tmh audio
Email: info@tmhaudio.com
Tel: 937-439-2667
Tel: 937-439-2667
tmh audio
REFERENCE level D/A converter
DAC converter: Sabre ES9038 PRO
Amanero USB input interface
PCM: 32bit/384KHz
Native DSD: up to 512
Resolution: 32bit/768Khz
Digital Filters: 7 digital filters
Digital INPUTS: SPDIF, Toslink, AES/EBU
Wireless INPUT: Bluetooth aptXฎ
Separate boards for each stage
Separate power supplies dedicated to digital and analogue sections
Fully balanced output stage and with discrete audiograde components
Ultra-low noise and ultra-low distortion digital stage
High quality headphone output
Use as Direct DAC
Use as volume regulated "DAC + Preamp
More info - click for PDF brochure
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HiFi&Musik (Sweden)
Sound: 9
Finish: 10
HiFi-Live Magazine (Spain)
Timber (tonality) it is absolutely neutral/accurate something very complicated to achieve and that is not usual, even at any price level.
The choral sound is majestic, has a certain richness and is located behind my speakers. The focusing of voices and instruments is precise.
Very quiet and with a superb separation of channels the speakers disappear completely, the AAphono is able to reach high levels of transparency, helping to avoid listening fatigue to an audio system for what should really prevail: music and emotion it transmits.
Hifi-Voice (Czech Republic)
Cassandra Wilson's vocal in "Run the Voodoo Down" (1999 | Blue Note | 7243 8 54123 1 8) was beautifully controlled, firm and confident, again without "vinyl" effects, without any sense of "nice" - Clear, resonant and vibrant with energy and shining over the music. It's a clean, straight and very clear sound, open and easy to read.
George Harrison's ("Cloud Nine" | 1987 | Dark Horse Records | 9 W1 25643) seemed a little more pronounced, somewhat more energetic about breathing, but the prominence did not go beyond the feeling of dominance. The pitch is plenty, they are also clear and clear as a sound as a whole. The preamp is also very capable of defining individual tones, for example cymbal is so easy to read, it is not a monochromatic noise, but a clear metal clinking one after another.
Sound: 9
Finish: 10
HiFi-Live Magazine (Spain)
Timber (tonality) it is absolutely neutral/accurate something very complicated to achieve and that is not usual, even at any price level.
The choral sound is majestic, has a certain richness and is located behind my speakers. The focusing of voices and instruments is precise.
Very quiet and with a superb separation of channels the speakers disappear completely, the AAphono is able to reach high levels of transparency, helping to avoid listening fatigue to an audio system for what should really prevail: music and emotion it transmits.
Hifi-Voice (Czech Republic)
Cassandra Wilson's vocal in "Run the Voodoo Down" (1999 | Blue Note | 7243 8 54123 1 8) was beautifully controlled, firm and confident, again without "vinyl" effects, without any sense of "nice" - Clear, resonant and vibrant with energy and shining over the music. It's a clean, straight and very clear sound, open and easy to read.
George Harrison's ("Cloud Nine" | 1987 | Dark Horse Records | 9 W1 25643) seemed a little more pronounced, somewhat more energetic about breathing, but the prominence did not go beyond the feeling of dominance. The pitch is plenty, they are also clear and clear as a sound as a whole. The preamp is also very capable of defining individual tones, for example cymbal is so easy to read, it is not a monochromatic noise, but a clear metal clinking one after another.
Frequency Response: 10Hz-20kHz ฑ0.25dB
Signal-to-noise ratio: 89dB (MM) / 72dB (MC)
MM Gain @ 1kHz: 40dB
MC Gain @ 1kHz: 65dB
Dimensions (HWD): 87ื220ื372mm
Weight: 5.8kg
High quality & low tolerance components used in Dual-Mono configuration
Multiple filters in power supply with (3) custom toroidal transformers
MM cartridges: input capacitance & resistance set via push buttons
MC cartridges: input resistance set via push buttons
AAdac
REVIEW Excerpts
After living with this converter and listening to it daily, I found that its major sonic feature of the aaDAC converter was its level of transparency to the source. Depending on which system it was used in, there were times when it was practically aurally invisible, inviting me to listen to any genre of music I chose.
Through the Audio Analogue aaDAC the sounds of every instrument and voice were made as separate as possible depending on the track and also spread out in a huge soundstage. Whether I was playing the physical SACD (Rolling Stones Beggars Banquet) or the file on my music server, the sound was just as good, letting me close my eyes and imagine I was a fly on the wall in that London studio.
I could easily take up half Enjoy the Music.com's server space talking about all the audiophile characteristics that this converter possessed, its infinitesimally small microdynamic shifts and explosive macrodynamic changes, it's delicate and extensive treble that possessed absolutely no digital artifacts I could hear, even on the crappiest 16-bit/44.1kHz CDs in my collection, and its' powerful, pitch specific, clean, and extensive base response.
The midrange was so transparent that it often made me feel as if in the audio chain there was no converter at all, and all I was left with was the music. But I don't think that should have to be discussed in the year 2020. Audio engineers should certainly have this part of the digital playback thing perfected by now, shouldn't they? Well, they don't.
Through the Audio Analogue aaDAC it's was as I was hanging above the orchestra listening to this Sibelius piece along with the microphones at the Barbican. During at least one section I'd hear the orchestra "do the wave" as the Northern Finnish winds swept through the barren landscape, Sibelius's scoring calling for the strings and woodwinds to travel across the orchestra right to left, left to right. Again, it was the mega-transparency of this converter, its midrange letting me hear not only what has been recorded, but somehow transposed into the real thing coming through my speakers and into my listening room.
REVIEW Excerpts
After living with this converter and listening to it daily, I found that its major sonic feature of the aaDAC converter was its level of transparency to the source. Depending on which system it was used in, there were times when it was practically aurally invisible, inviting me to listen to any genre of music I chose.
Through the Audio Analogue aaDAC the sounds of every instrument and voice were made as separate as possible depending on the track and also spread out in a huge soundstage. Whether I was playing the physical SACD (Rolling Stones Beggars Banquet) or the file on my music server, the sound was just as good, letting me close my eyes and imagine I was a fly on the wall in that London studio.
I could easily take up half Enjoy the Music.com's server space talking about all the audiophile characteristics that this converter possessed, its infinitesimally small microdynamic shifts and explosive macrodynamic changes, it's delicate and extensive treble that possessed absolutely no digital artifacts I could hear, even on the crappiest 16-bit/44.1kHz CDs in my collection, and its' powerful, pitch specific, clean, and extensive base response.
The midrange was so transparent that it often made me feel as if in the audio chain there was no converter at all, and all I was left with was the music. But I don't think that should have to be discussed in the year 2020. Audio engineers should certainly have this part of the digital playback thing perfected by now, shouldn't they? Well, they don't.
Through the Audio Analogue aaDAC it's was as I was hanging above the orchestra listening to this Sibelius piece along with the microphones at the Barbican. During at least one section I'd hear the orchestra "do the wave" as the Northern Finnish winds swept through the barren landscape, Sibelius's scoring calling for the strings and woodwinds to travel across the orchestra right to left, left to right. Again, it was the mega-transparency of this converter, its midrange letting me hear not only what has been recorded, but somehow transposed into the real thing coming through my speakers and into my listening room.
"Because there's another important feature of this acoustic spectrum part in the release of an Italian company DAC transducer. Harmonic fill. And that's what we'll hear best from a system that's really full-bandwidth. And at the same time, it can operate the bass at low levels of distortion and without disrupting the phase. Believe me, these last two features are really rare to go hand in hand.
The other thing is that dense music with a lot of energy like Annie Lennox's "Diva" CD, for example has only confirmed that AAdac is also doing great in situations where you have to generate an avalanche of energetic sound. The dynamics and the bass hit at the culmination of "Money Can't Buy It" sounded really spectacular.
Well, Audio Analog doesn't slow anything down, it doesn't fade anything. The trumpet still sounds like a trumpet. If source material is going to stink in his ears, it stinks.
Moreover, it is rare to really find a DAC transducer, which first impresses a talented artist, and then also confirms that he can also be a really skillful craftsman. In other words, AAdac reaches not only the heart, but also the brain."
HiFiZone.PL
AAdac - Review Excerpts - Translation via MS
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