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Astell&Kern AK100 and AK120 Portable Music Players

Astell&Kern AK100 and AK120 Portable Music Players

You know how people these days mime that their heads are “exploding” over some revelatory fact or idea? How their hands poof outward from their temples, their lips purse, and their mouths faux-detonate the nearby air? That’s a deliberate signal. But recently I witnessed my 14-year-old daughter’s head “explode” involuntarily— but no less dramatically. Her eyes bulged, her jaw dropped, and her temples visually throbbed. What on earth could have elicited a reaction of such astonishment? The latest from Apple? A surprise Abercrombie gift card? No, it was the simple act of listening to a familiar song through the Astell&Kern AK120 portable music player.

Mind you, this revelatory incident took place without the benefit of a decent pair of headphones. Rather, my daughter had auditioned Jason Mraz’ “I Won’t Give Up” [Atlantic] through both the AK120 and her regular music player, an iPhone 4, with her usual, standard-issue Apple earbuds. Nonetheless, she found the difference between the AK120 and the iPhone obvious—and obviously unexpected. “I can hear instruments I never heard before!” she exclaimed at one point. “His voice sounds much more beautiful!” When I offered my Sennheiser HD600 headphones and she listened to the track through the AK120 yet again, she fairly swooned.

It’s worth noting that the AK120 had a hidden advantage in this impromptu evaluation. The version of the song on the iPhone was in the typical low-resolution, lossily compressed format that populates such devices. In contrast, the AK120’s version was in glorious 96/24. So this was not a true apples-to-Apple (ahem) comparison. But that’s beside the point. The takeaway here is the amazed and enthusiastic reaction to high-quality sound from someone who had never shown any interest in it—despite regular exposure— until it was delivered on her own turf.

I was amused to note that my daughter’s response to the AK120 was identical to that of any audiophile smitten with a new component. After hearing the Astell&Kern, she began admiring it from every angle, clutching it like it was … well, the latest from Apple. She asked how much it cost and began scheming to find the money. Then, my biggest surprise: She started exploring the music, all of it unfamiliar, that A&K had thoughtfully pre-loaded onto the player—exactly the way we audiophiles go through our own collections and seek out new material just to play it through a new component. Kids, it turns out, may all be dormant audiophiles just waiting to be awakened by something like an AK120.

Astell&Kern AK100 and AK120 Portable Music Players

Fogey Liberation

I first heard the Astell&Kern AK100, which is the AK120’s lower-priced sibling, through some excellent headphones at this year’s New York Audio Show. As I wrote in my show report, the debut impressed me mightily. However, I added the usual caveat that I would have to evaluate the device under more controlled conditions before I could take its full measure.

What I failed to understand at the time was that that had already happened. Not until I was packing for a week at the beach, fretting about losing valuable review time and aware of the oncoming deadline, did I realize that a portable music player and a good set of headphones create their own self-contained conditions. This was a foreign thought. With more than a little incredulity, I grasped that I could review these devices pretty much anywhere—no reference system required.

And in the very next moment, another revelation: I can, for the first time, also simply enjoy music at the audio level I’m used to without being anywhere near my reference system. This was a liberating and bracing concept.

We audiophiles tend to associate high-quality sound with a particular system (or systems) in a specific place. A high-end portable player untethers us. We can travel with high-end audio, exercise with high-end audio, listen privately to high-end audio. The generation that “grew up digital” takes such freedoms for granted; but for us discriminating old fogeys, the concept of physical liberty without sonic compromise is new.

And so I threw my Sennheisers into my bag, stashed the AK100 and AK120 in the car’s glove box, and set off for the beach knowing that I could not only evaluate but savor high- quality sound in a house that contained nary a lick of audio equipment.

 

The AK100 vs. the Classics

Since I had already heard the AK100 through good headphones at a trade show, I knew it sounded superb. The player had impressed me with true high-end qualities like timbral richness, airiness, detail, and pace. Still, as part of the review process, I wanted to put the AK100 in context. That meant comparing it to other players on the market. Both iPods and iPhones were obvious touch points, but based on long experience with my own current-generation iPod Classic, I knew any comparo was going to be a slam-dunk win for the AK. I wanted to present the AK100 with a rival that promised to be more challenging. And since portable music players with high-end aspirations are not (yet!) prevalent, I had to look elsewhere.

The answer came from an unexpected source: Apple itself. You see, once upon a time—before music was just another app on a phone—Apple actually cared about the sound of its iPods. So much so, that it went to the trouble and expense of putting genuine Wolfson DACs—the very same brand that graces these Astell&Kern players—into iPods. This was true up to and including the 5th generation of the iPod Classic (before there were Nanos or Shuffles). The Classic 5.5 was the last iPod to include the Wolfson chip. Samples of good-condition Classic 5.5s are readily available on eBay for roughly $100. I bought one, and it took me about two seconds of listening to relegate my modern iPod Classic to storage. All indications were that the Classic 5.5 would be a worthy challenger to the AK100.

Before I turn to sonics, a few words about the relative aesthetics and functionality of the AK100 and the iPod/iPhone. In industrial engineering, the Astell&Kern sacrifices nothing to Apple. The AK100 is finished in a black, finely-brushed aluminum case that screams luxury. True, the AK100 is thicker, heavier and larger than the latest waif-like iPods. Yet I find the AK100 easier to handle than those devices, as well as reassuringly substantial in the manner of a bespoke watch. The sensation of being in the presence of something special continues when pressing the AK100’s buttons, turning its volume knob, or navigating the bright, instantly intuitive touchscreen. Once operations begin, that roomy screen becomes a font of information about the source material.

Functionally, the AK100 is best thought of as an iPod on steroids. Whereas an iPod maxes out at a tepid 48/16 resolution, the AK100 goes up to 192/24. And while recent Apple devices use an inexpensive Cirrus Logic DAC chip, the A&K employs Wolfson’s costly new WM8740. As for formats, iPods and iPhones support AAC, MP3, Apple Lossless, AIFF, and WAV. The A&K handles all those, plus Media Monkey’s APE, Windows’ WMA, Xiph.org’s OGG and, most importantly, FLAC. The latter means that a user can, for example, download a losslessly compressed hi-res album from HDtracks and transfer it directly to the AK100. Such transfers, by the way, are as simple as dragging and dropping selected music files to the player, which appears as an external drive when connected via USB to a PC or Mac.

With the ability to support hi-res material, a music player’s memory capacity becomes critical. A 192/24 file is 6.5 times as large as a CD-standard 44.1/16 version, and many times more than that compared to MP3-like formats. The upshot is that, unless you commit the sacrilege of dumbing down your music to MP3, 32GB on an AK100 won’t go nearly as far as the same capacity on an iPod. The AK100 comes standard with 32GB of memory, and its two microSD card slots permit expansion to 96GB. Even so, users will have to be selective about what they load onto the player.

Users should be selective, too, about the headphones they pair with this player. Unlike the iPod and iPhone, the AK100 has a relatively high 20-ohm output impedance. (The AK120 has more typical 3-ohm output impedance.) This means that the sound of a particular set of headphones, depending on its own impedance characteristics, may be altered or even compromised by interaction with the player. Therefore, be sure to audition the AK100 using whichever headphones you intend to listen through.

Given the impedance situation, the true sound of the AK100 is virtually impossible to ferret out—at least without using an outboard headphone amp, which would be anathema. However, I compared all the assembled players using multiple headphones and my findings proved consistent from ’phone to ’phone, giving me confidence in my ultimate rankings. The headphones I used were: my own Grado Professional Series SR80; my aforementioned Sennheiser HD600; the ultra-portable, on-ear Sennheiser PX-100, which came courtesy of TAS writer Karl Schuster; and a set of the incredible Fostex TH900s, very kindly loaned to me by my local (D.C. Metro) high-end dealer, JS Audio. Ultimately, I did the bulk of my listening through the Fostex, which offered the highest resolution and the stoutest bass. These headphones allowed me to hear every little difference between players, which is exactly what I needed.

Once I listened to the Jason Mraz piece, I immediately understood why Astell&Kern had included it on the players they sent me. This is an admirably clean recording, with perfect tonal balance. Bass has a solid thump, the all-acoustic guitars are ultra- clear, and Mraz’s voice, while no great instrument, is recorded well enough for his earnestness to come through.

Unfortunately, the recent-generation Apple gear lived down to my expectations. Through the iPhone 4, “I Won’t Give Up” is, shall we say, less than gripping. You’d never know how plump the bass is, because the iPhone’s bass is wispy. You’d never discern any character to the singer’s voice, because the iPhone renders it generic. You’d never know the dynamics swell, because the iPhone compresses them. Highs roll off before they get started.

 

Forget about hearing details. Put it all together and the iPhone’s rendition of this song is just plain boring. I did not bother listening to the iPhone any further.

Fortunately, the iPod Classic 5.5 turned out to be another matter entirely. This player restored all the detail, dynamics, bass, character, and life to the track. Simply put, the Classic 5.5 sounds darned good, and it spins out music that is far more engaging than its latest Apple counterparts.

Of course, on the Mraz track the AK100 slaughters the 5.5, since the A&K is playing back a higher-resolution version. The point is that the AK100 can play hi-res files, and the iPod can’t. What does that capability amount to sonically? In this case, the vocals take on a “right there” quality; bass is even fuller and tighter; and you can now easily appreciate the carefully assembled instruments in the overall arrangement. Finally, dynamics are improved to the point where the song is, at times, actually rousing. Clearly, access to this level of resolution—and the sonic and musical benefits that resolution entails—is one of the AK100’s chief virtues.

I wondered, though, how the AK100 would measure up to the Classic 5.5 on a more level playing field—that is, with both tackling identical tracks at the same resolution. For that test, I selected Prada’s lovely recording of Dvorak Serenades. The Classic 5.5, it turns out, delivers such music more than respectably well. Indeed, I found little to complain about sonically or musically. In regard to the latter, the 5.5 allows the instrumental interplay at the heart of these octets to come through.

The AK100 does sound better than the Classic 5.5 on these pieces, but in ways that initially seem subtle. What the Classic 5.5 lacks—and the A&K delivers—is the last degree of timbral nuance and dynamic inflection. The Classic is also afflicted with a mild digital haze that, while not overtly objectionable, does make listening a less serene experience. Furthermore, the AK100’s dead-quiet background allows instruments and transients to stand out effortlessly, as if in bas-relief. Add up these subtleties and the sum is a not-so-subtle advantage. While the Classic plays well beyond modern iPod-gear, it cannot match the AK100’s purity, ease, and authority.

In sum, the AK100 establishes itself as a superior player in not just one but two key ways. First, given material of moderate resolution, the AK100 is unquestionably the higher-fidelity device. But the Astell&Kern takes another step by allowing the listener to enjoy higher resolution material. In my listening, this ability to support hi-res reaped benefits with everything from Keith Jarrett’s solo piano to Led Zeppelin’s thunderous rock to pop productions like Jason Mraz. Once you have held hi-res in your hands, you will never settle for less.

Sibling Rivalry

Now that we’ve established that the AK100 is a cut above the best iPod Apple ever made, let’s find out if the nearly twice as dear AK120 tops it. The latter certainly has advantages in specs, componentry, and functionality. Internally, the primary difference between the two players is the AK120’s inclusion of dual Wolfson DACS. In general, the use of multiple DACs provides greater linearity and lower noise. A&K claims significantly lower jitter for the AK120.

The flagship model also has more memory capacity; it comes with twice the AK100’s 32GB as standard, and its microSD slots support higher-capacity cards. All told, the AK120 can hold 192GB of music—a key advantage over the AK100. All this additional componentry makes the AK120 slightly taller than its sibling. The AK120 also sports a snazzy leather case, a racy red stripe around its volume knob, and pegs that protect that knob.

There is really only one functional difference between the two units: The AK120 will play DSD files, while the AK100 won’t. However, Astell&Kern has a history of incorporating AK120 features in the AK100. For instance, at one point the AK120 was the only model that could be used as a USB DAC. However, in mid-review, Astell&Kern released a software upgrade for the AK100 that conferred upon it the same capability.

 

The decision, then, to spring for the AK120 boils down to two important features—more memory and DSD support— plus potentially better sound. To find out if the 120 delivers on that last promise, I first turned back to the now-familiar Jason Mraz track. As I compared the two players, I was furrowing my brow trying to detect differences. I ended up hearing two on this track (more on others), but they were obviously small in degree.

The first difference between the AK120 and the AK100 is that the former removes a very mild grain, especially from vocals. This is not to say the AK120 is quieter; both players boast wonderfully silent backgrounds. But the AK120 has greater purity. Although I dare say the AK100’s mild deficit in this area would likely go unnoticed without an even cleaner point of direct comparison, the AK120’s grain-free sound does make for even easier listening. The second difference this track makes apparent is in the bass. The AK120’s is a hair fuller and better defined. Yet, again, without a great set of headphones, hi-res source material, and an A/B comparison, I doubt anyone would find the AK100’s bass lacking.

To confirm these findings, I fired up a series of disparate recordings. The first was “Whole Lotta Love” from the terrific 192/24 version of Led Zeppelin II [Atlantic]. Let me state from the outset that both of these players rock out with abandon, and that this track is a bracing experience through either. Other than that, the previous comments—less vocal grain and better bass on the AK120—fully apply, with two additions. There is an extended instrumental passage in the middle of this track that consists mostly of noises. As the passage begins, the dominant sound is John Bonham’s cymbals. It is in the quiet moments between his cymbal taps that it becomes obvious that the AK120 conveys a sense of space that the AK100 lacks. Later in the passage, sounds swing from ear to ear—oops, I mean channel to channel. On the AK120, when the sound moves to one side, it moves far to that side, indicating superior channel separation and lower crosstalk.

Easing my way into orchestral music, I turned to Paul McCartney’s Kisses on the Bottom [Hear Music], a superb hi- res recording of standards that I reviewed in a recent TAS “Downloads” piece. Once again, both players have the right stuff, rendering strings sweetly, almost caressingly. McCartney’s voice has great intimacy; on “My Valentine,” you can almost see the dew in his eyes. Still, the AK120’s greater air and purity benefit the proceedings, particularly the strings. Further, the superior definition of the upright bass makes it easier to follow its line—and to a surprising degree.

Moving to classical music, I wondered if the AK120 could top the AK100’s sensitive portrayal of the Dvorak Octets. It did, and in now-familiar ways: a greater sense of air and better bass. The AK120’s timing is also a tick more precise than the AK100’s, as can be heard at the opening of the first Octet, where the strings should be metronomic.

The Final Grade

Assigning a grade to each of these players seems an efficient way to convey their relative overall merits. The latest generation of iPods and recent iPhones, thanks to its manifest sonic shortcomings, warrants a D—barely a passing grade.

The iPod Classic 5.5 is on a completely different level. This player has chops that allow real immersion in the sound and a real connection with the music. Still, it is a dated digital device, and it shows it primarily in a less-than-pristine background silences. In the context of mainstream music players, the 5.5 earns an A. In high-end terms, it still musters a solid B. If you can’t afford an A&K, you will hug yourself for spending a hundred bucks on one of these babies.

The Astell&Kern AK100 is very, very difficult to fault. Indeed, its subtle compromises come into focus only in direct comparison—using the highest-quality sources and headphones—to the AK120. Here is a player that brings true high-end performance to portable music. As such, I would feel churlish giving the AK100 anything less than a well-deserved A.

What, then, of the AK120? It is better than the AK100, though not drastically so. Yet the more you listen to it, the more addicted you become to its subtle benefits. If you can afford the tariff, the AK120 will reward your investment. This player deserves a higher grade than the AK100, though the differences do not justify a full grade jump. Conveniently, there is one last grade available on our scale. The AK120 gets an A+.

SPECS & PRICING

iriver Astell&Kern AK100

Display: 2.4″ IPS touchscreen
Supported audio formats: WAV, AIF, FLAC, ALAC, APE, MP3, AAC, WMA, OG
Maximum sample rate: 192/24
Continuous playback time: Up to 16 hours
Memory capacity: 32GB (plus up to 2 x 32GB microSD)
Supported OS: Windows XP and up; MAC OS X 10.6.5 and up
Dimensions: 2.33″ x 3.11″ x 0.57″
Weight: 4.3 oz.
Price: $699

iriver Astell&Kern AK120

Display: 2.4″ IPS touchscreen
Supported audio formats: WAV, AIF, FLAC, ALAC, APE, MP3, AAC, WMA, OG, DSD
Maximum sample rate: 192/24
Continuous playback time: Up to 14 hours
Memory capacity: 64GB (plus up to 2 x 64GB microSD)
Supported OS: Windows XP and up; MAC OS X 10.6.5 and up
Dimensions: 2.33″ x 3.5″ x 0.57″
Weight: 5 oz.
Price: $1299

iriver Inc
39 Peters Canyon Rd
Irvine, CA 92606
(949) 336-4540
astellnkern.com

By Alan Taffel

I can thank my parents for introducing me to both good music and good sound at an early age. Their extensive classical music collection, played through an enviable system, continually filled our house. When I was two, my parents gave me one of those all-in-one changers, which I played to death.

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