The Newest HiFi Tower Speakers from Triangle

Choosing the right loudspeakers can be one of the most important and challenging decisions when building a home audio system. Speakers define much of the system’s overall character, but many buyers do not have the opportunity to hear a product before purchasing it. That makes detailed reviews and careful product evaluation especially valuable.

Triangle HiFi has long been one of our favorite brands at Sound Approach to review. Manufactured in France, Triangle is responsible for several highly regarded models, including the 40th Anniversary Comète and the Borea BR04 bookshelf speakers. Their products frequently deliver a recognizable combination of warmth, clarity, energy, and engaging musical presentation that is unique to discerning listeners.

The Triangle Solstice 8 represents a flagship floorstanding model in the new Solstice Series. With a three-way driver configuration, modern cabinet design, and room-filling performance, the Solstice 8 is positioned as an approachable and affordable audiophile speaker for medium and larger listening spaces.

Unboxing the Triangle Solstice 8

Packaging is often overlooked until a product arrives damaged. As an audio dealer, Sound Approach pays close attention to how products are prepared for shipment because the unboxing process represents a customer’s first physical interaction with a new component.

Each Solstice 8 weighs approximately 67 pounds, making it a substantial speaker to lift and maneuver. Triangle has accounted for that weight with excellent packaging. Each speaker arrives double-boxed in thick, heavy-duty cardboard and is surrounded by several inches of protective foam and padding.

The packaging provides substantial protection between the cabinet and the exterior of the box, helping shield the speaker during its journey from the warehouse to the customer. Despite its size and weight, the Solstice 8 can be shipped through conventional carriers rather than requiring palletized freight, which makes delivery more accessible and potentially more affordable.

One person can remove the speakers from their packaging, but we strongly recommend having two people available. A second person makes the process safer and reduces the likelihood of damaging the speakers or floor during setup, especially with the included spikes.

Simple Base Assembly

The Solstice 8 arrives with the cabinet and base separated. Triangle includes the necessary hardware, instructions, spike feet, and protective spike shoes.

Assembly is straightforward and takes only a few minutes. The base is made from a solid piece of metal with a rubberized coating that provides stable support for the approximately 42-inch-tall cabinet. The coating also provides a degree of vibration dampening and helps protect hardwood or delicate flooring while the speaker is being positioned.

Spike feet and matching spike shoe protectors are included for listeners who want additional isolation. Installing the spikes is slightly more involved because one person may need to lift or tilt the speaker while another carefully positions the spike shoes beneath it.

The base is not simply an aesthetic accessory. It plays an important role in the speaker’s acoustic design. The Solstice 8 uses a downward-facing bass port, and the shape of the base directs the port’s output forward and slightly upward into the listening room.

The plaement on the base also tilts the cabinet backward by a few degrees. This helps align the output of the tweeter, midrange driver, and woofers for accurate timing in the listening position. Triangle clearly treated the base as a functional part of the loudspeaker rather than merely a support for the cabinet.

Amplifier and System Setup

For our listening tests, we paired the Solstice 8 with the Cambridge Audio EVO 150 integrated streaming amplifier. The EVO 150 is a Class D amplifier known for its combination of control, consistency, and a slightly warm presentation.

The Solstice 8 is rated for amplifiers delivering approximately 60 to 200 watts at 8 Ohms. With a sensitivity of 91dB, it is relatively easy to drive and can be paired with a wide range of quality integrated amplifiers, power amplifiers, and AV receivers.

While the Solstice 8 does not require extreme amounts of power, it responds noticeably to improvements elsewhere in the system. Like many Triangle speakers, it is scalable. The better amplification, sources, and cables th emore the speakers are able reveal detail, control, dimensionality, and refinement.

The rear panel includes four binding posts for conventional single-wire orientation, bi-wiring, or bi-amplification. For this review, we used the A and B speaker outputs of the EVO 150 with AudioQuest Rocket 44 bi-wire speaker cables.

The factory jumper plates must be removed before using a bi-wire configuration. These plates are relatively small, so care should be taken not to misplace them. The Solstice 8’s generously sized binding posts make the speaker-end connections secure and easy to tighten, although wide spade connectors can become crowded at the amplifier end depending on the types of connectors being used.

Modern Design and Premium Finishes

The Solstice 8 is a three-way floorstanding loudspeaker measuring approximately 42 inches tall. Available finishes include Teak, Birch, White, and Black Ash.

Triangle has given the Solstice Series a more contemporary visual identity than many of its earlier designs. While previous Triangle speakers often featured square corners and a more traditional European appearance, the Solstice cabinets incorporate rounded edges, softer lines, and finishes better suited to modern interiors.

The cabinet uses high-density MDF construction designed to reduce unwanted resonance and vibration. The rounded profile also gives the Solstice 8 a more refined appearance, helping it function as both a high-performance loudspeaker and a statement piece within a listening room.

Muted gold-colored trim surrounds the tweeter and other drivers. This detail contrasts attractively with the cabinet and gives the speaker a subtle sense of luxury without appearing excessively decorative. Even the rear binding posts receive similar attention, reinforcing the impression that Triangle considered the entire product rather than focusing only on its front appearance.

Our review pair featured the Teak finish with a gold-colored grille. The grille fabric is shiny and somewhat reflective, which may not appeal to every listener. It can also conceal some of the attractive driver details when installed. Grille color is ultimately a matter of personal preference, but the Teak cabinet could benefit from additional grille options for customers trying to coordinate the speakers with a particular aesthetic design.

Triangle Solstice 8 Sound Quality

The most important quality of any loudspeaker is how it sounds, and the Solstice 8 delivered an impressive presentation immediately.

After several hours of listening in multiple configurations, we found the Solstice 8 to offer excellent clarity, strong imaging, and an expansive soundstage. The three-way configuration provides detailed midrange reproduction, articulated high frequencies, and quick, engaging bass.

Bass-heavy tracks such as Billie Eilish’s “Bad Guy” demonstrated the speaker’s ability to reproduce low frequencies with impact while maintaining speed and definition. The bass did not simply add weight but compliment and supported the music without overwhelming the midrange.

One of our strongest first impressions was how completely the speakers filled the room. Properly positioned, the cabinets seemed to disappear from the setup entirely. Vocals appeared firmly centered between the speakers, while instruments and effects moved naturally across the soundstage.

The Solstice 8 also created convincing depth. Individual instruments could be placed in front of, behind, and above the physical speaker positions. This three-dimensional imaging is one of the qualities listeners expect from a well-designed audiophile floorstanding speaker.

Triangle’s redesigned tweeter uses a barrel-shaped horn profile that provides wider dispersion than some of the company’s more affordable models. The result is a broader listening area and a soundstage that remains spacious without forcing the listener into an excessively narrow sweet spot.

Vocals, piano, and string instruments were particular clear and detailed while subtle vocal textures were easy to identify, and the separation between performers created a presentation that felt closer to a live performance than what is typically possible from smaller or less capable speakers.

The Solstice 8 maintains the energetic and recognizable character associated with Triangle, but it adds a richer sense of scale and overall refinement making them an exctiing option for floorstanding speakers. Additionally, the extended frequency response and multiple drivers allow it to separate complex musical passages without losing cohesion or clarity.

Performance in Medium and Large Rooms

Speaker selection should always account for the size and acoustic character of the listening environment. The Solstice 8 is best suited for medium and larger rooms where its wide dispersion and full-range presentation have room to disperse and surround the listener.

Our testing took place in a medium-sized room with a vaulted ceiling. The Solstice 8 filled the space easily at comfortable listening levels. Increasing the volume added greater scale, clarity, imaging precision, and bass authority without causing the presentation to become strained.

The speakers also remained clear and enjoyable at lower volumes but there was some sacrifice in bass detail. The bass response became more complete and satisfying at moderate listening levels.

Because the Solstice 8 uses a downward-facing port that is redirected by the base, it offers more placement flexibility than many conventional rear-ported floorstanding speakers. It can be positioned relatively close to a wall without directing port energy immediately backward.

Room acoustics and placement still matter, but the Solstice 8 is comparatively accommodating for a speaker of its size and output capability. This makes it useful in rooms where floor space is limited or where the speakers cannot be placed several feet into the room.

Building a Complete Solstice Home Theater

Triangle also offers the Solstice 3 bookshelf speaker and Solstice C3 center-channel speaker for listeners interested in building a complete home theater system.

The Solstice 3 is a two-way bookshelf design developed to complement the Solstice 8. It can be used as a surround speaker, rear speaker, or compact stereo speaker in a smaller room. With a rated optimal power handling of approximately 90 watts at 8 Ohms and a sensitivity of 90dB, it can be driven by many conventional home theater receivers.

The Solstice C3 is designed to anchor the front soundstage in a home theater installation. Because center-channel speakers reproduce much of a movie’s dialogue, the C3 focuses on vocal detail, intelligibility, depth, and tonal consistency.

Together, the Solstice 8, Solstice 3, and Solstice C3 can form a cohesive surround system with matching tonal characteristics across the front, side, and rear channels for a fantastic all-encompassing experience!

Final Thoughts

The Triangle Solstice 8 stands out through its combination of modern styling, thoughtful engineering, flexible placement, and engaging sound quality.

The Teak cabinet is especially attractive, with fine detailing around the tweeter, drivers, and rear binding posts. More importantly, the speaker preserves the warmth, clarity, and musical energy for which Triangle is already well known while adding greater imaging precision and a wider, deeper soundstage.

The Solstice 8 is an excellent option for listeners seeking an audiophile-grade floorstanding speaker that feels substantial without becoming impractical. Its sensitivity power handling requirements allows it to work with a broad range of amplifiers, while its scalable performance gives owners room to upgrade their system over time.

We recommend the Triangle Solstice 8 for medium and larger listening spaces, particularly for listeners who value clear vocals, precise imaging, lively musical presentation, and room-filling sound. Its downward-facing port and integrated base allow for placement flexibility when space is limited.

For music lovers looking for a distinctive floorstanding speaker that combines French design, modern aesthetics, and engaging performance, the Triangle Solstice 8 deserves serious consideration. Learn more or get your own at our link to the Solstice 8 listing on our website. Thank you!

One of the most common (and easily fixed) errors is estimated cartridge and stylus alignment. Eyeballing the settings is less time consuming but can have a dramatic impact in the long run.

Correct alignment is important because the stylus has to follow an extremely small, precisely cut record groove while maintaining the intended connection between the cartridge and groove walls. Even a small setup error can affect both sound quality and lead to faster and more impactful record wear.

The primary reasons for correct stylus alignment are:

• Reducing tracking distortion: A pivoted tonearm travels across the record in an arc, so the cartridge cannot remain perfectly aligned to the groove at every point. Proper initial alignment at specific null points minimizes this angular error across the playable surface.
• Improving clarity and detail: Misalignment can produce harshness, congestion, smeared detail, and distortion, especially during complex musical passages.
• Reducing inner-groove distortion: Tracking becomes more demanding toward the center of a record because the groove's linear speed decreases. Proper cartridge alignment is particularly important to limit the impact of inner-groove distortion due to the change in speed at the end of an album.
• Improving stereo imaging: The stylus needs to contact both groove walls correctly and as equally as possible. Alignment errors can affect channel separation, balance, and the stability of the stereo image.
• Reducing sibilance: Excessive "S" sounds and vocal harshness can sometimes result from poor cartridge geometry or related setup problems.
• Protecting records and the stylus: Incorrect alignment can place uneven pressure on the groove walls, potentially increasing record and stylus wear over time.
• Allowing the cartridge to perform as designed: Even an expensive cartridge can sound mediocre if overhang, offset angle, tracking force, azimuth, or vertical tracking angle are significantly incorrect.

Along with proper alignment, another element that can have significant impact on the sound quality is the type of stylus or cartridge being used. The most common shape for lower-end styluses is the elliptical stylus, almost exclusively paired with Moving Magnet cartridges. These are typically in the $100-300 range and offer an affordable and easy to amplify option for low-to-medium end turntables. However, there are several other options available.

Understanding Turntable Stylus Shapes (from low-to-high end):

• Conical (Spherical) Stylus Features a rounded, ballpoint-like tip. It is inexpensive and durable, riding higher in the groove so it picks up less deep-seated dust and surface noise on older records, but it misses ultra-high frequencies.
  
  Lifespan – Typically 300-500 hrs. An example would be the Audio Technica ATVMN95C which retails at approximately $35.
  
  
• Elliptical Stylus: This stylus is tapered into an oval shape to reach deeper into the groove walls. It offers better high-frequency response and clearer stereo detail than conical tips because it touches a larger footprint of the sidewalls of the groove. Although an elliptical stylus wears faster than higher end designs (see below) it can also translate more clicks from damaged vinyl.
  
  Lifespan – Typically 300-500 hrs. Very popular options of an Elliptical stylus would be the Grado Gold4 Cartridge (and Gold4 replacement stylus) or Red4 Cartridge (and Red4 replacement stylus).
  
  
• Shibata Stylus: Features a multi-radius design with shaved edges designed originally for quadraphonic records. It provides an expanded contact area across the sidewalls and deeper into the vinyl groove for exceptional high-frequency tracking, improved bass response, and lower distortion.
  
  Lifespan – Typically approximately 1000 hrs. An example of this configuration is the Michell Cusis S Moving Coil Cartridge.
  
  
• Microline / MicroRidge / Microridge Stylus: This design mimics the geometry of the original cutting lathe taking into consideration the angle of the cut as well as the finer details. It offers the highest precision, lowest distortion, and longest lifespan and even-wear profile, however, it requires meticulous alignment to ensure correct playback.
  
  Lifespan – approximately 1000 hrs. A great example of the Microline design would be the Cusis M Moving Coil Cartridge, also from Michell.

The importance of Alignment 

A useful way to think about this subject is stylus alignment doesn't simply determine whether the needle stays in the groove. In actuality, it determines how accurately the stylus can read that groove. Proper setup can result in cleaner vocals, smoother high frequencies, better imaging, less distortion, and safer playback for the record collection and stylus, making this a crucial and necessary step in your turntable setup process.

Beyond just style and shape, two of the more important adjustments are overhang and offset angle. Overhang is the extra distance the tip of stylus extends past the center spindle when the tonearm is pulled straight over it.

Offset Angle is the inward angle of the cartridge inside the headshell relative to the straight line of the tonearm. An offset angle may be necessary for proper alignment and is often overlooked by novice turntable listeners because the cartridge comes pre-attached to the headshell. When pre-installed the alignment is often off-kilter from the ideal position.

Importantly, these alignments determine how closely the stylus follows the ideal tangential line of the groove as the tonearm moves across the record. Using a product like the Rek-O-Kut Cartridge Setup Alignment Protractor allows for an easy to reference starting point when setting up the cartridge for proper overhang and offset alignment.

Notably, alignment methods such as Baerwald, Löfgren, and Stevenson (Lofgren method established in 1938, Baerwald in 1941, and Stevenson in the 1970s) all use slightly different geometries to decide where alignment should be made and tracking error should be minimized.

Although the Baerwald and Löfgren options are viable methods of alignment, the Stevenson method is more popular given its simplicity and establishment on more modern equipment and materials.

Reference for Key Starting Points

Stylus Alignment:

• Stylus Rake Angle (SRA): about 92° (angle of the stylus tip relative to the flat surface of vinyl record when viewed from the side)
• Vertical Tracking Angle (VTA): typically, around 20° to 23°, depending on the cartridge’s angle of the cantilever. Records are cut with a lathe stylus at around 20 degrees, so the playback stylus should match this geometry for accurate tracking.

Tonearm Alignment:

• Tonearm height: start with the tonearm parallel to the record surface, then adjust the stylus force based on cartridge manufacturer recommendations (i.e. 2.5g) when the tonearm is in the down position.
• Stylus Force: It is highly recommended that this should be measured with a digital force gauge to set the force as accurately as possible. Digital force gauges are much easier to use than analog scales as well, given the small units of force involved.
• If the Tonearm is too high (tail up): The sound becomes thin, bright, and sharp with harsh treble or sibilance. Adjustments to the counterweight to increase the force should be made.
• If the Tonearm is too low (tail down): The sound gets heavy, muddy, or bloated with overly thick bass and recessed highs. Adjustments to the counterweight to decrease the force should be made.
• Antiskate: This setting (if available) should match the stylus force. For example, if the recommended force for a Grado Green4 stylus is 2.5g, the antiskate should be set between 2 and 3.

Antiskate is a turntable feature that applies a small amount of outward force on the tonearm to prevent and counteract the tendency to pull the stylus (or skate) off-axis through friction toward the center of a spinning record. The goal of Antiskate is to keep the stylus in the center of the groove.

For more information about how to properly setup the tonearm with the counterweight and antiskate, please reference the article How to Setup a Tonearm from our in-house subject matter expert, DJ Taylor. Alternatively, you can watch this helpful YouTube tutorial - Turntable Tonearm Setup Guide & Discussion.

How to identify issues with improper Antiskate alignment:

• Listen for distortion - Play a record with clear vocals or cymbals to identify if the instruments present clearly and well defined.
  
• If the sound distorts or breaks up more in the right channel, increase the anti-skate slightly. If it breaks up in the left channel, lower it. Repeat until left and right channels are balanced.
  
• Ultimately, it is important to accept a compromise. Skating force changes as the needle moves closer to the center of the record, so aim for overall balance rather than perfection.

Author’s Note: Perfection is maybe possible, but only from automatically adjusting tonearms on extremely expensive turntables. These types of turntables are incredible and can make incremental adjustments during playback to correct for the issues caused by skating, friction, angle, and speed as it approaches the center of the album. 

Understanding the Cartridge  

Poorly calibrated tonearm geometry and misaligned cartridges and styluses slowly degrade the stylus, elements within the cartridge, and can lead to groove damage that ruins tracking precision on the album on future playback.

Beyond the recommended alignment necessary, it’s also important to understand how the primary mechanism for translating the vibrations into an electrical signal is carried out by the stylus running through a physical groove. Below, the primary components of a cartridge are detailed.

Main Parts of a Cartridge:

• Stylus: The tiny diamond tip that physically rides inside the moving record groove.
• Cantilever: A thin, rigid metal or boron rod that holds the stylus at one end and transmits its vibrations to the internal generator.
• Suspension: A small rubber ring or bushing that holds the cantilever in place, allowing it to move flexibly while keeping the stylus centered.
• Generator: The internal assembly of magnets and wire coils that performs the actual conversion of vibration into electricity.
• Moving Magnet Assembly: MM cartridges have a magnet connected to the end of the cantilever and surrounded by copper coils. The vibration created by the cantilever moves the magnet within the magnetic field created by the coils that in turn generates an electrical current, or signal, that can be sent to the preamp through the cartridge pins to the tonearm cable.
• Moving Coil Assembly: MC cartridges are the opposite and have a coil wrapped around the end of the cantilever which is surrounded by magnets. The movement of the cantilever and coil produces a similar change in the electrical field of the magnets. However, the electrical signal has much lower output in terms of amperage and requires additional processing at the pre-amplifier stage compared to a moving magnet assembly.
• Cartridge Pins: The pins on the back of the cartridge send the electrical signal from the magnetic field within the cartridge out into the tonearm cable (within the tonearm). There are four cartridge pins for Left Channel Positive & Ground and Right Channel Positive & Ground and are usually comprised of White, Blue, Red, and Green respectively.
• Generating Electricity: As already stated, the movement at the back of the cantilever interacting with the internal magnetic field induces a weak electrical current via Faraday's law of induction. According to Faraday's law, a changing magnetic field induces an electrical voltage which is the at the heart of creating the music signal that will ultimately be sent to the speakers.

Understanding your Turntable and Correctable Mistakes

Getting the best performance from a turntable does not necessarily require the most expensive cartridge or stylus. Instead, it begins with understanding how the stylus physically interacts with the record groove and making sure the cartridge, tonearm, and associated settings are properly adjusted.

Even relatively small alignment errors can increase distortion, affect stereo imaging, accelerate stylus and record wear, and prevent a cartridge from performing at its best. Proper overhang, offset angle, stylus rake angle, vertical tracking angle, tracking force, and antiskate all work together to help the stylus remain accurately positioned and centered within the groove.

Using an alignment protractor and a digital stylus force gauge can make these adjustments much easier and more repeatable than simply estimating the settings by eye. The goal is not necessarily absolute perfection at every point on the record, but rather the best overall alignment and balance averaged throughout playback.

The stylus itself plays an important role. Conical, Elliptical, Shibata, and MicroLine designs contact the groove differently, which will impact the tracking precision, high-frequency response, distortion, and how much surface damage or contamination is reproduced.

However, regardless of the stylus profile or whether the cartridge uses a Moving Magnet or Moving Coil design, proper setup remains essential because the entire playback process begins with the stylus physically tracing the groove and transmitting those movements through the cartridge.

Ultimately, taking the time to accurately set up a cartridge can help protect both the stylus and the record collection while allowing the turntable to reproduce the music with greater clarity, balance, and fidelity.

Before considering a cartridge or turntable upgrade, it is worth verifying the setup of the equipment already in place. In many cases, a properly aligned cartridge can provide a more meaningful improvement than simply replacing components without first addressing the fundamentals.

So, is the AT600 a completely different processor, or is it an evolution of the AT500? The answer is somewhere in between. Much of the core home theater capability still remains, but several changes make the AT-600 particularly interesting for enthusiasts who place room correction and system optimization high on their priority list, especially considering it functions as the central control hub for a high-end home theater setup.

High-Channel Home Theater Processors

At their core, both the ToneWinner AT500 and AT600 are designed for serious immersive home theater installations. Both provide 16-channel processing and support Dolby Atmos and DTS:X. They can accommodate balanced configurations up to 7.1.6 or 9.1.4, while their unbalanced outputs support configurations up to 7.3.6 or 9.3.4.

Both processors feature HDMI 2.1 and HDCP 2.3 support, with six HDMI inputs and two HDMI outputs. Three of those inputs support 8K signals, and compatibility extends to modern HDR formats including Dolby Vision, HDR10, HDR10+, and HLG. That makes either processor suitable for a contemporary theater incorporating UHD sources, streaming devices, and compatible gaming hardware.

AT500: A Strong Foundation

The AT500 remains a capable processor in its own right. ToneWinner designed it as both a home cinema processor and a high-fidelity music center, combining its processing with a Cirrus Logic CS42528-based audio architecture. It offers automatic EQ calibration for speaker distance, delay, and sound-pressure adjustments, while still allowing users to manually fine-tune their system.

ToneWinner rates the AT500 for a frequency response of 10Hz–65kHz, an A-weighted signal-to-noise ratio of at least 110dB, channel separation of at least 90dB, and total harmonic distortion (THD) of no more than 0.003% under the manufacturer's specified analog-input/pure-mode test conditions.

For users who want extensive Atmos capability and 8K video processing but don't require a third-party room-correction ecosystem, the AT-500 provides much of the underlying functionality found in the newer model.

AT600: Enter Dirac Live & BASS Correction

The biggest reason to move to the AT600 is Dirac Live.

ToneWinner has partnered with Dirac to bring Dirac's room-optimization technology to the AT-600. The AT-600 processor supports Dirac Live Room Correction and Dirac Live Bass Control, while Dirac Live Active Room Treatment (ART) is planned for with a future software update. This software can be somewhat expensive so serves as an incredible add-on for the AT600.

This is also a substantial change because room correction goes far beyond simply adjusting speaker levels and equalizers or distances. Dirac Live analyzes the interaction between the loudspeakers and listening environment and corrects both magnitude and phase-related issues. The goal is better imaging, improved dialogue clarity, tighter integration and bass management, and more consistent performance throughout the listening area.

Bass Control is especially important for theaters using multiple subwoofers. Rather than treating each subwoofer as an isolated component, the system can optimize how the subwoofers and main speakers interact with one another and with the room to create the best listening experience possible with dynamic home theater setups.

A New DAC Platform

The AT600 also changes the underlying digital-to-analog conversion architecture. Whereas ToneWinner identifies the AT-500 with the Cirrus Logic CS42528, the AT-600 uses an ESS ES9081 DAC which is a significant upgrade in capability and sound quality.

The AT600 retains an impressive ≥110dB specified signal-to-noise ratio at 10Hz–65kHz frequency response. ToneWinner specifies THD at ≤0.004% under its stated analog-input/pure-mode conditions. Those figures reinforce an important point: the AT-600 shouldn't be viewed simply as an exercise in improving headline measurements. The most meaningful advancements address processing capabilities, room calibration, and overall system optimization.

AT500 vs. AT600 Comparison Chart

Which ToneWinner Processor Should You Choose?

For someone building a high-end home theater, the AT600 has a compelling advantage. The basic 16-channel Atmos/DTS:X and 8K capabilities of the AT500 remain, but Dirac Live gives installers and users a substantially more sophisticated set of tools for integrating those channels into their listening space.

However, the decision is a little different for an existing AT500 owner. If you're happy with your current calibration and room performance, the AT500 remains highly capable and the AT600 doesn't suddenly make its core 16-channel processing or 8K functionality obsolete. However, if you require better room correction, more sophisticated bass management, or specifically want Dirac Live within the ToneWinner platform, the AT600 represents a meaningful update.

Ultimately, the AT500 helped establish ToneWinner as a compelling and popular alternative in the high-channel processor market. The AT600 takes the concept of the original and addresses one of the features most likely to influence what listeners actually hear in their theater through how well the speakers, subwoofers, and room work together. For a modern immersive home theater system, an upgrade may prove more valuable than simply adding another feature or another channel.

To learn more about these products please visit our listings for the Tonewinner AT500 and the Tonewinner AT600.

Every time we get access to a new brand that we will be listing on the Sound Approach website we have either listened to it at an Audio Show and discussed the various products and technologies or we get a few demo units to test in-house and experience first-hand.

Our favorites are always those products that surprise us in one way or another. Either by performing above our expectations or because of an attribute or feature that makes them stand out as a unique and useful product.

The DAC Z10 from Eversolo was one of those that exceeded our expectations and then some! We’re going to take a look at some of the key metrics where this is the case by reviewing the unboxing, first impressions, initial setup, usage, and sound quality.

Because pre-amps are such important pieces of equipment that serve as the brain of your system rather than the brawn of a power amplifier, we’ll also focus on the features of the DAC Z10 to give you a good sense of what this product is capable of. We know that selecting the right pre-amp is key to a great sounding system and we’ll lay out the key attributes for you in this article!

Unboxing the DAC Z10

Without hyperbole, we can honestly say that Eversolo has the best packaging of an audio electronic product that we’ve seen. Several of the brands we carry at Sound Approach like Tivoli Audio, AudioQuest, and ViaBlue do a great job with boxing their products but they don’t really hold a candle to Eversolo.

Each unit is double-boxed for safe shipping and once outside of the shipping box, you’re able to see the sleek black cardboard packaging of the DAC Z10. It has unique musical notes and other designs on the outside and opens simply with black foam padding surrounding the entire unit. The unit itself is also wrapped in a high-quality fabric cover to protect it from any kinds of scratches or aesthetic damage that can happen with poorly packaged products.

First Impressions out of the box

When unboxing a product, clients get their first sense of quality. At Sound Approach, we appreciate how important this stage can be. If there are problems during the unboxing it sets a sour tone for setup and listening experience. And that sour taste in your mouth after spending a few thousand (or more) can be very difficult to overcome.

After unboxing the DAC Z10, we would give Eversolo an A++ for attention to detail, safe and secure packaging, and modern design. Everything about the packaging made us excited to get the unit out of the box and set it up!

However, the bar was also set beyond our normal expectations with a new product. It doesn’t matter how well something is packaged if it can’t deliver the goods…

Setup with Power Amplifier

The pre-amp is the brains of the system and as such needs to be able to handle a lot of inputs efficiently and effectively. The DAC Z10 is an excellent option that offers a lot of versatility while remaining simple to use.

We connected the DAC Z10 to an ATC P2 Dual Mono Block Power Amplifier connected to a pair of vintage KEF Reference Model III Floorstanding Speakers. We elected to use the onboard BlueTooth 5.0 connectivity for streaming from Apple music as our source which made the setup extremely easy.

We only had to connect the analog Output for Right and Left channel to the power amplifier right and left channels, using a pair of Tributaries 6AB interconnects and were ready to power the DAC Z10 on and get listening. Some pre-amplifiers don’t separate the channels, but this unit has separate channels for left and right gain control.

The DAC Z10 also includes a remote control for volume and input selection, which is great when you have numerous sources connected. However, we actually found the touchscreen display to be a bit more user friendly directly out of the box. Once you’ve had a chance to navigate the menus, either option works just as simply as the other.    

Features & Usage

Once again, the DAC Z10 has several inputs including: 2x COAX, AES/EBU, ARC & eARC, USB and RCA/XLR. This allows for several sources like a CD player, TV, or other digital and analog sources. However, this pre-amp does have one pretty severe limitation in terms of features which is the lack of a phono stage to connect your turntable.

If your turntable has a built-in phono pre-amp, you are able to connect via the analog input. In our experience, the more expensive turntables tend to leave out the phono stage for RIAA equalization and this is something that should be taken into account if you’re considering the Eversolo DAC Z10.

The menu is extremely intuitive and easy to navigate which allows you to go from one input to the next. Additionally, each input has a helpful image explaining what it is and what it does for your reference. The volume adjusts seamlessly although you will hear clicks from the unit of the resistors kicking in as the volume is increased or decreased.

Beyond normal functionality, the DAC Z10 has a selectable external clock adjustment for 50 or 75 ohms impedance cables to match your playback with the device and eliminating the need for an external clock in that situation. Although, this unit still has the inputs and settings which allow for external master clocks.

One of our favorite features on digital units is the volt-meter and dB meter LCD screen displays which can be selected during playback. This adds a visual layer to the performance of your equipment and mimics more vintage pieces like the Pioneer SX980, which we posted about in a recent blog article discussing how vintage audio still has a place in modern audio. 

Sound Quality

Aside from price and functionality, the most important attribute when deciding on your next piece of equipment is the sound quality. We were definitely impressed with the performance of the DAC Z10. Overall, it presented a clear and detailed mid-range with a sleek warmth familiar to Class AB amplifiers. It improved the overall dynamic attributes of the music we listened to and because it was simple and easy to use, were able to enjoy the performance immediately without a lot of configurations or time-consuming adjustments.

Final Thoughts

After spending time with the Eversolo DAC Z10, it became clear why this unit exceeded our initial expectations and first impressions. This unit combines the flexibility and control you want from a modern DAC and pre-amplifier with an intuitive interface that makes those capabilities surprisingly easy to use. From the exceptional packaging and build quality to the touchscreen interface, extensive input options, and straightforward system integration, the DAC Z10 consistently feels like a product that has been carefully considered from both an engineering and user-experience standpoint.

More importantly, the attention to detail in the unit’s design carries over to its sound. In our system, the DAC Z10 delivered a clear and detailed midrange complemented by a smooth warmth, while improving the dynamic character of the music without requiring extensive configuration to achieve satisfying results. The only limitation we found was the lack of an integrated phono stage, especially worth considering for vinyl listeners, and particularly those using turntables without a built-in phono preamp. But its extensive digital and analog connectivity makes it remarkably versatile for most other sources.

Ultimately, the DAC Z10 succeeds because it doesn't force you to choose between performance, flexibility, and ease of use. For listeners looking for a high-quality DAC and pre-amplifier capable of serving as the control center of a modern two-channel system, Eversolo has created a compelling option. We went into our evaluation expecting a capable new addition to the Eversolo lineup; we came away feeling that the DAC Z10 is one of those products that genuinely deserves a closer look.

Despite how the audio gear landscape has evolved, vintage audio equipment continues to attract boht collectors and music lovers alike. Large analog controls, illuminated tuning dials, wood cabinets, physical switches, and substantial overengineering and construction create a unique experience that modern pieces of equipment struggle to replicate.

The Pioneer SX-980 is an excellent example of a high-end vintage piece that can still hold its own against its modern day counterparts. Introduced in 1978, the SX-980 is a powerful AM/FM stereo receiver built during one of the most celebrated periods in Japanese hi-fi manufacturing history. It combines a tuner, preamplifier, power amplifier, phono stage, physical controls, and extensive system connectivity all inside a phenomenal looking chassis made of wood.

The Golden Age of Stereo Receivers

During the 1970s, the stereo receiver was the center of many home audio systems. Instead of purchasing separate amplification and radio components, listeners could connect a turntable, tape deck, reel-to-reel, and other sources to one integrated unit powering the speakers.

Manufacturers competed with one another by offering increasingly powerful receivers with larger transformers, more elaborate tuner plates, improved specifications, and visually distinctive front paneling. This included incredible design for the meters, machined knobs, toggle switches, brushed-aluminum faceplates, and wood cabinets, which in turn became defining features of the era.

The Pioneer SX Series became one of the most recognizable receiver families from the late 70s into the 1980s. The smaller models in the series were regarded as substantial, but still relatively manageable and accessible options, offering serious power output without reaching the enormous size, weight, or cost of the SX-1980. The SX-1980 was considered the king of the monster receivers generating between 270 watts per channel, weighing nearly 80 lbs, and cost approximately $1,295, at the time.

Introducing the Pioneer SX-980

The SX-980 was manufactured from 1978 through 1980. It features the classic Pioneer aesthetic associated with that timeframe, including a silver aluminum faceplate, illuminated analog tuning dial, twin power meters, large tuning and volume controls, and a detailed wood-veneered cabinet.

Internally, the SX-980 uses a direct Class AB power-amplifier design and was engineered to serve as the control center for a complete stereo system including AM/FM radio, record playback, microphone use, auxiliary sources, tape-deck inputs, and separate preamplifier and power-amplifier connections.

That breadth of capability is one reason vintage receivers like the SX-980 still remain useful into present day. Although designed before digital streaming and home networking, it continues to provide the analog foundation needed for both vintage and modern sources.

Serious Power for a Vintage System

Pioneer rated the SX-980 at 80 watts per channel into 8 Ohms from 20Hz to 20kHz, with only 0.05% total harmonic distortion. And testing reveals that the unit is capable of achieving approximately 90 watts per channel at 8 ohms under typical listening conditions. Products tended toward over-engineered during this time frame.

80-90 watts per channel is substantial and continues to be compatible with many modern bookshelf and floorstanding speakers. When paired with efficient (90 dB sensitivity or higher) speakers operating at 8 ohms, the SX-980 should have more than enough output for most conventional living rooms, dedicated stereo spaces, and vintage speaker systems.

The SX-980’s substantial chassis and roughly 41-pound weight reflect the physical size of its transformer, heat-dissipation system, mechanical construction, and internal components. Vintage receivers often feel dramatically different from compact modern electronics because much of their engineering is visible on the outside vs modern electronics which minimize the visible features in favor of LCD screens and small buttons. However, it can be surprising how many electronics engineers from the 70s and 80s were able to cram into such a small volume.

Vintage means Analog Control

The front panel is one of the SX-980’s most prominent features and why it continues to hold modern appeal. Instead of hiding the receivers functions inside menus, Pioneer provided direct access to the major controls. This asesthetic element gives vintage audio a unique and tangible feel.

The SX-980 includes bass and treble adjustment with selectable crossover frequencies, high- and low-frequency filters, speaker selection, input switching, tuning controls, and dual analog power meters. Additionally, these receivers typically have 6 dB-per-octave high and low filters along with adjustable tone-control.

These controls allow the listener to adjust the playback in real time without using software or an external equalizer. The filters can also be useful with older recordings, imperfect radio broadcasts, tape noise, low-frequency rumble, or speakers that need mild tonal correction.

For vintage enthusiasts, this immediate and tactile physical control is a major part of vintage audio collection. Every function has a dedicated switch or knob, making the receiver’s capabilities more intuitive without an app or display menu.

Built for Records, Radio, and Tape

The SX-980 was designed when vinyl records, FM radio, and cassette or reel-to-reel tape were central listening audio formats instead of the digital playback that listeners have become accustomed to in modern times.

The input sensitivity specifications include a dedicated moving-magnet (MM) phono stage, microphone input, and conventional line-level inputs as well. The SX-980 receiver also supports tape recording and monitoring functionality, allowing multiple recording components to be connected in the system.

The built-in phono stage is especially relevant today because vinyl playback has seen a dramatic resurgence in popularity and remains a key reason people assemble vintage systems. A turntable with a compatible MM cartridge can be connected directly without requiring a separate phono preamplifier. Brains and brawn, receivers from this generation have it all!

The analog radio tuner provides another part of the traditional receiver experience. Slowly moving the large tuning control across the illuminated dial is very different from selecting a preset on a digital interface or scanning through digital channels. Whether that difference is better is a personal preference, but the SX980 has an undeniable tactile and visual presentation that feels different from digital equipment.

Compatible with Modern Equipment

Owning a vintage receiver or integrated amplifier does not require creating a completely vintage system. The SX-980 can also be used with modern digital sources like a network streamer, Bluetooth receiver, external DAC, or computer interface which can be connected to one of its line-level inputs.

In that arrangement, the modern component handles the streaming and digital conversion while the Pioneer controls volume, source selection, and speaker amplification. With this setup listeners get the best of both worlds.

The receiver also provides separate preamplifier outputs and power-amplifier inputs. Those connections allow the preamp and power-amplifier sections to be isoalted for testing or for integration with specific external components. This feature adds flexibility that is not always available on contemporary integrated amplifiers.

However, care must still be taken when adding modern devices. A vintage receiver should receive a standard analog line-level signal through the appropriate input and speaker-level outputs should never be connected directly to a line-level input.

How Might a Pioneer SX-980 Sound

It is tempting to describe every vintage receiver as warm, smooth, or powerful. In reality, the sound of an SX-980 (or other vintage receiver) depends heavily on its condition and the speakers it is paired with.

A properly restored unit may sound very different from one in original condition operating with aging capacitors, oxidized switches, incorrect bias settings, noisy controls, or previous repairs. The connected speakers, room, source components, and recording quality will also shape the final presentation.

The original specifications of the SX-930 indicate a broad frequency response and low rated distortion for its era and the published specifications list 80 watts per channel into 8 Ohms, 0.05% total harmonic distortion, and a frequency response extending well beyond the audible range under normal listening conditions. However, this doesn’t necessarily mean that everything will perform as expected for a compatible modern day option with the same specifications.

The numbers suggest that the SX-980 was designed as a serious high-fidelity component rather than merely an attractive piece of furniture. Nevertheless, specifications from the late 1970s do not guarantee that an individual receiver still performs to the same standards almost 50 years later. That distinction is critical when reviewing vintage equipment. It’s important to keep in mind that you are evaluating both the original specifications against the current condition of a component and on an individual basis.

What to Know Before Buying Vintage Equipment

A vintage receiver should be evaluated and reviewed more carefully than a new amplifier. Cosmetic condition is important, but internal health matters more. Begin by checking whether both channels operate consistently through all inputs. Listen for static, intermittent sound, distortion, channel imbalance, and/or hum.

Operate every switch and control. Dirty contacts can create noise or cause channels to disappear. Not every problem can be solved with contact cleaner and problems with contacts may need repair or replacement. Confirm that the tuner, meters, lamps, phono inputs, tape loops, speaker outputs, headphone connection, and preamp-to-power-amp channels function properly.

The wood cabinet and faceplate should also be inspected for water damage, deep scratches, missing lettering, bent controls, broken switches, or replacement parts. Cosmetic components can actually be more difficult to source than common electronic service parts.

Ask whether the receiver has been serviced and request documentation. “Restored” and “serviced” are not interchangeable terms. A basic cleaning is different from replacing aging components, rebuilding power-supply sections, checking transistor reliability, setting bias and DC offset, and verifying rated performance under load.

Even though many vintage service manuals contain circuit diagrams, parts information, adjustment procedures, disassembly instructions, and tuner and amplifier alignment information, major service should still be entrusted to someone experienced with vintage audio equipment.

Restoration Versus Original Condition

Collectors sometimes prefer equipment that remains completely original, particularly when it is cosmetically exceptional. From an operational perspective, however, originality is not always the same as reliability.

Electronic parts age even when a receiver is rarely used. Electrolytic capacitors can deteriorate, switches may oxidize, solder joints can weaken, lamps fail, and certain semiconductors may become noisier or more unstable as they age.

A thoughtful restoration attempts to preserve the receiver’s original character and sound profile while improving safety and reliability. That may involve replacing failed or age-sensitive components, cleaning controls, repairing damaged circuit boards, adjusting the amplifier settings, and confirming that safety systems function correctly.

Poor restoration work can be worse than no restoration at all. This includes the installation of incorrect parts, careless soldering, unnecessary modifications, or undocumented changes which may reduce reliability and make future service that much more difficult and expensive. Sometimes, the ideal purchase is often a cosmetically clean model that has been evaluated and serviced by a technician familiar with the model rather than a restored model from an enthusiastic novice.

Choosing Speakers for a Vintage Receiver

A vintage receiver like the SX-980 can be paired with both vintage and modern passive speakers, but impedance and efficiency, as well as current functional condition, should be considered carefully when selecting the speakers.

Vintage buyers should always follow the impedance guidance printed in the receiver’s manual and described in its operating instructions. It’s important to note that difficult speakers, very low impedance, damaged crossover networks, or excessive listening levels can place additional and unwanted stress on a vintage amplifier.

Focusing on efficient floorstanding or bookshelf speakers are often a natural match with vintage receivers. They allow the receiver to produce satisfying volume without operating near its limits. Addtionally, the final choice should also depend on more typical factors like room size, listening distance, preferred volume, bass expectations, and budget.

Why Vintage Products Still Matter

The Pioneer SX-980 appeals to several different groups of music lovers. Vintage collectors appreciate its position within Pioneer’s classic receiver lineup. Design enthusiasts are drawn to its illuminated dial, analog meters, wood cabinet, and balanced front-panel layout. Vinyl listeners value its integrated phono capability, while hobbyists enjoy its serviceable construction and extensive controls.

Most importantly, it can still function as the heart of a modern audio system for any listener. With suitable maintenance, the SX-980 can connect a turntable, tape deck, streamer, DAC, and multiple speaker configurations while providing substantial stereo power with reliable AM/FM reception.

Modern equipment is generally more compact, efficient, convenient, and feature-rich. However, vintage equipment offers something different with its tangible connection to the history of home audio and a physical interaction with the listening process.

Final Thoughts

The Pioneer SX-980 as an example captures much of what makes vintage audio equipment collecting compelling. It is large without being unmanageable, powerful without being excessive, visually distinctive without being ostentacious, and flexible enough to remain useful without certain features being obsolete.

The 80-watt-per-channel amplifier, analog tuner, MM phono stage, tape deck inputs, tone controls, speaker switching, and separate preamp and power-amplifier connections made it a complete stereo control center when it was introduced. Those same capabilities continue to make it compatible with modern equipment.

Purchasing a vintage receiver should not be approached in the same way as buying a modern receiver. Condition, maintenance history, restoration quality, parts availability, and access to a qualified technician are all part of the purchasing experience and ultimately, decision.

For the right listener, those requirements are not disadvantages. They are a part of what makes vintage audio a personal journey. The Pioneer SX-980 is more than a reminder of how stereo systems used to be or once looked because it is an excellent example of how thoughtful engineering, tactile design, and the enjoyment of music can remain relevant decades into the future!

I have had years to learn and more importantly, years to enjoy the benefits of listening to some of the most unique/expensive/excellent sounding products this industry has to offer. There are more than a few standout pieces of equipment for their quality and many I enjoy, if for any other reason than they opened up a new world of understanding and appreciation.

But the more important question relevant to this article is how my experience working with Sound Approach on audio gear applies to you in any way. In short, I’m guessing you haven’t had the opportunity to dive as deeply into this interesting world as I have and hopefully, what I’ve learned will help you better understand your own journey.

Let’s break it down piece by piece (pun definitely intended), shall we?

Are you a Music Lover?

This one is very simple. You are a music lover. If you’re reading this article, you’re interested in Music beyond just listening in the car or at weddings or when you’re getting ripped at the gym. I have yet to meet a person that doesn’t enjoy music at some level, so every person is a music lover.

We all enjoy different genres of music, of course. For myself, have a long-standing appreciation for classic 60s and 70s rock, like most in my generation. The Beatles were a pivotal aspect of my childhood and the first songs I can remember learning more about than just the lyrics. The Apple Anthology released in the 90s was one of my absolute favorites, dancing around my living room with my sister while we sang Oh-blah-di-Oh-blah-da.

The music is a part of who I am and who I will be in the future and it adds dimensionality to my memories beyond what they would otherwise be. The emotional impact of a breakup, the memories of my family when I was young, the relationships I build with people as an adult. Music is the ever present layer that underlies all of those experiences and in my humble opinion, probably why people can become so invested in their apprecaition of music.

Music lovers are content to listen to music anywhere, anytime, on any piece of equipment or speaker, or cell phone, or car radio. They will enjoy it and they will appreciate it for what it is. The spark that adds meaning to their lives.

What is an Audiophile?

An Audiophile is a music lover that has moved beyond the emotional connection of music to appreciate the finer details that are involved with the creation and ultimately, the playback of music. These are the people that know every album, every producer, every instrument, every secret behind-the-scenes story. And after they’ve absorbed all of that information, they’ll want to hear the music as the artist intended and create an environment dedicated to high-quality playback of the artist’s creations.

Audiophile is a tricky word in the audio industry because it doesn’t apply to everyone. For example, what does audiophile-grade even mean when talking about how something sounds? Many Sound Approach clients are looking for both high-quality performance and emotional connection and want to blend those two things so seemlessly they don’t notice it. However, an audiophile can often get caught up in how a thing sounds, which then directly impacts their emotional enjoyment of the music itself. This leads to a seemingly endless battle against the best and newest equipment offering the ultimate playback as the playback landscape changes.

As we’ve noted in previous articles and videos, the music world has gone through dramatic shifts over the past 100 or so years. When music first became easily accessible, everyday people were listening on vinyl records. Musicians could release whole albums and music could be consumed in the comfort of your own home rather than in a concert hall. Vinyl was extremely popular from the 50s until the late 80s when we transitioned from Vinyl to Tape with Reel to Reels, Cassette Players, and 8-Tracks. These forms of physical media became popular because you can’t listen to a record player in the car, and the quality was better.

The next big shift happened in the late 80s and early 90s when most people transitioned from tape to CDs. This was the first digital format and was made possible by the smaller size of electronics and newly available digital to analog conversion chipsets. Again, this transition was popular because CDs last longer, and the sound quality was better. Yes, I know this is subject to debate (among audiophiles).

After CDs, the transitions started coming faster. The early 2000s saw the release of streaming through online peer-to-peer sharing platforms like Limewire and Nabster. People were sharing their music with the rest of the world and each other and it was an amazing time to have access to more music than anyone ever thought possible. So much so, anyone who downloaded from one of these websites became an actual criminal. Obviously, musicians and record labels weren’t happy with this and quickly got to work on designing streaming platforms to replace physical media and peer-to-peer sharing. And the quality was better…actually, no, it wasn’t better, it was lower than CD quality, but it was definitely more convenient and that made the sacrafice in quality okay for most people.

The first streaming services became widely available in the mid-to-late 2000s and once again, music cost money. This doesn’t include Rhapsody or Pandora, released earlier but not nearly as popular as the illegal downloads. With the invention of smart phones and apps, music became even more accessible. The cat was out of the bag and people had gotten used to having access to playlists of thousands of songs, all their favorites, on one handy device. They were willing to sacrafice quality because the wireless capabilities hadn’t caught up to where we were at with CDs in the 80s. Again, that was okay.

However, throughout the decades of jumping from one technology to the next, the name of the game changed dramatically. Sound-quality was no longer the driving factor behind the absorption of music. It was more about the accessibility and convenience that was offered following the dot com boom and immediate access to everything we all take for granted now. It was very similar to the shift from radio and live music to grammophones in the early 1900s and eventually vinyl a few decades later. Music was readily available despite the lower quality.  

Audiophiles have lived through this steady progression of development and innovation during the past 50 years resulting in high-quality products and services that provide a level of audio quality that seems almost inevitable in our current age.

But people still cling to and enjoy the sound of vinyl. New developments have allowed for the improvement in playback quality that make older forms of physical media sound better. The debate between analog and digital lives on and vinyl and CDs have made a surprising comeback over the past decade. Analog sounds different than digital and there are different qualities between CDs and streaming that make it more appealing to young and older generations alike. And all of these factors are competing against convenience and quality.

Ultimately, these things are important because the progression through the years has led a significant population of the music loving community to have an appreciation and drive for high-fidelity sound, whether it’s vinyl, CD, or streaming, which in turn drives the manufacturers to create better and more accommodating products. All of this progression has led to high-fidelity products producing incredible sound and emotional connection to the music. Which is exactly what the audiophiles want!

Who is a Technophile?

As you can probably sense, our field narrows as we progress through each level. A technophile is almost certainly an Audiophile and definitely a music lover. But they take this love for music to another level entirely. As the name would imply a technophile is most interested in the technological innovations and internal functioning of individual pieces of equipment and systems as a whole that result in high-fidelity sound. They make up a significant subset of the music culture and their input is often instrumental (again, I really can’t help it now) in making progress toward the new best thing in the audio world.

When I test a piece of equipment like the Eversolo DAC Z10, which we just unboxed in a recent video, I sometimes feel a bit overwhelmed by the prospect of offering my opinion on that piece of technology. Not because I don’t understand what a DAC or a Pre-Amp does, but because the technology that makes it function the way it does is less understandable and there is always someone out there who knows more about it.

I don’t necessarily understand why a Hybrid Gain Control may be better in a particular setup over a Ladder Resistor structure. Instead, I’m better able to focus on how the unit performs against other products I’ve listened to. There may be other features that are important to me, like the LCD screen, simple menu navigation, intuitive controls, and the number of inputs and outputs, which aren’t as important to a technophile because there exists another brand that does it differently, or better.

I can appreciate that a system that creates individual gain control for each channel is better than one that may not do that, because it allows for greater control. But I may not understand, or necessarily care, why that specific technology makes it better. Does that make sense?  

A technophile can look at these smaller details, dive into the schematics of a unit, apprecaite the complexity of the design and how it may work paired with a completely unrelated item to result in a level of performance hitherto unknown to anyone else (yes, I used the word hitherto in that sentence). That’s the major difference.

I’ve met many brilliant technophiles in this industry that have been able to explain products to the n-th degree but it’s always felt like they have a chip on their shoulder for anyone else that doesn’t have the same level of understanding or desire for understanding of how their system operates, or can be improved, or how and why it should be replaced or done differently.

Technophiles occupy the rabbit hole at the end of the audiophile journey that requires a deep love, respect, and determination geared toward music with the ultimate goal of understanding how everything works to provide perfect signal playback. And this industry would not be possible without these dedicated individuals applying their skill and expertise to improve our sound-quality.

What does it all mean?

Whether you are a music lover that could care less how something sounds, an audiophile who appreciates the greater emotional impact music can have because of higher-fideility sound, or a technophile that understands how technology impacts performance, everyone is welcome and apprecaited in the world of music.

I define myself as an aspiring audiophile. I enjoy high-quality playback and appreciate the impact it can have on the listening experience. I am extremely grateful for the opportunities I’ve had to test and listen to and review products from hundreds of brands as well as the ability to travel across the US (and soon the world) to meet new and exciting people in this industry and even more, to learn everything I can about how audio gear impacts people on a personal level.

However, if I’m being honest, at the end of the day, it’s more about the emotional impact and interpersonal relationships formed that lead me to enjoy listening to music regardless of sound quality or equipment. I don’t need the latest and greatest (or most expensive) speakers to enjoy the music itself.  

I hope this article has been helpful to shine a light on the different types of people you may encounter along your own audio journey or even to provide some insight on how you define yourself and how you enjoy music. Please appreciate the music lovers, audiophiles, and technophiles when you meet and learn something, if you can. You’ll be a better person at the end of the day and it’ll be because of the music, no matter how you listen or enjoy it!

Can the ARC 5 Earphones Deliver Premium Sound?

Recently, Cleer Audio reached out to Sound Approach to review one of their new release open-earphone products, the ARC 5 Wireless Earphones. As a disclaimer, we are not being paid or sponsored for this review and like all of our tests and reviews, provide our real thoughts and honest opinion about the product. Without further ado, let’s jump into it!

Open-ear earphones have become increasingly popular as electronics have decreased in size because they solve a problem that traditional earbuds and closed-back headphones cannot. They let you listen to music, podcasts, movies, and phone calls without sealing off your ear canal and completely disconnecting you from the environment around you.

That can be useful while exercising, working in an office, commuting, walking through a busy area, or simply listening at home when you still want or need to be able to hear what is happening around you. Do you have a young kid playing in another room? Clip these on and you can still pay attention to your toddler while enjoying your favorite entertainment. Would you like to better filter your, some might say annoying, office colleagues without sacrificing your focus and attention? The open-ear design allows you to continue enjoying your content (or focusing on your work) all while still being engaged with those around you.  

In general, most open-ear headphones and earbuds are known for limited bass response and somewhat muddy and crowded presentation. They open design doesn't always have a positive impact on the signal reproduction and playback which can result in a distinct lack of detail and crispness that most people are looking for when it comes to their headphones.

Cleer Audio has attempted to overcome the limitations of an open-ear design with the ARC 5 wireless earphones, which include a surprisingly ambitious collection of features, unique design, and discrete attention to detail that improves upon previous models and all for a surprisingly affordable $220 retail cost.

These open-ear wireless earphones combine 16.2mm dynamic drivers, THX Spatial Audio & Dolby Atmos optimization, head tracking, lossless 5.4 Bluetooth support, a touchscreen charging case, long battery life, light weight (11.5g per earphone), and IPX7 water (and sweat) resistance.

That is a comprehensive list of features for any pair of earphones, especially at this price point. In this review, we are going to examine the ARC 5’s design, comfort, sound technology, charging case, battery performance, connectivity, and other features to determine what we think of this product and who we feel these earphones are really designed for.  

Traditional In-Ear vs Open-Ear

Before looking specifically at the ARC 5, it is important to understand how open-ear earphones work.

Traditional in-ear monitors typically use silicone or foam tips that sit inside the ear canal. This creates a physical seal surrounding the ear canal that helps block outside noise and strengthens lower-frequency bass and mid-range response. This design also creates a funnel aimed directly at the eardrum where the soundwaves can be absorbed and translated into sweet, sweet music!

An open-ear design is built differently and as such assumes a different approach. Each earphone has a flexible silicone hook that wraps around the top of the ear while positioning the speaker near, but not inside, the ear canal. Sound is directed toward the ear while the ear canal remains open. There is an obvious gap which allows external sounds to still come through while listening.

The main advantage of this design is awareness. You can continue hearing the traffic and people around you, announcements, coworkers, family members, and other sounds while your audio is playing. It also helps to avoid the pressure and ear fatigue that some listeners experience with conventional in-ear earbuds, especially after longer listening sessions. The same logic applies with open-back headphones which allow the pressure of soundwaves typically directed into your ear canal to express outwards and away from your ears.

The disadvantage is the same, background sounds remain part of the listening experience. One of the features that some people look for with wireless headphones is noise-cancelling and isolation. The ARC 5 does not feature traditional noise cancellation, which would only work to separate you from the outside world. This design element makes the ARC 5 much more appropriate for situations where comfort and awareness are more important than isolation.

Design & Comfort

Speaking of design and comfort, the ARC 5 continues Cleer Audio’s typical wraparound design, present on earlier models of the ARC earbuds, but the ear hooks have been made thinner and lighter than the earlier models. These new earphones fit more naturally and serve as a one size fits most solution. Whether you have large or small ears, the positioning is simple and feels comfortable.

Each earphone weighs only 11.5 grams. While heavier than many traditional true wireless earbuds (especially the ones that stick out really far), the weight is actually more evenly distributed around the ear rather than concentrated inside the ear canal or resting on the cartilage surrounding the ear canal.

This ear-loop design should help reduce pressure during longer listening sessions while also creating a secure fit during movement. Fatigue is something we deal with regularly in our testing and reviewing roles and something that leads us to choose products like the ARC 5 for our own personal use.

Beyond comfort, the positioning of an open-ear speaker is extremely important. Even a small change in the distance or angle between the driver and the ear canal can affect bass response, clarity, and volume. The ear hooks help keep the drivers in a more stable and secure position rather than completely loose-fitting open earbuds. Additionally, they don’t require numerous options of silicone or foam tips for proper fit.

For exercise and outdoor use, the ARC 5 carries an IPX7 water-resistance rating perfect for any physical activity. With this rating, the ARC 5 earphones are designed to tolerate sweat, rain, and brief exposure to water. The rating applies to the earbuds specifically and not the charging case, so the case should still be protected from moisture.

Driver & Sound Technology

Cleer Audio uses a redesigned acoustic structure intended to improve positioning, sound projection, imaging, and overall consistency. Each ARC 5 earphone uses a large 16.2-millimeter dynamic driver. This provides clear and concise quality regardless of the music or entertainment you choose to enjoy.

Large drivers can move more air than the smaller drivers commonly found in compact in-ear earbuds. In an open-ear design, that extra surface area is especially valuable because the earbuds cannot rely on a sealed ear canal to reinforce the bass. The bass may be somewhat lacking in terms of real ommph, but the mid-range and higher frequencies remain dynamic and faithful to the signal despite the lack of a seal.

The ARC 5 has a listed frequency response of 65 hertz to 40 kilohertz via Bluetooth wireless connection. 65-hertz at its lower limit reflects the reality of open-ear listening and aligns with our testing highlighting semi-weak bass performance. As already indicated, these earphones are not intended to reproduce the same deep bass or sub-bass as sealed in-ear monitors or full-size audiophile headphones. However, the resulting sound quality is still high due to the design and other enhancement features.

Cleer Audio has done a good job with strengthening the low end with the inclusion of DBE 4.0 Dynamic Bass Enhancement. This customizable enhancement can be adjusted and saved for quick selection on the charger’s touchscreen for playback that fits your exact preferences. The enhancement processing is designed to give bass more presence and impact without requiring the driver to create the same pressure that would exist via a sealed ear canal. While the ARC 5 may produce more body and punch than other open-ear models, this model naturally favors openness over deep, isolated bass.

THX Certification

One of the ARC 5’s most notable features that stood out in our testing is its THX headphone certification. THX certification is intended to confirm that a product meets established performance targets related to frequency response, distortion, output, and consistency. That does not mean every listener will automatically prefer the tuning, but it does show that Cleer Audio is positioning the ARC 5 to be more aligned with high-fidelity headphones where features like THX are standard and a minimum level of distorition is expected. It also means that lower distortion and more accurate playback and overall consistency lends itself to produce higher quality sound.

The goal is to provide a more balanced and controlled listening experience than other open-ear products. Given that open-ear acoustics can be difficult to manage, Cleer Audio has done an excellent job with the ARC 5 to balance these competing difficulties and concerns.

THX Spatial Audio and Head Tracking

As a subset of the THX Certification, the ARC 5 also supports THX Spatial Audio with head tracking. Spatial audio processing is different from THX and is designed to create a broader, more three-dimensional presentation. This is typically known in the audiophile community as soundstage. Instead of sounding as though the audio is located directly next to each ear, with a clear left and right alignment, the sound can appear to extend outward from the ear and occupy a larger virtual and perceived space. With high-quality earphones, the music should be coming from beyond and outside of the earphones themselves and the ARC 5 is able to achieve this with ease and at lower volumes.

Head tracking takes this spatial concept further. Sensors inside the earphones detect small movements of the listener’s head. The spatial presentation can then adjust so that sound appears to remain anchored in a particular position. This is something we noticed in our testing but it took a little while to figure out what was going on.

When watching a TV show or movie on a phone or tablet, dialogue may appear to remain centered on the screen even when you turn your head slightly. This can make films, games, concerts, and other visual content feel more immersive, especially on mobile devices. Additionally, it can actually trick your brain into thinking that the noise is coming from the position on the device rather than the earbuds, which makes the experience that much more enjoyable.

Spatial processing will not be equally useful with every recording or certain types of content. Traditional stereo music may sound more natural with the feature disabled, while cinematic content may benefit significantly from the expanded capability. Thankfully, the ARC 5 gives users the option to experiment and decide which mode and settings are appropriate for each type of content.

DOLBY ATMOS Optimization

These earbuds are also optimized for Dolby Atmos playback. Dolby Atmos can help you perceive sounds within a three-dimensional environment rather than limiting them to conventional left and right channels.

When combined with Spatial THX and used with compatible music, movies, and streaming services, the ARC 5 results in a more layered and immersive presentation. However, it is important to know that Dolby Atmos support depends on the source device, application, content, and individual subscription services. It may not be available on every song or show. Additionally, the earbuds cannot turn every standard stereo recording into true Dolby Atmos content. Ultimately, when the source supports it, the ARC 5 provides a platform designed to take advantage of that information.

High-Quality Bluetooth

The ARC 5 uses Bluetooth 5.4 and supports multipoint connectivity. Bluetooth 5.4 is the current standard for wireless connectivity in a world jam-packed with WIFI signals. And multipoint connectivity allows the earbuds to remain connected to two compatible devices at the same time. Very few products, especially at the same price point, have the same ability.  

Multipoint connectivity allows a user to listen to music from a laptop and then answer an incoming phone call without manually disconnecting or reconnecting the earphones.

For additional compatibility, the supported codecs include AAC, SBC, LC3, LDAC, aptX Adaptive, and aptX Lossless. LDAC and aptX Lossless are especially notable because they provide higher-quality wireless transmission when paired with a compatible source, frequently compared to CDs due to the lossless signal.

Because AptX Lossless is designed to deliver CD-quality audio under suitable wireless conditions, it has become standard on most high-fidelity products as well as streaming services like Spotify, Tidal, or Qobuz. Further, aptX Adaptive can adjust its bitrate to balance sound quality and connection stability.

Ultimately, the actual codec being used by the ARC 5 will depend on your phone, tablet, computer, operating system, and streaming service and will vary greatly depending on the content. Similar products may not offer as much adaptability and our testing showed that the ARC 5 worked with typical services, streaming high-quality signal, as well as in various environments with competing WIFI signals without any issues or loss in signal quality.

The Cleer+ App

The Cleer+ App provides access to additional settings and customization on a variety of products, including the ARC 5. Users can adjust the equalizer, personalize touch controls, monitor battery levels, manage spatial audio features, and change other operating options.

Based on testing and evaluation, we found the Equalization particularly valuable with the ARC 5 because adjustments available in the app are a little easier to make than with the equalizer on the touchscreen. A listener who wants more vocal presence may prefer increased mid-range for vocals, while another may choose to emphasize bass or treble. There are several different settings visible in the app that allows users to customize to their preference with ease. 

The app allows the ARC 5 to be adapted more closely to individual preferences instead of relying on a single fixed preset. However, the app is somewhat superfluous for this product, in our opinion, because almost all of these manageable options are available via the touchscreen on the charging case. Additionally, the Cleer+ App design and content didn't function 100% correctly depending on which product being selected and/or when navigating to the user manual section. Hopefully, this is something that Cleer Audio can revise and update to make more user friendly and function properly. 

AMOLED Touchscreen Charging Case

The charging case is one of the ARC 5’s most distinctive features and stood out immediately in our testing. Rather than functioning only as a battery and storage container like most earbud cases, the ARC 5 case includes an AMOLED (advanced, modern OLED) touchscreen as well as an internal personal mirror.

The display can be used to control playback, adjust volume, change equalizer settings, manage spatial audio, and check battery status in real time without the need for opening the app, or disconnecting the earphones. This can be useful when the source device is across the room, connected to another display, stored in a pocket or bag, or when the earphones are currently in use. Additionally, the AMOLED screen has numerous pre-saved screensaver options as well as the ability to connect to your photos for additional aesthetic customization. Beyond the screen, the inside of the case features a personal mirror on the lid for quick and easy use and to help you place the earphones correctly. While the mirror may not be necessary for everyone, it is a nice touch of subtle detail that adds to its overall presence and appeal. 

Especially noteworthy, the case also includes UVC sanitization intended to reduce microorganisms on the earphones when they are stored. The sanitization is automatically carried out every time the earphones are placed back in the case for charging and it is closed, making it a standard feature. There’s even a motion and loading bar screen that displays the 20-30 second process. Again, the attention to detail on the case itself is quite exhaustive and demonstrates just how seriously Cleer Audio approached the manufacture of this product.  

Whether every user needs a touchscreen charging case is another question. It adds size, weight, and complexity compared with a more basic featureless case. However, it also makes the ARC 5 feel more like a complete listening system rather than a conventional pair of earbuds. Additionally, the cost of the product is lower than many options that don’t have half the features available to the ARC 5 earphones.

Battery Performance

Battery life is one of this product's strongest selling points and advantages over similar products. These earphones are rated for up to 12 hours of playback from a single charge, with as much as 60 hours of total listening time when the charging case is included, recharging the earbuds up to 5 times with a single charge on the case.

Through testing, we confirmed the battery life actually lasts between 11-12 hours of continuous usage on a single charge and with the basic settings enabled. The ARC 5 earphones are probably the most suited for longer listening sessions than any other earbuds or wireless earphones Sound Approach has tested to date.  

Obviously, the actual battery life will vary according to volume, spatial processing enhancements, call use, and/or screen interaction. But even with those variables, the ARC 5 offers enough capacity for long workdays, travel, exercise, and extended listening sessions without the need for constant or repeated charging.

Call Quality

The ARC 5 uses a dual-microphone system with Qualcomm cVc processing and AI-enhanced noise suppression. The goal is to reduce environmental noise while keeping speech clear during phone calls and this works exactly as advertised. The calls are clear and microphone picks up sound without any issues. 

Addtiionally, because the earphones do not seal the ear, you remain aware of your own voice and surroundings during a conversation. This makes calls feel more natural for speaking than while wearing highly isolated or noise-cancelling headphones with an attached microphone. If you find yourself pulling off one headphone while you're speaking on your current setup, this may be the solution to that problem. 

Ultimately, microphone performance will still depend on external noise and the distance between the microphone and your mouth. While, the ARC 5 is well suited to everyday calls and office use, extremely noisy environments may challenge the earphones, just like any other open-ear wireless system.

Everyday Performance, Preferences, and Limitations

As already discussed, the ARC 5 offers an unusually broad collection of features, and the open-ear format creates unavoidable compromises that lead to inherent or perceived limitations.

Obviously, the first sacrifice and, in our opinion, only true limitation, is bass response. Without an ear-canal seal, deep low-frequency energy can and will escape. Dynamic Bass Enhancement adds low-end heft, but it cannot completely reproduce the physical pressure or quality of a sealed in-ear design or closed back headphone. Additionally, we absolute appreciate how some people dislike the compromise of natural signal vs enhanced dB processing, as it just doesn't result in the same sound-quality. 

The second semi-limitation is environmental noise. These earphones are designed to let outside sound in. If you are looking for isolation or noise-cancelling, these aren’t the earphones for you. It’s as simple as that.

For some this is a limitation, and rightfully so, but for others it is more of a feature. In an office, at home, walking through a neighborhood, or exercising in the gym, that awareness may be extremely useful.  But it’s important to point out that near heavy traffic, being inside an airplane, or in a crowded area, outside sound will likely overpower the quieter details in the music, which will ultimately poorly impact the performance.

The third consideration is fit. While the ARC 5 uses a stable ear-hook system, every ear is shaped differently. The position of the driver will affect volume, balance, and overall performance. The fit is important to performance and may not be perfect for every user. However, Cleer Audio did a good job with this design to make it a one size fits most, or as close to that as you can get with this type of product.

Finally, the touchscreen case adds a lot of convenience and numerous features but also makes the system larger than many other conventional wireless earbud cases. If you are looking for a matchbook size carrying case, this isn’t the best option. But the slightly larger size does make it comfortable in the hand and when replacing or removing the earbuds from the case. If you have difficulty replacing small earbuds in a small case, the ARC 5 earphones are much easier to grasp and handle. Again, this feels more like a matter of preference over actual limitation.

Who Should Buy the ARC 5?

After extensive testing and research, our recommendation would be that the Cleer Audio ARC 5 is best suited to listeners who want to remain aware of their surroundings without giving up advanced wireless features, those who desire higher audio quality in their playback vs similarly designed or priced products, for anyone who enjoys longer listening sessions up to 12 hours, and for physically active earphone listeners looking for a comfortable and stable fit.

Final Thoughts

The Cleer Audio ARC 5 and Cleer Audio ARC 5 Gaming Earbuds are one of the more ambitious and successful open-ear wireless designs that we have ever tested at Sound Approach and we were thoroughly impressed with what Cleer Audio has been able to achieve at the current retail price of $220. 

Additional features that stand out on the ARC 5 are the long 12-hour battery life, light weight comfort, and UV cleaning. These features are not standard and most earbuds are typically rated for less than half the battery life and don’t include any thought for sterilization, cleanliness, or extended listening comfort.  

At Sound Approach, our employees work in a large open office space and a product like this works perfectly at a cubicle or desk to filter out unwanted environmental notices without detaching completely from what needs to be heard. For people who value awareness, comfort, and smart controls, the ARC 5 offers a compelling and advanced option.

It’s amazing to see so many features, a thoughtful design, and an open-ear system that can provide excellent playback and high-quality sound compared to similarly priced open-ear and other wireless earphones or earbud options. The audio quality will not reach the level of dedicated in-ear monitors but it does get close to that level at an attainable price. For listeners who want maximum isolation or powerful sub-bass, a traditional in-ear or closed-back headphone will almost certainly be the better choice. For everyone else, we highly recommend the Cleer Audio ARC 5 Wireless Earphones!

For more information about Cleer Audio, please visit their website CleerAudio.com or our Cleer Audio brand link on Sound Approach if you need help deciding whether the Cleer Audio ARC 5 is the right match for you. Thanks for reading to the end and we hope you have a great rest of your day!

Review of the Voce Fina MKII Bookshelf Speakers

There has been a lot of hype and positive reviews recently released regarding this new product from RBH Sound celebrating their 50^th Anniversary, and for good reason. The Voce Fina MKII sets a high bar for ultra-precision, depth, detail, and personality. Most importantly, these speakers inspire an emotional connection with the music above and beyond many similarly priced products.

Redesign with a new twist

Inspired by the original Voce Fina from the early 2010’s, the MKII retain the character the original captured so well but with more accessible materials and a much cheaper price tag. The original Voce Fina hit the wallet hard, at around 15k, which is almost as heavy, literally, as the speakers were themselves. Made of hard cut stone, they were a beast and a half! The elephantine weight was only matched by the price tag, making the original Voce Fina impractical as well as inaccessible to your typical run-of-the mill audiophile. Unfortunately, RBH Sound didn’t sell very many and the model was discontinued shortly after release.

However, in celebration of a huge milestone is the perfect opportunity to revisit some of the design elements of the past that were good on paper but maybe needed some tweaking. RBH did this well with the Voce Fina MKII. The idea behind building a solid cabinet made of stone was to limit the internal resonance and external vibration brought on by the driver’s motion. An understandable aspiration. For the new model, RBH decided to use a heavy acrylic to accomplish the same feat and were able to decrease the weight significantly making these speakers much more user friendly and manageable. I commend them for taking another crack at this design because it paid off in dividends. The Voce Fina MKII is now half the price of its contemporary and weighs much less the original, all while achieving low levels of internal resonance and external vibration.

Ultimately, the design and material choice allow for unmatched detail, separation, smooth and natural transitions, a revealing nature, and increased depth and dimensionality. Aesthetically, these speakers may not be for everyone but it’s important to note that the design serves a purpose geared toward higher quality sound reproduction. The 6.5” woofer delivers warm and neutral vocals and instrumentals and the AMT ribbon tweeter excels at providing crisp and inviting higher frequencies. The bass is not super-bassy, but is subtle, detailed, and smooth. The soundstage is enfolding and the imaging is just about the best you can ask for in any price range. During testing, many songs stuck out to me by revealing an intimacy and details that remains veiled in lesser speakers.

Performance & Scaleability

Originally, I paired the Voce Fina MKII with my normal test-bed integrated amplifier, which is a Cambridge Audio EVO 150. I chose this piece about 2 years ago because it’s simple to use, aligns with most lower end speakers, but still has that great Class-D warmth that I enjoy. Additionally, it’s powerful enough to drive most speakers, and the Voce Fina were no exception. Rated at 75-150W at 8ohms with 88dB sensitivity, they’re relatively easy to drive. However, with the EVO 150, I did feel like there was something missing in the performance, though at the time I couldn’t put my finger on it.

Thankfully, we had just brought in the ATC P2 Dual-Mono block amplifier from ATC, a much more powerful amplifier rated at 300W per channel at 8ohms. I decided to give this one a try to see what more the Voce Fina had to offer and I wasn’t disappointed. One of the things I look for with a pair of speakers is scalability. I like to know that when/if I upgrade a piece of equipment, there will be a benefit and improvement in the sound quality, especially when testing speakers. The ATC P2 was able to provide much more depth and open up the soundstage nearly two-fold. Because the P2 is a Class A/B amp rather than a Class D, I did experience brighter high-frequencies. However, it wasn’t harsh or overly bright, rather it complimented the speakers because the imaging became much more detailed than it was with the EVO 150. It changed the whole dynamic of the setup and led me down a rabbit hole of exploring and re-experiencing some of my favorite songs and albums.

I continued to use the EVO 150 as the pre-amp and found the combination of the two to be very enjoyable. However, if I’m being honest, the setup made me wish we had brought in the ATC SIA2-150 Integrated Amp so I could simply use one piece, and something a little better matched to these speakers power-wise. I understand the desire to separate each electronic, but I also appreciate convenience and affordability. I’d rather have an integrated amp than a pre-amp and amp or dual mono-block setup. However, I absolutely appreciate the benefits that driving the speakers individually provides as well as the sound improvement that’s expected. It’s just not such a big deal to my listening style that it’s absolutely necessary.  

Revealing Exceptional Detail & Imaging

When I listened to Billie Jean by Michael Jackson, I had no idea how many layers were involved in the track and what details were just waiting to be discovered and revealed by the Voce Fina. Details I had never been aware of or could appreciate because they were muddied and veiled on the other equipment I had previously listened to this song with. There are extreme subtleties to this song of which I was completely unaware, like a simple trumpet riff (that only happens once or twice) that bleeds perfectly into the notes and strings of a violin playing in the background. All of which could be easily visualized when I closed my eyes to imagine the scene I was listening to. The cymbals struck with a fierceness and determination and snappiness and I could hear the individual notes of the bass guitar more clearly and distinctly than I thought was possible. All these moments made listening to Billie Jean a completely new experience and I was blown away by the detail and revelations.

Additionally, since great music sounds incredible with great speakers, I decided to take a trip down memory lane to reexplore the songs of my youth and discover (rediscover?) what I had been missing. Each track that I listened to, each album I put on the turntable, opened new doors and corridors for me to enjoy. They each revealed something I couldn’t remember or had had otherwise never experienced before, including a physical and emotional connection (reconnection?) with these songs.

Reexperiencing Favorite and Classic Songs

After spending nearly six hours jumping from song to song I slowly began to understand, maybe for the first time, what the term revealing really means. The hair on my neck stood on end, I got goosebumps, and an experience that is always difficult to attain, a shiver down my spine, with a few songs in particular. The keening notes in Zombie that Delores O’Riordian hits are mesmerizing. When Aurora nails the high-notes in Runaway, I can really appreciate her vocal prowess and unique Scandinavian accent. Female vocals, high-frequency percussion, and acoustic guitars really stood out as simply exceptional to me with the Voce Fina. But beyond this was the emotional reaction to the music. Every once in a while, the emotion is what strikes you the most about an artist’s performance. Personally, no matter how I listen to Janet Devlin singing the cover Your Song, and regardless of the speakers or headphones, the emotion in her lilting, keening Irish accent, is what hits me most. This emotional connection was something I experienced with over half of the songs I listened to, many of which I listen to quite frequently. I felt closer to the artists and closer to the experience I think the artist intended their listeners to have.

If you already have good equipment and you’re looking for superior soundstage, imaging, depth, and detail, the Voce Fina MKII Passive speakers are an excellent choice. If you’re in the market for something a little more user friendly or that requires fewer electronics, the Voce Fina also comes in an Active model, which provides perfect power handling and matching. The Active option is obviously a bit pricier, but in the long run you’ll be more than thrilled with the results. I listened to the Active Voce Fina at Axpona 2026 a few months before Kenny from RBH Sound reached out to ask Sound Approach to do a review of the passive model. I was very excited because I was definitely blown away by what I experienced at the show. They had a few separate items on display for their 50^th Anniversary, including the Obelisk and Nemesis Tower and Subwoofer as well but the standout performer was definitely the Voce Fina MKII. RBH has demonstrated time and time again their expertise in cabinet construction, power amplification, crossover electronics, and every facet of building an excellent speaker.

RBH Customization, Support, and Service

Aside from their capabilities as top-notch engineers they’re also a fantastic company to be partnered with. For those that don’t know, RBH Sound is a US-based company that manufactures each of their products in-house in Utah. Most of their speakers are built-to-order and are highly customizable with different finishes, paneling options, unique cabinet designs, and so on. They work very closely with Sound Approach and each customer to cover every detail of the build to ensure their customers get a product that will work perfectly for their unique circumstances. And the end result is a loyal and dedicated fan base that appreciates the efforts and extra attention to detail that they provide.  

Overall Impression

Ultimately, the Voce Fina MKII is a reminder that with the right dedication to quality, it’s possible to achieve great things. Performance wise, these speakers stand apart from most others in their price range as one of the best options on the market. Whether or not you like the design, I can without hesitation guarantee that you’ll enjoy the sound. For more information, please visit our listing for the Voce Fina MKII Passive or Voce Fina MKII Active Speakers. Or, leave a comment down below to tell us about your favorite songs and speakers!

iFi Audio Makes a Statement 

Portable audio has changed dramatically over the last several years. What once required a desktop DAC, separate headphone amplifier, and a collection of cables can now fit comfortably into a device small enough to carry alongside a phone or laptop and which provides the type of performance previously reserved only from multiple pieces of dedicated equipment.

The newly released iFi Audio iDSD GR2 is designed to take DAC technology to the next level. As the successor to the popular xDSD Gryphon, released in 2021, the GR2 combines high-resolution digital conversion, powerful headphone amplification, lossless Bluetooth, analog processing, touchscreen control, and flexible system connectivity within a slim portable chassis.

This is not simply a minor update with a new display and refreshed exterior. The GR 2 introduces a different DAC architecture, a redesigned and balanced amplifier stage, greater overall power output, and expanded wireless support. The result is a portable DAC and headphone amplifier intended to function both as a travel companion and as the center of a compact home or desktop system.

A New Generation – Same Great Concept

The original xDSD Gryphon earned attention and critical acclaim because it occupied a useful middle ground between small dongle DACs and larger transportable headphone amplifiers. It offered substantially more connectivity and power than a basic adapter without reaching the size or weight of iFi’s highest-powered desktop models.

The iDSD GR 2 follows the same general philosophy but the internal design has been substantially revised. It is built for listeners who want more than a simple USB DAC and need something practical enough to use with a smartphone, laptop, digital transport, or portable music player.

At approximately 5.55" x 2.95" x 0.75" and weighing only about 1/2 a pound, the GR 2 remains compact enough for a backpack, briefcase, or desktop. It is not as small as a USB dongle, but its increased size makes room for a more capable amplifier, a larger battery, additional inputs and outputs, and a full touchscreen interface.

This places it in an appealing category for listeners who use demanding electrostatic or planar headphones but do not want to be tied to a permanent desktop system.

Burr-Brown PCM1795 Processing

One of the most significant changes is the adoption of the Burr-Brown PCM1795 DAC chipset. According to iFi Audio, this is the company’s first DAC built around this particular chip.

The PCM1795 is a current-output DAC, which gives iFi greater freedom when designing the analog stage that follows the digital conversion process. Rather than relying on a generic implementation, the company has developed a dedicated output section intended to complement the characteristics of the chipset.

The GR 2 supports PCM playback up to 768kHz and DSD512, providing compatibility with a wide range of high-resolution music libraries and playback software including Spotify, Tidal, and Quobuz. Although specifications alone do not determine sound quality, the overall implementation of each individual piece allows for lossless sound quality at high resolution.

The decision to use a Burr-Brown design also fits iFi Audio’s longstanding preference for a warm, natural, and engaging presentation rather than an overly sterile interpretation of digital audio.

A More Powerful Amplifier

A portable DAC is only as useful as the headphone amplifier connected to it. The GR 2 introduces a new fully balanced amplifier architecture designed to provide more output power while reducing distortion and lowering the noise floor. It results in a wider soundstage and additional imaging, while maintaining warmth and balance.

From its 4.4mm balanced headphone output, the GR 2 can deliver up to 1,513mW RMS into a 32-Ohm load. That represents a substantial increase over the previous Gryphon only rated at 1,000mW RMS and gives the unit enough headroom for many full-size dynamic, planar magnetic, and some electrostatic headphones.

Power should never be considered in isolation. Sensitive in-ear monitors may require very little output and can reveal noise that is inaudible with less efficient headphones. To address this, the GR 2 includes an updated iEMatch circuit that reduces distortion for overly-sensitive earphones while helping maintain a usable volume range.

This combination of high output and low-level control is important. It means the GR 2 is not limited to one specific kind of headphone. It can accommodate sensitive in-ear monitors, efficient portable headphones, and considerably more demanding full-size designs.

Balanced and Single-Ended Connectivity

The GR 2 provides both 4.4mm balanced and 3.5mm single-ended headphone outputs. It also includes matching balanced and single-ended analog connections that can operate as inputs or line outputs depending on the system configuration.

This gives the unit several possible roles allowing it to serve as a conventional portable DAC and headphone amplifier. It can connect to an existing analog source and operate primarily as a headphone amp. Alternatively, it can function as a DAC or preamp feeding powered speakers, an integrated amplifier, or another downstream component.

Digital inputs include USB-C and a shared optical/coaxial S/PDIF connection, while Bluetooth provides a wireless alternative. This range of connectivity makes the GR 2 more flexible than a typical portable dongle and allows it to remain useful when the listener moves from mobile use to a desktop or home audio system.

Bluetooth 5.4 and aptX Lossless

Wireless listening is one of the strongest areas of improvement of the GR 2 over the original Gryphon.

The GR 2 uses Bluetooth 5.4 and supports a broad range of codecs, including aptX Lossless, aptX Adaptive, aptX, LDAC, LHDC/HWA, AAC, and SBC.

AptX Lossless is capable of delivering CD-quality 16-bit/44.1kHz resolution audio under suitable wireless conditions. LDAC offers bitrates of up to 990kbps for compatible devices, providing another high-quality option for listeners whose phones or players do not support aptX Lossless.

Bluetooth performance still depends on the transmitting device, codec negotiation, wireless environment, and source quality. However, the GR 2 gives users access to several of the strongest currently available Bluetooth formats rather than restricting them to basic SBC or AAC playback.

K2 and K2HD Processing

The GR 2 also incorporates JVCKENWOOD K2 and K2HD processing.

K2HD is designed to analyze digital audio and restore harmonic information that may have been lost during digital conversion or compression. It then upsamples the signal to provide a presentation intended to sound more natural, warm, and less mechanically processed. K2 mode offers a lighter version of the same concept without the added upsampling stage.

These modes will likely be a matter of personal preference. Some listeners prefer to keep digital processing to a minimum, while others appreciate options that can make older, compressed, or less refined recordings more enjoyable.

The important point is that the processing can be selected rather than permanently applied. Users can compare the available modes and choose the presentation that works best for a particular recording or headphone.

XBass+ and XSpace

iFi Audio has integrated two of its most recognizable analog processing features to personalize the listening experience: XBass+ and XSpace.

XBass+ is intended to restore low-frequency depth without overwhelming the rest of the presentation. It can be useful with open-back headphones, smaller portable models, or recordings that lack bass impact. Select this option for an immediate boost in bass response.

XSpace is designed to create a more speaker-like sense of openness and presence when listening through headphones. It attempts to reduce the confined feeling that can occur when sound is presented directly at each ear leading to a wider and more inviting soundstage.

Because these are analog processing circuits, they work differently from software equalization or digital spatial effects. They provide quick physical decibel adjustments without requiring an app, operating-system setting, or custom EQ profile.

These features will not be necessary or applicable with every headphone, but they give the GR 2 additional flexibility when moving between models with different tonal characteristics.

Touchscreen OLED Control

Portable DACs often rely on combinations of small buttons, flashing LEDs, or deeply nested menus. The GR 2 places all of the core settings on an intuitive touchscreen, allowing users to access playback information, filter settings, power modes, wireless options, and other controls more directly.

This dedicated interface becomes increasingly important as a product gains more features. Bluetooth codecs, digital filters, gain settings, K2/K2HD processing, analog enhancements, and battery options can become frustrating when they are represented only by colored lights or button combinations.

The full-color display helps make the GR 2’s expanded functionality easier to understand and use. Physical controls remain available on the side of the unit for essential operation, while the screen provides clearer feedback about the current configuration.

Nexis App Support and Updates

The GR 2 is compatible with the iFi Audio Nexis app on Google Play, which extends control beyond the device itself.

Advanced settings can be adjusted through the application, and updates allow iFi to provide firmware refinements and additional features after purchase. Some USB-based Nexis functions are limited to Android devices, so users should confirm platform compatibility when evaluating app-based control.

Firmware support is particularly valuable for a product with advanced Bluetooth implementation and a touchscreen interface. It gives the manufacturer an opportunity to refine operation and maintain compatibility as source devices and wireless standards continue to evolve.

Battery Life and Hybrid Power

The GR 2 contains a 4,900mAh lithium-polymer battery rated for approximately seven hours of continuous operation. Charging takes about three and a half hours with a suitable USB-C power source, cables included with purchase in several different configurations including USB C to C, USB A to C, and Lightning to C.

The more interesting feature is the new Hybrid Power mode. When external power is connected, the GR 2 prioritizes that supply. If additional power is required, it can draw support from the internal battery before returning to external power when operational demand decreases.

This allows the device to remain connected during longer desktop sessions without continually relying on or cycling the battery in the same way as a conventional portable design.

For users who divide their time between portable and desktop listening, this may be one of the GR 2’s most practical improvements.

Everyday Use and System Flexibility

The GR 2 is best understood as a portable audio hub rather than a simple headphone accessory.

Connected to a smartphone through USB-C, it can provide high-resolution wired playback and substantially more amplification than most phones. With Bluetooth, the mobile device can remain untethered while the GR 2 stays near the listener and powers the headphones.

At a desk, the device can connect to a computer through USB and operate as a DAC, headphone amplifier, or preamp. Its line outputs can feed powered speakers or another audio system.

The optical and coaxial input also makes it compatible with digital transports, televisions, CD players, and other sources that may not offer USB audio. That flexibility helps justify the GR 2’s somewhat larger size (for a portable DAC) and higher price tag compared with a basic dongle. It is designed to replace several smaller devices rather than perform only one function.

Potential Limitations

The GR 2 is portable, but it is not pocket-sized in the same way as a small dongle DAC. Users who want the lightest possible phone attachment may find it unnecessarily large.

The seven-hour battery rating may also require more frequent charging than simpler, low-powered devices. Actual runtime will vary depending on volume, headphone load, wireless use, screen activity, and selected processing modes.

The number of available features may be more than some listeners need. Someone who only uses efficient earphones with a smartphone may be better served by a smaller and less expensive DAC.

The GR 2 makes the strongest case for itself when its power, balanced connection, analog inputs and outputs, advanced Bluetooth, processing modes, and desktop flexibility will actually be used. The GR 2 is versatile and highly customizable to unique listening situations and diverse headphone requirements.

Who Is the iDSD GR 2 Best For?

The GR 2 is particularly well suited to listeners who:

• Use both portable and desktop headphone systems
• Own several headphones or in-ear monitors with different power requirements
• Need balanced and unbalanced connectivity
• Stream wirelessly but value high-quality resolution
• Need USB, optical, coaxial, and analog input options
• Want enough power for demanding headphones or in-ear monitors
• Prefer physical sound adjustments such as XBass+ and XSpace
• Want one device that can function as a DAC, headphone amp, preamp, and wireless receiver

It may be excessive for casual listening, but it offers meaningful flexibility for enthusiasts who regularly change sources, headphones, or listening environments.

Final Review

The iFi Audio iDSD GR 2 is a very comprehensive evolution of the portable Gryphon platform that provides significant upgrades and new features that deliver in every respect.

The Burr-Brown PCM1795 conversion stage, fully balanced amplifier, increased power output, aptX Lossless support, K2HD processing, touchscreen interface, and Hybrid Power system address nearly every limitation of the previous version.

More importantly, these features work together to provide an exceptional experience. The GR 2 is designed to reduce the compromise between portability and serious headphone performance. It is powerful enough for many demanding headphones, quiet and adjustable enough for sensitive earphones, flexible enough for desktop systems, and compact enough to remain fully portable.

If you have started researching better headphone sound, you have probably encountered terms such as DAC, headphone amplifier, audiophile-grade, sensitivity, and high-resolution audio. These somewhat esoteric concepts (in addition to the vocabulary) can make a simple headphone upgrade feel much more complicated than it needs to be.

Simply put, a headphone DAC can improve the way music is digitally processed and delivered to your headphones, but not every listener needs an expensive external device. Understanding what a DAC does, how it differs from an amplifier, and whether it matches your headphones can help you make a smarter purchase.

Here are five essential questions beginners should ask when choosing a headphone DAC.

1. What Does a Headphone DAC Do, and How Is It Different from a Headphone Amplifier?

DAC stands for digital-to-analog converter. Music stored on a computer, phone, streaming service, or CD begins the signal path as digital data. Headphones, however, require an analog electrical signal in order to produce sound. The DAC converts that digital information of 1’s and 0’s into an analog signal (sine wave) that can be interpreted and played through your headphones.

A headphone amplifier performs a different job that has everything to do with power and volume, often referred to as gain. After the DAC processes the digital into an analog signal, the amplifier increases the strength of the signal so it can properly drive the headphones for optimal sound performance.

Many products combine both functions into one device and are commonly described as DAC/Amps. This is why the terms are sometimes used interchangeably, even though they technically refer to two separate stages of audio playback.

A simple way to think about it is that the DAC translates the music, while the amplifier provides the power needed to reproduce it through the headphones at an appropriate volume for the specific headphone you’re using.

2. Do My Headphones Actually Need an External DAC or Amplifier?

Not every pair of headphones requires an external DAC or amplifier. Many efficient headphones and earbuds are designed to work well with phones, laptops, tablets, and portable music players. Most often, these are dynamic headphones which require very little power to reach optimal levels of performance. They can be powered with internal batteries or through usb cables.

An external DAC/Amp becomes more useful when the built-in audio output of your device is noisy, weak, distorted, or unable to reach a comfortable listening level. It may also help when using demanding audiophile electrostatic or planar-magnetic headphones which require much more power than a typical phone or computer can provide.

Before buying anything, listen for practical problems with your existing headphones. Does the volume remain too low even near the maximum setting? Does the sound become harsh or distorted when turned up to comfortable listening levels? Do you hear background hiss, buzzing, or electrical noise? These may indicate that an external DAC or amplifier could improve your system without the need for replacing or upgrading the headphones.

A DAC/Amp may also provide a worthwhile upgrade when your current device has no headphone jack or when you want a dedicated volume control and better connectivity. Typically, this is the case with specific-use cases like a destop home setup.

However, a new DAC should not be viewed as a one-size-fits all transformation of sound quality. For those who already have electrostatic or planar headphones, their performance will almost certainly benefit from a desktop DAC like the iFi Audio ZEN DAC 3 or the iFi Audio GR2 Portable DAC.

3. What Connections Should I Look For?

The correct connections depend on the devices you plan to use with the DAC.

USB is one of the most common connections for computers, smartphones, and tablets. Specifically, USB C, which can carry digital audio directly to the DAC and is often the simplest option for a desktop or portable setup. Phone users should confirm whether the DAC supports USB-C, Lightning, or the appropriate adapter for their model and brand.

Optical and coaxial digital inputs are useful for connecting televisions, CD transports, streamers, gaming systems, and other home audio components to the DAC. These connections can make a desktop DAC more versatile within a larger system.

Bluetooth is convenient for wireless listening, although performance can depend on the Bluetooth codec supported by both the source device and the DAC. Wireless playback may not always equal the quality of a direct wired connection, but it can offer a practical balance between convenience and performance. Many of the newest generation of DACs have BT 5.4 which supports hi-res playback on par or better than 24-bit CD lossless. Look for the specific specifications of the unit to determine if it meets this requirement. A minimum standard listeners should aim for is lossless (24-bit) resolution, supported by almost all streaming services.

You should also examine the headphone outputs. Common options include 3.5mm and 6.35mm (1/4” jack) single-ended connections. Some DAC/amps also provide 4.4mm or 4-pin XLR balanced outputs. Balanced outputs provide a cleaner and more balanced sound performance over their unbalanced counterparts. High-end headphones will sometimes have this option included as the standard for optimal playback.

Balanced outputs may provide more power and improved channel separation on compatible equipment, but they are not automatically better in every situation. Your headphones must have the correct balanced cable, and you should never assume that a standard single-ended cable can be connected with a simple adapter.

Choose a DAC with the connections you need now for the headphones and equipment you listen with, along with enough flexibility for potential future upgrades.

4. Is the DAC/Amp Powerful Enough for My Headphones?

Headphone power requirements are influenced by impedance and sensitivity.

Impedance is measured in Ohms and represents the electrical load presented by the headphones. Higher-impedance headphones often require more voltage, while lower-impedance models may require more current. However, impedance alone does not determine how difficult a headphone is to drive.

Sensitivity indicates how loudly the headphones will play with a given amount of power. A low-sensitivity headphone may require substantial amplification even if its impedance does not appear unusually high.

This is especially important with planar magnetic headphones, which may have relatively low impedance but still need a capable amplifier because of their lower sensitivity.

When comparing a DAC/Amp with your headphones, check the manufacturer’s recommended power requirements and review the amplifier’s output at the relevant impedance. A power rating measured at 32 Ohms does not tell you exactly how the same amplifier will perform with a 300-Ohm headphone.

More power is not always better. Extremely sensitive in-ear monitors may reveal background hiss when connected to an amplifier designed for demanding full-size headphones. A low-gain mode can be valuable for sensitive headphones, while a high-gain setting can provide additional output for harder-to-drive models.

The ideal DAC/Amp should offer enough clean power, a comfortable volume range, and low background noise with the headphones you intend to use.

5. What Improvements Should I Realistically Expect?

A good external DAC/Amp can improve clarity, channel separation, volume control, background noise, and overall composure. Bass may sound tighter with more oomph, tiny instrumental and vocal details may become easier to hear, and the soundstage may be perceived as more organized and easier to visualize.

The biggest improvement often occurs when the original device has a poor headphone output or cannot properly power the headphones. In that situation, an external DAC/Amp can make the system sound cleaner, fuller, and more dynamic. Headphones that are normally disappointing may open up to present their full capability with the additional processing and power.

However, the difference may be more subtle when replacing an already competent source. A DAC does not normally change the fundamental characteristics of a headphone, rather it amplifies the characteristics already present. Harsh high-frequency heavy (bright) headphones will not suddenly become warmer, and headphones with limited bass extension will not gain deep bass simply because they are connected to a more expensive or powerful converter.

Your music files, headphones, fit, ear pads, listening environment, and personal preferences all contribute to the final result. The DAC and amplifier are important parts of the system, but they should be chosen to support the headphones rather than compensate for a poor match.

Choosing Your First Headphone DAC

Beginners should focus on compatibility, useful connections, sufficient power, ease of use, and budgetary constraints before becoming concerned with advanced specifications.

Begin by identifying the headphones you own, the devices you use for playback, and any problems with your current setup. Then choose a DAC/Amp that provides the required inputs, the correct headphone output, enough clean power, and suitable gain settings.

A compact USB DAC may be ideal for listening from a phone or laptop. A desktop DAC/Amp may be better for demanding headphones and a permanent listening station. A portable model with the correct inputs and power settings may be perfect for someone who doesn’t have a permanent listening station.

Ultimately, the best headphone DAC is not necessarily the one with the longest feature list or the highest price. It is the one that connects easily to your equipment, properly drives your headphones, and allows you to enjoy your music without unnecessary complications. For more information about DAC/Amps, please visit our Headphone Amps & DACs Category page.