Category: Source

Esoteric Grandioso K1XE Brings Second-Generation Discrete DAC Technology to Flagship SACD Playback

Esoteric K1XE & PS1XE

Japanese high-end audio manufacturer Esoteric has introduced the Grandioso K1XE, a new flagship SACD player featuring its second-generation Master Sound Discrete DAC G2, alongside the optional Grandioso PS1XE external power supply. Combining Esoteric’s proprietary VRDS-ATLAS disc transport with an entirely revised digital-to-analog conversion architecture, the K1XE supports SACD and CD playback, high-resolution digital inputs, and integration with external network transports.

Building on the Grandioso K1X series, the new model introduces substantial improvements to its DAC circuitry and power supply architecture. Both components are scheduled for release in Japan on November 1, 2026, with international availability beginning in early November.

Master Sound Discrete DAC G2: A New Generation

At the heart of the Grandioso K1XE is Esoteric’s newly developed Master Sound Discrete DAC G2. Evolving from the company’s original discrete DAC architecture introduced in 2019, the second-generation design replaces conventional integrated DAC chips with a proprietary combination of FPGA processing and carefully selected discrete components.

The G2 architecture employs a 64-bit/512Fs delta-sigma modulator with dedicated digital processing algorithms optimized separately for PCM and DSD signals. It supports high-resolution audio up to 768kHz PCM and 22.5MHz DSD.

Esoteric has redesigned the low-noise resistor network and further separated the power supply paths for the FPGA and analog circuitry. The output stage incorporates a high-current dual-buffer design derived from the flagship Grandioso D1X SE, using four buffer circuits per channel.

According to Esoteric, these refinements improve low-level detail retrieval, dynamic expression, and spatial reproduction while maintaining the natural musical presentation that defines its flagship digital components.

VRDS-ATLAS Transport and Five Independent Power Transformers

Disc playback is handled by Esoteric’s VRDS-ATLAS mechanism, the company’s flagship SACD/CD transport platform. Its rigid construction and precision disc-clamping system are designed to stabilize disc rotation and minimize mechanical vibration during playback.

The K1XE employs a fully dual-mono DAC architecture, with independent power transformers dedicated to the left and right channels. A total of five transformers separately supply the DAC circuits, disc mechanism, digital audio circuitry, and microcomputer system.

Esoteric has also adopted discrete low-feedback DC regulation circuits to improve power supply stability. A multilayer chassis, semi-floating top panel, and proprietary isolation feet help reduce the transmission of mechanical vibration to sensitive audio components.

Together, these features reflect Esoteric’s emphasis on treating mechanical engineering, electrical isolation, and digital signal conversion as interconnected elements of high-fidelity reproduction.

ES-LINK 5 Expands Network Audio Connectivity

Beyond its role as an SACD player, the Grandioso K1XE can function as a high-end DAC for external digital sources. The newly introduced ES-LINK 5 digital input enables connection to Esoteric’s Grandioso N1T network transport, allowing users to access network-based music playback through the K1XE’s discrete DAC architecture.

Additional digital inputs include USB Type-B, AES/EBU, and optical connections. Analog outputs are provided through both balanced XLR and unbalanced RCA connectors, with the XLR outputs also supporting Esoteric’s proprietary ES-LINK Analog current-transmission system.

A 10MHz external clock input allows integration with compatible master clock generators, including the Grandioso G1X, providing further flexibility for high-end digital audio systems.

The K1XE does not incorporate a built-in network streaming platform. Network playback requires a separate transport or compatible digital source, allowing owners to configure their systems according to their preferred streaming hardware and software.

PS1XE: Dedicated External Power for DAC and Output Stages

The Grandioso PS1XE is an optional external power supply developed to further enhance the K1XE’s performance. It houses four large power transformers, independently supplying the left and right DAC circuits and their respective analog output buffer stages.

When the PS1XE is connected, the corresponding internal transformers in the K1XE are disabled. This arrangement increases the available power supply capacity while reducing the potential influence of transformer vibration and magnetic leakage within the player’s main chassis.

The PS1XE also incorporates power filtering circuits optimized for the new G2 DAC architecture, along with a multilayer chassis and semi-floating top panel.

In addition to the new K1XE, the PS1XE is compatible with the existing Grandioso K1X, K1X SE, and Grandioso N1 network DAC, providing an upgrade option for owners of earlier Grandioso components.

Specifications and Pricing

Specification	Grandioso K1XE
Product Type	SACD/CD Player and DAC
Disc Transport	VRDS-ATLAS
D/A Conversion	Master Sound Discrete DAC G2
DAC Architecture	FPGA-Based Multilevel Delta-Sigma
Maximum Input Resolution	PCM 768kHz / DSD 22.5MHz
Power Supply	Five Independent Transformers
Digital Inputs	ES-LINK 5, USB-B, AES/EBU, Optical
Digital Output	AES/EBU
Analog Outputs	XLR / ES-LINK Analog, RCA
External Clock Input	10MHz BNC
Frequency Response	5Hz–30kHz (-3dB)
Signal-to-Noise Ratio	113dB
Total Harmonic Distortion	0.001% (1kHz)
Dimensions (W×H×D)	445 × 162 × 447mm
Weight	34.3kg

Specification	Grandioso PS1XE
Product Type	External Power Supply
Power Transformers	Four
Compatible Models	K1XE, K1X, K1X SE, N1
Dimensions (W×H×D)	445 × 132 × 451mm
Weight	23.3kg

The Grandioso K1XE is priced at ¥4,180,000 in Japan, while the PS1XE carries a price of ¥1,540,000, both including tax. Official US pricing has been announced at $45,000 for the K1XE and $19,000 for the PS1XE.

With the Grandioso K1XE, Esoteric continues to refine physical disc playback while extending the capabilities of its flagship digital source components. The new G2 discrete DAC, expanded digital connectivity, and optional external power supply offer a flexible upgrade path from a standalone SACD player to a more elaborate high-end digital audio system.

Source : Esoteric
https://www.esoteric.jp/en/support/news/745?utm_source=chatgpt.com

2026년 October 22일

BluOS Adds Native Apple Music Integration, Enabling Direct Streaming Without AirPlay 2

BluOS has announced native Apple Music integration, allowing users to access the streaming service directly through the BluOS Controller app. Announced by Canada’s Lenbrook Media Group on October 20, the update brings Apple Music to compatible audio products from Bluesound, NAD, and other BluOS partners. Unlike conventional AirPlay 2 playback, the new integration allows BluOS devices to stream music directly from Apple’s servers without relying on a smartphone or tablet to relay the audio.

The integration brings Apple Music’s catalog of more than 100 million songs to the BluOS ecosystem. With Apple Music joining existing services such as TIDAL, Qobuz, Spotify, and Deezer, BluOS continues to expand its role as a unified platform for network audio playback.

Direct Streaming Without AirPlay 2

Previously, Apple Music users typically relied on AirPlay 2 to play music through compatible BluOS devices using an iPhone, iPad, or Mac. With the new integration, users can link their Apple Music account to the BluOS Controller app and select music directly. The BluOS player then retrieves the audio stream from Apple’s servers, while the mobile device functions primarily as a remote controller.

This approach resembles the playback architecture used by Spotify Connect and TIDAL Connect, but it does not mean Apple Music has introduced a universal Connect-style feature. Instead, Apple Music is integrated within the BluOS Controller app, rather than allowing users to select BluOS devices directly from the Apple Music app.

The update supports compatible BluOS products across brands including Bluesound, NAD, PSB, DALI, Cyrus Audio, and Monitor Audio. Supported devices include Bluesound’s NODE network streamers, POWERNODE streaming amplifiers, and PULSE wireless speakers.

Apple Music playback also works with BluOS multi-room functionality, allowing users to group compatible devices and play synchronized music throughout the home. Existing AirPlay 2 support remains available.

Lossless and Hi-Res Audio Support Remains Unconfirmed

For audiophiles, the most important unanswered question concerns audio quality. Apple Music offers lossless streaming using ALAC (Apple Lossless Audio Codec), with selected recordings available in Hi-Res Lossless at resolutions up to 24-bit/192kHz.

However, the official BluOS announcement does not specify the audio codec, bit depth, or maximum sampling rate supported through the new Apple Music integration. Direct streaming from Apple’s servers therefore does not necessarily mean that ALAC lossless or high-resolution playback is supported.

Some early users have reported that the BluOS Controller displays AAC at 256kbps during Apple Music playback. These observations have not been established as an official specification covering all supported devices and content.

What has been confirmed is native service integration, direct streaming, and multi-room compatibility. Support for lossless and high-resolution audio, as well as Dolby Atmos and other Apple Music features, remains subject to further clarification.

Expanding the Capabilities of Existing BluOS Systems

BluOS has long provided access to multiple streaming services, including TIDAL, Qobuz, and Spotify, through a unified control platform. Adding Apple Music removes a significant limitation for users who previously depended on AirPlay to access their music libraries and playlists.

The integration is available as a free software update for compatible BluOS devices and requires an active Apple Music subscription.

By expanding streaming functionality without requiring new hardware, the update highlights the growing importance of long-term software support in network audio. For existing BluOS owners, native Apple Music integration offers greater flexibility and convenience, even as questions about lossless and high-resolution playback remain unresolved.

Source : Bluesound
https://www.bluesound.com/blogs/news/apple-music-now-available-on-bluesound

2026년 October 21일
NAD C 359S and C 569 Bring BluOS Streaming and CD Playback to the Classic Series
NAD C 359S & C 569

NAD has expanded its Classic Series with two new components: the C 359S integrated amplifier and C 569 CD player. The two products follow a familiar NAD formula on the outside, but combine it with updated streaming, digital processing and system-integration features.

The C 359S pairs Class AB amplification with built-in BluOS, HDMI eARC and subwoofer management, while the C 569 is a dedicated CD player using modern digital processing and ESS Sabre conversion.

NAD C359S

C 359S Returns to Class AB

One of the most interesting aspects of the C 359S is its use of Class AB amplification.

Recent NAD Classic Series models such as the C 3050, C 379, C 389 and C 399 have leaned heavily on Class D technology. The C 359S takes a different route, delivering 70 watts per channel into 8 ohms and 120 watts per channel into 4 ohms from a Class AB output stage.

That does not mean NAD has returned to a fully traditional power-supply design. The amplifier uses a high-current, low-noise switch-mode power supply derived from technologies developed for the company’s higher-end Masters Series.

In other words, the output stage is Class AB, while the power supply remains modern and compact.

NAD C359S

BluOS, HDMI eARC and Phono in One Chassis

The C 359S includes BluOS as standard, allowing it to function as a complete network streaming amplifier without an external streamer.

It also supports HDMI eARC for direct TV connection, aptX HD Bluetooth and a phono input.

That makes the C 359S more than a conventional integrated amplifier. It can act as a combined streaming hub, DAC and TV-audio interface while retaining traditional analogue connectivity and front-panel controls.

NAD has also kept a physical headphone output and a conventional remote-control interface, maintaining the straightforward usability associated with the Classic Series.

Proper Bass Management for 2.1 Systems

Another notable feature is the C 359S’s subwoofer integration.

Rather than simply offering a subwoofer output, NAD also provides an optional high-pass filter for the main loudspeakers.

That allows low frequencies to be redirected to the subwoofer while reducing the workload on the main speakers and amplifier.

For users building a compact 2.1-channel system around bookshelf speakers, that can make integration considerably more flexible than a basic line-level subwoofer output.

NAD C 569

NAD C 569

C 569 Brings New Digital Processing to CD Playback

The C 569 is positioned between the C 538 and C 589 in NAD’s CD-player lineup.

It uses DDH, or Dynamic Digital Headroom, to reduce the risk of intersample clipping during digital processing, while QRONO d2a is designed to improve time-domain behaviour and digital filtering.

The DAC section uses an ESS Sabre converter, with revised analogue output and power-supply sections.

Digital outputs are also provided, allowing the C 569 to be used as a transport with an external DAC.

NAD describes the player as part of its “Music First” approach, prioritising tonal balance and long-term listenability rather than simply chasing higher numerical specifications.

Streaming and Physical Media Side by Side

Taken together, the C 359S and C 569 reveal how NAD is approaching the modern Classic Series.

On one side, the C 359S integrates BluOS, HDMI and wireless connectivity into a traditional stereo amplifier. On the other, the company is still investing in a dedicated CD player with updated digital processing.

That combination reflects the reality of many current hi-fi systems, where streaming and physical media are not necessarily competing formats.

The C 359S is a modern network amplifier with a traditional Class AB output stage, while the C 569 brings newer digital technology to a familiar physical format.

Key Specifications

NAD C 359S
- Type: BluOS streaming integrated amplifier
- Amplification: Class AB
- Power output: 70W ×2 into 8 ohms
- Power output: 120W ×2 into 4 ohms
- Power supply: High-current, low-noise switch-mode design
- Streaming: BluOS
- Hi-res playback: Up to 24-bit/192kHz
- HDMI: eARC
- Bluetooth: aptX HD
- Phono input: Yes
- Subwoofer output: Yes
- Main-speaker high-pass filter: Yes
- UK price: £1,099
- European price: €1,199
- Availability: October 2026
NAD C 569
- Type: CD player
- DAC: ESS Sabre
- Digital processing: DDH / QRONO d2a
- CD-Text: Supported
- Analogue output: Yes
- Digital output: Yes
- External DAC use: Supported
- UK price: £749
- European price: €949
- Availability: Late November 2026
Source : NAD Electronics
https://nadelectronics.com/blogs/news/nad-expands-its-classic-series-with-the-c-359s-and-c-569-cd
2026년 October 20일

SOULNOTE Builds a New Network Audio Chain Around USS with the R-3 and Z-3

SOULNOTE has introduced a new reference music server, the R-3, alongside two network transports, the Z-3 ver.2 and Z-3X. At the centre of all three products is USS, or Ultimate Sound Stream, a proprietary LAN audio transport developed jointly with SFORZATO.

The significance of the new lineup goes beyond adding another server or streamer. SOULNOTE is addressing the entire digital playback path — from server to network transport, and from transport to DAC — as one integrated system.

In a typical configuration, the R-3 sends audio over USS to a Z-3 transport, which then forwards the signal to a compatible DAC via ZERO LINK or USB.

USS Focuses on Processing Load, Not Data Accuracy

USS is SOULNOTE and SFORZATO’s new LAN audio transport.

The idea is not that conventional Ethernet or TCP/IP somehow fails to deliver the correct music data. Digital integrity is already maintained in standard network transmission.

Instead, SOULNOTE focuses on what happens inside the playback hardware while that data is being received and processed.

The company argues that CPU activity, packet handling and changing processing load can create variations in power consumption and electrical noise inside the transport. Those effects may then influence clocks and sensitive audio circuitry.

USS is designed to simplify the receive-side workload as much as possible, with the aim of reducing electrical activity around the audio path.

A dedicated R-3 server is not strictly required. Windows PCs can also transmit USS after installing the company’s USS ASIO driver.

Does This Sound Familiar? Diretta Comes to Mind

The basic idea behind USS inevitably recalls Diretta.

Diretta also separates a Host from a Target and aims to minimize processing activity and power fluctuations on the playback side, rather than treating network audio purely as a question of bit-perfect data delivery.

The two technologies are not the same, however.

Diretta is a broader Host-to-Target network audio protocol, while USS is SOULNOTE and SFORZATO’s dedicated transport between a server and a network transport.

After the Z-3 receives the audio over USS, another technology — ZERO LINK — handles the connection from transport to DAC.

So while the philosophy is similar, the scope differs. Diretta focuses on simplifying the network-renderer side, whereas SOULNOTE uses USS plus ZERO LINK to simplify different stages of the digital playback chain from server to DAC.

R-3: A Music Server Dominated by Its Power Supply

The R-3 is SOULNOTE’s reference music server and the primary source component for USS.

It includes a 1TB internal SSD and can also access music stored on USB drives or NAS devices on the same network.

SOULNOTE says the CPU, operating system and motherboard were selected through listening tests, while its own User Optimizer software is used to reduce unnecessary processor activity.

The most striking part of the design is the power supply.

According to the company, approximately 75% of the internal volume is devoted to power-supply circuitry.

The R-3 uses a newly developed 300VA transformer, eight high-speed SiC rectifier diodes and 42 low-multiplier electrolytic capacitors in a non-negative-feedback discrete linear power supply.

SOULNOTE describes this as the world’s first non-feedback discrete linear supply used in a music server, although that claim is based on the company’s own research.

The chassis measures 454 × 174 × 393mm and weighs approximately 22kg, making the R-3 physically closer to a large high-end component than a conventional computer-based server.

Z-3 ver.2 and Z-3X: General-Purpose or USS-Only

The network transport comes in two versions.

The Z-3 ver.2 supports USS as well as RAAT for Roon Ready operation, DLNA and UPnP, making it the more flexible option.

The Z-3X, by contrast, limits its LAN input to USS only. SOULNOTE’s intention is to remove general-purpose network protocols and simplify the software environment further for users who want to build a dedicated USS system.

The Z-3X is therefore not a Roon Ready endpoint.

Both models can be switched between Z-3 ver.2 and Z-3X software configurations, and existing Z-3 owners will be offered a paid upgrade path.

Both are priced at ¥1,650,000 in Japan and are scheduled for release in November 2026.

USS and RAAT Occupy a Similar Role — But Serve Different Goals

In practical system terms, USS sits in roughly the same part of the chain as protocols such as Roon RAAT.

For example:

Roon Server → RAAT → Z-3 ver.2

or:

R-3 → USS → Z-3 / Z-3X

Both are network audio transports between a server and an endpoint.

The difference is in priorities.

RAAT is designed as a broad ecosystem protocol that handles device discovery, format negotiation, synchronization and playback control across many manufacturers.

USS is much narrower. Its design is focused specifically on reducing processing activity at the receiving transport.

So USS should not be described as a direct RAAT replacement, but it does occupy a comparable functional layer in the playback chain.

USS and ZERO LINK Are Different Technologies

Another important distinction is the relationship between USS and ZERO LINK.

USS handles network transmission between the server and the transport.

ZERO LINK handles the digital connection between the transport and a compatible DAC or player.

SOULNOTE and SFORZATO designed ZERO LINK to move asynchronous processing away from the DAC and allow the transport to operate from the DAC’s clock reference.

A complete SOULNOTE system might therefore look like this:

R-3 → USS over LAN → Z-3 → ZERO LINK → D-3

or, with a conventional USB DAC:

R-3 → USS over LAN → Z-3 → USB → DAC

The Z-3 can also act as a bridge from USB input to ZERO LINK output.

SFP Networking and Support Up to PCM 768kHz

The Z-3 ver.2 and Z-3X provide both standard RJ45 Ethernet and an SFP port.

With an optical transceiver installed, users can connect the server and transport over fibre, while a copper RJ45 SFP module can also be used.

Supported audio formats extend to PCM 32-bit/768kHz and DSD512, with digital output available through ZERO LINK and USB.

The power supply uses a 260VA transformer, 16 SiC rectifier diodes and a four-rail non-feedback discrete design with a total of 70 electrolytic capacitors.

Each transport weighs approximately 20kg.

How Far Should Network Audio Be Separated?

What makes the R-3 and Z-3 platform interesting is not simply the cost or the unusually large power supplies.

Most modern network players combine server functions, network reception, DAC processing, clocking and analogue output into a single chassis.

SOULNOTE is moving in the opposite direction.

It separates these functions and treats processing load and electrical noise at each stage of the digital chain as engineering variables worth controlling independently.

RAAT and UPnP/DLNA prioritise flexibility and compatibility. USS prioritises a narrower and more controlled playback path.

Whether that design produces an audible improvement will ultimately require independent comparison. Changing the network protocol does not make the underlying music data more accurate.

The claim is instead about electrical behaviour inside the playback hardware.

Still, the fact that SOULNOTE is designing everything from the server-to-transport protocol to the transport-to-DAC interface illustrates how far high-end network audio has moved beyond simply adding more streaming services.

Key Specifications

	R-3	Z-3 ver.2 / Z-3X
Role	Reference music server	Network transport
USS	Output	Input
Roon	Can feed Roon-compatible endpoints	Z-3 ver.2 only: Roon Ready
Internal storage	1TB SSD	None
Network	RJ45	RJ45 / SFP
Digital output	USS over network	ZERO LINK / USB
PCM	Server output	Up to 32-bit/768kHz
DSD	Server output	Up to DSD512
Power transformer	300VA	260VA
Weight	Approx. 22kg	Approx. 20kg
Availability	November 2026	November 2026
Japan price	¥2,090,000	¥1,650,000

Source : SOULNOTE
https://www.soulnote.co.jp/detail_r3.html
https://www.soulnote.co.jp/detail_z3ver2.html

2026년 October 20일

Audiolab PPA7 Combines MM/MC Phono, aptX HD Bluetooth and 24-bit/192kHz Vinyl Recording
Audiolab PPA7 Phono Amp

Audiolab has introduced the PPA7, a new standalone phono preamplifier that combines conventional MM/MC cartridge support with a dedicated headphone amplifier, Bluetooth transmission and USB recording for digitising vinyl.

Priced at £499 in the UK, $699 in the U.S. and A$1,099 in Australia, the PPA7 is scheduled to go on sale in late October 2026. It is Audiolab’s first standalone phono stage in roughly two decades.

MM and MC Cartridge Support

The PPA7 provides separate RCA inputs for moving-magnet and moving-coil cartridges.

The MM input is fixed at 47k ohms, with selectable capacitance settings of 100pF or 220pF. The MC input offers selectable loading of 100 ohms or 330 ohms.

Maximum gain is rated at 52dB for MM and 66dB for MC, with an additional ±6dB of gain adjustment in 1dB steps.

The RCA output can be configured as either fixed or variable, allowing the PPA7 to feed a conventional integrated amplifier or preamplifier, or connect directly to a power amplifier or active loudspeakers.

Wired and Wireless Headphone Listening

Audiolab also includes a dedicated 6.35mm headphone output.

The headphone amplifier uses a current-feedback design and delivers up to 600mW, making it possible to build a compact vinyl listening setup around only a turntable, the PPA7 and a pair of wired headphones.

The more unusual feature is Bluetooth 5.3 transmission.

The PPA7 does not receive music from a phone. Instead, it converts the turntable signal and sends it wirelessly to compatible Bluetooth headphones or speakers, with aptX HD supported for higher-quality transmission.

That gives users the option of listening to vinyl wirelessly without changing the basic analogue source setup.

Vinyl Recording Up to 24-bit/192kHz

The USB-C connection is used as a recording output, rather than as a digital audio input.

An internal ADC allows vinyl playback to be sent to a PC or Mac and captured at resolutions up to 24-bit/192kHz.

Supported recording rates range from 44.1kHz to 192kHz, with both 16-bit and 24-bit options available. Recording level can be adjusted from -12dB to +3dB, helping users avoid clipping when digitising records with different output levels.

This feature may be especially useful for archiving rare records, alternate masterings or albums that are unavailable on streaming services.

Recording at 24-bit/192kHz, however, should not be interpreted as meaning that the original vinyl source contains equivalent digital resolution. The figure describes the capability of the PPA7’s analogue-to-digital conversion stage.

Analogue Playback with Modern Convenience

The PPA7 is designed to preserve the role of a conventional phono preamplifier while adding optional digital functions around it.

Users can keep the signal path simple through the RCA output, listen privately through wired headphones, send records wirelessly via Bluetooth, or archive them through USB-C.

Audiolab has styled the PPA7 to match the company’s recent D7 DAC, using a compact 208mm-wide aluminium chassis with a 33mm OLED display. Black and silver finishes will be available.

The broader idea is to bridge two types of vinyl user: listeners who want a traditional phono stage, and those who also want to integrate headphones, wireless playback and digital archiving into the same system.

Key Specifications
- Type: MM/MC phono preamplifier
- MM input impedance: 47k ohms
- MM capacitance: 100pF / 220pF
- MC load impedance: 100 ohms / 330 ohms
- Maximum gain: MM 52dB / MC 66dB
- Additional gain adjustment: ±6dB in 1dB steps
- Analogue output: RCA, fixed / variable
- Headphone output: 6.35mm
- Maximum headphone output: 600mW
- Bluetooth: 5.3 transmitter
- Bluetooth codec: aptX HD
- USB: USB-C recording output
- Maximum recording resolution: 24-bit/192kHz
- Recording level adjustment: -12dB to +3dB
- Display: 33mm OLED
- Dimensions: 208 × 56 × 180mm
- Weight: approx. 1.4kg
- Finishes: Black / Silver
- UK price: £499
- U.S. price: $699
- Australian price: A$1,099
- Availability: Late October 2026
Source : Audiolab https://www.audiolab.co.uk/products/ppa7
2026년 October 17일
Clearaudio Compact Phono, A Phono Stage Small Enough to Disappear Beside the Turntable
Clearaudio Compact Phono

Clearaudio has introduced the Compact Phono, a small MM/MC phono stage designed to minimize the space required around a turntable. Measuring just 115mm wide, 80mm deep and 26mm high, the unit supports both moving-magnet and moving-coil cartridges while keeping setup relatively simple.

The Compact Phono is available in Black and Silver. Pricing is listed at €490 in Europe, £490 in the UK and $639 in the US.

MM and MC Switching Without Opening the Chassis

One of the key practical features of the Compact Phono is its external MM/MC switching.

Some earlier compact Clearaudio phono stages rely on underside switches or internal settings for cartridge configuration. The Compact Phono allows users to select MM or MC mode directly from the unit without opening the chassis.

Input impedance and capacitance are specified at 47kΩ / 100pF for MM and 100Ω / 100pF for MC.

Gain is set at 40dB for MM and 60dB for MC, while MC headroom is specified at 29dB.

Two-Stage Amplification Circuit

The Compact Phono uses low-noise, precision operational amplifiers in a two-stage amplification circuit.

Most of the gain is handled in the first stage, while the second stage is used for filtering and additional signal conditioning.

A 16Hz subsonic filter is included to reduce very-low-frequency rumble generated by the turntable or record. At the opposite end of the spectrum, a 70kHz ultrasonic filter limits unwanted high-frequency content outside the audible range.

RIAA equalization is also handled within the internal circuit.

±18V Power Supply

The Compact Phono uses a ±18V power supply architecture, with two linear voltage regulators used to provide stable operating voltage to the phono circuit.

The electronics are housed in a metal enclosure, while isolation feet are fitted underneath to reduce the transmission of external vibration.

Clearaudio also states that the circuit has been designed for improved efficiency, helping reduce both heat generation and power consumption.

Small Size, Simpler Setup

Clearaudio already offers relatively compact MM/MC phono stages such as the Nano Phono V2 and Smart Phono V2.

The Smart Phono V2 measures 95 x 125 x 34mm and uses underside switches for MM/MC configuration. The Nano Phono V2 also relies on DIP-switch settings located underneath the unit.

The Compact Phono reduces the enclosure height to just 26mm while making cartridge-type selection accessible from the outside.

That distinction is arguably more important than the size reduction alone. Rather than focusing on extensive cartridge-loading and gain adjustment, the Compact Phono is designed around a simpler workflow: connect an MM or MC cartridge, select the appropriate mode and use the unit without additional internal configuration.

Key Specifications
- Model: Clearaudio Compact Phono
- Cartridge support: MM / MC
- MM input: 47kΩ / 100pF
- MC input: 100Ω / 100pF
- MM gain: 40dB
- MC gain: 60dB
- MC headroom: 29dB
- Subsonic filter: 16Hz
- Ultrasonic filter: 70kHz
- Power supply: ±18V
- Dimensions: 115 x 80 x 26mm
- Finishes: Black, Silver
- Price: €490 / £490 / $639
Official Website : https://www.clearaudio.de/en/electronics/
2026년 September 18일
Schiit Unveils Bifrost 3, Moving from Multibit to Mesh and ESS

Schiit Bifrost 3

Third-generation Bifrost combines Mesh 8×39 filtering, dual ES9039 modulators, Unison 384 USB and Forkbeard control

Schiit Audio has unveiled the Bifrost 3, the third generation of one of the company’s best-known standalone DACs. The new model represents a significant change in direction for the Bifrost line, moving away from the multibit architecture that defined the Bifrost 2 generation and adopting a new design built around Mesh 8×39 digital filtering and ESS ES9039-based modulators.

Schiit describes the Bifrost 3 as the highest-performing Bifrost it has produced to date, while also lowering the starting price to $699. The silver finish is priced at $729. Pre-orders are open with a $10 refundable deposit, which is credited toward the final purchase price, and shipping is expected to begin in late October 2026.

The Biggest Change: From True Multibit to Mesh

The most important change in the Bifrost 3 is the DAC architecture itself. Previous Bifrost 2 models were built around Schiit’s long-established multibit conversion approach and proprietary digital filtering, while the Bifrost 3 introduces the company’s newer Mesh 8×39 architecture.

Mesh combines Schiit’s own digital filter design with conventional delta-sigma modulation. In the Bifrost 3, the filter runs on an Analog Devices DSP, while separate ESS ES9039 devices are used as mono modulators for the left and right channels.

This is more than a simple DAC-chip change. Schiit has already expanded Mesh across products such as Mimir, Modi 5 and its Mesh DAC Card, but the Bifrost 3 brings that architecture into one of the company’s core midrange standalone DAC platforms.

Unison 384 and Forkbeard Expand the Role of the DAC

The Bifrost 3 also introduces Schiit’s latest Unison 384 USB interface, a higher-speed implementation of the company’s proprietary USB input architecture designed to support PCM sampling rates up to 384kHz.

More importantly, the addition of Forkbeard pushes the Bifrost 3 beyond the role of a conventional DAC. Forkbeard is Schiit’s app-based control platform, and on the Bifrost 3 it enables functions including volume adjustment, channel balance, parametric EQ, digital filter selection, phase inversion and input switching.

The platform also supports OTA firmware updates, allowing Schiit to add or refine software-based functions after purchase.

Forkbeard is designed without requiring users to create a cloud account or maintain a permanent cloud connection. Multiple compatible Schiit products can be grouped and controlled from the same interface, giving the Bifrost 3 a stronger digital preamplifier role than earlier generations.

Upgrade Compatibility with Bifrost 2

Despite the move to a new architecture, Schiit has retained a degree of hardware compatibility with the previous generation.

The new UberMesh output card can be installed in the Bifrost 2, while existing Bifrost 2 cards remain compatible with the Bifrost 3. That gives current owners a path toward the new architecture without requiring a complete replacement of the DAC.

The UberMesh card is priced at $250 and is also available for pre-order with a $10 deposit. Shipping is scheduled for late October alongside the Bifrost 3.

This modular approach continues one of Schiit’s more distinctive product strategies: retaining user-replaceable hardware while adding new functionality through firmware and software.

Pricing Drops to $699

Another notable aspect of the Bifrost 3 is the lower price.

The black version is priced at $699, while the silver finish costs $729. Schiit says improvements in the efficiency of its in-house SMD manufacturing have helped make the lower pricing possible.

The industrial design has also been updated. Exposed top-panel fasteners have been reduced, and a new light bar is used to indicate input and operating status, giving the Bifrost 3 a cleaner appearance than its predecessor.

What the Bifrost 3 Means for Schiit

The most interesting aspect of the Bifrost 3 is not simply performance or price. It is the fact that Schiit has moved one of its most recognizable DAC lines away from the multibit architecture that had become part of the Bifrost identity.

That does not mean Schiit is abandoning multibit conversion altogether. The company continues to use True Multibit-based architectures in higher-end products. Mesh should instead be viewed as a parallel platform that combines Schiit’s proprietary digital filtering with more flexible delta-sigma hardware.

As a result, the Bifrost 3 is no longer defined simply as a “multibit DAC.” It has evolved into a broader digital platform combining DSP, digital preamplifier functions, parametric EQ, OTA firmware updates and modular hardware upgrades.

For existing Bifrost 2 owners, the $250 UberMesh card provides an upgrade path without requiring a completely new unit. For new buyers, the Bifrost 3 represents a major shift in the design philosophy of one of Schiit’s longest-running DAC families.

The Bifrost 3 is expected to begin shipping in late October 2026 and is currently available for pre-order from Schiit with a $10 refundable deposit.

Official Website : https://www.schiit.com/products/bifrost-3

2026년 September 12일
Wattson Audio Madison Phono Launches with Dedicated MM, MC and Optical Inputs and Digital EQ

Interchangeable input modules for MM, MC and DS Audio optical cartridges, 32-bit/384kHz signal processing, and both analog and digital outputs

Swiss audio manufacturer Wattson Audio has announced the commercial launch of the Madison Phono. First unveiled at HIGH END Vienna in June, the new phono stage has now entered full retail availability through authorized Wattson Audio dealers following the company’s September 10 announcement.

At the heart of the Madison Phono is an unusual hybrid architecture. Cartridge signals are amplified in the analog domain, while equalization is performed digitally. Rather than simply adding a digital output to a conventional phono stage, Wattson Audio combines cartridge-specific analog front ends, high-resolution digital EQ, an internal DAC, and both analog and digital outputs in a compact chassis.

Three Dedicated Input Architectures

The Madison Phono is available with one of three input architectures: Voltage, Current, or Optical. Instead of relying on a single universal circuit with adjustable gain and loading, each version uses an input stage designed around the electrical behavior of a particular cartridge type.

The Voltage input is intended for MM and higher-impedance MC cartridges and operates as a conventional voltage-sensing stage. It provides multiple gain and input-impedance settings for different cartridge requirements, allowing users to select the combination appropriate for the cartridge’s output level and recommended loading.

The Current input is designed for low-impedance moving-coil cartridges. It uses an active transimpedance circuit derived from technology developed by CH Precision, converting the cartridge’s current output into voltage. Wattson Audio says this approach is intended to reduce sensitivity to cable characteristics and conventional loading interactions.

The Optical version is designed specifically for DS Audio optical cartridges. It incorporates both the required transimpedance circuitry and the power supply needed by the optical cartridge system.

Each Madison Phono is supplied with one of these three input modules installed, and the module can be changed later if the owner moves to a different cartridge technology. It should therefore not be interpreted as a universal three-input phono stage capable of accepting MM, MC, and optical cartridges simultaneously without reconfiguration.

Analog Gain Followed by 32-bit/384kHz Digital EQ

The signal path also differs fundamentally from that of a conventional all-analog phono stage. The cartridge signal first passes through an analog amplification stage without phono equalization. It is then converted to digital at 32-bit/384kHz, where the playback EQ curve and filtering are applied.

The Madison Phono provides five equalization curves: RIAA, Columbia, Teldec, EMI, and Decca. Wattson Audio specifies equalization accuracy of ±0.1dB. By removing the EQ network from the analog gain stage, the company says it can simplify the analog signal path while improving the precision and repeatability of the equalization process.

The additional EQ curves are particularly relevant to collectors of older records, although they should not be treated as automatic label-specific presets. For the vast majority of modern records, RIAA remains the appropriate playback curve.

Front-panel controls provide access to EQ selection, gain, mono playback, and a subsonic filter. The mono function sums the left and right channels, while the subsonic filter attenuates frequencies below 15Hz.

Analog and Digital Outputs

The Madison Phono provides stereo RCA analog outputs alongside coaxial and optical S/PDIF digital outputs. The analog connection allows it to feed a conventional preamplifier or integrated amplifier, while the digital outputs can be connected to the Madison Streamer or to a third-party DAC.

An important distinction is the difference between the unit’s internal processing resolution and its digital output specification. A/D conversion and equalization are performed at 32-bit/384kHz, but the S/PDIF outputs operate at up to 192kHz, with a user-selectable 96kHz downsampling option. The Madison Phono therefore does not pass a native 384kHz signal directly to an external DAC.

The RCA analog outputs are not part of a pure analog bypass path either. Signals pass through the digital equalization stage before being converted back to analog by the Madison Phono’s internal DAC.

This makes Wattson Audio’s design philosophy clear: the goal is not to avoid digital conversion, but to use it deliberately to provide more precise equalization, broader cartridge compatibility, and greater flexibility in system integration.

Ethernet for Control, Not Streaming

An Ethernet connection is also provided, but its purpose should not be confused with network audio playback. The network interface is used for remote control, device management, and firmware updates.

The connection is optional for normal playback, and the Madison Phono does not function as a network streamer or transmit the vinyl signal across the network as an audio stream.

Compact Chassis, $5,495 in the US

The chassis is machined from aluminum and measures 175 × 185 × 52mm (W×D×H), with a weight of 1.7kg. Light Gray and Dark Gray finishes are available.

The Madison Phono is supplied with an external power supply and can also be paired with Wattson Audio’s optional Madison Power S power supply.

US pricing is $5,495, while European pricing is €5,240 including VAT. Availability and pricing for South Korea have not yet been confirmed.

What makes the Madison Phono notable is not simply the inclusion of digital processing in an analog source component. Its defining feature is the combination of cartridge-specific input architectures, programmable playback equalization, and the ability to feed either a conventional analog system or an external digital converter.

Whether that architecture delivers an audible advantage will ultimately require independent listening and measurement. From an engineering standpoint, however, the Madison Phono represents a distinctly modern approach to vinyl playback—one that treats analog and digital technologies not as opposing philosophies, but as complementary tools within the same signal chain.

Official Website : https://www.wattson.audio/madison-phono

2026년 September 12일
Majority Launches Fitzwilliam Hi-Fi Series with Spotify Lossless Support

British audio brand Majority has launched the new Fitzwilliam hi-fi series, combining CD playback, network streaming and traditional full-width component design. The range consists of three models: the Fitzwilliam CD, Fitzwilliam AMP and Fitzwilliam CD AMP.

All three models support Spotify Lossless via Spotify Connect. With Spotify now offering lossless streaming at up to 24-bit/44.1kHz, the Fitzwilliam range brings lossless playback into a much more affordable hi-fi segment, with prices starting at £179.95.

Fitzwilliam CD Combines CD Playback and Streaming

The Fitzwilliam CD is designed as a CD player and network source component for use with an existing amplifier or active loudspeakers.

It uses a slot-loading CD mechanism and supports CD, CD-R and CD-RW playback. Network features include Spotify Connect with Spotify Lossless, internet radio, podcasts, DAB/DAB+ and FM radio.

Bluetooth 5.2 is also supported, along with MP3 playback from USB storage devices of up to 128GB.

For system integration, the Fitzwilliam CD provides stereo RCA analog output together with optical and coaxial digital outputs, allowing it to be connected to an integrated amplifier, external DAC or compatible active speaker system. An RCA analog input and 3.5mm headphone output are also provided.

A 3.2-inch color display is fitted to the front panel, while control is available from the chassis, supplied remote handset or the OKTIV app.

Fitzwilliam AMP Adds 200W Class D Amplification

The Fitzwilliam AMP combines network streaming with an integrated amplifier.

It uses a Texas Instruments-based two-channel Class D amplifier rated at 200W total output. Spotify Connect and Spotify Lossless are supported alongside internet radio, podcasts, DAB/DAB+, FM, Bluetooth and USB MP3 playback.

Connectivity includes RCA analog input as well as optical and coaxial digital inputs. The amplifier also provides speaker outputs, an RCA pre-out and a 3.5mm headphone output.

Users can select preset EQ modes or make their own adjustments through the My EQ function, including bass, treble and loudness settings.

Fitzwilliam CD AMP Combines CD, Streaming and Amplification

The Fitzwilliam CD AMP is the most integrated model in the range.

It combines a 200W Class D amplifier with a tray-loading CD player, allowing a complete system to be built by simply adding a pair of passive loudspeakers.

The CD section supports CD, CD-R and CD-RW playback, while network and wireless functions include Spotify Lossless, internet radio, podcasts, DAB/DAB+, FM, Bluetooth and USB MP3 playback.

External sources can be connected through RCA, optical and coaxial inputs, while an RCA pre-out and headphone output are also included.

All three Fitzwilliam models use a traditional full-width hi-fi chassis measuring 43.5cm wide, 29.7cm deep and 7.4cm high.

Spotify Lossless Reaches More Affordable Hi-Fi Hardware

The most significant aspect of the Fitzwilliam range is not simply the combination of CD playback and streaming, but the fact that Spotify Lossless is now appearing in relatively inexpensive traditional hi-fi components.

Spotify Lossless is available to Premium subscribers at up to 24-bit/44.1kHz. On compatible third-party hardware, lossless playback can be delivered through Spotify Connect, although Spotify notes that not every Connect-enabled device supports Lossless.

That makes hardware compatibility increasingly important as Spotify expands lossless playback beyond phones, computers and premium network audio products.

The Fitzwilliam series combines the familiarity of physical CD playback with modern lossless streaming, offering users a straightforward way to use both formats within a conventional hi-fi system.

Pricing Starts at £179.95

The Fitzwilliam CD is priced at £179.95 in the UK and €199 in Europe.

The Fitzwilliam AMP is priced at £199.95 / €229, while the Fitzwilliam CD AMP costs £229.95 / €269.

All three models are now available in the UK and European markets.

Rather than targeting the high-end sector, the Fitzwilliam series focuses on combining traditional hi-fi system architecture with modern streaming convenience at an accessible price. Its support for Spotify Lossless is particularly notable, showing how lossless streaming is beginning to move beyond premium network players and into mainstream hi-fi components.

Meta Description: Majority has launched the Fitzwilliam CD, AMP and CD AMP, combining traditional hi-fi design with Spotify Lossless, CD playback and network streaming from £179.95.

2026년 September 7일