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Tech Talk: dCS

Lina DAC X combines established dCS technologies and several new innovations. Some of these stemmed from the development of Varèse, our latest flagship system. The company’s aim with Lina DAC X was to deliver all the benefits listeners have come to expect from dCS and utilise some of the advances it had made working on Varèse, which encompassed a series of research projects carried out over the past six years. This research has been carried out across mechanical design, electronics design and software engineering, all seeing radical innovation (in the dCS world at least) within the last few years.

We spoke with James Cook, dCS Product Marketing Manager, on the technologies seen in the new Lina DAC X.

Flex-Rigid PCBs

Several dCS products, including Lina DAC X, now feature flex-rigid printed circuit boards (PCBs). This development stemmed from a Varèse research project looking at electronics design.

A flex-rigid PCB is a single printed circuit board made up of multiple pieces, which are connected by continuous flexible conductors.

Utilising a flex-rigid PCB allows us to have what would otherwise be multiple PCBs (one board for signal processing, another for the digital-to-analogue converter, another for I/O and so on) unified onto a single board. This means there are no interconnects between separate PCBs.

This removes any possibility for slight differences in how interconnects are routed – a few millimetres difference in how a ribbon cable is placed can have effects on the performance, for example. Using flex-rigid PCBs allows for short signal paths for key signals (such as clock circuitry, analogue signals), helping to maintain signal integrity throughout the product – all of which helps to ensure optimal performance and sound quality during playback.

It also reduces the risk of crosstalk and helps to further improve reliability. An additional advantage is that the flex-rigid PCBs are easier to test.

Flex-rigid PCBs are challenging to manufacture – to our knowledge, we are the only audio manufacturer to utilise them in our products – but their use brings several benefits.

The Lina DAC X PCB contains over 2,000 surface mount components on a 12-layer flex-rigid PCB, which folds four ways to fit the Lina DAC X chassis.

Chassis Design

As part of the Varèse project, we investigated how we could improve our chassis design. Typically, the chassis of an audio product would be made from multiple individual panels – one for the top, one for the bottom, and one for each side – which are then secured together. Previous dCS products have used separate panels milled from billet aluminium, which are secured together with no visible fixings.

Our latest products, including Lina DAC X, feature a more ambitious, complex chassis. The main structure of the Lina DAC X chassis is constructed from just two parts: the top and sides are all milled from one single billet and the base, front and rear from a second. Reducing the number of panels means a more electrically sealed environment, as there are fewer gaps in the chassis for any unwanted interference to get into or out of.

It also allows us to incorporate other elements – such as mounting points or standoffs for PCBs – into the metalwork of the chassis. Other designs separate PCBs from the chassis with plastic or metal standoffs, which are pressed into the chassis and then secured with self-tapping screws. This can create some variance in how far the PCB is mounted from the chassis, which can have performance implications (consistency of board height compared to the ground plane – the chassis – aids performance).

The standoffs within Lina DAC X are machined from the same aluminium billet as the chassis plates (including screw threads), so there is no variance in their height and no self-tapping screws needed. This provides great consistency of the height between the PCB and chassis.

The chassis design of Lina DAC X, coupled with the use of a flex-rigid PCB, has also allowed us to isolate power supplies from other components. The top plate of the unit includes a significant aluminium channel that runs along the centre line of the product. Viewed from the front, the left-hand side of the channel houses the PCB, and the right-hand side houses the mains transformer. This separation is made possible thanks to the flex-rigid PCB keeping all of the electronics housed in one half of the chassis, leaving the other half free for the transformer.

Ring DAC

Like all dCS products, Lina DAC X utilises several technologies that are unique to dCS – some of which have been carefully honed and refined over many years. The most notable of these is the Ring DAC, a bespoke D/A converter that is found at the heart of all dCS DACs and music players. It allows the Lina DAC X to convert signals to analogue with vanishingly low levels of distortion.

This low distortion level is true at any signal level, even at low amplitudes (such as quiet musical passages or delicate reverb tails) where other DAC architectures will often lose fine detail to distortion. The Lina DAC X benefits from our advanced Mapper algorithms, which distribute digital audio samples to the Ring DAC current sources at ~6MHz, ensuring no unwanted interactions between current sources occur.

The hardware of the Ring DAC is composed of an array of 0.1% precision metal film resistors, each with an accompanying latch to activate or deactivate the current source based on the Mapper. The latches are fed a clock signal generated by ultra-high quality VCXOs (voltage controlled quartz crystal oscillators) that operate within our bespoke Phase Locked Loop circuitry – a section that other manufacturers simply use off-the-shelf chipsets for.

A number of elements inside the Lina DAC X are locked to the VCXOs – such as the switching power supply elements and the front panel display – to ensure no unwanted noise is generated inside the product. This means listeners do not need to perform tasks such as turning the display off to achieve the best sound quality.

Lina DAC X is an important product for the company, as it brings the core values and performance that dCS has to offer at a price that introduces the brand to a new generation of music lovers.

Manufacturer

Data Conversion Systems Ltd

dcsaudio.com

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dCS Lina DAC X

By dCS standards, Lina DAC X’s £13,500 price tag is quite modest compared to their offerings that cost significantly more. The Bartók with APEX is £19,000 and is a staple in my system. It delivers an exceptional high-end digital performance that extracts every bit of detail from a well-recorded piece. The Lina DAC X builds upon the basic Lina, increasing the unit’s size. The Lina is 22cm wide, while the X measures 44cm. Essentially, the standard Lina was designed for a headphone-based system. In contrast, the DAC X is probably better suited for a speaker-based system. 

The other notable differences include the large volume knob for quick volume adjustments and infrared control. The unit is crafted from solid aluminium billet and is available in an aluminium or black finish. It is reassuringly heavy, weighing 14kg. The remote is made from alloy. Aside from servicing the usual functions, it also manages the setup menu, upsampling, phase, and filters.

Driving amps

The Lina DAC X can drive a power amplifier directly, with both XLR and single-ended outputs. It has two AES/EBU inputs, which can be used as a pair to support incoming sample rates of up to 384kHz. There’s also one S/PDIF BNC coax, an S/PDIF RCA, a Toslink, a USB PCM, DSD, DSDx2 in asynchronous mode, and a USB connector which can attach to a storage unit. There is also a USB-B port for PC or Mac connectivity. 

32971_Lina DAC X (silver)

The other feature of dCS systems, which I very much value, is the ability to adjust output voltages directly from within the Mosaic app. This can range from 0.2V to 6V. I discovered that the optimal setting for the Bartók was achieved by using the highest voltage available. An external passive preamp manages the overall volume. The unit doesn’t operate wirelessly, so it must be connected via a network cable. If a wired connection is problematic, it can be resolved by using a mesh system with a wired link to a satellite mesh receiver.

Within the Mosaic

Within the well-designed Mosaic App, there are a variety of filters that apply at different sample rates. A particularly impressive feature is the ability to upsample to DSDx2. Based on my experiments with the Bartók, this is the smoothest and most airy option. The display is a departure from most dCS designs, except Varèse. The screen features four lights that you press to make a selection. In contrast, the Bartók has buttons on the side. 

dCS is excellent about its firmware updates. The Bartók now is a different beast from the original Bartók, both in terms of hardware and firmware. The APEX modification made a night-and-day difference. Meanwhile, the Mosaic updates brought new filters and functionality. This is a clear sign of a company that takes its corporate responsibilities seriously. It gives users the confidence that their investment in digital electronics is safe. Expect Lina DAC X to be the same.

Listening

I did my listening using a Lina Clock. It gave additional spatial information that I found highly worthwhile. I fed the Lina DAC X into a Townshend Allegri Reference preamplifier. Then into a pair of VAC Signature 200iq power amplifiers driving a pair of B&W 802D4s. I used a PS Audio PS10 power regenerator and Townshend Audio cabling throughout.

First listening is a trusty favourite, Bach Brandenburg No 4, conducted by Raymond Leppard with the ECO. It was initially recorded by Philips in analogue in 1974. It remains a fabulous recording and something of a classic! There is a lovely sense of an orchestra in front of me, with considerable spatial detail. Also, it gives the sense that it portrays musicians interacting and enjoying themselves in 1974. 

The colours and textures of the instruments are all beautifully portrayed. Perhaps a little short of the mighty Bartók at over £10,000 more, but utterly credible and highly communicative and enjoyable from a listener’s point of view. There is a precision to the attack of the bows on strings. Notes start and stop with an accuracy I have come to expect from dCS. 

Different textures

The different textures of the strings, harpsichord and two recorders are kept sanitarily separate. Thus, the sonic picture is a highly detailed one. 

Next up, a superb Decca recording of the Scherzo from Mahler’s 7th Symphony, with the Chicago Symphony Orchestra. Recorded in 1971 and brilliantly transcribed to digital. My first reaction to what I’m hearing is like I’m listening back “in the box” from a master tape source. 

The sound is ultra clean and detailed. There are some difficult-to-reproduce mutterings from the bass drum, which the dCS Lina DAC X does with consummate ease. The double basses are earthy and gritty, the violin section is extensive and weighty, and the neurosis of Mahler’s score translates brilliantly. The violins are a little brighter than Bartók’s version, I note in passing, but they are superbly clear. Rhythmically, the Lina is stunning with exemplary timing of the orchestra’s forces. All extraordinary from a recording that is 54 years old!

Jazz-time

Moving on to jazz, We Get Requests, Oscar Peterson and his trio, with ‘You Look Good to Me’, of course. The trio’s performance is immaculate, swift, and precise. The swing of the music is also beautifully conveyed through the Lina DAC X’s flawless timing. This makes it toe-tapping. The piano is nuanced, the percussion is tight, and the bowed bass rasps. You can feel the lower strings vibrating in a close-miked recording. Altogether this exemplifies what great audio does, making the listener believe they are right there!

Listening to Antonio Forcione’s Tears of Joy, the opening track shows how superb an acoustic guitar can sound. This happens when digital is properly implemented. The attack on the pizzicato is precise and swift. Spatially, the supporting instruments are layered holographically in space.

Incredibly lifelike

The cello’s texture is incredibly lifelike, the overall presentation is immensely dynamic, and I have rarely heard this sound better. It’s like viewing the performance through a freshly cleaned window. Nothing seems to obstruct the speakers and performers. I haven’t heard a network DAC at this price point sound as convincing as this.

‘Chitlins Con Carne’ is a track from one of Kenny Burrell’s Blue Note sessions, and was recorded in 1963. I have the original release on vinyl, and for my money, the digital version on the dCS Lina DAC X just sounds better. It’s more dynamic, more communicative, and quieter on the noise front. Without wishing to step into the digital/analogue standoff, there are recordings which, when transferred at high resolution from the master tape, have so many fewer processes going on. Therefore, it is not difficult for them to sound better, and in this case, it does. Texture, space, and attack – with the dCS, this recording is in a different league compared to the original analogue vinyl pressing, now streamed on Qobuz.

Hall of fame

So the dCS Lina DAC X rightly earns its place in the dCS Hall of Fame. It embodies the dCS house philosophy, characterised by meticulous, no-compromise engineering. Lina DAC X lacks a sonic signature in the best sense, and fits seamlessly into the illustrious line-up of Bartók, Vivaldi, and Varèse. It is attractive, very easy to operate, and is certain to become a timeless classic! 

Read more about the technology that went into making the dCS Lina DAC X here.

Technical specifications

  • Type: Digital converter with streaming and preamp functionality
  • Digital Inputs: 2 x AES/EBU Used as a Dual AES pair (1+2), supports sample rates up to 384kHz, 1 x S/PDIF BNC Coax 44.1-192kHz, 1 x S/PDIF on RCA 44.1-192kHz, 1 x Toslink 44.1-96kHz, 1 x USB Type B 44.1-384kHz PCM and DSD, DSDx2 in Asynchronous Mode
  • Network connection: 1x RJ45 (Ethernet), 2x RJ45 (Power Link connection)
  • Mass Storage: 1 x USB Type A connector (navigated using Mosaic)
  • Analogue Outputs: 1 stereo balanced pair on 2x 3-pin male XLR connectors, 1 stereo unbalanced pair on 2x RCA Phono connectors.
  • Formats supported: PCM 44.1-384kHz, up to 24-bit, DSD/64, DSD/128. Native DSD + DoP, FLAC, WAV, AIFF, MQA
  • Streaming supports the following platforms and services: UPnP, Internet Radio, Qobuz, Spotify, Deezer, Tidal, Roon Ready; QQ Music
  • Upsampling: Multi-stage DXD oversampling with switchable DSD Upsampling
  • Dinemsions (WxHxD) 44.4×12.2×35.6cm
  • Weight: 14kg
  • Price: £13,500

Manufacturer

Data Conversion Systems Ltd

dcsaudio.com

UK distributor

Absolute Sounds

www.absolutesounds.com

+44(0)208 971 3909

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New Klimax Radikal & Keel SE

9 Oct 2025, Glasgow, Scotland: Today, Linn launches two new reference-level upgrades for Sondek LP12: a new and improved power supply, Klimax Radikal, and an all-new sub-chassis, Keel SE.

These two performance-critical products raise the performance of the company’s flagship Klimax LP12 to an exhilarating new reference benchmark. Klimax Radikal and Keel SE are the fruit of Linn’s dedication to driving LP12 forward using their inimitable expertise and tireless innovation.

Klimax Radikal

Reference motor control, motor, and power supply for Sondek LP12

Klimax Radikal features hyper-accurate speed management technology, generating sustained, uniform rotation closer to 33⅓rpm than any turntable.

You’ll experience even more music from the record groove, in perfect pitch, thanks to Klimax Radikal’s digitally managed motor control, bespoke Utopik power supply, and machined-aluminium chassis with exceptional electrical and mechanical isolation.

The Utopik power supply is critical to performance, as it possesses separate, dedicated output voltage rails for each of Klimax Radikal’s two specialised tasks: controlling the motor and providing power to internally mounted Urika phono stages.
These output rails are separately self-regulating; any sudden, significant draws in power from the motor or controller don’t affect the rails supplying Urika, and vice versa.
The independence of these rails ensures consistency and quality of power supplied to both the motor and phono stage, improving the performance of each.

The Utopik power supply is mounted inside its own self-contained, machined sarcophagus, nestled behind the product’s front face.
The combination of its thick aluminium walls and the relative distance between it and the main Radikal board makes for superior electrical isolation inside the product.

Also critical to performance is Klimax Radikal’s enhanced mechanical isolation. Weighing in at nearly 14 kg, machined from three pieces of solid aluminium, and mounted on high-mass stainless-steel feet with rubber ring inserts, its beautifully machined casework is reassuringly robust in the face of external influences.

Keel SE

Flagship machined sub-chassis and armboard for Sondek LP12

Keel SE is the super evolution of Linn’s highest-performance LP12 sub-chassis.

With Keel SE, Linn’s engineers have comprehensively improved upon the original using Finite Element Analysis (FEA). Thanks to this revolutionary technology, Linn has been able to evaluate all limitations of previous sub-chassis designs and break free from them—using a combination of cutting-edge virtual prototyping and their own enhanced in-house machining capabilities.
The outcome is a new and visibly improved machined sub-chassis with superior stiffness, optimised resonant behaviour, and ideal distribution of mass.

An intricate bracing structure machined into the underside of Keel SE – designed using a mixture of manual and computer-aided optimisations – has helped Linn achieve their number one goal of increasing sub-chassis stiffness as much as possible.
This significant 300% increase versus previous designs means that any vibrations travelling through Keel SE have their frequencies forced higher, and their energy substantially lowered.

Optimised resonant behaviour allows Keel SE to better break up and dissipate problematic acoustic energy, reducing its potential impact on the delicate music signal generated by the cartridge.

Keel SE has had rigidity and mass increased precisely where it is needed versus previous designs.
Particular focus has been placed on the vital path between the mounting point for Karousel bearing and the tonearm collar. The area between these has been stiffened up greatly—and for very good reason. Even the slightest rocking movement of a sub-chassis and armboard will modify the physical relationship between the tonearm and platter, negatively affecting the stylus’ tracking in the record groove.
Making the path between bearing and arm stiffer ensures that any change in geometry is minimised, reducing tracking distortion.

By machining aluminium from calculated areas beneath the armboard, Keel SE has its centre of mass balanced more evenly on its suspension compared to other sub-chassis models.
This improves weight distribution between the springs and reduces inertia, improving the critical acoustic isolation properties of any LP12.

Pricing & Availability

Klimax Radikal and Keel SE are available to order from today.

ProductU.K. (incl. tax)U.S. (excl. tax)CA (excl. tax)DE (incl. tax)
Klimax Radikal£11,500US$16,820CA$21,620€13,680
Keel SE£4,250US$6,215CA$7,990€5,060
Klimax LP12£32,220US$45,970CA$58,891€38,333

Swiss sonic bliss: Absolute Sounds to distribute Nagra

London, England — Absolute Sounds, the UK’s leading high-end hi-fi distribution company since 1978, is pleased to announce its appointment as sole distributor of Nagra audio equipment for the UK and Ireland with immediate effect.

Nagra was formed in Switzerland in 1951 by Stefan Kudelski, a gifted young engineer who set up a workshop at his family’s home in Prilly, near Lake Geneva. From the start, his creations were groundbreaking – his first product, the reel-to-reel Nagra I, was the world’s first professional-quality portable sound recorder. It was a class apart from contemporary alternatives due to its compact size, reliability and sound quality, and a revelation for radio broadcasting, cinema and music recording. The name ‘Nagra’ is derived from a Polish verb meaning “to record” – a nod to Kudelski’s Polish roots.

Over the ensuing decades, Nagra remained firmly established as the gold standard in portable audio recorders, its continuous innovation and meticulous engineering maintaining a peerless reputation among professionals for both mobile and studio-based sound recording. Though its roots were firmly founded in the analogue age, the company straddled the advent of digital audio with ease and earned multiple Oscar and Emmy wins for its technical achievements along the way.

Classic albums, Oscar-winning movies, Cold War spies and trips to the Moon

Nagra’s portable sound recorders – notably the iconic Nagra IV-S – have been used in the recording of some of the most famous albums of all time, including The Beatles’ Let It Be, Pink Floyd’s Dark Side of the Moon, David Bowie’s Heroesand Michael Jackson’s Thriller.

In the world of cinema, numerous films that won Oscars for sound used Nagra recorders in their production, from The Exorcist to The English Patient. In fact, as Academy Award-winning sound engineer Chris Newman put it: “There was virtually no film made from 1961 until the 1990s that did not use Nagra.” The company’s distinctive devices have been a common sight in movies too, as well as being used to make them, from Help! (1965) to Gorillas in the Mist (1988) and The Informant! (2009).

Another string to Nagra’s bow over the decades has been the development of technologies and devices for high-security applications, including covert surveillance. This began in the early 1960s with the SN (Série Noire) miniature reel-to-reel tape recorders, originally developed for the CIA reportedly at the request of President John F. Kennedy. These devices were used extensively during the Cold War era, capitalising on Nagra’s ability to make small portable audio recorders of unique quality and reliability. These characteristics proved invaluable for other adventurous applications, including expeditions to the summit of Everest, the deepest depths of the ocean and even into space with NASA’s Apollo missions.

Nagra’s next mission: launching high-end hi-fi to new heights

It was not until 1997 that Nagra chose to expand its expertise into the domestic setting. The PL-P preamplifier launched at £5,700 (more than £11,000 in today’s money); it was unlike anything the high-end hi-fi establishment was producing, borrowing heavily from the technology and aesthetics of the company’s esteemed recorders – including an ingenious battery power system.

In 2012, a separate company called Audio Technology Switzerland was spun out of the Kudelski Group, which owned the Nagra brand. Operating independently but with the Kudelski family still the main shareholders, the new company looked to steer Nagra’s consumer and professional audio products to even greater heights, while the Kudelski Group focused on other products and services in different industries. To this day, Audio Technology Switzerland remains the custodian of the Nagra audio brand.

Nagra has produced a steady stream of extraordinary high-end hi-fi, encompassing valve and solid-state amps, DACs, turntables and more, whilst also maintaining its unique reputation in the world of professional sound recording. The company and its equipment continue to be inextricably linked with the Montreux Jazz Festival, a partnership that began with the first festival in 1967; other customers include the BBC, NBC, Universal, MGM, Columbia, Paramount, 20th Century Fox, Columbia Pictures and NASA. Contracts with law enforcement and government agencies are also ongoing – and top secret!

Nagra sources the finest circuit components from around the world, many custom-made to its own unique specification. Its products are designed, assembled and tested to the very highest standard at its facility in Romanel-sur-Lausanne, just a few kilometres from Prilly where Nagra was founded, with key procedures such as the winding of the company’s unique audio transformers performed entirely in house. Switzerland is synonymous with quality and precision, and Nagra’s contribution to this reputation since 1951 has been considerable – the company has always been a pioneer in design and manufacturing and among other innovations was the first Swiss firm to use CNC machining.

As Alan Sircom, Editor of Hi-Fi+ magazine, put it:

“The ‘built like a Swiss watch’ cliché is impossible to resist, although it makes me think that perhaps watchmakers should be saying ‘built like a Nagra’.”

In 2025, Nagra’s high-end audio range comprises four product lines – in ascending order, these are the Compact Line, Classic Line, HD Line and Reference Line. There are valve and solid-state circuit designs, analogue and digital source components, amplifiers of different types and sizes… just about the only thing Nagra doesn’t make is speakers! The unmistakable design language established decades ago permeates throughout – impeccably machined rotary switches, meters in circular housings, build quality bettered by none. Producing a Nagra device is as much an art as it is a science; as Nagra says, “unique craftsmanship leads to unique performance.”

The next chapter: Nagra × Absolute Sounds

Matthieu Latour, sales and marketing director at Audio Technology Switzerland, explained why he is excited to partner with Absolute Sounds to distribute Nagra’s hi-fi products in the UK and Ireland:

“Absolute Sounds is among the most prestigious high-end audio distributors in the world, with an expert team led by Ricardo Franassovici – a man whose experience and influence in the field is unrivalled. The company has long-standing relationships with some of the finest audio brands on the planet, many of which have excellent synergy with Nagra components – for example, Wilson Audio, Magico and DeVore Fidelity loudspeakers, and Transparent cables.

“Through Absolute Sounds’ unrivalled network, we can access the finest specialist retailers in the UK and Ireland to ensure Nagra customers receive the exceptional service they deserve. We look forward to writing the next chapter of the Nagra story together!”

Commenting on his company’s partnership with Nagra, Ricardo Franassovici, Absolute Sounds’ founder and managing director, said:

“As the UK’s foremost high-end audio distributor, we’re regularly approached by brands from around the world who seek our expertise. We’re fortunate to already work with many of the sector’s most revered and influential manufacturers; few others measure up to the standard required to add something unique to our portfolio.

“Nagra, however, is truly special – the original Swiss innovator in high-performance audio electronics whose products I’ve admired since my days in the rock music industry in the 1970s. I’ve waited patiently for the opportunity to work with the company and, when it came, I instantly embraced it.

“The late, great Dave Wilson, the doyen of high-end loudspeakers, once said: ‘There is no other brand of electronics that is as unique as Nagra in its history, and in the thorough professional design, concept and execution [of its products].’ The company has a wonderful brand story, and products that stand apart from others in their design and performance. Unquestionably, Nagra is among the finest high-end audio manufacturers in the world, and we are delighted to be working with the company to the benefit of discerning music lovers here in the UK.”

Visit nagraaudio.com for information about Nagra’s 2025 product range.

Celebrate 25 years of sonic excellence with the Raidho X2t Anniversary Edition

6 October 2025: To mark 25 years of uncompromising acoustic artistry, Raidho Acoustics proudly presents the 25th Anniversary Edition X2t. This exclusive celebration model is strictly limited to 100 pairs worldwide, each pair individually numbered and adorned with a commemorative anniversary badge.

A Quarter-Century of eXtreme Performance

Since its founding in 2000, Raidho Acoustics has pushed the boundaries of sound reproduction—melding cutting-edge materials, Danish craftsmanship, and relentless research into each speaker. The X series (“eXtreme performance for the price”) has embodied the Raidho spirit, culminating in the latest generation ribbon-tweeter design and Tantalum-coated Ceramix woofers.
The X2, in all its different versions, has always been one of the most popular models from Raidho, selling close to 500 pairs in total. Now, in honor of our 25th anniversary, we’ve distilled the Raidho heritage into a truly collector’s item.

What Makes the Anniversary Edition X2t Unique

  • Limited Edition Numbering

  • Only 100 pairs produced

  • Serial plate (1 of 100)

    •  

    • Enhanced Performance

    • Upgraded crossover for performance at the next level

    • Furutech High End terminals for improved signal transmission

     

    • New Exclusive Finishes

    • Walnut Burl high-gloss piano lacquer

    • Emerald Green Burl high-gloss piano lacquer

    • Midnight Blue Burl high-gloss piano lacquer

     

    • Commemorative Packaging

    • Certificate of authenticity signed by Raidho’s executive team

     

    Proven Raidho Engineering, Elevated

    Ribbon Tweeter
    Our in-house, planar-magnetic ribbon tweeter remains the centerpiece—11 µm foil, 20 mg mass, breakup beyond 82 kHz. A tweeter that has around 50 times less mass than conventional dome tweeters. In our humble opinion, one of the best tweeters ever conceived—highly resolving, yet very musical.

    Ceramix Woofers with Tantalum Coating
    Dual 5.25″ drivers utilize a sandwich construction that has an aluminum base with ceramic and Tantalum coatings to push breakup modes out to 15 kHz. Exceptional stiffness without added mass results in a pure midrange, expansive bass, and overwhelming scale. Finally, a woofer that can keep up with the exceptional tweeter.

    2.5-Way Topology & Bass Reflex
    Dual woofers for extended low end; mid/bass and ribbon for seamless integration. Proprietary internal vented port hides elegantly in the rear baffle, allowing bass tuning in steps to fit the room.

    Precision Crossover & Cabling
    Point-to-point, hand-wired crossover using Mundorf audiophile-grade components. Internal cabling (including the crossover) uses Nordost Norse cables for a pure signal path.

    Availability & Pricing

    The X2t 25th Anniversary Edition is available from September 2025 through authorized Raidho dealers.

    • MSRP: EUR 21,000 per pair (Walnut)
      EUR 23,000 (Emerald Green & Midnight Blue) (EU pricing)

    • Limited to 100 pairs worldwide, each uniquely numbered.

    Tech Talk: Gold Note

    You might reasonably ask how Gold Note, a company still best known for its turntables, turned its hand to the HP-10 and the technical wizardry it contains. Dig a little deeper into how the HP-10 works, and this makes a little more sense, although, if anything, it makes the HP-10 even cleverer than you might at first assume. It began as an after-hours development project of senior engineer Giovanni Rialti. As the project progressed, additional resources were brought in to evaluate and incrementally improve the audio performance, including our CEO, Maurizio Aterini, who spent hundreds of hours conducting listening tests. 

    The amplification section is derived from a study on high-end power amplification that the company has been undertaking as part of its wider product development in the field of high-end amplifiers. The HP-10 is a fully dual-mono design that makes use of components derived from that research, including single-sealed relays of both traditional and reed types. Gain transistors have been selected to minimise NFB values. The bias is controlled by quad-tracking circuitry. 

    Quad-tracking

    A key element of the brief was to be able to drive any headphone on the market except electrostatics (and don’t worry, Gold Note has plans in that direction too). While some of the gain settings feel like overkill in the context of the Focals the company uses for testing, the idea is that the Gold Note has the reserves available to handle even the stiffest of planar magnetic designs on the market. The chances are that most owners will never use the gain boost, but a subset of users will be extremely grateful that it is there. 

    Gold Note’s best practices also influence some aspects of the design in other areas. This includes the variable damping factor technology that the company has been developing for over 10 years. The feature evolved from the desire to offer possibilities to customise the listening experience (that have also resulted in the development of standalone valve buffer units). It then evolved to embody the Gold Note philosophy: to provide a flexible and high-performance audio reproduction tool. The ability to adjust the damping factor helps broaden the number of devices that the amp will pair with, and the principle is the same for headphones. 

    Beyond casual glances

    Something else that can be missed if you casually glance at the HP-10 is that all of the extensive selection of adjustments are incremented in the analogue domain. The menu-driven interface at the front is the only part of the process that is digital. Even in the case of the HP-10 Deluxe, with its onboard decoding, the digital-to-analogue conversion takes place beforehand, and adjustments are made to the signal from there. There are no DSPs or ADCs – it’s all good, discrete components and precise engineering. The signal audio is entirely analogue, and all the adjustments are implemented in the analogue domain. This is how the standard HP-10 can still implement the functionality that it does with only analogue connections on the back.  

    Some of these adjustments genuinely warrant the term unique. Gold Note’s crossfeed implementation differs from many rivals, which tend to offer a varying degree of information from the full bandwidth being fed from one channel into another. Instead, it focuses on allowing one or more parts of the frequency to be fed into the other channel rather than increasing the amount of information being sent across. This also applies to the Harman Curve adjustment, which is broken down into different parts of the frequency response that can be summed together to give the whole curve. This is topped off with the ‘Superflat’ function designed to linearise the high-frequency response.

    No ‘one size fits all’

    Gold Note’s position on the ‘correct’ settings for the plethora of adjustable options on the HP-10 is refreshingly candid. Tommaso Dolfi, Gold Note’s Marketing Manager, notes; 

    “We believe that there’s no ‘one size fits all’ solution when it comes to audio. Some audiophiles love to see a 3D soundstage in front of their eyes, others crave the feeling of being surrounded by the music or enjoy the classic headphone experience. The goal of what we do as a manufacturer is to create components that bring audiophiles a little closer to the moment when music becomes magic. Spatial Audio, EQs, and Room Correction can all prove to be valid technologies when they enable audiophiles to approach their ideal experience. Part of the beauty of what we do is knowing that there are countless ways to achieve there desired result, and that each technology will satisfy a specific group of audiophiles, but not all of them. So we embrace advancements in these fields as long as they don’t turn into marketing or gimmicky tricks.” 

    Modular

    The design of the HP-10 is also entirely modular. This allows for upgrades to be purchased by replacing or adding boards. While there are no updates planned at the moment (hardly a terrible state of affairs given the extensive functionality already present), an essential aspect is the future-proofing of the product, which helps to keep it relevant for as long as possible. The presence of the external PSU also gives the HP-10 more potential for upgrades, allowing the operation to be switched from a switching PSU to a linear one that incorporates components too large to fit in the HP-10 chassis.

    The clever part is that once you have applied the settings that work for you, the HP-10 allows you to focus more effectively on the material. It can be very easy to build devices as comprehensive as the HP-10 and have them become something of an ‘effects box,’ where you hear the differences they make to the signal. Gold Note has ensured that the HP-10’s functionality is a means to a brilliant end rather than a distraction. Combined with the vast potential gain, you have an enormously flexible headphone amp. 

    Manufacturer

    Gold Note

    www.goldnote.it

    Read the HP-10 Review here

    Read more hi-fi+ Gold Note reviews here

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    Gold Note HP-10 Deluxe

    Companies that make complete systems from source to speaker are always a rarer thing than those that specialise in a smaller collection of components. Even amongst this smaller group of companies, Gold Note is more unusual still. Not only will the company build you a system that goes from the tip of the stylus on a turntable to the cone of a speaker driver, but they can also do the same with digital. Although electronics is only one of the areas that Gold Note focuses on, they produce some extremely sophisticated devices. The Gold Note HP-10 Deluxe headphone amplifier is a prime example.

    Taken at face value, the Gold Note HP-10 Deluxe is a relatively conventional headphone amplifier. At the back, you will find inputs to receive an audio signal, and at the front, a selection of headphone connections – 3.5mm and 6.35mm single-ended, and 4.4mm and four-pin XLR balanced – to utilise them. What goes on between those two points is more notable, though, and marks the HP-10 as an uncommonly flexible bit of kit. For starters, there are three different versions: a ‘classic’ version featuring exclusively analogue inputs (HP-10), a version that adds Bluetooth (HP-10 BT), and the version here, which adds a USB audio input (HP-10 Deluxe). 

    Not simple

    Even the ‘simple’ Gold Note HP-10 Deluxe isn’t anything of the sort. At the front of the unit is a touchscreen display, which might seem overkill for a device with a single function, but is somewhat necessary when you start to realise how many different parameters you can adjust. Some of these are pretty predictable; you can choose the input on the rear panel and output on the front and adjust the balance to handle any irregularities in your hearing.

    From here, though, things become rather more sophisticated. There are mono options; you can choose to listen to the sum of the channels (L+R), or just one of the channels (L or R) and reverse the stereo channels should you need to. There is then a complete suite of functions that Gold Note refers to as Studio. This provides four different crossfeed settings (a feature I consider highly beneficial for headphone listening), ranging from none to effectively dual mono. There are also adjustment options around the Harman curve of headphone equalisation, along with a damping factor and a ‘Superflat’ setting that linearises the response of the headphones. For good measure, you can then assemble different profiles, either for various pairs of headphones, other user preferences or even for different styles of music. Even the standard HP-10 is a highly sophisticated thing. 

    Standard inputs and outputs

    As standard, the Gold Note HP-10 Deluxe features RCA and XLR inputs, along with a matching set of outputs. These can run as a bypass if the source outputs are required by more than one device. The HP-10 BT adds an ESS Sabre DAC to handle a suite of Bluetooth, including Apt-X. The HP-10 Deluxe retains Bluetooth connectivity and adds a USB input via a USB-C connector, which is dealt with by an AKM4493 DAC chip. This enables the HP-10 to handle PCM up to 768kHz and DSD 512, which means it can also be used as a single-input DAC if needed. 

    This extensive feature set is packed into a half-width chassis used by several devices in the Gold Note range. I will happily admit that with some members of the range, I’m not sure the aesthetic is compelling, but here I think it’s effective. There is a combination of compactness and businesslike qualities in the HP-10 that’s hard not to admire. The casework is finished to a very high standard, and you also get a remote control. The remote can be used to fully control the unit, including the Studio menu with all its features, which means that the level can be adjusted without constant trips to the unit itself. 

    Power up!

    One last feature of the Gold Note HP-10 Deluxe wasn’t supplied for testing, but is still potentially interesting. As standard, the Gold Note receives power via an IEC socket on the rear panel. Still, an upgrade is available in the form of the PSU-10 EVO power supply, which offers four transformers, three of which are entirely dedicated to the power supply and 1 to the inductive filter. At an extra £1,200, it’s a significant additional cost, but it provides further scope for upgrade. 

    There is a degree of trepidation in delving into the sonic section of this review, as the actual sonic properties of the HP-10 are enormously variable, thanks to the sheer number of adjustable increments. The review sample arrived with a selection of gain and Harman EQ adjustments that had been working for someone. Still, it resulted in the resident pair of Focal Clear MGs sounding overblown and lacking in the refinement and subtlety that I know they are capable of. 

    All off

    Switching everything ‘off’ and working from there allowed me to apply ‘Crossfeed 2’ and activate the ‘Damping’ setting, while leaving everything else unchanged. The Focal is not a tricky headphone to drive, and even without the gain boost, I never exceeded 45 on the 99-step volume control. The suggestion is that, with the gain boost still in reserve, the HP-10 should be able to drive most headphones to the point of detonation. 

    Initially, using the USB-C input, there is a great deal to like about how the Gold Note approaches making music. The most immediately arresting aspect of what it does is the sheer amount of detail it effortlessly extracts from material. Paul’s Boutique by the Beastie Boys [Capitol] shows this off to exceptional effect. This album is a layering of samples, intertwined to astonishing impact with the trio’s high-speed lyrics spread across them. The Gold Note never loses the relationship between vocals and samples, but it’s easier to understand the interplay and just how much is going on. 

    Conventionally ‘hi-fi’

    Play something more conventionally hi-fi like Agnes Obel’s Philharmonics [PIAS], and the Gold Note HP-10 Deluxe demonstrates excellent tonal realism coupled with enough dynamics to ensure that a real sense of the constrained force in her piano is conveyed in the recording. This is aided by excellent bass extension. The Focal is not and never will be a truly seismic headphone (for me, the trade-off is the truly magnificent dynamic speed they possess), but the Gold Note does a better job than most headphone amps of coaxing a little more low end from them. Using the ‘Damping’ function helps to keep everything sounding fast and tight, and from the moment I turned it on, I had no desire to turn it off again. 

    The crossfeed function also works exceptionally. Some years ago, I sat through a 90-minute presentation from a company that had introduced a product of theirs and left none the wiser about what they were aiming for. Spending five minutes with the HP-10 yields a more eloquent explanation than the presentation ever could. Listening to Mazzy Star’s So Tonight That I Might See [Capitol] ensures that when Hope Sandoval begins her stunning vocal turn in Into Dust, she’s in front of you and not simply singing into each ear. For me, it aids the suspension of disbelief in a way that almost no other single function can. 

    Decent decoding

    Although the internal DAC is good, it is only fair to point out that, if you already have decent decoding capabilities at hand, the standard HP-10 might be a better choice. The resident Chord Electronics Hugo Mscaler and TT2, connected via XLR, were able to expand the soundstage further and enhance the already excellent tonality beyond what the digital stage of the HP-10 could achieve. This is hardly momentous news- after all a dedicated £7,500 digital front end should exhibit benefits over one built into a £2,300 headphone amp- but what is interesting is the headphone section of the Gold Note is still better than the TT2 used as a headphone amp when the Focal is switched over to its 6.35mm connection (as the Chord does not have a four pin XLR out). The actual headphone amp of the Gold Note HP-10 Deluxe is quite special.

    What seals the deal here, though is knowing that if my – possibly slightly puritanical – take on turning on all the bells and whistles doesn’t work for you, they are all there waiting to be played with, and it is highly likely that some combination will deliver the sound that you desire, making this very close to a one size fits all recommendation. Gold Note might spread its resources over many categories, but it still knows how to deliver a winner. 

    Technical specifications

    • Headphone Amplifier: Class-A Dual/Mono
    • Analogue Inputs: 1x unbalanced RCA (5 Vrms max), 1x balanced XLR (8 Vrms max)
    • Digital Inputs: 1x USB-C up to DSD512 and PCM 768kHz (HP-10 DELUXE),1 x Bluetooth 5.1 HD aptX (HP-10 DELUXE, HP-10 BT) 
    • Headphone Outputs: 3.5mm jack (unbalanced), 6.3mm jack (unbalanced), 4.4mm jack (balanced), 4-pin XLR (balanced)
    • Line Outputs: 1x unbalanced RCA, 1x balanced XLR
    • Headphone Power Output: 10W Max
    • Frequency Response: 20Hz-20kHz ± 0.3dB
    • THD (Total Harmonic Distortion)+N: <0.015% @ 1kHz
    • SNR (Signal to Noise Ratio): 110dB
    • D/A Converter: AKM AK4493 (HP-10 DELUXE) or Sabre ES9023 (HP-10 BT)  
    • Bluetooth: 5.1 HD aptX (HP-10 DELUXE, HP-10 BT)
    • Crossfeed: Adjustable (full spectrum or lows/mids / highs)
    • Analogue EQ: Adjustable Harman Curve, Superflat
    • Damping Factor: Adjustable (High/Low)
    • Phase: Adjustable (0/180)
    • Dimensions: 200mm W | 80mm H | 260mm D
    • Weight: 3.5kg
    • Price:  £1,800, €1,890, $2,199 

    Manufacturer

    Gold Note

    www.goldnote.it

    UK distributor

    Airt Audio

    www.airtaudio.co.uk

    +44 (0)754 879 6832

    More from Gold Note

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    Tech Talk: Wattson Audio

    Wattson Audio might be a relatively new name to many audiophiles, but the brand comes with a compelling backstory. The Swiss-based company has been associated with CH Precision and its team for over 20 years in a purely consultancy capacity, and there have been long-standing collaborative projects between the two.

    Wattson Audio was a child of the COVID-19 pandemic and has recently become a wholly owned subsidiary of CH Precision, bringing the two teams together. Wattson Audio is more than just a subsidiary or diffusion brand, though. We spoke to Alexandre Lavanchy, Technical Director of Wattson Audio, about the brand, its innovations and how it differs from CH Precision. 

    1. Describe the Wattson ethos from an electronic and audio perspective

    Wattson Audio’s philosophy is based on several pillars. From an electronic standpoint, we want to transpose the technologies and concepts of very high-end products to create devices that are more accessible, both financially and in terms of ease of use. Behind this aspect lies a great deal of work on the electronic circuits to select, rationalise and ultimately arrive at designs that contain the essentials to achieve the performance we are aiming for.

    When it comes to listening results and audio criteria, our primary goal is natural and neutral sound reproduction. We’re not Swiss for nothing 😉 We draw on all our experience to ensure that the digital components of the streamers and the digital-to-analogue conversion circuits deliver sound that is free of the harshness or coldness sometimes associated with digital audio, while maintaining precision, speed and dynamics. We target an analogue feel, which carries emotion so that technology as such should not be dominant in the ears of the user.

    We aim to create devices that perform a limited number of functions, but with minimal compromise, achieving a very high level of quality. User-friendliness, ease of use, and seamless integration into a contemporary living space, with both aesthetic appeal and discretion, are also very important aspects of our product philosophy.

    2. What is the CH Precision connection, both before and after the more formal collaboration?

    I was Florian’s first employee when he started an engineering consultancy and OEM company back in 2004. Florian decided to launch CH-Precision in 2009, and I took over the consultancy business which has later been renamed ‘EngineeRed’. We remained quite close, both geographically, as the two companies were only a few kilometers apart, and personally. We always kept in touch, discussing business management issues, technical topics, audio and personal matters. There have been some technical collaborations between the two companies, and EngineeRed provided the hardware module for CH-Precision network streaming interface. The mutual teams of the two companies have been in regular contact over the years.

    The first Wattson Audio products were developed by EngineeRed, and the brand was launched at the start of the COVID-19 pandemic. The following years were tumultuous and economically difficult, and a decision was made to shut down the consulting company in order to focus energy on the new brand, which was proving very promising. The acquisition by CH Precision, given the historical relationship, was quite logical and, above all, very consistent. We have thus brought the two friendly teams together under one roof.

    I feel that things have fallen into place as they always should have. We are now one team, with various departments, two brands, and an excellent working atmosphere and spirit of collaboration.

    3. What is your most significant technology in Wattson products, and why?

    It all started with the network audio streaming interface. It is a proprietary solution that is quite unique on the market and required many years of development. It was quite an ambitious project given the size of our company. Over the years, it has been very well received by the brands that use this solution, as well as by the DIY community, with whom we have had many exchanges over the years. This technical solution set us apart from other brands, and we decided that it would be the cornerstone of our first product.

    We have developed devices for a large number of brands, thereby acquiring knowledge in other technical fields, including analogue technology. While the streaming interface was the first building block, other blocks are being added to ultimately create a coherent product range. The amplifier we recently brought to market is proof of this.

    4. How important is LEEDH? Some think it’s ‘just’ a digital volume control

    LEEDH is indeed a digital volume attenuator, but a clever one. The way in which the numerical calculation is performed differs from conventional methods. The calculation error due to truncation inherent in the division of arbitrary numbers is reduced by this method.

    5. What is the difference between Madison and Madison LE

    The LE is a reworked and improved version of the standard Madison Streamer. The concept is the same, but the electronic circuits have been fine tuned and enhanced in many aspects. The measurements show a clear improvement in performances, and listening experience is significantly better. 

    From now on, we are discontinuing this distinctive designation. All Madison Streamers now contain the improved circuits, and the original circuit board is no longer being produced. The light grey or dark grey finishes are now only an aesthetic option.

    6. Are there plans for a Wattson preamp, integrated amp, or even phono stage?

    To tell the truth, there is no shortage of plans, and the road map is quite full. In terms of engineering, there is a lot of work to be done in the coming years. For each project, we like to approach the design process differently, trying to think outside the box and find a unique approach at Wattson Audio. It’s very stimulating, but it takes a lot of time. We will therefore move forward with the road map as efficiently as possible, with the priority being to bring technically mature products to market, devices that will perform well for many years to come.

    We will likely unveil some new products at the Vienna trade show next year.

    7. You exist at the cutting edge of streaming. Are there plans for greater DSP development, maybe room correction?

    Acoustic correction through digital processing is a process that interests us and is particularly in line with Wattson Audio’s philosophy of integration into a normal, comfortable living room environment. It is therefore a topic of discussion within our company, but to be honest, this project has not yet got off the ground.

    8. In a hierarchy of importance, where do the chipset, the implementation, and the firmware figure?

    Of course, everything matters. But when it comes to the hardware and architecture of a streamer/DAC, I would say that the chipset is the least important factor. We see products promoting this or that DAC chip with exceptional performance, when in fact the implementation is not up to par. At Wattson Audio, we prefer to use key components that we know well, which perform the function we need without any mystery, in order to maintain complete control over signal processing. 

    On another note, the choice of processor will only have a very limited impact as long as it is powerful enough to perform the software tasks required of it. However, it is the firmware that will be important here, as it will determine the integrity of the audio data and the quality of the user experience.

    9. Is streamer design art, science, mathematics, or electronics?

    At the risk of shattering the poetic dream, the development of a streaming device essentially consists of applying electronic theory, which stems from science. Mathematics is a necessary tool for the design of electronic circuits and is present at the software level for audio data processing.

    I like to believe that a form of art still exists, however, in the form of eccentricity brought about by the engineer who designs the electronics, in the form of sometimes irrational perfectionism, or simply in this infinite quest of a lifetime devoted to this vocation. In the end, the pragmatic and technical approach prevails.

    10. How important is your clean slate approach to audio?

    I’m not sure I can answer this question correctly, but I’ll do my best. We are exceptionally fortunate that the company’s strategy focuses primarily on the quality of work and product excellence rather than purely financial profits. This is the fundamental condition that allows us to carry out projects without rushing headlong into them. The basic philosophy is that there is no point in starting a project if we are not convinced that we are going to bring something new to the table. We must give ourselves the means and reconsider the fundamentals in order to achieve products that excel in their field. On the other hand, the team is made up entirely of highly experienced people, and there is strong collaboration between all departments. These interdisciplinary exchanges allow us to bring in fresh, cross-functional ideas or to see things from an unusual angle. 

    Editor’s note: It’s exciting to see new companies join the audio world, but it’s even better when they join with products that genuinely add useful content that provide a unique range of products for music lovers. It gets even better when that company has the techical smarts to back up its claims. That’s what’s happened here.

    Wattson Audio may be a new name on the scene, but it has all of those boxes ticked… and it comes backed by one of the darlings of modern European high-end audio; CH Precision. 

    This CH Precision link could so easily have been a double-edged sword, with the company becoming little more than a diffusion brand for the parent. But that wasn’t in the cards for Wattson Audio; the company has its own identity and sound, even if that sound is ‘CH-adjacent’. 

    We think companies like Wattson Audio represent one of the many futures of good audio. They might not be mainstream ‘me-too’ products, but they are all the better for that! 

    Manufacturer

    Wattson Audio SA

    www.wattson.audio

    +(41) 21 558 70 40

    Read the Madison LE Review here

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    Wattson Audio Madison LE

    If you only buy audio equipment by the metre or the kilogramme, keep looking. If you are into bling, a Christmas tree front panel, and attention-grabbing displays, you’ve come to the wrong place. No, this one’s for those who want a remarkably high-performance, ‘just the facts’ headphone amp, DAC and streamer. It’s for those who don’t want a price tag that mistakes ‘streamer’ for ‘private jet’—the people who buy a product for its performance, not its label. If you are that kind of person, the Wattson Audio Madison LE speaks your language. 

    Given the audio world is awash with Special and Custom Editions that are little more than a new colour scheme, you might be forgiven for thinking the ‘LE’ suffix means ‘Limited Edition’. However, this ‘Lounge Edition’ sports some fundamental changes to the power supply architecture over the regular version. Both run concurrently in the catalogue. Like its brother, the Madison LE uses a separate power supply.

    Small, but packed

    The main Wattson Audio Madison LE chassis is small, but packed. It’s the size and weight of a hardback novel (more Pride and Prejudice-sized than a War and Peace-like tome). Unlike most rectangular audio boxes, the volume control side is tapered. It’s a Wattson Audio thing. The regular Madison, the power amplifier in the same line, and the two small Emerson converters in the range have the same taper. ‘Small’ does not mean ‘cheaply made’, however. The extruded aluminium case is solidly finished in a grey ceramic finish, not unlike a powder coat. That sits outside the more conventional black or silver, squared-off, audio-electronic aesthetic. But that isn’t necessarily a bad thing; in a world of ‘me-too’ boxes, the Madison LE stands small… and proudly so!

    The Wattson Madison LE streamer-DAC features three inputs: 100Mb/s Ethernet, S/PDIF via RCA, and TosLink. There’s no USB, no I2S, no AES3 and no external clock sync. There are no analogue inputs or a remote either. But there is a volume control, and a single-ended 1/4” headphone socket at the front and a pair of RCA and XLR sockets at the back for connecting to an amp. 

    Features?

    This isn’t perhaps the most comprehensive set of features and functions around, and there are streamers, DACs, and personal audio products that have more extensive feature sets. However, in a very real way, paring back to the basics invites a question: Do you really need more? 

    Yes, if you are using the Madison LE as a digital hub or a preamplifier, it will fall short. If you demand balanced headphone listening or require access to a range of filter options, the Madison isn’t the right product. But there’s nothing wrong with being a niche product if you do that niche very well.

    Wattson Madison LE Rear 3_4-Edit

     

    Part of the reason it does things very well is its use of a LEEDH volume system. It’s a genuinely lossless digital volume control that makes a lot of sense when used with the matching Madison power amplifier to create a bare-bones system. In a more conventional DAC setting, you can turn off the volume control.

    Appiness

    The Wattson Music app is the best driver for the Madison LE. Unlike its CH Precision stablemate, this is designed for iOS (there is an alternate app for Android users). The app is as stripped down as the Madison LE it controls, but it does allow the streamer to connect with the usual streaming services: Tidal (and Tidal Connect) and Qobuz (and Qobuz Connect). It also grants access to Apple AirPlay and Audirvãna, as well as a UPnP and DLNA streaming setup. The Wattson Music app is more of a facilitator than the place where your music lives. However, it does allow you to run some basic housekeeping on the Madison LE. These include volume adjustment and source switching, adjusting the display brightness, and even basic speaker placement correction. 

    The machine is also Roon Ready, making it an excellent use case for the Madison LE; it’s the perfect partner for a Roon Nucleus or similar. That’s the joy of a basic app. You don’t feel confused about whether to use the music-replay app’s functionality. This is because that functionality isn’t provided with the Wattson Music app. All it does is set up the system to play music well and then get out of the way with the least fuss possible, kind of like the Wattson Audio Madison LE. 

    Lively

    There’s one other thing the Wattson Audio Madison LE does very well. It sounds excellent! That’s perhaps not quite as much of a niche in audio (hopefully). Still, the lively, exciting and detailed sound is very much at odds with the flat and slightly dull sound often attributed to streaming-ready devices. And, ‘lively’ isn’t code for ‘it can peel paint at 30 paces’, it’s just one of those products with oodles of built-in joie de vivre. 

    OK, so if you decide to have a weekend of going through everything in Leonard Cohen’s catalogue, the Madison LE isn’t so exuberant that you will run out of the room smiling. It’s not some rose-tinted optimist. But the Madison LE is like the difference between listening to a Richmond Fontaine album and seeing the band live. The doubt is still there, but there’s more of a positive outlook at the end. I wouldn’t go so far as to say the Madison LE is ‘life-affirming’, but its energy is infectious.

    A niche product would focus on the excitement aspect and nothing else. The Wattson Audio Madison LE has got some depth to it, too. Tonally speaking, although we shouldn’t equate physical size to bass depth, the bass notes coming out of the speakers when the Madison LE was in the chain were impressive. It doesn’t overstate bass; it just isn’t shy of the bottom end. Yes, of course, this comes over well with electronica, but it’s also there in real instruments. For instance, Grant Green’s guitar licks take on a more substantial tone. This is the kind of streamer that makes you take someone like Grant Green seriously.

    Overlooked

    The jazzers of the age were all over Wes Montgomery like a nasty rash. Because Grant Green played in a more funky, less traditional style, he was largely overlooked by the 1960s jazz community. The Madison LE shows those blinding licks (rediscovered in the acid jazz era of the 1990s) are built upon solid technique. It is one of the few that could hope to replicate. The Madison LE brings out your inner musicologist, but not in the sad-faced analytical manner.

    The more you play through this pocket rocket, the more you come to like and respect what it does. It doesn’t try to be something it’s not or bite off more than it can chew. It’s clean and detailed, with a close-knit but open-sounding soundstage, and a fundamentally neutral tone. 

    Which brings us to the CH Precision connection. Yes, it shares many of those attributes in common with CH Precision digital products, but this isn’t a CH product. It uses a Sharc DSP and twin-DAC layout with a WM8742 chipset. It chose that due to the spline-filtering algorithm, which uses a short-tail filter (which is why it sounds so fast and exciting). All of which makes it very CH-adjacent. There is a commonality of sound as a result. But it’s best to think of this as a Wattson product, not CH-Precision Lite.

    No USB

    There are downsides. The lack of USB input is the most obvious. This is no longer a deal-breaker, but the absence of any USB audio or bulk storage options might deter some. Also, given the CH Precision connection and that company’s love of power supplies, I’d like to see something a lot more ‘stonky’ powering the Madison LE. But that’s it!

    The little Wattson Audio Madison LE impressed me, and it will likely impress you as well. It isn’t flashy, it isn’t infinitely configurable. It has just got it where it counts, right in the sound quality. If you want to enjoy what streaming has to offer truly, this is one of the best entry points. 

     

    Technical specifications

    • Type: Two-channel D/A processor, streamer, and headphone amplifier. 
    • Digital inputs: one electrical (S/PDIF on RCA), one optical (TosLink), and one Ethernet.
    • Analogue outputs: stereo pair balanced (XLR), stereo pair single-ended (RCA); single-ended headphone (¼” stereo). 
    • THD: 0.001%
    • S/N ratio: >120dB (A-weighted)
    • Headphone amplifier maximum output power: 150mW into 32 ohms, 50mW into 150 ohms, 10mW into 600 ohms
    • Supported formats: PCM to 384kHz, DSD to 256×. 
    • Control protocols: UPnP/DLNA, AirPlay, Tidal Connect, Roon Ready, Audirvãna 
    • Control app: Wattson Music for iOS. Wattson Remote for Android
    • Dimensions (WxDxH): 17.4 x 18.5 × 5.2cm
    • Weight: 1.08kg
    • Price: £4,995, €4,995, $4,995

    Manufacturer

    Wattson Audio SA

    www.wattson.audio

    +(41) 21 558 70 40

    More about Wattson Audio

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    Moon ‘Compass’ 371: First Look

    Moon by Simaudio’s recent success with its six-strong ‘North’ Collection demonstrates the Canadian brand’s strong position in the high-end market. But, when it comes to Moon’s more affordable 300 series, the line could do with a bit of a refresh. ‘Compass’ will gradually replace the existing 300 line, and, as the name suggests, it points… North. The 371 Network Player/Amplifier/streamer/phono stage/vibrating bread maker* is the first in this new line, and Moon decided to hit the ground running!

    A select group of U.S., Canadian, U.K., and European journalists was invited to Moon’s factory, located just outside Montreal. This was intended to provide hands-on experience with the introduction to the new product, offer more background information on the Compass project, and provide an opportunity to visit the company’s impressive factory. That last will be the subject of one of our upcoming ‘Meet Your Maker’ features, but suffice it to say that – except for anodising or hand-rearing capacitors in a nearby farm – the company designs, builds, tests, and assembles everything on site. That’s impressive enough in its own right.

    More than Ace

    I’ll be honest. I expected a new ‘Ace’. Moon’s Network Player/Amplifier system was launched eight years ago and proved to be one of the stalwarts of modern audio system building. And, at a surface level, the 371 could be mistaken for ‘Ace II’. After all, it has a built-in MM/MC phono stage, a useful streaming DAC function, and shares the Ace’s ‘just add speakers’ ease of installation and use. However, if we were being picky about the original Ace, it wasn’t a powerhouse; while it was—and, for those who have one, remains—an excellent introduction to 21st-century audio, it could get a little rough around the edges when pushed.

    The 371 is a distinctly different proposition, drawing on the technology from the North Collection, particularly the 641 integrated amplifier and 681 network player/DAC. Like the 641, the 371’s core design emphasises the importance of placing the gain adjustment precisely in the right place in the circuit. It doesn’t feature the BRM-1 remote control of the North Collection as standard, but the 371 is fully compatible with that clever control, and it will be independently available as an upgrade.

    Many boxes in one

     Journalists have a habit of reducing complex technology to an oversimplified ‘elevator pitch’. Years of painstaking R&D are condensed into a sentence or two. And at first glance, the need to slam everything together into the shortest possible space is irresistible. So, think of the Moon 371 as the company’s 390 preamp (with elements of the 891 network player/DAC and something between the 110LP and 310LP phono stage) with a 330A power amplifier, all designed to work in a single box. As with any oversimplification, there’s a lot wrong with this pithy description. For example, the phono stage features a simple MM or MC setting, lacking the loading adjustments of standalone models; however, it incorporates many of the high-performance circuit design elements found in these models.

    Much of the sonic performance, too. We were given an extensive listening session, both ‘directed’ and using our own tracks from Qobuz. The system in Moon’s larger listening room comprised 371 (naturally), streaming using Moon’s own MiND 2 app running a NAS drive on the server and Qobuz Connect. The turntable was a Technics SL-1200G with an undisclosed (in all honesty, my handwriting went a little ‘doctor’ at that point) cartridge and the loudspeakers were Dynaudio Contour Legacy floorstanders, with Cardas Clear cable.

    The 371 had more than enough drive to power those Dynaudios in a fairly large, sonically quite dead room. The easy-sounding character of the loudspeakers was never challenged, even when pushed musically and at volume. That’s the sure sign of a good and powerful amplifier. Meanwhile, the streaming and vinyl performances were both first-rate. The phono section had remarkably quiet backgrounds, while the streamer and phono stages were both musically adept, similar in tonality and staging properties. The streamer was also quick to react to commands, even when the app was getting a lot of random button-mashing from a room full of journalists.

    The first reaction to this was that I was very wrong about this being the Ace II. It sets a new high standard in performance, and as an integrated amplifier, it sounds more like separates than you might ever expect. It’s detailed, musical, gives out a fine soundstage and – given the deceptive amount of motive force needed to raise those Dynaudios to play loud in a very controlled room – has the potential to be extremely powerful. We look forward to seeing the product in for test soon.

    *Vibrating bread-making option subject to non-availability. 

    From the Moon by Simaudio press releases:

    Montreal, September 30, 2025 – Simaudio today launches the MOON 371, an innovative network player/amplifier delivering exceptional performance, versatility, and elegance. This new model seamlessly combines the capabilities of a premium amplifier, preamplifier, DAC, network player, and phono stage into a single, beautifully crafted enclosure. The MOON 371 is the entry point to MOON’s Compass Collection, setting a fresh benchmark for modern audio systems.

    Refined connectivity. Equipped with MOON’s MiND 2 streaming platform, the MOON 371 offers effortless access to leading streaming services such as Tidal, Qobuz, Deezer, and Spotify. It is fully compatible with Apple AirPlay, is Roon Ready, and supports Qobuz Connect, Spotify Connect and Tidal Connect for seamless operation. An additional connectivity option is provided by Bluetooth.

    Uncompromising vinyl playback. The MOON 371, equipped with an advanced built-in phono stage for both MM and MC cartridges, delivers precise analog reproduction. Drawing on the legacy of MOON’s award-winning phono stages, like the 810LP, it preserves the integrity and detail of every recording with impeccable accuracy.

    Industry-leading technology. Drawn from MOON’s flagship North Collection, the proprietary MHP (MOON Hybrid Power supply) and MDCA (MOON Distortion Cancelling Amplifier) ensure superior performance. The MHP supply provides ultra-stable power to the circuitry, while the MDCA virtually eliminates distortion and improves linearity, delivering exceptionally clean, dynamic, and accurate sound reproduction.

    Beautifully easy to use. A striking 17cm colour screen displays settings, album art and track details, while the sleek CRM-4 metal remote, designed specifically for the Compass Collection, ensures effortless control.

    Exceptional construction. The MOON 371 is designed and handcrafted in Canada using only premium materials. Each unit undergoes rigorous quality control and is backed by MOON’s industry-leading 10-year warranty.

    “The 371 represents the future of modern audio,” said MOON’s Chief Commercial Officer, Etienne Gautier. “This model embodies our commitment to redefining how we approach audio design. By listening closely to the valuable feedback of our customers and partners, we’ve developed a fresh approach to creating a MOON product. It delivers uncompromising performance and striking aesthetics in a single component, all at a price point that opens the door to premium audio for many music lovers for the first time.”

    About The Compass Collection

    In creating the Compass Collection, MOON took a fresh approach and philosophy to deliver uncompromising products that embrace leading-edge technology and advanced design, while showcasing the company’s unique, modern, and elegant Canadian identity.

    The Compass Collection follows the North Collection, which was launched in 2023. The North Collection comprises the 641 Integrated Amplifier, 681 Network Player/DAC, 761 Power Amplifier, 791 Network Player/Preamplifier, 861 Power Amplifier, and the 891 Network Player/Preamplifier. In the hierarchy of MOON’s product ranges, the Compass Collection slots in just below the North Collection.

    The new collection has been named Compass to symbolize its role as a guide to reaching high-end hi-fi performance. Its iconic logo clearly illustrates that it will point the owner in the right direction. Indeed, the Compass Collection could serve as the entry point into the world of high-end audio for some of MOON’s customers. Additionally, with this name, Compass is the perfect stablemate for the North Collection.

    Many of the models in the Compass Collection will feature technologies from the award-winning North Collection. The 371 is equipped with the proprietary MHP (MOON Hybrid Power) supply and MDCA (MOON Distortion Cancelling Amplifier) at its core. The MHP supply provides ultra-stable power to the circuitry, while the MDCA virtually eliminates distortion and improves linearity, delivering exceptionally clean, dynamic, and accurate sound reproduction. Previously, the MHP supply has been used in the North Collection’s network player/amplifiers. The 371 is the very first MOON amplifier to feature this remarkable technology.

    Each model can be operated via controls on the front fascia (colour screen where appropriate), the MOON MiND app, or the stylish CRM-4 aluminium infrared remote, designed specifically for the Compass Collection. Alternatively, the MOON BRM-1 from the North Collection, featuring its own full-colour screen and exquisite volume control, can be purchased for use with the 371.

    The Compass Collection features premium construction, exceptional styling, and functionality, ensuring performance that will satisfy the owner for many years. This is reflected in MOON’s industry-leading 10-year warranty.

    Technical Highlights

    • Output power 8ohms: 100W
    • Output power 4ohms: 200W
    • Gain: 40dB
    • Frequency response: 5Hz – 100kHz +0/-3dB
    • Dimensions (WxHxD): 16.9’’ x 3.5’’ x 15.2’’ (42.9cm x 8,7cm x 38,5cm)
    • Weight: 20lbs/9kg

    The MOON 371 is available from authorized MOON retailers. MSRP: $6,500 (US), $8,800 (CAD), €6800, £6,250.

    MOON by Simaudio

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    Dvořák: Symphony No 9 ‘From the New World’, Berlin Philharmonic Orchestra, Rafael Kubelik (conductor)

    In the post-war years, just about every major conductor recorded Dvořák’s ‘New World’ symphony. Indeed, many did so more than once. Rafael Kubelik, a Czech émigré, left no fewer than five versions, recorded over a period of 40 years.

    His third ‘New World’, recorded with the Berlin Philharmonic for DG, is probably his best-known performance. It was issued in 1973 as part of a boxed set of all nine Dvořák symphonies. The individual LP issue was released a year or so later, featuring a striking cover picture shot by photographer Jack Mitchell.

    It depicts Kubelik seemingly walking among the skyscrapers of New York, with the Pan Am building in the background. The low angle, with the camera pointing up, makes him look like a giant, as tall as the buildings that surround him.

    DG’s recording sounds very natural and well-balanced. The booklet in the original nine-LP boxed set of the Dvořák symphonies featured a picture of Kubelík conducting the Berliners in the Jesus-Christus-Kirche during a recording session, and it shows two Neumann stereo microphones in use.

    There’s one above the conductor, pointing down at the strings, and a second in front of the winds – presumably to focus the instruments in the centre of the orchestra. Hans Peter Schweigmann was the Tonmeister for all of Dvořák’s symphony sessions except the 8th symphony.

    Stereo mics have switchable patterns: Omni, Cardioid, and Figure 8. Figure 8 was likely chosen for the primary mic. In this arrangement, sound is picked up from both the front and behind in a figure-of-eight pattern, capturing more hall ambience than the cardioid option. 

    Used correctly, coincident mic capsules for left and right channels create a natural phase-coherent stereo soundstage. The New World recording was made on four-track half-inch tape in experimental quadraphonic format, with two tracks dedicated to ambience. 

    The four-track tape was mixed down to a two-track quarter-inch tape and used to cut the LPs. Unfortunately, this introduces an additional generation of tape noise and distortion. As with other LPs in DG’s The Original Source series, the original four-track tape was used to cut the lacquers for optimal sound quality. 

    In the 1960s, DG’s pressing quality set a standard that all record companies aspired to; LPs that were flat, perfectly centred, with surfaces that were smooth and silent. Sadly, the quality of pressing suffered in the early 1970s due to troubles in the Middle East, which led to a massive spike in the price of crude oil. 

    DG’s Original Source LPs represent a return to 1960s quality standards with near-bespoke analogue pressings that accurately convey the quality of the original master tape. The same recordings on CD sound very good, but the vinyl sounds better – freer, more open, more natural.         

    Kubelik does not observe the first movement exposition repeat in any of his recordings of the ‘New World’, which is a pity, but hardly a deal-breaker. Even though we have come to expect this now, not observing repeats was pretty standard in the 1960s and 1970s, though Kertesz and Rowicki (both LSO) did include the repeat. 

    I have always liked Kubelik’s Berlin performance of Dvořák’s ‘New World’ Symphony and haven’t heard a better one in 50 years. His shaping of the work has a natural, spontaneous feel, with orchestral playing that has plenty of bite and fire. There’s pace and drama without things sounding hard-pressed or aggressive.

    Despite the refined quality of the Berliners’ playing, there is also a nice earthiness. Karajan’s famous 1964 DG recording of this symphony is impressively opulent and sophisticated. Yet Dvorak, for all his fame and celebrity, basically remained a simple countryman at heart.  

    Kubelik understands this, which ensures his Dvořák performances sound idiomatic and authentic. His DG set of the nine symphonies is probably his most significant achievement on record. And, even with the passage of 50 or more years, it remains a top recommendation… 

    Back to Classical

     

    Focal Hadenys

    One must count one’s blessings. Over the past few years, I have enjoyed personal listening through Focal’s iconic £ 3,500 Utopia headphones. They are among the finest devices ever created by humans for converting wavy electronic signals into the soundwaves they represent. These no-expense-spared designs are both revealing and musical. Much of this can be attributed to their use of beryllium. You will find this rare metal in the driver’s diaphragms, the flat surfaces that, thanks to the interaction between the affixed signal-carrying voice coils and the powerful magnetic field surrounding them, shift air to produce that incredibly exquisite sound. Beryllium is ideal for the task, as it is both rigid and lightweight. This allows the diaphragm to respond swiftly without physical distortion, ensuring that musical transients are accurately conveyed. 

    Focal wasn’t the first company to harness the metal’s hi-fi potential. Yamaha fitted beryllium tweeters to its famous NS1000 speakers half a century ago. But the French firm has arguably been its key proponent since 2002. Just before those ultra-high-end phones were introduced, Focal launched their speaker equivalent – the flagship (£120,000) Utopia EM floorstanders. Their inverted-dome tweeters employ the wonder metal. It’s no surprise that others in the hi-fi game, from inexpensive OEMs in China to serious speaker manufacturers like Sweden’s Marten and Paradigm in Canada, have also seen the light.

    Paradise Lost

    One early summer’s day, that particular blessing alas vanished. Settling back in my chair with a new album to enjoy, sound flowed only into my right ear. I checked my source, the headphone amp and associated wiring. A simple continuity check revealed that Utopia’s left-channel driver had failed open-circuit. Disaster! Although Focal assured me that “an underlying issue” was not to blame. Open-circuit drivers are not uncommon with earlier-production Utopias – as a quick Google search will confirm. Fortunately, Focal has extended and made the Utopia warranty transferable. 

    Without wasting any more time, I picked up the phone and arranged for mine to be repaired. While on the call, I politely inquired about any new models that Focal might have in the works. “Funny you should ask,” I was told. The charming young PR lady on the other end, a proud hi-fi enthusiast herself, spoke enthusiastically about two circumaural headphones fresh from Focal’s St. Étienne factory. These were the £499 Azurys and £599 Hadenys. “Would you like to try a pair? We’ll also send you a loan pair of Utopias to tide you over while yours are being repaired.” How could I refuse…

    House style

    Finished in the distinctive Focal ‘house style’, these products appear pretty similar. Subtle variations in hue (characterised to me as ‘timeless’) superficially set them apart. However, beneath those elegant exteriors, the Azurys and Hadenys – named after a copper-rich mineral and the earliest period of Earth’s history, respectively – are very different entities. The first features a closed-back design, while the latter has an open-back design. Open-back headphones generally sound more natural and spacious than their closed counterparts, but they sacrifice some isolation.

    Therefore, closed headphones like the Azurys are better suited for outdoor use. Being able to identify imminent hazards would, however, be a distinctly ‘open’ advantage. They are also ideal for situations where nothing should come between you and the audio, such as gaming and music production. 

    Open Isolation

    The comparatively poor isolation characteristics of open-back headphones work both ways. Not only does ambient sound intrude on your listening experience, but your musical tastes will also be audible to those in your immediate vicinity. They are therefore not the best choice for considerate public transport users! As the Utopias belong to the ‘open’ category, I chose to try the Hadenys. How close—at just under a sixth of the price—could they come to their legendary counterparts? Open-back headphones, such as the Hadenys (and Utopia), should be suitable for quiet listening rooms. They also shine during those late-night sessions when neighbours might not appreciate the somewhat higher leakage potential of large speakers. According to Focal, the Hadenys are a “key” proposition, offering audiophiles “more affordable open-back headphones…without compromising sound quality, lightness, or comfort.” 

    As one might expect, given their lower cost, the Hadenys ‘package isn’t as luxurious as that of the Utopia. However, you do receive a neatly colour-coordinated zip-up carrying case. Thist accommodates the headphones and, with a pocket, the interconnecting cable. Only one such cable is supplied. At 1.8m long, it terminates in a user-friendly 3.5mm stereo plug. However, a ‘screw-on’ 6.3mm adaptor for conventional hi-fi is included. At the other end, the lead connects to a 3.5mm socket on the base of the left Hadenys ‘cup’ through another moulded 3.5mm stereo (‘tip-ring-sleeve’, or TRS) plug. This is non-locking, unlike the costly Lemo locking connectors of the Utopias. From a practical standpoint, this is no disadvantage. The plug will detach from the headphones without damage if the cable is inadvertently stressed. 

    Balanced connectivity

    Balanced headphone connectivity can offer audible benefits, including enhanced dynamics and a wider soundstage. Focal’s PR assured me that, much like the Utopias, the Hadenys can be connected to devices equipped with a balanced audio output if the correct cable is used. The company mentioned that “since the connector on the headphone is a standard 3.5mm, it should be straightforward to find aftermarket cables.” However, given that the plug at the Hadenys’ end of the cable is a TRS (i.e. three-connection) rather than a TRRS (four-connection), the two channels must share a ‘common’ return. Balanced operation won’t be feasible if the Hadenys socket is also TRS. 

    Subsequently, Focal confirmed that a TRS jack is indeed fitted to the Hadenys. Unfortunately, this means balanced operation is not feasible (certainly without modifications that would invalidate the warranty). “Azurys and Hadenys are only compatible with a stereo jack, and a balanced connection cannot be employed.” Therefore, it appears that Focal has restricted the flexibility of these headphones for the trivial difference in cost between a TRS jack and a TRRS jack! It’s quite a shame. In contrast, a pair of £299 (“budget”) audiophile headphones I have on hand – HiFiMAN’s excellent Sundara – can easily be adapted for balanced use, with the audible benefits clearly noticeable.

    Confidence Inspiring

    When considering construction, the Hadenys inspires confidence. Its robust magnesium yokes (the pivots on which the earcups are mounted), honeycomb-grille magnesium rear cups, and easily adjustable leather-covered headband are outstanding. However, Utopia’s luxurious earpads, featuring lambskin leather surfaces, have been replaced with fabric-covered alternatives on the Hadenys. The pads themselves are made of memory foam to ensure a snug fit around your ears. 

    Behind the earpads are the drivers, which, as Focal is eager to highlight, are manufactured in France using “patented technology.” Their domed 40mm diaphragms feature the signature Focal ‘M’ cross-section for a larger surface area and resistance to ‘breakup’ at elevated listening levels. However, they do not utilise Utopia’s premium beryllium. Instead, Focal has opted for a magnesium-aluminium alloy, which is claimed to deliver similar performance while being somewhat cheaper to produce. These diaphragms are paired with voice coils that have an impedance of 26 ohms, ensuring compatibility with practically any device! 

    Commendable

    Interestingly, Focal claims a sensitivity of 100dB/1mW (1kHz) for the Hadenys. This is a commendable figure, albeit not quite reaching the 104dB/1mW of Utopia’s lavish 80 ohm drivers. However, in one significant respect, the Hadenys surpasses the pricier model. Weighing in at 294g per pair, it is half the weight of the Utopias. As a result, it’s more comfortable for prolonged wear. Furthermore, the stepped headband adjustment, which follows a traditional design, ensures that the Hadenys delivers a snug yet comfy fit. 

    The cloth earpads are less susceptible to sweat than those made from animal skin (real or otherwise). They can be unclipped from the cups for replacement or cleaning. Once the pads are removed, it becomes apparent that the transducers are slightly ‘toed in’. Overall, the Hadenys rank among the most comfortable headphones I’ve experienced in quite some time. I’ve worn them for several hours at a stretch with no adverse effects whatsoever.

    Sensible Balance

    Focal’s sensible balance between sensitivity and impedance makes the Hadenys easy to drive—even with the modest headphone amplifier built into a Sony Xperia 10 smartphone (yes, this is quite an old model—analogue headphone sockets have all but disappeared from smart devices, now that Bluetooth has reached a decent standard). With a selection of lossless music played through the excellent VLC app, I could achieve decent sound levels with little sign of strain, even though the overall result fell short of audiophile expectations. 

    In contrast, the less sensitive (94dB/1mW) Sundaras sounded gritty and congested. Moving slightly up the audiophile scale, the Hadenys did not stress the headphone amps built into budget hi-fi systems, either. Indeed, while listening to some old tapes on a cassette deck made by the Xperia’s Japanese creator more than three decades earlier, I found myself wishing that Sony had included an output-level control. The sound levels produced by the Hadenys were so high that correctly recorded cassettes could easily become overwhelming!

    Unstressed amps

    Users of high-quality portables will genuinely benefit from these properties. Not only will the headphone amplifier remain unstressed, thereby avoiding detrimental effects on sound quality, but battery life should also improve as a result. I tested the Hadenys with three high-quality portables: a Sony Walkman Pro, FiiO X3, and Astell & Kern SR25 Mk. I encountered no compatibility issues whatsoever. The same was true for the more stationary equipment available to me; this included an ANT Audio headphone amplifier (with an Arcam CD player handling line-level duties), and headphone DACs with the 2.5mm socket that the SR25 also provides. Each performed well, even the portable units yielding decent results from Prism (Callia) and Chord (Hugo TT), fed coaxially from a Cambridge Audio CXN hi-res digital music player. 

    The headphone sockets of each were connected via the standard 3.5mm plug-terminated cable and screw-on 6.3mm adaptor; unfortunately, I wasn’t able to experience balanced operation with listening levels that had ample headroom to spare. I found that the Hadenys played to the strengths of whatever was connected—the considerable resolving power of the Callia and the more organic presentation of the Hugo TT. Focal recommends a minimum of 24 hours of ‘burn-in’ at a relatively high volume level (the pink noise of an off-station FM tuner is ideal for this, in my experience) for the Hadenys to reach their full performance.

    The Fall’s Quality 

    Working through a collection (A-Sides 1978-2016) of singles by that unique British institution, The Fall, the overall improvement in production and recording quality over time is evident, even with the remastering process (did you know that some of the songs – including ‘Mr. Pharmacist’ and The Fall’s Top 30 cover of ‘There’s A Ghost in My House’ – were recorded at no less a facility than Abbey Road?). Even the band’s early output, captured in long-forgotten studios scattered across the UK, remains enjoyable despite the variable sound quality.

    In other words, Hayden’s analytical detail does not come at the expense of musicality. Throbbing basslines, angular guitars, and the occasional quirky keyboard jostle for position against a furious rhythmic backdrop – but at the constant heart of the music, performed by an ever-changing lineup, is, of course, Mark E. Smith, whose much-imitated (but never equalled) vocal style and lyric writing always emerge with appropriate intelligibility. Basslines are deep, tuneful and articulate – a far cry from the lumpy ‘one-note’ presentation that afflicts some rather expensive headphones aimed at the mass market. 

    Coloration free

    Headphones offer a musical experience free from the colouration issues that room acoustics can introduce in traditional speaker-based listening. The intimacy found in certain types of music—such as chamber pieces and closely miked female vocals—can be absolutely breathtaking. In larger classical works, like the dynamic 2012 LSO/Noseda recording of Britten’s War Requiem (24/48), you can locate instrumental groups and even individual choristers within the soundstage. 

    They may have quite similar characteristics to the beryllium drivers of Utopia. Still, those fitted to the Hadenys can deliver an ‘attack’ that deftly accommodates music ranging from the urgent dynamic swings of the War Requiem to the percussion of fast house music (note that lightweight 40mm diaphragms will always be more responsive than larger and heavier speaker cones – that’s just physics). On this subject, the vast majority of dance and rock tracks are artificial studio creations, with elements panned into position using the mixing desk (or, these days, workstation software). 

    Occasional Holes

    This can sometimes create a ‘hole in the middle’ effect, even affecting high-quality transducers like the Utopia and Hadenys. Some headphone amplifiers, including my Hugo TT, feature a ‘cross-feed’ function (which Chord refers to as ‘X-PHD’) that subtly blends the two channels. The effect is minimal (Chord’s model offers three selectable levels) and simulates, through proprietary electronic methods, what a listening room’s acoustics achieve with speakers. The notion of ‘playing around’ with music in this manner might deter purists—but believe me, it works! 

    However, one listening scenario that should not involve cross-feed is binaural recordings, which are specifically designed for headphones using ‘dummy-head’ microphones (or advanced workstation spatial-audio plugins during the mixdown phase). When played through speakers, binaural recordings can sound unnatural; at times, they can be disconcerting. When listened to through headphones as intended, they provide a completely different experience.

    Up, down, front, back

    Indeed, there are limitations regarding up/down and front/back localisation. These are performance areas where modern speaker-based surround sound technologies, such as Dolby Atmos, truly excel. In contrast to headphones, however, such systems are far from compact or portable. Despite these limitations, the subjective sense of realism offered by binaural audio can be overwhelming with headphones of the Hadenys’ calibre. I had access to some remarkable binaural music (including a BBC session featuring Lucy Rose) and drama (a radio adaptation of Nigel Kneale’s The Stone Tape). Still, the most convincing examples were ‘ambient’ recordings. 

    Among these was a 1976 BBC documentary about life on an oil rig, a stroll through New York City, and some binaural recordings I made myself fifteen years ago. Cars move in and out, drills roar to life between your ears, and human hubbub seems so realistic that you’ll think someone’s in the room with you. So effective were the latter that I retrieved my homebrew mics and ‘updated’ them for the present day! While we’re on the subject, speech is natural and uncoloured… more so than most conventional loudspeakers I’ve heard.

    Conclusion

    A direct comparison between the two models reveals how closely the Hadenys approximates the Utopia. In particular, it gets close in terms of tonality, punchiness, and detail resolution. However, the Utopia maintains a degree of ‘airiness’ that the Hadenys cannot fully replicate. Also, some of the finer details of high-resolution recordings – revealed by my somewhat analytical Prism Callia – are not as readily apparent. 

    Overall, the Hadenys performs admirably, especially considering it is just under three grand cheaper. Its open, detailed, and tonally neutral presentation does justice to every genre of music. If you take headphone listening seriously and have £ 600 to spare, the Hadenys should undoubtedly be on your list of models to audition. Regarding the reliability issue, Focal has assured me that the Utopia problem has been fully resolved. The Hadenys, which benefits from a six-year warranty and is entirely different internally, should last a lifetime. 

    Technical specifications

    • Design: Open-back, circumaural
    • Impedance: 26 ohms
    • Sensitivity: 100dB/1mW (1kHz)
    • Maximum SPL: 105dB (peak @1m)
    • THD: <0.2% (1kHz, 100dB SPL)
    • Frequency response: 20Hz – 22kHz (+/- 3dB)
    • Transducers: 40mm, aluminium/magnesium ‘M’-shaped dome
    • Weight: 294g
    • Connection: 3.5mm TRS, unbalanced. 
    • Supplied cable: 1.8m (terminated in 3.5mm jack; 6.3mm adaptor supplied)
    • Price: £599, $699, $699

    Manufacturer

    Focal

    www.focal.com

    More from Focal

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