Audiophilepure

https://www.whathifi.com/hi-fi/dacs/fiio-k15-is-a-versatile-feature-packed-headphone-amp-and-streaming-dac

FiiO is positioning the K15 as featuring “trickledown technology” from its higher-end K17 model, claiming to achieve pricing at half that of comparable rivals.

The company claims that the new K15 delivers an organic, immersive sound signature, while maintaining ultra-low distortion and wide dynamic range. Whether that translates to genuinely premium performance at this price point, remains to be heard.

At the heart of the amplification stage sits a discrete Class A/B circuit capable of delivering up to 3000mW per channel through its balanced output. That should be enough grunt to drive both sensitive in-ear headphones and high-impedance over-ear headphones.

The fully balanced signal path extends from the DAC stage right through to amplification, with FiiO choosing a tri-board design that separates digital, analogue and power supply sections across different PCBs. This approach should, in theory, reduce crosstalk and electrical interference for cleaner sound reproduction

https://www.soundandvision.com/content/arylic-prices-lp10-airplay-2google-cast-streamer-99

Networking options include dual-band 802.11ac Wi-Fi and a 10/100 Mb/s Ethernet port. Physical I/O consists of 3.5mm analog line-in and line-out jacks, an optical S/PDIF output, and a USB-A port that plays files from storage devices up to 16GB (about 1000 tracks). A 0.91″ OLED panel, four touch buttons, an IR remote, and Arylic’s Go Control app handle operation. The aluminum chassis measures a compact 108 × 72 × 26.6mm and it weighs 500g.

Since Qobuz and Tidal are the only streaming apps available on the R3Pro II, neither is accessible in my country, as previously mentioned.

And since I don’t have any device that can transmit or receive AirPlay, DLNA, and HiByLink, I can only test the WiFi speed and signal strength through the use of the WiFi music transfer feature, which allows transferring music files from a PC or a Laptop to the R3Pro II wirelessly, no cables needed.

To allow wireless music transfer from the PC, the R3Pro II needs to be connected to the same WiFi network as the PC. I then need to go wireless and navigate to the ‘Import music’ page.

There, I’m shown an IP address that I need to type into my internet browser to go to the page where I can drop the music file.

It took about 30 seconds to transfer a 50.2MB worth of music album folder with 13 songs, which isn’t bad in my opinion.

During the past weeks I have used the EXA100 in my stereo system as integrated and power amplifier. Though most time went into it being used as a stereo power amplifier. The Cambridge Audio EXA100 was placed in the chain together with my Chord Electronics Hugo TT2, the Cambridge Audio EXN100 and the Eversolo DMP-A10 as sources. Pre-amp duties were laid on the Holo Audio Serene KTE and the LAiV Audio HP2A.

Streaming came through my self-built Roon ROCK server. All my gear is powered by my AudioQuest PowerQuest 707, while all analogue cables were AudioQuest’s Black Beauty interconnects.

https://www.enjoythemusic.com/superioraudio/equipment/0725/Genesis_G7_Samba_Floorstanding_Loudspeaker_Review.htm

I listened to a variety of genres via both analog and digital sources. The Jimi Hendrix Experience’s most recent vinyl pressing of the 1968 chart-topping album Electric Ladyland was a 3 double LP “Deluxe” edition, which included an all-analog version of the album mastered by Bernie Grundman. The album begins with an explosion of bass thanks to engineer Eddie Kramer’s slowing down of the tape. The remaining album features not only Jimi Hendrix’s most sophisticated psychedelic blues compositions but also his first-class guitar performance. 

This album’s newest mastering brings out the clearest treble and smoothest-sounding midrange I’ve ever heard on the oft-played masterpiece. The Sambas were able to envelop me in sound. The speakers’ huge soundstage surrounded these large speakers and extended far behind and to their sides. I was amazed at how the speakers, which were more than five feet tall, could disappear into the front of my listening room. Their pinpoint imaging, for example, on drummer Mitch Mitchell’s cymbals, swirled above the speakers, separated from the sonic fray.