Audiophilepure

The xDuoo DM-01 delivers a bass response that leans more toward warmth and musicality than sheer impact. Compared to solid-state sources like the FiiO K11, the DM-01 is slightly sub-bass light, favoring a fuller and thicker mid-bass presentation.

While it still reaches impressively low, sub-bass notes tend to be more reserved, with the emphasis placed instead on mid-bass warmth and body.

This tuning lends itself well to genres like funk and disco, where rich bass guitar lines come through with a lush, rounded quality.

The DM-01 plays synth basslines with a relaxing fullness yet retains enough resolution to preserve the textural detail and harmonic nuances of acoustic instruments and plucked strings.

Despite its mid-bass tilt, the DM-01 avoids excessive bloat or bleed into the midrange. It maintains a clean separation that ensures clarity in modern pop, rock, and hip-hop tracks.

https://www.hifinews.com/content/manley-neo-classic-300b-tube-power-amp

Even more riveting was Craft’s astonishing 4LP box set, Miles ’54 – The Prestige Recordings [CR00689]. Although cut only four years later than the Sinatra sessions, the sound quality available to Miles Davis audibly expanded the dynamic range and added heft to the bass and drums. The attack of the trumpet and the breathiness of the saxes were of a standard yet to be bettered, and it was here that both the feedback settings and the single-ended-vs-push-pull variances of the Neo-Classic were made vivid.

As theories go, this is pretty lame, but I feel that mono frees the listener (in auditioning mode rather than listening purely for pleasure) from the distractions of worrying about imagery, soundstage and other stereo-related virtues. Instead, one listens just to the performance and the instruments.

The Line Noise BlackHole occupies a fairly diminutive metal case with an IEC input and a power switch on the back panel. A single multi-compatibility outlet is on the front panel (it works for both IEC three-prong and Schuko plugs) and is accompanied by a single status LED. The Snub Station Zero’s case has slightly larger dimensions, sports the same back panel IEC input and power switch, but has a total of three multi-compatibility outlets on the front panel. Two of them are identified in the manual as “low power,” and are designed for less demanding audio equipment. The third outlet, designated as “high power” and “soft start,” provides a more effective interface with high-current devices like power amplifiers. And whether vintage, solid state, or tubes, all would benefit from reducing the burst of transformer energy that occurs when those devices are fired up. The reduction of in-rush current translates not only into reduced noise at startup, but also increased life and reduced wear on the amplifier’s transformer windings. The front panel has a pair of LEDs, one for power-on status and another that’s marked “SSR” that lights after the input power has stabilized. 

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That softness made the slightly bright electric piano throughout Kathryn Joseph’s ‘What Is Keeping You Alive Makes Me Want To Kill…’ [For You Who Are Wronged; Rock Action Records ROCKACT144; 44.1kHz/24-bit] more palatable, and ensured it was easier to focus on her smooth-sounding vocals. This Scottish songwriter’s carefully delivered, often personal, lyrics deserve a direct listen, which is precisely what the S7t Limited Editions encouraged, echoing her minimalistic but very effective performance on stage at Antwerp’s De Roma theatre earlier in 2025.

With emotionally charged music in this vein, Perlisten’s floorstanders are in their element. Elsewhere, though, they gave a a meaty rendition of ‘Hertan’ on Birna [Norse Music 19802848222; 48kHz/24-bit] from Norwegian multi-instrumentalist group Wardruna. Fairly spatial and three-dimensional, as all historically inspired ‘ethnic’ music seems to be, once again the focus here was more on power and immediacy than on filling the listening room from top to bottom. Still, it easily carried me back to the time of the Vikings, which is the point of this band’s songs. Now, where’s my axe?

The second option is also via the Qobuz app, but instead of headphones, you’d be listening through a Bluetooth speaker connected to a smartphone. Alternatively to Bluetooth, you can transmit Qobuz to your speaker via Wi-Fi using AirPlay (CD quality) or Google Cast (up to 96 kHz/24 bit). Music transfer can be found in the same place on the Qobuz app for Bluetooth and Wi-Fi, via the small icon at the bottom of the playback screen.

Qobuz is aware that many enjoy listening to Qobuz on connected Hi-Fi equipment. This may take on different forms—wireless loudspeaker, streamer, audio server, preamplifier, amplifier, or soundbar—but in any case, you’re probably using either the app provided by the manufacturer of your equipment or a third-party app such as Audirvana, BubbleUPnP, or Roon. This is the third listening optio

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The forceful sound of the ZEN Blue 3 is also right at home on the more boisterous The Big Sky by Kate Bush. The compact FiiO speakers don’t have the strongest bass output, but the DAC brings out the rich, woody texture of the didgeridoo that opens the track and there’s a satisfying weight to the accompanying funky slap-bass riff. The ZEN Blue 3 holds its balance as the avalanche of drums and percussions piles up in the closing section, but it still manages to find room for important lighter touches, such as the gentle shimmer of the tambourine as the final chorus goes galloping off into the sunset

dCS introduced Varèse to Switzerland this May at the stunning Golf & Country Club de Bonmont in Chéserex, together with its friends and partners, HIFI Lausanne and PPL Audio. dCS presented its latest flagship music system on active demonstration with both Estelon and Raidho Acoustics.