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  • Gustard X30 Review: Best DAC and Streamer

    Gustard X30 Review: Best DAC and Streamer

    Are you ready to take your audio experience to the next level? I’ve been writing the Gustard X30 Review, and I have to say, this piece of equipment is seriously impressive. If you’re an audiophile or even just someone who wants to get the best sound possible, you’ll want to hear about this.

    So, what’s the big deal about the Gustard X30? Well, it’s got cutting-edge technology packed into a sleek design, which makes a real difference in the quality of sound it delivers. The high-resolution DAC and powerful amplification work together to produce a sound that’s crystal clear, rich, and full of detail. Honestly, whether you’re just a casual listener or someone who spends hours perfecting your setup, the Gustard X-30 is built to blow you away.

    One thing I like about this unit is the connectivity. It’s got USB, Coaxial, and Optical inputs, which means you can connect it to just about anything. Plus, the interface is super intuitive, so navigating the settings and tweaking everything to your liking is a breeze.

    This is just a taste of what the Gustard X30 can do. In my review, I’ll cover all the features, performance, and even some real-world user feedback. If you’re serious about getting the most out of your music, you’ll want to keep an eye out for my full Gustard X-30 review. The Gustard X-30 is here to redefine what it means to listen.

    A closer look of the back panel of the gustard x30 review

    Key Features of Gustard X30

    The Gustard X-30 is a remarkable piece of audio equipment that stands out in a crowded market due to its impressive specifications and features. At its core, the X-30 employs the renowned AKM AK4499EQ DAC chip, which is known for its high performance in digital-to-analog conversion. This chip enables the X-30 to deliver a stunning resolution of up to 32-bit/768kHz PCM and DSD512, ensuring that music is reproduced with exceptional clarity and detail. The capabilities of this DAC make it an ideal choice for audiophiles who demand the best from their listening experience.

    In addition to its advanced DAC, the Gustard X30 features dual ES9038Q2M DACs configured in a balanced mode. This configuration is designed to minimize distortion and improve sound quality, allowing for a more immersive audio experience. The device also supports a variety of audio formats, including PCM, DSD, and even MQA, making it incredibly versatile for a wide range of audio sources. Furthermore, the X-30 boasts a robust power supply that enhances the overall performance, ensuring stable and clean power delivery to the circuitry.

    Connectivity is another strong suit of the Gustard X30. It offers multiple input options, including USB, Coaxial, Optical, and AES/EBU interfaces, allowing users to easily connect it to various devices, such as computers, CD players, and digital audio players. The inclusion of both balanced XLR and unbalanced RCA outputs provides further flexibility in how the device can be integrated into an existing audio setup. With such a comprehensive array of features and specifications, the Gustard X-30 positions itself as a formidable contender in the high-end audio realm.

    Unboxing of the Gustard X30

    When I got my hands on the Gustard X-30, I was super excited and couldn’t wait to unbox it. When I finally opened it up, the experience was amazing. The packaging was top-notch, keeping everything secure and in perfect condition—there wasn’t a single scratch on the box. As I slowly pulled the device out, I was impressed by the Gustard X-30’s front panel, which has a clean look and a large, vibrant display showing key details like input selection, sample rate, and volume level. The build quality stood out, with its solid metal body giving it a premium, stylish feel.

    The accessories inside the box were a nice touch. Gustard provided a well-built power cable, a USB cable for digital connections, and a detailed user manual that made setting everything up a breeze. A lot of thought went into making the whole experience user-friendly. Setting up the X-30 was straightforward; the layout of the controls and ports was easy to understand, and I had it connected and working in no time.

    Overall, my first impressions of the Gustard X-30 were fantastic. The sleek design combined with its high-quality construction gave off a real high-end vibe. The display is bright and easy to read, and using the device felt natural from the start. Gustard put a lot of effort into the design and functionality, making it a great option for both experienced audiophiles and those new to upgrading their audio gear.

    Also Read: Lyngdorf TDAI-3400 Review

    Sound Quality of the Gustard X30 Review

    Now It’s time to connect the device and listen to my favorite music, the Gustard X-30 does not disappoint. From the moment you start listening, the clarity and detail of the sound are immediately noticeable. The AKM AK4499EQ DAC chip works wonders in delivering a soundstage that feels both expansive and intimate. Whether you are listening to orchestral pieces, vocal performances, or intricate electronic music, the X-30 manages to reproduce each element with precision and depth. The tonal balance is impressive, providing a natural sound that doesn’t favor any particular frequency range, allowing for a well-rounded listening experience.

    One of the standout features of the X-30 is its ability to handle a variety of audio formats and resolutions without compromising quality. The clarity of high-resolution audio files is particularly striking, with nuances that may have gone unnoticed on lesser devices becoming apparent. The dynamic range is also commendable, allowing for quiet passages to be just as engaging as louder, more powerful sections of music. This capability makes the Gustard X-30 an excellent choice for those who appreciate the subtleties in their music.

    Moreover, the amplification capabilities of the X-30 add another layer of performance. The device is equipped with a powerful output stage that drives headphones and speakers with ease, providing ample power without distortion. Whether you are using high-impedance headphones or connecting to a pair of floor-standing speakers, the X-30 maintains control and fidelity across the board. The overall sound quality and performance of the Gustard X-30 truly set it apart, making it a worthy investment for

    Comparison with Other Audio Devices in the Market

    When comparing the Gustard x30 to other audio devices in the same price range, it becomes evident that it holds its own against some of the industry leaders. Many high-end DACs and amplifiers tend to focus on either sound quality or versatility, but the X-30 excels in both areas. For instance, when placed alongside competitors such as the Schiit Yggdrasil or the Chord Mojo, the Gustard X-30 offers similar sound quality at an often more accessible price point. The dual DAC configuration and support for various formats provide a significant advantage for users looking for a comprehensive audio solution.

    Another noteworthy comparison can be made with the Topping D90, which is known for its exceptional performance and features. While the Topping D90 also boasts impressive specifications, the Gustard X-30 distinguishes itself through its user-friendly interface and aesthetic design. Furthermore, the X-30’s robust build quality and comprehensive connectivity options provide an edge that appeals to both casual listeners and serious audiophiles alike.

    Ultimately, while many devices on the market offer fantastic sound quality, the Gustard X-30 stands out due to its balanced approach, combining high-resolution audio playback, versatile connectivity, and solid performance. As more audiophiles seek a well-rounded device that can satisfy various listening preferences, the X-30 emerges as a compelling choice that deserves serious consideration.

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    How to Optimize Your Audio Setup with the Gustard X-30

    To get the most out of the Gustard X-30, optimizing your audio setup is essential. One of the first steps is to ensure proper connections are made. Utilize high-quality cables to connect the X-30 to your audio sources and speakers. Using balanced XLR cables can enhance sound quality by reducing noise and interference, particularly in longer cable runs. Additionally, when connecting to a computer or digital audio source via USB, ensure that you are using a USB port that supports high-speed data transfer to avoid any bottlenecks in audio quality.

    Another critical aspect of optimization is the placement of the X-30 within your audio setup. Position the device in a well-ventilated area to prevent overheating, as the internal components can generate heat during prolonged use. Avoid placing it near other electronic devices, which may introduce electromagnetic interference. Additionally, consider the positioning of your speakers and headphones to achieve the best soundstage and imaging. Experimenting with speaker placement can lead to significant improvements in audio performance.

    Lastly, take advantage of the customizable settings within the Gustard X-30. Users can adjust various parameters, such as filter settings and volume levels, to tailor their listening experience. Engaging with the user manual to understand these features can help you unlock the full potential of the device. Whether you prefer a more analytical sound or a warmer, more engaging profile, the X-30 allows for fine-tuning to match your personal preferences.

    Price and Availability of the Gustard x30

    The Gustard X-30 is positioned in the mid-to-high price range of audio equipment, reflecting its advanced features and exceptional sound quality. As of now, the price typically ranges between $2,699.99, depending on the retailer and any ongoing promotions. While this price point may seem steep for some, it is essential to consider the quality and performance offered by the X-30 in comparison to similar devices in the market. Many users feel that the investment is justified, given the level of sound fidelity and versatility it provides.

    In terms of availability, the Gustard X-30 can be found through various online retailers, as well as specialized audio equipment shops. Many audiophile forums and communities often discuss where to find the best deals, so it’s worth checking those resources for potential discounts or second-hand options. Additionally, Gustard occasionally releases limited editions or bundles, which can be a great way to save money while acquiring the device.

    For those in regions where Gustard products are less common, it is advisable to check international shipping options or authorized dealers that can provide reliable service. Ensuring that you purchase the X-30 from a reputable source is crucial to guarantee quality and support. Overall, while the price may be a consideration, the Gustard X-30 offers significant value for its performance, making it a worthwhile addition to any serious audiophile collection.

    inside look of gustard x30

    Conclusion: Is the Gustard X-30 Worth the Investment?

    Gustard X-30 stands out as a remarkable audio device that delivers unparalleled sound quality, versatility, and build quality. For audiophiles seeking to enhance their listening experience, the combination of advanced DAC technology, extensive connectivity options, and a user-friendly interface makes the X30 a compelling choice. It competes effectively with other high-end audio devices, often offering similar or superior performance at a competitive price point.

    While there are minor drawbacks, such as the lack of remote control and the need for a break-in period, the advantages far outweigh these concerns. Users have consistently praised the X-30 for its ability to reproduce music with clarity and detail, transforming the way they experience their favorite tracks. Its robust construction and elegant design further add to its appeal, making it an attractive addition to any audio setup.

    Ultimately, if you are serious about your audio experience and willing to invest in a high-quality device, the Gustard x30 is certainly worth the investment. With its impressive features, excellent sound performance, and strong user feedback, it has rightfully earned its place among the top contenders in the high-end audio market. Whether you are a seasoned audiophile or simply looking to upgrade your home audio system, the Gustard X-30 promises to deliver an exceptional listening experience that will leave you captivated.

    Pros And Cons of the Gustard X-30:

    Pros of the Gustard X-30:

    1. High-Quality Sound: The X-30 delivers crystal-clear and highly detailed sound, thanks to its high-resolution DAC and powerful amplification. It’s perfect for audiophiles who crave excellent audio performance.
    2. Sturdy Build: The metal chassis gives the X-30 a premium and durable feel, making it look and feel like a high-end product.
    3. Versatile Connectivity: With options like USB, Coaxial, and Optical inputs, the X-30 is compatible with a wide range of audio sources, providing flexibility for different setups.
    4. Easy to Use: The intuitive interface and well-laid-out controls make setup and navigation simple, even for those who aren’t highly tech-savvy.
    5. Attractive Design: The sleek and clean design fits well in any audio setup, enhancing the aesthetic of your listening environment.
    6. Comprehensive Accessories: The inclusion of a quality power cable, USB cable, and a detailed user manual adds to the overall value and ease of use.

    Cons of the Gustard x30:

    1. Price Point: The X-30 is on the expensive side, which might be a barrier for those who are just starting to explore high-end audio gear.
    2. Size and Weight: The solid metal construction adds weight and bulk, which may be inconvenient if you need to move it around frequently or have limited space.
    3. No Wireless Connectivity: The lack of Bluetooth or Wi-Fi connectivity may be a downside for users who prefer wireless streaming options.
    4. Limited Color Options: The X-30 may not come in a variety of colors, which could be a drawback for those looking to match their audio equipment with specific decor.

    Overall, the Gustard X-30 offers excellent sound quality and solid construction but comes at a premium price and lacks some modern conveniences like wireless connectivity.

    User Reviews and Experiences with the Gustard X-30

    User feedback on the Gustard x30 has been overwhelmingly positive, with many praising its exceptional sound quality and Build Quality. Audiophiles who have tested the device often highlight the clarity and detail it brings to their music. One user noted that the X-30 transformed their listening experience, allowing them to hear elements in their favorite tracks that they had never noticed before. But You know everyone’s taste is different.

    Another common theme in user reviews is the impressive build quality of the Gustard x30. Many users appreciate the solid metal construction and the premium feel of the device. The responsive display and straightforward navigation are often mentioned as features that enhance the overall user experience. Reviewers have noted that the setup process is intuitive, making it easy for anyone to integrate the X-30 into their existing audio environment without a steep learning curve.

    However, some users have pointed out some issues, the sound quality is top-notch, and it can take some time to fully break in the device for optimal performance. Overall, the consensus among users is that the Gustard X-30 is a fantastic investment for anyone serious about its audio quality, combining remarkable sound performance with a sleek design and user-friendly interface.

  • 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.

    Lyngdorf-TDAI-3400 back panel view

    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.

    Lyngdorf-TDAI-3400-terminals Lyngdorf TDAI-3400 Review

    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.

    Closer look of Lyngdorf-TDAI-3400 back panel terminals

    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:

    Lyngdorf-TDAI-3400-App-iPad

    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.

    Equalizer

    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

  • Nubert nuConnect ampX Review

    Nubert nuConnect ampX Review

    The Swabian speaker direct seller Nubert is always good for a surprise. Of course, it was clear that Schwäbisch Gmünder would soon bring an integrated amplifier. After all, the loyal Nu fan community has been calling for this for a long time. Now it’s here: its full name is Nubert nuConnect ampX – that fits perfectly and is not promised too much.

    However, he presents himself differently than one might have expected. The Nubert developers have proven in recent years that they can very well build amplifiers. However, they come in full-size format, as the amp combination nuControl/nuPower D and the mighty nuPower A prove.

    The Nubert nuConnect ampX, on the other hand, is completely different. With ultra-compact housing, optically minimalist appearance, and savvy connectivity, it undoubtedly belongs to the species of modern smart amps. The usability via the app and the extensive wireless functions also go well with this.

    closer look of Nubert nuConnect ampX

    Nevertheless, the nuConnect ampX is again a real Nubert. Owners of loudspeakers from the nuPro family will also find a lot of familiar features in the Nubert nuConnect ampX. The abbreviation “ampX” already gives it away: Nubert’s baby amplifier has several similarities with the nuPro models of Generation X.

    The Nubert nuConnect ampX has adopted their sophisticated operating concept almost one-to-one. Just like the nuPros, the nuConnect can also be set up and controlled directly on the device, using the included remote control or the app. Since the nuConnect ampX can also serve as a control center in more extensive hi-fi systems, it offers extended customization options in the setup menu. This will be discussed in more detail later.

    The power pack

    Small, strong, black – with a nominal output power of 2 x 110 watts at 4 ohms, the Nubert nuConnect ampX is the espresso among the integrated amplifiers. Such a high “power density” is not feasible with conventional amplifier technology. That’s why the nuConnect relies technically consistently on the highly effective combination of switching amplifier and switching power supply.

    However, unlike most of its compact competitors, the amp does not use quasi-analog Class D power amp technology. Rather, he uses an in-house process that has also proven itself in the numero active loudspeakers for several years. The central, digital signal processor (DSP) provides the direct data stream for the switching output stages (pulse density modulation). Advantage of this method: The D/A conversion required for class D amps is no longer necessary. This means that the signal processing up to the loudspeaker occurs almost completely in the digital domain. Among other things, this enables a very high signal-to-noise ratio.

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    nuConnect ampX – connectivity is key

    The Nubert nuConnect is also contemporary in the distribution of its hardware inputs: with 6:2, digital audio sources dominate here. No less contemporary is the use of one of the two analog inputs to connect turntables. Its switchable sensitivity even enables the optional operation of MM or MC pickups.

    Digital hi-res audio is of course also welcome: All digital inputs – including the two optical ones – can process audio material of up to 24bit/192kHz. A Nubert specialty is the USB-A socket intended for powering mobile players. With the help of an included adapter box, this becomes an HDMI input. In this way, for example, digital sound can be imported from the TV set.

    nubert-nuconnect ampx back panel terminal

    Despite all the variety of connections – the magic word for the Nubert nuConnect ampX is “wireless”. That applies to him in two respects. The Bluetooth input for mobile players is now a quasi-standard for amps in its format. Whether SBC, AAC, aptX HD, or aptX Low Latency – the little Nubert takes it as it comes.

    The second wireless input, on the other hand, is a specialty: It uses an in-house transmission protocol that operates in the frequency range between 5 and 6 gigahertz. Working bidirectionally, it can initially receive audio signals. These can come from other nuConnect amps, for example, or from Generation X nuPro active loudspeakers. Audio signals can also be transmitted in this way to other receivers – meaning other nuConnect amps or nuPro X active speakers.

    nuConnect ampX – multiroom operation

    The wireless mode makes it easy to create tailor-made listening zones. For example the following scenario: In the living room there are two active loudspeakers Nubert nuPro X-6000 as the main system. In the roof gallery, on the other hand, there is a nuConnect ampX, which, for example, drives two passive nuBox 325 Jubilee (or similar loudspeakers from other manufacturers). And because there is still space for a wallboard on the gable wall, a record player can also find an ideal, undisturbed place to stay here.

    First of all, you can now listen to the music you want in both zones independently of each other. On the other hand, you can tune in to the program currently running in the living room in the roof gallery (party mode) – of course with individually adjustable volume. Of course, this also works the other way around: the program from the roof gallery can be “taken over” just as well in the living room – for example from the record player. There are only a few limits to the concept – why not another nuConnect in the study?

    nuConnect ampX – the specials

    The nuConnect has also adopted all the facilities for individual sound design from the nuPro active loudspeakers. First of all, there are bass and treble controls: the latter works as a so-called tilt equalizer. It can be used to raise or lower the entire audio frequency range above 1,000 Hz, similar to an adjustable ramp (called “sound scales” in Nubert jargon).

    A 5-band graphic equalizer is also available. This can be used, for example, to correct the center emphasis that occurs when compact loudspeakers are placed on a desktop. The switchable loudness device is also on board. It compensates for the ear sensitivity that decreases at low volumes with low tones.

    The loudspeaker distances required for spatial stereo reproduction are not always feasible, which is especially true for small hi-fi systems. As a specialist for such cases, the nuConnect therefore has a switchable stereo base width setting. It can add room reflections generated by the DSP in five stages to make the sound image appear more extensive with small speaker distances.

    The nuConnect ampX wouldn’t come from Nubert if it didn’t have a subwoofer output. A corresponding low-pass filter with an adjustable cut-off frequency is also on board. And that’s not all. Thanks to its high-pass filter, which can be set in 1 Hertz increments, the nuConnect ampX allows the satellites connected to be precisely adjusted to the woofer.

    The nuConnect ampX accommodates all this variety of functions in a housing volume of almost 3 liters. What’s really remarkable is that despite its low weight of just 2,550 grams, its all-metal case looks exceptionally solid and is also extremely well made.

    The nuConnect ampX in a listening test

    With its lifestyle concept, the nuConnect, which costs just under 690 euros, is certainly not primarily aimed at the audiophile fan community. Nevertheless, I wanted to know what “works” in terms of sound. That’s why I’ve chosen the excellent Fyne Audio FS 502 and the ambitious Buchardt Audio S400 as playing partners for the small Nubert (passive) loudspeaker with quite audiophile aspirations. Both are currently doing their test runs in our listening room.

    Both combinations surprised me with an amazingly harmonious and spirited performance. That’s why they got a lot of appreciative approval from all the guests who stopped by the listening room during the recording time. Such “flying visit tests” are quite meaningful, since the hearing of the flying visitor has not yet adapted to the current situation.

    Of course, top amplifiers such as the Neukomm CPA155S showed in comparison that there is still more to be had, especially in terms of transparency. It would be worrying if this were not the case. Little Nubert didn’t want to lose tonal coherence and the necessary tonal “feel good factor” under any circumstances.

    The much-cited, digital coolness was also not an issue with the nuConnect (…although I find this attribute quite “off the mark”). Its sound character was more compact and well-grounded – not a trace of glassiness.

    Such a “briquette” like the nuConnect is often packed in a bag to smuggle it into a friend’s hi-fi system. The Nubert amp was also able to convince with such “reality checks”. The fact that its sound quality via analog input was equal to pure digital operation also proved its worth here.

    A heart for vinyl

    Fortunately, this also applies to the phono input. The nuConnect even got along very well with high-quality MC cartridges, such as a Lyra Dorian. Listening to top analog productions from the 1980s – such as Avalon by Roxy Music or Cupid & Psyche ’85 by Scritti Politti – was incredible fun with little Nubert: Dynamic power, finely detailed work, and three-dimensionality – nothing was missing.

    nubert-nuconnect-ampx-phonoboard

    A welcome, practical side effect: the AmpX outputs the program source currently being played back in 24-bit 96 kHz format via its digital output. Of course, this also applies to the phono input, so that you can even digitally transfer your vinyl sweethearts.

    Who Is It For?

    The Nubert nuConnect ampX is ideal for anyone looking for a modern, flexible amplifier that combines great sound quality with advanced wireless features. It’s perfect for small to medium-sized listening rooms or home theater setups, especially where space and convenience are priorities.

    Nubert nuConnect ampX – conclusion

    This test shows that even with amplifiers, it doesn’t always have to be “full format”. Thanks to modern switching amplifier technology, the Nubert nuConnect ampX achieves plenty of output power with an amazing variety of functions in the smallest of spaces. This makes it a multi-talent for all cases. Nubert’s quality standards don’t suffer as a result. This applies to the sound as well as to solidity and workmanship.

    It is remarkable that his “specials” are not only available but are also implemented in a high quality. Here, for example, is the phono input, which – exceptionally – has no alibi function, but sounds surprisingly good. One thing is certain: at 689 euros, the Nubert nuConnect ampX is an all-around “decent” offer – and thus once again in the style of the house.

    FAQs Nubert nuConnect ampX Integrated Amplifier

    How much power does the nuConnect ampX deliver?

    It provides 110 watts per channel at 4 ohms and 60 watts per channel at 8 ohms, making it suitable for a wide variety of speakers.
    Does the Nubert nuConnect ampX support wireless streaming?

    Yes, it supports wireless streaming via Bluetooth with aptX HD for high-quality audio transmission. It can also integrate with Nubert’s X-Connect system for wireless connections to compatible Nubert speakers.
    What kind of connectivity options does the nuConnect ampX offer?

    It features a wide range of inputs, including digital (optical, coaxial, USB), analog (RCA), HDMI ARC, and a phono input for turntables. It also supports subwoofer output.
    Does the Nubert nuConnect ampX have a built-in DAC?

    Yes, it comes with a built-in high-quality DAC (digital-to-analog converter) for handling digital audio inputs.
    Is there a built-in phono stage for vinyl playback?

    Yes, the nuConnect ampX includes a built-in phono preamp (MM) for connecting turntables directly.
    Can I control the Nubert nuConnect ampX remotely?

    The amplifier comes with a remote control, and it can also be controlled via Nubert’s mobile app, offering additional functionality like streaming controls and firmware updates.
    Does it support multi-room audio setups?

    Yes, when used with Nubert’s X-Connect compatible speakers, the ampX can function in a multi-room audio system, enabling synchronized playback across different rooms.
    What kind of tone controls does the Nubert nuConnect ampX offer?

    It provides bass, treble, and balance controls, allowing for some customization of the sound signature.
    Where is the Nubert nuConnect ampX manufactured?

    It is designed and manufactured in Germany, known for high-quality engineering and audio expertise.

    Pros

    Versatile Connectivity:
    Wireless Capabilities:
    Built-in Phono Stage:
    High-Quality DAC:
    Compact Design:
    Multi-Room Audio Support:
    Flexible Sound Adjustment:
    App Control and Firmware Updates:

    Cons

    Moderate Power Output:
    No Support for Advanced Streaming Services:

    No Balanced (XLR) Inputs:

  • Cayin CS-805A Review: A Detailed Tube Amplifier Review

    Cayin CS-805A Review: A Detailed Tube Amplifier Review

    The Cayin CS-805A is a tube amplifier that uses an 805 as the output tube. As you might expect, it has excellent dynamics, but the sound is also very special compared to other 805 amps.

    No matter how long they have been doing their job, HiFi testers are not immune to doubts about their results and recommendations. The author of this story, for example, regularly starts to ponder whether his enthusiasm for single-ended triode amplifiers is not a nonsensical, expensive technical mistake: You can certainly enjoy music with a well-made transistor amp or even a modern, Power-saving switching amplifier. Of course, it works. Do we want to continue to hype our readers up for heavy retro electronics full of heat and high voltage, with limited compatibility, ridiculous power output, and high levels of distortion? Anyway, after a few weeks with the Cayin CS-805A, my answer is: Yes, we do. And then,

    Or better: had to take over. Because when you switch from a single-ended triode to any other amp, the tonal result never really sounds like it was voluntary or even enthusiastic. After all, after the very puristic low-power triodes, such as the 300B with its eight watts or the 2A3 with two and a half watts, there is at least a certain relief in being able to turn up deep bass-intensive music again and not so precisely on the efficiency and impedance of the connected loudspeakers to pay attention to. A brief feeling of freedom that becomes stale more or less quickly.

    A Deep Dive into Cayin CS-805A Features

    I recently tested the Cayin CS-300A, which has a single-digit performance from a 300B per side. With normally efficient speakers, even at normal hi-fi volumes, you get into an area where the bass seems to hit a wall and disappear. Everything else sounds so complete and harmonious that you can’t enjoy the bass punch that a transistor amp would generate.

    The Cayin CS-805A is named after its power tube, the 805A. You wouldn’t call a transistor amp “2SA1216” just because it uses that type of transistor. There are too many different transistors, and most amps use complementary push-pull transistor pairs. So, the power amp assembly would only be half described, and the amp would need to be called “2SA1216 / 2SC2922.”

    Also Read: Cayin CS-55A Integrated Amplifier Review

    The Cayin CS-805A is incomparably handier – and more meaningful: the 805, along with the 845 and the 211, belongs to the directly heated transmission triodes and was originally used in the 1930s without the “A”, not as a low-frequency amplifier, but for the HF section designed in short or medium wave transmitters. Unlike the Ur-805, which was widely used as a transmitter tube, the 805A used here does not need an anode cap – the high voltage is not supplied from above but via one of the socket pins, which is less critical for safety reasons.

    It owes its second career as an audiophile power tube to good availability, but also to its impressive performance data: up to 1500 volts of anode voltage lets electrons fly out of a glowing tungsten cathode filament, which thanks to the thorium coating shines brightly. The opposite pole is a massive graphite anode, which can easily radiate 125 watts of permanent power loss in the form of heat.

    front-look-of-Cayin-CS-805A

    Such an 805 is an impressive, almost frightening component that does not simply glow discreetly after it is switched on, but immediately floods its immediate surroundings with light and heat. Record listeners who are switching from another amplifier to the Cayin CS-805A should take this into account: the safety distances, for example to vinyl discs placed next to them, must be larger here. Much larger.

    And even the cool beer doesn’t stay cool for long next to the amp. The Cayin draws 450 watts from the mains during operation. And since, as a single-ended amplifier, it is always under full quiescent current, this value is not dependent on power or volume but is just as constant as the weight of 38 kilos. In return, the amplifier delivers plenty of power:

    Cayin states 50 watts per channel, which is unbelievably high by triode standards and from a single tube. As is typical for tubes, this performance is also hardly dependent on the loudspeaker impedance, because the output transformers have separate connections for four and eight-ohm loads. As always, you have to try which one sounds better.

    You May Like: Cayin MT-12N Review

    The performance in the 805A is created with an absolute minimum of components, which are of the finest quality. On the input side, the signal path initially leads via relays, which switch through the desired of the three line inputs to the volume control. Then there are exactly three tubes in each stereo channel:

    A double triode of the classic 6SN7 type for preamp and voltage amplification, followed by a 300B, which serves as the driver for the 805. That’s right: the sublime 300B, mother of all modern triode high-ends, doesn’t play as a goalscorer here, but as a congenial passer. It looks almost cute next to the towering 805 – although Cayin has sunk the solid porcelain bayonet base of the output tubes a little in the upper deck.

    The tubes come from China – 805 and 300B are built by the noble manufacturer Psvane and provided with Cayin lettering. In my experience, the quality of the original Cayin tubes is excellent: there hasn’t been a single failure in dozens of amplifiers tested so far. That could also be luck, but it is confirmed by the two-year guarantee, which expressly includes the tubes, which are usually excluded as wearing parts.

    opening the box of Cayin CS 805A and removing tube covers

    In terms of sound, the output transformers, which Cayin naturally develops, wraps, and finally casts in a mixture of synthetic resin and quartz sand, are even more decisive than the tubes (provided they meet their data sheet specifications and are not defective). Building a transformer in such a way that it transforms high power completely linearly at frequencies from almost direct current to the ultrasonic range is an art that requires a lot of experience and expensive material.

    It becomes doubly difficult if the transformer is intended for a single-ended amplifier because it is then constantly loaded with the anode direct current on the primary side. Cayin did not make the two mighty transformer blocks so large out of extravagance, but out of sheer necessity.

    The mains transformer is located between the output transformers – again cast in a cuboid shape, but unlike the transformers it is constructed as a toroidal transformer. Other, smaller copper windings are found as filter chokes in the power supply, assisted by whole crowds of high-voltage electrolytic capacitors and elegant film capacitors. When looking into the device, the power supply dominates, while the actual signal path consists of only a few, artfully freely wired components.

    The extremely straight circuit means that the quiescent currents of the end tubes have to be checked from time to time and adjusted manually. Cayin has installed a moving-coil instrument that can be activated with two toggle switches next to the 805s. In this way, owners can check in a matter of seconds whether the working points of the triodes are still correct.

    If correction is needed, the quiescent currents can be adjusted in a few additional seconds thanks to easily accessible trimming potentiometers. Two other trimmers are labeled “Hum Bal.” With a small—usually only hair-thin—correction to the hum balancer, symmetry, and thus silent operation are immediately restored, even with high-efficiency loudspeakers.

    A-Closer-Look-of-Cayin-CS-805A

    Practice CS-805A

    In the listening room, we were able to work with Tannoy Eaton without any problems – which alone speaks for the quality of the CS-805A. Because the Eaton has a decent, but not super high degree of efficiency (87dB/Wm) and as a two-way bass reflex box it also doesn’t have an exaggeratedly flat impedance curve. Depending on the output resistance of the amplifier, this causes small to significant deviations in the frequency response: A typical transistor amp with strong negative feedback remains completely unaffected, switching amplifiers and tubes can react to the impedance minima with falling voltage and consequently a decreasing level.

    In this way, an image of the impedance curve overlays the measured amplitude curve of the box as an additional influence on the frequency response. Depending on the design, this can be the case to varying degrees: The output impedance of the output tubes themselves plays a role, their number and mode of operation, the design and quality of the output transformer, and the degree of overall negative feedback.

    In my tests so far, single-ended amps have done no worse than push-pull tube amps in this regard, despite their particularly puristic design. And yet there are also clear differences within this group, with the Thivan Labs Lion 805A as a particularly sensitive amplifier that is correspondingly selective in terms of speakers. The Cayin CS-805A takes the opposite position: it’s the most universal, uncritical single-ended triode amp I’ve come across. At least if you disregard Mad Max machinery like the NAT Magma Monos, where we are dealing with 170 single-ended watts – but also with a corresponding price and gigantic heat development.

    The Cayin demonstrated its versatility with a rather low-impedance floorstanding speaker from Sonoro, an inexpensive compact speaker from Mission, a broadband speaker from Heco, and the high-impedance Harbeth Super HL5 Plus XD, which is not very efficient. Very different loudspeakers, all of which initially sounded exactly like themselves on the CS-805A, i.e. without the characteristic exaggerations in the presence and brilliance range, and without the lack of flesh in the fundamental tone – all symptoms that betray borderline amp-box pairings.

    A closer look of tubes of CS-805A

    Hearing test

    On the mainly used tannoy, the Cayin initially impressed with the basic characteristics of almost all 805 amps: It unfolded whipping, physically noticeable, stirring dynamics. This doesn’t just apply to demonstration hissing-boom productions, but also, quite unexpectedly, to the snooty, reverberant shoegaze romance of Beach House, which seems borderline compressed over most systems. “All Your Yeahs” from the 2015 album “Thank Your Lucky Stars”, for example, expanded much more dramatically into the listening room than with a comparably expensive push-pull tube of American provenance. That amp recommended itself with a wonderfully sonorous and stable tone,

    The bottom line is that there was just more drama and intensity with the Cayin. That was also true of Kae Tempest’s latest work, “The Line Is A Curve” – ​​only more extreme: Tempest’s spoken-word poetry has very different intensities depending on the system. But the voice hardly ever comes as close as with the Cayin: This is full, frontal emotion that moves you to tears, even before you know what it’s about. With average hi-fi solid-state amps, Tempest is still easy to hear and understand, but it loses the intensity and urgency that makes the album so intriguing.

    Despite all the immediacy and dynamics, the Cayin is characterized by its particularly subtle, charming tonality. In the recordings he not only finds the spectacular impulses, the cracking drum cymbals, and snapping bass strings but also the surprising, because previously imperceptible, nuances in the tone of a voice, in the dying away of a guitar string, or the percussive character of a piano attack.

    His alter ego in the list of tested 805 amps is certainly the Line Magnetic 805iA, whose manufacturer is also related to Cayin in a certain way (the founders of Line Magnetic are long-time Cayin employees). The 805iA seems even more extroverted, faster, and sometimes even more brutal than the Cayin CS-805A, which has its appeal. With the very present produced voices of Dirk von Lowtzow and Soap&Skin on “Ich Tauche auf” (from the current Tocotronic album “Nie wieder Krieg”) I would prefer the Cayin on the already very direct Tannoy. It just sounds softer and creamier here.

    But that’s a decision that can only be made taking into account the selected speaker: Overall, the two 805 amps are close together. This also applies to the coarse dynamic capabilities: From an efficiency of 89-90dB, you no longer have to worry about being slowed down prematurely, even with bass-rich electronic music. Especially since the power limit, if it is reached, starts in a very discreet, ear-friendly way with mild compression instead of scaring the party crowd with hard clipping.

    What is interesting about the Cayin is the tonal role of the “NFB” button on the remote control. We already know the feature from the Line Magnetic 805iA, where it can only be switched directly on the device. With the Cayin it’s the other way around: you only have access via infrared. on what? On the over-everything negative feedback (English “Negative Feedback” aka NFB), i.e. a return of a small signal component from the output to the input, to increase the stability of the amp and reduce distortion.

    Both amps are puristic here. Because the two states that can be selected are not “little” and “a lot” or “low” and “high”, but “no negative feedback at all” aka 0dB and “virtually no negative feedback at all” with 3dB. The amp then becomes quieter by the same amount, i.e. 3 decibels, when negative feedback is activated.

    So with feedback, it should sound cleaner, more controlled, and more balanced. Also, negative feedback reduces the output resistance of an amplifier, ie mitigates the tonal effects of fluctuating impedance. This may be. But it doesn’t sound quite banal “better” – and not on any of the loudspeakers tested, with any of the records used, with any volume control setting between crawling through the night and rocking out in the evening.

    Even if I compensated for the level advantage of the non-feedback mode with the volume control (louder is otherwise always perceived as better in the blind test), I never got further than acknowledging the additional neutrality and then quickly pressing the NFB button again to get rid of it to get rid of the strangely indirect, pale sound as quickly as possible.

    Perhaps the NFB feature is primarily for pedagogical reasons – or some particularly delicate speakers benefit from it. In any case, you can now guess what ordinary hi-fi amplifiers have to struggle with, which owe their low distortion to much more drastic negative feedback in the double-digit dB range. And, to quote an old colleague and relative, next to SE triodes always sound like they’re broken.

    Conclusion Cayin CS-805A Review

    Cayin CS-805A Review: A few minutes after switching you get used to a lot. Also, semiconductor amplifiers, which of course work perfectly in reality. Anyone who can at least theoretically afford a CS-805A (and it’s not even particularly expensive on a high-end scale overall) would be ill-advised not to listen to it with an open mind: it stands like its colleagues from Thivan and Line Magnetic for higher, more intense and more conscious hearing. In this trio, he takes on the role of the particularly elegant, gently seductive musician, who nevertheless always lets the listener feel the irrepressible power of his archaic tubes.

    Cayin CS-805A Specifications

    Concept: Single-ended tube amplifier with 2 x 50 watts

    Tube assembly: 2x6SN7, 2x300B, 2x805A

    Inputs: LINE1, LINE2, LINE3, PRE IN

    Maximum power consumption: 450 watts

    Dimensions (H x W x D); 42.0 x 24.0 x 38.9 cm

    Weight: 38.0 kilos

    FAQs Cayin CS-805A

    Q1: What makes the Cayin CS-805A special?
    A1: The Cayin CS-805A features a single-ended Class A design with 805 power tubes, providing a warm, natural, and detailed sound. Its robust construction and premium components ensure high-quality audio performance, making it suitable for audiophiles who appreciate tube amplification.

    Q2: How much power does the CS-805A deliver?
    A2: The amplifier delivers 50 watts per channel in a single-ended Class A configuration, which is quite powerful for a tube amplifier. This power output is sufficient for driving a wide range of speakers, including those with moderate sensitivity.

    Q3: What kind of music is the CS-805A best suited for?
    A3: The CS-805A excels with genres that benefit from detailed midrange and smooth highs, such as jazz, classical, acoustic, and vocal music. Its powerful and dynamic sound also performs well with rock, blues, and other genres that require a fuller soundstage.

    Q4: Is the CS-805A compatible with all speakers?
    A4: While the amplifier can drive a variety of speakers, it performs best with speakers that have moderate to high sensitivity (88dB or higher). It is capable of driving some lower-sensitivity speakers, but the listening experience may vary depending on the room size and music genre.

    Q5: Does the Cayin CS-805A require frequent maintenance?
    A5: As a tube amplifier, it does require regular maintenance, including replacing tubes every 2,000-3,000 hours and bias adjustments for optimal performance. The manual bias adjustment feature allows users to fine-tune the tubes easily.

    Q6: Can the CS-805A be used in a home theater system?
    A6: The CS-805A is primarily designed for two-channel stereo listening, focused on high-fidelity music reproduction. While it can be used in conjunction with other equipment in a home theater system, it does not offer surround sound capabilities.

    Q7: How does the CS-805A compare to other high-end tube amplifiers?
    A7: The CS-805A stands out for its combination of power, craftsmanship, and sound quality. Its use of 805 power tubes provides a distinctive sonic character, offering a lush, immersive sound compared to some other high-end tube amplifiers that may have different tonal characteristics.

    Pros And Cons for Cayin CS-805A

    Pros

    • Exceptional Sound Quality
    • High Power Output for a Tube Amplifier
    • Premium Build Quality
    • Manual Bias Adjustment
    • Suitable for Various Music Genres

    Cons

    • Tube Maintenance Required
    • Not Ideal for Low-Sensitivity Speaker
    • Limited Features for Home Theater Use
    • Manual Biasing Can Be Difficult for Some Users
  • Canor AI 1.10 Review: it couldn’t be better

    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.

    Check Out: Canor Hyperion P1 + Virtus M1 Review: preamp/power amp

    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.

    Canor AI 1.10 back panel view: Canor AI 1.10 Review

    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.

    Canor AI 1.10 inner look of back speaker terminals

    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.

    A Closer Look of Canor AI 1.10 transformer

    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
  • Canor Hyperion P1 + Virtus M1 Review: preamp/power amp

    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.

    Check Out: Canor AI 1.10 Review

    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.

    closer look of Canor Hyperion P1

    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.

    closer look of control knob of Canor Hyperion P1

    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.

    closer look of front panel of Canor Virtus M1

    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.

    back panel back view of Canor Hyperion P1

    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
  • Naim Uniti Nova Review

    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.

    Naim_Uniti_Nova_inner look

    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.

    Naim_Uniti_Nova back panel view

    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.

  • NAD C 316BEE V2 Review

    NAD C 316BEE V2 Review

    At NAD, too, most of the new amplifiers are somehow digital. But only most. With the NAD C 316BEE V2, the inventors of the budget amp are once again presenting a classic, purely analog entry-level amplifier – even with a phono input. And with an unbelievably juicy, aromatic, and substantial sound.

    There are hi-fi testers who at some point are too sophisticated for amplifiers from the so-called entry-level class – great, then you don’t have to tussle with them for the first test devices. For the author of these lines, it’s almost the other way around: when he hears about a new affordable amp with real hi-fi ambitions, he picks up the phone almost reflexively.

    Especially quickly, of course, when the device comes from a brand that is as traditionally gifted in terms of value for money as this one. Because the brand new NAD C 316BEE V2 is not just any cheap amp. It is the youngest incarnation of one of the most important hi-fi devices of all time: In 1978, its ancestor, a certain NAD 3020, ensured that good stereo sound with all the trimmings – dynamics, naturalness, musicality – was no longer reserved for the professor was, but was accessible even for music-loving freshmen.

    NAD C 316BEE V2 volume knobe and controls

    The main merit of the 3020 and its even more prominent successor, the 3020i, was not the low price of around 350 marks at the time. There was cheap stereo stuff back then, and a lot of it looked a lot more impressive than the flat, nondescript gray NAD power bars with plastic buttons.

    What was special about these amps was that they seemed to use their naturally limited resources more cleverly, namely musically more effectively. Smarter than the competition in its price range, and often smarter than the music laboratories of the hi-fi establishment of the time, staring at buttons, pointers, and sometimes even digital displays.

    This would at least prove: that one (at least the author) simply cannot describe a small NAD amplifier without first paying homage to the 3020. It just doesn’t work and god knows there’s been plenty of opportunities, which is pretty much every NAD amp since the mid 90’s when the author first started professional testing.

    News: NAD Unveils Next-Gen C 379 Amplifier: The Future of Hi-Fi

    So let’s tear ourselves away from the overpowering ancestor and jump straight into 2018. And what do we see? On/Off, a row of input selectors and a volume knob. So not what technology insiders in tight shirts with pilot’s glasses painted on the wall and in the newly founded hi-fi magazines as the future of hi-fi.

    It’s a basic layout that hasn’t changed for 40 years. The 3020 had already defined very well what a stereo-integrated amplifier needs and what it doesn’t. Only a few things have been added over the years, but many have been refined and perfected. And the small NAD also lost a few things, at least temporarily: At some point, the planners thought the time had come to save on the phono input because hardly anyone needed it anymore. The few remaining vinyl users had to resort to separate preamp boxes, which NAD always had in good quality.

    NAD C 316BEE V2 back panel view

    But lo and behold: the C 316BEE V2 has an integrated phono section again, and even a quite serious one, which at first glance looks suspiciously like one of those separate boxes had been disemboweled and the innards implanted in the integrated amplifier. You don’t have it after all – according to the print, the small square piggyback circuit board was unmistakably designed for the 316.

    In any case, the effort goes well beyond those minimal solutions consisting of an OP amp and a handful of Cs, Rs, and Ls around it, which one otherwise found finds in phono-compatible entry-level amps. And even those didn’t have to be bad, as other minimalist classics taught us: The Rotel RA920AX, for example, was now available for less than 200 marks and could make incredibly beautiful music with a small Thorens player and a pair of cleverly selected two-way speakers.

    inside look of NAD C 316BEE V2

    However, what these very small favorite amps usually had very clearly were dynamic limits. Aware Rotel, for example, had an ideal volume range somewhere around 10-11 o’clock on the suspiciously smooth-running (because it was small and unencapsulated) volume control. Below that, the warm-musical magic quickly disappeared into randomness, above that the warmth gradually became a slightly throaty sound and then pure, bubbling mud. That’s why hardly anyone missed a remote control: Once you had adjusted the ideal volume window at the beginning of a record, there was little room for maneuver anyway.

    What distinguishes older NADs and especially the new NAD C 316BEE V2 from such really small amps is its incredible enthusiasm, which makes the listener believe that they are dealing with a much larger amplifier. The comfort zone, in which this amp makes music expressively, rousingly, and with easy-going authority, extends almost as far at the top as with really big amps – and in many cases starts even earlier at the bottom.

    In this respect, the NAD maintains the strength of good, low-watt colleagues: Even at room volume, everything works together correctly, and already has elegant momentum and drive, whereas watt cars with their multiple pairs of transistors are sometimes still quite indecisive, but also like to appear thin-lipped and stiff.

    Don’t get me wrong: there are of course also powerhouses that play perfectly quietly, but they can usually be found in completely different price ranges. The peculiarity of the NAD is that in the blind test, it is considered to be just such a multi-talented rarity. It doesn’t sound like a $400 amp. He sounds pretty huge and yet contoured, muscular, and at the same time finely moved, casual, and highly accurate. He juggles his limited resources so skillfully

    The secret of the unexpectedly great sound is – in addition to an amplifier circuit that has been refined over many years and bred for natural distortion behavior on real loads – the daringly designed power supply unit, which offers the output transistors a very high supply voltage. So high that the power semiconductors would soon die of heat death under constant full throttle like a British classic car on the motorway.

    But there is no silicon meltdown because the power supply of the NAD C 316BEE V2 reliably turns off the voltage tap beforehand: The transformer does not deliver one, but two different voltages. The smaller one is designed to withstand full throttle, so the amp is never in danger even with power-hungry speakers and fully turned up.

    The larger one, on the other hand, is always ready, but only for a short time: impulses from snare or bass drum, clicking double bass strings, or crisp piano strokes can draw on the full. The heavily compressed mainstream rock clipping sausage turned up to party level, on the other hand, has to make do with the reduced operating voltage … which of course is still sufficient for a very decent 40 watts at 8Ω.

    NAD_C316V2 circuit and power supply

    Technically, the double supply of the NAD C 316BEE V2 is very simple and at the same time ingeniously implemented. The turbo voltage comes from a second secondary winding of the toroidal transformer including a separate rectifier and is connected to the output stage via two halogen lamps (one each for plus and minus voltage).

    The filaments of the lamps serve as a current-dependent resistor: high continuous currents cause them to glow and thus make them highly resistive, and the voltage drops – in extreme cases down to the level of the normal, directly connected voltage.

    On the other hand, during short current peaks, the tungsten filaments remain dark, their resistance low and the voltage tap wide open, allowing the amplifier to deliver unusually high pulse power without any risk. At typical hi-fi levels, the lamps were completely off, the images in the following slide show were created with a 120 Hertz sine wave at a permanently higher level on a 4-ohm box. And this is what it looks like:

    The user does not notice anything from this “Power Drive” power supply apart from the already mentioned, remarkably high dynamics. The lamps are encapsulated light-tight and last practically forever in normal operation. And even if they were to burn out one day, the NAD C 316BEE V2 would remain operational until they were replaced, just as a “normal” amplifier without a power drive.

    The NAD C 316BEE V2 in a listening test

    Even then, his loving fine-tuning would still come into play, which gives voices just the right amount of articulation, breathes volume and intelligibility into them at the same time, and, when in doubt, always prefers to deviate in the direction of warmth and fullness. In this way, even problematic recordings can be listened to without any stress, and the really good productions grow to an amazing format.

    “Amsterdam Stranded” by Midnight Choir, for example, with its absolutely believable piano standing in the room, the acoustics neatly circumscribed around it and Paal Flaata’s voice, in all its noble lamentation, captured with absolutely no effects.

    Played on the Rega Planar 6 with Ortofon 2M Bronze and monitored on the Heco Direct Harmony, the album became a musical and audiophile celebration with a wide studio space, convincingly catchy reproduction, via the NAD and the grandiose Heco Direct Harmony, which was mainly used for listening. Above all, however, musically rousing intensity.

    You just wanted to keep listening and not even think about possible improvements. Which of course were possible – if only for at least twice as much money.

    Twice as much, at the very least. Because that’s what the Rega Brio costs, with the right speakers it’s an exceptional amplifier in the class up to 1,000 euros. If you switched to the Rega amp, the room seemed more precisely focused, the bass drier and more powerful. And the strings moved forward from the diffuse background into the limelight.

    If you increased the price to three times that by connecting the 1,300 euro Marantz PM-8006, the focus no longer improved, but the tonal colors now seemed even richer and Flaata’s voice in particular seemed to sound even fuller and more engaging.

    So the NAD means no danger for well-made amps that cost twice or three times the price – at least as long as you have the possibility of a direct comparison. But what he manages to do is to come astonishingly close to these amps on a lot of records – much closer than you would have ever thought a 400-euro amp could do.

    It is pleasing that the phono input also maintains this high level. Only in comparison to really high-end separate equalizer preamps such as the Natalija from Rike Audio, which was connected as a test, does the NAD input appear a bit dark and narrow.

    Indeed, the author would recommend this German, completely transistor-free 2,600-euro preamp to an LP-heavy listener as the first upgrade based on the starting point NAD- Heco – Planar 6. Because, as is so often the case with phono stage upgrades, the sound gain here is clearer than if you put a comparable sum into a larger integrated amplifier.

    Don’t worry – the NAD just grows with them, and the result then lies somewhere between impressive and surreal: enormously energetic and clear, obviously much closer to the true potential of the LPs.

    Oversized phono preamps are and always have been a hot tip for record listeners. With amps as affordable, as stretchable as the NAD C 316BEE V2, they are more than ever. Nobody believes the author anyway, but maybe there is an intrepid dealer who can demonstrate it.

    Where the Rike Audio is not available, a phono pre from Audio Research, Aesthetix, Roksan, Naim, or Linn can of course serve as a replacement – the main thing is that it is bombastic and costs many times more than the integrated amplifier that follows.

    The connection options

    In terms of equipment, the small NAD leaves nothing to be desired. Balance and tone controls are of course available, whereby the latter can be completely swept out of the signal path using the “Tone Defeat” button.

    There are more than enough inputs: in addition to the, as already mentioned, very decent phono input, there are five line inputs, one of which is a 3.5mm jack on the front panel – so the portis you have brought with you can be connected to the system quickly and without much fiddling. There is a headphone output, which, however, branches off its signal via a voltage divider directly at the output stage and does not sound great.

    And you can connect a pair of speaker wires to solid, banana-sized screw terminals. That’s it. There are no recording or pre-amp outputs at all, even if the developers have kept a pre-out and main-in option open when designing the circuit board: There are correspondingly labeled taps on the mainboard, but they were not used.

    Pre-Out and Main In… The blissful 3020 still had these two pairs of sockets – including plug-in connection brackets, after which you could use the amp purely as a power amp or as a pre-amp for external power amps and active speakers, and processors and equalizers of all kinds could be looped in.

    If you still need it today, you can get it from the NAD C 316BEE V2’s big brother, the C 326BEE, which also has a little more power and an even more sophisticated power drive circuit, but no phono.

    If you are already controlling a maximalist phono chain with a deliberately chosen budget imbalance in favor of the analog sound, you can of course whistle on the missing phono input. On the other hand, the best possible turntable and a non-consumptive pair of speakers are even more important in the first step, and the resulting system has its charm in its clarity.

    Conclusion:

    The NAD C 316BEE V2 is a solid contender in the realm of budget-friendly integrated amplifiers. Its combination of clear sound, solid build quality, and affordability make it a compelling option for those seeking an entry into high-fidelity audio. While the limited connectivity might be a drawback for some, its excellent audio performance and phono input make it a great choice for vinyl enthusiasts or anyone looking to elevate their audio setup without spending a fortune.

    Overall, the NAD C 316BEE V2 is a worthy investment for those looking for an uncomplicated yet powerful amplifier that delivers an enjoyable listening experience at a reasonable price.

    Pros And Cons For NAD C 316BEE V2

    Pros:

    • Excellent Sound Quality: Warm and engaging audio performance with a well-defined soundstage.
    • User-Friendly Design: Intuitive controls and a straightforward layout make it easy to operate.
    • Solid Build Quality: Sturdy construction that feels durable and reliable.
    • Versatile Connectivity: Multiple inputs, including a dedicated phono stage for turntables.
    • Great Value: High performance at an accessible price point.

    Cons:

    • Limited Power Output: While suitable for most setups, it may struggle with very low-efficiency speakers in larger rooms.
    • Basic Features: Lacks advanced features like built-in streaming or Bluetooth, which some competitors may offer.

    FAQs NAD C 316BEE V

    1. What is the power output of the NAD C 316BEE V2?
    The NAD C 316BEE V2 delivers 40 watts per channel into 8 ohms and 60 watts per channel into 4 ohms, providing ample power for most speakers.

    2. Does the NAD C 316BEE V2 have a built-in DAC?
    No, the C 316BEE V2 does not have a built-in DAC. It focuses on analog inputs, but you can connect an external DAC to the line-level inputs if needed.

    3. Can I connect a turntable to the NAD C 316BEE V2?
    Yes, the amplifier includes a dedicated phono input with a built-in phono stage, allowing you to connect your turntable directly.

    4. How many inputs does the NAD C 316BEE V2 have?
    The C 316BEE V2 has four line-level inputs, a dedicated phono input, and a headphone output, providing versatile connectivity options.

    5. What type of speakers work best with the NAD C 316BEE V2?
    The amplifier pairs well with a variety of speakers, but it is particularly suitable for medium to high-efficiency speakers, as it may struggle with very low-efficiency models in larger rooms.

    6. Is the NAD C 316BEE V2 suitable for home theater systems?
    While primarily designed for stereo audio, the C 316BEE V2 can be integrated into a home theater system for front channel amplification. However, it lacks surround sound processing.

    7. Does the amplifier come with a remote control?
    Yes, the NAD C 316BEE V2 has a remote control, which allows for convenient operation from a distance.

    8. How does the sound quality compare to other amplifiers in its price range?
    The C 316BEE V2 is known for its warm, detailed sound and excellent clarity, making it a strong competitor in the entry-level amplifier market.

    9. Is the NAD C 316BEE V2 easy to set up?
    Yes, the setup is straightforward. You’re ready to enjoy your music by connecting your audio sources, speakers, and power.

    10. How do I maintain the NAD C 316BEE V2?
    Regular maintenance involves ensuring proper ventilation, cleaning the exterior, and checking connections. The amplifier does not require tube replacement, as it uses solid-state components.

  • The Ultimate Listening Experience: Primare i35 Amplifier Review

    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,

    front pane view of Primare i35 Amplifier

    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.

    Primare i35 Amplifier Transistor

    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”.

    Primare i35 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.

    You May Like: Technics SU-G700M2 Amplifier Review

    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.

    Closer look of back panel terminals of Primare_i35 Anschluss

    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.

    Primarei35CD35

    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.

  • Unrivaled Performance: Technics SU-G700M2 Amplifier Review

    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.

    A Closer Look of Technics SU-G700M2 Amplifier Volume Knob

    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.

    A Closer Look of Technics SU-G700M2 Amplifier front panel

    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.

    Inner look of Technics SU-G700M2 Integrated Amplifier

    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.

    Closer look of back panel speaker terminals of Technics SU-G700M2 Integrated Amplifier

    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.

    Closer look of power button of Technics SU-G700M2 Integrated Amplifier

    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.

    Unrivaled Performance: Technics SU-G700M2 Amplifier Review

    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.

    Closer look of back panel of Technics SU-G700M2 Integrated Amplifier

    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.

    Closer look of Technics SU-G700M2 Integrated Amplifier Remote

    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.