Founded in the United States in 2002 with the aim of creating very high-fidelity speaker models, YG Acoustics had remained relatively unknown in France.
At the start of this year, it is taking advantage of a new distribution network to regain the upper hand, especially as it now offers a new range that is more affordable than the Reference. Named YG Acoustics Peak Ascent in homage to the Rocky Mountains of Colorado, this new series of six models starts with two compact speakers, a subwoofer, and three floorstanding speakers, of which we are testing the mid-range, a magnificent three-way model called Ascent.
Since its inception, YGAcoustics has been known as a benchmark brand, a name given to its first series of speakers made entirely from aerospace-grade aluminum for the cabinet and drivers. Amplification and network data management were then used to modify three models in this series to create the Live range, consisting of the Vantage 3, Sonja 3, and XX in active versions.
But while a few subwoofers had been added to the Colorado-based manufacturer’s product line, including the highly innovative Invincible 21.1 & 21.2, there were no bookshelf speakers in its catalog, and all models remained firmly positioned in the ultra-high-fidelity market due to their price points.
MOUNTAIN JOURNEY
It wasn’t until 2022 that the brand shook up its fundamentals by launching a new, more affordable series consisting of two compact speakers, in addition to three floorstanding speakers and a subwoofer. Named YG Acoustics Peak Ascent in homage to the Rocky Mountains in Colorado National Park, not far from the company’s headquarters, this series consists solely of names referring to mountains.
Smaller and designed with specially made stands, the two bookshelf speakers are named after rock formations: the smaller one after a pile of stacked stones (Cairn) and the second after a naturally formed rock (Tor). YG then takes us up with its three two-way (Talus) and three-way (Ascent) floorstanding speakers, to an even more ultimate final version (Summit), from which we can still descend if necessary thanks to a subwoofer (Descent).
ASCENT TO ELBERT
On this journey to Colorado’s highest mountain—Elbert, at 4,399 m, located just under 130 km from YG’s headquarters in the suburbs of Denver— we were able to choose several passages before settling on this ascent on the Ascent, with the firm intention of one day checking out the extra echo of the Summit, or comparing the two smaller models, equally curious to stray for a while onto the Reference series with its Carmel 3 if the opportunity arises.
A center floorstanding speaker, the Ascent is a Talus with a bass driver added, so that only its midrange driver is dedicated to the midrange. Like all the other models in the range, this speaker is manufactured in a sealed cabinet made of dense, one-inch-thick resin fibers, dotted with reinforcements and acoustic absorbers to eliminate the vast majority of internal reflections and resonances.
The thick aluminum front panel is shaped by computer modeling into more than 15 million points and then cut by CNC machine.
Comprising three drivers, the Ascent features the same ForgeCore tweeter found in all Peaks series speakers. Based on steel forging technology optimized by 3D geometry with CNC cutting, these high-frequency management units with magnetic motor systems stand out from the Reference series Lattice speakers, which are made from aluminum billet.
However, all other diaphragms are the same as those in YG’s large series, patented BilletCore because they are cut from a solid billet of aerospace aluminum alloy to create a 0.2 mm thick cone weighing less than 30 g. To perfect the precision of the responses, these diaphragms are integrated into the front panel, again making extensive use of computer modeling, which analyzes not only the cone, but also the surround, the suspension, the interaction of the magnet and the voice coil, and even the different air waves depending on the lacquer used.
Leaving nothing to chance, the engineers, led by Matthew Webster, chose to place the filter in the soft aluminum base to remove all internal pressure from the cabinet and leave its components completely free.
Also the result of many hours of research, the circuits are designed to optimize amplitude, phase, and phase curve so that the drive units are consistent with each other over a very wide frequency range, with the result that all the speakers are synchronized in their movements, thus avoiding any auditory disturbance related to possible delays between membranes.
Like all Peaks starting with the Tor, and therefore like the Talus column with which it shares height (101.5 cm) and width (27 cm), the Ascent features an 18 cm (7.25″) membrane in the center, but this is only used to handle mid-range frequencies, as the bass is handled by a third speaker, located at the bottom of the cabinet at a critical distance of more than 10 cm from the base in which the filter is located.
Measuring 22 cm (8.75“), this latter driver is the main difference between the Ascent and the Summit, with its 26 cm (10.25”) bass driver, but above all with the Talus, which does not have this third driver at all. Available with ebony, oak, or rosewood veneer, the Ascent weighs 54 kg each, well supported by four superb spiked feet.
THE SETUP OF THE YG ACOUSTICS PEAK ASCENT
With a sensitivity of 90 dB and an average impedance of 4 ohms, the Ascents are relatively easy to amplify, but their design and pursuit of neutrality place them in a category that requires high-quality upstream components if you want to get the most out of them. Responsive to the slightest change, they can highlight the smallest detail, and for this reason, a source such as an Aurender N20 or N30SA or the Luxman NT-07 network player tested in this issue will allow the YG to reproduce every nuance of frequency and music.
Available from Concert Home in Paris—our partner Music Hall has chosen to include the Reference range—the Ascent speakers were tested alongside the first Cairn compact and other American speakers such as the EgglestonWorks Emma and Andra III SE. To amplify them, we preferred the results of the Accuphase E-5000 and Wavac MD-805m blocks, but separate Accuphase components could bring out even more detail, which we will attempt to confirm in a future test at Music Hall with the Carmel III.
THE SOUND OF THE YG ACOUSTICS PEAK ASCENT
When listening to a speaker from the Peaks series, two things immediately become apparent, making it clear that we are listening to YG Acoustics models: the first is that this small series makes no compromises in terms of quality; the second is that these are American speakers, with the musical philosophy that goes with them.
To elaborate on these points, let’s start with the first: even though the tweeter is no longer the Lattice from the Reference series, the ForgeCore design allows for a high-frequency response up to 40 kHz, which, while it can create a hint of acidity in the very high frequencies, otherwise covers this entire range with the slightest detail. For the rest of the sound spectrum, the BilletCore speakers, with their aluminum diaphragms, deliver perfectly neutral detail and nuance, which immediately places these models at the very top of the range.
Less directive than the Cairns—the only ones without a 7.25“ speaker, as theirs is actually 6”—the Ascents are also much more open, both in width and depth, but also impressively in height. This is undoubtedly due to their base, inspired by the Rocky Mountains, but listening to them gives you a real impression of altitude, capable of taking you very high. The summit targeted by the speaker of the same name is not far off with the Ascent,
which loses only 2 Hz in the lower range compared to the highest, covering a bass range from 26 Hz, while the Talus, still a two-way speaker, already descends to 32 Hz.
To return to our second point, the Ascent is very much like an American speaker in that it aims for versatility in musical styles and a neutrality of tone that is sometimes close to studio listening. Thus, on “City of Stars” from La La Land, we are less under the impression that Ryan Gosling is right in front of us, since it is clear that the actor’s voice has been retouched by a mixing console, but rather that he is just behind the glass, allowing us to enjoy the studio experience a few meters away, once all the parameters have been optimized.
Every instrument behind him is audible, down to the slightest sensitivity of the strings (guitar) or keyboard (piano), while every movement of his lips, tongue, or breath is audible.
With real singers like Abbey Lincoln, whose voice is wonderfully enhanced by the Luxman streamer upstream, the same sensations of participating live in the recording and hearing the slightest detail come through, while with rock music, we are simply lulled by the electric guitars, as if we were in the recording studio or right in front of the stage listening to the live performance.
As for trying out a large orchestra, we realized the superiority of the reproduction when we upgraded the amplification, as the Ascent can undoubtedly go even further and take us even higher with systems that are more advanced than those used for our test. Here again, with flawless precision, the detail of the great polyphonic works also benefited from a pure image thanks to research on phase curves, in addition to taking advantage of the Ascent’s three-way design and the center speaker used only for the midrange, to deliver every part of the spectrum with the same clarity.
OUR CONCLUSION
Created to offer reference sound, YG Acoustics has carved out a place for itself in the high-fidelity market over the last twenty years, without being affordable for a large number of music lovers. With the new Peaks series, the dream can now become a reality for a less restricted group of enthusiasts, for whom the €11,900 Cairn is a possibility.
At €27,990, the Ascent speakers are close to the price of the Carmel III speakers from the Reference series, but they have three channels and a large 26 cm (10.25″) woofer. These American speakers, which are finally available in France, are extremely neutral and allow you to travel for hours on end in the heights sought after by the Colorado engineers, taking you on a musical journey from your living room to the most sumptuous mountains.
Among the world’s major hi-fi shows, the one in Bristol is the most famous in the United Kingdom. Held in a large downtown hotel, it occupies a long ground floor, a terrace, a basement, and four mezzanine levels, each with about fifteen rooms.
At the 2026 show, we were able to gauge the pulse of the British market and enjoy the presence of its many hi-fi manufacturers, as well as see and hear a wide selection of foreign brands presented either by the brands themselves or by their distributors in the country.
Set up in several rooms, some brands were able to showcase multiple ranges or series, while those with a single system seemed to focus on mid-range electronics, often available for purchase on-site via a catalog—which was also partially displayed as posters in the elevators for the most affordable products.
As for technological trends, this 2026 audio show seems to have largely stuck to the basics of current hi-fi. While connected or active speakers were certainly present in the entry-level segment, the majority of systems remained, overall, separate components, and the only truly major new high-end active system was the ATC EL50. As is the case worldwide, audiophile connected speakers still seem to remain a niche market, embraced by a very interesting company like Kii, whereas the Franco-British firm Focal-Naim chose this year to focus primarily on the new Mu-so Hekla soundbar and their headphones and headphone amplifiers.
Among the new releases, we mainly identified new versions of existing models, plus a few promising developments, including the launch of the Cyrus 80 Series, Chord Company’s bi-terminated speaker cables, Rega’s new Planar 6 RS, the Upscaler for the Dave DAC from Chord Electronics, and the Revolv and Gyro turntables, whose numerous upgrades were passionately described by the director of Michell Audio. A few niche brands and local manufacturers were also present, such as March, Era Acoustics, and D’Von; they serve as a reminder of the artisanal and passionate nature of hi-fi. We wish them the best of luck!
And here’s a photo tour to give you a quick overview.
Featured in our issue no. 43 alongside its larger compact model, the Izumi, German brand Odeon Audio returns to VUmètre with a more substantial offering: the Odeon Audio Tosca 2020. This floorstanding speaker is the most advanced model in its catalog, ahead of the three external horn models. Priced at €8,290, it stands out for the quality of its hand-picked components—from Wima capacitors to Mundorf coils and Scan Speak drivers—in addition to its special compression tweeter from Italy, for a natural and versatile sound.
During our visit to the Esprit factory (see report in VUmètre No. 47), we had the opportunity to listen to the impressive Odeon Audio Semper (€33,900) and the ultimate Carnegie (€94,990).
Thinking we would test one of the models with external horns, we wanted to try the more reasonably priced Helix (€18,890), but ultimately realized that testing a more discreet speaker such as the Rigoletto 2020 or the Tosca 2020 would be more appropriate for the majority of our readers. So the Tosca 2020 stood out to us, both for the already very high quality of each component and for its musical realism.
Modified in 2020 to reach its third generation, the Tosca has improved both its mid-bass range and its tweeter, while remaining a two-way speaker, but with a wide frequency range capable of going down to 34 Hz and up to almost 25 kHz (manufacturer’s measurements). In order to achieve the finest response quality and the best bass performance, this speaker features a plywood cabinet with a 20 mm thick multiplex laminate structure designed to absorb vibrations as effectively as possible.
Added to this is a filter system that captures Helmholz resonances at the base of the mid-bass drivers, with the aim of providing the most natural air flow possible. The two speakers, manufactured by the Danish brand Scan Speak, feature a NAWI (non-unwindable) wood fiber cone and a very large magnet for greater rigidity and deeper bass reproduction.
Manufactured on the other side of Europe, the tweeter comes from Italy and uses high-compression technology based on a mylar diaphragm, a polyester film with the barbaric name of polyethylene terephthalate, also known by the acronym PET, which is highly resistant to traction, chemically stable, and highly reflective.
Driven by a neodymium magnet with a magnetic force of two Tesla to guide the moving coil, and reinforced by mechanical shielding to eliminate microphonic effects, it ensures faithful reproduction of high frequencies, supported in their diffusion by the 17 cm horn into which the tweeter is integrated. As for the low frequencies, a bass reflex system based on a downward-facing tunnel has been designed to improve the diffusion of some of the midrange frequencies, as well as to avoid being limited by placement too far or too close to a wall, as is the case with horizontal orientation.
The crossover filter is based on Wima film capacitors and Mundorf flat film coils, soldered point-to-point and mechanically secured, with the aim of minimizing deviations and achieving the most linear listening experience possible between each register. The cables used are German OFC copper and the terminals are among the best available: gold-plated copper WBT Nextgen, mounted on acrylic panels behind which the filters are placed.
Measuring 111.5 cm in height, the Tosca 2020 speakers are placed on a wooden base and are available in a range of colors, either to enhance their woody character (poplar, macassar, walnut, maple) or to give them a more modern look with white or black lacquer finishes.
THE SETUP OF THE ODEON AUDIO TOSCA 2020
Available from only a few retailers, the Tosca 2020 speakers could be listened to at Hifi 35 in Rennes, where they were particularly well suited to being powered by a Unison Research S6 class A tube amplifier. The sources used also allowed us to develop the level of detail in depth, particularly with the new DCS Bartók Apex, whose range of nuances benefited from the Odeon Audio, brought back to a more conventional but already very musical level with the Moon 390 streamer.
Compared to more conventional competitors, such as the B&W 700 series and the KEF 800 series, the Tosca 2020s were also positioned in several locations in the auditorium, at different distances from the walls, as well as being oriented in various ways, in order to bring out their best potential, particularly when they were angled,
i.e., deliberately oriented towards the opposite corners of our sofa, with the aim of creating a perfect isosceles triangle and developing a more monitor-like listening experience.
THE SOUND OF THE ODEON AUDIO TOSCA 2020
As we were familiar with the Izumi and remembered their particular ease with natural music, we began testing the Tosca 2020 in the same way, which turned out to be a very good idea! While we were already very impressed with the sound quality of the smaller model, the large North Rhine-Westphalia column and its Italian-Danish speakers achieve an even higher level of realism.
With Savannah Conley’s new album or our usual jazz singers, the flavors of the midrange vocals come through directly, while the surrounding instruments benefit from the same purity of nuance. And more than just well-toned, the sound achieves a magnificent balance between all registers, with the notes superbly carried by the air.
Added to this is a wide soundstage, which gives our singers a beautiful volume, liberated and therefore with a special presence in the listening room, whose warmth is enhanced by the class A tubes of the Unison Research amplifier, as well as by the finesse of the details of the sources.
With very fine reproduction, particularly in the high frequencies thanks to the compression tweeter perfectly expelled by the horn, the Tosca 2020s, when angled towards the corners, further improve this precision, but at the expense of the soundstage, which then loses a little in width. This type of listening will then be a matter of taste!
Very comfortable with natural music, confirmed with classical chamber music ensembles, the Tosca 2020s were then pushed to their limits. And here again, compared to the Izumi, not only was the bass response much wider, but also much more natural.
While Hugh Masekela’s “Stimela” was initially used to check the tension of the real bass, superbly reproduced even in large dynamic ranges, it was with Tyler’s electronic sounds and the bass in Nirvana’s “Breed” that we were able to appreciate the excellent performance of the Scan Speak speakers at the lower end of the spectrum and the relevance of the downward-facing bass reflex system, without giving the impression of hitting the bottom of the cabinet.
To check the volume in terms of both width and depth and the handling of large masses, we first used Argerich’s Piano Concerto No. 1 (live Lugano, DG), as we had heard the pianist two days earlier in Evian. Here, the distinctly placed orchestral instruments combined with the clear distinction of the keyboard touch, with beautiful mechanical effects. On the other hand, when we played Tosca with Puccini’s eponymous opera, in the Karajan version from Decca, on “Tre Sbirri,” the initially magnificent organ gave way to limited depth when the orchestra and choir were fortissimo.
We checked again with “Vissi d’arte” from the same opera, where we had never before distinguished the crystalline harp so clearly, in addition to fully enjoying Leontyne Price’s tone, and we subsequently found that slight lack of breadth, not in width but in depth, which can be found in the brand’s superior, much more extreme models.
OUR CONCLUSION
Considered by some to be less versatile than certain competing speakers, Odeon Audio’s Tosca 2020s really won us over with their magnificent reproduction of timbres across a very wide range, without saturation even in the high frequencies or bass pushed to very high volumes. With impressive accuracy and naturalness, these German speakers offer superb fluidity and do not have the overly sharp character characteristic of many brands from this country.
Only limited in depth on very large masses, they are otherwise magnificent companions, especially if you are a fan of classical music and jazz. Although still discreet, this largest of the three speakers already benefits fully from the wooden horn effect, while retaining a classic design that the brand’s three largest models, which are much more voluminous and much more expensive, cannot offer.
In addition to hi-fi furniture, Italian brand Solidsteel also has two ranges of speaker stands in its catalog, including the Solidsteel SS-7, available in three heights. Designed to support a large number of speakers with as little vibration as possible, they offer better bass concentration, refined detail, and improved sound spatialization.
All belonging to the S series—just below the top-of-the-line Hyperspike series—Solidsteel speaker stands fall into two categories, NS and SS, both of which are subdivided into three models of different heights. Named SS-5, SS-6, and SS-7, the models best designed to limit vibration are built on a tripod with a base measuring 13.4 inches wide by 12.2 inches long, with heights of 20.6 inches, 24.9 inches, and 28.6 inches respectively, offering the advantage of being compatible with all types of compact speakers.
At the lower end of the range, the SS-5 is designed to fit large speakers such as the Fyne Audio F1-5, EgglestonWorks Nico Evo, or ATC SCM20, each of which is over 40 cm high. Higher up, the SS-7 is perfect for supporting small Jern speakers or conventional speakers that you want to raise in a large room, such as Kef LS50, B&W801, or Atohm GT1, the latter of which are otherwise perfectly suited to the medium size of the SS-6. If you want to go even higher, you’ll need to go back down to the NS range, which offers a less ordinary 1 m pair with its NS-10 stand.
Made of stainless steel with an anti-resonant finish, the Solidsteel SS can be further improved by filling it with a damping material, such as steel balls or sand. Also made of stainless steel, the removable spikes can be screwed in with a gap of about 1 cm, which is very practical in the case of a floor that is not perfectly flat.
Alternatively, a standard 2 x 16 x 16 cm MDF plate can be custom-made to the diameter of the speakers, so that it fits perfectly with all models, in addition to allowing the three sizes of feet to be attached at the optimum height. In order to minimize vibrations, the base itself is decoupled from the chassis by steel balls, which are simply attached to the top of each foot, while it is held in place in the middle by a large screw, to which a small rubber circle is attached.
THE SETUP OF THE SOLIDSTEEL SS-7
Securely joined together using a traditional brass welding process, the three legs form a tripod onto which the spikes are screwed, to be placed on small counterpoints depending on the landing surface, while the small steel balls must be attached to the other ends, on which the base is then placed and securely screwed down using a large screw and an Allen key, supplied by the manufacturer. Next, simply add the speakers to the base, securing them with Blu-Tack, also supplied in the package.
During our tests, we alternated between the Atohm GT1, Jern 15H, Fyne Audio F500SP, and Closer Ogy speakers with entry-level Norstone stands, mid-range Linn stands, and Solidsteel stands, also taking into account a height difference of 18 cm and 12 cm between our two comparable models and the Solidsteel, tested at its highest level: the SS-7.
In addition to these multiple tests, we also applied different coverings between the parquet flooring and the stands, with and without spikes, from carpet to cork to solid beech panels, which were also very useful for bringing our Norstone stands to an almost identical height, as well as improving their bass response in an attempt to make them as good as the Italian model we tested… without ever quite succeeding!
THE SOUND OF THE SOLIDSTEEL SS-7
Any hi-fi enthusiast who owns a pair of compact speakers will have made this obvious discovery at some point: the stand is essential for getting the best out of all the registers of your products. Even when the speakers themselves have an independent base, such as the Fyne Audio F500SP or the Atohm GT1, combining them with decouplers or better stands allows them to perform even better.
We had already noticed this difference between Norstone and Linn stands, which were themselves greatly improved when placed on a surface such as cork for the Linns and beech for the Norstones.
However, the effect is even more striking when the aforementioned speakers are placed on Solidsteel SS-7s, simply left on their spikes and counter-spikes placed directly on the floor. Within moments, there is a feeling of “refocusing” of the sound, which particularly improves the bass response, resulting in a better image contour, refined in detail across the entire spectrum.
With female blues singers, the finesse of the voice is revealed even more, especially through the Atohm and Fyne speakers, while our Closer Acoustic Ogy speakers benefit above all from increased clarity in the sound reproduction of their single high-efficiency Fertin driver.
Less impressive with our Jern 15H speakers, because these closed-back speakers already weigh 16 kg and seem unalterable in advance, the sound still gains in definition, managing to bring out the bass and background even better, for example in electronic music, or in the timpani of an orchestra or the drums of a small jazz ensemble.
OUR CONCLUSION
With truly effective sound compared to lower-end stands, Solidsteel’s SS stands can be adapted to all needs thanks to their different heights and base dimensions. The results are striking in the bass range and benefit the entire sound image, seeming to refine most speakers, especially classic models in the $1,000 to $3,000 price range. Compared to the stands that manufacturers supply with their own speakers, these stands, which are entirely made in Italy and cost around $500, offer real added value at a price that is still reasonable compared to some of their competitors.
Founded in 2020 and launched with the Hypsos power supply, Ferrum Audio expanded its catalog with a DAC headphone amplifier in 2022, followed by a pure DAC the following year. Called Ferrum Wandla, this digital-to-analog converter won an EISA award in 2023, which did not prevent the Polish brand from further refining its concept with a special edition in partnership with the Internet media outlet GoldenSound. Based on the same components, this version revises and adds numerous sound settings to adjust the music as precisely as possible to the listener’s preferences and desires at any given moment.
Co-founder and partner of Mytek, Marcin Hamerla decided at the turn of the decade to develop his own products and created Ferrum Audio for this purpose, still in the suburbs of Warsaw. In 2020, the brand launched with a Hypsos power supply, followed the next year by the Oor headphone amplifier (both reviewed in our issue no. 40, in the Essentials section).
It took courage to launch a new brand on the market with only an ultra-stabilized power supply, but this actually allowed the company to create an extremely healthy foundation on which to develop more complex products later on. In 2022, the Erco took some of the Oor’s technology and added digital-to-analog conversion and a preamp, turning it into a true desktop companion, which only needs a power amplifier if you also want to connect speakers.
A year later, after we had chronicled its development during a visit to the brand’s headquarters at the end of 2022 (see report in issue 45), the pure DAC Wandla was launched, based on some of the most highly regarded chips on the market.
Based on an ARM processor redesigned to create a proprietary platform called SERCE, this DAC incorporates an ESS 9038PRO conversion chip that has been configured over hundreds of hours—we witnessed the development method firsthand with engineer Maksymilian Matuszak—to obtain the most perfect curves possible on the eight DACs it contains.
Designed to handle the densest files possible, it can decode up to 768 kHz/32-bit PCM and DSD512 files. Obviously, this requires the use of I2S or USB-C connections, but otherwise, depending on the sources you want to integrate, you can still use the RCA S/PDIF port, an ARC port, or AES, all of which are designed to handle formats up to 192 kHz/24-bit. There is also an optical connection, but it only offers a maximum rate of 96 kHz (which is already higher than most streamed files, often at 44.1 kHz if they are not Hi-Res).
With such connectivity, the Ferrum Wandla is extremely comprehensive and will remain relevant for many years to come, especially since its software can be updated very easily via the touchscreen on the front panel. Opening the top cover reveals the perfection of the circuitry, perfectly arranged on a board that fits the internal dimensions of the device.
Like all of the brand’s products, it is inserted into a rigid chassis manufactured in-house in Poland, whose compact dimensions (21 x 206 x 50 mm) allow it to be discreetly integrated into any system.
Speaking of discretion, it’s worth noting that all of the DAC’s components are discreet, and that the most disruptive parts, such as the color touchscreen on the front panel, are isolated on the board to avoid interference, while the circuit on which the Serce module is located is slightly raised. In addition to being a DAC, the Wandla is also a true preamplifier, since, like the Oor, it offers a pair of RCA terminals for connecting an additional analog source—for example, a Ferrum phono preamp, which we hope to see soon!
WANDLA & GOLDENSOUND PARTNERSHIP
Already very comprehensive and modular, the Ferrum Wandla has evolved further in 2024, thanks to a partnership with the hi-fi website https://goldensound.audio. Thanks to this version developed in-house by Paweł Gorgon, the device gains numerous parameters, all of which are immediately identifiable to the ear.
With these new settings, the Ferrum Wandla Goldensound loses the MQA function, which has already become obsolete for many, but gains much more with:
• improved digital processing margin, which raises margin levels and provides better immunity against overshoot between samples;
• spatial improvement, which further opens up the soundstage and separates elements more effectively. This mode can be adapted for listening with headphones or speakers;
• a Tube mode, which deliberately increases even-order harmonic distortion in order to seek the sounds normally produced by tube amplifiers, and in particular a warmer sound;
• Impact+ mode, which enhances the impact of the bass thanks to a custom two-band equalizer;
• Voltage adjustment, which allows you to switch from an output just below 10 Vrms to an output just below 4 Vrms, in order to better adapt to all amplifiers and thus avoid using a volume control in the signal path.
THE SETUP OF THE FERRUM WANDLA GOLDENSOUND EDITION
Received in our auditoriums with a Hypsos, the Ferrum Wandla was listened to for several weeks on three different speaker systems and two headphone systems. Very quickly, we limited the source to the Wattson Audio Emerson network transport (tested in this issue) connected via coaxial S/PDIF (Esprit Célesta G8 & Eterna G9 cables) and to a computer with HD and Hi-Res files, connected via USB-C.
Initially listened to with the standard power supply, the Ferrum Wandla was connected to the separate Hypsos power supply for the second part of the tests, whose significant impact on the sound allowed us to better analyze the differences in the sound settings available only on the Goldensound version.
Once tested, these options proved to be sometimes interesting and at other times truly magical, depending on the systems used, such as the spatial improvement in headphone mode on the Susvara Unveiled, or the stunningly charming Tube mode with the Luxman CL-38uC/MQ-88uC amplifier-preamplifier combination.
THE SOUND OF THE FERRUM WANDLA GOLDENSOUND EDITION
In today’s world, an audiophile DAC without a streamer must be either extremely expensive, very cheap, or extremely comprehensive and powerful. Not playing in the same league as Nagra, dCS, or Eversolo, Ferrum Audio’s Wandla must necessarily stand out in the third category mentioned above.
And it would be difficult to do better in terms of connectivity, except to regret the lack of a USB-B port. In any case, USB-C allows for a much more stable connection to a computer, while the ARC and I2S sections ensure very high reliability. As for the coaxial and optical sections, they once again demonstrate the quality of the signal processing with unfailing purity, especially when using an upstream streamer.
Musically, the ESS 9038PRO chip is not immediately recognizable, so when listening, it is clear that this processor has not simply been installed and integrated according to the manufacturer’s instructions, but has been studied in depth to bring out the best in it, taking advantage of its eight DACs and extreme speed. The sound is therefore less bright and much more neutral than with other competing DACs using the same chip, far from the caricatured idea that some people still have of Sabre DACs.
This neutrality, reinforced by a source such as the Emerson, can sometimes even lack brightness or roughness, although this can be easily corrected by the numerous listening options, in particular by switching to “HQ Apodization” oversampling.
Highly accurate, the Ferrum Wandla integrates seamlessly into a high-end system or can simply be an excellent companion to the Ferrum Oor headphone amplifier. And while it benefits from being powered by the Hypsos, it truly becomes a unique machine when upgraded to the Goldensound version. Its Impact+ setting gives it real added value in the bass range, making it much more powerful for rock or hardcore music.
Similarly, Tube mode is a treat with certain systems, as the slight distortion added to match the natural distortion of the tubes brings warmth and a wonderful extra emotional depth to jazz and soul music. As for the spatial enhancement, its effect is often immediate, whether for headphones or speakers, and while it sometimes feels a bit too much with our Kennerton Thror, the result with a Hifiman Susvara is excellent, and the spatial gain for speakers really opens up our Jern speakers, while this effect is almost overdone and therefore not to be used on our small, high-efficiency Closer speakers.
OUR CONCLUSION
Very well designed to offer a plethora of digital connections and even a pair of analog RCA terminals, the Ferrum Wandla DAC-preamp seeks to compete with the big boys in terms of performance, despite its modest price tag of €2,795. It can be upgraded with the separate Hypsos power supply for €1,195, but it is now well worth choosing the Goldensound version, because although its price increases by €500 to €3,295, the added features allow it to be tailored to the sound characteristics of each piece of music and to individual preferences, often with remarkable results.
IDEAL UPGRADE: THE HYPSOS POWER SUPPLY
Although it has its own power supply, the Ferrum Wandla’s performance can be further improved when connected to the brand’s ultra-stabilized power supply. Already tested and reviewed in our columns, the Hypsos is used in two of our auditoriums to stabilize Internet speakers, replacing the small power supply provided by the manufacturers. Much more reliable, the network signal gains almost as much as when audiophile switches are added between the boxes and streamers.
But in addition to providing continuous service for the Internet, Hypsos is regularly used to push all tested devices with separate power supplies to their maximum potential. It also receives regular updates to automatically adapt to many devices with the utmost precision (in 0.1 V increments over a 10% range). In addition to all Ferrum products, 3D-Lab, Silent Angel, and Wattson products are now pre-configured on it, including the small Emerson, which we tested with and without during our trial for this issue.
THE SOUND
Once the Hypsos has been configured—be careful not to plug it in before changing the voltage, as this could burn out your devices—and then connected to the Emerson or, even better, the Ferrum Wandla, the sound gains in clarity and precision. While this may slightly affect the dynamics on the Emerson, there is a clear refinement of the timbres in return, while once connected not with a DIN but with a proprietary FLP (Ferrum Power Link) cable to the brand’s DAC, the Hypsos simply enhances all the musical components. Brighter, the soundstage gains depth and loses even more noise, resulting in improved timbres, texture, and contours.
