Audiophilepure

The chassis is made of solid aluminum alloy, sandwiched between a 5.5-inch full-HD touchscreen and a tempered glass back, printed with logos and text. I like the lines on both the left and the right side. The corners and edges are subtly chamfered, making for a refined feel.

My review sample came in black, but the M33 R2R is also available in blue and titanium gold. The finish appears to be anodized.

The M33 R2R is a mid-sized DAP with dimensions of approximately. 138.2 x 71.5 x 17 mm, and moderate in weight, approximately 258g.

In my opinion, it hits the sweet spot for Android-based DAPs: neither too small, too big, nor too heavy to bring along on long trips. The size allows for a screen that makes controlling the Android operating system easy.

The M33 R2R 5.5-inch touch screen has excellent brightness, color, contrast, and viewing angles. The color accuracy and refresh rate are good.

I estimate the screen refresh rate is 60 Hz, but I would love a 120 Hz refresh rate like on my phones; however, 60 Hz is acceptable and the current norm for Android DAPs

A Love Supreme” is the most famous and successful studio album of jazz saxophonist John Coltrane and still considered his masterpiece. Recorded in December 1964 at Van Gelder Studios in Englewood Cliffs, New Jersey, USA, this record has been selected from the Universal Music Archive for our Archival Tape Edition. Today Supersense announce our most 

https://www.theaudiobeat.com//music/patricia_barber_modern_cool_lp.htm

How does the sound of the new Impex pressing stack up to that of earlier pressings? It’s easily better than that of my prior favorite, the Premonition 180-gram reissue from 2014. In its day, this release easily bested the 1998 pressing and even the 45rpm Mobile Fidelity box set from 2005, and it gave rise to the false assumption that Modern Cool could never sound better. However, Impex dug a little deeper and found room for improvement. This latest release achieves better separation and definition of the instruments, with the band playing in a deeper and more realistic space. In that respect, the music seems less “in your face” because of the added depth and overall dimensionality. The music simply sounds less digital, closer to that of an all-analog recording.

https://www.hifinews.com/content/pro-ject-signature-122-turntablearm

Contributing to this moreish sound is the turntable’s superlative bass. The Signature 12.2’s innovative drive system and bearing, plus that weighty platter, combine to give good speed stability [again, see PM’s Lab Report] and a low end that is precise and richly textured. The rhythm section in Caro Emerald’s ‘Back It Up’ [Deleted Scenes From The Cutting Room Floor; Grandmono Records STEMRA GM006] bounced along, snappy and tight and deep. Meanwhile, Caroline van der Leeuw’s vocals stood proud of the accompaniment, and the Signature 12.2 brought bags of scale, punch and drive to the whole piece.

Even better, Neil Peart’s drums on Rush’s ‘Leave That Thing Alone’, from 1993’s Counterparts [Atlantic 7567825281], had floor-shaking impact. Geddy Lee’s basslines were sinuous, fluid and distinct. Turntables with less accomplished drive systems can cause the notes here to subtly merge into each other, but Pro-Ject’s deck was having none of it.