Amps, DACs & Cables – Premium vinyl record cleaners

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Eletech Aeneid Review – Unmatched

Posted on August 30, 2021 by Ryan Soo

Pros –

Market-leading build and artisan design, Ultra-soft insulation, Super snappy bass, Highly refined yet resolving treble, Immersive imaging, Voicing results in versatile synergy

Cons –

Layers aren’t especially well delineated, Not the largest tonal shift for those wanting such

Verdict –

If you have the luxury of purchasing this cable, expect unmatched opulence and a listening experience accomplished in equal measure.

Introduction –

Eletech has made huge strides in just a short time due to the years of experience carried by their friendly staff, gained from at other leading cable companies. Their product line-up is split into three; the entry-level Virtues series, the reference-grade School of Athens series and the flagship Parnassus series. The Iliad formerly held the position as their lone flagship and has grown to become a well-regarded model. Building atop its success, the Aeneid offers a further refinement of the Eletech flagship experience as their new highest-end model. To ensure it is an all-out upgrade, the team has maximised all aspects of its design, meaning there will be no upgrades in future (ie. 8-wire variant). It sports gold-plated silver conductors and a large gauge wire design that has permit twice the conductors of a regular 26AWG cable.

The Aeneid starts from $2399 USD with pricing depending on termination. You can configure one to your preferences on Eletech’s website.

Disclaimer –

I would like to thank Eric from Eletech very much for his quick communication and for providing me with the Aeneid for the purpose of review. All words are my own and there is no monetary incentive for a positive review. Despite receiving the cable free of cost, I will attempt to be as objective as possible in my evaluation.

Contents –

Page 1: Intro, Unboxing, Design
Page 2: Sound & Pairings
Page 3: Comparisons & Verdict

Behind the Design –

Custom Conductors

The company spent months prototyping configurations to achieve their desired combination of musicality and technicality alongside optimising versatile pairing. They arrived on a 2-type gold-alloy coating; a combination of audiophile-grade gold compound combined with jewellery-grade gold. This alloy was then plated onto an avant-garde silver Litz configuration to opitmise conductivity. The company has addressed every other element of the conducting path too, using Eletech bespoke solder alongside bespoke connectors. Eletech reason this results in a complete profile of maxed out GPS configuration previously unheard of in the industry.

Maximus Efficiency Strand Geometry

Furthermore, the company maximised the efficiency of the cable’s geometry, assuming a more capable 24AWG jacket with twice the conductors of a 26AWG model. Their maximus efficiency geometry entails the use of multiple strand sizes that cater specifically towards different frequency ranges adopting a hybrid Type-4 Litz geometry. This innovation also allows Eletech to fill dead space within the cable using smaller wires, thereby, increasing the density and maximising the conductivity of the cable whilst retaining an elegant and practical form factor.

Design & Form

Tactility, luxury and flawless aesthetic design have always been of equally high priority to Eletech and this has been exemplified here. Eric spent months designing and redesigning the Aeneid, and it has been a pleasure seeing his work come together. The company overhauled every aspect of the experience, starting at the unboxing and accessory set. Though their former designs are hard to top, Eletech have done just that with their final cable design that draws inspiration from a timeless Roman Colosseum aesthetic. Topped with their signature FlexiMax insulation, the Aeneid promises to be as ergonomic as it is beautiful.

Unboxing –

Eric tells me Eletech has been wanting to overhaul their packaging for a while now and the Aeneid made for the perfect platform to showcase what they were capable of. While this never struck me as a weakness of their products, the unboxing experience here is truly one of a kind and perfectly befitting of a luxury, flagship product. The outer sleeve is rubberised with cutouts revealing the hard box within, both inscribed with Roman iconography. Opening the magnetic lid showcases the purple hand-stitched leather zipper case as seen on their other School of Athens and Parnassus cables. I love these cases, they feel ultra-premium and have an internal pocket alongside a soft, anti-scratch suede interior. Surrounding is a 3D printed sculpture that gives the impression the buyer has unearthed a lost treasure. A fun addition is a 3D-printed column for the buyer to enjoy. Inside the case is the cable and Pentaconn slider. This is an interesting addition; the slider features an OFC copper construction with silver plating on top. Nippon DICs reasons it aids shielding and its weighted construction reduces microphonic noise transmission.

Design –

If you catch public transport and aren’t versed in hand-to-hand combat, this cable may not suit. The first and lasting impression of the Aeneid is that is feels and looks expensive. The folks at Eletech have always had a knack for premium designs and the Aeneid is an almost unrivalled showcase of expertise, creativity, and opulence. Of course, the new colosseum Y-split draws focus first, it is truly a marvel to behold and the intricacy of the machine work is astounding. All elements showcase a flawless finish, a captivating contrast between smooth gold and brushed black anodized aluminium. Small details such as the ridging beneath the gold outlay are a brilliant display of top-level craftsmanship and design. Eletech’s insulation portrays the stunning gold conductors below. It is one of my favourites, I haven’t found their insulation to harden or haze over time, having used their Prudence cable for about a year now.

Beside the design, the Aeneid upholds a familiar experience coming from other Eletech cables, which is a good thing. I applaud that the company were able to achieve this whilst retaining a sound ergonomic experience as the Aeneid isn’t just great to study, it’s a pleasure to use as well. I was surprised, especially given how densely packed the conductors are, how soft the cable is. It has zero memory and minimal microphonic noise transmission too, making it highly tangle resistant and great to live with day to day. While it is thicker than your standard cable, the 24AWG wires are hardly unwieldy. I never felt like the cable was weighing down my IEMs and compromising ergonomics. The ear guides are well-shaped and comfortable, further aiding fit stability. The option to remove the Pentaconn chin slider is welcome, providing the option to increase the weight and decrease cable noise during stationary listening, or lighten the cable for portable use.

Next Page: Sound & Pairings

The post Eletech Aeneid Review – Unmatched first appeared on The Headphone List.

World News

Topping 30-Pro Stack Review – Performance Credentials

Posted on August 1, 2021 by Ryan Soo

Introduction –

Topping have garnered quite the following lately for their focus on objective measurement-backed performance. Their designs target ultra-linear sounds, huge driving power and high efficiency, able to achieve a versatile performance in a compact, desk-friendly form factor. While this was exemplified by their flagship 90-stack, the same technology pioneered to top the measurement charts has gradually filtered down to far more affordable models. The 30-Pro stack perhaps exemplifies all of these mantras best. These are compact, handsome devices that draw clear inspiration from the flagship stack in all regards. The D30 Pro benefits from a modern digital screen with matching knob to the A30 for a congruent aesthetic while the A30 Pro feels like a shrunken down A90 with a similar rounded frame, large volume knob and similar switch-based interface. The reason the 30 Pro stack is on everyone’s mind is because it offers similar spec and connectivity to Topping’s TOTL models but at a much cheaper price, where lower-end models relinquish balanced connectivity to hit their price point.

The A30 Pro retails for $349 USD and the D30 Pro retails for $399 USD. You can read all about them including the full specifications on Apos Audio.

Disclaimer –

I would like to thank John from Apos Audio and the team at Topping very much for reaching out and for providing me with the A30 Pro and D30 Pro for the purpose of review. All words are my own and there is no monetary incentive for a positive review. Despite receiving the stack free of charge, I will attempt to be as objective as possible in my evaluation.

Contents –

Page 1: Unboxing, Design & Usability
Page 2: D30 Pro Sound Breakdown
Page 3: A30 Pro Sound Breakdown
Page 4: Comparisons & Verdict

Behind the Design –

D30 Pro

The D30 Pro utilises a quad Cirrus Logic CS43198 DAC chip setup alongside XMOS’ latest XU208 USB controller enabling wide codec and balanced support. An Altera FPGA with custom Topping code ensures stable clock and jitter reduction before the DAC stage for cleaner output. The power supply has also been well considered with 8 low dropout regulators ensuring a highly stable, tightly regulated voltage to each circuit within the DAC.

A30 Pro

Perhaps more notably, the A30 Pro is the first midrange amp to combined Topping’s legendary NFCA technology with balanced IO. This enables more flexible connectivity and enhanced performance alongside perfect pairing with the D30 Pro. Of course, not all NFCA implementations are created equal, the A30 Pro utilises 10x OPA1656 op-amps augmented by Topping’s ultra-high gain feedback topology. The company reasons this enables an ultra-low noise level in addition to a wide dynamic range up to a whopping 146dB.

Design –

The Topping 30-Pro stack offers a congruent aesthetic as one would expect for matching devices. There’s a certain charm to their design which feels like a miniaturised 90-stack with similar rounded faceplates and side walls. This gives them a more modern aesthetic than the more squared off L30 and 50s stack whilst retaining a low desk footprint, most notably with regards to depth. As before, the housings are entirely aluminium with a smooth satin finish. The edges are nicely rounded and there are no visible screws on the front or sides which contributes to their impression of quality and refinement, I was very impressed with the tolerances and finish here.

The larger knobs on both devices are also welcome, being far easier to handle than the A50s. They are well-weighted with a smooth action on the A30 Pro and an affirmative click for each setting on the D30 Pro’s rotary encoder. This impression is reinforced by the D30’s large, bright OLED screen. While it doesn’t offer colour, the screen has an orange backlight that grants the stack a high-performance aesthetic, an impression accentuated by the ventilated top-plate on the A30 Pro. Finally, four large rubber feet offer good grip and vibration reduction in addition to preventing scratches.

D30 Pro

In terms of IO, both devices have internal power supplies, only requiring IEC power plugs. This means third party power cables of different lengths and right-angle configurations can be used, great for convenience and optimising the ergonomics of your setup. The D30 Pro offers XLR balanced outputs on its rear and single-ended XLR outputs. It also supports digital input via USB Type-A, optical and COAX.

A30 Pro

Speaking of which, the A30 Pro is a clear step up from the lower-end models and almost on par with the A90. It supports balanced XLR and single-ended RCA input in addition to pass-through via another pair of RCA plugs and balanced output via two 6.3mm dual-mono plugs. On the front is are 4-pin XLR and 4.4mm plugs for balanced output in addition to a 6.3mm single-ended output. A smart addition is a ground/lift switch on the rear that changes the ground point of the amp from its chassis to other equipment in the audio chain. This can help with those experiencing added noise over RCA.

Usability –

The stack was very easy to setup, simply connect your preferred input to the D30 Pro and connect it to the A30 Pro over either single-ended or balanced depending on your use case. While no audio cables are included (unless purchased from Apos’ Ensemble program), USB and power get the user started. I enjoy having physical power switches on the rear for hard resets too.

D30 Pro

While the D30 Pro does include a remote, all settings can be accessed using the rotary encoder. In standard use, however, it can only be used to adjust volume, denoted by a handy dB readout, and clicked to cycle between its 3 digital inputs. Accessing the menu without the remote requires powering off the DAC with the rear-facing switch, holding the knob down and powering on reveals the menu. Unfortunately, it does have a steeper learning curve than some devices due to the screen’s limited resolution, showing only one number and letter.

Memorising this system can take some time but is manageable if you reference the user manual. Operation via remote is easier since there are dedicated buttons for each function and no power cycle is required. The menu offers the ability to change filters, adjust the between pre-out and line-out mode and enable/disable particular outputs. In addition, you can set the DAC to auto turn on and off when it detects USB input, and can adjust the screen brightness. Of note, the final brightness setting sets the screen to auto shut-off after 30s (without shutting down the device) which is thoughtful for home-theatre/TV setups where its light may be distracting.

While a case can be made for more comprehensive physical controls, realistically, these will be more set it and forget it options for most users. Usually I am not a form over function guy but do personally enjoy the balance Topping have achieved here if at the cost of a steeper learning curve for those that like to tinker.

A30 Pro

The A30 Pro is a far more analogue device, with no remote operation and really, no need for one. Usability is simple and streamlined, making it a pleasure to use day to day. It offers simple switch-based operation. There are two 3-position switches on the front, one toggling power off, XLR and RCA inputs (and in so doing, power on the Amp), the other toggling between its three -14, 0 and 14 dB gain settings. It’s good to see an additional gain setting here as I did find the A50s to lack granularity with sensitive IEMs without a negative gain setting. That said, astute readers will note a lack of preamp functionality.

Powerup takes only a second and is denoted by a white LED next to the switches. I enjoy how Topping have used a diffuser, so it isn’t too bright or distracting, a nice QOL consideration. The amplifier does get noticeably warm over time, understandable given its huge output power and small size. While I was never concerned by the heat, I would recommend putting it on top of the D30 Pro to allow its ventilated housing to breathe. It does function just fine if placed below the D30 Pro which is more ideal for ergonomics as it doesn’t place strain on the ports or cable connectors.

While it still didn’t become hot to the touch in this configuration, perhaps as the sides are also ventilated, this is not ideal for the componentry over long-term use. Besides this, there is not much to complain about when using the A30 Pro. The pot is smooth, of good size wand channel imbalance is minimal unless you’re at the lowest 10 deg of the volume range; unlikely due to the inclusion of a third -14dB gain setting. All of its output can be used simultaneously, handy for comparing gear. I would have liked a 3.5mm output too but it is understandable that Topping would preference the more capable balanced standards.

Next Page: D30 Pro Sound & Comparisons

The post Topping 30-Pro Stack Review – Performance Credentials first appeared on The Headphone List.

World News

Shanling UA1 USB DAC/Amp review

Posted on March 31, 2021 by Suman Sourav Meher

Known for their wide range of Digital Audio Players, I do not feel the need to introduce Shanling to my audiophile friends, we have seen Shanling evolve from a decent Chi-fi Brand to a Global brand with a lot of products under their portfolio. For those who aren’t very familiar with the brand, Shnaling has been in the consumer audio market for the last 5 years. Initially they were making some of the best DAPs in the budget segment.

Initially they struggled a bit with QC (M3s, back in 2017) of one of their products but from there they haven’t looked back. Now, Shanling makes some of the best and most popular DAPs and even though they were a bit late, jumped into the USB audio market with the Shanling UA1. Priced at just $60 it is an entry level DAC/Amp with plenty of power and enough mass appeal.

Get one for yourself from these links:

For Indians: https://www.headphonezone.in/products/shanling-ua1

USA: https://audio46.com/products/shanling-ua1-portable-usb-c-adapter

Asia: https://www.linsoul.com/products/shanling-ua1

TECH TALK:

Adapting same ESS Sabre ES9218P Hi-Fi chip

Hi-Res Aidio Certified Dongle, support up to PCM 32/384 and DSD256

Compatible with Android, Windows and MacOs

Comes with a USB-C female to USB-A male adapter

FREQUENCY RANGE	20Hz~50KHz (-0.5dB)
THD+N	0.001% @32ohm (A-Weighting)
OUTPUT POWER	1.6V@32ohm (80mW@32ohm)
DYNAMIC RANGE	119dB @32ohm (A-Weighting)
SIGNAL-TO-NOISE	119dB @32ohm (A-Weighting)
CHANNEL SEPERATION	77dB @ 32ohm
OUTPUT IMPEDANCE	<0.5 ohm
DIMESIONS	39 X 15 X 9mm body / 77mm Cable
WEIGHT	8.3g

IN THE BOX

BOX CONTENTS	1. Shanling UA1
	2. USB-C To USB A Adapter
	3. User Guide

For those who are not aware of all these jargon, let me simplify a few things for you.

If you are using a headphone/earphone with 32ohm, UA1 can deliver power of 80 mW or 1.6v. The only down side is the 77DB channel separation, which is still very good for a $60 dongle.

PACKAGING A ACCESSORIES:-

UA1 comes in a small tidy box. There isn’t anything special here, along with the UA1 a type-c to type A adapter can be found inside, what can you expect from a entry level USB dongle.

BUILD AND DESIGN:

UA1 doesn’t have anything fancy to its build quality. At just 8.3g it is a lot easier to carry around. The main body has a unique rhombus like shape with rounded edges giving it more ergonomically shape to hold. The body and type C jack are made out of metal giving it a sturdy feel to the hand. Thankfully the connector cable is externally covered with nylon braiding serves as a layer of protection from any mishaps.

CONNECTIVITY:-

UA1 works flawlessly with mobile phones and unlike some of the complicated USB dongles in the market it works without any hick ups with the desktop too. Just plug and play. No software required.

DRIVING POWER:-

UA1 is an entry level dongle and does exceptionally well with 99% of IEMs. It has no problem handling multi BA or multi DD or even hybrid IEMs. 160mw is more than enough for most IEM. Single DD with higher sensitivity like KBear Believe is driven without any problem either.

Being an entry level dongle it do not qualify to be used with headphones but it does not do badly either. It drives my Fischer M12s effortlessly. Headphones like HD6xx and HD58x too can be driven up to acceptable levels but the lack of power is unable to deliver desirable stage expansion. Driving non demanding headphones like HD598 and Emperior is much easier.

SOUND QUALITY:-

The UA1 excels at this. It does not introduce any coloration but a bit more dynamism can be seen across the spectrum. It simply do not have any preference or favors for a particular part of the spectrum but if the IEM sounds a bit cramped, the UA1 can help with uncompressing.
Bass:-

The lower end feels a bit tighter than it is with mobile phones. That’s because the added power provides much better control which restricts the IEM from getting muddier or interfering with the lower mids. It still has excellent bass extension and rumble to enjoy. A bit tighter notes result into better texture and details as notes do not overlap even with bassy IEMs. Do not expect the UA1 to boost the lower end volume and you are good to go.

Mid Range and Treble:-

What amazes me is the UA1’s ability to keep the whole spectrum clean and tidy. It does not have any tendencies to cramp or overlap notes which help with excellent transparency and details. I do not find a single flaw with the UA1’s mid range. It has the exact notes depth and body which I expect from the IEM. Let it be vocals or instruments the UA1 is able to extract the best out of the IEM. The only added attribute is its extra bit of liveliness which gives it a more tingly and crispy feel. It perfectly showcases the background and foreground abilities of the IEM which a mobile phones struggle with.

Treble region has class leading amount of transparency and extension. There is no lack of energy or sparkle. I love the way it maintains agility and keeps up with high speed tracks. Yes, those who are super sensitive to spark might find UA1 a bit aggressive but if you do not mind a bit of aggression, it is simply outstanding.

COMPARISON:-

Compared to the similarly equipped LG G7 the UA1 has more dynamism and liveliness. G7 is good with power too but does lack with a bit of density. G7 do not have the notes depth and finishing energy of the UA1. UA1 has better transparency too.

Both share similar dynamism but the sonicality of UA1 is much superior. As an audio source the UA1 is a better sounding option at a much cheaper price point and can be used with all the modern day mobile phones without 3.5mm jack.

CONCLUSION:-

UA1 is excellent as an entry level DAC/amp. There is no 2nd thought about it. It is the best dongle for under $60. Those who do not want to break the bank and want to have a small and durable DAC/amp at their exposal for a multipurpose use need not to look beyond the UA1.

The post Shanling UA1 USB DAC/Amp review first appeared on The Headphone List.

World News

Astell & Kern PEE51 USB-C Dual DAC Cable Review – Je Ne Sais Quoi

Posted on March 24, 2021 by Ryan Soo

Pros –

Low noise floor, Flexible braided cable, Ultra-premium build quality and aesthetic design, Smooth and refined sound, Spacious stage

Cons –

Slightly higher OI can limit versatility, Type-C plug isn’t case friendly, No accessories included

Verdict –

The Dual DAC Cable ultimately showcases greater refinement in both feel and listening than even its premium competitors, however, its higher output impedance especially makes it a far more situational buy.

Introduction –

Astell & Kern are one of the most renowned DAP makers on the market with a legacy of innovative designs. One example includes new SR15 which implemented a rotated screen in order to accommodate the ergonomics of handheld use. Upon such a foundation, the company has decided to address the death of the headphone jack in smartphone design with their new Dual DAC USB cable. This dongle-style DAC/AMP sports AK’s signature aesthetic and sound design with a full metal chassis and Dual Cirrus DAC setup – one handling each channel. In turn, the company promises the same premium experience provided by their DAPs scaled down into a hyper-portable form factor and at a reasonable price. As always, the company demonstrate their prowess with a carefully considered premium design that showcases profound attention to detail.

The Dual DAC Cable retails for $169 AUD or $199 NZD at the time of launch. You can read all about the DAC/AMP and treat yourself to a set here.

Contents –

Page 1: Intro, Unboxing, Design
Page 2: Sound and Pairings
Page 3: Comparisons & Verdict

Specifications –

Frequency Response: 20Hz – 20kHz
S/N: 118dB
THD + N: 0.0004% Unbalanced
Output Impedance: 2-Ohms
DAC: Cirrus Logic CS43198 x2
Sample Rate: PCM up to 32bit.384kHz, DSD64 (1bit, 2.8mHz) Native, Stereo, DSD128 (1bit, 5.6mHz), Stereo/DSD256 (1bit, 11.2mHz), Stereo
Input: USB Type-C
Output: 3.5mm Headphone
Dimensions: 17 x 50 x 10.3 mm
Weight: About 25g

Behind the Design –

Full Metal Housing

Reminiscent of their DAP designs, the Dual DAC Cable implements a design drawn from the concept of light and shadow. It features a robust zinc alloy build that provides a solid feel and daily durability. It has a noticeably different feel to aluminium with a premium weight and density alongside a different surface finish. The angular design was optimised for comfortable grip and one-handed use, AK also focused on providing a flawless, smooth finish.

Dual-DAC Chipset

AK’s dongle features two of Cirrus Logic’s CS43198 MasterHIFI DAC chips supporting native DSD256 and 32bit/384kHz playback. This is Cirrus Logic’s power and space-efficient chipset superseding the CS4399. It has been designed with proprietary digital-interpolation filters and low jitter. Two chips have been implemented, one for each channel.

Independent Amplifier

AK forgo Cirrus’ integrated amplifier in favour of their own independent module – a prime differentiator from the vast majority of competing hyper-portable designs. The Dual DAC cable is built atop a micro 6-layer PCB with custom micro-resistors and tantalum capacitors designed to provide stable operation and improved capacitance for a dynamic audio performance. AK’s amplifier circuit offers 2Vrms output (no load)

Silver-Plated Copper Shielded Cable

An often-neglected part of dongle design, AK’s Dual DAC Cable features a custom-made large-gauge 4-core cable with copper noise shielding. It resembles a litz design with a combination of SPC and copper wire entwined around a centre aramid fibre damping core. Separate shielding is then applied over the cable to further shield the device from noise from the playback device.

Unboxing –

The Dual DAC Cable comes within a compact rubberized box and is nestled within a foam inlet. The experience is streamlined and no-frills. Given that the cable is soldered onto the device, no other accessories are included. For the more premium pricing, a carrying pouch would have been appreciated and perhaps a USB-A adaptor.

Design –

Visually satisfying design has always been a defining trait of Astell & Kern’s products and this same ethos is embodied here. For though the Dual DAC is one of the larger dongles I’ve reviewed, it is also one of the most premium. Furthermore, given its slim design, it doesn’t feel too substantial when stacked with a smartphone. The 2-piece Zinc alloy construction surely makes a strong first impression, feeling immediately more robust in the hand than competing plastic and aluminium designs. This experience is reinforced by an extrusion-moulded Type-C connector with matching zinc housing and the cable too impresses greatly; in my experience, one of the most overlooked aspects of dongle design.

AK’s custom 4-core braided cable is especially flexible, which in addition to the weight of the dongle itself, makes the device very easy to stack and handle alongside a smartphone. It also places less stress on the Type-C port of the playback device – and I found the dongle to provide very reliable connectivity here too. Solid rubber strain reliefs are to be observed on both terminations, however, one niggle is that he Type-C connector is quite large and features no protrusion. This means you will need a smartphone case with a large cut-out in order to use this DAC/AMP. Overall, beside the bulky connector, I found the look and feel of this dongle to be highly appealing and a prime differentiator from competitors.

Usability –

As with most competitors, the Dual DAC Cable is marketed as being plug and play on Windows, OSX, IOS and Android devices. Though I was unable to assess compatibility with Apple’s products, I experienced no difficulty using the dongle with either my Windows 10 laptop or Xperia 5 II smartphone, neither requiring unique apps or drivers to interface. On Android, however, a music playback app supporting DSD is required should you want to take advantage of this function.

The dongle also lacks an auto-power function which, to me, is a positive as it maximises compatibility and reliability. Once plugged in, the dongle powers on, denoted by a white LED indicator on its face. There’s no jack-mounted switch or timer which streamlines usability at the cost of power consumption (though realistically, the dongle would be unplugged when not in use). The dongle itself has no controls so the source devices handles playback and volume. I found the dongle to offer a good range here, suitable for sensitive in-ears with enough headroom for less sensitive headphones too.

As there is no integrated battery, the dongle is powered by the playback device. This may limit compatibility with some older smartphones that do not support power output, however, should not be a problem on modern Smartphones and laptops. Power drain was not substantial despite the robust amplifier – I found the Dual DAC Cable to draw less power than most competitors such as the Cozoy Takt-C. This suggests that the circuitry has been well-implemented to optimise efficiency. Do note that the dongle does not support 4-pole in-line remote signal but will support audio-playback on 4-pin remote cables.

Next Page: Sound & Pairings

The post Astell & Kern PEE51 USB-C Dual DAC Cable Review – Je Ne Sais Quoi first appeared on The Headphone List.

World News

Lotoo PAW S1: The Swiss Army – A USB DAC/Amp Review

Posted on March 17, 2021 by Deezel

DISCLAIMER: Lotoo provided me with the PAW S1 in return for my honest opinion. I am not personally affiliated with the company in any way, nor do I receive any monetary rewards for a positive evaluation. I’d like to thank Lotoo for their kindness and support. The review is as follows.

The past couple cycles have seen Lotoo go from strength from strength. The release of their PAW Gold Touch player saw them gain acclaim at the top flight. Then, the subsequent release of their more affordable PAW 6000 did the same in the mid-tier market. Much of that praise was attributed to their sleek, modernised aesthetic, impeccable build quality and all the proprietary software they packed in there too. Now, bringing all this and entry-level pricing into the mobile market is Lotoo’s PAW S1 USB DAC/amp. A balanced output, OLED display and Lotoo OS in hand, the PAW S1 is the dongle to beat.

Lotoo PAW S1

DAC chip: AKM AK4377
Available inputs: USB Type-C, Lightning (sold separately)
Available outputs: 4.4mm balanced jack, 3.5mm single-ended jack
Sample rate support: Up to PCM 32-bit/384kHz, DSD64 and DSD128
Output power: 70mW/ch @ 32Ω (single-ended), 120mW/ch @ 32Ω (balanced)
Key feature(s) (if any): OLED display, EFX sound-shaping, MQA decoding, LTOS
Price: $165
Website: www.lotoo.cn

Packaging and Build

This PAW S1 comes in a clean, compact package, adorned all around with sleek, matte-finished artwork. Also, on the top-left corner is a sticker from Pentaconn, which indicates that the 4.4mm socket Lotoo have sourced for this DAC/amp is of utmost quality. Inside is the S1 itself sat within a foam cutout. And, underneath that is a quick-start guide and a warranty card, along with the S1’s accessories also sat in foam. This consists of a short Type-C-to-Type-C cable to connect the S1 to Type-C devices. And, there’s a USB 3.0 adapter for, say, laptops and desktops too; all in Lotoo’s sleek, anodised aesthetic.

With this S1, Lotoo prove that – no matter the price tier – build quality is something they know how to deliver. Its chassis is excellently compact, yet impressive in robustness and heft. It’s by no means as luxurious-feeling as their bigger, pricier DAPs. But, given the price and size of the S1, you’d be hard-pressed to find a dongle that looks and feels as premium. It’s a near-unibody design with a screwed-on bottom panel. Despite how flush it sits against the rest of the chassis, I do wish Lotoo had put screws on all four corners, rather than just two. The end with screws feels solid and firm as I tap my finger on it, while the opposite feels ever-so-slightly loose. Again, it still sits flush against the rest of the device. But, it does take away a teeny bit from the S1’s near-flawless feel. That aside, however, Lotoo have, again, finished their product superbly; dressed in an even and seamless coat of anodised-black, then capped with sharply-defined engravings above and below.

We then get to the one of this device’s defining features: The 128×32 OLED display. The screen in its default state feature the current track’s sample rate, the S1’s gain mode (Low or High) and the current volume level on the upper third. Taking up the rest of this screen is the EFX profile you’ve selected, which essentially is Lotoo’s DSP or sound-shaping. Personally, I like how the S1’s UI looks. It’s clean, it isn’t too flashy and it tells you all you need to know. And, it’s lit up sufficiently with zero traces of backlight bleed too. Lastly, as a finishing touch, Lotoo have also incorporated some sliding animations that appear when you cycle through EFX profiles and gain modes, which gives the UI some life and adds that last bit of polish.

Bookending the S1’s body is the device’s I/O, which have similarly been installed seamlessly. The USB-C jack sits perfectly against its opening with zero crookedness or gaps, and the same goes for both the 3.5mm and 4.4mm sockets. There’s a touch more tightness to those audio outputs than ones I’d find on my laptop or DAP, but it shouldn’t be much of a worry. Lastly, the S1’s three buttons sit perfectly level and still, are engraved precisely and depress with a very firm, tactile click.

Ergonomics and Physical Controls

Clearly, given the S1’s compact, lightweight design, it’s an absolute breeze to carry around; whether in an in-ear pouch or your coat pocket, even. It isn’t as thin as some of Cozoy’s USB dongles, for example, but I reckon it’ll still make an easy fit in whatever space you’re carrying your other electronics in. That’s further aided by its detachable cable system. Speaking of, Lotoo’s included braided cables have good heft to them as well, so I won’t have to worry about those wires potentially snapping off if I hang this S1 off a table edge, or bending and kinking if I stuff the dongle in a trouser pocket. Overall, this is a DAC that’s as easy to carry as it is to keep, and built tough enough to withstand the hustle of daily, portable listening.

The PAW S1’s physical controls consist of three buttons, whose base functions are Function, Volume Up and Volume Down. Pressing the first brings up the EFX selection screen, where you can use the Volume buttons to cycle through this device’s 16 included EQ profiles. Pressing that Function button again will summon the gain selection screen, where you can either select High Gain or Low Gain. For example, for headphones and in-ears, respectively. Overall, it’s an easy, intuitive system that’s also quick, due to the dongle’s responsiveness. If I could make one suggestion, Lotoo could add a way to revert the EFX profile back to Stock in a single action. Perhaps, by pressing both Volume buttons at once. But, that is my only qualm.

Connectivity

This PAW S1 is capable of outputting both 4.4mm balanced and 3.5mm single-ended audio, though, obviously, not at the same time. Still, this addition of a TRRRS socket does put it a step above most USB dongles available today; a Pentaconn-issued one, no less. Volume on both outputs have a range of 100 steps, which should be beyond sufficient fine-tuning for most users. Then, for the input, you have the S1’s modular Type-C connector. By default, it connects to a Type-C-to-Type-C cable with, again, an optional USB 3.0 adapter. And, you could also purchase Lotoo’s Lightning cable attachment to use the S1 with Apple’s mobile devices. It features the same braiding and hardware as the default cable; a detail I love to see.

I’ve tested this PAW S1 with a couple other Type-C cables, and those results are a tad hit-or-miss. The ultra-long charging cable that I use with my MacBook does get this device to work, but it disconnects intermittently; presumably, because of a lack of power. The USB 3.0 to Type-C cable that comes with the PAW Gold Touch works perfectly fine. So, I’d personally recommend using the cables Lotoo provides for the best results. Though, in a pinch, most standard cables can work too.

The post Lotoo PAW S1: The Swiss Army – A USB DAC/Amp Review first appeared on The Headphone List.

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Topping D70s Review – Effortless

Posted on March 12, 2021 by Ryan Soo

Pros –

Highly linear sound, Excellent detail retrieval throughout, Hard-hitting yet even bass, Wide BT codec support

Cons –

Settings menu overly-complicated to access, Volume buttons are inefficient, Large footprint

Verdict –

The D70s’ strength lies in its ability to effortlessly resolve the minutiae and do so without any fatigue, all the while upholding an almost perfectly even-handed presentation

Introduction –

I’m sure by now the vast majority are no stranger to Topping. The company has been making source devices for quite a few years now and have recently received widespread accolades for their chart-topping measurements and cost-efficient, scalable designs. The D70s represents the successor to Topping’s original D70, sitting just below the D90 in their dedicated DAC line-up. It utilises two of AKM’s AK4497EQ chips and features an upgraded XMOS 16-core XU216 microcontroller in addition to BT5.0 with LDAC support. Topping promise less jitter and native MQA decoding for a hearty jump in measurable performance over its predecessor.

The D70s retails for $649.99 USD at the time of writing. You can read more about it and treat yourself to a unit on Apos Audio (affiliate).

Disclaimer –

I would like to the team at Apos Audio for their quick communication and for providing me with the D70S for the purpose of review. The company is a sponsor of THL, however, all words are my own and no monetary incentive has been provided at any time for a positive review. Despite receiving the DAC free of cost, I will attempt to be as objective as possible in my evaluation.

Contents –

Page 1: Intro, Unboxing, Design
Page 2: Sound Breakdown & Verdict

Behind the Design –

Linear Power Supply

All great sources are built atop a quality power supply and the D70s is no different, using the same linear, regulated toroidal transformer as the D90. It has 8 independent voltage regulators and 7 Nichicon electrolytic high-grade caps built for audio application that provide clean and stable power.

Dual AK4497EQ DAC Chip

At its heart lies two of AKM’s 2^nd highest DAC chip, the AK4497. However, Topping were able to beat even AKM’s own reference design in terms of measurable performance, to the extent that it almost matches the flagship AK4499 as used in the D90. Besides this, the D70s implements the same Accusilicon AS317 femto-clocks and Altera MAX II CPDL FGPA module with Topping coding.

High-Performance Inputs

The D70s utilises XMOS’ latest USB chipset that enables full-MQA decoding and native playback. In addition, they pair the AKM DAC with AKM’s AK4118 chip handling digital inputs for maximum compatibility and performance. On the Bluetooth front is the CSR8675 receiver chip from Qualcomm with wide codec support and BT5.0.

Unboxing –

Similar to Topping’s amplifiers, the D70s comes within a large card box with the device itself safely secured within a laser cut foam inlet. There are adjacent cutouts for the remote, power wire, BT antenna and USB cable in addition to a user manual and warranty papers on top. The unboxing experience is simple, effective and utilitarian matching the ethos of the product itself.

Design –

As compared to the original D70, the successor boasts a slightly more sophisticated design and proud MQA certification on its faceplate. It retains the aluminium shell that provides rigidity in addition to enhanced isolation. Robust silicone feet provide a planted and stable feel on the desk. The fit and feel is also impressive with rounded edges and a nice, uniform sand-blasted finish across its exterior. Though this remains far from a modern design, especially coming from SMSL’s competing devices, with visible screws and a simplified black and white OLED display with 4-button navigation. The faceplate is squared off and protrudes noticeably from the housing rather than sitting flush. In turn, I find this design to be nowhere near as sleek as the D90 or even the former D70 to my eyes. However, this can also suggest that the device is intended to be stacked or contained.

Otherwise, it feels solid and robust; Topping are clearly capable of providing strong build quality and the D70s’ BOM are well considered. The device does have quite a large footprint, being the largest Topping DAC in fact, which is something to consider if you have small desk. It is clearly larger than my THX789 and the SMSL SU-9, especially in width. The control scheme is button-based as opposed to the rotary encoders we’ve seen implemented elsewhere. On the rear are the inputs and outputs. A power switch sits adjacent to the plug and a voltage selection switch is located on the right-hand side since this device uses a linear power supply that cannot automatically adjust for different voltages. The D70s supports AES, COAX, USB, Optical, I2S and Bluetooth inputs while providing XLR and RCA outputs.

Usability –

Navigation

The D70s provides, to me, a versatile experience albeit not the most intuitive one for the user. It excels best, in my experiences, as an all-in-one DAC used not just for headphones but also speakers and perhaps even a media/TV setup. This is because the device is, by far, easier to navigate with the included remote, which can be inconvenient to constantly have on hand during use in a regular headphone/desk setup.

Accessing the sound setting menu without the remote requires powering off the device using the rear-facing power switch, holding the sel button and switching the DAC back on. Otherwise, when on, the sel button simply changes sources, the arrows the level of the pre-amp output unless set to pure DAC-mode (in which volume control is disabled). It’s frustrating that holding the sel button whilst the device is on offers no further functionality here as would be intuitive.

Apart from this, the D70s provides a streamlined experience and users shouldn’t feel the need to constantly tweak these settings during daily use. It also features an auto-power on feature which is super handy for use with a PC setup. A small niggle, the volume control via the front-facing buttons is noticeably slower than a rotary-encoder, however, source selection is quick and clearly denoted by the large OLED display. The DAC also constantly provides status of the inputs/outputs in use, the volume setting and the sampling rate it is currently using.

Bluetooth

The Bluetooth input is also easy to use, simply change to the BT source input and it becomes discoverable by any BT source. The D70s promptly paired to my Xperia 5 II over an LDAC connection. On the phone I was able to prioritise either signal stability or sound quality in addition to LDAC’s usually auto-scaling function. The wide codec support of this DAC is a huge plus, providing the convenience of wireless with surprisingly low-quality degradation. Of course, this is not how the DAC will be assessed but is surely handy when listening to music during social events. I found the connection to be stable and the range easily sufficient to traverse a large room without any form of intermittency or artefacts on behalf of the external antenna.

Next Page: Sound Breakdown & Verdict

The post Topping D70s Review – Effortless first appeared on The Headphone List.

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SMSL SU-9 Review – Epiphany

Posted on October 9, 2020 by Ryan Soo

Pros –

Linear sound with dead neutral tone, Coherent and layered presentation, Outstanding resolution, Intuitive UI with remote, Effective sound colour modes, High-quality BT implementation

Cons –

Only 3 rubber feet can wobble when stacked, Prominent coil whine, No single-ended outputs, Smoother top-end won’t suit all

Verdict –

The SU-9 is for those wanting a balanced DAC with a pure sound, excellent staging and strong resolving power without spending a small fortune to get it.

Introduction –

Though almost as diverse as the in-ear and headphone market, buying a source has been heavily simplified by many online resources – buy the JDS Atom and Khadas Tone Board if you’re on a budget, the THX789 and SMSL SU-8 if you value balanced output (albeit at a higher cost). We’ve certainly reached a point where sources are less imperative simply due to the majority now measuring better than the capabilities of human hearing. Is that to say that all sources sound the same or that high-end audio no longer has a place? The answer is invariably not so simple. So, welcome the SMSL SU-9, an update to the SU-8 that features two of ESS’ flagship 9038PRO DAC chips built atop completely redesigned and upgraded circuitry. It promises further improved performance while introducing a higher-res colour screen and Bluetooth in addition to a new external design.

The SU-9 is available for $439.99 USD. You can read more about it and purchase one for yourself from Apos Audio.

Disclaimer –

I would like to the team at Apos Audio for their quick communication and for providing me with the SU-9 for the purpose of review. The company is a sponsor of THL, however, all words are my own and no monetary incentive has been provided at any time for a positive review. Despite receiving the DAC free of cost, I will attempt to be as objective as possible in my evaluation.

Specifications –

MQA decoding
Remote control
THD+N: 0.000095%
SINAD: 120dB
Linearity: Perfect accuracy to -120dB/20 bits
Inputs: USB, Optical, Coax, Bluetooth
Outputs: XLR, RCA

The Pitch –

ESS 9038Pro

Though the SU-9 may appear identical to the SU-8 at a glance, it’s important to note the distinction between tiers of 9038. This is the current flagship chip line of ESS but not all are made equally; think of this like a car platform, with cheaper, more efficient incarnations being stripped down but operating from the same chassis. The PRO variant is more expensive than the Q2M and draws more power in return for better performance. It is an 8-channel converter as opposed to the Q2M that only offers 2-channels, enabling it to use 4:1 summing to achieve a 6 dB SNR improvement – about double the performance in this regard since the dB scale is logarithmic.

Balanced Design

There are undisputed benefits to a balanced desktop audio setup. Much of this comes down to the elimination of ground loops and noise rejection, some implementations may also offer lower stereo crosstalk. By eliminating ground loops, balanced audio does not necessarily increase audio quality, but ensures a best-case scenario for performance. It can also offer double voltage swing helpful for high-impedance gear. Often this comes at the cost of doubling the output impedance and cost of production as you essentially need to double the componentry. There has been much discussion on the net so I won’t ramble as this is not a field I am not qualified to dissert nor is it the intention of this review.

Unboxing –

The SU-9 has a straight-forward unboxing similar to SMSL’s other products. Inside the outer sleeve is a card box with the DAC within. It is well-protected within a foam inlet with a plastic sheet that prevents scratches. Beside it is the 3-pin power cable and remote alongside papers. Of note, the power cable is very short, only about 1m long which may limit placement or require the purchase of a longer cable for some setups. Though it would have been nice to see some cables included as well considering the more premium price-point, I do acknowledge that many audiophiles prefer to select each component themselves – so a lower price point in exchange for fewer accessories here is acceptable.

Design –

The SU-9 assumes a svelte form factor that’s a departure from its predecessor. Though it is no work of art like some high-end sources, the 3-piece housing feels well-constructed, being all aluminium and featuring even seems and flush joins. The edges are chamfered and soft on the skin while the anodized finish is even and consistent. The base feels a little hollow when tapped and this isn’t aided by tightening the four corner screws, though play or other noises aren’t apparent once placed on a surface. The front face sports a relatively high-resolution TFT LCD colour display alongside a rotary encoder.

The rear houses the main interfaces that have been expanded relative to the SU-8 as well. Users also no longer have to set the input voltage, it automatically accepts 100-240v 50-60Hz through the 3-pin connector. Beside is a short antenna for its new Bluetooth input in addition to Coaxial, USB and optical inputs. A dividing line separates the inputs from the outputs, that being two 3-pin XLR outs for balanced and two RCA for preamp functionality.

The SU-9 also features an internal power supply that gives the device a nice heft in the hand and stability on the table in addition to omitting the need for an external power brick. This also means the cable can be extended to suit any setup as it uses a common connector. Besides this, setup is as with other sources, simply connect input(s) and desired outputs and enjoy listening. Of note, the SU-9 does not have any single-ended outputs, but you’ll be able to use an adaptor cable and retain the option of going balanced down the road.

Usability –

Navigation

I am a fan of the device navigation; the integrated screen is clear and bright enough to be visible in well-lit rooms. It provides feedback for options, source and volume with the latter two being displayed constantly on the home screen. This aids an intuitive and simple user experience. All features are accessible by both the rotary encoder on the front and the included remote so users shouldn’t be constrained to using the remote if their setup is within arm’s reach. The remote has 3 channels as well, enabling the user to control their entire stack from just one remote should they be using one of SMSL’s amplifiers too.

Within the menu, users have the option to adjust audio settings in addition to a few liveability tweaks. There’re the usual PCM and DSD filters in addition to DPLL bandwidth that alters jitter attenuation. This isn’t the most accessible option but, in a nutshell, jitter is distortion of the actual waveform during digital to analogue conversion, so it is different to simple latency. Lowering jitter is desirable, measurements have suggested that there is no jitter over USB, but it does help with TOSLINK where the lowest setting works best. The user is able to adjust timing here to some extent here to what sounds best to their ears, I kept this at the stock value since I listen over USB.

The remaining options enable the DAC to control volume on the pre-outs (or set a fixed volume) and adjust screen brightness. A reset button is available if things go wrong and a screen that displays the HW, SW and USB versions provides feedback for firmware updates. Though not common, a toggle to enable and disable the pre-outs would have been appreciated as I split output to active speakers and a sub, it would be convenient to be able to turn both off from one device when listening to headphones. Nevertheless, the overall usability experience here is very straight forward and streamlined making it suitable for seasoned audiophiles and newcomers alike.

Bluetooth

Bluetooth is a new and welcome addition, signified by the screw-on antenna. It works without the antenna too and the antenna can be angled horizontally if below another device in a stack. Of course, the range is compromised in so doing. Selecting Bluetooth through the source selector enables pairing and it auto connects to previously paired devices, nice and simple. Range was very good. With the external antenna attached, I was able to cross 3 rooms with double brick walls and the sound didn’t become intermittent. Latency was also on the low side with barely noticeable lip sync that wouldn’t irk during videos or movies. This makes it suitable for TV setups and larger rooms. It supports LDAC and the display provides feedback on the sample rate. I was able to stream at up to 96kHz from my Pixel 4 without issue.

Next Page: Sound, Pairings & Verdict

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Burson V6 Classic Op-amp review

Posted on September 27, 2020 by Suman Sourav Meher

I have reviewed the Burson Audio playmate with their V6 Vivid Super sound Op-amps few weeks ago. It is one of the best op-amps in the market and provides a comprehensive upgrade over the default NE5532 chips that comes pre installed inside the PlayMate. Just like the V6 Vivid, the V6 classics are their top of the line chips with a different type of output. In their words

“The V6 Classic deviates further from its V5 foundation. With an entirely different output stage design, it is intimate, exquisite and very engaging. With the V6 Classic, Norah is asking you to come closer. She wrote the song for you and she is singing it to you. It was time to stop analyzing and start living in the moment.”

The V6 classic has a different take on the sound with a different imaging. It delivers a more intimate sound with a cohesive and engaging tonal balance.

Get these OP-amps from here:-

Supreme Sound Opamp V6

INSTALLING V6 CLASSIC:-

THINGS TO KNOW:-

The Super Sound series of OP-amps have a lot of improvements over the basic NE5532 opamp which are pre installed on the Playmate. These OP-amps from the Super Sound lineup are some of the best aftermarket discrete OP-amps one can find. They can be used in sound cards and a lot other DAC/AMPs.

In their words:-

“Discrete circuits are custom built by Burson for specific applications rather than an op-amp’s jack-of-all-trades-master-of-none specifications. The art of circuit design yields superior sound in every way in comparison to simple plug-a-chip engineering.

A system can only sound as good as its weakest link. All our products use thick, quality, temperature-stable printed circuit boards with high-purity copper traces and gold-plated soldering pads. And extra coating is applied to both sides of the PCB preventing oxidation. The boards are hand-built use high-spec metal-film resistors and other audio-grade parts using as few hand-matched components in the signal path as possible.”

“The V6 Vivid and V6 Classic are the results of over 12 years of research and six generations of designs. They are the most refined we have ever created.”

Burson is really proud of their OP-amps and if you have bought them, you can get a lifetime warranty on them. All you have to do is register the OP-amps here.
These OP-amps are not huge is size and fit everywhere without much struggle. One of the remarkable features of these V6 is their reverse voltage protection. If you have installed them the wrong way around these will survive without any problem where other opamps will be fried. That’s a fantastic thing to be precise.

Read the build and other specifications of the Burson Playmate here.

SOUND QUALITY:-

The V6 vivid is already an excellent sounding chip with plenty of details and clarity. The stage is huge and provides a well spread instrument distribution. Does it lack something? Maybe the vocals could have been a bit more forward and the huge stage at times is unable to convey more intimate details with conviction.

Steps in the V6 classic. It has the same size, same design but finds a middle ground between the NE5532 and V6 vivid chips. NE5532 is a not the best chip, it has excellent mid range but kills the treble stage and lacks some bass thump too. The V6 classic delivers a well spread stage with better intricate details than the NE5532 without sacrificing anything. It delivers better contrast than both the other two chips. 5532 is brighter and the Vivid is on the slightly darker sides of the spectrum.

I am putting the Fischer M12s to good work here. Being the neutral one, it helps in exposing the changes more vividly than other colored and damp sounding headphones.

BASS :-

The NE5532 was missing a bit of volume and the V6 vivid is missing a bit of mid bass feel. The V6 classic has it all. It has excellent the extension, rumble, mid-bass body and fullness. Notes are juicier and fuller and have better texture now. The lower region doesn’t feel clumsy or constrained. Notes express themselves with a lot more freedom. The V6 brings more heft without compromising on accuracy, details, resolution and clarity. The Playmate attains a more natural and neutral status and can be paired with any type of headphone and speakers without worrying about the bass region being unnecessarily analytical or less exciting.

MID RANGE:-

Mid range used to take a huge chunk of the stage size with the NE5532, making the playmate a mid-head DAC/AMP and the V6 vivid took slightly more than desired off the mid range, making it a bit dull and less engaging. The Classic brings the required amount of depth and energy to the mid range. The odd thing is it has more vivid instruments than the Vivid chip. Maybe the more intimate instrumental placement is reason. With the 5532 the notes were sharper with smaller base, the V6 has a bit more notes body with a better depth. The vocals are more agile, textured and crisp than the V6 vivid. The upper mid range has a very good amount of energy with equally good transparency and clarity. It has the right amount of sharpness and attack. Layering and separation of instruments remains excellent. Air between instruments takes hit, not because the notes are thick or fuller but because of the smaller stage size.

TREBLE:-

I complained about the lack of treble stage with the NE5532, which was literally fighting for air. The V6 vivid provided a lot of room to breathe but can feel a bit hollowed at times. The V6 classic strikes a balance between the two with improved stage presence compared to 5532 and exhibiting better instrument density than the Vivid. The treble feels evenly expanded with equally impressive treble extension and vastly improved sonicality and dynamism versus the 5532. There is better energy and sparkle at the lower treble region than the Vivid, the projection is in line with the mid range and is equally emphasized. The only niggle comes at the higher treble region where the classic doesn’t maintain similar energy and loses some points.

COMPARISONS:-

VS EARMEN TR-AMP ($250):-

NE5532 was more attacking. The V6 vivid is a bit mild and slightly smoother with notes. The V6 classic matches the emotions of the EARMEN dac/amp. Both have the same type of crispiness and contrast.

If you are not paying much attention it is tough to tell these two apart. Both have similar bass volume and quantity but the V6 classic has more resolution and better texture. Both have similar mid range notes presentation but the classic has a bit more forward vocals and more natural and organic tonality. The treble feels similar with notes sharpness but the TR-amp is on the drier side with slightly better energy at higher treble region. Both have similar amount of treble details.

Stage size is a bit smaller on the TR-amp, the instruments are a bit more closed in with similar intimacy. The Classic chip pulls ahead with better emotion and micro details.

COMPARISON TABLE :-

	Bass	Mid range	Vocals	Treble	Stage size	Tonality	Accuracy
V6 vivid	8.35	8.5	8.45	8.8	9.2	8.7	9.2
V6 classic	8.5	8.8	8.8	8.3	8.5	9.2	9.5
TR-Amp	8.2	8.3	8.3	8.5	8.2	8.3	9.0
HUD-100mk2	8.2	8.3	8.3	8.3	8.0	8.4	8.8

Keep no doubts about the driving power, the 100mk2 and TR-amp cant drive top end orthodynamic headphones and the Playmate can drive mostly everything.

CONCLUSION:-

I love the way these chips change the sound signature without breaking the bank. The V6 classic manages to deliver excellent amount of details without being harsh or aggressive. Not a single instrument is missing from the scene or feels suppressed. If the track has it, you are hearing it, with excellent transparency, very good clarity and stupendous amount of texture. The tonality is as real as it is supposed to be. The V6 vivid is excellent but the textured feel is much better with the V6 classic. Both male and female vocals have excellent bite to them.

Notes have the agility and pace, along with good amount of body to them. I am impressed. I though V6 vivid was excellent, the V6 classic is nothing less than that.

If you have Burson DAC/AMP or are into op-amp rolling these chips are must have items.

I swapped the V6 vivid with the V6 classic and… I am sticking with it. The classics are just excellent. Choose wisely, you should not install dual channel op-amps in place of single channel!!

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