A new wave of product launches just in time for the holiday season. This is a big one so you’ll want to make space in your stocking!
Starting off with the SMSL D300, this is a new $399 USD DAC packed with bells and whistles. It sports the rare BD34301EKV flagship DAC from Rohm, a new Kyoto-based entrant into the DAC chip market. The DAC supports PCM 32-bit/768kHz and DSD512 when paired with XMOS’ XU208 decoder chip. The DAC supports BT5.0 and has a newly designed remote control.
Topping follows up with a pair of new products. The first is the HS01, a USB audio isolator designed to prevent ground loop noise between the source and DAC. It is low latency and compatible with high-res audio transmission while keeping the price low at $69.
The U90 is a new USB audio bridge with a similar design language to the company’s popular D90/A90. It has four IIS controller switches allowing the user to choose pin definitions for IIS phase, MCLK, DSD flag and IIS DSDR, permitting greater control over IIS inputs. With an in-built audio isolator, it eliminates ground loop noise on top. The U90 just went live for $599 USD.
Finally, Tanchjim joins the TWS race with their new Echo. This is a TWS IEM with Qualcomm’s QC3040 chip, wireless charging support and IPX4 water/dustproof rating. Its 10mm Be-plated dome flexible suspended diaphragm DD promises a balanced sound. At just $99 USD, the Echo looks to be another valuable addition to the audio-focused TWS space.
For a short time only, Apos is taking an additional $99 USD off SMSL’s popular SA400 high-resolution power amplifier when purchased through their member’s aisle. For all the details, see their store page here.
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.
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.
SMSL made a great impact with their SX-9 stack which combined clean, high-end audio hardware, modern design and reasonable pricing. The company returns with an update to their very popular SX-8 series in the form of the SX-8s devices. While lacking the feature set of the 9-series, the 8s devices boast a focus on similar audio quality while keeping the usability experience simple to uphold the same legendary value as the original series.
The SH-8s is the update to the SH-8 amplifier, with enhanced 6Wx2 power output, 17.5dB of adjustable gain, high-quality relays and low noise power supply. It implements a very similar chassis to the SH-9 though the colour screen makes way for basic switch-based operation. This is a balanced design supporting RCA and XLR inputs in addition to XLR and 1/4″ outputs.
The SU-8s as expected follows up on the immensely popular SU-8 that was the go-to budget balanced DAC for a long time. It’s utilising ESS’ new ES9068AS DAC chip supporting DSD512 and PCM 32bit/768kHz. In addition, the DAC supports Qualcomm’s aptX and aptX HD Bluetooth codecs for high quality wireless streaming. An XMOS 16-core usb chipset maximises wired codec support to match the powerful DAC inside. It also supports remote operation and it has a colour display much like the higher end SU-9. Interestingly, while the SU-9 has a lower SNR for its balanced output, the SU-8s promises a lower noise from its RCA outputs.
You can read all about the SH-8s here and the SU-8s here (affiliate). For those interested in purchasing both, Apos Audio supports the new 8s stack on their ensemble program offering discounts when both are purchased together.
Look forward to the full review coming to THL soon!
I think most of us are familiar with SMSL at this stage. While the company started life making affordable devices, they’ve since grown tremendously and have started tackling higher price tiers in turn. The SA400 is their latest device, an amplifier for speakers and 2.1 systems. It offers granular bass adjustment in addition to a whopping 230W per channel (4 ohm) from its dual digital amplifier chips. Premium components promise to minimise noise and interference for clean, dynamic power. The SA400 not only supports RCA and 3.5mm inputs but also XLR balanced and BT5.0.
The SA400 retails for $659.99 USD at the time of writing. You can read all about it and treat yourself to a unit on Apos Audio (affiliate)!
We’ve been loving the direction SMSL has been taking with their new source devices for their modern and flexible UI combined with thoughtful form factors. The new VMV D1se is the DAC counterpart to the newly released A1 amplifier. It sports an ESS’ industry-leading ES9038PRO DAC chip, BT 5.0 and Xmos CU-216 16-core USB decoder enabling DSD512 and PCM 32bit/768kHz support. As before, this device is suitable for both desk and home theatre setups with full remote functionality and a clear high-res 1.9″ colour LCD screen.
It retails for $719.99 USD. You can read all about it and treat yourself to a unit on Apos Audio (affiliate).
SMSL’s 9-series DAC and AMP combo have been some of their most popular product releases, resonating with buyers for their combination of clean audio and sleek, modern design. We recently reviewed their SU-9 DAC and SH-9 AMP and came away very impressed by the well-rounded package on offer.
The company is now addressing other markets, introducing the VMV A1 class-A amplifier. With a whopping 2x15W (4ohm) of output power, the A1 is suitable for both headphones and bookshelf speakers. All of this is delivered in a stylish aluminium shell reminiscent of their source devices with high-res colour display showcased front and centre.
SMSL are also updating their Bluetooth amplifier in the form of the DA9 that offers an upgrade across the board from the DA8 before it. Built around BT5.0, the DA9 also supports RCA and XLR and offers 150W of output power into a 2ohm load. Despite this, it retains a stunning 111dB SNR. 8 eQ modes, a subwoofer preamp output and colour display complete a versatile high-spec package.
The VMV A1 and DA9 are available on Apos Audio (VMV A1/DA9) for $659.99 USD and $249.99 USD respectively at the time of writing.
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.
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 2nd 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.
The SH-9 is SMSL’s midrange headphone amplifier featuring THX AAA-888 technology and is marketed as a direct upgrade to the SH-8 that launched 2 years ago. It retails for $289.99 USD at the time of writing.
Pros –
Modern design and UI, Digital volume control with zero channel-imbalance, Balanced and detailed sound, Well-rounded soundstage, Sub 1-ohm OI
Cons –
Some hiss on very sensitive IEMs, Delay on changing volume and gain, Could do with a little more body and dynamics
Verdict –
Pairing the SH-9 with SMSL’s matching DAC, the user is treated to a delightfully modern and natural sounding stack that doesn’t disappoint.
Introduction –
Where most industries seem to be moving towards integration and convenience, the audio world almost seems to celebrate the analogue, purpose-built legacy long left behind. SMSL’s SH-9 serves as a refreshing change; a modernisation of the headphone amplifier with trick colour-screen GUI and the latest THX AAA module inside. Following the SU-9 balanced DAC, the new SH-9 plays AMP duty to their previous release like the 8-series before it. The SH-9 implements the same modern design with high-res colour screen and handy rotary encoder. It implements 2 mono-amplification blocks to provide balanced output – though take note that the output power and noise characteristics are the same between single-ended and balanced outputs so this is mostly useful to optimise connectivity and prevent ground loops. Similar to the SP200 before it, the SH-9 uses THX’s lauded AAA-888 amp stage and it appears as if SMSL have learnt a thing or two since as the noise figures are noticeably lower on their newest amplifier despite power figures remaining the same.
You can read more about the SMSL SH-9 and treat yourself to a unit on Apos Audio. Be sure to peruse their Ensemble range for discounts when purchasing the SMSL 9-series stack.
Disclaimer –
I would like to the team at Apos Audio for their quick communication and for providing me with the SH-9 for the purpose of review. Apos is a sponsor of THL and affiliate links may be used in this review. However, I personally receive no monetary kickback or incentive for sales or a positive review, all words are my own. Despite receiving the AMP free of cost, I will attempt to be as objective as possible in my evaluation.
Output Power: 6W x 2 (16Ω), 3W x 2 (32Ω), 440mW x 2 (300Ω), 220mW x 2 (600Ω)
Dimensions: 187.5 x 154 x 40mm
Behind the Design –
THX AAA
If you’re anything Like me, you were probably introduced to THX by the infamous deep note that resounded at the beginning of countless films in the 80’s and 90’s. THX are an audio and video certification company but also develop their own technologies according to their stringent standards. Their AAA (achromatic audio amplifier) technology has perhaps been most lauded, consisting of patented feed-forward error correction topology, super low noise and high efficiency. In practice, we’ve seen a wealth of new Amp designs featuring THX AAA tech at their core boast excellent measurable performance in addition to huge power output. Though tough competitors have come to challenge the throne, THX’s AAA amps are surely nothing to scoff at. You can read THX’s technical breakdown here.
Unboxing –
The unboxing experience is much like the SU-9 with a clean card sleeve containing specifications and model designation that slides off a hard card box. The amp lies within nestled inside a protective foam inlet. Beside is a power cable that can be changed for your region in addition to the remote control. No other accessories are included such as a 1/4″ to 3.5mm adaptor though I’m sure most users are already in possession. It’s a simple yet effective unboxing and enough to get the user started.
Design –
Coming from my brutish THX 789, the SH-9 was a breath of fresh air. This is a sleek metal-clad design modernised by a front-facing colour screen and a high-tech complement to SMSL’s matching DAC. Indeed, those familiar with the SU-9 DAC will find a very familiar experience here with identical dimensions and UI, both also featuring right-hand rotary encoders. And this is a key part of the SH-9’s design, featuring digital volume control. You do miss the weight and smoothness of a standard analogue pot but there’s also no noise or channel imbalance throughout the volume range.
The unit has good heft and sturdiness, and benefits from a clean and even black finish alongside nicely rounded edges for a premium feel. Of note, colour matching between the SH-9 and SU-9 units I have on hand is perfect which is good to see as this isn’t always the case with these products that can vary between batches. Similar to the SU-9 there are only 3 silicone feet on the base which makes it a little less stable when stacked. I have a space limited desk and place my B&W MM-1 speakers on top of my audio stack where rocking can become irksome. Still, an additional foot is easily added, albeit a strange niggle to me.
The IO experience also accompanies that of the SU-9 with two 3-pin XLR inputs on the rear to take advantage of its balanced design alongside RCA single-ended. Do note that there are no preamp outputs, however, the SU-9 does have RCA outputs for those who purchase the entire stack. Besides this, there’s only a 3-pin power input as the SH-9 does have an internal power supply. This is a plus for those requiring larger cable lengths for their setup as this cable is easily swapped out. At the front, the experience is fairly standard, with XLR balanced output, ¼” single-ended output, colour screen and rotary encoder that handles volume and UI navigation. It’s a streamlined and refined package that looks decades newer than the 8-series before it and most competitors in its price range for that matter.
Usability –
As expected, the SH-9 is a breeze to setup and operate, simply plug in the power, inputs and enjoy. While the GUI does bring greater flexibility over a standard button-based interface, I also didn’t find it hamper quick operation of its basic functions; the controls and menu layout is well-considered in my experience. Besides this, the SH-9 provides a refined experience as you would expect from any high-quality source device. There are no noises or pops when plugging/unplugging headphones nor when powering the device on or off. Similarly, the adoption of digital volume control means there are no noises introduced when changing volume nor is there channel imbalance at low volumes. I did note that the unit got quite warm over hours of use, especially with SU-9 on top, but never hot or uncomfortable to touch. Still, it may be better to place the AMP on top which will give it more surface area to dissipate heat.
Navigation
With the SH-9 and SU-9 both lined up on my desk, I was able to enjoy the fluidity between usability the company had created. The control scheme is essentially identical to its DAC counterpart with rotary encoder that enables the user to adjust volume with a push granting access to the menu system. This means the SH-9 is able to achieve a clean and button free aesthetic with gain, input, vol mode, screen brightness and software information accessible by the onscreen menu. However, this also introduces additional steps, say, when moving from a headphone to IEM and adjusting gain accordingly, the user has to navigate through the menu rather than simply pressing a physical button as on most amps. The volume control is also less sensitive than a physical pot so it can take some time to adjust between different gear but there are 256-steps of fine control making it easier to set and forget. Besides this, the SH-9 is a simple and fluid device to operate and using the remote can speed up interacting with the device. One upside to purchasing the full SMSL stack is that one remote can be mapped to operate both the DAC and AMP. As before, the screen is bright and sharp and the UI is quick and without issues such as freezing or lag. I also didn’t notice any coil whine on this unit as I did on the SU-9 and didn’t find a negative gain setting necessary as the digital volume system offers a bit more fine control at the lowest volumes for sensitive IEMs than pot designs. Overall, a good user experience.
Following the recent Topping A90 giveaway, Apos Audio are happy to announce that they are hosting a new giveaway of the SMSL SU-9 balanced DAC! The SU-9 retails for $429 USD and is the 5th best-measuring DAC (SINAD) on amirm’s Audio Science Review portfolio.
You can enter the giveaway hereand see amirm’s review here. The winner will be chosen by random on Dec 1st. Best of luck to all entrants!
Specs:
MQA decoding: Yes
DAC: Flagship ES9038PRO DAC
Highest Bitrate Support: 32-bit/768kHz and DSD512
Bluetooth Codecs: LDAC, APTX/ HD, SBC, AAC, 24-bit/192kHz
