Audiophilepure

https://www.headfonia.com/hifiman-arya-wifi-review/

Control is handled via a four-button interface: power, function, and volume up/down. It works, but the system leans heavily on long-press combinations and provides little intuitive feedback, which makes it less friendly than most modern app-based setups. The absence of a companion app is refreshing in principle, but in practice it makes configuration more cumbersome than it needs to be.

Setting up WiFi requires connecting to the headphone’s temporary access point and configuring it through a browser interface. It avoids app dependency, which is a legitimate design choice, but the experience feels more than a little archaic. Once configured, automatic reconnection works reliably – a small but welcome convenience.

Bluetooth performance is excellent. LDAC delivers stable, high-quality streaming, though the lack of aptX Lossless and multi-device support does limit flexibility. The absence of a microphone further reduces its usefulness for anyone hoping to double this up as a work headset.

https://www.hifinews.com/content/dcs-var%C3%A8se-transport-cdsacd-transport

This performance was matched by the better streaming services, as was the sound of the all-star AngelHeaded Hipster tribute to Marc Bolan [BMG 538605850]. Joan Jett’s ‘Jeepster’ lacked the impetus of the original but had a brief, killer, guitar stab, while Lucinda Williams’ take on ‘Life’s A Gas’ was bonkers, but superbly focused. One possible advantage of the disc? Streaming services don’t have the set’s overblown version of ‘Get It On’ by U2 and Elton John – although on reflection that’s perhaps a mercy.

The Transport fought back with its rendition of Vivaldi’s ‘Violin Concerto in A major’ [The Trondheim Concertos; 2L 2L-172-SABD]. The stream via Tidal matched the CD playback, but the SACD layer opened up the sound, making even more of the reverberant church acoustic in this exemplary recording by label founder Morten Lindberg

I did my standard 24-hour burn-in for review units by leaving the MP145 PRO playing at a moderate volume continuously, using a DAP I don’t use often.

For the sources, I used my iBasso DC-Elite and MUSE HiFi M6 Double DAC amplifiers, with my OnePlus 13 Android phone and Sony DAP as the music source, and the FiiO M15s DAP, using either UAPP or PowerAmp music player Apps. No EQ or any sound enhancement programs were used.

There are noticeable differences in sound among the three included nozzles; the red nozzle is the darkest-sounding, while the silver nozzle is the most forward-sounding. The rose gold nozzle sits in between.

https://www.stereophile.com/content/doshi-audio-evolution-stereo-power-amplifier

Doshi described the biasing process. “The front panel has four buttons around the display: Top left, power; top right, mute; bottom left, display on/off; bottom right, function. To activate the display, press the bottom left button. Now the display will stay on until the button is pressed again. Use the function button to step through the five functions: 1—hours elapsed, 2—bias for tube pair V1 (first LED below the window is lit), 3—bias for tube pair V2 (second LED under the window is lit), and so on until the V4 bias. Pressing the button for the sixth time will bring it back to elapsed hours and no LEDs lit up.”The bias settings for the amplifier can be adjusted for a slightly different sound to match system and personal taste. Typically, settings from 170 to 200 on the display are safe to use, with 180–185 being the norm. Lower settings will lean out the sound, and higher settings will fatten it up for a more ‘tubey’ presentation.”I biased the tubes near 200, which sounded best to my ears. The rest of the system was the J.Sikora Standard Max Supreme turntable, Allnic-H-5500 phono stage, Ampsandsound Yosemite preamplifier—which according to the manufacturer has a modest (for a tubed pre) output impedance in the 300–600 ohm range, depending on what tube is used in the last position—and DeVore Fidelity Super Nine loudspeakers.