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And what doesn’t the ADL X1 connect with? Well, if you had visions of using the X1 with the digital output of the Astell & Kern AK100 or AK120 or the new AK240, I’m sorry to say that since the X1 lacks a Toslink digital input, you can’t do that. You can connect the analogue output of the AK100, and any other player with an analogue output, to the analogue input of the X1. But if you want to use it as a DAC with your portable player, unless the player has a USB digital output or conforms to the Apple dock standards, you can’t use the X1 as a DAC for your portable player. Obviously you can still take advantage of the X1’s excellent headphone output and analogue line level outputs, but not its DAC section.

The ADL X1 has a Toslink digital output, which can be connected to any DAC that has a Toslink input. For owners of high quality ‘legacy’ digital to analogue convertors, using the X1 as a S/PDIF could be a very cost-effective way to add computer audio and streaming inputs to your current DAC.

The X1 has a built-in battery that must be charged via its USB mini B input connection. For extended listening sessions you can power the X1 directly from this input. If you prefer traveling light, sans computer, you may need to acquire an AC to USB charging device to reenergise the X1’s battery. Any charging unit that puts out a 5-volt signal should work. I found that even the cheap chargers supplied with e-cigarette vaporisers successfully charged the X1.

When you connect the X1 to a computer you will need to select it as the audio output device from your settings menu. My MacPro desktop and MacBook Pro portable units recognized the X1 immediately after it was plugged into their USB bus. According to ADL, “No drivers are needed with Mac computers, while a single standard driver is required for Windows computers.” That driver is available from ADL on the X1 product page at www.adl-av.com.

Since most potential users will be purchasing the ADL X1 because it can work with more than one audio set-up, I spent a lot more time working my way through its multiple functions than I would with a single-use component. And as you might expect, the ADL X1 performs better in some applications than others. If your principle need is a USB to S/PDIF convertor, there are more versatile options than the X1, which only has a single Toslink digital output. But the X1’s Toslink does support and pass through 192/24 files with no problems.  When I compared the X1’s USB to Toslink feed with a direct USB connection to the new Rotel RD-1580 USB DAC I couldn’t hear any drastic differences in the sound when I listened to 320 Kbs MP3 files. On 192/24 files I found that the Rotel’s direct USB connection had a slightly larger soundstage, but the X1’s Toslink feed matched the Rotel in image specificity, depth, and low-level detail.

One of the X1’s primary functions is as an outboard DAC/soundcard in a computer audio system. The X1 has a single mini-stereo analogue output. Depending on whether you are using headphones or attaching the X1 to a preamp or powered speakers, you will very likely be spending time connecting and disconnecting cables from this single analogue output, so the X1’s physical placement may require some thought. You need the X1 within arm’s reach so you can adjust its volume when using headphones, but you also need it within a metre or two of your computer so you can connect it to the computer’s USB for power and signal. Obviously with a portable computer this won’t be an issue. But, if your desktop computer has its CPU buried beneath the desk or if your stereo preamp is located in a separate room from your computer system, distances could be an problem. In theory, the X1 should be able to drive a longer than standard one-metre analogue cable with no issues, but if you are expecting to connect it via anything longer than a 10-metre cable you might want to try it out at home before consummating your purchase.

When used as a USB DAC, the X1 proved to be a stellar performer. It had no ergonomic issues or delays when switching formats from 44.1/16 to 192/24 files. On high-resolution music, the X1 was most impressive, preserving all the subtle spatial cues on my own live concert recordings. The X1’s lateral imaging was especially precise, allowing two adjacent instruments to retain their image specificity with no homogenization or blending of their edges. The X1’s ability to define the edges of a voice or instrument was exemplary, rivaling far pricier DACs that I’ve had in my computer desktop system. The X1’s harmonic balance was also excellent, with enough bass extension, drive and power to keep all but the most bass-centric listeners happy. The X1’s midrange was very smooth yet detailed with a relaxed and natural presentation that outdistanced the Fiio Alpen E-17 entry-level outboard USB DAC. In comparison the E-17 sounded slightly mechanical and lacked the X1’s dynamic drive, especially when I listened through my Audeze LCD-2 headphones.

Since the analogue output level is variable, it can be connected directly to a power amplifier or powered speakers that lack their own volume controls. When the X1 was directly connected via its analogue outputs to an amplifier I was impressed by both its transparency and its ability to deliver a full-frequency signal with no low bass attenuation. Unlike some headphone amplifiers which have some hiss or low-level noise when used as a preamp, the X1 amp section was silent when used for preamp duties. My only complaint when using the X1 directly connected to an amplifier was the volume control knob doesn’t offer fine enough graduations, so it’s hard to match levels critically. It’s also too easy to turn up the volume accidentally to a level above your original intent.

If you own an iPod Classic, iPod Touch, or iPhone, the X1 will noticeably raise their sonic performance several levels. When you connect an iDevice to the X1 via a dedicated dock cable, turning on the X1 will default the iDevice to a fixed-level digital output via its digital connection in the dock cable. The digital stream is sent to the X1, which will now do the D/A conversion. Instead of listening to the iDevice’s internal digital to analogue convertor you will be hearing the X1’s DAC section. By using the X1 you will also be bypassing your iDevice’s headphone amplifier, which may not be up to the task of driving a number of the higher-performance headphones and earphones currently on the market.

If you use an iDevice with the Audeze LCD-2 headphones and then switch over to the X1, the sonic reasons you would want to own an X1 become almost painfully obvious. The X1 delivers an all-around higher level of fidelity – the soundstage is larger, the bass is better defined and more extended, the midrange is more natural and detailed, and the top end is smoother with more air. And with EU-derived iDevices, you’ll get more gain too, because they are volume limited. There are certainly more expensive desktop DAC/headphone combinations, but this rig’s combination of ergonomics and fidelity makes it a benchmark combo.

With the ultra-sensitive 120dB Westone ES-5 custom-fit in-ear monitors, the X1 generates a noticeable low-level hiss background noise regardless of the signal’s volume level. At normal listening levels you won’t be aware of it, except during pauses in the music or extremely quiet sections. But if you already own and love the Westone ES-5 custom in-ears, the X1 won’t, unfortunately, make an ideal pairing.

Owners of the Ultimate Ears IERMs (In Ear Reference Monitors) will be happier with the X1. With its lower sensitivity the IERMs proved to be a better mating, the X1 providing an almost silent background with only the very slightest trace of hiss or noise. Even during quiet passages in classical music, the room or concert hall background noise completely masked any base-level noise from the X1.

One earphone that was absolutely silent when plugged into the X1 was the Etymotic ER-4p. The harmonic balance, midrange clarity, pace, and bass resolution through this combo was uniformly excellent. If you are assembling a high-quality, ultra-compact travel rig, especially for on-airplane use, the X-1/ER-4p pairing is hard to beat for the price.

With less sensitive headphones, such as the PSB M4U 1, the X1 had enough gain to drive them way past maximum head-banger levels. And as you might expect with a less sensitive can, the X1’s amplifier section was dead quiet. Bass extension, detail, weight, and warmth was especially compelling with this pairing. If you don’t mind carrying a pair of full-sized headphones when you travel, this combination has great appeal.

If I were an urban always-on-the-go audiophile in search of an all-in-one small-footprint DAC solution that could serve for travel, desktop, and even preamp duties, the X1 would be on my short-list of possibilities. It is flexible, easy to use, un-fussy to set-up, and will silently drive any medium-sensitivity headphone. Some combinations, such as the X1/Audeze LCD-2 pairing, are especially synergistic.

The X1’s primary drawback is that its amplifier section isn’t suited to high-sensitivity in-ear monitors, because of its some low-level hiss and noise. Fortunately, if you want to use the X1 as a preamp to drive an amplifier or active speakers, it is absolutely silent.

While £395 isn’t inexpensive, when you consider the X1’s capabilities, both sonic and ergonomic, it must be ranked as an excellent value that can serve a multiple of useful functions in a variety of situations. As a travelin’ man’s go-to DAC the X1 should be at the top of your must-try and most-likely-to-buy list.

Technical Specifications

Max headphone output at 1%THD @ 1KHz: 34mW(12 ohm), 60mW(16 ohm), 82mW(32 ohm), 86mW(56 ohm), 36mW(300 ohm), 19mW(600 ohm)

Channel separation: 60-64dB (1KHz) 33ohms -50dB/<=±3dB

Frequency characteristics: 20Hz-20kHz (±0.5dB)

Total Harmonic Distortion: 0.033% (33ohms), <0.02% (300ohms), 0.0085% (600ohms)/1mW

S/N Ratio: 95.5dB/32ohms, 98.1dB / 56ohms , 101.6dB/300ohms, 102.1dB/600ohms

Charge time: approximately  4-5 hours (AC/DC 5V, 1.0-2.0A switching adaptor – sold separately); approximately 7 hours (DC 5V, 0.5A USB bus power)

Music playback time: up to 7.5 hours when fully charged

Dimensions (WxHxD): 68x 16.5 x 118 mm

Weight: 147g Approx.

Price: £395

Manufactured by: Alpha Design Labs

www.adl-av.com

Distributed in the UK by: Sound Fowndations

www.soundfowndations.co.uk

Tel: +44(0)1276 501392

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The unit provides three analoque inputs (one single-ended and two balanced) plus four outputs (two single-ended via TRS-type jacks and two balanced via a 4-pin XLR jack and a left/right pair of 3-pin XLR jacks). To accommodate headphones of differing levels of sensitivity, the amp provides two switch selectable gain settings: Hi (8x or 18dB of gain) and Lo (4x or 12dB of gain).  Moreover, one of the two TRS jacks (Jack 1) is fitted with gain reduction resistors that enable the amp to be used with (most) ultra high-sensitivity headphones.

The Liquid Gold is fitted, as are all Cavalli amps, with a piezo-electric type power switch said to enhance long-term reliability (picture an ultra-reliable cross between a traditional pushbutton switch and a touch-sensitive switch and you’ve got the general idea). Once the piezo switch is activated, the amp commences a “controlled startup sequence to protect the output devices and their drivers from high startup currents.”  Thus, on startup an LED labeled ‘W’ (for ‘Wait’) illuminates in red as the amp goes through a gradual one-to-two minute power up sequence. Once the ‘W’ lamp turns white (denoting that the initial waiting period is complete) a second LED labeled ‘H’ (for ‘Headphones’) illuminates in red, while various sensing circuits “wait until the DC offsets at the outputs have stabilized to the point where no damage to headphones can occur.” Only then will the ‘H’ light turn white, indicating the amp is ready to play.

Judging by the sound it produces the Liquid Gold has been designed with a handful of sonic objectives in mind, including: dead-neutral tonal balance, low distortion, wide bandwidth, exceptional resolution, and terrific transient speed. Put these factors together and you get one of the most (if not the most) disarmingly honest and revealing headphone amplifiers I’ve yet heard. Put on a piece of music you think you know well, then, and odds are that within seconds the Liquid Gold will have you asking yourself, “My word, where did all that additional musical information come from?” The effect is uplifting and invigourating in the extreme, but also a little unnerving in that you suddenly realise much of what you thought you knew about favourite recordings suddenly seems woefully incomplete. In an instant, you discover there is so much more to hear than you might once have supposed.

The first impression is one of tapping into greatly expanded reservoirs of musical information. Timbres, textures, and transient sounds immediately become vivid, pure, articulate, and appropriately rich in tonal colours, conveying an overarching impression of musical ‘completeness.’ For a beautiful example of this, listen carefully to Anne Bisson’s vocal performance on her cover of Pink Floyd’s ‘Us and Them’ from Portraits and Perfumes [Camillio Records] through the Liquid Gold/Abyss combination. You can hear how Bisson uses extremely subtle inflections and subliminal touches of vibrato to underscore the dark, brooding emotions inherent in Pink Floyd’s lyrics. Similarly, you can hear Bisson leveraging the seeming lightness and breathiness of her voice to deftly underscore the darkest bits of Pink Floyd’s sardonic black humour.

The Liquid Gold is exceptionally good at capturing these sorts of light vs. dark or hard vs. soft points of juxtaposition and contrast in music, in the process adding not just sonic but also emotional depth to nearly every playback session. While many good headphone amps show you the general outlines of the music and give some sense of the various music-making techniques at play, the Liquid Gold goes deep and lets you hear the music from the inside out—enabling you to judge and weigh each passage as if from a veteran musician’s expert point of view.

Similarly, note how the Liquid Gold captures not only the performance details from well-made live recordings, but also the reverberant and acoustic qualities of recording venues, conveying an eerily realistic sense of place. A good example would be the ultra-funky percussion track ‘Stank’ from Jamey Haddad, Mark Sherman, and Lenny White’s Explorations in Time and Space [Chesky, Binaural+ CD], which was recorded in a pleasantly reverberant performance space that has served double-duty as a church sanctuary.

Part of what makes Explorations tick is the fact that you have three masterful percussionists performing together on a wide array of instruments that are spread across the stage in the sanctuary. In a very real sense, the sound of the instruments becomes inherently interwoven with the sound of the room—almost as if the room were a fourth performer in the ensemble. The Cavalli amp makes this fact abundantly clear, rendering the track with a rare combination of raw power and delicate finesse, so that ‘Stank’ becomes a truly immersive listening experience. You hear the sound of instruments being thwacked with great force, or tapped with the lightest of touches, and everything in between these extremes, all the while savouring the way the sounds merge and seemingly multiply as they interact with the walls, ceiling, and floors of the space.

One element not to be overlooked is that Cavalli’s Liquid Gold, though as delicate, refined, and subtle as they come, is at the same time immensely powerful by headphone amplifier standards (maximum output is a stonking great 9Wpc!). Interestingly, this does not mean the amp sounds brutal or ‘muscle-bound’ in any way; in fact, the opposite is the case. Most of the time, listeners become caught up in the Liquid Gold’s resolution of low level details and in its blinding transient speed. But, when powerful and demanding dynamic swells do come along the Gold exuberantly demonstrates that it has seemingly bottomless reserves of dynamic headroom on tap. Stated another way, when dynamic push comes to shove either your ears or your headphones will likely give up long before the Liquid Gold does.

Certain musical tracks fairly beg to be played at “kick out the jams” volume levels—a good example of which might be Peter Gabriel’s “Steam” from Secret World Live [Geffen].  A big part of the ‘engine’ that propels this track would be the mind-blowing grooves jointly created by world-class percussionist Manu Katche and virtuoso electric bassist Tony Levin (who performs, at times, on the difficult-to-reproduce Chapman Stick—an instrument that can generate positively subterranean bass notes).  Together, these factors make for a playback scenario where headphone amps of moderate output—no matter how good they might otherwise be—simply will not do the job.

Happily, the Liquid Gold stands ready, willing, and able to make most any headphone you could name boogie with serious gusto. On “Steam” in particular, the Cavalli handles the track’s vigourous, but also crisply defined and richly textured low-frequency percussion, strings, and synths passages with power and grace. You can almost feel concussive waves of low-frequency energy racing across the stage toward your ears whilst enjoying virtually complete freedom from compression or overload. The musical result is liberating indeed.

Is there anything the Liquid Gold can’t do or are there any drawbacks we need to know about? Obviously, the Liquid Gold is designed to power dynamic headphones (Cavalli’s Liquid Lightning MkII amp is designed to be an energiser for electrostatic designs). Also, the Liquid Gold absolutely will not and does not add any sort of sonic warmth or perceived ‘richness’ to the music unless those qualities are indeed captured in your recordings. Although some fine headphone amplifiers add an euphonic colouration that some listeners might find appealing, if you want an amp that supplies elements of warmth or perceived richness on its own, the honest-to-a-fault Liquid Gold is probably not for you. The fact is that the Cavalli imparts very little sonic personality of its own, but rather takes its cues from the music. With recordings that supply their own natural warmth and rich tonal colours the Gold sounds vibrant and alive, but if fed thin, brittle sounding, over-produced recordings, the Gold will reveal those qualities, too—whether for good or ill. For my part, though, I find the transparency and honesty of the Cavalli refreshing and very desirable.

Like many of you, I keep a sort of running tally of the best audio systems I’ve heard to date—including, of course, the best headphone/amplifier combinations I’ve sampled. For now, Cavalli’s Liquid Gold, used in concert with the Abyss AB-1266 planar magnetic headphones, not only made my short list but in fact earned a well-deserved place at the very top of that list. While I acknowledge that the admittedly expensive Liquid Gold will not fit every budget (my own included) and that its hyper-honest sound will probably not suit all tastes, I nevertheless regard it is the finest headphone amplifier I have yet heard. Well done, Cavalli.

Technical Specifications

Inputs: Three analogue (one single ended, two balanced).

Outputs: four headphone outputs (one via a 4-pin XLR jack, one via dual left/right 3-pin XLR jacks, and two via TRS jacks).

Power Output: Maximum output, 9W into 50 Ohms. Frequency response, THD + Noise measurement, below, taken at 3W into 33 Ohms. Operational mode: Pure Class A output for the first 2.25W into 50 Ohms.

Frequency Response: -1dB, 3Hz – 650kHz @ 3W into 33 Ohms.

THD+N: 0.0015% @ 3W into 33 Ohms.

Dimensions (H x W x D): 7.6cm x 42cm x 29cm

Weight: 5.5kg

CE Certified: Yes

Mains Voltages: Buyer’s may have their amplifiers built to support one of four possible mains voltage options: 100V, 120V, 220V, or 240V.

Price: Originally priced at $6,450 or £4,005 (but since reduced to a US price of $3950)

Manufacturer: Cavalli Audio, Austin, TX – USA

URL: www.cavalliaudio.com

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