Priority to hearing is the motto of Japanese designer of high-end audiophile equipment SoulNote. Prioritising ‘feel’ and musicality over raw, indisputable but cold figures has always been its guiding principle. Its SoulNote A1 integrated amplifier, which caught our attention, is no exception to this rule and benefits from the years of research and development that SoulNote has devoted to developing systems capable of fully exploiting and expressing the liveliness of a sound source.
This quest for naturalness and clarity in sound reproduction requires specific technological choices. Thus, although the A1 has purely analogue power stages operating in class AB, it has no negative feedback loops.
Similarly, SoulNote has equipped the A1 with a direct-coupled output circuit, meaning there are no capacitors. This avoids any risk of colouration or degradation of the audio signal.
Furthermore, although the A1 only boasts a relatively modest power output of 2 x 80 W into 8 ohms, its power stages are oversized compared to those found in many other amplifiers. They use dual push-pull power transistors from Sanken, 2SC2837Y for NPN and 2SA1186Y for PNP.
A quick look at the technical specifications of these components shows that each transistor is capable of handling currents of up to 10 A at a voltage of 150 V.
The A-1 is therefore capable of handling particularly high currents and thus taming even the most rebellious speakers.
In addition, SoulNote has given the A1 an unusually wide bandwidth. It ranges from 3 Hz to 300 kHz. This is quite a feat, since the vast majority of sound reproduction equipment, especially when it comes to power management, peaks at 100 kHz at best.
The A1 is therefore able to reproduce the harmonics of the most extreme high frequencies with ease, provided you have a source capable of delivering them.
But while managing high currents is one thing, the power supply to the power stages must also be capable of delivering them. This is an area where the series resistance of the filter capacitors plays an essential role. To get around this problem, SoulNote came up with the idea of using two groups of eight capacitors, each wired in parallel, instead of two single large capacitors.
This solution reduces their series resistance by a factor of eight, effectively providing particularly high current peaks.
It should be noted that the primary power source is provided by an imposing 350 VA toroidal transformer, which is also very generously calibrated. Another important point is that the A1’s wiring is also very carefully designed.
With a signal path reduced to the bare minimum, it is designed to guarantee the amplifier a particularly low signal-to-noise ratio. Similarly, the number of connectors that the signal has to pass through has also been reduced to the bare minimum.
In terms of connectivity, the A1 again offers the essentials without going overboard. In order to take full advantage of the finesse of higher quality sources, it has a balanced line-level input on an XLR connector, accompanied by three unbalanced inputs on RCA connectors to accommodate the most common sources.
Finally, the A1’s cabinet is also soberly efficient. A significant part of its design was devoted to studying its rigidity and managing unwanted vibrations. The use of decoupling spikes proved indispensable.
One of these, among others, is located directly under the large power transformer in order to dissipate any vibrations it may generate as quickly as possible.
Similarly, the A1’s imposing solid aluminium front panel contributes significantly to the overall rigidity of its cabinet.
INSTALLING THE SOUL NOTE A1
If you touch it, you’ll get hurt, as the manual for this integrated amplifier warns. The A1 rests on three particularly sharp decoupling cones. So be sure to install it on a rigid support, but with counter-spikes. The second precaution to take is to pay attention to the mains phase. Depending on the case, the difference can be significant. The A1 is capable of powering a wide range of speakers. The list of compatible devices is therefore not restrictive.
THE SOUND OF THE SOUL NOTE A1
A1 is an interesting name. Like its British namesake, the Soul Note is a real charmer with an endearing personality. You immediately feel at ease with it. And it is comfortable with many speakers. Coming from Japan and distributed in France by the same expert as its compatriot SPEC, it takes the opposite approach with the same talent.
While SPEC focuses on purity and minerality, Soul Note offers a dense and full-bodied vision of sound reproduction with a superbly measured warmth that never overdoes it.
Its credo is balance, which it handles with the mastery of a tightrope walker. You only have to see the care with which it paints a panorama, the passion with which it builds a melodic gradation. Some would say it is romantic.
We don’t dispute this description, we can understand it, but we might find it somewhat restrictive. For our part, we find him surprisingly realistic and rooted in his time. He knows how to add depth when necessary, but also how to be perfectly subtle when restraint is required. We were amazed by the maturity he displays at this price point.
Whether it’s the structure of the holographic reproduction, the way it creates an impeccable hierarchy in the playback of different melodic lines, or its ability to remain as neutral as possible when it comes to favouring timbres, the A1 remains pragmatic without ostentation, but with a cheerful and assertive character that gives it above-average appeal.
OUR CONCLUSION
This is a very interesting integrated amplifier from Japan. Its build quality and original design make it a very mature product. The youngest member of a range that is confidently rising to the top, the A1 is an amplifier that can be easily paired with sources and speakers from various sources.
Versatile, it will adapt very easily to deliver the essence of the music. Hyper-musical and always very comfortable, the A1 is a delight at every moment.
Author: Estève Fabry and Laurent Thorin
TECHNICAL SHEET: SOULNOTE A1
Origin: Japan
Price: €3,600
Dimensions: 430 x 109 x 418 mm
Weight: 10 kg
Power output: 2 x 80 W into 8 ohms, 2 x 120 W into 4 ohms
A little black box, admittedly very heavy, priced at over €6,000 can be a real eye-opener for anyone who loves sound reproduction. However, after several months of intensive and varied testing, we can testify that British manufacturer Chord Co has not gone over to the dark side… On the contrary, with the Chord Co PowerARAY Professional, it delivers the quintessence of its ARAY philosophy. And with this atypical product, we are not at the end of our surprises…
We already had the opportunity to talk about ARAY’s achievements in issue 41. The British manufacturer’s little plugs have quickly become an essential part of our arsenal in the fight against noise pollution. It has to be said that they are highly effective and still very reasonably priced. We’ve got used to what they do, and don’t question their use in the slightest. However, when Chord Co sent us an enigmatic package at the very end of last year, we were greatly intrigued. The word ‘ARAY’ was indeed present on the bodywork, but we’d clearly changed realms in terms of size and, above all, price…
So what about this mysterious black box? By its designer’s own admission, the PowerARAY Professional is a highly effective device designed to target high-frequency noise. It uses the technology developed for the now-famous SuperARAY and GroundARAY products. Like the SuperARAY and GroundARAY, it works in parallel with the power supply and at no point comes between your power supply and your equipment. This allows PowerARAY Professional to deliver consistent results across the widest range of systems and power supplies.
PowerARAY Professional consumes no electricity. It introduces a potential gradient that transforms selected high-frequency noise into heat. Internal ground, power and neutral are individually connected to dedicated SuperARAY conductors and MainsARAY noise reduction devices, providing a low impedance path to ground and lowering the noise floor of your system. All internal components are held in place by a machined matrix and are encapsulated in damping resin.
The PowerARAY Professional is available in three versions with SignatureX, SarumT or ChordMusic power cables already in the manufacturer’s catalogue. According to the manufacturer, performance goes up a notch every time you opt for a superior cable model, as it plays an important role in the device. The reason for this lies in the shielding and insulation materials used in the three different cables. Of course, all international power connectors are available.
The set up
For optimum performance, slightly loosen the screws that hold the ultra-light legs in place. These are decoupled by a suspension ring located between them and the chassis.
The PowerARAY Professional should be connected as close as possible to the power socket supplying your audio system. If you are using a double wall socket, it is advisable to connect it to the socket closest to the one supplying your equipment. If you only have a single wall socket, it can be connected directly to the power strip.
If this power strip is a Chord Company PowerHAUS M6, use the socket furthest away from the power input. For a Chord Company PowerHAUS S6, use the socket closest to the power input. If a power strip from another brand is used, the manufacturer recommends connecting it to the socket closest to the power input. Finally, keep the PowerARAY Professional away from cables and other components.
The PowerARAY Professional works immediately, but we noticed a plateau at around half an hour. What’s more, it seems to ‘settle’ over time, unless we’re the ones getting used to it!
The sound of the CHORD CO PowerARAY Professional
It’s really not easy to make a judgement on the action of an element of the audio system that plays absolutely no part in the signal path. In fact, this little black box is neither a source, nor an amplifier, nor any kind of electro-acoustic link. It’s a kind of satellite that connects to your sound reproduction system, without actually entering it. You could call it a catalyst. A strange name, you might say, and one that might initially arouse mistrust or even suspicion.
And yet, in many cases, this device makes a significant contribution to the quality of your hi-fi installation. Like a number of other optimisation devices, the PowerARAY Professional does not actually act on the signal, but on its environment. The performance of an installation is intimately linked to the tranquillity of its environment. It is impossible to consider the system without considering the listening room and the atmosphere that reigns there. And that’s really where the PowerARAY Professional makes all the difference.
When you plug it in, you immediately notice an extra smoothness. But what you mistake for softness is something else. It’s above all an absence of hardness, of any hardness. This device is a kind of HF cleaner. By tackling hyper-frequency pollution, which the human ear does not perceive but which has extremely sensitive repercussions on the rest of the spectrum, PowerARAY Professional considerably facilitates the listener’s perception of the sound reproduced. It enhances and facilitates your sound and music experience.
Above all, its range of action affects all the reproduction criteria of your installation. Firstly, there is an improvement in the perception of the spectral range, with timbres that are much more natural, varied and above all subtle. This is particularly noticeable on vocals, and especially on sibilants, which are less accentuated and much more chiselled. It’s also easy to notice on an acoustic guitar: the strings stand out more and the metallic side is very well rendered. The same goes for piano and drums.
Generally speaking, the strike is more precise and less flashy. In terms of dynamic behaviour, the PowerARAY Professional improves the ‘progressive’ aspect of acceleration. It pushes hard, but with a much more palpable continuum. It seems to reinforce the analogue side of the reproduction.
Finally, in terms of spatial placement, there is an increase in precision, which is above all linked to the absence of three-dimensional ‘fog’. Elements are much better distributed in space, and the punctuality of sources has rarely been so good. And for fans of airy listening, there’s an extremely pleasant sensation here of a volume of air well distributed around each musician. Generally speaking, we’ve left the realm of the spectacular and entered the era of realism. The system becomes less of a ‘performer’ and more of a ‘messenger’.
After our experiments on several installations, we can’t say whether the PowerARAY Professional always makes a difference to the listening experience. What we can say, however, is that the more ambitious the system, the greater the benefit. The wider the bandwidth of the system, the more noticeable the effect of the Chord Co PowerARAY Professional. In our opinion, this product really comes into its own on high-end systems capable of delivering high resolution.
Our conclusion
Don’t let its size stop you, because the Chord Co PowerARAY Professional is a great product that can enhance a very fine hi-fi system. Of course, it’s expensive. But ask yourself this simple question: in the context of an already well-optimised installation, what equivalent investment will give you as much gain? Changing the cables will change the colour of the sound but will not solve the problem of the electromagnetic pollution cloud.
PowerARAY Professional attacks the root of the problem. No other link does what it does. It’s unique in its field, and that’s why we need it. The only way to convince yourself of the benefits of this little black box is to try it out. And to get over the idea that sometimes it’s necessary to buy a link that doesn’t affect the sound of your installation but that can considerably improve it.
Two years after the excellent DAC 1, Swiss manufacturer Niedal Audio Lab is offering a new version of its flagship converter with the Merason Reuss. Far from following the latest trends, this unconventional device adopts principles that have long proven their worth in delivering timeless musicality.
The Reuss is a brand new model that replaces the old DAC 1 in the Swiss manufacturer’s range. As for the DAC 1 mk2, its performance and price have increased significantly. The Merason portfolio therefore includes three digital-to-analogue converters: the high-end DAC 1 mk2, the entry-level Frérot and, perfectly positioned between the two, the Reuss.
The Merason brand is managed by the independent Swiss company Niedal Audio Lab, which is headquartered in Worb and manufactures in Burgdorf. Owner and CEO Daniel Frauchiger has put his passion, commitment and dedication to music at the service of the company.
He is also the brand’s best ambassador and declares his enthusiasm for the Reuss: ‘It offers purist quality of the highest standard at an impressive price-performance ratio. It’s a must for all audiophiles.’
The name of the new Reuss is derived from a Swiss river and emphasises the fluidity of the sound of Merason devices! The aluminium casing is reminiscent of the aesthetics of the old DAC 1 with a considerably refined profile.
It is available in black and silver. The thick front panel is hand-polished and features only two buttons and a myriad of indicator lights. Everything is concentrated on the rear panel, which contains the various inputs and outputs. Digital streams are accepted on an RCA input, a Toslink input, an AES/EBU input and a USB Audio Class 2.0 input.
Its analogue outputs are standard unbalanced on RCA or balanced on XLR. When you lift the cover of the device, you can’t help but be struck by the space taken up by the power supply. The different sections are linear, with three transformers supplying power to the analogue and digital circuits. The switching power supply required for standby mode is completely deactivated during operation in order to rule out any possible interference.
Manufactured to the highest quality standards, the Reuss uses a six-layer printed circuit board to prevent interference. All components that are susceptible to heat are cooled directly by the chassis, ensuring thermal stability.
The components that influence the sound have been measured and selected on the basis of numerous listening tests.
This is the case for the conversion chips, a particularly well-known and proven Burr Brown PCM1794A model. Merason uses one per channel. This guarantees the highest possible dynamic range. As with all Merason devices, the Reuss’s circuit topology is completely symmetrical.
INSTALLING THE MERASON REUSS
Thanks to its slim case, the Reuss fits anywhere between two shelves, but that’s no reason not to optimise its placement. This basic-looking source is a valuable piece of equipment that deserves the best possible care. So take care with the connections, whether for modulation or the mains.
THE SOUND OF THE MERASON REUSS
With just three letters missing, the name of this product is “success”.
It’s a sign! Moreover, we confirm our excellent prognosis for Merason DACs. We really liked the DAC 1 tested in our November/December 2021 issue (VUmètre No. 38). Bucking the trend of current machines, which tend to overemphasise resolution power, these Swiss converters stand out with a smooth sound that speaks to the heart before filling the ears.
The Reuss is an even more accomplished DAC 1, which first and foremost catches our attention with its truly magnificent soundstage. It is successful in every respect, not by falling into the trap of grandiosity, but through its astonishing realism. From the very first minutes of listening, you can perceive an extremely well-constructed three-dimensional structure.
The different sound planes are perfectly articulated. What’s more, there is no confusion between the main components of the soundstage and the background. Here, we are truly in a privileged position in the centre of the orchestra. We can enjoy a completely credible panorama that changes according to the sound recordings.
Never repetitive, the Reuss takes a back seat to the message and does not play its own score. Its reproduction is very embodied, with beautifully materialised performers placed on an airy and clear chessboard. The timbres are warm without being overemphatic, and the dominant sensation is one of great naturalness. The paradox of this machine is that it delights us by plunging us back into a listening experience that is remarkably reminiscent of that of a turntable, based on digital files.
OUR CONCLUSION
This Swiss manufacturer’s output is rather limited, but always extremely relevant. We were delighted with every one of their machines that we tested. Merason offers sources that have soul, a completely unique vision of digital-to-analogue conversion that contrasts with the illusory quest for the highest resolution. With the Reuss, as with the DAC 1 before it, the emphasis is on superb holographic reproduction.
The Reuss is a timeless DAC that will still be relevant in ten years’ time, simply because it has abandoned the race for pure performance to focus on the listener’s enjoyment and the realism of the sound. In a field where the arms race is a constant, this is a breath of fresh air.
Lindemann’s Musicbook family is designed to replace all or part of the various components in a hi-fi system. It comprises four items of equipment, including two power units, an all-in-one and a DAC streamer preamplifier. It is this last piece of equipment, of very high quality and impeccable finish, like all the other elements in this family, that interests us here: the Lindemann Musicbook Source 2.
Called the Lindemann Musicbook Source 2, it lives up to its name. In fact, this little box aims to be THE single, universal source for the installation. Note that, to be able to use the oldest sources, it can be fitted with an optional integrated CD player.
In its basic version, it already boasts a wealth of connections and particularly advanced functions. An unusual feature of this type of equipment is that the Musicbook Source 2 has a phono input. It thus establishes a real bridge between the oldest physical media and the dematerialised world. To stay in the world of analogue sources, two RCA ‘Line’ level inputs are also available.
An optical and a coaxial input are also available for digital sources. In addition, a USB-A port is dedicated to playing music files stored on portable media, in particular USB sticks. It can also handle a portable CD-ROM drive to act as a CD player. Finally, an Ethernet port on an RJ-45 socket or a Wi-Fi link will enable it to perform its function as a network player.
However, the quality of a DAC is essentially determined by the converters it uses. This is where the Source 2 breaks new ground. The digital streams applied to its inputs are converted to DSD 256 streams, whatever their original format. This resampling process, based on delta-sigma conversion, uses a special AK4137 processor. As a result, the resolution is 256 times higher than that of a conventional CD.
Digital/analogue conversion is handled by an AK4493 converter. A component with an established reputation for extremely low distortion. What’s more, in order to limit interaction between channels, each channel has its own converter. This architecture, known as double mono or monaural, prevents the appearance of crosstalk and thus preserves all the precision of the spatial definition of the sound message.
Finally, the analogue stages of the Source 2 have been further optimised compared with those of previous equipment offered by Lindemann. Based on high-quality components, they ensure that the finesse and purity of the sound signal are preserved thanks to their particularly low noise level and extremely low distortion rate. We noted that the Source 2 has a headphone output. It is designed to handle any headphones with an impedance of between 16 and 200 ohms. This headphone output gives the Source 2 a degree of autonomy, allowing you to benefit from its services without having to link it to other components.
A free Android and iOS compatible app is available. Simply install it on a smartphone or tablet to take full advantage of the Source 2’s capabilities. It also provides easy access to music streaming services such as Tidal, Qobuz, Deezer, Highresaudio and now Spotify Connect.
The set up
The Musicbook Source 2 is the preamplifier and converter-streamer in the Musicbook family. Unlike the Combo, you still need to add a power amp if you want to connect it to speakers, and why not simply with the third product in the Musicbook series: the Power 2. A true all-rounder, the Musicbook Source 2 can be easily integrated into a mid-range or high-end system thanks to its three analogue inputs.
For our part, we tried out all these configurations as well as a desktop DAC, listening to dematerialised music through headphones, either via the internal streamer (and therefore the proprietary application and Audirvana), or by plugging in a key via the USB 2.0 input, or simply by launching music from Qobuz on our iPhone via Bluetooth.
The sound of the LINDEMANN Musicbook Source 2
A top-of-the-range product from Lindemann, a manufacturer that had already convinced us with the quality of its small Network 2 streamer (VUmètre no. 44), the Musicbook Source 2 goes much further, not only in terms of modularity, but also in terms of sound. Based on an AKM AK4493 chip, this source takes advantage of the Japanese manufacturer’s conversion to produce a very fine, well-detailed sound.
Less clean than a Sabre conversion on an ESS chip, the AKM conversion is gentler, with a slightly less dynamic rendering than the more high-end ESS9038 PRO or AK4499, but with a very similar level of detail and timbres that are just as well respected. Combined with a streaming section that has also been very well worked on and high-frequency Femto clocks, the conversion is particularly convincing when combined with the internal streamer, although it also delivers very good results with a USB stick or even Bluetooth.
In preamp use, the addition of sources (a network player and a CD player) and a Rega Planar 3 turntable with MM cartridge demonstrates all the Musicbook Source 2’s qualities of neutrality and noise reduction. Only connectable to RCA via small terminals, it develops a sound devoid of impurity, which does not aim for too wide a soundstage, but brings the elements together in a very well controlled atmosphere.
As for the phono section, available exclusively for preamplifying moving-magnet cartridges, it’s more than worth the hundreds of euros that go into phono preamps. And what’s even more interesting, given that it has a pleasant knob on the top for adjusting the volume at will, the Musicbook particularly appealed to us as a desktop source.
Compared to a headphone amp costing several thousand euros, the Source 2 is almost as warm and creates a very fine sound and musical finesse, almost on a par with our stand-alone headphone amp, even though it is connected to XLR by Audioquest Pegasus interconnect cables, also costing several thousand euros!
Our conclusion
Highly modular, the Musicbook Source 2 is just waiting to be integrated into any system to deliver a consistently fine, neutral sound. Musical in its conversion, it is also very pure in the construction of its circuits and clocks. Whether used as a preamp, MM phono preamp or as a DAC and network player, it will always be able to create music devoid of affectation, rendered in beautiful timbres. Thanks to its 6.35 mm plug on the front and its rotary control, this top-of-the-range source from the German manufacturer will also delight headphone users with the quality of its amplification, powerful even with the most power-hungry headphones.
Author: Estève Fabry
Technical sheet: LINDEMANN Musicbook Source 2
Origin: Germany
Price : €3,990 (without CD) €4,390 (with CD)
Dimensions : 280 x 220 x 63 mm
Weight : 2.6 kg
Resolution: 768 kHz/32 bits, DSD 512
PCM resolution : 44.1 kHz up to 384 kHz, 24bit (WLAN up to 192 kHz)
DSD resolution : DSD 64 and up to DSD 256 (WLAN up to DSD 128)
After the first Node, Node 2 and Node 3, here comes the Bluesound Node X, created to celebrate the brand’s tenth anniversary. Offered as a time-limited version, this new opus has plenty of convincing qualities. So give it a listen before you let yourself be seduced!
The aesthetics have not changed one iota, apart from the presence of a 6.35 mm plug in the centre of the front panel. But the big technical advances are on the inside. The Node X boasts some decisive technological improvements, starting with a new digital-to-analogue converter from the ESS catalogue, the famous Sabre in its ESS 9028Q2M version. This offers an even lower jitter rate, ultra-low noise and distortion.
The central jack reveals the presence of a high-end headphone amplifier that uses the THX Achromatic Audio Module (THX AAATM) with patented error correction to deliver infinitely low levels of noise, distortion and power consumption. Thanks to this new feature, the Node X is positioned as a more complete device.
Elegance is evident in the all-glass capacitive touch controls.
Node X features an intuitive touch point for quick access to controls such as play, pause, track skip and volume. One-touch presets are available on the product itself, or using the included Bluesound RC1 remote control. The Node X continues to support external DACs via its optical, coaxial or USB Audio 2.0 digital outputs.
You’ll also be able to experience multi-room listening as the Node X takes advantage of the BluOS platform, the only one in the world capable of supporting up to 64 rooms while streaming high-resolution audio at up to 24-bit.
Node X supports a wide range of digital inputs and outputs, and the wi-fi, Ethernet, Apple AirPlay 2, aptX HD Bluetooth, 3.5 mm aux-in, HDMI eARC or USB Type A connectors let you drive audio from streaming services, TVs, games consoles or a personal music library. Stream music to your system via stereo RCA, optical, coaxial and USB outputs, and even to wireless headphones via Bluetooth, in aptX HD quality.
The set up
Bluesound’s installation protocol is particularly well honed. As we all know by now, the manufacturer has developed an efficient, stable and musical application that makes all the difference. Connecting the Node X to the system is particularly simple. An Ethernet cable, a mains cable, a modulation link, and that’s it. Chances are your network player will ask you for an update when you first use it. All you have to do is install it. Everything goes through the app, including access to your favourite music platforms.
The sound of the Bluesound Node X
We really like the latest versions of the Node for their muscular, accurate reproduction. For a long time, this device has been a benchmark for its particularly successful reproduction at its price point. If you liked the first version, the arrival of the new Node X won’t put you off. You’ll be delighted by the muscular yet nuanced reproduction. The differences are subtle, but their effect is noticeable.
For example, there’s a subtle increase in resolving power. Across the entire bandwidth, there is greater detail in both the diction of the singers and the playing of the instruments. This is particularly palpable on an acoustic score. For example, the exploration of low notes by a double bass reveals greater intensity, harmonic richness and openness. On a violin, the pizzicati are tense but never acidic. You get the impression of being able to listen a little louder and more comfortably. The overall balance is slightly more mineral than organic.
This is undoubtedly due to the change in the converter chip, which is more piquant and refined. Generally speaking, the new Node X will allow you to dive deeper into the richness of your recordings. Whether in terms of spatial reproduction, timbre or dynamic behaviour, it is subtly but noticeably more effective and capable of immersing you more intensely in the musical content. It retains the proverbial qualities of the original, but goes further and higher.
Our conclusion
The Node X is a success. It remains the benchmark for network players under €1,000. It does justice to beautiful systems by offering a completely musical view of your high-res files. Not to mention that its proprietary application is a model of ease of use. There’s an old saying: you don’t change a winning team. Bluesound has cleverly turned a benchmark into a new one.
Author: Pierre Fontaine
Technical sheet: BLUESOUND Node X
Origin: Canada
Price : €799
Dimensions : 220 x 46 x 146 mm
Weight : 1.14 kg
DAC: ESS 9028Q2M Sabre DAC
SNR: -118 dB
THD + N: 0.0003
Audio inputs/outputs : Optical, analogue, HDMI eARC OUT; optical, analogue, coaxial, USB; 6.35 mm headphone jack
Controls : Full-size glass top panel, capacitive touchscreen
Processor/platform: ARM® CortexTM -A53 Quad-Core, 1.8 GHz per core; BluOS Gen 3
