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Fidata HFAS1-XS20U Music Server

Fidata HFAS1-XS20U

Arguably one of the most significant paradigm shifts for playing digitally encoded music in the last five years has been the introduction and development of digital “music servers.” While the term “music server” is fairly broad and potentially means different things to different people—or perhaps, more specifically, different things to companies like Roon, Aurender, Auralic, Lumin, etc. that have specialized in developing products that are optimized to serve up digital music files in their purest form—there’s a panoply of solutions now available. This market in high-end audio has seen so much innovation and product development that we now have “servers” that are simple headless computers (such as Intel NUCs, Mac Minis, or Roon Nuclei), network-only bridges and streamers, and fully integrated products, e.g. streamers/DACs. There are so many choices and configurations that it sometimes seems as if you need to consult a new class of high-end audio professional, the “network audio specialist,” to determine which solution best meets your needs. 

My first forays in this area date back about eleven years or so, when I blithely hooked my 2006 MacBook (the black plastic one) to an HRS (remember those guys?) USB DAC. I thought it sounded pretty good—not quite as good as my Oppo BD83SE universal disc player, and certainly not as good as an LP, but it was an easy and convenient way to listen to music when I wasn’t listening “critically.” It got better as the new USB DACs got better, and more so in 2012, when I dropped iTunes for Audirvana. Who’d have thought that software could influence how a ripped digital file sounded? But, it clearly did. That setup served me well for another four years, but I was in for a major re-evaluation when I bought a Sonore microRendu network bridge and implemented Roon as my software of choice (sorry, Audirvana). It took me a while to figure out why my digital “front-end” was suddenly sounding significantly better than ever. I finally realized the reason was my Mac Mini music server was now forty feet away, and came to the conclusion that, for a number of reasons I’ve described previously (“How to Optimize Digital Streaming with Optical Fiber,” TAS May, 2020), it’s not a good idea to connect a high-bandwidth general-purpose computer directly to a DAC in a high-end audio system with a standard USB cable. 

The Japanese high-end audio market has come to the same conclusion, and rather than using a computer with fast GPUs and multi-core CPUs spewing out all sorts of wide-bandwidth noise, it has adopted the simpler and, concomitantly, much less noisy approach of using a NAS (Network Attached Storage) device. It turns out that this is an effective way to go, because a NAS is a simple, purpose-built computer whose raison d’être is simply to store and serve digital files. These devices have a “just right” level of computing power, as all they need to do is run a user interface and file-management code. Roon, for example, has taken advantage of this and implemented Roon Core distributions that run on consumer-level QNAP, Asustor, and Synology NAS platforms. 

I-O Data Devices, a high-end Japanese data storage and management solutions company, has gone a step further, and developed a NAS designed specifically for use in high-end audio systems, the Fidata HFAS1-XS20U, reviewed here. In this sense, the Fidata is a new class of NAS, specifically, a network audio server. 

Design and Construction

About the size and shape of a small pizza box, the Fidata XS20U is housed in a thick billet-aluminum case, enclosing a 3.2mm steel chassis that mounts the internal components. Mechanically, those components are completely isolated from the exterior chassis. The bottom of the chassis is solid copper to function as an RFI shield, and the top cover is 4mm thick to provide additional mechanical stiffness and resistance to vibration. Four aluminum feet with polymer pads support the XS20U, and provide additional damping and mechanical grounding. Moreover, the HFAS1 can be configured to use three feet instead of four, if this provides a more stable platform. The entire structure of the case, internal chassis, and footers is designed to provide a high degree of mechanical damping from extraneous sources of vibration. As we learned in Digital Music 101, vibration is a major noise component, particularly for digital-domain devices, and can adversely impact the optimal performance of processors, clocks, and crystal oscillators. The HFAS1 pulls out all the stops to mitigate the impact of vibration on performance. 

The HFAS1’s front panel has two functions. An LED shows the unit is at work, and an on/off switch supplies the power. The LED can be configured using the I-O Data app to display red, blue, or white. It can also be switched off while the unit is powered, if so desired. The rear panel has ports for power, networking, and USB-device connections. 

The specific XS20U model under review is a network audio server with four identical Samsung Pro Series 500GB solid-state drives (SSD) that are configured so that the data is shared evenly between each pair with maximized bandwidth and speed capability. Fidata has designated this configuration “X-Cluster,” and it is designed so there is constant load on the power supplies, which helps to reduce the impact of power-supply noise on the sound quality. Because the power supply plays a key role in enabling high-quality audio playback, the XS20U incorporates two dedicated TDK-Lambda 50W power supplies (for a total of 100W)—one for the main NAS circuitry and a separate, isolated supply for the solid-state drive units. 

The “X-Cluster SSD system” feeds data uniformly across multiple SSDs. Using four 500GB Pro Series drives provides a faster pathway than if two 1TB drives had been used. This allows the XS20U to access data within the clusters, and evens out the load on the power supply by limiting deviations in power consumption. This technology results in greater noise reduction, which concomitantly allows extraction of more data “hidden” within a file and provides a richer, more relaxed presentation with a highly detailed and extremely dimensional soundstage. X-Cluster configuration also minimizes the impact of power-supply noise. The review unit has a total two terabytes of capacity. 

Functions

The XS20U is quite flexible. Its functions range from CD ripping and file import and storage to music-file backup and listening to music. For this review, I only used the Fidata for listening to music, and, as I’ll describe later as a NAS for use within Roon. Folks who want to use the XS20U to perform CD ripping, music backup, and importation of music files via a USB memory stick can do so using the Magical Finder application, which is accessible within the Fidata music player app. 

The simplest arrangement for music playback is to use a USB cable to connect the XS20U to a USB-capable DAC, a CD player with USB DAC, or a headphone amp with USB DAC. 

The XS20U can also be connected to a variety of network audio transports, such as the dCS, SOtM, Auralic, or Sonore series of network bridges, or directly to network audio players, such as Lumin or Aurender. 

Setup and Use

The majority of the time the Fidata was in for review, it was set up in a spare room and connected to my ISP router, which connects via Sonore Optical Module and a long-run optical fiber to an UpTone Audio EtherREGEN Ethernet switch and SOtM SMS-200 UltraNeo network bridge in the main audio rack. 

All network components were connected using Shunyata Research Sigma Ethernet cables, and a Shunyata Omega Ethernet cable connecting the EtherREGEN to the SOtM network bridge. The SOtM SMS-200 UltraNeo network bridge was connected to my Lampizator Baltic-3 DAC with a Shunyata Alpha USB cable. UpTone Audio LPS-1 and LPS-1.2 linear power supplies powered the Sonore Optical Module and UpTone Audio EtherREGEN, respectively. The SOtM network bridge was powered by a Keces P3 low-noise linear power supply. The Lampizator Baltic-3 DAC was powered with a Shunyata Research Omega QR-s power cord connected to my Shunyata Everest 3 power distributor. The Uptone LPS-1.2 and Keces P3 power supplies were connected to Everest using Shunyata Venom V14D and Delta NRv2 power cords, respectively. When using the HFAS1 as a NAS in conjunction with the Aurender N20, the Aurender was connected using the Shunyata Omega Ethernet cable, Alpha USB cable and powered with a Shunyata Alpha NRv2 power cord. 

Fidata HFAS1-XS20U Music Server

Setting up the XS20U was fairly straightforward, as it supports connection through the DLNA protocol. In my system, that simply meant going to the local Eunhasu website on my network for the SOtM SMS-200 UltraNeo network bridge, and invoking the DLNA setting. This configures my SMS-200 to function as the “endpoint” for the Fidata and thus allows music files to be sent to it via the Fidata music app. The various “high-level” functions of the Fidata are managed by the I-O Data Magical Finder app, which allows you to perform such tasks as managing the system settings, server settings (via the custom Twonky app), USB device setting, USB/CD/DVD/Blu-ray Disc drive settings, disk management, and system initialization. Functions such as CD ripping and file backup, for example, would be managed by this app. The custom Twonky app, which is part of the Magical Finder app, provides management of the server functions, including shared folders, navigation trees, and the like. I really didn’t use this app other than to check the status of the XS20U. High-level functions, such as front LED indicator color, etc., can be managed in the System Settings part of the Magical Finder app.

For Mac users, adding music files to the Fidata XS20U is simplicity itself: By mounting both my music-library hard drive and the Fidata onto my Mac’s desktop, I could simply drag ’n’ drop albums of choice from the music library drive into the Contents folder of the Fidata. For Windows users, I.O. Data Devices has just released an updated version of its LANDISC app for XS20U, which allows drag-and-drop, plug-and-play functionality from a PC drive to the Fidata server without having to look up address information for the PC or the server. (This app is available from I.O.’s website.)

If you’re a fan of Roon, as I am, you’ll be pleased to know that the Fidata XS20U will function as a NAS within Roon. You add the Fidata as a NAS by going to Settings>Storage in Roon, and click “Add Folder.” In the field that pops up, simply type the IP Address of the XS20U on your network: smb:\\HFAS1 IP Address\contents. Roon then will be able to access the music files on the XS20U. Fidata’s view is that using the XS20U as a NAS in Roon does not provide the maximal level of quality, but if, like me, you enjoy using the Radio mode of Roon for casual listening or re-discovering music in your library, this is a very convenient feature. 

The Fidata HFAS1 is also compatible with Aurender and Lumin streaming products. In the case of the Aurender N20 I had on loan from a friend, you can very easily add the XS20U as a NAS within the Aurender Conductor app, and it shows up automatically as a selectable music library in the Lumin App.  Source Systems, Ltd., the distributor for Fidata and Lumin products in the USA, tells me it’s a very similar procedure for Lumin streaming products, as well. If using the Fidata music app, playback drives on your network may be selected from the app’s pull-down menu. This is a real value-add for users of these products that should not be overlooked: They can use the Fidata as a state-of-the-art network audio server for their audio streamers. 

Using the XS20U with the Fidata music app on a tablet or smartphone is simple and straightforward. The Fidata app displays cover art for albums stored on the drives. 

By pulling the right side “window” over halfway, you can display albums in the left pane, and put albums you wish to listen to in the playlist in the right pane. Simply touching an album icon on the left side of the display moves it to the playlist pane on the right, and pressing the Play button in the playlist starts playback of the selected track or album. Additional albums can be added to the playlist by repeating the process. These additional tracks for the album are added to the bottom of the playlist by default. 

The track-progress bar and playback controls are accessible at the top of the screen, and their position can be changed, if desired. Selecting an album or track in the playlist window and touching the garbage-can icon will remove that album or track from the playlist. The XS20U server and the endpoint, which functions as an output zone, are shown and accessible in the lower left and right corners of the screen, and these can be managed through their pop-up windows. As I only have one server and one endpoint in my system, I didn’t futz with these controls when using the XS20U.

As I noted above, the Fidata app is remarkably similar in configuration, operation, and interface to the Aurender Conductor app, so Aurender owners who use the XS20U as a high-end NAS will feel right at home. The same is true for the Lumin app.

Listening Impressions

The first thing you notice using the XS20U is the “quietness” of the musical presentation. The technologies the Fidata XS20U has employed to mitigate sources of noise and jitter have really paid off, and the noise floor of the XS20U is exceptionally low. As a result, the unit is very transparent and resolving. In combination with my optically based setup, SOtM network bridge, and Lampizator Baltic-3 DAC, which is also very quiet, you can hear very deeply into the presentation, undistracted by noise components that have historically plagued digital music reproduction, and which can lead to disengagement and fatigue. 

As a result, the soundstage is very spacious, both deep and wide, extending well past the sides of the speakers. There’s so much spaciousness on orchestral recordings that you feel as if you could walk amongst the musicians on stage. The XS20U is also exceptionally accurate and neutral. The XS20U serves up the file with virtually no digital fingerprints of its own. As a result, it presents the music with exceptional tonal and timbral accuracy. I could wax sentimental about brass instruments being “brassy” and woodwinds sounding “woody,” but suffice it to say that on the range and variety of recordings I listened to there was virtually no coloration, warmth, coolness, richness, leanness, harshness, or stridency added to the presentation by the HFAS1. You’ll hear differences in the actual recording and mastering rather than any tonal or timbral coloration or inaccuracies from the XS20U. 

On Decca’s 1973 recording of Beethoven’s Piano Concerto No. 3 [Decca SXLG 6594-7], you’re sitting right in the orchestra with the musicians of the Chicago Symphony. Vladimir Ashkenazy’s piano is centerstage, tonally resplendent with tangible power, scale, and dynamic range. This particular recording really got its hooks into me when played from the XS20U, and I spent the better part of an entire evening listening to it over and over again. Wow. 

The HFAS1 is just as home with more intimate recordings, as well. On “Mercy Now,” the beautiful title track from Mary Gauthier’s album [Lost Horizons 602498641682], the acoustic guitar on stage left is fully delineated against her voice and the backdrop of steel guitar, cello, and drums. This song is full of heartbreak and pathos, and it’s presented beautifully with the XS20U. 

The Atrium de Musicae de Madrid’s Tarentule-Tarantelle (aka The Tarantula) [Harmonia Mundi, HMA 190379], is a collection of tarantellas that take you right back to the 15th and 16th centuries on a veritable carousel ride of bells, violin, recorder, guitar, hurdy-gurdy, drums, lute, and harpsichord, to name but a few instruments. The harmonies and melodies on The Tarantula are complex, musically dense, and layered, and the XS20U’s superb tonal exactness and timbral definition kept this sonic palette of instrumental voices finely resolved and accurately reproduced. The Atrium’s director, Gregorio Paniagua, always infuses these recordings with a real sense of fun and frolic, and this playfulness shone through with the Fidata. On La Tarantella, you could hear the “vapor trail” from the castanets as they decayed softly into the background of the recording studio, right before the definitive flamenco handclap that ends the song. This quality of reproducing the decay of notes into space is a particularly noteworthy attribute of the XS20U that really enhances the spatial and three-dimensional quality of the presentation. 

The XS20U doesn’t just shine on longhair music, either. Bryan Ferry’s Boys and Girls [Warner Bros. EG 9 25082-1] sounds every bit as sophisticated as The Tarantula, but here it’s a blast from the past, a heavily multi-mic’d studio recording from the mid-80s. “Don’t Stop The Dance” is enthusiastically kicky and energetic, and with the XS20U’s ability to resolve fine detail and reveal all the voices and complex instrumental layers, it was all I could do to keep from getting up and dancing while Ferry’s sultry voice floated ephemerally above the driving background of synth, guitars, drums, and brasses. 

Conclusion

The ability to access the Fidata’s files from within the Fidata app and Roon is a welcome and convenient feature. Many times I started out listening to a specific album, and then just used the Radio feature of Roon to select what came next. Additionally, being able to use the XS20U as a NAS with Aurender and Lumin streaming products was a real plus. I consistently noted that albums played on the Aurender N20 from a music file on the Fidata sounded notably quieter, fuller-bodied, and more spacious than when listening to the same album streaming via Qobuz. While the XS20U doesn’t currently support streaming from services such as Tidal and Qobuz, these features are better suited to streamers rather than servers.  

Compared to the Fidata XS20U, my digital streaming setup is more involved, and requires more devices: Mac Mini music server, external hard drive(s), a Shunyata Venom V14D noise-reducing power cord (to mitigate the impact of the Mac Mini’s nasty switch-mode power supply), fiber-media converters, and—last, but not least—clean, quiet linear power supplies for each of those fiber-media converters. You get the idea. It’s…complicated. The Fidata is, quite simply, simpler. Use it with a good noise-reducing power cord and Ethernet LAN cables connecting your network and streamer, and you’re good to go. It just works. If you prefer having the XS20U in your rack, setup is even simpler: Connect a LAN cable to your network, and a USB cable to your USB-capable DAC. 

Comparing the Fidata and my digital streaming system, both are comparable with respect to their overall tonal, timbral, and harmonic presentation. They both do what they were designed to do, which is to just “get out of the way.” Both present the music with tonal and timbral neutrality and accuracy. The Fidata XS20U, however, thanks to its mechanical and RFI/EMI isolation, dedicated dual power supplies, and X-Cluster array hard-drive scheme, has a noticeably lower noise floor, and, as a result, is quieter, cleaner, and more transparent, with more finely delineated decay (that wonderful “vapor trail”), greater spaciousness, and improved three-dimensionality. 

Summing it all up: Can you put together a “DIY” digital streaming front-end that provides comparable functionality and sonic quality to the Fidata? Yes, but it’s going to require a fair bit of research, a fair bit of work, and a fair bit of gear. And trust me when I say it’s going to be…fiddly. For folks who simply want an exceptionally well-engineered, quiet, and tonally accurate network audio server that’s easy to set up and provides superb audio quality, the Fidata HFAS1 deserves serious consideration. Recommended, and especially so if you use Aurender or Lumin streaming products. 

Specs & Pricing

Connectors: 1000BASE-T/100BASE-TX/10BASE-T, 2x RJ-45 (Auto MDI/MDI-X compatible)
USB ports: USB2.0
Networking: UPnP AV, DLNA 1.5
External dimensions: Approx. 350 x 64 x 350mm
Weight: Approx. 6 kg
Price: $7995

Source Systems Ltd.
San Clemente, CA 92672-6000
(949) 369-7729
sourcesystems@cox.net
sourcesystemsltd.com

Associated Equipment
Digital sources: Lampizator Baltic 3 DAC, SOtM SMS-200 UltraNeo network bridge, Mac Mini Roon Core Server, Sonore OpticalModule fiber media convertor, Uptone Audio EtherREGEN Ethernet switch, Uptone Audio LPS-1.2 and Keces P3 power supplies
Analog source: Rega Planar 10, Rega Apheta 3 moving coil cartridge, Bob’s Devices Cinemag step-up transformer, Uni-Pro protractor
Phonostage: E.A.R. 324
Preamplifier: First Sound Presence Deluxe 4.0 SE MkIII-SI active preamp with Paramount Special Edition Upgrade
Power Amplifier: Conrad-Johnson LP70S
Loudspeakers: Harbeth 40th Anniversary 30.2, Dynaudio Contour S3.4 with Esotar 2 tweeters, REL R-305 subwoofer
Cables: Shunyata Research Sigma XC and NR V2 (Everest & power amp), Alpha NR V2 (preamp and phonostage), Shunyata Omega QR-s (DAC), V14D Digital (digital components), Shunyata Alpha V2 interconnects, Omega and Sigma Ethernet & Alpha USB digital cables, Shunyata Alpha V2 VTX-Ag speaker cables
A/C Power: Shunyata Research Everest 8000 and SR-Z1 wall outlet 

Tags: DIGITAL MUSIC SERVER NETWORK

Stephen Scharf

By Stephen Scharf

I’ve worked as a molecular biologist for my entire professional career. As one of the inventors of Polymerase Chain Reaction (PCR), I worked in human molecular genetics and developing molecular-diagnostic and DNA forensic tests

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