Aurender A1000 Network Player Review

Introduction

Time really flies. The last time I featured an Aurender product was in 2015 when I did a review for the N10 music streamer - a truly outstanding product. The A1000 featured here is a lot more friendly to the wallet, costing S$5,000 or US$ 3,500.  

As a quick recap, Aurender products are slightly different from the competition. Your music is stored locally - either by copying your files to the unit’s internal storage, or plugging in a thumb drive or hard drive to the USB port. Control and operation is via their in-house developed Conductor software. For best performance, music files are copied on-the-fly into an internal flash memory cache prior to playback. This means that you can’t simply stream your music from a UPnP audio server although you can play these files through a “folder view” mode. Most Aurender models are Roon ready while the A1000’s certification is in the works.

Aurender offers different levels of functionality from all-in-one units like the AP20 (just add speakers) to the two-box flagship N30SA that has separate boxes for streaming and storage. The A1000 is an all-in-one source, featuring analog outputs, multiple inputs and a preamplifier function. In a nod to video duties, this is the first Aurender product to include a HDMI ARC input, which makes it perfect for handling two-channel home theater duties.  

Technical Details

 

The A1000 is the new entry-level model for Aurender, slotting in below the A200. Curiously, the A1000 offers a few features missing from the pricier A200. Apart from the HDMI ARC input, the A1000 also offers dual-mono DAC chips, Bluetooth, a coaxial output, a USB input and a 12V trigger. However, the A200 justifies its price premium with a superior TCXO clock, double 2.5” drive slots, a double-isolated LAN port and a supercapacitor-based UPS. 

The A1000 measures 13.8x14x3.8 inches (W/D/H) and weighs 8.3 kg. As expected from an Aurender product, the unit is constructed from solid aluminium. A 6.9 inch IPS colour LCD panel displays the necessary information. A rotary knob controls volume while a series of buttons control the most essential operations. You can also use the supplied Bluetooth remote control or the Conductor app which runs on both iOS and Android devices.

On the inside, power is supplied through three toroidal transformers - one for the CPU board and the remaining two for each audio channel. Processing is handled by a quad-core 2GHz ARM Coretex-A55 processor. Internal storage is not supplied by default. Instead, a small tray on the rear slides out to accept a 2.5 inch solid-state or hard drive. The tray is secured by two thumb screws and you can have your drive installed in a few minutes without any tools - impressive! There is great attention to detail on the immaculately finished casework, solid aluminium knobs and even the cork-lined footers. You get great pride of ownership for an entry-level product.

The Aurender connects to your network via a 100/1000 ethernet port. There is no built-in wifi. Digital inputs consist of a coaxial, Toslink, USB-B and a HDMI ARC socket. A coaxial and USB-A socket digital output allows connection to an external DAC. The A1000 also has a Bluetooth receiver module (with AptX-HD support),

The DAC section is based on the AK4490REQ chip from Asahi Kasei, used here in mono mode. This supports decoding of PCM data up to 32 bits and 768 KHz sampling rates, as well as DSD streams up to DSD512. The A1000’s analog output is single-ended only. Cheaper products offer balanced outputs and much fancier DAC chips, so this was a bit of a surprise. Expensive DAC chips don’t guarantee good sound though, so I would prefer to judge the A1000 on its sonic merits. The Aurender does not offer any analog inputs, and the volume control operates in the digital domain, which will impact fidelity at low volume settings. 

Operation    

Setup was easy. I installed the Conductor App on my Android phone and followed the on-screen instructions. Aurender’s local dealer, X-audio supplied a 1 TB SSD to install, and I copied my test files to this via my PC. It is also possible to stream music via Tidal Connect, Spotify Connect, Airplay and Google Cast. The Conductor App is more suited for large-screen tablets, but I found it reliable and stable on my phone too. 

In operation, the bright display shows you the album art and track information, including the sampling rate. Rotating the knob changes the volume setting, and feels solid and smooth in use. The App provides a high degree of customisation, including fade in/out when changing tracks and a “critical listening mode” which claims to improve sound quality by shutting down all non-essential background computer activity and the front panel screen/buttons. The Conductor App is easy and intuitive to use. As far as streamers go, it is one of the better interfaces out there. 

One notable niggle - the HDMI ARC input often showed that there was no signal lock, even though there was sound. Sometimes, the wrong sampling rates were indicated and the volume behaviour was erratic. This is probably a software issue and owners of the A1000 should disable the preamp function or CEC control until this is fixed. All other inputs and functions worked without any issue.  

Sound Quality 

Conventional and outdated “wisdom” suggests that digital sources (especially streaming) sound brittle and lacking in body. However, music flows through the Aurender with a highly polished and confident tone. Bass is full, and there is no harshness that plagues the A1000. I was impressed with the coherent sound, quietness and the overall lack of glare. To use a well-worn cliche, the presentation is analog-like, with a smooth and rich flow. There is a full midbass and laidback midrange that made long listening sessions non-fatiguing. Although there is decent treble extension and sparkle, there is a slight restraint in the reproduction of air which made live recordings in particular sound less lively. This gives the Aurender a subtly dark and creamy tone. 

The Aurender does soundstaging and imaging like a champ. It offers a precise portrayal of sonic images, with decent width and depth. Separation of instruments and vocals is good, with a very neat presentation even during heavy mixes. Resolution is also above average. Subtle and fine detail in familiar recordings were reproduced competently. The warmth is not overdone and music retains a fair degree of “bite” and texture. An important note, this is with critical listening mode enabled - otherwise the performance level takes a significant hit.

I was pleased with the quality of the Bluetooth input too. I obtained very high-quality sound from my Google Pixel 7 Pro phone. There was also minimal lag, with videos playing with no discernible lip-sync issues.  

I connected a fully tricked-out Geschelli Labs J2S DAC to the Aurender via its USB output. My J2S DAC uses the top of the line AKM4499 DAC chip and is outfitted with a flagship linear power supply and Sparkos SS3602 opamps. The Aurender’s internal DAC sounded quieter, cleaner and more resolving by a significant margin. It is comforting to know that the Aurender’s DAC section is of suitably high quality and will be good enough for most users. Nevertheless, you can explore upgrading the DAC but be prepared for a significant financial investment to obtain meaningful improvements.  

Conclusion

The A1000 offers an excellent all-in-one streaming solution. Despite being an entry-level product, it performs well enough to satisfy most discerning audiophiles. My only reservation would be the glitches noticed on the HDMI ARC input. Hopefully Aurender is able to fix that via a firmware upgrade soon. Best Buy 

This review unit was kindly provided to me by X Audio, the local dealer for Aurender.

Aurender A1000 Network Player - S$5,000 or US$ 3,500

X Audio

Apex@Henderson

201 Henderson Road, #06-13

Singapore 159545

http://xaudio.sg

 

William Eikos Ultra-Litz Field Cable Review

Introduction

William Eikos was founded by William Funnell-Pilcher. Speaking to Bill, I was impressed with his vast experience and knowledge on audio-related matters, and his passion for music. He started work in the hi-fi industry in the 80s and was responsible for developing a variant of the Spica TC-50 for the United Kingdom market. I recall the moment I first saw and heard the TC-50 (yeah, I’m that old). The triangular wedge-like speaker had little bass, but offered the most amazing staging and imaging I heard at that price point. He also worked with Pioneer UK to develop the Precision range. We reminisced about old times, gems like the A400 amplifier (my first proper amplifier) and the usual things that vintage audiophiles like to talk about.    

The subjects on review here are the Ultra-Litz Field Cables. Bill explained that he developed them to pair with his Aurigen loudspeaker, after determining that available cables on the market curtailed performance. 

Leather case for the cable split.

Description

The Ultra-Litz Field Cables are definitely something different and are an out-of-the-box approach to cable design. William Eikos explains on their website that they believe that conventional cable insulation (usually petrochemical-derived plastics such as Teflon and foamed insulation) hurt the sound by distorting AC signals. Similarly, solder and strand interaction are also cited as sonic issues afflicting the competition.   

Litz cables consist of many fine wires that are individually insulated to prevent skin-effect and strand interaction. Put simply, higher frequency signals travel at the surface of the wire where the smaller cross-sectional area presents greater resistance. By using individually insulated conductors, current flows equally through each strand.  

In the case of the line-level cables, you have 750 strands of litz wire for each leg (and 8000 strands for the speaker cable). Each strand is less than half the thickness of a strand of hair. Great care is taken in assembly of the cables, including attention to reduce oxidation and avoid the use of solder. The RCA cables are terminated in solderless WBT Nextgen plugs and the speaker cables utilise a special solid silver spade connector custom-made for William Eikos that are connected to the wire strands using high-pressure crimping. For sake of brevity, I am grossly oversimplifying the various processes applied. Do head over to William Eikos’ website for a more detailed read. 

The unboxing experience was also unique, with the cables packed in re-usable cloth bags and a refreshing freedom from environmentally-damaging packaging. The wool felt jackets were chosen not just for their near-ideal dielectric qualities, but also damping of micro-vibrations. William Eikos cites the use of felt in pianos, pipe-organs and other musical instruments as an example. Other natural materials like leather and silk are also used in construction of the Ultra-Litz cables. 

During installation, I found that the RCA plugs did not fit PCB-mounted RCA sockets, or any tightly spaced jacks for that matter. Removing the felt socks would be necessary in such a case. Otherwise, everything went smoothly. 

The felt socks can be removed for tight spaces or for tightening the plug screw collar.

Sound Quality

It may be helpful to explain what these cables do not sound like. First up are cables that create a sonic impact from the get-go, much like the brightest display panel in the shop. Then you have the cables that provide an obvious bump in their tonal balance. Instead of taking you out with a sucker punch, the Ultra-Litz cable impresses you over the long-term with their naturalness and musical flow. I would describe their tonal balance as soft-neutral - with a full and weighty bass, and even-handed presentation. There is a realistic presentation of music with a balance between the leading-edge and fade, avoiding the sharp and incisive presentation of some other cables.

The textured and full bass provided the necessary authority and scale when required, while retaining plenty of detail when listening to instruments like double bass. I noticed that the vocals enjoyed a subtle degree of projection, providing a more intimate presentation. The Ultra-Litz cables did not sound overly bright or airy in the upper frequencies. Metal percussion instruments sounded clean and crisp, but presented in a gentle way that seamlessly blended with the midrange. Although these cables are highly resolving, they served up fine detail in a subtle and unforced manner. It’s all there for you to discover, but more like the way colour and details are presented to the eye, as opposed to a photo post-processed for visual pop.    

From an imaging and soundstaging perspective, the Ultra-Litz threw a wide soundstage, with very good image height and depth. The sonic images were somewhat larger in size compared to my usual cables, with a beguiling energy imparted to voices and instruments, as well as the acoustic space around them. This lent a rare quality of dimensionality that eludes most other cables on the market and is one of the key sonic strengths of the Ultra-Litz cables. 

Trying the interconnects and speaker cables separately, I found both to have an equal contribution to sonic performance. I did have some misgivings that using both together would result in too much a good thing, but this proved to be unfounded. Using the cables together built upon their collective strengths and achieved a higher level of performance.

I found the Ultra-Litz cables to excel in reproducing acoustic instruments like the piano and string instruments which were portrayed with stunning realism. However, the full bass tone would not be my choice for EDM or other types of fast music where there is a need to sound tight and pacey.  

Conclusion

The Ultra-Litz Field Cable set new standards on how natural sounding a cable can be. The elephant in the room would be cost. These cables are very expensive indeed. Detractors may argue that these costly cables should be perfect in every way. My own experience is that no such perfection exists, except as conjured up by creative copywriters. Give these cables a listen and let your ears decide.

William Eikos Ultra-Litz Field Cable

http://williameikos.com

Price : USD 9,000 - 1.0m RCA cable pair. USD 11,200 - 1.0m XLR cable pair. USD 19,625 - 2.5m speaker cable pair.

Diesis Audio Roma and Bonham Tribute Speakers

After reading my HiEnd Asia show report and noting that I missed the opportunity to listen to the Diesis Audio speakers, Louis Chew of Stardust Pictures kindly invited me to his home to listen to the Roma and Bonham Tribute speakers.

To be honest, I am not really a fan of open baffle designs or horn-loaded speakers. Listening to the Diesis Audio system though had me impressed. 

Here is a video with sound clips from my visit.

Powered by vintage Sony power amplifiers and a Shindo Labs tube preamp, this Diesis Audio system was musical, with very large scale and dynamics. Apart from the deep bass, the midrange was well-balanced with full, yet detailed vocals. A lot of horn-loaded setups I've listened to sounded a bit grainy or shouty, so this was a nice surprise. The soundstage depth was also very deep, with good image height. 

I also liked that the system was non-fatiguing, yet detailed so we could enjoy both good and mediocre recordings. The price and size of the system will deter many audiophiles, but it was a great listening experience. 

To top it off, I had a warm and wonderful meet-and-greet from the two lovely resident felines. 

 

High End Asia Singapore 2024

High-End Asia International Audio Visual Show ran from 6-8 September 2024, the second show after its inaugural launch last year.

Spanning three floors, the exhibitors included both local and international participants. The large exhibition rooms were situated on the 2nd floor, while the rest of the exhibitors on the 23rd and 24th floor. The general show quality was quite high and worth the visit. A number of interesting workshops and events were planned, including a turntable setup workshop conducted by Richard Mak and live music performances. 

Here is a short video with recordings of some of the systems I heard. 

Audio Basic

Steven Cheah of Audio Basic kindly arranged for me to have an interview with Hideki Kato, Chief Designer of Soulnote Inc, Japan. Here is a summary of our interview:-

Eric : I'm familiar with Soulnote products having heard them many times at Audio Basic. I’m very impressed with how much performance Soulnote delivers for its asking price. 

Kato : (Laughs) The sound quality and price do not have any correspondence. First, I need to have a complete idea of what sound I want to achieve and then I pick the necessary parts to deliver that. Sometimes, the parts are really expensive, sometimes they are cheap. 

Eric : What would you say is the most important part of a component? The circuit or power supply?

Kato : Simplicity - you should only use what is necessary, nothing else.

Eric : Out of your products, which are you most proud of?

Kato : All of them!

Eric : Sorry, it’s like asking who is your favourite child.

Kato : But if you ask me to choose, it would be the E2 phono equalizer. The reason is that there were many challenges in designing this product, especially the circuit for the optical cartridge.

Eric : Optical cartridges are special. I tried the DS Audio cartridge last month. What do you think makes optical cartridges so special? Is it difficult to design an optical phono stage?

Kato : Well, there is the freedom from omitting the magnet. Designing an optical stage requires special care with the power supply that feeds the cartridge LED. It has a lot of influence on the sound quality. The amplifier stage itself is comparatively simple.

Eric : I find it curious that the power supply is conducted through the phono wire which is so thin. Are there any special challenges as a result?

Kato : The standards are defined by DS Audio. It isn’t ideal, but there are still advantages. 

Eric : If you could have your way, would you have the power supply fed directly to the cartridge?

Kato : I actually suggested that to DS Audio, but they didn’t accept my suggestion. 

Eric : I suppose there is no choice in order to maintain compatibility with existing equipment in the market.

Kato : For the E3, there is a special cable with a separate power supply for the cartridge. Just before the cartridge, the power supply is combined. You get much better sound with that approach.

Eric : Can you share what equipment you use at home?

Kato : I have children at home, so it’s quite dangerous to have equipment at home. I have YG Hailey speakers in the office, Soulnote electronics and a Vertere turntable.

Eric : Do you have any advice for audiophiles?

Kato : The most important thing is to have your own direction rather than listening to what other people say. What may be regarded as a good or high-quality approach by others may not be suited for a specific individual.

Eric : Great advice! Thank you so much for your time Kato-san. 

Yours truly and Kato-san of Soulnote Inc, Japan.

Simplicity Control and GAIT

Glass diaphragm speaker anyone? 

GAIT of Taiwan had a variety of glass cone and dome drivers on display

Transparent sound (pun intended), especially at lower to mid-level volumes

GAIT were showing their glass diaphragm speaker drivers. According to my conversations with them, they are able to make drivers up to 8 inches. The diaphragms are as tough as gorilla glass and able to withstand 20kg of force before shattering. The drive units cover a wide frequency range and have relatively benign break-up modes. As glass is relatively heavy, the downside is lower sensitivity.  

Nuprime and Audiomis

Amazing sound from tiny bookshelf speakers. I was nodding with approval before I was informed that I was listening to the tiny MC-4SE, the smaller of the two speakers on display. With a 4.5 inch woofer, I can't quite figure out how they delivered so much bass. Needless to say, they imaged and staged superbly too. 

Audionote Singapore

I spied Peter Qvortrup sitting in the corner of the room. The room sounded even better than previous years, so I guess Papa must have sprinkled magic dust on his children. 

Audionote Singapore

Audio Maestro and Audio Perfectionist

JW Speaker Lab

JW Speaker Lab of Malaysia were showing their floorstanding speaker featuring SB Acoustic drivers

Interesting looking speakers hailing from across the Causeway. The speaker on demo featured a ring-radiator tweeter and ceramic woofers from SB Acoustics.

Oopiib - Live Performance

Sadly, this was the only live performance I managed to catch. Great voice and performance!

Obit Audio and Diesis Audio

Obit Audio and Diesis speakers. Sadly this setup was not playing music when I visited

More than one visitor told me that this was the room to visit. Sadly, I was not fated to hear this system.

Ong Radio

Point

Point were showing their electronics and AC-conditioning device

A very brave demonstration with bookshelf speakers on the floor, and Youtube as a source. Notwithstanding that, the system sounded quite good, with clear differences heard as the AC-conditioning device was swapped in and out of the system. The gentleman reminded me of my old squash coach that thrashed me playing with a wooden racket in his left hand (he was right-handed).

Richard Mak - Turntable setup workshop

Sound Decisions

Sound Decisions were showing Kii's new model, the SEVEN speaker system

Kii Control - the key to connectivity and control over your SEVEN speaker

Great sound and dynamics. With bass extension that challenges most floorstanders, this little beast represents the way of the future. 

Audioline - TAD

High End Research

Goldmund, Metronome and Wilson Watt

This sounded great. Although Wilson Audio speakers are not usually to my taste, this setup had great resolution and dynamics. 

 

Voodoo Labs VL WITCHCRAFT™ Speaker Cable Grid

Introduction

Once in a while, an audiophile product will come along and grab your attention. In this case, these speaker cables from Voodoo Labs will make you scratch your head and exclaim, "What the Meow is going on?" 

Voodoo Labs sounds like research into the paranormal, instead of the paramagnetic. They claim that their products are based on patent-pending technology. While I don't assign much weight to that, they licensed their technology to Audionet for their GAUSS footers. And Audionet certainly know more than a thing or two about audio! 

Description

The Speaker Cable Grid consists of 6 individually insulated conductors (3 each for positive and negative) that pass through a hexagonal spacer. The cable conductors are made of tinned-OFC copper sheathed in oiled cotton dielectric and look very familiar (Hmm, maybe from somewhere far north of Hamburg, where Voodoo Labs is based?) The hexagonal spacer is meshed, with each cable passing through a specified hole. The center of the spacer is adorned with a cat design, which happens to be Voodoo Labs' logo. Each cable has 3 spacers, and each spacer has its own turbine-shaped footer. Now, kits, cats, sacks and wives, how many were going to St. Ives? The bare wire ends are twisted together, which sounds best according to Voodoo Labs. If that doesn't suit you, I'm sure you can speak to them about installing plugs of your choice. 

Since the cables move freely through the mesh holes, you can slide the spacers according to your needs. The footer is friction fit and can be removed if required. Installation is either tricky or seamless depending on your setup. In my case, it was the former as the complex routing (most of which was in airspace) resulted in the footers being placed on the speaker or near the amp. I can imagine that installation would be perfect in the scenario where your amplifier and speaker binding posts are close to ground level. 

According to Voodoo Labs, the footers are designed to avoid the smear caused by cables lying on the ground, where they are affected by different materials of varying permeability and permittivity. The material used is an Aluminium-Magnesium alloy (cleverly called AlMgTy!) which aims to achieve magnetic permeability and permittivity as close as possible to air. The general theory of the design (the footer and spacer) is to prevent electromagnetic harm to the signal as much as possible. 

Sound Quality

During the switch from my usual speaker cables to the Voodoo Labs, William Whey of Audiosound asked whether I changed the volume knob. I knew why he asked - the volume appeared to be much louder! 

The Voodoo Labs cast a very wide soundstage with great dimensionality. The tonality of these cables was firmly in the musical camp - a grainless presentation with full and wet bass notes. The midrange in particular remained expressive with good texture and nuance. High-frequencies had a natural fade which struck a good balance between air and long-term listenability. If you like a natural yet detailed presentation, these are really a worthwhile addition to your shortlist.  

I liked these cables very much for their well-tuned presentation and low-noise floor. Their warm-neutral tone could work well in taking some bite out of aggressive systems. On the downside, they aren't the most propulsive or hard-hitting cable around. Mr. Usual Cable had a more linear and tighter bassline, but otherwise, Mr. Meow had it licked in every other way. The MSRP of Mr. Usual is similar to Mr. Meow, so I consider this to be a fair catfight.    

Conclusion

Many audiophiles will outright dismiss the Voodoo Labs on account of its high price and seemingly pseudo-science claims. I actually think there is good logic and reason to its design, but here's one suggestion that will have most of the objectivists running for the door - give them a listen!

A big thanks goes to William Whey of Audiosound Singapore, a brand ambassador of Voodoo Labs.

Voodoo Labs VL WITCHCRAFT™ Speaker Cable Grid - USD 10,634 / 2m pair

http://voodoolabs.myshopify.com

 

Enleum HPA-23RM Reference Headphone Amplifier

 Introduction

"Enleum" is a combination of the words "Enlightenment" and "Eum" (Korean for "Sound"). You may have heard of Soo In Chae's work under "Bakoon" which was a collaboration between Soo In (founder of Enleum) and Akira Nagai. 

Description

The HPA-23RM (the "R" and "M" being shorthand for Reference and Mobile) is a unique headphone amplifier with two different amplification circuits - a voltage, and current output stage. The voltage stage is a MOSFET output stage based on a simplified version of the JET2 bias circuit seen in the AMP-23R. The current output stage is derived from the HPA-21's bipolar transistor circuit. While this device is not something you would lug around on a regular basis, it is portable enough to be moved around and can be used on-the-go thanks to its built-in battery. Similar in size to a paper-backed novel, the Enleum measures 116mm x 164.5mm x 22mm and weighs 750 grams.

On the front panel, a toggle switch selects gain, while a recessed rotary knob functions as both a volume control and power switch. A 3.5mm socket is mated to the voltage stage, while a 1/4 inch socket is used for the current output stage. A row of LED lights indicate charge status, battery life and operation. 

The inputs are located on the rear panel, with a USB-C socket used for charging, and a pair of RCA sockets and a 3.5mm socket used for the input signal. There is no selector switch, so only one input may be used at a time. If the 3.5mm socket is in use, this is given priority over the RCA input. 

The current-output stage is capable of 1W of power, and half of that into the voltage output (into a 30 ohm load).   

 

In operation

Rotating the volume knob from its resting position to about 8 o'clock brings the unit into standby mode. The LEDs light up to indicate the battery level. The HPA-23RM uses a discrete resistor relay network to control the volume and further advancing the knob unmutes the unit, with an audible click as you move between each volume level. The manual advises you to bring the volume knob back to the standby position before plugging and unplugging headphones to avoid damage to the unit. 

The unit is specified to operate for up to 5 hours of use in voltage output mode, and 3.5 hours in current output mode, which matched my user experience. Thankfully, the HPA-23RM can be charged while in use.

Sound Quality

For the purposes of this review, I used the Enleum with an iFi Pro iDSD DAC as a source. To cover a variety of IEMs and headphones, I tried the Enleum with the Letshuoer S12 Pro IEM, Beyer DT-880 (250 ohm), Drop HD 8xx and the Audeze LCD2.1. 

As a starting point, Enleum recommends that the voltage output be used with IEMs / headphones that are sensitive, or have a varying impedance curve, while the current output be used with headphones that have a flat impedance curve such as planar headphones. This is not a hard rule, and Enleum does encourage you to experiment. Matching a headphone with a varying impedance curve with the current output does result in a frequency response that tracks the impedance curve, which could be either a good or bad thing depending on your objective. For example, the Drop HD 8xx has an impedance peak at about 100 Hz and a falling impedance in the high-frequencies. Listening to these headphones through the current output gives you added bass and attenuated high-frequencies. Unless you are seeking to alter the tone of your headphones, I found following Enleum's advice to give the best results.

Tonally, the Enleum has a slightly warm and organic midrange, while maintaining an airy and detailed treble. The real shocker is the tightness and power of the bass, which is quite impressive if you consider that this is a battery-powered device. On bright headphones like the Beyer and Drop, this does balance things out a bit, although the warm-sounding Audeze sounded great with the Enleum too. 

The Enleum is highly detailed throughout the frequency range and casts a wide and open soundstage, with a sense of dynamic freedom that eludes most headphone amps. From a performance point of view, the Enleum is easily at the very top, outperforming the headphone output stage of the iDSD DAC, or the Vioelectric HPA V281 that I owned in the past. In my view, the Enleum is really in its element when paired with planar headphones.  

The Enleum does have its weak points. Although there is a gain switch, using either the Beyer or Drop headphones on current mode was tricky, with the volume steps being too far apart. On the positive side, the discrete resistor volume provided precise channel balance even at very low volume levels or high-sensitivity headphones or IEMs. I would also have preferred for the voltage output mode to be paired with a 1/4 inch socket too. 

Battery life is a bit short to make mobile use practical and the repeated charging cycles will necessitate regular battery replacement. Thankfully, the Enleum uses a spring-loaded battery holder for its dual 18650 Lithium-ion batteries, which are widely available. Your unit shouldn't require a return home to South Korea for servicing, and battery replacement should be straightforward. 

Conclusion

Despite the high price tag, the Enleum rewards with top-level sonic performance. It is a must-audition for planar headphone users, and does a fine job with dynamic headphones too. Don't let the mobile moniker fool you though, this amp makes perfect sense for desktop use too - Highly Recommended.

A big thanks goes to Cornerstone Audio for making this review possible.

Price : S$ 4,200

Cornerstone Audio

444 Race Course Rd, S21888 (by appointment only)

E-mail : contact@cornerstone-audio.com  

Telephone : +65 8890 4885         

NAD Masters M66 and Dali Epikore 11 - Singapore Launch

2 March 2024

Introduction

Lenbrook Asia launched the NAD Masters M66 flagship streamer/DAC-preamp and the Dali Epikore 11 speakers today.

The Masters M66 is a BluOS streamer and DAC-preamp that features rich functionality and the latest technology in a single box. The full suite of inputs/outputs include a HDMI eARC port, an MM/MC phono stage and four sub-woofers outputs which can be individually configured. 

An ESS Sabre ES9038PRO DAC is the heart of the DAC section, while an ES9822PRO ADC handles analog to digital conversion. 

Sonic quality has been prioritised with physically separated analog and digital sections with independent power supplies, while the volume control is based on a resistor-ladder control circuit. Analog purists would be pleased to know that the M66 can also be operated in Analogue Direct mode which bypasses all digital processing. 

A full-license version of Dirac Live Room Correction and Live Bass Control is included, making the cost of ownership of the M66 a great value proposition. 

The Dali Epikore 11 speaker was launched to celebrate Dali's 40th anniversary. Standing at a proud 160.2 cm tall, this 4½ way design incorporates Dali's EVO-K hybrid tweeter which is a combined soft-dome and planar magnetostatic ribbon tweeter, a 6.5 inch midrange and four 8 inch woofers. The cabinetry work is outstanding and Lenbrook shared that Dali owns its own furniture maker to make their speaker cabinets. 

For the demonstration, Lenbrook paired the M66 with M23 stereo power amplifiers (operated in bridged mono mode) while the Dali was assisted with a pair of REL Carbon Special subwoofers.  

Impressions

Sonically, this system was as big as it was visually imposing. It had astounding dynamics and the genuine ability to pressurise the large showroom space with deep and chest-thumping bass. I was pleasantly surprised that it was equally adept at reproducing small-scale works with finesse and delicacy. 

Soundstaging was outstanding with careful placement of instruments and voices, with good width, depth and height too. Music was reproduced without harshness or grain, even at very high volumes. 

Tonally, the system is on the laidback end of the spectrum although there is plenty of detail in the high-frequencies to balance things out. Although these speakers could probably blow your roof off, they will appeal more to listeners who want a comfortable and non-fatiguing presentation.

Lenbrook also demonstrated the effect of DIRAC as they toggled it on-and-off. The music sounded harsh and the soundstaging lost a great degree of precision sans DIRAC. Having covered DIRAC in the NAD C 3050 LE amplifier, this did not come as a surprise to me. 

Conclusion

This is a system well-worth checking out if you are looking out for a modern and high-end solution to your audio needs. The Masters M66 showed great promise, and the possibility of future software upgrades, or modular upgrades is an attractive proposition.