Headphone amplifiers Archives - The Absolute Sound https://www.theabsolutesound.com/category/reviews/amplifiers/headphone-amplifiers/ High-performance Audio and Music Reviews Thu, 20 Apr 2023 20:38:02 +0000 en-US hourly 1 https://wordpress.org/?v=6.8.2 The 2023 AXPONA Show: Robert Harley on Electronics https://www.theabsolutesound.com/articles/the-2023-axpona-show-robert-harley-on-electronics/ Thu, 20 Apr 2023 20:38:02 +0000 https://www.theabsolutesound.com/?post_type=articles&p=51618 This AXPONA was easily the most upbeat, best organized, and […]

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This AXPONA was easily the most upbeat, best organized, and well attended show outside Munich. But what really made this year’s event so heartening was the diversity of the attendees. The halls and exhibit rooms were packed with young people and couples looking for new ways to explore music. Fortunately, this show had plenty of affordable products for them to see and hear, and with features and capabilities targeting how they want to access music.

Here are my picks of the most interesting new electronics at the show.

5 Most Significant New Products

PrimaLuna EVO 100 Phonostage
PrimaLuna, the company known for delivering amazing value and high build-quality, has introduced a “swing-for-the-fences,” all-tube phonostage with the EVO 100. Nearly all tube phonostages employ a step-up transformer or transistor gain stage at the input before the tube stage to keep noise levels low. Realizing 65dB or more of gain with just tubes can result in a poor signal-to-noise ratio. PrimaLuna has addressed this challenge with a massive all-tube power supply that uses a pair of EL34s, a tube usually found in a power-amplifier output stage. The EVO 100’s tube complement includes four 12AX7s in the front end, a 6922 for additional moving-coil gain, and a pair of 5AR4 tubes as rectifiers. The EVO 100 offers three gain settings (52dB, 56dB, 60dB). The first production units just started shipping from distributor/retailer Upscale Audio. Price: $3695.

Aesthetix Pallena Preamplifier and Dione Power Amplifier
Aesthetix has a long history of making exceptionally musical products, a tradition continued in the new Pallena preamp and Dione power amp. The Pallena is a fully balanced tube preamp with a switched-resistor volume control based on that of the Calypso preamp. A great feature is the ability to customize the Pallena to your needs or add capability later. Specifically, you can add an optional phono module with gain and loading adjustments. These adjustments can be made from the front panel or remote control. A second module adds digital-to-analog conversion that supports up to 384kHz/24-bit PCM and DSD64 and DSD128. The Pallena comes standard with a headphone amplifier, or you can opt for a fully discrete differential-input headphone amp. The modules are $1250 each.

The matching Dione power amplifier is a hybrid design with a tube gain stage and solid-stage output stage. The amplifier features zero feedback and has differential balanced-bridged circuitry through the output stage. All inputs are offered on both unbalanced and balanced jacks. The power transformers are, unusually, wound in-house. Power output is rated at 160Wpc into 8 ohms and 320Wpc into 4 ohms.

The Pallena and Dione are priced at $6500 each and are a step up from the spectacularly great Aesthetix Mimas integrated amplifier that is Neil Gader’s reference.

Cabasse Abyss Amplifier
One of the most remarkable demos at this AXPONA wasn’t with one of the show’s biggest systems, but with one of its smallest. French speaker maker Cabasse showed its Abyss High-Resolution Connected Active Amplifier,” a 120Wpc integrated amplifier with built-in streaming. What’s special about the Abyss is the DSP processing inside that can greatly improve the sound of any speaker, most dramatically with models from Cabasse. The DSP allows you to tell the system where your loudspeakers are positioned relative to room boundaries and the DSP will adjust the frequency response for smoother bass. You can also adjust the tonal balance with the integral tilt controls. But here’s the best part: When used with a passive Cabasse speaker, the amplifier will engage a DSP program specific to that speaker to smooth out response. The frequency profiles of a wide range of Cabasse speakers are programmed into the Abyss; you just select which one to engage. The DSP filter has 30 bands, allowing for very precise adjustment. Non-Cabasse speakers benefit from a generic DSP algorithm. In addition, the Abyss has a patented processing algorithm called Dynamic Fidelity Enhancer (DFE) that analyzes the signal’s dynamics and level in real time and modifies the signal to restore the music’s dynamics and bass extension at low listening levels. Price: $1795.

Naim NSC 222 Streaming Preamplifier, NAP 250 Power Amplifier, and NPX 300 Power Supply
Naim showed the new 200-Series, comprising the NSC 222 streaming preamplifier, NAP 250 power amplifier, and NPX 300 power supply. The NSC 222 features Naim’s own streaming engine that supports every streaming platform, Internet Radio, UPnP servers, and is also Roon Ready. A front-panel display shows the album art. The new preamp is controlled by the Naim App, which also provides multi-room control over all the Naim components on the network. A high-quality headphone amplifier, inherited from the excellent Uniti Atom Headphone Edition, is included. Price: $8999.

The NAP 250 power amplifier carries the model designation of an iconic Naim amplifier launched in 1975. This new sixth-generation model is, of course, significantly updated with the latest technology and design. It benefits from some circuitry developed for Naim’s quarter-million-dollar Statement power amplifier, including discrete power-supply regulation and the identical transistors in the output stage. The NAP 250 outputs 100Wpc. Price: $8999.

Finally, the NPX 300 power supply continues a long-held Naim tradition of providing an upgrade path through a very high-quality power supply in a separate chassis. The NPX is designed to improve the performance of the NPX 222 by delivering exceptionally clean DC power to the streaming preamplifier. Price: $8999. I’ve heard several demonstrations of Naim’s outboard power supplies, and the improvement in sound quality was significant each time. The three units in the 200-Series share identical styling for a unified look. They are also housed in beautifully machined aluminum chassis with exceptional build-quality.

Balanced Audio Technology VK-80t
MoFi Distribution showed the new all-tube BAT VK-80t power amplifier to celebrate BAT’s 25th anniversary. The VK-80t outputs 60Wpc from the high-current 6C33C-B output tube, the same tube found in BAT’s flagship REX 3 power amplifier. This tube has a greater current capacity that the 6550 found in many amplifiers. The input stage is built around a 6H30 “SuperTube.” This new BAT can be operated as a stereo amplifier or a 120W monoblock. An auto-bias circuit simplifies ownership. Available in black or silver. Deliveries of the $9995 unit begin in Q2.

Auspicious Debuts

Air Tight ATC-7 Line Control Amplifier
The venerable Japanese artisanal manufacturer debuted its reference linestage, the ATC-7 Line Control Amplifier. In development since 2018, the ATC-7 is Air Tight’s statement in linestages. The all-tube unit features three unbalanced and two balanced inputs, two pairs of 12AX7s, two pairs of 12AU7s, and a highly advanced new volume control along with an innovative power supply. The styling harkens back to classic products of the past, with large front-panel knobs rather than a digital display. Much attention was paid to the look and tactile feel of the knobs; Air Tight wanted to bring back the joy of hands-on involvement in operating an audio system in this age of touchscreens. In that spirit, the ATC-7 includes four separate adjustments for tonal balance, two for “Presence” and two marked “Bass Compensator.” These allow you to dial in the sound to your particularly loudspeakers, room, and taste. The balance control is a pair of knobs (one for each channel) marked “Gain Trim.” As with all Air Tight products, the ATC-7 is built by hand to the highest standard.

Technics SU-GX70X Streaming Integrated Amplifier
Technics’ new SU-GX70X streaming amplifier is packed with a host of advanced features. The amplifier is digital, meaning it keeps digital input signals in the digital domain all the way through the amplifier. Digital-to-analog conversion occurs as part of the switching output stage. The unit outputs 40Wpc into 8 ohms and 80Wpc into 4. It features Technics’ LAPC processing that “looks” at the characteristics of the speaker the amplifier is driving and processes the signal to better match the amplifier to the loudspeaker load. The SU-GX70X has two line inputs, mm phono, networking, Internet Radio, FM radio, Bluetooth, and every streaming service you can imagine. It also does DSD up to 5.6MHz. An HDMI input is included with Audio Return Channel (ARC) for easy integration with a TV. You can control the unit via the front panel, remote control, or app. Price: $1999, with availability beginning in late July.

AVM CS 5.3 and CS 30.3 All-in-One, and PAS Preamplifier
Udo Besser of Germany’s AVM was on hand to show me the company’s new CS 5.3 all-in-one unit. The CS 5.3 is a network streaming amplifier with every streaming function imaginable, HDMI input for integrating with a TV, a phonostage with adjustable loading and gain, and a whopping 330Wpc of Class D output power. The CS 5.3 can be ordered as a hybrid unit with a tube input stage at $12,800, or with a solid-state input at $10,000.

If you don’t need that much power, consider the new CS 30.3 all-in-one, part of the new 30.3 line that brings AVM’s technology and build-quality to a lower price tier. The $5000 CS 30.3 is fully loaded functionally but offers 125Wpc of output power. The 30.3 series comes with the same beautifully machined aluminum remote control as AVM’s top models.

If you already have a power amplifier and want to add more features to your system, AVM showed the PAS preamplifier, which is essentially a CS 5.3 without the power amplification stage. Price: $8000 with tube input stage.

All the AVM products are offered in black, silver, and chrome finishes, the latter carrying a small upcharge. Commendably, AVM has written its own streaming engine software and invested considerably in creating a control app. I saw a demo of the app and was greatly impressed by its power, visual elegance, and ease of use. The app has an ingenious graphic display for multi-room control of an AVM system with multiple components throughout the home.

Rotel Michi Series 2 Integrated Amplifiers and Preamplifier
After a long quiet spell, Rotel introduced three ambitious products in the upscale Michi Series. The first of two integrated amplifiers is the Michi X3 Series 2. The X3 features more than 90 component upgrades, ESS ES9028PRO DACs, and reengineered power supplies. This powerhouse delivers 350Wpc into four ohms and includes a full complement of analog and digital inputs, as well as an mm phonostage.

If you want even more power, the Michi X5 Series 2 will provide 600Wpc into 4 ohms thanks in part to dual, in-house-manufactured, shielded, low-noise toroidal transformers. The X5 also benefits from component upgrades and includes selectable mm or mc phono input.

Finally, the Michi P5 Series 2 preamplifier features the ESS SABRE DAC adapted to “mono” mode for enhanced performance. It offers a full suite of analog and digital inputs along with MQA decoding, DSD up to 4x, and mm and mc phono inputs. The X3 Series 2 is priced at $5799; the X5 is $7999; and the P5 is $4599. Availability begins in April.

WestminsterLab REI Class A Monoblock Amplifier and Quest Preamplifier
I saw and heard an ambitious new power amplifier and preamplifier from a company new to me, Hong Kong-based WestminsterLab. The compact amplifier, called the REI, operates in Class A to deliver 100W; yet, the amplifier ran cool to the touch thanks to the VARI-BIAS technology and heatsink design. The amplifier can double its output power as the impedance is halved, all the way down to 2 ohms. The direct-coupled, no-global-feedback circuitry is fully discrete and realized with hand-matched components. The REI can be bridged for 400W. The minimalist industrial design is unusual and beautiful, realized with CNC-machined aluminum and carbon fiber. The matching Quest preamplifier is equally tweaky, with a dual-mono fully balanced design and a discrete stepped attenuator. Prices: $32,900 per pair for the REI, and $25,100 for the Quest preamplifier. WestminsterLabs products are distributed by HearThis in Newport Beach, California.

SoTM sPQ-100 Phonostage
Korea’s SoTM, maker of dozens of high-tech digital components for network streaming, introduced its first phonostage, the sPQ-100. Housed in SoTM’s familiar wedge-shaped chassis, the sPQ-100 offers banks of DIP switches for fine adjustments of the equalization curve. One position on each switch is marked “RIAA” for setting the unit to correctly equalize for the worldwide standard. No pricing was announced, but the sPQ-100 is expected to sell for about $800 plus the cost of one of the outboard power supplies offered by SoTM.

Mola Mola Lupe Phonostage and Perca Stereo Amplifier
The acclaimed phonostage built into Mola Mola’s Makua preamplifier has now been turned into a stand-alone unit with its own power supply. The new Lupe features three single-ended inputs and one balanced input, balanced and single-ended output, and a subsonic filter, all housed in a half-sized chassis. Unusually, the mm and mc stages are completely separate; in most phonostages the mc signal simply goes through an additional gain stage. Any of the four inputs can be routed to the output to accommodate turntables with multiple tonearms. Price: $9850.

Mola Mola also showed a new stereo power amplifier, the Perca. It delivers 150Wpc into 8 ohms and can double that rating into four ohms. Price: $9850.

Leak Stereo 230 Integrated Amplifier
Talk about a legendary name from the past. Leak showed, through its U.S. distributor MoFi Distribution, the new Stereo 230 integrated amp. The unit features mid-century-modern styling along with a new DAC section that provides full MQA decoding, DSD512, and decoding of any PCM signal. An HDMI input with Audio Return Channel (ARC) allows the 230 to reproduce television sound. An mm phonostage and dedicated headphone amplifier are included. The 230 is Roon tested, but certification is pending. Power output is 75Wpc into 8 ohms, and 110Wpc into 4 ohms. Price: $1695

Robert Harley’s Best of Show

Best Sound (cost no object)
I’ll name three systems, in no particular order.

Axiss Audio’s demo of the Gauder Akustik DARC 200 loudspeaker driven by Soulution electronics with a Transrotor turntable and Air Tight Opus One cartridge. Spectacular dynamics, hard-hitting bass, quick, clean, non-fatiguing, and just plain musical.

The Acora Acoustics VRC loudspeaker ($218,000) driven by VAC Statement electronics sourced by an Oracle Delphi Reference turntable and cabled with Cardas throughout. The sense of presence and immediacy was stunning, as was the huge three-dimensional soundstage.

MBL’s recently upgraded 101 Mk.II loudspeaker driven by all-MBL front end and electronics delivered the usual dose of MBL virtues—a stunning sense of lifelike presence, top-to-bottom coherence, huge soundstage, and tremendous bass extension and impact. Because of the 101’s omnidirectional nature every seat in the house was in the sweet spot.

Best Sound (for the money)
The Cabasse Rialto active loudspeaker. This small cube combines a concentric forward-facing driver with a rear-firing woofer, integral amplification, streaming, and even DSP room correction. You’ve heard the expression, “Just add speakers.” The Realto is, “Just add music.” The sound was stunningly great for $4000 a pair. As a showgoer said, “It’s scary good.” I couldn’t agree more.

Most Significant Product Introduction
Magico S3. This new $45k speaker brings the sonic qualities of Magico’s flagship products to its less costly models. I would have thought I was listening to one of Magico’s M-Series speakers.

Most Significant Trend
Great improvements in app-based user interfaces. Once crude and clumsy, the best interfaces are rapidly becoming slick and powerful. Examples: Server-maker Innuos’ spectacular custom music-management system and AVM’s app control of its all-in-one systems with multiroom capability. That kind of software development is extremely expensive but delivers a superior customer experience.

Most Coveted Product
The Hill Plasmatronics plasma tweeter. Dr. Alan Hill, the physicist who invented the plasma tweeter 40 years ago, was on hand to witness the first public display of his driver in four decades. The plasma driver, which has no diaphragm and thus no moving mass, was paired with an Eminent Technology LFT-8c, crossed over at 1kHz. The sound was incredibly lifelike and effortless—the most natural and realistic reproduction of upper-midrange and treble I’ve ever heard. Thanks to Tony Salsich, Joe Galanti, and Ron Hoering for spending the time, effort, and expense to showcase this remarkable technology and landmark piece of high-end history.

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Neil Young Archives Gets Cookin’ with Mojo https://www.theabsolutesound.com/articles/neil-young-archives-gets-cookin-with-mojo/ https://www.theabsolutesound.com/articles/neil-young-archives-gets-cookin-with-mojo/#respond Tue, 23 Feb 2021 15:42:20 +0000 https://www.theabsolutesound.com/?post_type=articles&p=45707 The following is a press release issued by Chord Electronics23rd […]

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The following is a press release issued by Chord Electronics

23rd February 2021 | Kent, UK – In a new article posted on the Neil Young Archives, Neil Young and Phil Baker describe how they currently use Chord Electronics’ Mojo DAC/headphone amplifier with their phones and desktops. They created a web page dedicated to correct Mojo set up to help their members enjoy all that Neil Young Archives has to offer, at full resolution.

In the ‘Let’s Get Cookin’ with SOUND!’ article (neilyoungarchives.com), NYA author Phil Baker introduces the British-built Mojo and the simple recipe for ‘Xstream’ sound quality, which includes Apple’s Lightning to USB Camera Adapter and the Neil Young Archives.

Describing Chord Electronics’ Mojo Baker writes, ‘The Mojo, designed and built in the UK, is one of the best portable DACs/amplifiers available at any price. It’s what Neil and I use with our phones, iPads and computers to listen to NYA at its full resolution.’

The article also features practical Mojo advice from Chord Electronics’ Sales Director, Colin Pratt: ‘Mojo unlocks the hidden data that other DACs just can’t reproduce… it brings a real sense of presence to your listening experience.’

Neil Young Archives, described by The Guardian as, ‘A revolution in fandom’, contains the complete archives of Neil Young. The site is designed for a chronological exploration of artist output including music, books, films and videos. Neil Young and Phil Baker recently co-authored a book about high resolution audio, ‘To Feel the Music’.

Price and availability

Mojo is available now priced at £399

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CEntrance Updates HiFi-M8 Adding Four Outputs and Bluetooth https://www.theabsolutesound.com/articles/centrance-updates-hifi-m8-adding-four-outputs-and-bluetooth/ https://www.theabsolutesound.com/articles/centrance-updates-hifi-m8-adding-four-outputs-and-bluetooth/#respond Thu, 17 Dec 2020 18:26:04 +0000 https://www.theabsolutesound.com/?post_type=articles&p=45500 The following is a press release issued by CEntrance. Chicago, […]

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The following is a press release issued by CEntrance.
Chicago, IL | December 2020CEntrance has just announced the launch of the updated HiFi-M8, a portable headphone amplifier and D/A converter for audio enthusiasts on the move. The new version of the acclaimed portable device adds Bluetooth support, four headphone outputs, LED VU meters, USB-C, and many other features. The updated device fills an important gap for audiophiles, who like to listen to music with a variety of headphones. HiFi-M8 V2 follows in the footsteps of its predecessor, offering audiophiles a choice of balanced or unbalanced outputs, but takes the expansion a step further. The new product has two balanced and two unbalanced outputs for extra flexibility while jumping between sensitive and hard-to-drive headphone models. 

“Our customers like to compare the sound of different headphones,” said Michael Goodman, CEntrance CEO. “They need a reference device, compatible with their entire headphone collection and offering great sound quality on the move. The new HiFi-M8 is that reference. Paired with a Digital Audio Player or a Smartphone, it is designed to deliver plenty of power and pristine sound quality no matter where you are and which headphones you use.”

Because HiFi-M8 V2 offers simultaneous use of the four outputs at once, it’s easy to compare headphones at a retail store or at home, or to listen to music or watch a movie with a friend, even on an airplane. The device features a digital volume control, offering perfect channel matching all the way down to minimum loudness. HiFi-M8 V2 works with smartphones and tablets running Android and Apple iOS, as well as MacOS and Windows-based computers. It supports all standard sampling rates including 24-bit/44.1kHz up to 32-bit/384kHz, and DSD. An ASIO driver is available for Windows 10. 

The original HiFi-M8, released in 2013, garnered critical acclaim from CNET, HiFi+, Part Time Audiophile, and many other respected publications. Inner Fidelity placed it on its ‘Wall of Fame’ for portable headphone amplifiers. The new model adds balanced Bluetooth connectivity for wireless use, STAMINA mode for longer battery life, and calibrated VU meters for visually comparing differently mastered music. CEntrance engineers worked very hard to offer “pitch-black noise floor” for users of Balanced Armature In-Ear-Monitors (IEM). Some people like to fall asleep while listening to music but nothing is more distracting than background hiss. HiFi-M8 V2 was designed to eliminate audible hiss by using low-noise D/A converters and amplifiers. All of this, combined with the ability to deliver high power for overhead headphones, makes it a flexible, unique portable tool.

HiFi-M8 V2 features eight amplifiers in total, four on the “cool side” designed for IEM use, and four more on the “hot side”, designed to deliver higher power to hard-to-drive headphones. On the cool side it features a 2.5mm balanced output and a 3.5mm unbalanced output. On the hot side, it features a 4-pin XLR balanced output and a ?-inch unbalanced output. Customers using IEMs can engage the STAMINA switch, to disable the “hot side” amps and extend useful battery life to 11 hours. The internal battery can be charged from a USB socket in about four hours.

To help survive the rigors of daily use, the chassis is made of lightweight aluminum. Operation is easy and intuitive, and the recessed controls are kept safe while the product bounces around in a backpack. HiFi-M8 V2 is ideal for active audiophiles who don’t want to compromise sound quality nor flexibility while moving about during their day.

HiFi-M8 V2 is shipping now and retails for $749.99 USD.

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Schiit Audio Modius DAC and Magnius Preamplifier/Headphone Amplifier https://www.theabsolutesound.com/articles/schiit-audio-modius-dac-and-magnius-preamplifier-headphone-amplifier/ https://www.theabsolutesound.com/articles/schiit-audio-modius-dac-and-magnius-preamplifier-headphone-amplifier/#respond Mon, 14 Dec 2020 05:07:07 +0000 https://www.theabsolutesound.com/?post_type=articles&p=45337 Love and marriage, peaches and cream, Homer and Jethro—some things […]

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Love and marriage, peaches and cream, Homer and Jethro—some things just go together naturally. Schitt Audio has added another potential combination to this pantheon of duos, the Modius DAC and Magnius preamplifier/headphone amp. Each priced at $199, these two mini-priced and -sized components were designed to make beautiful music together. Are they worthy of the august pages of this publication? Do bears listen to Schiit in the woods? (Sorry.) I think we’ll turn these devices on, and find out.

Tech Tour

Unlike many manufacturers who attempt to bury a prospective purchaser under a mountain of technical literature and “white papers” Schiit is less effusive with technical minutiae, though it does supply the essential stuff in its FAQs. For the USB input of the Modius, Schiit has its own proprietary “Unison USB” input connection, while for SPDIF the AKM 4113 chip is used. Both feed an AKM 4493 DAC chip, which supports PCM from 16/44 up to 24/192. Because of Schitt’s parts choices and philosophy, the Modius does not support MQA or DSD, but it does support Roon as an endpoint. The analog sections of the Modius use an LME49724 IC for balanced output, and an OPA1662 IC for SE output. (These balanced and single-ended outputs are independent of each other.) Precision thin-film resistors, film capacitors, and DC coupling are found throughout Modius’ circuitry. The Modius does not offer a menu of different digital filter options. Instead the digital filter is fixed, so you can’t alter the Modius’ sound.

Schiit is justifiably proud of its proprietary USB input scheme, which is not based on XMOS or C-Media technology. According to Schiit, the company spent the equivalent of two person-years on the USB development process. And while Schiit feels its USB is a better solution than an off-the-shelf chip, it does have some limitations compared to a standard USB implementation. As I mentioned earlier, the Mobius does not support MQA decoding or DSD files. If you wish to play MQA your playback application must do any and all unpacking before the file is sent to the Modius; otherwise it will still be 44/16 regardless of its unpacked bit-rate. To play DSD files through the Modius you will need to convert them to PCM before their data are sent to Modius. With the playback apps I use regularly—Roon and Audirvana+—I could do the first MQA unpacking via software, and I changed settings to convert DSD to PCM easily. Granted, you won’t get that final decode from MQA or pure DSD, but you will get a signal that should (and did) sound quite acceptable.

A preamplifier, any preamplifier, is only as good as its volume control scheme. Most $200-and-under preamplifiers do not have high-quality volume potentiometers. Inexpensive pots often cause channel imbalances, especially at lower levels, along with reduced long-term reliability. Schiit decided on a well-above-average volume pot, the Alps Blue Velvet RK27144, which is a 4-gang, 27mm-diameter volume control that supports true balanced operation. It’s the same part used in Schiit’s Jotunheim R preamplifier. And while it lacks a gold-plated or highly polished silver knob to telegraph its quality to everyone within eyeshot, it is extremely smooth in function, and should hold up to many years of twisting and turning, which is an especially good thing since there is no remote control to share volume-adjustment duties.

All internal switches are also made by Alps, while the XLR connections are manufactured by Neutrik. The Modius has two different output signal chains. The balanced outs utilize a LME4972 differential op amp. The Modius gain stage consists of composite amplifier technology that employs an OPA1688 in feed-forward to drive the LME49724 differential as well as the TPA6120A2 output stage.

magnius modius detail

Ergonomics and Setup

The Modius and Magnius are identical in chassis size, which is larger than the Magni 3+, yet smaller than a full-sized component. Their footprint is large enough to allow for both balanced XLR inputs and outputs on the Magnius, and XLR balanced outputs on the Modius. The front panels of both units are minimalist. On the Magnius front panel there’s a volume control, pushbutton input selector, pushbutton gain control, and ¼” and four-pin XLR balanced headphone outputs. The Modius has only a pushbutton source-selector switch and four small input indicator lights, with plenty of empty space in between.

Installing the Modius and Magnius was simple and drama-free. The Modius DAC can be hooked up two ways. If you are using it solely as a USB DAC, you only need to connect the mini-USB cable since it will supply both signal and power. If you plan to use the Modius with one of its other input options, you will need to connect a 5-volt power source to the Modius’ second USB-micro power input. You can connect the Modius to the Magnius via either its balanced or single-ended analog outputs.

The Magnius requires its own AC-to-AC, 1.5-to-2A, 14-to-16V power supply instead of the more usual AC-to-DC type. Power supply tweakers be warned. Also be warned that the on/off switch for the Magnius is tucked next to the power input on the back of the unit. I connected the Magnius’ balanced outputs to a Benchmark AHB2 power amplifier, while the unbalanced outputs went to a Velodyne DD 10+ subwoofer. I also used a Clones 25P gain-chip power amplifier by using adapters to convert the balanced signal to single-ended. During the review I used both the balanced and unbalanced inputs from the Modius to the Magnius, along with other DACs including the iFi Zen DAC, Pro-Ject Pre-Box S2 Digital, and Grace Balanced USB DAC. Loudspeakers used during the review included the Audience 1+1 V3, Role Audio Kayak, ATC SC7II, and, in a different room, the Sony SA-Z1 desktop system. Kimber KSAG interconnects and Audience AU24 SX speaker cables tied the system together.

If you plan to stack the Modius and Magnius, you will want to add a bit of space between the units for ventilation and put the Magnius on top since it generates most of its heat from its top-plate vents. The only operational quirk I discovered was that when you plug in a headphone the outputs to the power amplifier and subwoofer do not mute, so for late night headphone listening you will have to turn off your power amp and subwoofer unless you want them to sing along with your headphones. Since I’m into picking nits, the pushbutton gain control, which adds or subtracts 14dB of gain, is awfully close to the input source pushbutton, and if you’re operating by braille, such as when the unit is under your desktop, it’s easy to push the wrong button. One cosmetic quirk—if you like matched components you will have to opt for a black-finished Modius and Magnius because Schiit decided not to produce a silver-finished Magnius as a cost-cutting measure.

Sound

Often the reason that audiophiles pass over modestly priced components in favor of higher-priced options is due to the “grayness” or perceived lack of resolution and detail from budget components. There simply isn’t enough there there for an experienced audiophile. That was not an issue with the Modius/Magnius duo. During the course of research into an article about the Amazon Music and Amazon HD Music streaming services (elsewhere in this issue), I did some preliminary listening comparing Amazon Music and Amazon HD Music with Tidal and Qobuz. First, I listened to Amazon Music, not HD, without realizing that it was the lower-quality option. In every case, every track I listened to had more distortion and grain on the Amazon Music version compared to Tidal and Qobuz. I noticed the additional grain on any track with halfway human vocals.

Several months ago, I got into a rather heated online discussion with a young mastering engineer who claimed that Billie Eilish’s track “Xanny” sounded awful. Until I heard it through Amazon Music, I thought he was crazy. But the Amazon Music version had distortion added to the already intentionally distorted parts of the mix, rendering the final result an ugly, grainy, IM-distorted mess…the same song via Tidal or Qobuz through the Schiit rig sounded superb, with all the detail and controlled distortion I usually hear from that track.

Soundstage characteristics including depth, image precision, width, and dimensionality were all exactly what I expect from reference-level components, regardless of price. On my own live Boulder Philharmonic concert recordings and Rockygrass field recordings, the Magnius and Modius delivered all the spatial information I’ve grown accustomed to hearing from my recordings. On one particular field recording, one of the mic channels had a wee bit of low-level noise, which on playback is firmly anchored to the speaker grilles, while all the musical content is in a different spatial plane behind the loudspeakers. Most experienced LP listeners have heard a similar phenomenon with a tube phono preamplifier, where the LP’s surface noise remains at the speaker’s front surface while all the musical information is separate, behind the loudspeakers. Yep, try as I might, I could not fault this duo’s spatial presentation.

In my systems the internal noise levels for both the balanced and unbalanced outputs were so low at maximum gain (with full unmuted output without signal) that I could hear only the very slightest whisper from my most sensitive loudspeaker’s tweeters with my ears nearly touching them. If you want your music to emerge from a quiet “inky blackness,” the Schiit combo has you covered.

The Modius/Magnius combo’s harmonic balance was neutral as opposed to romantic or overly detailed. I was perusing a poorly labeled (by me) folder of music files when I came across a 96/24 PCM recording I made of Nickel Creek from a Rockygrass Academy morning concert. Through the Schiit combo it was easy to hear that it was a board mix, close-miked, with no added reverb to muck things up. This track has a dynamic immediacy which I’ve rarely heard equaled by a commercial studio recording, and all that natural acoustic goodness was preserved by the Magnius and Modius.

OK, time for my usual “old guy high-frequency disclaimer.” I hear up to 13kHz, last time I checked. I don’t think it’s going to be better next time I get tested, so I must leave any dissertations on the combo’s extreme upper frequencies to others. But I do hear high enough to be able to easily hear the difference through the M&M in openness and sense of air between 44.1/16 and 96/24 versions of a live recording I made in 2011 of the Boulder Philharmonic with Richard Stoltzman, clarinet soloist, playing a piece by Bill Douglas. The 96/24 version captured the breathiness of the clarinet that was obscured in the 44.1 down-sampled version.

When I connected an iFi Zen DAC to the Magnius’ single-ended input so I could listen to some of my recordings in their original DSD format, I was impressed by the virtual invisibility of the Magnius’ analog circuits. On my DSD5.6 recording of the New Time Ensemble performing at a house concert, the airiness of the flute and dynamic attack of the Celtic-style guitar came through fully intact.

I used the previously-mentioned iFi Zen DAC ($129) and the Grace Balanced USB DAC ($150 through drop.com) with the Magnius, and I was shocked by how well both of these inexpensive DACs performed, to the point where I’m beginning to question whether more upscale solutions are really needed to deliver noticeably superior sonics in a nearfield desktop system. For me all three under-$200 DACs—the Modius, iFi Zen DAC, and Grace Balanced DAC—are so musically satisfying that I could live quite happily with any of them, and using two inexpensive DACs in tandem through the Modius’ inputs proved to be a great setup.

While intended primarily to allow for a wider range of headphone sensitivities, the Magnius’ pushbutton gain-switch affects both the headphone and the rear-panel output levels. With my most sensitive in-ear monitors, the 115dB-sensitivity Empire Ears Zeus CIEMs, the Magnius did produce some low-level noise when turned past 12:00, but normal listening levels for the Zeus were around 8:00 (the volume knob begins at 7:00), so there was absolutely no noise at normal listening levels. Switching over to my most power-hungry earphones, the Abyss Diana Phi, the Magnius had no issues driving them to high volume levels, even in the lower gain setting, through its balanced output. Using the 600-ohm version of the Beyer Dynamic DT990 headphones in the single-ended headphone output did encourage me to switch to the higher-gain setting, where anything over 12:00 was plenty loud enough for even the most headbanging track.

At the end of the review period I switched out the Magnius as the preamplifier in my nearfield system for the Tortuga Audio V25 passive single-ended preamplifier, and then connected the Modius DAC’s single-ended outputs to the Tortuga, while its balanced outputs went to the Magnius so I could still take advantage of its headphone outputs. Frankly, the sound didn’t change much. This setup let me do A/B comparisons between the Magnius and two additional DACs, which once more confirmed how similar to each other the iFi Zen DAC, Grace Balanced DAC, and Schiit Magnius sound, and how closely that sound approached what I’m used to hearing from my “reference-level” DACs.

One of the primary competitors with the Magnius/Modius combo is the fully featured but miniscule Pro-Ject Pre-Box S2 Digital. Although a sixth the size of the Schiit combo, it includes provisions for decoding MQA and DSD natively, as well as offering a number of digital filter choices. What it lacks compared to the Schiit pair is the provision to handle balanced XLR cables and balanced headphone outputs. Depending on your preferences you really can’t go wrong with either option, since they are both giant-killers, sonically.

Summary

In the bad old days, back in the 1980s, 1990s, and 2000s, decent-sounding digital devices were almost universally expensive, to the point that it was generally assumed and often stated by audio experts that inexpensive digital products were garbage unless heavily modified. Mike Moffat, the digital products designer at Schiit, certainly remembers those days, and the amount of elitism that the seeming necessity to spend large amounts of cash to achieve decent sound engendered. If any point is prominent in Schiit’s marketing message, it is that good sound doesn’t have to cost more than you can afford. You really don’t need to suffer through months of eating ramen to achieve audio ecstasy. The Magnius and Modius are examples of carefully engineered products designed to be sold at a particular price that sound like price was no object.

Could the Modius and Magnius be enough for you? That depends on what you want and need in your system. With only two inputs, the Magnius is limited in flexibility. Also, its lack of a remote means that for optimum ergonomics it needs to be within arm’s reach, but the balanced XLR inputs and outputs are something you don’t see in other similarly priced preamplifiers.

While the Modius has enough digital inputs to handle most systems in addition to balanced outputs, it does not support MQA or DSD files and has no user-selectable digital filter settings. Obviously, this pair is not a universal or ultimate audio solution, but if used in a complementary system, it can produce sound that rivals what I’m accustomed to hearing from more expensive, “reference-grade” components.

Whether you’re an experienced audiophile who needs the basic building blocks for a nearfield computer or a second system or a refugee from the world of Bluetooth smart-speakers looking for a better listening experience, the Schiit Modius and Magnius could be an ideal cost-effective, yet aurally impressive solution.

Specs & Pricing

Modius DAC
Type: Solid-state PCM DAC
Inputs: USB, TosLink SPDIF, coaxial SPDIF, AES/EBU
Formats supported: PCM, FLAC, 16/44.1 to 24/192
Output: Balanced and unbalanced, fixed
Dimensions: 9″ x 1.5″ x 6″
Weight: 2 lbs.
Price: $199

Magnius Pre/Headphone Amp
Type: Solid-stage headphone amp and preamplifier
Analog inputs: One pair single ended RCA, one pair balanced XLR
Outputs: One pair balanced XLR, one pair single-ended RCA
Frequency response: 20Hz–20kHz, +/-0.01dB
Balanced headphone output: Maximum power, 16 ohms, 6.0W RMS per channel; 32 ohms, 5.0W RMS per channel; 50 ohms, 3.2W RMS per channel; 300 ohms, 1000mW RMS per channel; 600 ohms, 500mW RMS per channel
Single-ended headphone output: Maximum power, 16 ohms, 2.2W RMS per channel; 32 ohms, 2.0W RMS per channel; 50 ohms, 1.3W RMS per channel; 300 ohms, 300mW RMS per channel; 600 ohms, 150mW RMS per channel
Output impedance: Less than 0.1 ohms at either gain
Input impedance: 50k ohms
Gain: Balanced, 1 (0dB) or 5 (14dB); single-ended, 0.5 (–6dB) or 2.5 (8dB)
Size: 9″ x 1.5″ x 6″
Weight: 2 lbs.
Price: $199

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Underwood Hifi & LSA Delivers Discovery DPH-1 DAC/Preamp with Headphone Amp https://www.theabsolutesound.com/articles/underwood-hifi-lsa-delivers-discovery-dph-1-dac-preamp-with-headphone-amp/ https://www.theabsolutesound.com/articles/underwood-hifi-lsa-delivers-discovery-dph-1-dac-preamp-with-headphone-amp/#respond Sun, 15 Nov 2020 01:12:12 +0000 https://www.theabsolutesound.com/?post_type=articles&p=45472 The following is a press release issued by Underwood HiFi […]

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The following is a press release issued by Underwood HiFi and LSA.

November 2020 – Walter Liederman and Underwood Hifi announces an Incredible Full-Featured High Res DAC with remote controlled Preamp and Headphone Amp that has both Vacuum Tube Outputs as well as Solid State – you choose Your Voice and Musical Style.

Liederman went on to explain – This is the type of high value product that Underwood is all about. It exemplifies our new mantra of Value Innovation in High End Audio. The Discovery Series is all about introducing audiophiles to quality at down to earth prices. This DAC/Control Center is now shipping. This will be followed up shortly with a Peter Madnick Designed MM/MC Phono Stage and a then a Volumio-Powered Music Streamer. These products will tip the scales in Budget Reference for these product groups. Please do not think for a moment that we forgot a Power Amp to complete the Discovery Series. In the same package you will soon see a NEW Class D, Wide-Bandwidth 150 watt per channel Stereo Power Amp (350 watts in mono) that in a word is INCREDIBLE.

We are really excited about these products. It is these lower priced items that require a special discipline that our teams have. These are many of the Designers and Product Planners from the original Audio Alchemy from the early 90’s. These guys knew how to set the market on fire with Budget Reference products that have stood the test of time.

A bit more about the DPH-1

An XMOS asynchronous USB input is just the beginning. The DPH-1 has an array of four Digital Inputs using the Dream Team Chip Set of the AKM AK4118 Digital Input Receiver and the AK 4495 DAC (one of our favorites). It decodes PCM to 24/192k as well as DSD. This full-featured Preamp Control Center is complete with a Rotary Encoder Volume Control and has both tube and solid state single ended outputs. The tube buffer stage is based on a GE NOS tube. Both outputs can even be run simultaneously into an amplifier or line-in enabled integrated amp to give you both solid state and tube sonics.

With our Internet Direct Pricing Strategy, we were able to include an R-core based Power Supply, audiophile grade caps from WIMA of Germany and Solen from France as well as Dale resistors from the USA.  In addition to USB, coax and optical inputs we even included a BNC input.

WITH THIS PRODUCT RELEASE WE HAVE A TERRIFIC INTRO WORLDWIDE SHIPPED PRICING FOR THE PAIR BELOW DPH-1 and the just released HP-3 NOVA Headphones from LSA.

This package is only $1299.00 shipped anywhere worldwide!

Underwood Hifi has been at your service for 21 years. We are an Internet Direct / Low Overhead Business which allows us to bring the absolute best products to market at the best possible pricing. We own Living Sounds Audio, Emerald Physics and Core Power Technologies A/V and each of these product lines exemplifies our core philosophy of Value Innovation in High End Audio offering Great Products at Great Prices with unparalleled Customer Service. We manufacture them and sell them to end users at typical dealer cost. We also Distribute Brands like Pure Audio Labs in the USA as well as selling high value brands like Black Ice Audio, Carver, Spread Spectrum Technologies, Wyred 4 Sound, and many others as shown on our website.

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Clarus Releases USB-DAC With Headphone Amplifier https://www.theabsolutesound.com/articles/clarus-releases-usb-dac-with-headphone-amplifier/ https://www.theabsolutesound.com/articles/clarus-releases-usb-dac-with-headphone-amplifier/#respond Sun, 15 Nov 2020 00:53:20 +0000 https://www.theabsolutesound.com/?post_type=articles&p=45470 The following is a press release issued by Clarus.November 2020 […]

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The following is a press release issued by Clarus.

November 2020 — Clarus® is excited to announce the release of CODA, a new USB DAC with Headphone Amplifier that includes an MQA renderer. The CODA features the latest in USB-DAC technology that provides ultra-low distortion, more detail, greater dynamics, and a bigger sound stage. Designed to be used with a smartphone, tablet or computer, the CODA has a 2-button volume control and a choice of three roll-off filters.

The heart of the Clarus CODA is a New Legendary ESS Professional Series SABRE® DAC audio converter with Hyperstream® II modulation that provides previously unheard-of improved sound stage and clarity. QUAD DACTM Technology delivers superb 124dB DNR and -112dB THD+N for the ultimate in sound quality with a stable sound field. The low-power USB controller supports USB 1.1 and 2.0 and can natively handle 32-bit 384 kHz PCM and DSD up to 5.6MHz. The CODA’s class G headphone amplifier provides class AB performance with ultra-low power consumption optimized for mobile use. The 2.0Vrms output voltage will provide plenty of power for the most demanding headphones and class G ensures it won’t drain your battery.

CODA’s LED Indicator lights up in different colors to indicate the audio sample rate. Blue for standard definition, Green for high definition and Magenta indicating MQA rendering.  MQA’s technology is used by global streaming service, TIDAL, and Xiami Music in China, to provide guaranteed delivery of the original sound recording. The two 64-step volume control buttons feature zero switching noise as well as provide a method of choosing one of three digital roll-off filters. The CODA’s software is upgradeable. As technology changes Clarus will provide improvements via firmware updates available its website.

Jay Victor designed the CODA with the new SABRE® DAC and these Audiophile features;

• A High Precision Audio Grade Clock to reduce jitter

• Audio Grade film capacitors

• 1% tolerance metal film resistors and Tight Power Supply Regulation using Multi-Stage, Low Noise, High Ripple Rejection CMOS Based Regulators

Jay commented… “With any DAC, the printed circuit board layout is critical for low noise and best performance. Because of the small enclosed space, we used a high grade, high temperature PCB material to eliminate any overheating problems. It’s that level of attention to detail that enables CODA to provide a very enjoyable listening experience.”

The Clarus CODA retails for $300 and ships on December 1st, 2020.

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