Aavik U-588 Unity Amplifier

Analog

Now that I had a complete understanding of the U-588’s digital performance, it was time to investigate its performance using an analog input. As a source, I again used the Antipodes Oladra via I2S into the LAiV uDDC Reclocker, which was connected via I2S to the LAiV Harmony DAC. The DAC was then connected to the Aavik via Driade Flow Link Reference 808 interlinks.

Using the analog inputs with the LAiV DAC, the Aavik sounds very detailed, fluid, well-focused, and a little leaner than via its built-in DAC. Once again, the delivery is very neutral, even-handed, and natural. However, connected this way, the amp also sounds less full-bodied, powerful, and exuberant compared to the digital input. As we had already established using the Aavik’s coaxial input, the amplifier’s built-in DAC is clearly very good, but so is the LAiV combo. So, I wondered, does this indicate something about the U-588’s analog input section?

Although I was ready to accept that the U-588 sounds best when using its built-in DAC, I wanted to confirm this absolutely, so I swapped the LAiV combo for my reference CH C1.2 DAC. One might question why I didn’t start with this DAC from the beginning, given that it offers the best performance. That is because the C1.2 alone costs significantly more than the U-588, which would present an entirely unfair comparison against the built-in DAC.

It should be noted that, in this setup, the LAiV uDDC reclocker has the advantage of accepting I2S from the Oladra, followed by additional reclocking before sending the signal via I2S to the Harmony DAC, while the CH DAC has no I2S input, unless one connects a CH Precision transport that can use the proprietary CH-Link. Thus, with the Oladra as a source, the CH has to “make do” with S/PDIF or AES/EBU.

As the connection to the CH C1.2 DAC, I chose AES/EBU, which originates from the same output section as the I2S signal on the Oladra server. Before listening, I speculated that the Aavik U-588’s analog input section might max out at a certain quality level and potentially not do full justice to the CH DAC’s quality. Much to my surprise, however, the U-588 scaled along with the additional quality offered by the CH DAC, and now, the amplifier sounded even better than with its built-in DAC. Not only was the sound more spacious, powerful, and better fleshed out than with its built-in DAC, it was also juicier, more organic, and airier.

Of course, there is a vast difference in engineering and cost between internal and external DACs, like the LAiV, let alone the CH. On the other hand, built-in DACs have certain substantial advantages, such as minimal signal paths, which often combine to make internal DACs perform way beyond expectation. Clearly, the U-588’s built-in DAC is very good, but perhaps even more tellingly, the amplifier rewards using the best source you can, even if that means the source is more costly than the amplifier itself.

Support

Like any audio product, the Aavik is sensitive to what it is placed on. However, thanks to its neutrality, this is less critical than for more voiced products. Whether using the ballsy-sounding Artesania Organic Modular platform, the airy-sounding Exoteryc, or the meaty-sounding HRS EXR rack, the U-588 always sounds well-balanced.

Ansuz Resonance Control Footers

The U-588’s footers have a cavity that can completely encapsulate Darkz resonance control devices. This way, they are visually non-intrusive while always remaining perfectly in position.

Ansuz recently introduced the Generation 3 series Darkz Resonance Control Footers. Ohm Audio sent me a set of T3W for use with the U-588. Like the T2 and T2S, the discs are made of Titanium, but the balls between them are now made of Tungsten/Wolfram, instead of Titanium. Furthermore, the connecting centerpiece is now made of solid Titanium, instead of Aluminum, as in the previous series. The discs are also tightened more than in the last generation to prevent any rattling when used under speakers. Lastly, the surface is now glass-blasted, and the footers have undergone cryogenic treatment.

Before listening to the new model, I first listened to the amplifier using a set of Darkz T2 footers of the previous generation. The T2 Darkz elevate the Aavik to a presentation that is tighter and cleaner, as well as airier and more refined. They paint a cooler and less romantic picture, but it is also a lot more precise and more highly resolving.

Now, it was time to change to the new T3W Darkz. Ansuz does not make it clear what model the T3W replaces, but to my ears, it takes qualities of the T2 and T2S while providing a new tonal balance. Like the older T2, the T3W lends the U-588 greater resolution, precision, and refinement, but unlike the T2, this does not come along with a leaner and cooler presentation. Rather, the T3W provides a calmer, smoother, and lusher delivery, along with a deeper soundstage that reminds of the T2S, but with fuller bass and more richly saturated tonality. If the budget stretches, a set of T3W is highly recommended with the U-588.

Power Cable

With its well-balanced sound, the Aavik almost made me forget about the power cable. So far, I’d been using a Belden 19364 with a Bals Schuko and  Oyaide C-004 IEC connector. With power cables, it remains a matter of obtaining the ideal balance in a given setup. For the CH A1.5 power amplifier, I use the same Belden cable, as it works best in that application and often performs well with amplifiers in general. For the other components, I use various cables as needed. My favorite cable for the CH C1.2 DAC (and most other DACs) is still the GigaWatt LC-2 EVO. Of course, the U-588 is not just an amplifier, but also a DAC and a Streamer. When using the LC-2 EVO with the U-588, it is immediately clear that the amplifier can sound even more solid, precise, and impactful, although this also comes with a reduction in fluidity. The GigaWatt PowerSync Ultra is a different animal. This cable lends the Aavik a grander presentation with enhanced liquidity and a slightly more relaxed pace, while retaining neutrality. I get the impression that the Aavik will work well with a wide range of cables. The room, personal taste, and the rest of the system will dictate which of them provides the most synergistic match.

Perspective

Although the performance gap continues to narrow, all-out linear designs by esoteric audio brands like CH Precision, Halcro, and WestminsterLab remain unmatched by Switched designs. Although these products come with a hefty price tag, they also deliver exceptional sound quality.

The complete CH Precision system still outperforms the U-588, both in technical quality and emotional impact. This may not come as a surprise, given that we are dealing with three large, separate components at a cost well over three times that of the U-588. However, that separate components can achieve even better sound at a significantly higher cost is hardly surprising, and also not the point.

The Aavik U-588 provides a seamless and truly all-in-one experience within a beautiful and compact enclosure, outperforming nearly all other integrated amplifiers I have auditioned. The only integrated amplifier that springs to mind as offering serious competition is the similarly priced Goldmund Telos 590 NextGen. I do not have it available for direct comparison, but I recall that it impressed me when I reviewed it six years ago. This amp also provides an onboard DAC, but is otherwise far less versatile and sophisticated, and does not include a streamer.

So, how does the U-588 rank compared to the competition at hand?

Final Comparisons

When I removed the CH preamp and power amp from the setup and used the CH C1.2 DAC with the LAiV HP2A preamp and LAiV GAnM power amplifiers, this unexpected combination offered a “grander” perspective with higher contrast and a more direct, communicative delivery. This difference is understandable, considering the DAC’s superlative performance and eye-watering price. However, in terms of resolution, neutrality, and power, the performance was essentially on par with that of the U-588 alone, which was not something I had anticipated prior to this review.

The complete LAiV system, featuring a uDDC reclocker, Harmony DAC, HP2A preamp, and LAiV GAnM power amplifiers, excluding any involvement from CH Precision, presents an intriguing final comparison.

Overall, the full LAiV combo performs at a similar level but provides a different sonic perspective. Both systems produce neutral, detailed, fast, and upbeat sound. However, whereas the Aavik incorporates a gentle amount of bloom and fullness, remaining earthy and gentlemanly, the LAiV system goes all-out in terms of immediacy, expression, and dynamic impact, with a slightly cooler overall delivery and the potential for being more ruthless. I’d call that a tie, as I’m not sure I could proclaim either of the two systems as technically better than the other.

Ultimately, the decision comes down to personal taste and the choice between an all-in-one and five separate boxes with associated cables and support. By the way, those five boxes do not include a streamer, which is also built into the U-588.

The real clincher comes when the U-588 is compared to other integrated amplifiers, and in this case, the U-588 is easily one of the very best I’ve heard.

Conclusion

The U-588 surprised me with its well-balanced, neutral, and natural sound. Despite its almost complete absence of sonic signature, it possesses a subtle yet discernible measure of smoothness and saturation, which makes it very easy to listen to. It has a stealth-like musicality that engages the listener without veering from neutrality by adding warmth, thickness, or coloration.

The Aavik is so very well-behaved that nothing stands out, which could be mistaken for being “unimpressive”. In reality, by doing everything right and having virtually no vices, the U-588 is very much the inverse!

The built-in streamer and DAC are of such high quality that it would take a significant amount of money spent on external components to surpass the U-588’s integral performance. But when you decide to spend heavily on external components, the Aavik “simply” scales along.

The U-588 is ideal for those seeking peace of mind, as it combines all their musical needs into a single component, along with technical perfection and a high level of sophistication.

Side Notes

While the IR remote control is very responsive, volume control seems a little over-excited, as a single button press frequently incurs a volume change of multiple dB steps, even though single dB steps are possible.

The front panel rotary dial is very solid and rotates smoothly, almost frictionlessly, without any wobble or play. For volume adjustments, it works beautifully. However, using it to change the input feels uncertain due to the flashing text on the display and the lack of haptic feedback. Moreover, the flashing rate is also affected by the rotary input. So, when you start turning the encoder while the text is off, the display remains off long enough for you to skip through multiple inputs without you knowing before the display turns back on. As a result, one ends up selecting an unintended input.

Streaming UPnP directly to the U-588 via BubbleUPnP reacts more slowly than usual, taking about 3 seconds for a manual track change, whereas this is nearly instantaneous using Oladra’s internal player or other streaming endpoints, such as the CH C1.2 DAC or the Aqua LinQ.

The internal streamer can become confused if you attempt to rush it by skipping multiple tracks or navigating back and forth while it’s still queuing. This may cause tracks to start playing, only to be abruptly cut off after a second as it skips to the next track, or it might skip some input steps altogether. The streamer remains stable as long as you do not rush it.

External Links

Distributor for the Netherlands: Ohm Audio
Manufacturer: Aavik

Ohm Audio

Open by appointment
Tuesday to Saturday 10:00 – 18:00

Zernikepark 21
9747 AP Groningen

Phone line 1 : +31 (0)6-38027736
Phone line 2 : +31 (0)6-38027745
Email : i n f o @ o h m – a u d i o . n l

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