Lyngdorf TDAI-2210 review

Lyngdorf does things a little differently. Even in the increasingly popular world of versatile one-box streaming amplifiers, the Danish hi-fi brand stands out from the usual suspects with the all-new TDAI-2210.

From the fully digital amplification architecture and unusual digital volume control to its bespoke app interface layout, this Lyngdorf sits a little adjacent to the mainstream alternatives – and it feels every bit a modern hi-fi product.

Build & design

The Lyngdorf TDAI-2210 may sit in between the brand’s existing TDAI-1110 and TDAI-3310 models, but it is no middle child with hand-me-downs. It is completely redesigned from the ground up, with a new PCB layout, a cleaner signal path and better power supply filtering – and is the most advanced product in the range.

The TDAI-2210’s key technical element is in the name: TDAI stands for Total Digital Amplification, Integrated. This is not a common Class D amplifier, but a fully digital amplifier that keeps the incoming music signal digital all the way through, from the digital inputs up to the filtered speaker outputs; even analogue signals are converted to digital before being processed by the amplifier. This technology is Lyngdorf’s own design and is an evolved version of the first digital amplifier – the TacT Millennium – that we reviewed a quarter of a century ago.

The amplifier’s output is rated at 105W per channel into 8 ohms, and it doubles in power (to 210W) as impedance halves to 4 ohms. This means the amp will drive any price-compatible speakers without any issue, in electrical terms at least.

The unit itself is compact and minimal, coming in a matte black finish that looks rather unassuming at first. Lyngdorf says it wanted to prove you can have a high-performing, high-end product even in a small footprint, and the TDA-2210 fits the brief. The build quality is reassuringly solid, and details such as the ridges on the sides of the unit are finished to a high standard.

Lyngdorf has focused its attention on the high-contact points of the streaming amp: the large full-colour touchscreen display, the “lossless” volume control, and the redesigned My Lyngdorf control app.

Let’s start with the glass touchscreen display, which is crisp and clear, with album artwork and the large icons easy to see from a distance. The glass has a smooth feel that is responsive to every tap and, most importantly, leaves no fingerprints.

We also like how the display screen’s background changes colour to match the album artwork being shown. There is a display option that shows a spectrum analyser, but Lyngdorf bucks the current trend by avoiding any retro VU meters.

One of the TDAI-2210’s standout features is the digital volume control, which changes the gain from the output stage rather than attenuating the incoming signal as is conventional. This avoids distortion or any issues with channel balance that are inherent in potentiometer-based volume controls.

The volume dial software is calibrated beautifully, with every tiny incremental movement on the dial having an instant visual feedback on the large display. Using it feels organic and rewarding. You can make very subtle and specific adjustments to the level, and spinning the dial faster results in quicker volume changes.

Combined with the My Lyngdorf app, the TDAI-2210 is a delight to use. It’s clear that Lyngdorf has put a lot of effort into how the streaming amp feels to use. The interface layout is clean and logical, and it both looks and feels considerably more modern than the usual lines of text and sub-menus we see in rival systems.

The harmonious way the display, app and controls respond to all our interactions throughout testing is very pleasing. There is a traditional remote control included, too.

The app – and by extension the TDAI-2210 itself – is as straightforward or as complex as you want it to be. You can customise the app and display so it only shows the main information you are interested in, or you can delve further into the settings to find ways of fine-tuning the Lyngdorf’s sound to your heart’s content.

There are rather good ‘Voicing’ EQ presets that you can also customise, treble/bass tonal adjustments, and ICC (Intersample Clipping Correction) settings that deal with potential distortion or ‘clipping’ effects when digital music is converted into analogue sound.

Here, Lyngdorf recommends turning off the default ‘subsonic/rumble filter’ for best sound performance, while we would also recommend disabling the ‘speaker limiter’ for a more open and dynamic sound.

Features

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On the streaming side, the TDAI-2210 is well appointed with all the popular ways of playing music wirelessly. There’s support for Tidal Connect, Qobuz Connect, Spotify Connect and global internet radio via Airable. Bluetooth and Google Cast are also on the menu, while AirPlay 2 is coming soon via a software update due in late September. Streaming music using any of these methods is swift and stable.

You can also play music from connected NAS drives thanks to UPnP/DLNA compatibility. At the moment, you can’t access your NAS library from within the My Lyngdorf app, although this functionality will be available in the late September software update. Until then, you can use third-party apps such as BubbleUPnP and MConnect, and it worked perfectly fine for us when streaming WAV and FLAC tracks from our Naim Core server.

Hi-res file support is a standard 24-bit/192kHz PCM across most inputs, while higher 32-bit/384kHz files are supported when stored locally on a USB drive. There is no support for DSD files here, and we can imagine some might be put off by the omission at this premium price.

The TDAI-2210 has a good spread of physical connections, including RCA line level inputs and outputs, a pair of balanced XLR outputs, and multiple digital coaxial and optical inputs. An HDMI eARC input is available for seamless audio integration with a TV, and there are two USB inputs (type A and C) for plugging in media hard drives and laptops, respectively.

Lyngdorf offers two optional modules to add even more connectivity. Our review sample is fitted with the “high-end analog” module, which adds a moving-magnet phono stage and three additional analogue inputs, including a balanced XLR pair, which promise better analogue-to-digital conversion thanks to a higher-quality Asahi Kasai DAC.

This module adds over £500 / $500 to the standard price, but is a useful option for those who require the extra connections. Meanwhile, the HDMI 2.1 module adds two more HDMI inputs and one output, with a much steeper additional cost increasing the unit’s price to £4399 / $5499.

More useful is that the TDAI-2210 comes with Lyngdorf’s own RoomPerfect room correction technology. It’s a sophisticated system that tunes the streaming amp’s sound to the room it’s placed in, via multiple readings taken from random positions of the included mic.

The most complicated part of the process is setting up the included mic stand; the app will walk you through the rest of the straightforward calibration process. It’s worth taking the time to do this during set-up, and you can toggle the saved RoomPerfect settings on/off to hear the differences.

Our dedicated listening rooms are already acoustically treated, and we found that the RoomPerfect setting boosted the bass and added more heft to voices and instruments. But it also takes away too much of the Lyngdorf’s spacious, open presentation for our liking, while voices lose some of their natural expressiveness.

Still, it’s a subtler effect than other room calibration software we have used, and we would recommend trying it out.

Sound

To complete the TDAI-2210 system, all you need to do is add a pair of speakers. We use a variety during our testing, from the Epos ES7N standmounters to our reference ATC SCM50 speakers, while models ranging from KEF LS50 Meta to the PMC Prodigy 5 and even the Acoustic Energy AE300 Mk2 would all suit. We would just avoid pairing the Lyngdorf with any lean, bright-sounding speakers.

We start with Dolly Parton’s Jolene streamed over Tidal Connect. The TDAI-2210 delivers a lively, nimble-footed performance, which keeps us tapping along to the catchy tune. The sweeter edges of Parton’s indelible voice and her personality come through with a good dose of detail and clarity.

The Lyngdorf hews true to Parton’s smaller-scale ’70s-era recording, but it also has no issue expanding its wings and giving a grander stage to Massive Attack’s Paradise Circus and Agnes Obel’s The Curse. Instruments are given ample space and breadth, and the leading edges of notes are nicely defined, while voices are placed centre stage and focused in the airy soundstage.

The Lyngdorf sounds wonderfully clean, crisp and sprightly no matter what music we play through it, making it easy to listen to.

Basslines perhaps aren’t as meaty as rivals owing to the Lyngdorf favouring a leaner presentation, but this does add to that agile sense of rhythm that holds our interest. A greater dose of dynamic punch would render the iconic bassline and outro in Fleetwood Mac’s The Chain more dramatic and impactful, while the physicality of orchestral pieces from John Williams and Hans Zimmer could be more tangible and authoritative. Still, the TDAI-2210’s crisp precision and fluid sense of rhythm deliver just enough snap to remain musically satisfying.

The Arcam SA35 (£2999 / $3300 / AU$6495) is the main rival here and, while it’s not as sophisticated as the Lyngdorf in use, it is the better (and cheaper) of the two when it comes to outright sound quality. The Arcam delivers a more powerful and authoritative sound, along with richer layers of texture and detail around every piano note, plucked string and French horn. Better low-level dynamics and a fuller tone add greater expression to voices, too.

Playing around with the Voicing presets and EQ settings helps to add a bit more body and immediacy to the Lyngdorf, but the differences between the two remain.

Despite the Arcam comparison, we still like the Lyngdorf’s amicable presentation and how it gets across the essence of a song. The switch from a brash heavy metal track to the more intimate, gentler tones of Elliott Smith’s Between The Bars is nicely communicated. Musically, it all hangs together pretty well.

The Lyngdorf’s sound is consistent through all the digital inputs, and we find that they sound better than their analogue counterparts. Plugging our Cyrus CDi CD player into the coaxial and RCA stereo inputs, we find that, while subtler, the analogue connection sounds less forthright and powerful. The analogue inputs on the optional module fare better and sound more fluid, but they’re still a touch soft-sounding compared with the standard digital ins.

Listening through the Beyerdynamic DT 990 Pro X, the sound is also consistently clean, detailed and nimble through the 3.5mm headphone output. We also plug the Rega Planar 3 RS Edition turntable into the optional module’s phono inputs, and it’s nice enough to listen to, but lacks the Lyngdorf’s lively energy that we like so much.

We'd like to hear more dynamic punch and richness to do justice to our records; if you’re serious about vinyl replay, we would recommend a dedicated phono preamp such as the Graham Slee Reflex M or Rega Fono MM Mk5.

Verdict

There is something inherently likeable about the Lyngdorf TDAI-2210. It may not beat the class leaders, but its digital-first approach is clever and appealing, and the way the TDAI-2210 behaves when we interact with it is hugely rewarding.

With its fresh, modern outlook and lively sound, the TDAI-2210 is a great alternative to the mainstream options at this premium price, and is worth an audition.

Review published: 4th September 2026

SCORES

• Sound 4
• Features 5
• Build 5

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