sound is punchy, and dynamic, with a sparkle and pepper, which can be interpreted as a kind of replacement for the depth of overtones. In the end, the MA3 costs only 70 thousand, and it seems that we have already gone too deep in the analysis of sound.

But we can also mention the track “Birds” by Marytale so that it becomes clearer about the overtones. This girl has sensual vocals, and with IOTAVX MA3 you can hear that priority is given to the accuracy of its processing. It is not that we lose anything, because you can only lose your head if you listen to such music irregularly.

The listener is presented with a spacious stage with good balance and a bias towards micro-contrasts. The bass comes to the rescue: dense, surprisingly controlled, and deep, it creates such a background structure against which all other qualities of the MA3 look logical and understandable.

And in general, when you hear not just hi-fi, but audiophile-oriented sound from such a component, you immediately think: is this normal? And if it is normal, then why doesn’t everyone do it?

Conclusion IOTAVX MA3

So, it’s normal now. At least, within the IOTAVX brand, you can count on it. And now it’s clear why the IOTAVX MA3 won the “Top High End” award in the “Optimal Price, Quality, and Consumer Functionality” category at the 2023 Hi-Fi & High-End Show. Optimal – there’s no other way to say it.

Listen to the amplifier and you understand that the description was not a lie. Here you have 51 W – and not a watt more, so there is no point in giving it acoustics that even 100-watt models cannot always drive. Here you have network capabilities from a proven platform – and no fawning about their unique developments. Everything is honest, and this is what wins you over.

Price IOTAVX MA3 Streaming Amplifier

The price of IOTAVX streaming amplifier is – $649.99

IOTAVX MA3 FAQs
- IOTAVX MA3 Best for?
The MA3 is ideal for music lovers who want to enjoy high-fidelity audio. Better for those who have Bookshelf speakers.
- What awards has the IOTAVX MA3 won?
The MA3 won the “Top High End” award in the “Optimal Price, Quality, and Consumer Functionality”
category at the 2023 Hi-Fi & High-End Show.

Features:
- What streaming services does the IOTAVX MA3 support?
The MA3 supports a variety of popular streaming services, including Spotify, Tidal, Napster, Qobuz, Deezer, and Internet radio.
- Does the IOTAVX MA3 have Bluetooth?
Yes, the MA3 features Bluetooth 5.0 with support for aptX, aptX HD, and AAC codecs.
- Does the IOTAVX MA3 have a phono input?
Yes, the MA3 includes an MM/MC phono preamp, allowing you to connect your turntable directly.
- What control apps are available for the IOTAVX MA3?
The MA3 can be controlled using the LinkPlay app or the IOTAVX Audio System app.

Sound Quality:
- How powerful is the IOTAVX MA3?
The MA3 delivers 51 watts per channel at 8 ohms.
- What kind of sound does the IOTAVX MA3 produce?
The MA3 offers a detailed and neutral sound with a focus on precision. It creates a spacious soundstage with good micro-contrast detail and surprisingly tight bass for its size.
- Will the IOTAVX MA3 be powerful enough for my speakers?
The MA3 can drive many bookshelf speakers, but the IOTAVX MA3 might not be ideal for those having
larger speakers or those requiring a lot of power.

Other:
- What are the dimensions of the IOTAVX MA3?
Dimensions (WxDxH): 430 x 115 x 300 mm
- What is the warranty on the IOTAVX MA3?
Warranty information might vary by region, so it’s best to check with your local IOTAVX distributor.
January 20, 2025