How do we get more young people into hi-fi? It’s a question numerous audio engineers and What Hi-Fi?'s team of experts have pondered for many moons.

The answer is tricky to nail down because, as Bob Dylan famously sang, the times are changing, so what worked for one person, even a few years ago, may not be the silver bullet we need to help spread the gospel of good sound right now.

Which is why, when AudioQuest unveiled a new version of its DragonFly portable DAC at High End Vienna 2026 – a device that was the gateway to better sound and start of a lifelong hi-fi journey for many people when it launched in 2012 – I couldn’t resist the urge to chat with its director of marketing, Stephen Mejias, to see if the brand has similar aspirations for the device with Gen Z.

To my surprise, for the DragonFly specifically, the answer is no. But AudioQuest does have some thoughts on how brands should approach the challenge.

A happy accident in the early 2010s

Talking to What Hi-Fi?, Mejias openly told us the original DragonFly’s success with younger listeners was more of a happy accident than an intentional effort.

“[We] are thrilled that DragonFly has reached as many people as it has, but we’re also realistic. We are not actively trying to attract younger music fans with any of the products we develop, but we’re certainly not trying to turn them away either. We want to create products that help as many people as possible enjoy their music, movies, and games to the greatest extent possible,” he said.

“Occasionally, as has been the case with DragonFly, that will mean reaching a relatively younger audience. We love that. But any success in reaching younger listeners was not so much the plan as it was a wonderful by-product of a job well done by everyone involved.”

He added this has not changed with the new DragonFly Copper, which the brand has designed with the same performance-per-pound (or dollar) focus.

“AudioQuest products are designed to represent outstanding value and performance within the context of their prices, and we do endeavour to create products that will appeal to anyone interested in enjoying more immersive, more emotionally compelling listening experiences. [But] it would be disingenuous to say that we have a plan for attracting younger music fans.”

But it does have a hot take…

Despite not overtly focusing on attracting younger audiences, Mejias told us AudioQuest does have some theories about why so many hi-fi brands are struggling to attract Gen Z – and what can be done to change the situation.

The main issue is that traditional hi-fi, which involves large racks and lots of excess space for products, according to Mejias.

“Young people are relatively active, their time is limited and spent doing multiple things at once [...] they are not just stopping all other activities to listen to music,” he told us.

“[They] do not have a lot of space that they control – that is, they don’t yet own their own homes, but rather either share an apartment or flat with roommates, live in dorms at school, or at home with their family – and they haven’t fully established themselves in the workforce. All these very important factors are in direct opposition to a pastime such as audiophilia that demands dedicated time, a controlled environment, and often lots of money.”

Which is why he thinks more affordable, portable, or at the very least plug-and-play systems are more likely to appeal to younger fans than traditional separates.

“The answer seemed clear to me then and remains so now: if we, as an industry, truly want to attract a younger audience, then we should make products that young people actually want to own, at prices they can actually afford, and that fit into their lifestyles,” he said.

“The fact that DragonFly is small, portable, works with mobile devices, makes an obvious and meaningful improvement to any music file played through it, is pretty to look at, fun to hold, and is relatively affordable does indeed make it attractive to a more diverse audience than, say, a pair of monoblock amplifiers and full-range loudspeakers.”

Mejias isn’t alone in his belief. US analyst firm Market Reports World, listed DACs, active speakers, and personal audio equipment as growing markets for the 18–34 demographic. Numerous traditional hi-fi firms have also cited systems, both active speakers and all-in-ones, as key growth areas. Cambridge Audio cited attracting younger music fans as a key reason it launched its new L/R Series of active speakers earlier this year.

Do you agree with Mejias? Let us know in the comments section below!

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The High End Show is always a fun time for hi-fi enthusiasts. Bringing together the crème de la crème of premium audio under one roof, the expo always delivers a wealth of sonic treats.

And despite changing location to Vienna, from its traditional Munich, this year’s show was no different. Our team on the ground saw everything from swish new premium B&O speakers to chic new CD systems from Ruark.

But for me, there was one shining star that attendees may have missed, due to its pocket-sized nature – the new DragonFly Copper from AudioQuest.

Why am I choosing a tiny mobile DAC / headphone amp over the sea of premium separates and speakers at the show as my highlight? The answer is a simple one; I’ve got history with the DragonFly.

The dalliance started in 2012 with the launch of the original DragonFly DAC. Though I grew up with hi-fi and continued to enjoy it as a young adult, the DragonFly was the first piece of audio hardware I reviewed as a journalist. As the saying goes, you always remember your first.

But that's not the main reason I remember the unit so fondly; it was also a top performer that genuinely revolutionised how I listened to music on the go at the time.

People may not remember it, but 2012 was a pretty dire time for mobile audio. I know that because I also reviewed mobile phones during the period and can personally confirm their audio quality was pretty poor.

I loved my Nexus 4, but, like nearly all of the phones at the time, its audio was sub-par, even with a decent pair of wired cans attached, and it wasn’t alone. Pretty much every laptop, tablet and mobile device you could use as a source didn’t cut the sonic mustard back then.

So having this tiny, affordable USB dongle that, to put it bluntly, just made things better, was a lifesaver – especially for a 20-something who regularly had to take red-eye flights across the pond for work.

We may be used to the idea now, with other players, including iFi, releasing a steady stream of similar products, but the DragonFly was the first properly good mobile DAC I experienced.

Which is why it has a room reserved in my memory palace, and I was genuinely a little sad when the AudioQuest DragonFly Cobalt DAC went out of production and was removed from our best DACs guide earlier this year.

It’s also why I was elated to see it return at High End Vienna and can’t wait to get a unit in for review and see if the new Copper lives up to the DragonFly’s legacy.

If even a smattering of the firm’s performance claims – which range from improved current efficiency to significantly meatier output power – ring true, then we could be in for quite the treat.

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We're big fans of AudioQuest's DragonFly range of DACs / headphone amps, so a new model is cause for celebration. The DragonFly Copper claims to be AudioQuest's most powerful and efficient DAC yet, and builds on the Award-winning Red and Cobalt models.

We're promised "gradual refinements" through better parts and materials. But these refinements should add up to some sizeable gains – the new 32-bit ESS Sabre DAC / headphone amp promises twice the output power of any previous model, while the new Microchip Technology Microprocessor reduces the current draw by 25 per cent and improves supply-chain efficiency.

It also promises lower noise and distortion, and has a high-conductivity copper-plated case for improved RF-noise drainage.

The case is "informed and inspired by" the RF-draining barrels of AudioQuest's Mythical Creatures interconnects. We had a first look at the Copper at High End Vienna 2026, and as before, the USB-shaped DAC has a USB type A connection at one end, with a 3.5mm headphone/audio output at the other. A USB-C adapter is also included.

The tiny DAC offers a lot of what made its predecessors so well regarded, including compatibility with digital files from hi-res to the lowly MP3, the ability to work with iOS and Android devices and Apple and Windows computers, and the capability to drive headphones and feed preamps, amps and powered speakers.

We love the now-retired DragonFly Cobalt, noting in our review that it "does wonders in cleaning up our laptop’s performance, no matter what kind of file we feed it... It is such an incredibly precise rendering that we almost feel duty-bound to play our highest-resolution recordings through it."

The AudioQuest DragonFly Copper goes on sale in September for £230 / $250 (around AU$430). We'll bring you a full review as soon as we can.

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Read our AudioQuest DragonFly Cobalt review

And our AudioQuest DragonFly Red review

The best DACs to improve your sound

Progress really is amazing. Just two years after we awarded five stars to the iFi Go Link Max DAC, iFi has launched a sequel that is smaller and lighter than its predecessor, and with lower distortion to boot.

The iFi Go Link 2 Max is again a highly pocketable portable DAC for listening on the go. But this model can receive over-the-air updates via the iFi Nexis app, though these are available only to Android users at the moment.

The app also has two digital filters – hybrid and linear – so you can tweak the sound profile to your exact taste.

Like its predecessor, the Go Link 2 Max acts as the middle man between your music source and your wired headphones. Plug it into each, and it will boost the sound quality, with THD compensation reducing distortion by over 50 per cent compared with the five-star Go Link Max.

It has the same maximum power output of 241mW as its predecessor, while its balanced architecture claims “improved dynamics, lower noise and greater sonic control”.

Inside are two ESS Sabre DAC chips, one for each audio channel. This allows for superior definition and instrument separation, while Dynamic Range Enhancement (DRE) provides +6dB additional range between the loudest and quietest parts in your music, making both more engaging.

It also includes iFi’s S-Balanced tech. This applies balanced circuitry principles to the 3.5mm headphone output, reducing by half the crosstalk between headphone channels.

Quad DAC+ and Time Domain Jitter Eliminator technologies combine with iFi’s dedicated GMT clock circuitry to provide low distortion, and better clarity and musical timing.

The silver copper cable has polymer insulation and a “twisted pair” design, which reduces inductance and capacitance while helping to quash unwanted noise. And because it has volume controls on the hardware itself, it doesn’t decrease the amount of data sent to the DACs, and hence retains the musical details.

All this, and it manages to be 3g lighter and slightly smaller than its predecessor. It looks very good indeed, and given the resurgence in popularity of wired headphones at the moment, we’re probably not the only ones eager to take it for a spin.

The iFi Go Link 2 Max costs £85 / $85 (around AU$160) and is currently listed as sold out on iFi’s website, so expect it to go on sale very soon.

MORE:

Read our iFi Go Link Max review

Also consider the AudioQuest DragonFly Red

Best DACs: USB, desktop and portable digital-to-analogue converters

iFi has unveiled the iDSD GR 2 portable DAC and headphone amplifier.

Acting as the spiritual successor to the brand's high-end xDSD Gryphon, the new model is, says its maker, "a portable powerhouse designed for audiophiles who wants uncompromising sound beyond the confines of the desktop".

The new iDSD GR 2 has been rebuilt from the ground up, with both internal and external developments making for a unique model. At the heart of the GR2 is a Burr-Brown PCM1795 DAC chip, designed to produce a "warm, analogue character" with "lower distortion and greater dynamic range".

That Burr-Brown DAC is supported by 'K2HD' technology, a harmonic restoration algorithm that aims to brings recordings closer to their original intention by "reintroducing subtle detail" and restoring musical depth and tone.

For physical connections side, the iDSD G2 offers digital SPDIF USB-C inputs, as well as 3.5mm and 4.4mm headphone ports. If you prefer wire-free, Bluetooth streaming with aptX Lossless and LDAC codec support allows for streaming of hi-res files up to 16-bit/44kHz.

The new DAC features a new hybrid power mode, so that when the unit is connected to an external supply, it prioritises mains power. If extra power is needed, the GR 2 will use the internal battery and then switch to the external supply when the demand drops.

The GR 2 uses the iFi Nexis app, through which you can access digital filters, fine tune your listening profile, select input and access over the air updates.

The iFi DSD GR 2 is available now, priced at £529 / $529 / €549. For context, the xDSD Gryphon launched at £599 / AU$699 (roughly $815) back in 2021.

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Chinese audio brand Topping has announced its new budget E50 II digital-to-analogue converter, promising “class-leading performance” for just £199 / $189.

Compact in size, at just 129x41x155mm (WxHxD), the new DAC can also work as a digital preamplifier. It can be connected to power amps and active speakers as well as integrated amps and headphone amps, although no onboard headphone amp is included with this model.

Inputs include USB-C, coaxial and optical, and those of you using Bluetooth streaming will be pleased to hear that this DAC supports higher-quality codecs such as LDAC, aptX Adaptive and aptX HD. An analogue output stage offers a choice of single-ended stereo RCA and twin balanced 6.35mm sockets, one for each channel. If required, both sets of outputs can be used simultaneously to feed two systems at once.

The E50 II can work in two modes. It can be used as a dedicated DAC to feed a preamplifier or integrated power amplifier, or as a digital preamp driving a pair of active speakers or a separate power amp.

If you have a wide range of music files in different formats, this unit could serve you well. The DAC is capable of handling high-resolution PCM music files up to 32-bit/768kHz, alongside DSD512.

Take a look inside, and you will find AKM’s new generation AK4497S chip, which Topping promises will make you feel “as if you were there” when listening to music. Topping’s engineers have worked hard to reduce jitter levels (digital timing errors) and to optimise the dynamic range, which is claimed to be an impressive 131dB.

Unusually, the E50 II can also be controlled by a dedicated app, which is available for iOS and Android devices. This allows you to control playback, adjust volume, switch inputs, and implement digital filters alongside a ten-band parametric equaliser.

But those who prefer good old fashioned hardware need not fret: a remote control handset and integrated touch controls have been included for simple operation. Traditionalists will also no doubt be pleased with the E50 II’s retro design, which houses a simple digital-clock-style OLED display inside a compact aluminium enclosure.

The Topping E50 II DAC is available to buy now from selected retailers in a choice of black, silver or white.

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Best DACs 2026: USB, desktop and portable digital-to-analogue converters

iFi's Zen Air range launched in 2022 with the aim of making high-performance audio more accessible – it comprised stripped-back versions of the firm’s Zen range of products with a lower price and wider appeal. Now it has been refreshed with three sequel products landing: the Zen Air Phono 2, Zen Air DAC 2 and Zen Air Blue 2.

Here’s what’s new.

The Zen Air Phono 2 (above) aims to capitalise on the ever-growing market for vinyl. It's an entry-level phono stage that promises a big improvement on the built-in phono stages you get in record players and amplifiers.

It uses iFi's proprietary subsonic filter to compensate for record warp without removing anything or introducing unwanted audio artefacts. It has selectable gain modes for moving magnet (MM) and moving coil (MC) cartridges.

It uses iFi’s RIAA playback curve to deliver “true, accurate music playback” that promises to be as the musician intended.

iFi claims the noise floor is super silent, with an equivalent input noise of -151dBV that reveals more details within the recording. This is helped by a high-current power-supply which is isolated from the amplification stage.

The symmetrical channel layout claims to deliver lower crosstalk and improved channel separation.

Next up is the Zen Air DAC 2 , which is pictured atop this story. It’s a desktop DAC and amp with a midnight blue casing. It offers a more premium look and feel over the original Zen Air DAC, claims to bring more expression with the headphone listening experience, and has a newly selected DAC.

iFi says it chose the Cirrus Logic DAC for the way it presents detail naturally without sounding forced or analytical. This DAC has previously been found in iFi’s portable devices, but this is its first use in an iFi home device.

The promise is gains in clarity, dynamics and distortion.

The balanced 4.4mm headphone out is also new, and has trickled down from the more premium Zen series. It should reduce noise and crosstalk, and unlock a more spacious, separated sound, as well as claiming to deliver up to 300 per cent more headphone drive than its predecessor.

XBass+ is also on board to add extra oomph to the low end, while PowerMatch unlocks an extra 6dB of gain for hard-to-drive headphones.

As well as the new finish, it has a new power button for more control over when and how it’s used in your system.

Finally, the Zen Air Blue 2, a Bluetooth receiver that brings lossless audio wirelessly to your hi-fi. But thanks to its 5-12V compatibility, it can work in cars, boats and other vehicles as well as in the home.

Bluetooth 5.4 with aptX Lossless allows for bitrates of up to 1200kbps.

Inside is iFi’s three-stage Bluetooth design, with each stage receiving a dedicated component. Bluetooth reception is taken care of by a Qualcomm QCC3095 chipset, an ESS Sabre DAC handles signal conversion, while custom op-amps are on amplification duties.

As well as aptX Lossless, it plays nice with the LDAC format, and the standard SBC and AAC codecs.

All three devices are available now, and cost £129 / $129 (around AU$244).

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FiiO’s new K17 R2R Pro is a desktop DAC, streamer and headphone amp that promises “uncompromising sound quality with cutting edge functionality”.

It follows the K15 and K19.

The new model offers the same 5 + 24 bit R2R PRO resistor arrays as the K13 R2R (which lacks the streaming skills of the K17). This promises a more analogue-style listening experience, with “natural tonality” and “rich harmonic detail”.

You can tailor the playback to your preferences by choosing between the NOS (Non Oversampling) and OS (Oversampling) modes. This gives you a choice between higher fidelity or a smoother presentation.

Also inside is a discrete Class AB transistor current boosting headphone amplifier circuit. With 4000mW + 4000mW of output power at its disposal, it can drive a wide range of headphones, including demanding planars.

It can play local media as well as streaming files, and QPlay lets it receive high-quality audio files over wi-fi. The wireless connection should stay stable and secure thanks to dual band 2.4G and 5G WiFi and Gigabit Ethernet.

An RCA in lets you hook it up to a turntable or CD player, too.

There’s a 31-band equaliser, letting you tweak the sound to the nth degree. You can access this on the FiiO Control mobile app or via a browser, and save your presets to the K17 R2R.

Noise and interference should be minimised when connected to digital sources, thanks to the USB ground-loop isolator. The 35W low-noise linear power-supply also helps, providing clean, stable power for optimal performance regardless of source.

That screen is 3.93 inches big, and includes VU meters among its parameters. An aluminium alloy remote control comes as part of the package, giving you access to key functions without having to get up.

The K17 R2R will be on show at the Vienna High-End show from 4th June. Pricing will be announced that month.

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Shanling’s latest music streamer has many talents. Not only does it play digital music from all manner of streaming services, it works as a digital-to-analogue converter (DAC), plays locally stored music, has Bluetooth for wireless playback from a mobile device and can hook up to TVs, CD players and amps for whole-system integration.

Its custom streaming platform is based on Android, and lets you access such streaming bigwigs as Spotify, Tidal, Qobuz, Apple Music and Amazon Music Unlimited straight from the touchscreen. You can stream from your phone using Tidal Connect, Qobuz Connect and Bluetooth, while AirPlay 2 and DLNA let you play from a networked device.

It also supports USB drives, NAS drives and M.2 solid state drives.

It is powered by a 64-bit ARM Cortex-A55 CPU, with 4GB RAM, promising “stable, smooth and intuitive operation”.

The dual AKM AK4493S DAC set-up promises a “rich and natural” sound signature, while the OPA1612-based analogue output stage should help the presentation stay balanced. Jitter performance is optimised by dedicated 45.1584MHz and 49.152MHz crystal oscillators, giving precise audio decoding for hi-res formats up to 32-bit/768kHz PCM and DSD512.

Like all Shanling products, the SM90 promises a style akin to analogue. This is helped in this case by the linear power supply, including a 35W toroidal transformer, to deliver clean, stable power.

It boasts an impressive array of connections, including a Gigabit LAN port, dual-band wi-fi 6, Bluetooth 5.2, coaxial, optical, USB DAC, HDMI ARC, as well as RCA and XLR outputs. It supports the LDAC, AAC and SBC codecs.

It has the same design language as other recent Shanling products, with a sleek aluminium chassis and glass front. And it is small enough for versatile placement.

The Shanling SM90 is out this month, and costs £999 / $969 (around AU$1900).

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The DX9 is Chinese audio brand Topping's latest DAC – though it’s also a preamplifier and headphone amp – and it is now available in the UK. Thanks to its combination of proprietary technologies, it promises a “remarkable sonic performance” from a wide range of systems.

You can actually see it at work, too, thanks to its tempered-glass window that reveals the circuitry beneath. Each section is highlighted by the etched glass, with the circuitry illuminated by a gentle orange glow.

And there’s plenty to see. Topping’s own PSRM (Precision Stream Reconstruction Matrix) digital-to-analogue conversion tech has a discrete 1-bit architecture, and uses a variation of delta-sigma processing that is unique to Topping. This promises to isolate noise in a way that integrated chips can’t match, while being fully balanced, with 16 discrete elements each for the left and right channels reducing crosstalk.

The PSRM’s nanosecond speed is prone to introducing noise into analogue audio signals, but this is countered by Topping’s purely resistive output power supply, which ensures each DAC element performs with absolute accuracy. The result? “Extreme fidelity”, according to Topping, with a signal-to-noise ratio of 131dB.

Despite being small enough to fit on a desk, the DX9 Discrete packs plenty of digital inputs: asynchronous USB, two optical and two coaxial inputs, as well as AES and IIS-LVDS (I2S) inputs using XLR and HDMI connectors, respectively.

The USB and IIS-LVDS inputs support PCM audio to 32-bit/768kHz and native DSD512, while the others support PCM to 24-bit/192kHz and DSD64.

Bluetooth is also on board, with support for the higher-quality codecs LDAC, aptX Adaptive and aptX HD.

These inputs all have their own dedicated chipsets: an XMOS XU-316 for USB and IIS-LVDS; an AK4118 for optical, coaxial and AES; and a Qualcomm QCC5125 for Bluetooth. These chips work with a dual-stage purification system that is unique to Topping. It eradicates Jitter by pairing a precision clock with a CPLD (Complex Programmable Logic Device).

Topping has created its own proprietary I/V conversion circuit to fully unleash its PSRM DAC architecture. This combines low-distortion op-amps with discrete components to process signals with precision, and ensure an immersive audio performance.

This is followed by a fully balanced hybrid relay-resistor network, which delivers ultra-precise volume control and eliminates channel imbalance at low volumes.

If you want to listen with headphones, you can take advantage of the 4.4mm and 4-pin XLR outputs, or the 6.35mm socket. Balanced XLR and single-ended RCA sockets let you hook the unit up to amps and speakers.

A version of Topping’s NFCA (Nested Feedback Composite Amplifier) architecture promises to drive even the most demanding planar headphones, with a power from its balanced headphone outputs rated at 7080mW per channel into 32 ohms and 10,000mW per channel into 16 ohms, with a noise floor below 0.5μVrms. Which promises a dynamic, expressive sound with plenty of detail.

You also get Topping’s PEQ (Parametric Equaliser) system, which lets you control the frequency, gain and bandwidth across 10 bands. You can create sound profiles to upload to the DX9 Discrete using the Topping Tune software on your computer.

The DX9 Discrete also has a headphone crossfeed – this simulates HRTF (Head-Related Transfer Function) and room acoustics to make your cans sound more like speakers.

It’s a handsome unit too, with a multi-function rotary control flanked by two colour displays which are customisable using Topping’s Aurora UI.

And it’s yours for £1299 (around $1750 / AU$2500). In the UK, it is sold by distributor Electromod.

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What is a DAC? And why do you need one?

DAC's not right! 7 mistakes to avoid with a DAC

For many, your music system will consist of your laptop and a pair of wired headphones.

A laptop gives you access to a host of music online, from music streaming services offering millions of songs from all genres, to download sites where you can buy and store your favourite albums in the highest file quality, to internet radio, and more.

Paired with a good pair of wired headphones, the laptop is a compact and convenient source – and it’s a system with so much hi-fi potential.

Whether you stream music from Apple Music, Spotify, Tidal or Qobuz, or have gigabytes of 24-bit FLAC downloads, you'll want to hear your tunes at their very best, at their full resolution, to get maximum enjoyment.

So in enters a DAC.

What is a DAC?

A DAC converts the digital music files (the binary 0s and 1s) into an analogue wave form that you can hear through your headphones and speakers. While your laptop (and smartphone) might be one of the main ways you listen to music, the DAC circuits built into these multi-tasking products are simply not efficient enough to accurately process the crucial digital-to-analogue conversion; and this has a knock-on effect on the resulting sound quality.

Separate, external DACs only have one job to do, and they do the essential job of carrying out this conversion process more faithfully and with the least amount of errors that can degrade the audio signal. Thus, this one addition is the simplest way to get the most out of your digital music, while still sticking with your trusted laptop-and-headphones set up.

A dedicated DAC is also more likely to support and relay all the hi-res audio formats and sample rates in full – up to and beyond 24-bit/192kHz, for instance, and even the more esoteric ones, like DSD files.

To drive your best wired headphones, you’ll also need a headphone amplifier. Luckily for you, most external DACs these days also have a headphone amplifier built-in, along with a socket or two to plug in your favourite wired cans. These DAC/headphone amp products can transform your laptop and headphones listening into a true high-fidelity music system – and the trio we are focusing on here are some of the best examples of this type of product.

The three DACs we've chosen to test here, from Audiolab, Cambridge Audio and Chord Electronics, occupy the mid-priced £350-£450 range where you’re stepping out of budget convenience and into serious hi-fi territory. All three DACs are neat, desktop sized products that make natural companions for your laptop – one is even portable – and, best of all, all are five-star performers already.

These desktop DACs share many features, and each has its own quirks, foibles and strengths – with different sonic signatures to boot. But which model is best for you?

For the test, all three DACs were hooked up to a MacBook Pro playing Tidal, with a variety of wired headphones used, including the Award-winning Grado SR325x, the Beyerdynamic DT 990 Pro X and a pair of old favourites, the Shure SRH1540.

Versatile connections and user-friendly

If you’re after the most versatile connectivity and features, the Cambridge DacMagic 200M and Audiolab D7 are neck and neck. Both feature a full complement of analogue and digital inputs, along with aptX Bluetooth streaming. They even give you scope to grow when branching out into a full hi-fi system down the line.

Both feature USB type B inputs (ideal for connections to a laptop), optical and coaxial inputs, as well as both RCA and balanced XLR outputs. The D7 further adds digital outputs, while both sport a full-size 6.3mm headphone jack on the front.

We have next-to-none complaints when it comes to the usability of both these desktop models, with clearly laid out buttons and easy to use controls. The Cambridge’s labelled LED system makes it easy to discern source and incoming sample rate at a glance, while the newer Audiolab D7 has a display screen for relevant information and even comes with a remote control.

Both are well made and user friendly, and both Cambridge and Audiolab get top marks, with the Cambridge feeling just that bit classier and sturdier in build quality than the plainer and smaller Audiolab.

• Read our full Cambridge Audio DacMagic 200M review

Quirky portability

The Chord Mojo 2 is another beast altogether. It actually offers many of the same functions as its rivals, but with fewer (and via different) connections. In contrast to the other two, the Mojo 2 keeps things simple with USB type B and USB-C ports for connecting to your laptop.

You get two sets of 3.5mm headphone outputs here. Do note that the updated 2026 version of the Mojo 2 will swap out one of those 3.5mm for a 4.4mm Pentaconn headphone jack to meet the increasing popularity of this type of wired headphones connection.

Those same headphone outputs can be used as audio outputs if you want to plug the Mojo 2 into a hi-fi system, but you'll to invest in some adapter cables (e.g. 3.5mm to RCA line level) to do so.

Let’s not forget this is a portable model, with eight hours of battery life, charged via USB. This means you can take the Mojo with you on your daily commute, on a flight, on holiday – something that’s simply not possible with either the Cambridge or Audiolab mains-powered models. This is certainly a boon, and the Mojo is small enough that you can carry it in a backpack easily.

There’s no Bluetooth here, and usability requires a little bit more work thanks to the multi-coloured, multi-button interface that will usually require the manual at hand. Our tip: just remember the colours for how high or low the volume goes, and you’re golden.

Benchmark sound

But put up with the Chord’s quirks we will, as the Mojo 2’s sound quality is simply phenomenal; it remains the standard to beat at this price. The Mojo’s handling of rhythmic precision and punchy dynamic subtlety, and its superbly insightful and clean, cohesive sound, is fantastic.

No matter what music you play through it, it just sounds right. The tactility of instruments, the interplay between the musical arrangement and the vocals, the sense of space – it’s all conveyed with such insight and ease.

We said in our review that when listening through the Mojo 2, "music has the vividity of a stained glass window here – bright, intricate and demanding of your attention."

The Mojo communicates the message and feel of the song with great talent, while also revealing oodles of texture, along with a toe-tapping, ferociously agile presentation that’s just heaps of fun to listen to.

• Read our full Chord Mojo 2 review

Two excellent alternatives

The Cambridge Audio has a smooth, full-bodied presentation that’s appealing on the ears, with fat basslines and a fluid handling of dynamics. It’s pretty easy to get grooving to the funky tunes of Act Like You Know by Fat Larry’s Band, or get contemplative with a Nick Cave track.

We said in our review: "That smoothness clings to the violins leading Ólafur Arnalds’ Spiral (Sunrise Session) (24-bit/96kHz) in a way that makes it enjoyable without clouding the textural finesse or dynamic undulation of the strings that communicate the piece’s beautiful fragility. The Cambridge rides the dynamic ebbs and flows nicely, showing its grace in the quieter moments and its authority in the louder ones."

A former Award-winner, the Cambridge DAC has served us perfectly fine over the past few years. The DacMagic 200M’s age starts to show only when listening to its rivals in comparison, as the newer Audiolab D7 and Mojo 2 both offer a clearer, more detailed and more precise sound overall.

The D7’s soundstage is more spacious and layered, basslines hit deeper and sound tauter, and overall it is able to dig up greater detail than the Cambridge. High frequencies in particular have more clarity, shine and sparkle, and it’s that bit more agile and evenly balanced throughout. It simply paints a clearer picture than the Cambridge.

We said of the D7 in our review: "It has a broadly neutral and even-handed presentation that impresses for its clarity and detail resolution. It’s a clean and crisp sound without being over-etched. We love the sense of spaciousness the DAC imparts, so the music we play rarely sounds cluttered."

The D7 comes close to closing the gap to the multi-Award-winning Chord Mojo 2, but the Mojo still races ahead when it comes to sonic performance. Its rhythmic prowess and dynamism are phenomenal, especially for this compact product and for this price.

• Read our full Audiolab D7 review

Overall winner: Chord Mojo 2

You'll get a great sonic upgrade by using any of these DACs in your system, no matter how modest. There is no doubt that the Cambridge Audio and Audiolab’s more conventional designs, ease of use and versatility will have their fans, and they remain firm recommendations.

But the Chord Mojo 2 remains our pick of the three for its clear sonic superiority. If you want the very best performance from your laptop-based music, the Mojo 2 is the ultimate option at this price. We think it’s great value, too.

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Best DACs: USB, desktop and portable options tested by experts

The original iFi Go Link was a small but mighty marvel. For a meagre outlay of just £59 / $59 / AU$87, the diminutive DAC belied its compact dimensions and very reasonable price tag by delivering clear sonic gains over what most smartphones or laptops could usually provide.

The point of the Go Link was to be an inexpensive and convenient way of giving your personal listening sessions a bit more sonic firepower, and it’s a similar task with which this second-generation follow up has been charged.

The iFi Go Link 2 isn’t for audiophiles trying to drive their £5000 pair of Yamaha YH-5000SE cans – instead, it’s aimed at ordinary consumers wanting to get the most out of their headphones without spending big bucks on complex or high-end gear. A big boost for a small price? That’s a goal we can certainly get behind.

Build & design

The iFi Go Link 2 maintains the same general configuration as its predecessor, consisting of the main DAC with a 3.5mm headphone socket, a connecting corded cable and a built-in USB-C plug, complemented by interchangeable Lightning or USB-A adapters.

That Lightning adapter is in danger of becoming somewhat redundant given Apple’s move to USB-C uniformity, but it’s nice of iFi to include it for those users who haven’t upgraded their iPhone in a while.

Even if it looks broadly the same, the newer unit does feel different.

The aluminium-magnesium alloy chassis comes across as a little cheaper than that found on the original model, and while that drops the perceived value a bit, it does save weight: the second-generation DAC weighs just 7.8g against the 11g of the outgoing Go Link.

It is still, as is much of the point, very small. The Go Link 2 measures just 137mm in length, making the whole device, including the cable, about as long as a standard pen.

When you consider the fact that this is something designed to give your smartphone or laptop a cheap and easy boost, often on the go, a small form factor is essential to anyone seeking simple plug-and-play convenience.

As we’ve pointed out previously, our only major point of concern would be regarding some potential for fragility at the points where the cord meets the main unit and the connector plug.

We’ve never experienced breakages during testing of other iFi DACs, but we can imagine that frequent use might put a strain on the unit’s integrity at those weaker points.

Features

We’re impressed with the range of file types offered by iFi’s dinky DAC. The Go Link 2 grants support for PCM playback up to 32-bit/384kHz, as well as DSD256 files. MQA is off the menu, but considering that Tidal scrapped its MQA files as of mid-2024 in favour of FLAC, that likely won’t be a huge loss.

When you’re dealing with a unit of this size, you don’t have a huge amount of room for buttons or controls, but what you do get is a small LED which alters colour depending on the type of stream you’re currently enjoying.

Green means PCM 44.1/48/88.2/96kHz, yellow denotes PCM 176.4/192/352.8/384kHz, DSD64/128 is cyan, and blue is DSD256. Those indicators are a nice touch, although it would’ve been even more useful if each sampling rate was given its own colour to make identifying the resolution easier.

The Go Link 2 is also the first model in its range to offer support from the iFi Nexis app, although it’s not available for iOS users. Still, it’s a handy (if slightly bare bones) addition to have if you’re an Android smartphone user, with the Nexis platform granting access to two digital filters – hybrid and linear – plus software updates and a volume control.

Internally, the new DAC incorporates iFi’s in-house ‘S-Balanced’ circuitry technology, aiming to reduce crosstalk between headphone channels to reduce sonic interference.

The Go Link also employs ‘Total Harmonic Distortion’ tech for a “cleaner, purer sound”, while iFi’s ‘Time Domain Jitter Eliminator’ combines with the brand’s dedicated clock circuitry in pursuit of improved audio clarity and timing.

Sound

We use the ever-dependable Røde NTH-100 over-ear headphones (around £129 / $149 / AU$250) for a good chunk of our testing, as well as the budget SoundMagic E11C in-ears (£40), and also try the Beyerdynamic DT 990 Pro X open-backs (£189 / $199 / AU$399) to see if the iFi is capable of accommodating something a touch more expensive.

Regardless of headphones, the Go Link 2 gives our listening a boost, that much is certain. When compared with a direct connection to our Lenovo ThinkPad laptop’s headphone output, the iFi is a noticeable step up, granting a hi-res rendition of Muse’s Panic Station a greater sense of clarity and leading edge definition as it works its subtle but noticeable magic.

Panic Station is snappy, crisp yet pleasingly punchy when the iFi is paired with those Røde Award-winners, treating us to a confident and assured delivery that really nails those sonic subtleties with aplomb.

Sonic organisation and clarity all go up a level when playing through iFi’s pocket-sized DAC, so that individual instruments and textures are afforded ample space in which to shine.

When the going gets a little tougher via a hi-res rendition of Hans Zimmer’s Gotham’s Reckoning from The Dark Knight Rises soundtrack, the Go Link 2 is more than capable of pulling all of those textural strands together into something that sounds appropriately menacing. From subtle touches to big-picture brushstrokes, the DAC conjures a forceful, engaging performance worthy of the Caped Crusader himself.

iFi has vowed that its latest dinky DAC “brings music to life” thanks to its enhanced dynamic performance, with the brand’s ‘Dynamic Range Enhancement’ tech purportedly granting an extra 6dB of range between the loudest and quietest moments.

Those are just numbers on a sheet until you really probe the iFi Go Link 2’s capabilities, yet there’s no question that impressive dynamic handling is one of the DAC’S trump cards. The low-level percussive fluctuations on Goose’s loose, funky workout So Ready sound natural and distinctive, all before a punch of cymbals, bass plucks and sunny guitar twangs make an appropriately grand entrance thanks to those more expressive large scale dynamics.

Rhythms are confidently teased out, and our heads are bopping cheerfully from the first note of So Ready – this is a rendition that feels like chilled friends jamming on a sunny afternoon as opposed to mechanical robots dutifully going through the motions.

The Go Link 2 is a step up from what your phone or laptop can offer, but is it a step up from its predecessor? This is where you’ll have to squint your ears a little to notice a difference, especially with lower quality files and more affordable headphones, but the second-gen DAC is definitely an improvement on the outgoing model.

It’s not night and day, and if anything, the newer Go Link is ploughing a similar sonic furrow as before, albeit with a little added clarity, dynamism and mid-range expressiveness. Considering it costs the same as the first-gen model, that’s more than enough for the Go Link 2 to justify its own existence.

Verdict

The iFi Go Link 2 does exactly what it set out to do. By offering perceptible gains in clarity, textural detail and dynamic expression, for the same price and in a similar form factor as before.

As a neat, inexpensive upgrade to your smartphone or laptop’s musical performance, the Go Link 2 is another small but mighty marvel from iFi.

Review published: 26th February 2026

SCORES

• Sound 5
• Build 4
• Features 5

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Also consider the iFi Go Link Max

Best DACs: USB, desktop and portable digital-to-analogue converters

iFi has revealed the sequel to one of its smallest and most affordable DACs. The new iFi Go Link 2 is the sophomore follow-up to the original Go Link model, a small but mighty marvel which we awarded five stars when we tested it back in 2023.

• Our exclusive iFi Go Link 2 review is live – read to find out our full verdict

Billed as a compact, inexpensive and convenient way of giving your laptop or smartphone an audio boost, the Go Link 2 maintains the same general configuration as its predecessor, consisting of the main DAC unit, a connecting corded cable and a built-in USB-C plug, as well as interchangeable Lightning and USB-A adapters.

In order to outperform its predecessor, the second-gen model teases a more intense and engaging listen thanks to its 'Dynamic Range Enhancement' technology, promising a greater contrast between your music's loudest and quietest moments.

Internally, the new DAC incorporates iFi’s in-house ‘S-Balanced’ circuitry technology, aiming to reduce crosstalk and interference to preserve sonic purity.

The Go Link also employs ‘Total Harmonic Distortion’ tech for a “cleaner, purer sound”, while iFi’s ‘Time Domain Jitter Eliminator’ combines with the brand’s dedicated clock circuitry in pursuit of improved sonic clarity and better timing.

The Go Link 2 offers support for hi-res audio playback to 32-bit/384kHz PCM, as well as DSD256 files. MQA is off the menu, but considering that hi-res streaming service Tidal scrapped the use of MQA files as of mid-2024, that likely won’t be a huge issue for most users. As with previous compact iFi USB DACs, a colour-changing LED indicates the type and quality of the stream you're currently playing.

The Go Link 2 is also the first model in its range to offer full support from the iFi Nexis app, with the new platform granting access to new customisation options, two digital filters – linear and hybrid – as well as software updates and a volume control. It's bad news for iPhone fans, however, as the app is only available for Android users.

The iFi Go Link 2 is available now, priced at £59 / $59 / AU$87 (approx). Has the new boy lived up to the legacy of its predecessor? Read our exclusive iFi Go Link 2 review to find out.

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Read our step-up iFi Go Link Max review

The ultimate music tracks to test your hi-fi and headphones

Best DACs: USB, desktop and portable digital-to-analogue converters

Rotel is known for its functional, no-nonsense approach to hi-fi design. It doesn’t do gimmicks or prioritise style over performance. Never has and never wi… hold on. What’s this?

The new DX-3 headphone amplifier and DAC doesn’t resemble any Rotel product we’ve come across before. To our eyes, it is stylish, modern and features visual flourishes on the volume dial and casework sides that serve no other purpose than to make it look nice – very un-Rotel. Even the packaging looks more like something Apple would offer rather than the effective yet plain efforts most in this industry produce.

But don’t worry, dear reader, amid all this reinvention, Rotel hasn’t forgotten its heritage. The Rotel DX-3 is simply a determined effort to move with the times and produce something that not only performs well, but also engenders a feel-good factor that the brand hasn’t traditionally tapped into. The company’s traditional rationale of ‘handsome is as handsome does’ can only take you so far, it seems.

Features & connectivity

The DX-3 is a pleasingly versatile unit. It is a DAC, a headphone amplifier and can also function as a perfectly serviceable preamp. Partner it with a pair of active speakers, and you have the makings of a neat, clutter-free stereo system.

Its DAC section is compatible with 32-bit/384kHz PCM and DSD256 hi-res audio files thanks to the ESS Sabre ES9028PRO chipset sitting at the heart of its digital circuitry.

There are the usual trio of digital inputs (USB Type B, optical and coaxial) along with the added convenience of Bluetooth aptX HD streaming. Unusually, for what is essentially a digital product, the DX-3 also has a stereo RCA analogue input, turning it from being just another digital hub into a full-blown analogue/digital preamp. Useful.

There are single-ended and balanced XLR outputs on the rear panel, and those are echoed on the front with 6.3mm and balanced 4.4mm headphone outputs. Also on the front is the neatly styled volume control and a small slider that switches the DX-3’s headphone output between three gain levels.

This gain switch shows that, despite the new emphasis on appearance, Rotel has taken the headphone side of things seriously. Such a switch makes matching a breeze and ensures plenty of volume travel, even with the most sensitive of headphone designs.

Take a look inside the DX-3, and you will find that it is beautifully made with a generous power supply arrangement that uses a large, shielded toroidal transformer. The main board is neatly laid out and populated with good quality components.

Build

The DX-3 is a premium-priced unit, and pleasingly, everything about it reflects that. Its aluminium casework feels reassuringly solid and is finished with care. All the controls, but particularly the volume, work with positivity and precision.

If we do have a complaint, it is that the font used for the set-up menus is on the small side and hard to read from any distance. None of us is getting younger, you know. The display itself is full-colour and pleasingly crisp.

Even the metal remote handset is good. It is nice to hold and simple to use. We can’t ask for anything more than that from a handset.

This Rotel comes in at an interesting price where there aren’t many natural rivals. Cheaper alternatives such as Audiolab’s D7 (£449 / $699 / AU$1099) come in at less than half the price, and while talented, don’t get close to the DX-3’s sonic ability. Chord’s mighty Hugo 2 (£1795 / $2595 / AU$4500) is a clear step above in transparency and insight, but is pricier and less well equipped.

Sound

For this test, our main source is an Apple MacBook Pro loaded with Audirvana playback software and plenty of high-res music files. We also use our reference Naim ND555/555 PS DR music streamer to test out the DX-3’s analogue and coax digital inputs, and a Cyrus CDi CD player to provide the feed for the optical. Bluetooth duties are carried out by our trusty iPhone 14 Pro Max using the Tidal and Qobuz streaming apps.

The Rotel’s headphone section is tested out with Austrian Audio’s The Composer, the Grado RS1x, Sony’s MDR-Z1R (in balanced guise) and, for fun, Yamaha’s high-end YH-5000SE. We also plug the Rotel into our reference system of Burmester 088/911 MkIII amplifier and ATC SCM50 speakers to see how it behaves.

The fresh new look of the DX-3 may suggest a change of direction for Rotel, but the excellent sound quality proves that the brand’s values haven’t changed all that much, and we’re glad about that. On the digital side, we are pleased to note a consistency of character between the various inputs.

Regardless of the one we choose, this Rotel sounds clean, crisp and impressively detailed. It delivers a slightly etched presentation, one that highlights low-level detail but doesn’t go as far as to become tiring over long listening sessions.

As we listen to Tchaikovsky’s 1812 Overture, it is hard not to be impressed by the control and authority on offer. This is a demanding piece of music, and the Rotel never sounds ruffled. It delivers the music’s savage dynamic swings with enthusiasm and plenty of punch, particularly the famous cannon sequence at the end.

Tonally, the Rotel edges towards leanness but never strays into thinness. Still, this gives the DX-3 a slightly analytical character, which some will like. It still sounds balanced, though, with no part of the frequency range grabbing undue attention. There is plenty of refinement, even during the 1812’s frenzied ending.

Given a good recording, we are pleased to note that this unit delivers a spacious and focused soundfield. There is a pleasant lack of clutter and impressive stability in the way instruments and sounds are locked in place.

Comparison with the pricier Chord Hugo 2 shows that the DX-3 misses out on a degree of natural warmth and a bit of dynamic subtlety, but given the price difference and the more versatile nature of the Rotel, these are acceptable losses for us.

There are no complaints about sonic authority or the DX-3’s ability to grip low frequencies. We play Soul II Soul’s Keep On Movin’ and really enjoy the Rotel’s taut and articulate lows. It isn’t easy to combine muscle with tunefulness, but the company’s engineers have managed it.

As we shift from the 16-bit/44.1kHz of Soul II Soul’s debut set to Michael Jackson’s Off The Wall on DSD, we are pleased to note that the Rotel DX-3 switches between file formats without skipping a beat, or at least it did once an early incompatibility with the Audirvana software had been fixed by a firmware update. Originally, our review sample didn’t lock onto a DSD signal reliably and suffered frequent dropouts.

Bluetooth pairing is swift and painless, too, with the DX-3 retaining its clarity and character through the wireless connection. While Bluetooth will never be our first choice for absolute sound quality, there are times when it proves useful, so we are glad that Rotel has implemented it here. Detail levels and musical cohesion remain pleasing, despite the shortcomings of the wireless link.

In our experience, analogue inputs on digital products usually prove disappointing, so we are pleased to find that the DX-3 continues to retain its charm when connected this way. There is a slight drop-off of absolute transparency and a gentle damping down of dynamics, but on the whole the results remain likeable.

This Rotel is as happy to be used as a standalone DAC in our reference system as it is driving a pair of headphones. Regardless of role, its inherently balanced and informative nature comes through. This isn’t a showy performer that delivers sonic fireworks to grab your attention, rather it takes the more measured route, underpinned by real talent when it comes to delivering the structural elements of music.

In other words, the DX-3 is happy for the music to take centre stage rather than trying to hog the limelight for itself.

Verdict

In some ways, the Rotel DX-3 marks a new dawn for Rotel’s products. It places more emphasis on style, design and cosmetics than the company usually does, but thankfully, it doesn't throw away the commitment to great performance that has been so much a part of the brand’s tradition. For that, we are thankful.

Review published: 13th February 2026

SCORES

• Sound 5
• Build 5
• Features 5

MORE:

Read our review of the Chord Hugo 2

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Best DACs: USB, desktop and portable digital-to-analogue converters

This week, I lost an important game of rock, paper, scissors with our senior staff writer, Harry McKerrell, which meant it was my turn to update our best headphone amps buying guide.

And while, on the one hand, this was a good thing, as we’ve tested a key model worth recommending since its last spring clean, it was also a bit of a sad occasion.

Why? Because, during the update, I realised a much-loved, longstanding piece of hardware, which many of the team and I have fond memories of, has finally gone to the big hi-fi farm in the sky.

Specifically, the AudioQuest DragonFly Cobalt DAC lost its place to the newer iFi Go Link Max, after final stocks of the older, discontinued dongle finally started drying up.

If you’re wondering why such a small change caused such a stir that I felt the need to write this feature marking its passing, then trust me, I get it.

I mean, it’s a portable headphone DAC, right? Hardly the stuff of Temptation-level hi-fi glory. And even then, there’s a lot going on in the world right now that’s a much bigger deal than the disappearance of a veteran DAC from a buying guide.

But remember, for many people, myself included, hi-fi is a very personal thing. After all, fundamentally, it’s a hobby rooted in a deep love of music and finding the means to enjoy it in the best way possible.

Which is why we all have strong memories associated with the hardware we were using when we had a particularly good listening session, or a great album landed in our lives. And for me, the original AudioQuest DragonFly DAC is just such a piece of hardware, so seeing its final version purged from our guide, after years of loyal service, gave me a severe dose of nostalgia.

There are a few reasons for this. First, it was one of the first bits of audio hardware I reviewed in my first job as a professional shiny-things chaser, many moons ago. And, as the old adage goes, you never forget your first (yes, I know that’s creepy regardless of the fact that 100 per cent I am just talking about tech reviews here).

Second, and more importantly, it was a quietly revolutionary item at the time, that, outside of my headphones, rapidly became my most used bit of hi-fi as it solved a key problem no one else seemed to care about – mobile devices' subpar audio.

Even in 2026, there’s still a loud community in hi-fi that turn their noses up at the idea of using a smartphone as their primary music player.

And look, I get it, we test modern phones, and plenty are pretty bad at audio, especially if you’re using a cheap Android. And this is especially true when using a poor-performing handset on the go with a cheap pair of wireless earbuds. That’s why only a select number get into our best smartphones for music fans buying guide.

But as a guy who lived through the early years, trust me, they’ve come a long way since 2012, when the first DragonFly landed.

The Samsung Galaxy S3, Google Nexus 4, and iPhone 5; I was there and reviewed nearly all the big-name handsets. And I can confirm that, while the iPhone was the best of the bunch, even with a decent pair of cans, audio quality wasn’t great.

With noisy circuitry, poor DACs, tiny amounts of storage and a woefully limited number of decent streaming services to choose from, the times were bad, man.

As a prog and jazz fan, even with decent cans, it was a dark time. I lost so much detail and dynamic range, with the handsets and terrible Ogg Vorbis streams (remember those?), turning what should have been maestro-level tracks full of explosive crescendos and complex, interlinked melodies into flat, dull messes.

So getting this tiny, USB stick-sized dongle that made things, well, better, was awesome. I still remember the light bulb moment I had when taking it out of its box and testing it for the first time.

I was at my desk, foolishly trying to multitask, writing news while I let it do its thing in the background, powering my playlist for the day (which 100 per cent did not include Mumford & Sons, or any of the era’s other crimes against music, before anyone asks what I was listening to).

I’m probably exaggerating, but I remember it being akin to seeing colour for the first time. Connected to my Nexus 4, the snappy rhythm of the slap bass in Incubus’ Battlestar Scralatchtica returned. Jumping to System Of A Down’s Toxicity, Serj Tankian’s vocals finally had the dynamics required to make the song sound “right” and retain the staccato, attacking feel it’s meant to.

As I detailed in a previous feature, I loved the tiny DAC so much that when the review sample went back, I chose to live on beans on toast for a week (staff writers didn’t earn much back then) so I could get one of my own.

And that was only the start of the unit’s legacy. As you’ll see if you look at our DragonFly Black, DragonFly Red and final DragonFly Cobalt reviews, the series improved and refined itself with each new generation.

Even now, the Cobalt continues to be good, as evidenced by its final What Hi-Fi? Awards win in 2024. But after being discontinued, stocks drying up, and it looking more and more unlikely to get a refresh, its time in the sun is undeniably over. And that makes sense.

With more and more people using wireless headphones, especially when out and about, the market for a gadget like the DragonFly is getting smaller. People just don’t use wired headphones, let alone portable DACs, the same way anymore. And truthfully, even during their peak in the early 2010s, they were still a niche in the market. So I get why the company doesn't seem interested in making a newer model.

But, even so, I can’t help but feel a minor pang of nostalgia and that we’ve lost something a little special, now that the final DragonFly has been removed from our buying guide. The line of DACs' time as my main hi-fi gadget on the go may be done, but what a run we had together…

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iFi has replaced its Pro iDSD with a new flagship DAC: the iDSD Phantom.

The firm claims that the new DAC / streamer / headphone amp improves on its predecessor in every key area, with a rebuilt streaming engine, higher-precision conversion, much more output headroom and more granular user control.

It claims the new flagship provides the brand’s “most accomplished listening experience to date”.

The iDSD Phantom comes seven years after the launch of the Pro iDSD.

Inside is DSD Remastering up to DSD2048 and K2HD Technology for pro-grade sonic control, while you get a greater degree of personalisation courtesy of XBass Pro and XSpace Pro technologies, digital filters and real-time circuitry switching.

The network streamer element supports digital audio files up to 768kHz PCM and DSD512, features Qobuz Connect, Spotify Connect, Tidal Connect and more, while also promising enhanced stability, smoother web radio performance and a more intuitive user interface. Meanwhile, the K2HD tech restores harmonics lost in the production/encoding process for a more natural sound.

With a peak output of 7747mW of Class A amplification, it should be able to power a wide range of headphones, and the Quad DAC architecture combines four Burr-Brown DACs for multi-bit chipset musicality and better low-level linearity.

Signal purity is preserved thanks to galvanic isolation on the ethernet, S/PDIF and AES/EBU inputs, separating it from its sources at a circuit level to stop electrical noise interfering with the audio.

It also has iFi's signature Exclusive Modes, which shut down redundant system processes when streaming to make the system more efficient and reduce the likelihood of any interference from signal noise.

iFi has customised its DSD Remastering technology at every step of the signal's journey through the conversion process, while also using its own Chrysopoeia FPGA-based Remastering Engine to bring studio-grade DSD2048 conversion into the home for the first time. That way, the signal should be clean, stable and precisely timed before it reaches the conversion stage.

The DSD bitstream is then converted to analogue using the same delta-sigma modulator used in DSD recording, with no digital filtering or volume control to preserve the signal's purity.

At DSD2048, the 1-bit stream is sampled roughly 90 million times per second. This phenomenally high sample-rate results in very low in-band distortion, leading to the kind of fidelity usually heard only in high-end mastering suites.

That’s the promise, at least.

You also get three different listening modes courtesy of two output topologies: one solid state, the other tube-based. It’s the same concept as the Pro iDSD, but re-engineered for greater drive with reduced distortion for a more dynamic sound. Just flick a switch to select from the three modes: a dual-mono Solid-State for fast precision and low distortion; a warm and smooth dual-mono Tube mode; and Tube+, which pushes the tube character further for more body and a “golden-era analogue feel”.

And if you plan on using the iDSD Phantom with headphones, iFi has some further treats in store. XBass Pro restores the impact and bass response often lost in open-backed headphones (which can sacrifice bass for spacial openness). iFi claims that XBass Pro “lifts low frequencies without clouding the midrange”, with enough settings to tailor the sound to both the headphones and your own personal taste.

XSpace, meanwhile, creates a greater sense of space, “adding speaker-like depth to the more two-dimensional headphone experience.” iFi claims this is a more advanced technology than any kind of crossfeed that aims to do much the same thing.

XBass Pro, XSpace Pro and DSD Remastering should all work in harmony thanks to iFi's new constant impedance negative feedback system. This should help preserve clarity and low-noise performance.

Once you have selected your circuit topology, restored harmonics with K2HD and applied analogue shaping, a range of digital filters come into play. These include Bit-Perfect and Bit-Perfect+ (“the closest you’ll get to the raw recording”), GTO for upsampling to 352.8/384kHz with minimal filtering, Transient Aligned for balanced filtering while reducing high-frequency noise, and Apodising (which is like GTO but with a softer edge).

Impressive stuff. But can iFi improve on the Pro iDSD's four-star score? Stay tuned for a review…

The iFi iDSD Phantom is out now for £4499 / $4499 (around AU$9000).

MORE:

Read our iFi Pro iDSD review

The best DACs you can buy

And the best headphone amps

Audiolab isn’t short of experience when it comes to making DACs. The company’s first outboard digital-to-analogue converter was the 8000DAC of the 1990s, but it was 2011’s Audiolab M-DAC that really cemented its expertise in the sector. The now-discontinued M-DAC remains a favourite at What Hi-Fi? Towers, and was something of a mid-priced benchmark for the best part of a decade.

What has all of this got to do with the new Audiolab D7? Despite its smaller size and more modest price point, there are undeniable echoes of the M-DAC’s design template and well-judged feature set, and that’s a good thing.

Features & connections

The Audio D7 is a pleasingly versatile unit that makes as much sense at the heart of a proper separates hi-fi system as it does on a desktop system fed by a computer.

Audiolab certainly hasn’t skimped on the connectivity, with the D7 including a generous spread of digital connections: there are two coaxial and two optical inputs, USB Type B and USB Type A inputs, alongside single-ended RCA line level and balanced XLR analogue outputs.

The USB-A port allows connection to external storage devices and is also used for software upgrades.

There is a front panel-mounted 6.3mm headphone socket as well as digital outputs (optical and coax), should you want to do extra processing on the digital signal. It doesn't end there.

Bluetooth wasn’t seen as a relevant input back in the day of the M-DAC, but it certainly is now, so the D7 is equipped with Bluetooth 5.1 and has aptX HD codec compatibility.

Build & design

Take a look inside and you will find ESS Sabre’s ES9038Q2M DAC chip at the heart of the D7’s digital circuitry. This allows hi-res compatibility with up to 32-bit/768kHz PCM and DSD512 music files, which should be more than enough for most people’s digital music library.

While other manufacturers use this very same DAC chip, Audiolab claims that its experience, along with proprietary clock and power supply circuitry, achieves better results. Full MQA decoding is on the menu, should you have the need, as is Roon compatibility.

The DAC’s analogue outputs can be set to work in either fixed or variable mode. If the output is set to variable, it opens up the possibility of the D7 being connected directly into a power amplifier, or perhaps, more interestingly, directly into a pair of active speakers. The active route would lead to a pleasingly neat and uncluttered system.

This Audiolab is neatly made with little to criticise when it comes to solidity or fit and finish. The aluminium casework has been put together with care and is available in a choice of either silver or black.

The crisp OLED display on the front panel is handy for setting up, but it proves just a little too small to read comfortably from any kind of distance.

There is a choice of five digital filter options. The default ‘Linear (Slow)’ is a well-chosen starting point, but we ultimately settle on ‘Minimum (Slow)’ as the most natural-sounding choice in our systems.

As usual, the sonic differences between the various settings aren’t huge, and some of the others may match your taste and system better. There is no harm in experimenting.

You also get a remote control, which helps when this DAC is used in a full system context. It’s a simple, small plastic handset, but it is well-designed and easy to use.

Our test process includes a range of digital sources, including the Naim ND555/555 PS DR music streamer, a Cyrus CDi CD player and a MacBook Pro loaded with Audirvana music playing software and plenty of high-resolution files.

We also plug the D7 DAC into our reference system of Burmester 088/911 MkIII amplifier and ATC SCM50 speakers, as well as a more price-compatible set-up of Naim Nait XS3 integrated amplifier and KEF LS50 Meta speakers.

Sound

Audiolab tends to make sonically well-balanced products, and the D7 is no different. It has a broadly neutral and even-handed presentation that impresses for its clarity and detail resolution. It’s a clean and crisp sound without being over-etched. We love the sense of spaciousness the DAC imparts, so the music we play rarely sounds cluttered.

This kind of presentation works particularly well with dense classical music such as Tchaikovsky’s Marché Slave Op.31 or Gorecki’s Symphony No.3, where the Audiolab delivers a pleasingly large-scale and authoritative performance. There is good insight into the music and the ability to track low-level instrumental strands without losing the impact of the whole.

The D7 handles strong dynamic shifts with fluidity, though it doesn’t quite exhibit the verve and drama of its rival, the Award-winning Chord Mojo 2. Still, the Audiolab remains an interesting and entertaining alternative that holds our attention all the way through, thanks to its ability to capture the texture and tone of instruments so well.

This DAC sounds controlled and composed regardless of the music you play, which helps the listener relax, confident in the belief that the D7 won’t be wrong-footed by anything thrown at it.

You can add good stereo imaging to the list of plus points. The soundstaging is decently expansive, delivering more in the way of precision and focus than many of the alternatives that we have heard. The imaging stays admirably stable, too, even when the music becomes demanding.

As we work our way through the likes of Womack & Womack, Grinderman and Kid Cudi, it becomes clear that this Audiolab is a capable all-rounder. It delivers plenty of punch and power when the music demands, but also doesn’t ignore subtleties in the process. The distinctively gritty texture in Linda Womack’s voice comes through effortlessly on the song Love Wars, backed up by a pleasing sense of momentum.

The D7’s lows are pretty well defined and articulate with it. While the communication of rhythmic drive doesn’t match that of the aforementioned Chord Mojo 2, we’re still having fun.

We’ve mentioned the Award-winning Chord Mojo 2 a couple of times, and for good reason. It has long dominated this part of the DAC market, and it genuinely sounds great. Talented as the D7 is, we feel the Chord edges ahead in most sonic areas. But that isn’t the end of the story.

The Audiolab D7 has vastly better connectivity than the battery-powered Chord and is notably more flexible in use. It has Bluetooth, for example, which connects swiftly and works without issue, whereas the Mojo 2 is limited to physical inputs.

Also, the choice of balanced XLR and stereo RCA analogue outputs makes integrating the Audiolab into a conventional system far more straightforward than trying to find suitable cables to cope with the Chord’s 3.5mm output sockets. Most cable brands make such options, but you have to go looking for them.

Lastly, the D7 is far more straightforward to use, with logical and easy-to-understand controls. The Chord, on the other hand, still has us looking at its user manual to access some of its functionality, notably the clever but rather convoluted tone controls.

We’re pleased to note that the Audiolab works well as a digital preamp. It drives our Burmester 911 Mk III power amp well enough, given its price, and we see no reason why it can’t be the hub of a system built around a pair of price-appropriate active speakers. Acoustic Energy’s long-running AE1 Actives would be a great option, for instance.

Equally, the sound through its headphone output is consistent in character with that which we hear through its analogue outputs, be they balanced or not. We try Grado’s SR325x open-back headphones and enjoy the lovely yet refined sound produced.

Verdict

The Audiolab D7’s appealing blend of build, features and performance means that it deserves a place on the shortlist. Its performance is balanced and insightful, while the connectivity and build are as good as anything we’ve seen at this price.

If you are looking for a well-specified and talented outboard DAC at this level, it would be remiss if you didn’t consider this one seriously.

Review published: 9th December 2025

SCORES

• Sound 5
• Build 5
• Features 5

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Astell & Kern is ending 2025 with a bang by launching two new products: the "small-but-mighty" HC5 USB DAC and the high-end Stella wired in-ear headphones.

Following on from 2023's HC4 model, the new Astell & Kern HC5 DAC vows to "set a new benchmark for portable audio performance", teasing "stunning" audio quality in a pocket-sized package.

The idea is to boost your laptop or smartphone's listening quality, with the DAC featuring a top-mounted USB-C connection to fit in with a variety of modern listening sources.

To do so, the new unit pairs Astell & Kern's high-end AK4499EX DAC chip with its own AK4191EQ digital processor to separate digital and analogue pathways, reducing sonic noise while preserving musical detail. The new model offers file support up to 384kHz PCM alongside DSD256, and uses 'Digital Audio Remaster' upsampling to squeeze more out of lower-quality recordings.

Taking trickle-down engineering from A&K's flagship SP4000 portable player, the HC5’s 'High Driving Mode' architecture strives for a rich, spacious sound signature complemented by "powerful dynamic expression".

The new portable DAC features a dual noise-shielded cable, blending tin-plated copper conductors with aluminium film shielding, and an additional braided shield in a bid to all but eliminate electromagnetic interference.

A 1.62-inch OLED screen offers instant access to playback and system info, while the HC5 sports the same rotary volume wheel as you'll find across A&K's range of hi-res portable music players.

A portable DAC is nothing if you haven't got anything to pair it with, of course. Astell & Kern's latest Stella in-ear headphones should fit the bill, although these new IEMs are priced at the luxury, high-end market.

The new IEMs are built around a 12-driver architecture, featuring a 9mm dynamic driver and dual balanced armatures tackling the lower frequencies, as well as three mid-ranged units tuned for "natural vocal presence, articulation and coherence".

At the upper sonic echelons, the Stella use twin planar magnetic drivers alongside four electrostatic tweeters to handle the highest of highs.

The flagship in-ears are housed in an aluminium shell with black anodising and a stainless steel faceplate. The included cable features a hybrid conductor array of copper, silver and 24-karat gold, terminated by a 4.4 mm balanced connection.

The Astell & Kern HC5 portable DAC will cost £399 / $450 / €499, while the Stella wired in-ears are a considerably more expensive £3899 / $3900 / €4400. Both will be available in January 2026.

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Chord Electronics has given its much-lauded Mojo 2 DAC and headphone amplifier an upgrade with regard to its connections. The portable device now features a new 4.4mm headphone output and offers USB-C charging.

Sticking with the Mojo 2 name and its current price point of £395 in the UK, these two updates are a result of customer feedback and the demands of new devices now universally using USB-C. One of the two original 3.5mm headphone outputs will be replaced by the 4.4mm socket, which Chord says allows the Mojo 2 to be used with "a far greater range of high-performance headphones".

The 3.5mm and 4.4mm outputs will now have independent volume memory, letting the user set output levels for different headphones.

The USB-C input is now switchable and can be used for both data transfer and device charging. On the updated Mojo 2, there is a small 'flash' symbol above the input to denote its new charging ability.

All other features and functions of the Mojo 2 remain the same, including the eight-hour battery life, the palm-sized casing, and multi-colour, multi-button control. It has coax and optical inputs, and the micro USB port remains so that users can continue to connect it to the Poly 2 streamer module.

Chord Electronics assures us that all the fundamentals of design and the sound quality remain unchanged, too.

The Chord Mojo 2 is a multiple (and current) What Hi-Fi? Award winner, with the portable DAC and headphone amplifier using Chord's proprietary digital audio technology, and being hailed as delivering benchmark transparency and a game-changer for boosting the sound quality of your desktop-based and headphones listening.

The existing Mojo 2 with the original connection (from 2022) will still be on sale for some months until stocks run out – at the moment, you can buy it for just £249 at Peter Tyson (down from £395) in the Black Friday/Cyber Monday sales.

The new Chord Mojo 2 will retain the same name, but the '2' on the unit will be in bold to distinguish it from the outgoing model. The price will remain unchanged at £395 / $650 / AU$799.

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Black Friday quick links

• Amazon: browse all of today's best deals
• B&W speakers: save £200
• Bluetooth speaker: 48% off five-star JBL
• Bose QC Ultra Earbuds: save £100
• Bravia 8 TV: save 34% on 55in Sony TV
• Denon AV receiver: save £500
• Dolby Atmos soundbar: down to £299
• ELAC Debut 2: five-star speakers now £199
• Headphones: Sennheiser Momentum 4 now £169
• LG C5 55-inch: lowest-ever price at Richer Sounds
• JBL soundbar: now better than half price
• John Lewis: £500 off LG and Sony OLED TVs
• Richer Sounds: browse Black Friday deals
• Sevenoaks: £150 off Award-winning speakers
• Sony headphones: now just £29
• Stereo amplifier: Cambridge Audio now £299
• TVs, movies, home cinema: browse the best deals
• Vinyl: 3 for £66 at Amazon
• Wireless earbuds: Award winners now £75

• We rank the best DACs

Fiio's K13 R2R is a desktop DAC and headphone amplifier that has been "engineered to redefine performance in its category". It builds upon the K11 R2R DAC released last year and offers a slightly bigger design, greater connectivity and more power to drive your headphones.

At the heart of the new model is a fully discrete 24-bit resistor ladder DAC technology that aims to deliver a "natural, organic sound". Paired with Fiio's own error correction algorithm, the new DAC promises ultra-low distortion and a presentation that "combines technical accuracy with a sense of warmth and natural flow".

Further design features strive for "audiophile" levels of performance, including low-noise regulators and dual-independent power supplies for better isolation and improved stability.

The K13 R2R supports hi-res file playback up to 32-bit/384kHz PCM and DSD256 files, while its 2400mW of total power should mean it is well-equipped to handle even the most demanding headphones.

For hooking up your favourite cans, the new unit is equipped with 4.4mm balanced and single-ended 6.3mm headphone jacks. Further connections are available in the shape of digital coaxial, optical and USB-C inputs alongside two pairs of line-level RCA and one pair of balanced XLR outputs.

This means the K13 R2R can form the basis of a desktop-based headphone system, it can be plugged into active speakers or amplifiers, and you can also connect other digital sources, such as a CD transport, to it.

You can select gain levels to match your sensitive headphones, there are multiple digital filters available to fine-tune the sound, and you can control further parametric equaliser settings using the Fiio Control app.

The aluminium chassis has been designed for better durability and more effective heat dissipation. The compact unit comes in black and silver finishes, and features a circular window on top to let you peek into the internal circuits.

Around the front, the DAC features a rotary volume knob alongside a digital display showing information on the selected input, sample rate, and filter settings.

The Fiio K13 R2R DAC will be available from this September, priced at £279 / $319 / €319.

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iFi has unveiled its latest small-form portable DAC, the Go Blu Air. The British audio manufacturer is no stranger to a small, slender accessory, demonstrated by the likes of its iFi Go Link and ultra-portable Go Bar Kensei DACs, but this latest model really is a tiddler.

Measuring just 5cm tall and weighing in at a meagre 30g, the new DAC is designed to improve your portable headphone sound. iFi bills the new unit as being "small enough to forget you’re carrying it, yet powerful enough to remind you why you did".

To make good on this promise, the Go Blu Air's acoustic architecture features separated DAC and amplification stages in pursuit of reduced noise and low distortion.

The Go Blu Air also harnesses Qualcomm's QCC5144 chipset for Bluetooth reception, while a Cirrus Logic MasterHIFI DAC chip promises "natural tonality" and a "high-resolution output".

The dinky DAC also uses a twin-mono amplifier stage as part of the audio signal path to deliver up to 256mW of power, while a 3.5mm output includes iFi’s 'S-Balanced' technology to reduce crosstalk for in-ear headphones.

As well as 4.4mm and 3.5mm balanced headphone outputs, the new model offers Bluetooth 5.2 connectivity to your source device, supporting hi-res codecs such as LDAC, aptX Adaptive, aptX HD, alongside the more standard AAC and SBC protocols.

You can customise your sound to your liking, too. iFi's 'XBass' mode boosts your music's low-end signature, whereas 'XSpace' opens up the soundstage for a more immersive experience which seeks to recreate the feeling of a live performance.

As you might imagine, the Go Blu Air is designed to be portable. Offering up to 10 hours of playtime on a single charge, the lightweight unit comes fitted with a detachable magnetic clip so you can secure it to belts, bags, jackets and the like.

It also offers a built-in MEMS microphone with noise cancellation and echo suppression, meaning you can take hands-free calls and access your phone’s voice assistant without needing to manually switch over to your phone's speakers.

The iFi Go Blu Air is available now, priced at £129 / $129 / €149 / AU$229. We liked the more costly iFi Go Blu (£199 / $199 / AU$299) when we tested it a few years ago, so we're hoping for a similar success story from this cheaper model.

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Fiio has unveiled its latest portable DAC/headphone amplifier, the QX13. Constructed using a carbon-fibre body, the same material used for Formula 1 cars, the new DAC is designed to combine a lightweight yet durable design with a performance that will "supercharge your headphones" and audio gear.

To achieve said supercharging, the QX13 harnesses an ESS Sabre Pro ES9027PRO DAC chip featuring a fully differential audio architecture design wherein eight audio channels are set up in parallel.

The chip is paired with a pair of low-noise ES9312 regulators, while Fiio has pushed to reproduce audio signal as accurately as possible thanks to improved power efficiency and reduced clock jitter.

In terms of file support, the QX13 can handle PCM files up to 32-bit/768kHz alongside DSD512, and is capable of full MQA decoding.

The new DAC employs four integrated INA1620 chips, designed to diminish crosstalk significantly for reduced interference between channels. Two low-noise OPA1692 chips, meanwhile, are also included in a bid to ensure "excellent dynamics under various load conditions".

Fiio has equipped its latest DAC/headphone amp with a handy 'Desktop Mode' which lets extra power be drawn from powered USB devices such as laptops, increasing the potential power output and performance of more demanding headphones.

The QX13's carbon fibre body is designed to enhance durability without increasing weight, and is complemented by a 2-inch colour display which offers access to key information such as file type, equaliser settings or Desktop Mode.

The Fiio QX13 is available now, priced at £219 / $219 / €239.

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Topping has unveiled its latest hi-res DAC, the DX5 II. Billed as a compact powerhouse that can also act as a preamplifier and headphone amp, the new unit promises plenty of performance at a price that significantly undercuts some of the best DACs around.

The DX5 II's DAC stage is built around twin ESS Technology ES9039Q2M DAC chips, employing the latest Hyperstream IV architecture to deliver what Topping claims is "ultra-low-noise and exceptional dynamic range".

Each chip works independently across distinct signal channels, lowering noise and improving channel separation and dynamics, while being capable of handling PCM files up to 32-bit/768kHz alongside DSD512.

The DX5 II sports a host of physical connections, too, including three digital inputs – USB, coaxial and optical – plus balanced XLR and single-ended RCA outputs.

For listening with headphones, the four-channel DX5 II offers balanced XLR, balanced 4.4mm and single-ended 6.35mm connections, while wireless headphone convenience is also catered for via LDAC, aptX Adaptive, AAC and SBC Bluetooth codecs.

On the subject of headphones, Topping's versatile new model is supposedly capable of driving a decent variety of headphones, including demanding planar designs, thanks to its powerful amplifier stage.

Externally, the new unit boasts a two-inch colour screen with multiple display options, with users able to access information on the given file format, sample rate and volume level, access a ‘spectrum analyser’ screen or even bring up those classic VU-style meters.

The DX5 II is available in the UK from mid-July in a choice of black, white or silver finishes, priced at £299 / $299 (plus relevant sales tax).

At that price, it comes in under the likes of the Cambridge Audio DacMagic 200M, Chord Mojo 2 and the new Audiolab D7, all of which sit just under the £500 mark.

We like the Cambridge and Chord very much, but we haven't seen a huge influx of good, affordable desktop DACs recently, so it's refreshing to see such a low price for what appears to be a very well-specced unit.

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Volumio, the Italian brand behind the versatile Integro integrated amplifier and the do-it-all Motivo music streamer, is back with a brand new DAC. The dual mono Precise vows to "maximise audio integrity without excess" thanks to its optimised design and use of high-quality audio components.

Capable of handling PMC files up to 32-bit/768kHz alongside DSD512, the new DAC offers digital USB, coaxial, optical and HDMI inputs, as well as balanced and unbalanced stereo outputs, so you won't be left high and dry in terms of connections.

In a bid to deliver that precise audio signature, the new unit houses Dual ESS ES9039Q2M DAC chips housed within isolated circuits for proper channel separation, with each DAC chip's signal path optimised "for an extremely wide soundstage and detailed reproduction".

A single MEMs clock drives both DACs in pursuit of "impeccable timing of coherance". The Preciso also employs independent power regulation for analogue and digital paths, a design which Activo claims offers a noise-free signal without the need for any external upgrades.

Volumio also claims that the Preciso eliminates inter-channel crosstalk, again resulting in a wider, more accurate soundstage, while separation of left and right offers crystal-clear imaging and a more three-dimensional audio reproduction.

According to Michelangelo Guarise, Volumio's founder and CEO: “We are incredibly excited to welcome Preciso to our portfolio. We’ve poured hundreds of hours into designing, listening, and perfecting it. Preciso embodies everything we’ve learned at Volumio in crafting award-winning digital audio players, and is now ready to offer exceptional sound quality, staying true to our commitment to accessible high-end audio.”

The Volumio Preciso is available now, priced at £699 / €799 / $899 / AU$1399.

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iFi has announced two new travel accessories to bring wireless hi-res tunes to your summer holidays. The Up Travel Bluetooth DAC adds the capability to an in-car or inflight entertainment system, while the Go Pod Air adds it to your in-ear monitors (IEMs).

The Go Pod Air is a smaller, more affordable version of the Go Pod which launched a couple of years ago. But the Up Travel is a new product altogether.

Plug it into an in-car or inflight entertainment system, and it uses the magic of Bluetooth to send the sound over the air to your wireless headphones. It also streams in hi-res Bluetooth to car aux inputs – perfect for a road trip.

At 25g, it's light enough to carry on your person, and the 10-hour battery will last you even through a long-haul flight.

Dual headphone support means you can share your film, playlist or podcast with a pal. And it's driven by iFi's "hi-fi-grade architecture" with independent audio stages promising to extract maximum performance.

The 3.5mm connector flips out at the press of a button, a bit like a car key from a fob.

Transmitter mode sends audio from an inflight system or laptop's 3.5mm headphone jack to your headphones, while receiver mode does the same from your car's aux input.

It claims to be the only device of its kind to use "true hi-fi-grade architecture". The Qualcomm QCC51xx series Bluetooth chipset is tasked with delivering high-quality Bluetooth codecs – SBC, AAC, aptX (Classic, Low-Latency, Adaptive), LDAC, and LHDC/HWA – with greater stability, while the Cirrus Logic MasterHIFI DAC delivers "detailed, accurate sound with wide dynamic range and minimal distortion."

It also uses iFi's bespoke clocking circuitry to keep all components performing optimally. And there's a microphone built into the base which uses Qualcomm’s cVc noise and echo suppression technology for clearer hands-free calls.

It's out now for £99 / $99 (about AU$200), while the Go Pod Air is £249 / $249 (about AU$500). Happy travels.

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The original Audiolab M-DAC launched back in 2011, and soon picked up a slew of What Hi-Fi? Awards and remains fondly remembered by the review team. It was followed by the M-DAC+ in 2016, which also earned five stars. And now Audiolab has launched two new DACs that are direct descendants of the OG M-DAC: meet the D7 and D9.

Hailed as the next generation of Audiolab standalone DACs, they are said to build upon the same blueprint as the M-DAC, but honed over several generations of technical development.

Excited? We certainly are.

D7: a compact DAC with plenty to like

The Audiolab D7 is the cheaper of the two. It's a fair bit smaller than the D9, but combines DAC, preamplifier and headphone amp functionality.

It is built around the ES9038Q2M – the same 32-bit Sabre DAC chip also found in Audiolab’s 7000A and 6000A MkII integrated amplifiers. Audiolab has been using ESS Technology's chips since the original M-DAC, and claims to have more experience of implementing these tricky-to-incorporate components than any other manufacturer.

Audiolab claims its proprietary circuitry makes the most of ESS Technology’s HyperStream II architecture and Time Domain Jitter Eliminator, resulting in ultra-low noise and a high dynamic range. Audiolab also uses its own clock and power supply circuitry, alongside a Class A post-DAC active filter.

In terms of hi-res audio, the D7 can handle PCM files up to 32-bit/768kHz and up to DSD512 over USB. It's compatible with MQA and is certified as Roon Tested.

You can connect PCs, Macs and other devices using the USB Type B ports, and USB drives using the USB Type A. You also get four digital inputs – two optical and two coaxial – and Bluetooth with support for the aptX HD codec.

You can upsample digital audio data to 352.8kHz or 384kHz, and there are five DAC reconstruction filter settings so you can adjust the sound to suit the source material. Given the downright iffy quality of some digital files, that could be a very useful feature.

Outputs include analogue (balanced XLR and single-ended RCA) and digital (optical and coaxial). And there's a 6.35mm socket for plugging in wired headphones.

The D7 should fit seamlessly into your setup thanks to the option of fixed or variable modes with the analogue outputs. The fixed mode connects to integrated amplifiers and preamps with those partner devices controlling the volume, while the variable mode uses the D7's volume control through a power amp or powered speakers.

Of course, Audiolab is keen to stress the D7's sound quality, which we can't vouch for until we have tested it. But the physical layout of the device's circuitry should protect the audio signal from interference, accompanied by low-noise power supplies for all critical stages fed by an offboard PSU.

It certainly sounds like a lot of DAC for £449 / AU$999 (around $600).

D9: bigger, bolder, better

The Audiolab D9 has a lot in common with Audiolab's flagship 9000 Series hi-fi components, with a more premium build quality, features and sound performance than the D7.

It's very similar to the Award-winning Audiolab 9000N music streamer, but with Bluetooth in place of the network streaming functionality.

It is powered by ESS Technology's high-end ES9038PRO chip, which incorporates eight channels (up from the D7's two). Audiolab claims this further eliminates noise and distortion, and combined with its proprietary circuitry, master clock and Class A post-DAC filter, delivers "remarkable sonic clarity and breathtaking dynamics".

It has the same hi-res chops as the D7, playing all manner of formats, including FLAC, ALAC, AIFF, APE and WAV, as well as compressed legacy formats. It also shares other features of the D7, including MQA decoding, upsampling and Roon Tested certification.

Its circuitry is "significantly elevated", according to Audiolab, with its post-DAC analogue section including top-grade components and differential balanced architecture for a purer signal. There is also an ultra-low-noise toroidal transformer for consistent, clean power.

Audiolab has used its extensive experience working with ESS's chips to employ multiple discrete ultra-low-noise regulators to provide power separately to the left and right channels for each stage of the digital-to-analogue conversion process.

And it has the same connections as the D7, as well as an additional AES3/EBU digital input. Its Bluetooth also supports Sony's LDAC codec.

Inside is the same headphone-amplifier circuitry as in the D7, which Audiolab claims delivers a "spacious, detailed and dynamic performance" with even more challenging headphones, including both dynamic and planar.

The Audiolab D9 costs £1099 / AU$2299 (around $1460).

Both new DACs will be on show at High End Munich 2025 in a couple of weeks. Stay tuned for our reviews in due course.

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iFi is back with another DAC and headphone amplifier. The iDSD Valkyrie acts as the brand's flagship portable DAC/amp, teasing a performance that's tailor-made for listeners who "crave musicality and emotional depth" in a versatile, portable product.

The Valkyrie is built around four Burr-Brown DACs in a hybrid multi-bit configuration, an arrangement which iFi claims offers low-level linearity for "breathtaking" detail levels. Aiming to get the most out of the Valkyrie's DAC array is 'K2HD' technology, a proprietary mastering system designed to bring out the "warmth and emotion" of music by restoring music closer to its original master. The DAC also uses DSD Remastering to improve the resolution of DSD files while reducing distortion and increasing detail levels.

How about supported formats? The iDSD Valkyrie offers hi-res support up to 32-bit/768kHz and DSD512 files, while aptX Lossless Bluetooth streaming means it should be capable of streaming CD quality losslessly (16-bit/44.1kHz). Further Bluetooth codec support includes aptX Adaptive, LDAC, AAC and SBC.

iFi's flagship DAC offers a choice of six digital filters for more flexibility in how you choose to experience your music. The Valkyrie employs switchable analogue circuitry for its EQ modes, rather than the oft-used Digital Signal Processing (DSP), arguing that such a setup "preserves audio quality and allows for more natural frequency adjustment". Those modes consist of XSpace, which creates an expanded soundscape; XBassIIl for a fuller low-end headphones experience; and XPresence, which brings midrange frequencies forward for enhanced vocal clarity and "a more engaging, intimate sound".

In terms of physical connections, the Valykrie provides balanced analogue 4.4mm and 3.5mm inputs alongside USB-C and a combined optical/coaxial S/PDIF input. There's also a balanced 4.4mm, twin 3.5mm and a single RCA line output, not to mention 4.4mm and 3.5mm headphone outputs for hooking up to your headphones. Thanks to its high peak output, the Valkyrie should be able to handle the most power-hungry headphones without fuss.

If you're planning on using the new DAC as a portable companion for your cans, the Valkyrie offers 18 hours of playback on a single charge.

The iDSD Valkyrie is available now, priced at £1699 / $1699 / €1699.

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Read our recent iFi Zen DAC 3 review

iFi’s Zen DAC was launched back in 2019. Since then, it has remained a sensible buy for those looking for a quality digital-to-analogue converter at an affordable price. This distinctively-shaped unit has proved ideal for improving a computer's sound when using headphones or feeding a conventional speaker-based hi-fi system. 

The iFi Zen DAC V2 is a former What Hi-Fi? Award winner; we have the third generation Zen DAC model on test here and it proves reassuringly familiar in most ways.

Design

The design has evolved, of course. The highlights are a shift from the last generation’s USB-Type B input to a USB-C and improved file compatibility that now takes in 32-bit/768kHz PCM and DSD512 hi-res music streams. MQA decoding ability continues too, though given Tidal’s move away from the format, that doesn’t seem so significant for most people.

Take a look inside the iFi Zen DAC 3 and you will find a 16-core XMOS processor running iFi’s in-house software and feeding a four-channel Burr-Brown DAC chip. PCM and DSD datastreams have their dedicated pathways so they remain ‘bit-perfect’ as they get processed. Elsewhere, this new DAC is claimed to have lower DC offset at its output and ‘over-voltage’ protection for its USB input. 

Power output figures remain unchanged from before, with iFi quoting 210mW into a 32-ohm load from the single-ended 6.3mm output, rising to 390mW into 64 ohms for the balanced 4.4mm socket. We certainly didn’t have any loudness issues with any of the headphones we tried with this DAC.

When it comes to connectivity, there is only one signal input, the USB-C port. This also accepts power, so the Zen DAC 3 can be run off your computer and doesn’t necessarily need a mains feed to work. It is possible to add an optional power supply called the Power 2, which costs £69 / $79 / AU$110 in the required 5 volt DC form. 

While our review sample of the Zen DAC 3 wasn’t supplied with one, we have enough experience of iFi’s external power supplies to know that this is something well worth investigating.

As for outputs, there are two for headphones – a 6.3mm and 4.4mm balanced – on the front panel and the combination of line-level stereo RCAs and balanced 4.4mm on the back. Here you will also find a switch to change the DAC 3’s line output from fixed (when it is used with an external amplifier) to variable (for use with active speakers). These options make the Zen DAC 3 a vastly more flexible performer than the similarly-priced Audioquest Dragonfly Cobalt USB DAC.

Build & features

General build quality of the Zen DAC 3 is good. The casework is essentially unchanged from the last generation model and is none the worse for that. This is a compact design that takes up less desk space than a typical paperback. There is a fresh look to the front panel and volume dial that makes them look a little smarter than before, but beyond that it feels like business as usual. 

The ‘Power Match’ button, as seen on the previous generation, makes a return, and proves useful; it adjusts the amplifier’s gain to allow the volume control to work with greater subtlety across a range of headphones with differing sensitivities.

Next to that is the XBass+ button that aims to compensate for the relative bass shortfall that open-back headphones suffer from when compared to closed designs. This can also be thought of as a conventional bass boost control. Regardless, it is fairly subtle in use and offers a useful bass bump with thinner-sounding recordings or headphones. 

The Zen DAC 3 takes a leaf out of Chord Electronics’ book and uses the colour of the LED light ring around the volume control to indicate the resolution of the incoming digital data stream. Initially, this forces us to go back to the user manual repeatedly to check what the colour shown means, but soon becomes intuitive.

We partner the iFi DAC with our usual Apple MacBook Pro laptop and try out a number of headphones including the Sennheiser HD 650 and Grado SR325x open-backs, the premium Sony MDR-Z1 and Shure SE535 in-ears. To see how the Zen DAC 3 performs in a conventional hi-fi system, we put together a set-up of a Rega Brio amplifier and KEF LS50 Meta speakers. 

Audioquest’s Award-winning DragonFly Cobalt (now reduced to £179 / $199 / AU$369) is the most obvious competitor, while the pricier Chord Mojo 2 (currently available for £395 / $555 / AU$799) provides a broader context.

Sound

The iFi Zen DAC 3’s first hurdle is to sound better than the headphone output of our MacBook Pro, and it does that. As we work our way through a collection of playlists from Tidal (using Audirvana music software) it doesn’t take long to decide that the iFi delivers far more in the way of resolution, authority and dynamic finesse than the laptop by itself. Consider that box ticked.

Next is the comparison with the previous generation Zen DAC V2 model. This proves interesting and not as one-sided as we would have hoped. There is no doubt that the new DAC 3 delivers cleaner, clearer and slightly more detailed results than its predecessor. 

It sounds bigger too, delivering a greater sense of space and scale. Yet, it isn’t all one-way traffic. The older model sounds punchier, slightly more dynamic and is a little more surefooted when it comes to rhythmic drive.

On its own terms, however, there is no denying that the Zen DAC 3 remains a good performer. We listen to a 24-bit/192kHz recording of Mahler’s Symphony No.4 and like the understated way that it renders the sound. This new generation model has a smooth yet even presentation that is packed with a good amount of detail for the money. Instrumental textures are rendered with care, and it is impressive just how uncluttered and spacious it all sounds. 

There is a pleasing sense of scale, and the iFi delivers it with convincing authority. Stereo imaging is crisp, expansive and nicely layered, making the DragonFly Cobalt sound smaller and a little cluttered. The tables are turned when it comes to dynamics, though. Here, the Audioquest DAC shows more in the way of punch and expression, leaving the iFi sounding a little flat-footed in comparison.

A DSD recording of Aimee Mann’s Lost In Space highlights the DAC 3’s main strengths. It has a lovely midrange performance that brims with texture and subtlety. Mann’s singing comes through with clarity, the DAC ensuring that little of her vocal subtlety and emotion are lost. It is an easy-going sound that suits the music well, and is delivered with impressive refinement and lack of edge. 

If you want an undemanding presentation that can just wash over you after a hard day at work, then this DAC could be exactly what you need. However, it isn’t quite an all-rounder by current class standards.

This is made obvious when we switch to Michael Jackson’s Blood On The Dancefloor set (16-bit/44.1kHz). It seems that the Zen DAC 3 takes its name a little too literally when asked to play hard-charging music such as the title track or Ghosts. For all the iFi’s insight and clarity, music such as this makes it feel soft centered. It lacks the verve, dynamic punch and rhythmic drive of the Audioquest, preferring to offer the listener a more sanitised version of events. 

The sense of polite smoothness that works so well on gentle vocal-based music, such as the Aimee Mann set, doesn't pay dividends here and leaves us feeling just a little short-changed.

The Audioquest DragonFly Cobalt doesn’t offer balanced connectivity though. We compare the Zen DAC 3’s sound through both the 6.3mm output and the balanced 4.4mm alternative using a pair of Sony MDR-Z1 headphones and find that the balanced option produces bolder and punchier results. 

So, if you have headphones with this feature it is well worth trying – though it has to be said that none of our recommended price-appropriate headphones do.

Using the iFi in a stereo speaker system context simply reinforces our view of its sonic character. It is a capable and easy going performer, though not the most entertaining around.

Verdict

The Zen DAC 3 is a pleasing product in many ways. It is undemanding of source material and generally manages to produce likeable results. However, it doesn’t represent a clear step up over the last generation model and now also finds itself in broad price parity with Audioquest’s hugely talented Cobalt. 

This dents the Zen DAC’s appeal a little, though if you value the iFi’s easy integration into a speaker-based hi-fi system, then it is certainly worth checking out.

First reviewed: March 2025

SCORE

• Sound 4
• Build 5
• Features 4

MORE:

Read our review of the Audioquest DragonFly Cobalt

Also consider the Chord Mojo 2

Best DACs: USB, desktop and portable digital-to-analogue converters

Musical Fidelity's M8x DAC is the latest addition to the brand's high-end M8 range (which includes the five-star M8xi integrated amplifier). It has been meticulously designed to deliver the highest performance a DAC and headphone amplifier can provide at this level.

The M8x DAC features a fully balanced design architecture, ultra-low jitter technology, the use of Class A discrete analogue amplification and high-resolution audio support – all to ensure it can deliver "exceptional audio quality" with as little noise and interference on the audio signal as possible.

Inside are two 32-bit ES9038Q2M DACs in a dual differential mode, which feeds the balanced output stage and the headphone amplifier. This allows Musical Fidelity to "extract the most musical detail while minimising noise and interference". The M8x DAC keeps the left and right channels fully independent too.

A proprietary clock design and Time Domain Jitter Eliminator technology ensures minimal distortion and very low jitter levels, while an ultra-low-noise regulator optimised for high-resolution audio is also used. High-resolution files up to 784kHz PCM and DSD256/512 (the latter via USB) are supported, and the M8x DAC can process MQA files through the USB and SP/DIF inputs (a step up from the M6x DAC). There are eight digital filters available for PCM file playback, and upsampling for PCM signals can be individually turned on and off.

A key element to the M8x DAC's performance is the use of a fully discrete design, with individual components in the output stage instead of integrated circuits or chips. Musical Fidelity's reasoning is two-fold: efficient, integrated chips don't tend to offer the "neutral, natural, dynamic or vivid" sound crucial for a Musical Fidelity product, compared with what's achievable from more traditional discrete designs that use thousands of individual elements (such as capacitors, resistors, transistors). The brand says: "That makes for an extended design process, but in our opinion results in the best sound for your money."

Additionally, Musical Fidelity says the M8x DAC will be easy to repair and maintain, as the individual discrete components can be serviced as they are always made, whereas the integrated chips (which are used in the M6x DAC) can get outdated or go out of production.

The headphone amplifier stage also uses a fully discrete and balanced design with Class A operation powering headphones with 30 ohm impedance or higher. The brand says the M8x is capable of driving both power hungry and low impedance headphones, down to 8 ohms. Connectors include a standard 6.3mm headphone jack and a 4-pin XLR for balanced headphones, delivering what Musical Fidelity calls a "breathtaking soundstage" through either output.

To round off the list of connections, the M8x DAC's digital inputs include three optical, one coaxial and one AES/EBU, while there are one pair of RCA and one pair of balanced XLR analogue outputs. The power supply for digital and analogue circuitry is also – you guessed it – isolated to prevent any high-frequency interference.

Visually, the M8x DAC matches the rest of the range (such as the recently released M8x Vinyl phono stage) with a thick extruded-aluminium chassis that acts as a Faraday cage to protect the internal circuits from external noise and vibrations. In the pursuit of least interference on the signal path, Musical Fidelity has also opted not to use a display or any wireless features. While many products these days have attempted to combine performance with convenience features (such as Rotel's new DX-3 DAC), Musical Fidelity is chasing the purest, cleanest audio signal delivery with its M8 products.

As expected, the Musical Fidelity M8x DAC doesn't come cheap. It's available to buy in the UK for £3599, while those in Australia can expect to pay AU$7200 when it's available in April.

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Read the Musical Fidelity M8xi review

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It's never too late to embark on new beginnings. Rotel has launched the DX-3 – the first standalone headphone amplifier in the brand's 60-plus year history. The Rotel DX-3 isn't just a headphone amplifier, though. It is also a DAC, it has built-in Bluetooth, digital and analogue inputs, and it can be used as a preamplifier.

Rotel pitches the DX-3 as the "ultimate desktop audio companion", and we can imagine its compact footprint will appeal to many of us who want high-quality hi-fi kit but are short on space. It measures 7.6cm x 21.5cm x 24.7cm – which is only a little bit bigger than the WiiM Ultra streamer's size.

You can plug a wide range of wired headphones into the DX-3, with Rotel stating it is compatible with high, medium and low-impedance cans, while users can also select the amplifier gain to suit their headphones. There are 6.3mm and 4.4mm balanced headphone connectors on the front panel.

The unit features an ESS Sabre ES9028PRO eight-channel DAC and is capable of handling hi-res audio files up to 32-bit/384kHz and DSD256. You'll get that maximum full native resolution using the USB type B input, while there are digital coaxial and optical inputs that can play 24-bit/192kHz files natively. It also has a Bluetooth receiver included, which supports AAC and higher-quality aptX HD codecs.

The DX-3 also features balanced XLR and stereo RCA analogue outputs, so you can use it as a preamplifier in an existing hi-fi set-up with a power amplifier, or use it to drive active speakers in a neat, compact system. There is also a pair of RCA line-level analogue inputs, which is unusual for a product of this type.

The "highest-grade components" are used in the DX-3 to deliver audiophile-grade performance from this headphone amplifier/DAC/preamp, which also has Rotel's renowned audio expertise behind it.

The low-noise toroidal transformer is custom-made and manufactured in-house, while high quality capacitors are used. The analogue and digital power supplies are isolated to reduce interference, while custom-engineered low pass filters and a fully balanced signal path further help to minimise unwanted noise and distortion from affecting the music.

All in all, Rotel aims to deliver music with "the ultimate resolution, rhythm and timing and on an immersive soundstage".

The unit itself looks rather smart, with the front panel boasting a full-colour display that shows off the volume level and source chosen, and a large, knurled volume control that delivers precise steps in 0.5dB increments.

The Rotel DX-3 will be available in silver and black finishes for £1399 / $1499 / €1499. It will be available in the UK and Europe from the end of March, with the rest of the world to follow soon after.

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What do you prioritise: sound quality or convenience? It's a question you have to ask yourself before you go about buying any sound system. McIntosh claims that now you can have both, thanks to the launch of its DS200 streaming DAC.

It's aimed at users who already have decent power amplifiers and preamplifiers and just need a high-end streaming component to complete the setup. For them, the DS200 is the final link in the chain.

It works with all the major streaming apps and technologies, like Spotify Connect, Tidal Connect, Apple AirPlay 2, Bluetooth and Google Cast. Ethernet is also onboard for a wired connection, and it can be voice controlled via Google Assistant (as long as you have another Google Assistant-compatible device on the same network). It's Roon Ready and has Roon Tested certification, too.

So what about this quality that McIntosh promises? Inside is a quad balanced 8-channel, 32-bit Digital-to-Analog Converter (DAC) which McIntosh claims delivers a "huge dynamic range and low distortion", aiming to deliver "superior sound reproduction" from your digital music library.

Streaming aside, it has eight digital audio inputs that support hi-res audio including DSD512 and DXD up to 384kHz via USB, and 24-bit/192kHz via coax and optical inputs. The HDMI ARC socket converts your TV's Dolby and DTS multi-channel audio into two-channel audio.

There are also balanced and unbalanced analogue inputs, allowing for seamless integration with an existing audio setup. And while it's factory-set in fixed output mode, it can be switched to variable output for connecting directly to a power amplifier, in order to control the volume in a digital audio setup.

And from a design perspective, it's instantly recognisable as a McIntosh product, thanks to its black glass front face plate, rotary control knobs, illuminated logo and custom-machined aluminium end caps.

The McIntosh DS200 Streaming DAC will cost £5890 / $4000 / €5990 (around AU$11,700) and it goes on sale in March.

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It's always fun when something is disguised as another thing, like those pencil cases that look like a tube of Pringles or phone protectors resembling a half-unwrapped chocolate bar. Fiio's sub-brand Snowsky has done something similar with its latest release: a DAC and headphone amplifier that, at first glance, looks like a portable cassette player. How kitsch.

The ultra-budget DAC aims to bring the most out of your headphones listening when connected to a laptop or smartphone. The dinky device boasts "high-quality components", including an internal CS43131x2 DAC chip and "high-power" amplification. Capable of handling PCM files up to 16-bit/96kHz, the portable DAC promises to take your headphones "to levels of performance far beyond smartphones and laptops".

The retro-styled unit sports 3.5mm and balanced 4.4mm headphone sockets, as well as a USB-C port. The player also supports Bluetooth streaming, allowing for a wireless connection with your source player, and there's even hi-res codec support for aptX, aptX HD and LDAC, provided they're also compatible with your source device.

The unit even has physical controls, which are designed to evoke the look and feel of the buttons found on those classic '90s cassette players, allowing you to adjust the volume, skip tracks or enter/exit the display menu. The screen in the middle moves as you play a track and outlines the quality of the file being played, blending modern needs with a retro aesthetic.

Unlike your dear old Sony Walkman, the Snowsky Retro Nano lets you take calls thanks to its built-in microphone and even comes with access to the Fiio Control app for Android and iOS users. These quirky features set it apart from other portable DAC/headphone amps, such as the five-star iFi Go Link Max.

Measuring around 55 x 38 x 14mm and weighing in at a meagre 28g, the Nano certainly lives up to its diminutive title. The Snowsky also comes with a removable, rechargeable battery which can be juiced up via USB-C.

The Snowsky Retro Nano comes in two different finishes – blue or white – and is on sale now, priced at £60 / $60.

MORE:

Gimmick or Godsend? I spent a week with FiiO’s retro cassette deck and Discman to test their modern-day merit

These are the best wired headphones we've tested

And these are our picks of the best DACs you can buy 

When we reviewed the super-portable five-star iFi Go Link last year, we used a rather apt sporting analogy, comparing the small, affordable but surprisingly powerful DAC to the efforts of Luton Town FC plying their trade in the Premier League. Here was a performer punching above its weight, offering hi-res sound for your headphones at a price that wouldn’t make the most devastating dent in your finances.

With Luton’s sad expulsion from the Prem last season rendering our sporting analogies somewhat out of date, we’re now hunting new metaphors to fit the bill for the new iFi Go Link Max, a slightly costlier model (at £79 / $79 / AU$139) that nevertheless promises exceptional sound in a small, affordable package. It’s tough for the tiny teams at football’s top table, so let’s see whether what we have on our hands here is a soaring Nottingham Forest or a struggling Southampton FC.

Build & design

There’s only one conceivable way of making the iFi Go Link Max seem burly, and that’s to compare it with its smaller stablemate, and even then it’s hardly a case of David versus Goliath. The main unit of the Max is slightly longer and chunkier than the standard Go Link (£59 / $59 / AU$87) – mostly to leave enough space for a secondary 4.4mm headphone output – but the general configuration is the same, consisting of the main DAC unit and a built-in USB-C plug connected by a short woven cable. If your device hasn’t caught up to the USB-C revolution, two handy adapters in the box – Lightning and USB-A – mean you won’t miss out if you’re using, say, an older iPhone or a laptop.

Externally, the titchy unit features a single LED which changes colour depending on the format and sample rate of the file you’re listening to. Green means PCM 44.1/48/88.2/96kHz, yellow denotes PCM 176.4/192/352.8/384kHz, DSD64/128 is represented by cyan and DSD256 lights up as a rather pleasing shade of blue.

There’s some solidity and substance when you hold the DAC in your hand but not so much as to drag down the cable of your wired headphones, while the metal casework adds a touch of class to the ensemble. iFi promises that its twisted cable “reduces inductance and capacitance” and helps to shield the wire from outside noise, and while that may be true, we just worry that unsympathetic use could cause the cable to break after some time. Be careful about putting too much stress on the cable at either end, that’s all we’re saying.

Features

The iFi Go Link Max offers impressive hi-res file support considering its price, supporting PCM audio playback up to 32-bit/384kHz and DSD256. Unlike the cheaper Go Link, there’s no MQA support, although considering Tidal pulled most of its support for the beleaguered format earlier this year, that may not be the most devastating loss after all.

The new unit packs twin ES9219 DAC chips, and its balanced audio circuitry aims to reduce noise and improve sound quality. The new DAC is claimed to deliver up to 100mW of power (single-ended) into a 32-ohm electrical load, rising to 241mW out of the balanced output – this should be enough to drive more power-hungry headphones properly.

There’s even more tech packed into the Max to get your music sounding as good as possible from something so small and inexpensive. The tiny DAC features ‘Total Harmonic Distortion (THD) Compensation’ technology which strives to minimise harmonic distortion for a purer sound, while the company’s Dynamic Range Enhancement (DRE) software looks to boost the contrast between your music’s loud and soft moments in pursuit of a more engaging, wide-ranging experience.

Sound

We hook the diminutive DAC up to our Windows Surface laptop and let the team loose on a high-resolution FLAC recording of Fleet Foxes’ Wading In Waist-high Water. The intimacy of the track is communicated with much more sincerity and heart than when listened to without the DAC, lending us initially to feel as though vocalist Robin Pecknold is holding a private concert to which only we have been invited. When things open up and the gently strummed guitars are joined by more robust instrumentation, the Max demonstrates an ability to shift gears and give the ensemble the muscle and sense of occasion it demands when played through the Award-winning Grado SR325x headphones.

We’re also impressed by the new DAC’s handling of dynamics. iFi promised a greater dynamic range from its latest portable plug-in courtesy of the brand’s DRE tech, and we’re happy to report that such efforts haven’t been in vain. Yes, some of the effect comes from the Max’s generous helpings of punch and bass power, but we do get a tangible sense of drama and contrast from Matthew Sweet’s Girlfriend as, after a period of mild musical respite, the powerful guitar arrives back into the fray like a two-tonne boulder dropping into a serene pool.

These characteristics remain generally consistent no matter our choice of source player. Plugging the Go Link Max and the Grados into an iPhone 15 and running through a variety of Tidal tracks confirms that the DAC isn’t flattering to deceive with a more powerful machine at its disposal. Deadmau5 and Chris James’ The Veldt is clearer, more detailed and punchier than the musically capable smartphone could manage on its own, whereas Hysteria retains so much of that weight and potency that made it such an invigorating listen via our DAC and laptop combo. Switching headphones to the closed-back Røde NTH-100, we’re certainly struck by how much bass power the dinky DAC extracts from Muse’s Hysteria, offering heft and punch to the track and making for an exhilarating, adrenaline-fuelled experience.

When comparing the Go Link Max’s performance with that of the slightly cheaper Go Link, there isn’t much difference in detail resolution. Still, the information dug out by the newer device goes a decent way beyond what you’d get if you were simply listening without a DAC at all. That said, sticking with Hysteria but switching to the standard Go Link grants the tune more nimbleness and clarity while revealing the older model’s superior ability with vocals. For injecting the right tunes with a good deal of meaty muscle, especially at the lower end, the newer Max does dial things up a notch, but we concede that some listeners may prefer the more affordable Go Link’s purer, cleaner sonic personality.

The small price difference from the iFi Go Link to the Go Link Max comes in part thanks to the latter’s inclusion of a 4.4mm balanced headphone output, so we dig out a pair of Sony MDR-Z1R (£1700 / $1800). We admit that it’s unlikely you’ll use a sub-£100 / $100 DAC with such costly headphones, but from a testing point of view, they’re a valuable tool that gives us a clear insight into what the DAC is doing. The Sony are also ideal because they come with balanced and single-ended leads in the box, something of a rarity in the headphones that we rate highly.

We find that the combination of the Sony cans plus the Max DAC provides us with a propulsive rendition of Peal Jam’s Running alongside a dramatic, dynamically engaging version of Hans Zimmer’s Why So Serious? when using a single-ended connection. When we switch to the balanced option, however, we are pleased with the added punch, drive and sense of dynamic contrast the tracks now enjoy.

Verdict

The iFi Go Link Max is an impressive performer at this affordable price point, providing noticeable extra helpings of detail, dynamic contrast and punch to your tunes and acting as a small but talented accompaniment to your wired headphones of choice. Some users may prefer the more agile, light-footed approach of the standard iFi Go Link, but the Max brings sufficient sonic benefits – plus the addition of a potentially handy balanced headphone output – to justify its slightly higher price tag.

First reviewed: November 2024

SCORES

• Sound 5
• Build 4
• Features 5

MORE:

Read our review of the iFi Go Link

Also consider the AudioQuest DragonFly Red

Best DACs: USB, desktop and portable digital-to-analogue converters

How do you improve on a five-star performance? With more of the same, but cranking everything up to 11, if you're iFi. Its new Go Link Max DAC improves on last year's stellar Go Link USB DAC with more power, an improved sound, dual DACs and a new headphone output. Improvements all round, in other words.

Of course, to find out how it actually performs, you'll have to read our exclusive iFi Go Link Max review. But we're not ruining the surprise to say it scored another five out of five rating.

It has a number of improvements over the original. There's more power for starters – with 241mW at its disposal, it has almost five times more than a MacBook Pro. That means it should be able to drive more demanding headphones, making your music louder and clearer.

It also has a new dual DAC set-up (the original only had a single). The Dual ES9219 DAC separates the left and right channels both physically and audibly, creating a more spacious, immersive sound, according to iFi. And there's a new 4.4mm balanced headphone output to reduce distortion.

Harmonic distortion is also minimised thanks to THD Compensation, creating a purer, cleaner sound. Dynamic Range Enhancement (DRE) has also been tweaked to create a bigger difference between loud and quiet parts of a track.

Other than that, you get a silver-plated copper cable and noise-rejecting helix design, which combine to reduce digital noise. And thanks to the hardware-based volume control, sound quality isn't impacted when you adjust the volume.

The iFi Go Link Max is a little pricier than its predecessor, at £79 / $79 / AU$139. But as our review shows, it's worth every penny.

MORE:

Read the full iFi Go Link Max review

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Even by HiFi Rose's standards, the RD160 is a looker. The South Korean hi-fi brand has made a name for itself in creating products that look beautiful, with ornate buttons, dials, displays and switches all evoking the tactile nature of old-school hi-fi.

The new Rose RD160 DAC and preamplifier, however, is all sleek and modern lines, with a splendid 'hidden' AMOLED screen that puts other minimal, modern designs to shame.

Internally, HiFi Rose has packed the DAC with a host of technology that promises "pure audio reproduction that is free of noise". It has a fully balanced, dual-mono DAC design, two different sets of AKM DAC chips dedicated to the digital and analogue stages, and uses a high-precision OXCO clock. It has a digital processing module that aims to maintain a high level of signal accuracy, alongside minimising jitter and keeping the digital audio stages of the circuitry free of interference from any of the control features.

The separation of the two channels and the separation of the digital and analogue processes result in minimal crosstalk, says HiFi Rose, with the aim of delivering a sound that is accurate, clear and natural. You can also select the output level (fixed output levels between 1V and 9V) to suit a wide range of integrated amplifier partners, or use the RD160 directly with a power amp thanks to its own volume dial and preamplifier function.

The power section is also given plenty of thought. The RD160 has three custom-designed linear power supplies that independently power the main digital section and the left and right channels. HiFi Rose claims this method of "stably supplying power according to the dynamic requirements of each stage" allows "the power supply [to] maintain high signal integrity, therefore increasing the resolution and dynamic range of the DAC."

A good complement of analogue and digital connections is available, including two coaxial inputs, one optical input, an AES/EBU input, HDMI I2S and USB inputs – all able to handle hi-res audio up to 32-bit/784kHz PCM files. DSD128 and DSD512 files are also supported. The RD160 has two pairs of analogue outputs: balanced XLR and unbalanced RCA line-level.

There are ample settings and options to play with in the RD160, along with four sampling options and six digital filters, so you can tailor the DAC's sound to your tastes and system. The RD160 is also compatible with the RS130 streaming transport, where using the SFP USB connection allows for the transmission of "pure digital data" that is clean and noise-free.

The RD160 is encased in a solid aluminium chassis and is available in either silver or black finishes. You can control the DAC using the front-panel buttons, dial or remote control. That screen can be customised to show a variety of playback information, the input or even a live soundwave of each channel – the graphics certainly look interesting from the press photos.

The HiFi Rose RD160 is available now and can be yours for the princely sum of £4699 / $5295 / €5299.

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HiFi Rose's stylish RA280 amplifier packs flagship tech for nearly half the price

FiiO has been a nostalgic soul of late, having released a Walkman-inspired portable cassette player and a Discman-esque portable CD player into a world that waved goodbye to those audio devices many moons ago. The digital-to-analogue converter (DAC) is one of the more contemporary audio devices in the Chinese manufacturer’s portfolio today, but it has still managed to give its latest one a retro flair: the all-new KA15 is a portable DAC that resembles a tape recorder – and not only in its compact cuboidal shape but also with its one-inch colour screen’s graphic interface. And we thought British brand iFi was the king of cool DAC designs!

FiiO makes several portable USB DACs, from the USB-C KA13 to the Bluetooth-enabled BTR13 – all with the purpose of being the sound-enhancing middleman between your phone or laptop and headphones. The KA15 shares that ambition, its conversion stage built around two Cirrus Logic CS43198 chips that support 32-bit/768kHz PCM and DSD256 files. 

A USB-C input makes it compatible with a range of phones, computers and laptops, including the iPhone 15 and new iPhone 16, while both 3.5mm and balanced 4.4mm jacks cater for a wide range of wired headphones. The former can also be configured as a coaxial output for connecting it to a higher-end unit if you so wish.

“Competition amongst audio dongles is becoming increasingly intense, and FiiO knows that only “innovation” can make them stand out,” reads the official FiiO KA15 product page. But it isn’t only in its vintage aesthetic where the KA15 separates itself from its competitors. It also boasts a Parametric EQ, a more sophisticated and customisable type of EQ adjustment than those found in most affordable digital audio devices. The ten-band EQ essentially lets the user tweak the frequency response and sound they hear through their headphones, controllable through either a dedicated web interface or FiiO’s Control app (compatible with Android devices only). 

The app is also where Android users can adjust channel balance, set the theme and brightness of the screen, and select between two volume modes: a 60-step quick adjustment or a 120-step fine adjustment. (The latter can also be achieved on the device itself.) Above the pair of on-unit volume keys (which double as track skippers) on the side panel of the metal chassis is a Desktop Mode, too, allowing the KA15 to be powered by an external source to deliver up to 560mW through the balanced headphone output to satisfy the most power-hungry headphones.

Speaking of power, FiiO claims the KA15 is a super-efficient device, with real-time voltage and current monitoring allowing for dynamic power adjustment, and playback status recognition that can adjust the overall power consumption and impact your connected device's battery life less.

A smart and fun little device for just £100/$109, eh?

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The best DACs you can buy, tested by our in-house experts

Read our new FiiO M23 portable music player review

FiiO has unveiled a new portable DAC, to take on the five-star iFi Go Link and AudioQuest DragonFly Cobalt models.

The FiiO BTR13 is a tiny portable USB DAC and headphone amplifier similarly sized to its rivals and set to retail for a very reasonable £64 / $64 / €64 when it goes on sale in September. We don’t have Australian pricing at the moment, but we will update this page when we get it.

At first glance it looks very similar to its iFi Go Link and AudioQuest DragonFly Cobalt rivals, having a similar, pocket-sized USB form. Connectivity-wise it features USB type-C input and 3.5mm (unbalanced) and 4.4mm (balanced) headphone outputs. 

FiiO is pitching flexibility as the BTR13's main selling point, with the DAC offering three different modes.

it functions as a DAC and headphone amp when connected to smartphones and laptops, but switching it to PC mode will allow it to draw power from the laptop/computer instead of its internal battery. For gamers looking to upgrade their Switch, PS5 or Steam Deck’s audio there’s also UAC 1.0 mode – something rival DACs don’t usually feature.

Running the show in these modes are dual Cirrus Logic CS43131 fully-balanced DACs that can output up to 220mW, which is enough to drive most of the affordable headphones we recommend in our best wired headphones guide.

In its Bluetooth setting, it switches things up and also works as a Bluetooth decoder. This mode is powered by a Qualcomm QCC5125 Bluetooth chip and supports all the usual codecs and standards you would expect, including aptX HD and LDAC. This means you can stream hi-res audio up to 24-bit/96kHz – which is fine for most streaming services, including Tidal and Apple Music.

One small caveat for iPhone owners is that it doesn’t come with a Lightning cable adapter included. So if you want to use it with an iOS device you’ll need to invest in, or already own, a third-party OTG-compliant lightning adapter.

For tinkerers, the unit works with FiiO’s mobile and web app, which grants access to a 10-band parametric equaliser (PEQ). As a final differentiator, the unit even comes with a nifty 0.96-inch colour screen, which should make navigating its menus and settings easier.

The big question however, is how it works in the real world, which we haven’t had a chance to check yet. Though the portable DAC market doesn’t have as many options as it used to, there are many excellent units still available, so it will have stiff competition.

The dinky iFi Go Link costs a similar amount and not only earned five stars in our review, it also impressed our staff writer, Harry McKerrell, so much so that he penned a feature detailing how much he enjoyed using it. The five-star AudioQuest DragonFly Cobalt, despite being more expensive, has a similar form factor and remains a class leader for its audio performance, despite having come out many years ago and remaining a current What Hi-Fi? Award winner.

MORE:

These are the best DACs we have reviewed

We rate the best headphones money can buy

Our pick of the best portable music players

One of the most common questions manufacturers, audiophiles and – heck – the team at What Hi-Fi? ask ourselves is, how do we get more young people into hi-fi? 

This is particularly true during back to school season when eager students take advantage of the wealth of discounts available to them and invest in new headphones or speakers to add a soundtrack to their studies and parties.

Traditionally you'd expect this to apply to hi-fi as well. But that's not necessarily the case anymore, as the way most people listen to music has fundamentally changed from the days I was a student –  mostly in ways that make it much harder to draw younger listeners away from wireless convenience to 'proper' hi-fi.

And there’s a good reason for that. In today’s world, most of us use a smartphone as our primary music player, usually with a streaming service. Phones don’t normally have headphone jacks anymore, so it makes sense that you’d use these primarily with wireless speakers or headphones. 

While there’s no replacing the experience you get with top-end hardware and a cabled set, even we at What Hi-Fi? recommend this type of set-up in some instances. Mainly because, unlike the early years when the word 'wireless' was interchangeable with 'lossy' and 'poor quality' audio, there are now some really good quality streaming services and wireless hardware options available.

For students, the ongoing popularity and prevalence of Apple hardware on campuses makes particular sense. With Apple offering healthy student discounts,
several five-star headphones and earbuds, which perfectly complement iPhone / MacBook sources and the Apple Music streaming service, there is a wonderful simplicity to the company’s ecosystem. That’s why you’ll see the AirPods and HomePod appearing prominently in our best wireless headphones and best wireless speakers guides.

Even if you’re not committed to Apple there are an equal number of fantastic alternatives. You’ll find a number of good sounding, affordable options in our best Bluetooth speaker guide. On top of that, Sony in particular has a number of incredible value wireless headphones and earbuds, many of which cost less than a hundred bucks and impressed our reviewers enough to earn five star ratings when we tested them. The Sony WF-C700N and  Sony WH-CH720N are particularly good examples of this.

So I get why many students stop their audio journey there, especially as if you haven’t experienced anything else you won’t know what you are missing. This is especially true right now given how few dorm rooms and student halls have access to 'proper hi-fi' which makes communicating the benefits tricky.

Back in the year [redacted], when I was a student, the world was completely different. Bluetooth speakers weren’t really a mainstream thing and portable music players that didn’t make phone calls were a staple sight in most halls of residence. Forget Android vs iPhone, my battleground was Zune vs iPod.

In this world, while a basic, usually terrible sounding, iPod dock was the sound system of choice for many, there was still proper hi-fi around. A few of my friends even had actual ’80s and ’90s boomboxes or separate racks they’d inherited from their parents. I myself rocked a dedicated Zune HD player and solid pair of over-ear AKG headphones during my post-grad years. So there was always some 'proper' hi-fi around for me, even back then.

Without that experience, I understand getting into hi-fi can be intimidating. After all, shopping for a turntable, let alone separates when you’re not familiar with system matching and confident enough to go in store to try before you buy, is a daunting process. So knowing where to start is hard.

To help with that I have one simple recommendation for any student music fan looking to get into hi-fi – start small and consider trying a portable DAC paired with open-back wired headphones.

Wondering what a DAC is? A DAC (digital to analogue converter) is a key bit of hardware that takes the digital audio signal from your phone, laptop, or system and turns it into the analogue audio you can hear. Though it’s only one part of the mix that creates truly brilliant audio, the reason I recommend it is that most of the phones and laptops don’t have great DACs.

So adding a better, separate portable DAC to your set-up is a quick and easy upgrade that can radically improve your listening experience without taking up lots of space or requiring oodles of technical knowledge. Once you’ve connected the unit to your phone or laptop via USB, all you have to do is plug in your headphones and you’ll be treated to a plethora of sonic improvements, even if you’re just streaming from Apple Music or Tidal. We’ve detailed why students should go for Tidal over Spotify, at least right now, in a separate feature. [Spoiler] Spotify is not as high quality and costs more.

This is particularly true right now, where there are a number of fantastic options that won’t break the bank. I personally use a Chord Mojo 2, and that is a great option for those that can afford it – though I get that the cost of one, plus a compatible pair of headphones is a lot for most students.

But below that there’s the iFi Go Link, which you can pick up for £69 in the UK or $59 in the US. Paired with the great value Rode NTH-100 the unit impressed our staff writer Harry McKerrell, who had never used a DAC before, enough for him to detail quite how revolutionary the experience was in a feature last year.

Our iFi Go Link review’s conclusion says it all:

“The iFi Go Link feels like the perfect device for enhancing your headphones on the move and on a budget, living up to its brief of providing discernible sonic enhancements in a portable package without forcing you to fork out a fortune for the pleasure. Choose your apt analogy – Luton Town FC, Bruce Lee, Peter Crouch – the iFi Go Link joins the pantheon of performers punching well above their weight.”

As an added layer of allure, that combo is significantly less than a pair of AirPods Pro 2, let alone AirPods Max. Which is why I thoroughly recommend any student keen to elevate their audio beyond basic wireless hardware start with a DAC and reliable pair of wired headphones – trust me, you won’t be disappointed.

MORE:

These are the best wired headphones we’ve tested

We detail the best over-ear headphones money can buy

Our picks of the best hi-fi systems

Like many, I was enticed away from cabled headphones as my daily commute and office workhorse many moons ago.

These days I tend to rock a pair of Technics EAH-AZ80 wireless earbuds when commuting, or walking to the shops, before switching to a pair of over-ear wireless headphones, currently the Technics EAH-A800, when sitting at a desk. In both instances I usually use my phone as a source and stream from Tidal.

And for the past few years I’ve used this combination of headphone form factors as my portable audio set-up with zero issues. After all, wireless audio is undeniably convenient, especially as most phones and tablets don’t have headphone inputs anymore, so even if you wanted a cabled connection it would be via USB-C or, *shudder* a Lightning cable.

For more serious home listening I also have a proper hi-fi set-up in my lounge, at the moment featuring an Award-winning Technics SA-C600 (I’m not a fanboy, I promise) system with Q Acoustics 3030i standmount speakers and a Rega Planar 1 turntable – don’t judge me for not having more expensive hardware, this stuff sounds great for the price and I’m living off a journalist’s stipend.

Audio codecs and wireless technology have also improved to the point the sound isn't terrible. Recent Bluetooth versions offer enough stability that, outside of incredibly busy signal areas, such as Kings’ Cross St. Pancreas station, I hardly ever experience dropouts even when taking advantage of their multi-point powers. 

Tidal’s ability to stream at CD quality also means the audio is “good” and a significant step up from the very lossy and sometimes unstable experience you got with wireless headphones and earbuds when they first became a 'thing' nearly a decade ago.

So all in all, you could describe me as pretty satisfied when it comes to portable audio.

But all that changed a couple of months ago during a casual conversation I had with our managing editor, Becky Roberts. It started when I spotted her using a Chord Mojo 2 DAC in her office set-up, which made me fondly reminisce about my early years as a consumer tech journalist.

During these formative years I used to rush to review any portable headphone DAC I could – there were only a few handfuls of them around at the time – to help make the frequent long-haul flights and train journeys I had to take for work more bearable. Yes, I’m aware this is a first-world problem, but back in 2012 mobile phones and laptops sounded a lot worse than they do today without one.

This was a key reason why the original AudioQuest DragonFly DAC was a staple travel companion for so long and in my mind a game-changer for many music fans of that era. The dinky unit had a convenient USB connector and was so small you could easily fit it in your pocket.

This wasn't helped by the fact that during the conversation she detailed what a lifesaver the DAC has been for her during frequent flights, which include long hauls between the UK and Australia. The end result was that I decided to take the plunge and try using the Mojo 2 myself – and boy am I glad I did.

Pairing the unit with a very well-loved pair of Sennheiser Momentum 2.0 wired over-ears that I refuse to give up (despite them now looking fairly haggard and being relatively modest as Mojo 2 companions go), the set-up offered a better listening experience in nearly every way.

Whether it was Stanley Clarke, Marcus Miller and Victor Wooten’s jazz/funk masterpiece Thunder, or the ambient beauty of God Speed You! Black Emperor’s The Dead Flag Blues, with the Mojo 2 in the mix, the sound on offer felt crisper, livelier and oh so much more open.

The jump reminded me of my experience trying vinyl in my dad’s lounge for the first time after previously being limited to tape. Across every genre it injected such a sense of fun and realism that I couldn't help but tap my foot along with the beat. In one particularly embarrassing situation, my wife caught me impersonating Flat Eric while listening to Daft Punk at my desk. She even has video proof…

Has it replaced the Technics earbuds as my driver during the morning commute or walk to the shops? No. I will concede that convenience wins here for me. But the Mojo 2 – which, by the way, is merely palm-sized – has now become a staple fixture in my travel/commute backpack that I use daily while sitting at my desk, or while travelling an extended distance on a train or plane. I can't see this changing anytime soon either, as when I tried to go back to listening to a purely wireless set-up at my desk, the magic was lost, and I felt myself yearning to go back.

Which is why I’ve penned this opinion piece urging people like me, who sacrificed their cable and DAC in the name of convenience, as well as music fans looking to take their first step into proper hi-fi, to consider a wired headphones/DAC set-up, no matter how 'modest' – honestly with the right hardware it is worth the extra bag space each day. If you're in the latter camp and want further proof, our staff writer agreed when he detailed his first time using a DAC last year.

MORE:

These are the best wired headphones we’ve tested

We rate the best DACs

Our picks of the best phones for music

Not content to sit still, iFi Audio has followed up its recent Zen DAC 3 and Zen Phono 3 launches with another duo of announcements: the iFi Zen Blue 3 wireless DAC and the iFi Zen Can 3 headphone amplifier. 

Let's start with the Zen Blue 3 DAC, which iFi claims is the "world’s first wireless DAC that can both transmit and receive lossless CD quality with no data loss." It does this by supporting Qualcomm's latest aptX Lossless codec, which allows for lossless 16-bit/44.1kHz (CD-spec) transmission over standard Bluetooth with a bitrate transmission between 1100kbps and 1200kbps.

That's the highest transmission data rate yet for a Bluetooth codec, with the LDAC codec able to transmit audio up to 990kbps. The Zen Blue 3 DAC also supports LDAC, as well as aptX Adaptive, aptX, AAC and SBC, so it can stream music from just about any Bluetooth device – although those wanting to stream in higher quality CD or hi-res need a source device that also supports the lossless codec. 

The DAC supports Bluetooth 5.4, and inside it features an ESS Sabre chip alongside a balanced line output that offers reduced signal noise and crosstalk between the channels for cleaner sound.

The DAC comes with three selectable modes: RX (which receives a Bluetooth stream from a source device), TX (which sends a Bluetooth stream to another device) and Wired DAC mode (which lets you connect the DAC to devices using a wired connection). If using the DAC in a gaming or video set-up, a low latency button on the front panel should help reduce any audio-video sync delays.

Wired connections include a pair of RCA stereo inputs, a USB-C input, S/PDIF optical and coaxial inputs/outputs (for 24-bit/192kHz native playback) and a pair of RCA stereo and 4.4 balanced outputs. 

The iFi ZEN Blue 3 wireless DAC is available to buy from 9th July for £299 / $299 / AU$299.

Meanwhile, the new Zen Can 3 headphone amplifier is an analogue-only affair with 6.35mm and balanced 4.4mm headphone jacks on the front panel, alongside stereo RCA, 3.5mm and 4.4mm inputs at the back. The headline feature here is that it features support for in-ear headphones that use the next-gen xMEMS driver technology – which uses solid-state drivers instead of traditional voice coil and magnet designs and claims to be 150 times quicker to respond than mechanical drivers. So if you're one of the lucky few to have an IEM with xMEMS driver tech, the Zen CAN 3 will work with it.

The headphone amp is now more powerful, with iFi claiming up to 2000mW of continuous power (into balanced 64 ohms) to work with even the most difficult-to-drive headphones. There are also two new EQ modes – Movie and Gaming – for clearer dialogue and low-level/background sound effects, respectively, plus the usual two XBass+ and XSpace EQ filters.

The iFi ZEN CAN 3 headphone amp is available now for £229 / $229 / AU$229.

MORE:

Read our original iFi Zen Blue review

Check out the best DACs you can buy across all budgets

Read about the best headphone amplifiers we've tested and recommend

High-end Japanese brand TEAC has announced the arrival of the UD-507, a DAC-cum-preamplifier-cum-headphone amp which aims for a crystal clear sound reproduction in a versatile, compact desktop unit that TEAC describes as being roughly the size of a piece of A4 paper. 

Central to the new model is TEAC's reference DAC, designed with "musicality as the top priority" and based on the same design applied to the brand's high-end 701 Series. The new model offers a total power output of 2400mW, but users can switch the given gain between three positions (low, mid and high) to match the sensitivity and impedance of their headphones.

The UD-507 offers support for 384kHz/32bit PCM playback alongside 22.5MHz DSD and full MQA decoding. The unit's Bluetooth receiver is capable of supporting LDAC and aptX HD Bluetooth protocols, with four rear physical digital inputs (USB Type-B, USB Type C, coaxial and optical) working alongside two analogue inputs (RCA and XLR). Naturally, the UD-507 also provides twin headphone connections for using the unit as a headphone amplifier.

The UD-507 uses a dual monaural configuration wherein there are two circuits for each channel, preventing interference between left and right signals and, says TEAC, "reproducing music with a spacious and three-dimensional soundstage." TEAC's products aren't regulars in our test rooms, but the brand's recent VRDS-701 premium CD player wowed us with its authority, detail and sonic poise. If the UD-507 can do something similar on a smaller scale, it might end up being something special. 

According to TEAC's brand manager Jo Yoshida, "The design goal of (the UD-507's) DAC is to provide a more immersive musical experience for all listeners. Thanks to the clear soundstage and precise imaging, you will discover the breadth and articulation of your favourite artists that you never noticed before.”

The UD-507 will be available for purchase in June 2024 at a suggested retail price of $2099 (further prices pending).

MORE: 

These are the best DACs you can buy in 2024

7 mistakes to avoid with a DAC

Read our recent TEAC VRDS-701 review

iFi has revealed the two newest members of its popular Zen line of affordable hi-fi accessories: the Zen DAC 3 and the Zen Phono 3.

Building on the success of the superb, What Hi-Fi? Award-winning Zen DAC V2, the new third-generation Zen DAC has been designed to cater to a wide variety of users, from gamers and casual listeners to dedicated audiophiles.

The new DAC and headphone amplifier extends its support of high-resolution files to 768kHz PCM and DSD512 alongside full MQA decoding, promising to reproduce the nuances of your digital music "with remarkable clarity and detail". With fixed and variable output gain options, the Zen DAC 3 can be connected to headphones, amplifiers or even active speakers.

The compact DAC offers two 4.4mm balanced outputs – one for headphones and the other for hi-fi products – and it has a 6.3mm headphone socket and a new USB-C input. Its internal design is aimed at minimising distortion, crosstalk and unwanted noise. iFi's XBass+ and PowerMatch processing modes, which respectively add more lower-end oomph and change the internal amp’s gain for easier headphone matching, add further personalisation to your listening experience.

Released alongside the Zen DAC 3 is the Zen Phono 3 phono preamp that works with both moving magnet and moving coil cartridges. Making its debut to coincide roughly with this weekend's Record Store Day celebrations, the Phono 3 is designed to enhance your records' clarity and refinement. The Phono 3 features a bespoke "subsonic filter" which selectively removes sonic imperfections and flaws in a vinyl recording while maintaining the music's overall integrity and musicality. The unit's RIAA equalisation circuit, meanwhile, helps to maintain a consistent frequency response for preserving your records' original sonic characteristics. 

The Phono 3 offers 4.4mm balanced and RCA line outputs, while a high-precision power supply controller and adjustable gain offer further compatibility and versatility with your cartridge of choice. With our Vinyl Week celebrations in full swing and Record Store Day approaching on Saturday 20th April, the timing couldn't be better. 

The iFi ZEN DAC 3 is available now for £229 / $229 / AU$229 (which is a step up in price from the outgoing Zen DAC V2's £159 / $159 / AU$229), while the iFi ZEN Phono 3 is also on the market for £249 / $249 / AU$249.

MORE: 

Read our iFi Zen DAC V2 review

Or our iFi hip-dac 3 review

These are the best DACs: USB, desktop and portable digital-to-analogue converters

iFi is back with yet another DAC. 2023 saw the release of a glut its portable DACs, including the five-star iFi Go Link, the excellent iFi hip-dac 3 and the high-end iFi iDSD Diablo 2 headphone amp/DAC combo. Despite its latest rather crowded stable of portable units, the British-based company has revealed another in 2024: the iFi Go Bar Kensei.

iFi bills the Kensei as the "world's first ultraportable DAC with K2HD technology". K2HD is essentially a protocol developed to boost sonic performance, and works "to restore music to the same quality as the original master, reviving it with the rich, natural harmonics lost during digitalisation". This ensures, says iFi, that "every note resonates with depth and clarity". 

The new DAC takes the "Kensei" part of its name from the honorary title afforded to the finest, deadliest Japanese warriors who had proved their swordsmanship skills in combat. The Kensei supports files up to 384kHz, DSD256 and even MQA, while built-in "iEMatch" technology matches the output levels for your headphones automatically.

Speaking of headphones, the Kensei comes fitted with two headphone outputs – one 4.4mm and the other 3.5mm, as well as a USB-C input for charging. Crafted from stainless steel, it "draws inspiration from the craftsmanship of a Kensei's legendary blade", although you're probably better off with an actual katana rather than a pocket-sized DAC if you're planning on taking part in any samurai showdowns.

Thanks to the Kensei's enhanced power and clock circuitry, iFi promises that the compact DAC is capable of producing a wide, open soundstage alongside plenty of detail and a full, robust bass response. If you want to get your music sounding just how you like it, the Go Bar Kensei provides a choice of four digital filter options in addition to two analogue processing modes: bass-boosting "XBass" and the more spacious "XSpace" profile.  

The iFi Go Bar Kensei portable DAC is available now for £449 / €449 / $449 / AU$449. 

MORE:

Read our iFi Go Link review 

And our iFi hip-dac 3 review

Check out our best DACs: USB, desktop and portable digital-to-analogue converters

7 mistakes to avoid with a DAC

SPL Audio is a small German brand that has been quietly making professional and home audio equipment for around four decades. It specialises in electronics, making an extensive range of studio processors, DACs and amplifiers. We first came across the brand when we tested its rather excellent Phonitor xe analogue headphone amplifier just over a year ago. That product left a great impression on us with its useful range of features, lovely build and natural sound quality. So, when the new SPL Diamond DAC became available, we jumped at the chance in the hope of a similar dose of goodness. In the event, we’re glad we did.

Build & features

There is a welcome aura of functionality about the Diamond. It is a well-specified premium digital-to-analogue converter with plenty of inputs – USB (type B), coax x 2, optical x 2 and AES/EBU – and an impressive file compatibility that tops out at 32-bit/768kHz for PCM and DSD256. Reflecting SPL brand’s pro heritage, there is even the option of adding an outboard clock as a means of upgrading performance. 

Switching to analogue outputs, there is a choice of both single-ended RCAs and balanced XLR. Look on the back panel and you will find a couple of small dipswitches that govern whether the DAC has a fixed or variable output through those analogue outputs on an individual basis. This allows the Diamond to either drive a pair of active speakers or power amplifier directly or bypass the volume control and feed straight into a preamp or integrated.

SPL hasn’t complicated usability by offering a choice of digital filter settings or other ways to tweak this DAC’s sound. While such choices are generally touted as a good thing, in our experience the differences between the settings are usually small and tend to encourage the user to play around with their hi-fi in a neurotic way. There’s always a nagging feeling that maybe you haven’t made the very best choice. For most people, as opposed to those who just like tweaking, having the SPL’s engineers choose the optimum settings seems a better option.

The Diamond is a beautifully built product. It feels reassuringly solid; the front panel dials and switches work with precision and give the impression that they will continue to do so for years. We suspect that SPL’s experience in the professional arena, where reliability and durability are essential, has filtered through here. 

Take a look inside and it is hard not to be impressed by the care taken in the Diamond’s circuit layout. It is pleasingly neat and arranged with obvious care. We note the use of an Alps Blue potentiometer for the volume control and the premium AKM AK4490 ‘Velvet Sound’ chipset that forms the DAC’s digital heart. Once the signal is converted to analogue it goes through one of two dedicated filters depending on whether the source signal is PCM or DSD. Perhaps most unusually, the Diamond’s internal circuitry operates at +/- 60 volts DC, which is between two to four times more than conventional rivals. The claimed advantages of operating at this higher voltage are a wider dynamic range, higher output capability and reduced distortion levels. 

Sound

A digital-to-analogue converter at the Diamond’s level demands a top-quality partnering system. We use the digital output from our reference Naim ND 555/555 PS DR music streamer as well as that from Chord’s 2go/2yu streamer pairing. Our usual MacBook Pro (loaded with Audirvana music-playing software and plenty of high-res files) is also on hand as an alternative USB source. The rest of our set-up is Burmester’s 088/911 Mk III amplifier and ATC’s SCM50 speakers. We also plug the SPL into a system of Naim’s Supernait 3 and a pair of ProAc Response D2R standmounters to find how it performs in a more modest set-up.

The Diamond DAC is hard to fault in most ways. It has a clean, balanced and detailed presentation that plays any recording with little embellishment. This is not a product that tries to add excitement or drama to the music, in that sense, it plays with the straightest of bats. 

We listen to Mozart’s Violin Concerto No.4 In D Major (24-bit/192kHz) and the SPL captures the grandeur and scale of the piece well. There is plenty of authority to the presentation and a sonic solidity that isn’t so common. We can hear deep into the recording, and the DAC has a lovely sense of control, keeping a firm grip on the various instrumental stands and arranging them with care. Detail resolution is good, as is the way this converter captures the timbre of each instrument. It renders a tonally rich sound that avoids the bland greyness of some rivals. 

We’re also pleased with the Diamond’s stereo imaging. It presents a wide and expansive soundstage, populating it with nicely focused and precisely located instruments. There is a good sense of depth and the imaging stays stable even when the piece becomes demanding.

Large-scale dynamic shifts are handled with composure and smaller shifts in intensity come through well, though class leaders such as Chord’s Hugo 2 (£2100 / $2500 / AU$4500) show that it is possible to get even more in the way of dynamic expressiveness and outright insight. Still, by most other standards this product does well.

Switching to Michael Jackson’s Off The Wall set (24-bit/96kHz) shows that the Diamond knows how to dance. It sounds fast and punchy on Burn This Disco Out, delivering the song’s hard-charging rhythm with enthusiasm, though without quite having the dexterity of that pesky Hugo 2. It remains a fun listen though, and captures the excitement of the track well. Lows come through with muscularity though falling a touch short of class-leading grip and agility. On the positive side, Jackson’s vocals are rendered with his passion intact. We’re pleased to note that the SPL manages to convey the natural warmth and substance of his voice properly. Some rivals make him sound thin and screechy in comparison.

We try the various digital inputs and find the Diamond to sound pleasingly consistent between them. That isn’t always the case. There is a similar story with the single-ended RCA and balanced XLR analogue outputs, which suggests that the engineers have taken great care over the details. We select the variable output setting via the back panel dipswitches and plug the Diamond straight into our reference Burmester 911 MkIII power amplifier. The results are surprisingly good, with the preamp section of the SPL sounding pleasingly balanced and transparent for the money.

Verdict

The SPL Diamond is a fine DAC that’s a pleasure to use and listen to. While the class-leading Chord Hugo 2 has the edge in outright transparency and rhythmic precision, the Diamond still turns in admirable results. While there isn’t a great deal of difference in features between the two, it is the SPL that is more intuitive and fuss-free in use. The Diamond is certainly a product that deserves a place on the shortlist and reinforces our positive impression of the SPL brand. It makes us even keener to hear some of the other products in the range.

SCORES

• Sound 4
• Build 5
• Features 5

MORE:

Read our review of the Chord Hugo 2

Also consider the Chord Qutest

Best DACs: USB, desktop and portable digital-to-analogue converters

Musical Fidelity has announced two new products are coming to its revived flagship Nu-Vista range – the Nu-Vista DAC and Nu-Vista Vinyl 2 phono stage.

The company relaunched its Nu-Vista range at the beginning of 2023, introducing new high-end components such as the PRE pre-amplifier, PAM mono-block, PAS stereo power amp, and 800.2 integrated amp.  

The Nu-Vista DAC and Vinyl 2 units are both similarly high-end models, featuring the same large aluminium housing and clear control screens as others in the range. 

The Nu-Vista DAC is a high-end digital-to-analogue converter featuring a Class A nuvistor tube output stage. It features several input and output options which should accommodate a wide range of digital sources, including three optical inputs, one coaxial input, a USB port, and one AES/EBU input. It also includes two pairs of line-level outputs: XLR and RCA.

This new DAC uses two ES9038QM chips in dual differential mode for a true dual-mono design and supports up to 768kHz audio in PCM formats, DSD256 via DoP, and native DSD512 via USB. This means it should be more than able to handle virtually any hi-res digital file type out there. There’s also a Time Domain Jitter Eliminator on board which is said to keep jitter rates below 100 femtoseconds – quadrillionths of a second.

The Nu-Vista Vinyl 2 is Musical Fidelity’s flagship phono stage with a Class A nuvistor tube stage. It’s fully discrete and fully balanced, which the company claims should ensure that signal integrity is never compromised and remains true to how the music should be.

It features two pairs of balanced XLR and unbalanced RCA inputs, as well as balanced and unbalanced outputs. The Vinyl 2 offers adjustable settings for gain, capacitance, impedance, equalisation, and a two-step subsonic filter. Due to this level of flexibility, Musical Fidelity says that the Vinyl 2 is highly accurate with both MM and MC cartridges.

The Vinyl 2 also features three gain stages powered by Class A transistor circuitry. Audio signals from the phono preamp go to separate boards for each channel, which is said to guarantee the lowest levels of noise and distortion in the music.

The Musical Fidelity Nu-Vista DAC and Nu-Vista Vinyl 2 will both cost £9999 / €10,990  each and will be available from December 2023 in black or silver finishes.

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Eversolo has released the DMP-A8, a music streamer with a host of streaming capabilities, featuring a new combination of DACs and an analogue preamp.

We were impressed with Eversolo’s DMP-A6 streamer, praising its clear, punchy sound and vast digital playback features, so naturally, we are intrigued by the new DMP-A8. 

It aims to improve on the formula used in the A6 with some new internal components, expanded input and output options, and an all-analogue preamplifier – replacing the digital preamp used in the A6. 

The new Eversolo streamer uses two AKM DACs – an AK4499EX and an AK4191EQ – as well as Femto clocks which were also used in the DMP-A6 Master Edition. The new streaming preamp offers more digital and analogue inputs and outputs, including two optical inputs, two coaxial inputs, an HDMI eARC port, a new HDMI I2S port, and new RCA and balanced XLR analogue inputs and outputs. 

The DMP-A8 also offers analogue outputs if you want to use it as a dedicated pre-amp. Alongside physical connections, the unit also supports Bluetooth 5.0 and the aptX HD codec for wireless streaming. As with the A6, wi-fi or Ethernet connection brings a host of other streaming options, from AirPlay and DLNA to playing from local connected storage like a NAS device.

Using Eversolo’s Original Stampling-rate audio engine, the DMP-A8 outputs audio at the file’s original sampling rate, bypassing Android’s SRC limitations to support direct audio passthrough.

Eversolo’s new streaming preamp supports a wide range of high-resolution formats up to 32-bit/768KHz PCM files and DSD512. It also features an MQA decoder and allows direct playback from music streaming services like Tidal Connect, Spotify Connect, Qobuz, Deezer, Apple Music, and Amazon Music. 

The DMP-A8 can connect to storage devices via a USB OTG port. It’s also capable of having an M.2 NVME SSD (up to 4TB) installed for storing media natively on the unit.

The DMP-A8 is built using CNC-machined aluminium chassis and features a 6-inch (15cm) LCD touchscreen display used for controlling audio playback, source selection and more, including personalised dynamic VU meters and spectrums.

The new DMP-A8 streamer is available now for £1890 / US$1980 / €1980. This price point means Eversolo's new streamer will be up against some Award-winning competition such as the Naim ND5 XS 2, and we look forward to putting the DMP-A8 to the test and seeing how it fares against such strong opposition. 

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After 16 or so years in this industry, I was pretty sure I'd seen it all – and then the FiiO KB3 'hi-fi keyboard' popped up in my inbox and I immediately decided that I must have one.

It may look like a gaming-focused compact keyboard, what with those flashy mechanical keys, but the KB3 is as much about audio output as it is typed inputs. Connect it to your Mac or PC via USB and it can receive hi-res audio in up to 384kHz/32-bit and in formats including audiophile DSD256.

This digital audio is then converted to analogue by two 'high-performance and efficient' CS43131 DACs, amplified by two 'low-noise' amps and output to your chosen pair of headphones, which can be connected to the keyboard's integrated 3.5mm or 4.4mm balanced outputs.

The key caps are swappable and transparent, and there are apparently multiple presets for the RGB lighting (which can also presumably be turned off entirely). FiiO has selected Gateron G Pro 3.0 switches for the keys, which are well-regarded for their reliability and longevity.

If I was the grumbling sort, I'd say that while I appreciate the fact that there's an integrated, step-less volume control, I'm not sure its flat red finish matches the rest of the keyboard's aesthetic, but I'm not so I won't. I also won't mention that it would be good to have a larger version with a full numeric keypad.

The big question, of course, is whether the FiiO KB3 actually sounds any good, and I'm afraid I don't have an answer for that yet. I'm certainly intrigued, though, and tempted to pay the £139 / $149 asking price in order to find out.

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2023 really has been the year of the portable headphone amp and DAC combo. iFi led the charge with the five-star iFi Go Link, the excellent hip-dac 3 and the recently unveiled iDSD Diablo 2, while the FiiO KA13 and the Earfun UA100 only added competition to an increasingly busy market. They're everywhere right now.

Astell & Kern is getting in on the act as well this year. The South Korean audio manufacturer has unveiled its new HC4 DAC as the successor to the brand's HC3 model, featuring a new internal DAC chip and a host of connectivity options – to compete in this market, you need to bring out the big guns.

The headline grabber is certainly that bespoke internal DAC model (the AK44993S, if you're interested), with the HC4 the first product to be fitted with the new tech. According to the maker, this "class-leading technology" ensures "exquisite sound reproduction" thanks to its improved noise control. 

What about the supported formats on offer? The A&K HC4 offers support for Native DSD256 as well as PCM files up to 32-bit/384kHz and is also equipped with digital audio remaster (DAR) technology, which upsamples the sample rates to push beyond the source format's original limits. That, combined with the introduction of Astell & Kern's updated internal circuitry, aims to deliver a more faithful, textured sound as a result. 

In terms of inputs, the new portable DAC comes kitted out with a USB-C input as well as 3.5mm and 4.4mm outputs, which should cater to most headphone models comfortably. The DAC also comes with both USB-C and Lightning cables so you can be sure you're able to connect to any device, including the new iPhone 15, without a problem. You can even hook up your portable gaming device, such as a Nintendo Switch, thanks to the HC4's UAC 2.0 and UAC 1.0 connections. 

Daubed in an enticingly named "Moon Silver" aluminium finish, the new Astell & Kern HC4 is available now for a price of £219 / $220 / AU$399. To put that into context with its competitors, the recently-reviewed iFi hip-dac 3 provides direct competition at £199 / $199 / AU$449. That could certainly be an exciting head-to-head...

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