Aavik Acoustics S-280 Network Music Player
Do you remember the 1963 Disney film The Incredible Journey? One of my favourites growing up. A happy ending for two lost dogs and a cat making their long way home. The Aavik Acoustics 4-box DHL journey from home base in Aalborg, Denmark (Audio Group Denmark is the parent company—AGD) to the island has seemed a little like that, but I’d call it the “frustrating journey”. A happy ending, nonetheless.
DHL shipping once the boxes arrived in Canada was a big problem. All duties were kindly paid prior by Aavik and a single pallet made its way across Europe efficiently, scanned etc. Then we get to Canada. 20 pointless days in Canada Customs. We finally pry it from them, it flies across the country and then sits another 10 days unscanned in DHL Vancouver.
Oh well, when we finally picked up the boxes (they didn’t bother delivering them to the door), it was a happy day. Not so much for the 280 integrated, phono and DAC, but for the Network Music Player; the streamer (S-280/€10,000) which is why the shipment was initiated.
A big thanks to AGD for shipping to the island.
Red light
Previous to the shipment, one of the components in my reference digital chain threw a red light on the Ansuz PowerSwitch D2 (review forthcoming) using the D-TC2 Ethernet Cable x3 (€5000, each). I’m using both in the review of the Aavik S-280.
The PowerSwitch red light began the long journey to success but was not the problem in the digital chain. One or more of my original components failed in the chain leaving no sound on my MBL Roon Ready card, my old Roon Nucleus Plus streamer, etc. The Ethernet cables were all good to go. I recently had success with the Aavik S-180 Network Streamer so I was expecting the same with the more expensive 280. This time I was ready for any irregularities.
To be safe, I bought in the tech (WiFi specialist) help setup guru from my local audio shop and he was ready for action, red lights, no sound, etc. He reached the point where my network recognized the new Aavik 280 box and he could cast a file via his Windows lap that worked. What a relief it was. Sound! But still, the Aavik was not recognized by my iPhone “MConnect” UPnP app I used with success for the S-180. The Aavik Facebook users group suggested a different app, “M control”. As soon as I researched the accurate name in the App Store, typed in “mconnect control” and downloaded it, the Aavik S-280 was in the UPnP list. I was listening within moments. It takes a village!
After so long without streaming, I wanted to listen and listen and get this review to bed, which is what I’ve been doing since up and running. Got lots to tell you.
My Use
Like much of Ansuz-, Aavik- and Børresen Acoustics gear, each model comes in three “sizes” or levels. The Aavik components come in 180, 280, and 580 designations. The original components are based on Michael Borresen’s design and each box adds more of his original conceptions and “advanced tech”. So, my review 280 gets more Tesla coils than the 180, the 580 gets more dither technology than the 280, and so on (see chart below). The 280 boxes, streamer, DAC, integrated and Phono are all €10,000 each. Recently, the USD hit parity with the Euro.
As you can see from the chart below, the S-280 is chock-a-block with advanced tech designed to lower the noise floor including 72 Active Tesla Coils, 164 Active Square Tesla Coils and 6 active dither circuits. The top 580 box adds more of the three techs plus a copper inner chassis. All the Aavik boxes are made from a composite material using as little aluminum as possible.
The Tesla coil principle is to have two coils that are wounded in each direction. The two coils are both carrying voltage. As noise spikes are pure voltage and carry virtually no charge, the cancellation is quite good, but not 100%. By adding more P-TC coils in parallel the performance increases. By implementing this the perceived blackness in the music improves significantly.
Aavik calls their Active Tesla Coils “noise killers”.
“The active Tesla coils are power supplied which secures a remarkable lower impedance and thus a better ability to eliminate noise. The active version is about three to four times more efficient than passive Tesla coils. The active square Tesla coils are embedded in the circuitry boards—one coil on the top and the counter coil on the rear side. The principle is the same as the active Tesla coil and thus has a great ability to eliminate noise than the passive Tesla coil”.
And finally, analog dither technology. This technology is another noise reduction technology. The technology originated from radar where it secured a stronger signal and thus a wider range. Ansuz active Tesla coils are sending pulsated signals in well-defined frequencies. These signals are sent in counter phase and thus eliminating the noise floor whereby the music signal is significantly increased.
You’ll find much of AGD’s advanced tech in many of its components.
My digital setup for streaming included the S-280 and D-280 DAC, both at €10,000, and the Ansuz PowerSwitch D2 at €5360. Powering the components was my MBL N51 Integrated Amplifier ($17,600). Analog cabling between MBL N51 and Aavik DAC was the Ansuz Acoustics Signalz D2 (€12,000/pair) and Ansuz Mainz D2 Power cords x4 (€8800 each). Cabling also included an Ansuz Digitalz coax digital cable (€7000) and the D-TC2 Ethernet Cable x3 (€5000, each). So a hefty 100K system plus before speakers to accommodate the streaming. Service was Qobuz (PCM files up to 192).
Lars Kristensen, CEO of Audio Group Denmark, is a very good friend with a cheeky sense of humour. He’s been bugging me for years that my Roon based-system (including my MBL Red Book N31 CD/DAC) was going to be bettered by the Qobuz, UPnP, Ansuz, and Aavik stream. I told him I was skeptical about that!
The AGD setup video (linked in the 3rd image below) shows the placing of Ansuz Darkz resonance control feet under the S-280. Kristensen and Børresen are big fans of their control devices. I reviewed the S-280 without Darkz but will be doing a full Darkz review soon. I’ll report the differences then.
Ansuz Darkz resonance control devices. They come in various levels, materials and prices. Review forthcoming.
Remote Control
The supplied Apple remotes. I have to mention this, and from a confirmed Apple fanboy. A high-end, quality system such as the Aavik boxes, especially the I-280 integrated, deserves a system remote. Metal, hefty, functional. Each Apple remote supplied is tuned for a specific Aavik box and is functional. That‘s it. Happily, the phono, DAC and streamer don’t interact with it much past setup, but the integrated does. I’m not the first to complain. Sure, they do get the job done. But, aesthetics much?
The MConnect Control app did a nice job on my iPhone although it has its idiosyncrasies. I’m sure the Aavik app (iPad only!) is even better. A slick, effortless app is always a good thing. And though the S-280 is “Roon Ready”, I was ready for a Roon Reprieve. It’s an excellent product and I have very much enjoyed using it but I was looking forward to a more intimately connected experience between me and my favourite streaming service. Cut out the middle digital man.
Aavik streaming app. iPad only.
Features
As always with Audio Group Denmark gear, their philosophy is to get the noise floor as low as possible to highlight Michael Børresen’s sound design. This one prime directive makes reviewing their gear quite an easy, sequential task. As a consumer, you can begin with the most inexpensive Aavik box, then layer applicable devices/cables as time and money allow. The better the box, the lower the noise floor, and the better the sound. AGD demonstrates this in their rooms at audio shows around the world. Do try to listen and be prepared to be surprised as more musical information is revealed. All this can be done at home, no matter the equipment/device choices made, without upsetting the essence of your curated sound. AGD has the utmost respect for your musical sensitivities.
I have already published reviews of some spectacular AGD accessory goodies such as the Ansuz Acoustics Darkz T2 Supreme Record Stabilizer, SORTZ, with the Mainz8, PowerSwitch and cables to come. The results I heard with the SORTZ and the T2S Stabilizer were spectacular in my system. The gear is expensive and gem-like.
Rear S-280 connections are simple. Aavik even provides a setup video.
Specifications
Input: Network: 1 Ethernet LAN
USB: 2 USB 2.0
Output: S/P DIF (32 – 192 k-samples, 24 bit): 1 x BNC
Optical (32 – 192 k-samples, 24 bit): 1 x Toslink
Line output: 1 x RCA
Streamer Section
Standards: DLNA: 1.5; UPnP: AV 1.0
Power Consumption
Standby: <0.5W
Idle: <20W
Dimensions
L x W x H: 400 x 384 x 102 mm
15 3/4 x 15 1/8 x 4 1/64 inch
Weight: 5.4 kg
11 lbs
Sound
I’m not sure I’ve read PR that exactly describes what the customer is listening to better than Audio Group Denmark. They nail it. And simply.
The Aavik S-280 streamer is providing an audiophile performance with a huge, detailed soundstage and with a natural analog signature.
The above PR description is exactly how I heard the first notes coming out of the box.
I messed about a little playing this and that and not paying particular attention to file designations. Seems most were Red Book. The sound I was experiencing was exactly how Kristensen and his PR team describe their streaming acumen. I was hearing many of the same qualities I’ve heard on Naim, Roon Labs and Mytek HiFi streaming, but this time with three very important added extras. The dynamic headroom was incredibly powerful, the soundstage was as advertised, and finally, the “natural analog signature”, for me, was mind-blowing. Love, love, loved it. And that was before specifying 192 files.
My setup with S-280 atop the Ansuz D2 PowerSwitch. The front plate includes the information window featuring Aavik’s large, bright red font. No screen for the album artwork. To be honest, I didn’t miss the artwork.
I’m in no doubt that the D-280 combined with the fabulous Ansuz C2 and D2 level cables had something to do with the S-280’s extreme musicality. It was by far the most musical streaming I have yet heard in my music room. In his confident declaration, Kristensen was right. The Roon Nucleus Plus and the DAC section of the MBL (with AQ Cinnamon level Ethernet cables and bog standard network switch) could not complete on a musical or dynamic level with the Aavik setup.
Streaming, even now, is the ugly stepchild to vinyl and (SA)CD.
To be honest, how many go to vinyl as primary listening, then to CD and only last to streaming? Streaming’s great for new repertoire but if you want a serious audiophile to listen most are going for vinyl first. It’s like that for both Kristensen and Børresen, too. Me, always.
Yet, the musicality and “natural analog signature” offered by the Aavik S-280 were remarkably effective and immersive. Maybe you’re the audiophile who has thrown all in with streaming. If so, and have the budget, read no further. I have your setup. But it’s my guess if you’re a vinyl guy like Kristensen (he still considers vinyl the highest, most musical resolution), you’ll be streaming much more. The S-280 sound is that beautiful, that enticing. And most important, it won’t bore you. Sometimes, even the best streaming I find a little analytical even if it’s dCS, Naim, the very best. Not so with Aavik and Ansuz accessories. Truly remarkable performance.
One of the first complete files I played was Red Book, Philips, Boston. Haitink Brahms Symphony No. 3.
Back to the Kristensen throwdown!
Better than my Roon streaming setup? Yes. Very much so, yes.
Back to the “natural analog signature” which, in Brahms’ string-heavy symphonies, needs a natural soundstage, accurate decay and timbre, high volume ceiling and very low noise floor to sound their pure best in the digital domain. This Philips/Boston/Haitink is a corker. And the Aavik playback mesmerized me. String sonorities were huge and balanced, from top treble to deep double basses with the wind perfectly positioned in the middle of the soundstage within Boston Symphony Hall.
As with all music playback, the original engineering or the quality of the remastering is the basis for good sound. The S-280 will give you super accurate information on the recording legacy, so, for example, each attempt at bettering Kind of Blue on the Qobuz list is heard clearly. Same for any famous recording where several remasterings have taken place.
The bass from the S-280 is spectacular. More Brahms, this time a superb 192 remaster by Columbia of the 3rd symphony previously mentioned, this time from Cleveland. The 192 gave endless depth to the recording with the bass line clear and rich from the great Cleveland Orchestra. It’s so much fun to hear bass delivery of this quality through streaming. Sure, most good streaming setups can deliver the type of subterranean, sampled bass on tracks such as “Dead Again” from Thomas Newman’s American Beauty soundtrack. And the track is fantastic on the Aavik, but differentiated, analog bass instruments are far more difficult to replicate well. Check out the Cleveland section in the Szell Brahms or Scott LaFaro’s brilliance and mixture of timbres on Bill Evans’ Waltz for Debby.
“The audio section of the streamer is clocked using two separate high precision low jitter clocks: one for 44k1 based source material, and the other for 48k. These clocks supply both the internal DAC and the S/P-DIF output. The S/P-DIF output and clock circuit are galvanically isolated from the rest of the circuit. Six separate low-noise regulated power supplies feed the different sections of the streamer.”
More accurate, no-nonsense PR from Aavik. It’s what I was hearing: “From the early concept stage of audio engineering, the Aavik streamer has been designed to redefine and distinctly up-grading the audio quality of streaming network-based music. The Aavik streamer opens the gates for a dynamic musicality and a natural sound stage that features unprecedented clarity and precision.”
What the Aavik streamer gives me compared to a lot of other very fine network streamers is musicality. Analog sound with no amelioration of dynamics and a jet black background. Other very fine manufacturers I’ve heard at length such as Lumin, dCS, Naim, etc, all produce very fine streaming sound. At least what I’ve heard at shows. Pristine, clear, dynamic. You’ll get that all from the Aavik S-280, too, but it’s what the magical tonal signature Borresen has designed into his gear that I feel will convince you of the Aavik philosophy. I believe you’ll never get bored with the Aavik stream. I always felt close to its timbral aims, instrumental or vocal.
I’ve heard Bruckner on dCS and Mahler on Naim, and remember the timbral beauty, but the sound right out of the S-280 box and its analog signature, really put the hooks in me. I think once you hear it, you’ll be convinced. And hearing it through your setup may be a game-changer. I should add that the cabling attached was mesmerizingly good and very expensive.
I went back to the Red Book Philips. The wonderful, seemingly endless headroom I heard almost immediately on Haitink Boston Brahms. Not many conductors can get the string swell so demanding on Brahms like Haitink and special strings like Boston—in the massive string climaxes of the opening movement, nothing seemed to inhibit the upper ceiling, so crescendos seemed endless and effortless.
192 files such as the glorious RCA Boston Munch Ravel La Valse were both incredible for demonstrating Munch’s total idiomatic Ravel and the power of the Boston Symphony. Play this or a HiRes of Reiner’s Chicago Scheherazade, even next to the Analogue Productions vinyl, and the S-280 compares well. In my books, that’s a first. And when comparing the S-280 files to my standalone MBL CD/DAC (a Red Book-only $15,400 CD player), probably one of the most musical digital playback devices I know, the streamer was comparable on a superb SACD (played back at MBL Red Book only)—Mischa Maisky plays Schubert with Martha Argerich, ESOTERIC SACD remaster. The Qobuz comparison file was also Red Book not the fancy remaster. I could live happily with the S-280 playback level. Yes, that good.
My wife knows these often-played tracks. I asked her for her honest opinion between the MBL CD playback and the Aavik. She chose the Aavik (“richer cello overtones”). Me? I could not choose. Loved them both.
Once I get the system settled down with all the changes, I may give the S-280 another whirl and follow up without such esoteric cables before I throw the Darkz underneath. I’m betting the intrinsic beauty of the S-280 will remain. Stay tuned.
In the here and now, I say if you want to stream high-quality music and have it remain dynamic, beautiful, interesting and musical, Aavik has a Network Streamer for you. The S-280 at €10,000. Very highly recommended.
Further information: Aavik Acoustics
