{"id":17104,"date":"2019-02-18T21:10:16","date_gmt":"2019-02-18T19:10:16","guid":{"rendered":"https:\/\/www.hifi-advice.com\/blog\/?p=17104"},"modified":"2021-09-11T08:37:46","modified_gmt":"2021-09-11T06:37:46","slug":"pink-faun-2-16x-1-3","status":"publish","type":"post","link":"https:\/\/www.hifi-advice.com\/blog\/review\/digital-reviews\/music-server-reviews\/pink-faun-2-16x-1-3\/","title":{"rendered":"Pink Faun 2.16x Music Server"},"content":{"rendered":"

A super-precise and highly refined beast of a music server<\/h2>\n

Retail prices in the Netherlands:<\/strong>
\n2.16x server – 12.999 euro
\nSPDIF Bridge with standard 24.576 Mhz OCXO – 1019 euro
\n24.576 Mhz ultra-low noise OCXO – 1512 euro
\nPCX-ultra Power Cable – 3490 euro<\/h4>\n

\u201cThe 2.16x is a Cannon,\u201d said Jord when he delivered the unit, and I can only concur. This thing is huge, heavy, and packed with custom power supplies, custom audio boards, and multiple clock boards, all connected using thick custom wiring. The Pink Faun 2.16x sure is an impressive piece of hardware and the pink\/purple-ish LEDs that are placed all around the centrally-placed power button are a nice touch, which also makes the server instantly recognizable as a Pink Faun product. Its built-in versatility and the availability of various Pink Faun interface boards to customize it, allows one to tailor it precisely as needed. While I feel that its rather basic old-school amp-like appearance does not do justice to its hefty price tag it is nevertheless abundantly evident that this very solidly built beast means business.<\/p>\n

\"\"<\/p>\n

Technically, this server is more advanced than any other server that I’ve used so far. As enthusiastic as he is, Jord overloaded me with technical info, of which must admit to only remember the highlights. Fortunately, Pink Faun have loads of information available as part of white sheets. Rather than relay all of that here, I’ve added all the technical information on this review’s last page and will mention only the highlights here.<\/p>\n

\"\"<\/p>\n

The 2.16x includes a massive in-house designed linear power supply with three transformers and separate regulation for every part of the server. For example, the ATX connection to the motherboard contains 5 different voltage levels, all of which have their own linear regulation. Also, each SSD has its own linear regulation, the processor, every OCXO clock, and one can add more as needed. Then, there are lots of output options using dedicated interface boards such as SPDIF, I2S,\u00a0and USB, all timed using super-accurate OCXO’s (Oven Controlled Crystal Oscillators). For the latter, Jord made it clear that at Pink Faun they do not seek the best long-term stability but the best short-term stability coupled with the lowest possible phase noise clock. The 24.576 MHz clock used for this review, for example, has a phase noise of -132dB measured at 10Hz which results in an RMS jitter of 81.117 femtoseconds.<\/p>\n

Configuration<\/h3>\n

The 2.16x was delivered with a Pink Faun USB board and a Pink Faun SPDIF board pre-installed. Both boards were outfitted with OCXO clocks that are already of very high spec but as an extra, Jord had taken with him the new Pink Faun OCXO ultra-low noise clock which has such extreme specs that it cannot be ordered off the shelf. That’s why Pink Faun had it especially made for them, precisely to their spec. Also delivered was a Pink Faun I2S board which can also take advantage of the new OCXO ultra-low noise clock. After the initial comparisons of the standard OCXO Clock and ultra-low noise OCXO clock, which I will describe further down, I opted to stick with the OCXO ultra-low noise clock for the SPDIF board and the I2S board. Finally, also part of the delivery was the very thick and very heavy PCX-ultra\u00a0power cable as well as a very nicely made custom I2S cable. The 2.16x was left switched on as much as throughout the review and unless noted otherwise, used with the PCX-ultra power cable.<\/p>\n

\"\"<\/p>\n

Above: AudioLinux main configuration menu which can be reached via a web browser.<\/em><\/p>\n

Each output in Roon<\/a> was set up using the Default buffer setting and only one was active at any time. Inside the PinkFaun AudioLinux Configuration Menu, only the required services were enabled and Realtime Priority was set to Extreme. The “extreme-ness” of the server can be taken one step further by using the more tweaky Ramroot method and\/or Extreme 2 but I decided to refrain from trying this and used the server in its normal operational mode for this review. But before proceeding to my descriptions of the listening sessions, let’s get some more of the variables out of the way.<\/p>\n

\"\"<\/p>\n

PCX ultra Power cable<\/h3>\n

The majority of the review of the 2.16x was done while using the PCX-ultra power cable but for the sake of equal comparisons, I also briefly connected the server using a Belden 19364<\/a> cable with Bals schuko and Oyaide C-004<\/a> connectors, the same as I use on all the other components. Believe it or not, whether it is the server itself or its output signals or the entire system responding to the presence\/absence of the PCX ultra power cable, this makes a very noticeable difference for the sound. Naturally, Pink Faun will want to sell their own power cable with their server but it’s clear that it is not without reason because the PCX ultra makes the server sound considerably warmer and smoother as well as more organic in the midrange than when using the Belden. While warm-sounding cables can often harm the perceived speed and timing, also with music servers, the 2.16x sounds tight and fast-paced with either cable. Although the server sounds impressively open and transparent even with the relatively simple Belden cable, I much preferred its smoother and warmer presentation using the PCX-ultra power cable and so I used it for the duration of the review.<\/p>\n

HQ Player Embedded<\/h3>\n

The 2.16x includes HQ Player Embedded but this offers such wealth in functionality that it would easily double the length of this review if I went into its possibilities in depth. So, for the purpose of this review, I will perform a couple of tests using RoonServer and either RoonReady or HQ Player as the renderer but I will not go into the various filtering- and upsampling methods. The Roon sound was assessed without upsampling or DSP and the HQ Player sound was assessed in PCM output mode. And sure enough, there are differences between the two. With HQ player enabled (for 30 mins at a time as part of the trial version), the sound was tighter and even more focused than via RoonReady. The latter, however, sounded more relaxed and subjectively more free-flowing and spacious. Purists might feel that HQ player provides the best sound and perhaps it gives the most accurate delivery indeed. However, I find the 2.16x itself to be inherently already more than focused and articulate enough and so I preferred the 2.16x using RoonReady and this is how I used the server for this review.<\/p>\n

\"\"<\/p>\n

Initial Listening<\/h3>\n

There are plenty more options to get into but I will get to this further down. First, let me explain how the Pink Faun 2.16x sounds. I will try to put this into perspective using three other music servers: the AudioAanZee Reference Flow MKII, the Antipodes CX+EX<\/a>,\u00a0and the Melco N1ZH<\/a>. The surrounding system consists of the CH Precision C1 DAC<\/a> and A1.5 power amp<\/a>, connected with a Cardas Clear XLR<\/a> interlink. Speakers are the Wilson Watt\/Puppy 8, connected with Jorma Design no.3 speaker cables. Alternatively, I will be using two Aqua DACs: the La Voce with USB and the Formula xHD<\/a> DAC with USB as well as I2S, both together with the Ayon Stealth<\/a> DAC and analog tube preamp, in this case, used only as a preamp. All power cables, except the one for the Pink Faun 2.16x which is used with its PCX-ultra power cable, are Belden 19364 with Bals schukos and Oyaide C-004 IECs.<\/p>\n

\"\"<\/p>\n

All music servers that I tested have their own unique set of characteristics and indeed the 2.16x also has its own character. Although there are marked differences between USB, SPDIF,\u00a0and I2S, irrespective of the output that is used, overall, I would characterize its sound as tight, fast, transparent, articulate and very precise and while these descriptors could also indicate a sound that is overly clinical, this is not the case with the Pink Faun. In addition to its precision and transparency, the server also has a pleasant warmth in the midrange and a very fluid and highly refined treble. Indeed, its resolution is first-rate but while the treble can become dry or \u201csquare-ish\u201d with other very precise digital components, the opposite is the case with the Pink Faun which no doubt has a lot to do with its magnificent power supply and very precise clocking. Regardless of its operating mode or output method, this is a very articulate and precise yet subtle and highly refined server, even more so than the Antipodes combo. Moreover, while the 2.16x is very quiet and has a lot of black between the notes, the notes themselves do not simply start and stop staccato-style, rather, the subtle decays linger on seemingly forever.<\/p>\n

\"\"<\/p>\n

Above: CAD (Computer Audio Design) USB 1 – the best match with the 2.16x in this system<\/em><\/p>\n

Jord warned me not to use silver cables and while silver certainly does not always sound edgy or bright, indeed I found that the 2.16x should be used with neutral to warm-sounding cables. When used with a Belden power cable instead of the PCX-ultra power cable or the AudioQuest Diamond USB<\/a> cable, for example, the server\u2019s liveliness can turn into a tendency to sound thin in the bass and hard in the upper midrange. At this point, I should note that the Wilsons also have a similar tendency every now and then, so in a different system, the balance may work out differently but still, the relative differences between the 2.16x and other servers remain.<\/p>\n

Resolution, refinement, tightness, and transparency may be the 2.16x’s most obvious characteristics but what I personally find even more impressive is the way that the server sounds using its SPDIF outputs.<\/p>\n

\"\"<\/p>\n

SPDIF \/ USB<\/h3>\n

In my experiments, SPDIF has always sounded more sonorous and smoother\u00a0than USB while the latter has always countered with tighter bass and overall higher precision. With the Pink Faun, the offset between its USB- and SPDIF outputs is similar to what I heard before,\u00a0but with a twist. Let\u2019s begin with the differences between USB and SPDIF, using the standard OCXO clock on both boards. In this comparison, SPDIF sounds most voluptuous and full-bodied with the most convincingly real vocals in terms of seemingly possessing a 3D body as\u00a0well as in timbre and texture. Here, too, the added organic qualities of SPDIF come at the expense of the overall transient speed which is most obvious in the bass, which is tighter and more articulate with USB. However, it\u2019s not just the bass – everything<\/em> is tighter via USB, which for some ears (cough-mine-cough) may translate into a more factual or less musical presentation. Personally, therefore, I mostly prefer the SPDIF board but depending on the music, sometimes I prefer the USB board. Electronic music, for example, sounds most impressive via USB. But good as the SPDIF output sounds at this point, there’s an upgrade that can be done to make it sounds even better.<\/p>\n

\"\"<\/p>\n

Left: new ultra-low noise OCXO clock, Right: “regular” OCXO clock.<\/em><\/p>\n

Clocks<\/h3>\n

All the Pink Faun interface boards are already outfitted with very high-quality OCXO clocks but these can be further upgraded using the new OCXO ultra-low noise clock. The module is true plug-and-play and can be swapped with the server still switched on. As indicated, the SPDIF board already works wonders using the normal, already highly precise, clock and to be honest, I feared that an even more accurate clock might pull things in the wrong direction but after exchanging it for the OCXO ultra-low noise clock, a combination of things happens. First, you notice how everything seems to breathe more freely and decays are easier to hear. Second, you notice that the clarity has further increased but in the opposite of a clinical sense. Rather, the delivery comes across as more natural. Finally, the layers in the depth plane have become more clearly distinguished from each other, making everything seem more lucid but at the same time more organic. Going back to the normal clock, the aspect that stands out most is indeed that of a comparatively flattened soundstage. After that, what remains mostly is a sense that the sound has homogenized somewhat. The change may appear subtle at first but nevertheless is not difficult to hear. While still not as super-tight as USB, the OCXO ultra-low noise clock manages to pull the SPDIF output more in focus to make for an ideal balance between the virtues of USB and SPDIF. Although the OCXO ultra-low noise clock is a pricy option, given the bump in performance that it enables, I’d consider it a worthy upgrade. Indeed, such were the benefits that I chose to keep the OCXO SUPER clock in place for the subsequent listening sessions. Since we landed on this side trail anyway, let’s get some more variables out of the way and then I’ll get to the comparative listening part.<\/p>\n

\"\"<\/p>\n

\"\"<\/p>\n

<\/p>\n

AES\/EBU<\/h3>\n

The default assumption seems to be that because it is a professional standard, that AES\/EBU must be a better digital connection than SPDIF. While the standard is invented to overcome losses at very long cable lengths by means of balancing the signal and using a higher impedance, the signal itself is still SPDIF. Coming from the broadcast world, I’ve done my share of comparisons between SPDIF and AES\/EBU using a great variety of cables.\u00a0In each of my past experiments, my personal take has been that AES\/EBU tends to sound very precise yet slightly over-controlled. SPDIF over coax, by comparison, always sounded fuller and more relaxed, regardless of the cables that were used. As it turned out, the Pink Faun is no different. For the comparison, in this case, I used standard Belden 1800F and RG59 cables for AES and coax respectively. The AES\/EBU output signal, by the way, is sourced from the same board as the SPDIF signal but routed via extra circuitry on a secondary board.\u00a0Although the difference between AES and coax is not huge by any means, the differences are not difficult to pick up. Indeed, with the Pink Faun, AES\/EBU sounds tighter and SPDIF sounds more voluptuous in the midbass. Otherwise, they are quite similar. Between the two, my brain tells me that AES probably yields a more accurate result, but still, I find SPDIF to be emotionally more appealing. Now, whether one or the other is actually<\/em> better is not really relevant because the connections are both there on the board for the user to simply choose between.<\/p>\n

\"\"<\/p>\n

Above: regular Cat5 ethernet cable, Pink Faun PCX-ultra power cable, Belden RG59 coax cable, Belden\u00a01800F AES\/EBU cable and Mad Scientist Black Magic USB cable.<\/em><\/p>\n

USB cables<\/h3>\n

The 2.16x is sensitive to USB cables and that\u2019s nothing special. It is the case with every server that I tested and it’s just a matter of finding the best cable to match the particular situation. The AudioQuest Diamond USB, for example, works well with the Antipodes and AAZ servers but its lean balance makes the 2.16x sound too cool. The\u00a0Final Touch Callisto<\/a> USB that works so synergistically with the Antipodes combo, is also a clear improvement over the AudioQuest with the PinkFaun server. The result is a more refined and more free-flowing delivery, along with further highlighting of the server’s extreme resolution and transparency. Overall, though, I found the balance was still on the lean side for my taste. The most synergistic cable for my taste is the solid and sonorous sounding CAD USB 1<\/a>. With this cable, the Pink Faun’s USB sound was closest to its SPDIF sound, although the former remained more business-like and the latter more emotionally involving to me, especially with the new OCXO ultra-low noise clock. The CAD sounds nice and full-bodied but if so desired, the sound of the 2.16x can be warmed up further. The MadScientist Black Magic<\/a> USB, for example, provides a more relaxed and considerably smoother sound with a wide soundstage. The downside of its creamier presentation, however, is that the sound is less speedy and articulate and has less focus and “bite” than with the other USB cables. So, for the remainder of this review, I settled on the CAD. With that variable sorted, there\u2019s still one more output option that would turn out to offer yet another perspective.<\/p>\n

\"\"<\/p>\n

I2S with the Aqua Formula xHD DAC<\/h3>\n

To enable the I2S tests, I changed the surrounding setup. So far, my impressions were formed using the CH C1 DAC directly to the CH A1.5 power amp but because the C1\u2019s I2S implementation uses a proprietary connector, I turned to the Aqua Formula xHD DAC that uses an ethernet connector and compatible pinout. As the Aqua does not have volume control, I also added the Ayon Stealth DAC and preamp, in this case using only its analog preamp section. Before proceeding to the I2S part, I first compared USB to SPDIF using the Formula xHD and confirmed that, even though this DAC has a different character, the relative differences between the two outputs were the same as they were using the C1 DAC.<\/p>\n

\"\"<\/p>\n

Above and below<\/em>:Pink Faun I2S interface board with the new ultra-low noise OCXO clock.<\/em><\/p>\n

\"\"<\/p>\n

The I2S board was added to the 2.16x in place of the SPDIF board and on it, I used the same OCXO ultra-low noise clock. Using my most articulate no-name brand CAT6 cable (that came with the Antipodes servers), I started my comparisons between USB and I2S. Just like the OCXO ultra-low noise clock added precision to the SPDIF board while retaining all the musicality, I2S is a lot more accurate than SPDIF, in fact, it is very close in tightness and articulation to USB, but, you guessed it, with all the musicality retained. Granted, SPDIF is a little smoother still and therefore arguably slightly more romantic. If we’re honest, the extra romance might well be the result of coloration of some sort, so the question becomes a personal one: do you want the most accurate sound or a romanticized version of it. For me, in any event, I2S is clearly the way to go as it has all the precision, speed,\u00a0and articulation of the USB card (and that my brain craves) while somehow sounding deeper, wider and richer and avoiding the dimensionally flatter and more matter-of-fact sound of the USB output. The success of this I2S connection reminds me of earlier experiences using Clocklink with Wadia products and Native X Digital Lens mode with the PS Audio PWD MKII and my findings are\u00a0consistent: separating clock and music signal is, quite simply, always the better option.<\/p>\n

\"\"<\/p>\n

Changing from the standard Ethernet cable to the heavy and beautifully-made Pink Faun cable provides a very different perspective: much smoother, more relaxed and sweeter in the treble and with great finesse but along with this, the overall speed and especially the articulation in the bass, also take a step backward. Then again, the Pink Faun I2S cable does re-introduce some of the romance that got lost when changing from SPDIF to I2S, making this yet another option to tweak the sound to personal preferences.<\/p>\n

\"\"<\/p>\n

Aqua La Voce DAC<\/h3>\n

So far, the C1 DAC provides the most sonorous and robust sound and is overall the best match for my taste but the Formula xHD actually offers similar levels of transparency and resolution and refinement, losing out only in terms of bass solidity and richness of tone. A nice alternative was offered in the shape of the Aqua La Voce DAC which was on a visit for a separate review. Although I could not get I2S to work with this DAC (which is likely due to a different DIP switch setting internally), I did use it via USB and coax. The La Voce is considerably more affordable than the Formula xHD and this was evident from the lower overall level of transparency, detail, and refinement. The La Voce DAC is not voiced the same as the Formula xHD, rather, its considerably smoother, warmer and more relaxed presentation actually married quite well with the Pink Faun 2.16x and even worked quite synergistically with the latter using USB.<\/p>\n

\"\"<\/p>\n

AudioAanZee Reference Flow MKII<\/h3>\n

The AudioAanZee Reference Flow MKII server is in a very different price class, and as can be expected, in an absolute sense, it is not performing in the same league. On the other hand, it still does many things very well and ultimately the choice between audio components is just as much about absolute performance as it is about personal taste. The Reference Flow MKII only offers USB output but even so, it sounds less flat and more 3D than many other servers, but it can’t match the Pink Faun’s level of imaging. When compared using USB, the Pink Faun projects the sound more forward and creates a more tangible sound bubble around the listener. Where the Reference Flow MKII really excels is in fluidity and refinement and in these two areas it actually performs just as well as the Pink Faun 2.16x. Otherwise, the two servers have very different perspectives, though. While the Reference Flow MKII aims for a relaxed and pleasant presentation the 2.16x is not as forgiving but aims for a much more concrete, more exhilarating performance and where the latter really makes the difference is in terms of speed, articulation, and timbre.<\/p>\n

\"\"<\/p>\n

Melco N1ZH<\/h3>\n

As can be read in detail in its own review, I feel that the Melco N1ZH performs at its best using its dedicated network connection. Via USB it is a little light in the bass and a little lean in tonality but it does provide a very high level of transparency, resolution, and articulation. For my taste, its USB sound is a little bit too clean but in audiophile terms, it is pretty much state of the art in the aforementioned aspects. At 5000 euro, that is a really good achievement. At 4 times that amount, one would expect the Pink Faun to at least achieve the same results and indeed it does, and then some! Using its USB output, the 2.16x is just as transparent as the Melco but even more articulate and also more highly resolving, with more apparent silence between the notes on the one hand and more incisiveness and impact on the other.\u00a0But the 2.16x further adds to this by also sounding more inviting and\u00a0grander<\/em>. It simply sounds larger in all dimensions.<\/p>\n

\"\"<\/p>\n

Antipodes CX+EX combo<\/h3>\n

Yet another different perspective is offered by the Antipodes CX+EX<\/a> combo, a brand characterized by its very recognizable combination of robustness and flow. Indeed, this quality stands out, also in comparison with the 2.16x, especially when comparing the two servers with the same Belden power cables and both via USB. But even when comparing the Pink Faun with the PCX-ultra power cable and SPDIF to the Antipodes CX+EX combo with Belden cable and USB, the latter still has a more sonorous sound. The combo indeed sounds a lot beefier and more solid than the AudioAanZee server but they cannot match the Pink Faun in terms of articulation, tightness,\u00a0and resoluteness. In fact, in a direct comparison after having listened to the Pink Faun for a while, one has to get accustomed to the comparatively darker and more shut-in Antipodes presentation. In terms of soundstage size, both in terms of width and surrounding effect, the Pink Faun has the edge, especially when using SPDIF, but the behavior of images within that soundstage differs. Whereas the Pink Faun has an immediate delivery and a tendency to push everything forward, the Antipodes combo has a more relaxed nature. Indeed, the Antipodes sound, at first, seems to lack clarity and bite but especially with slow jazz or soul music I quite like how\u00a0voices and acoustical instruments breathe more freely, reaching out to you in a more gentle manner as I imagine real human bodies and acoustical instruments would.<\/p>\n

Perhaps as a consequence of being less explicitly focused, the Antipodes combo has an almost indefinable quality that makes it concentrate less on the rhythmical aspects and instead makes the melodies come to life. I call this the lyrical aspect. It is apart of the musical performance that goes beyond typical audiophile parameters. I always struggle to define it but it seems that it has a lot to do with the amount of control.\u00a0The way I see it, audio equipment in general and digital equipment especially can also have too little or too much control, much like different speakers need different amounts of feedback or damping factor to achieve the ideal balance between control and flow.<\/p>\n

\"\"<\/p>\n

Ayon Stealth tube preamp<\/h3>\n

So far, using the CH Precision setup and no analog preamp, I don’t think it comes as a surprise when I say that I am a little bit torn between the Pink Faun and the Antipodes as both have their specific areas in which they excel. But ultimately, in this situation, I find the Antipodes emotionally and musically more satisfying, even if it cannot match the Pink Faun in many audiophile parameters. However, when adding the Ayon Stealth tube preamp, the balance shifts considerably, and the server\u2019s super-tight delivery is balanced out, leaving only a highly refined and superbly hi-res presentation that admittedly remains a little forward, at least with the Wilsons, but is definitely much more musical and, when used with SPDIF or I2S, also has the aforementioned lyrical aspect.<\/p>\n

Indeed, with the Aqua DAC via I2S connection, the Ayon Stealth tube preamp,\u00a0and the CH A1.5, the Pink Faun really is staggeringly good. The combination is perfectly in balance, emotionally as well as technically.<\/p>\n

It’s becoming something of a personal mantra and I’m sure that you, dear reader, would like to read a polarizing conclusion but I’m afraid that things are just always relative, especially at this level. Sure enough, the presence or absence of the tube preamp here makes a notable difference, meaning that system synergy really is a major factor. While I feel that the Antipodes combo remains the more lyrical of the two, I\u2019m seriously<\/em> tempted by the room-filling, utterly precise and highly refined Pink Faun presentation. On an audiophile level, there is no doubt that it is the best server that I’ve heard so far. Ok, there, I said it. But ultimately, and as always in audio, the success of any component is dependent on the system context as much as it is a matter of taste.<\/p>\n

HQ Player revisited<\/h3>\n

To rule out as many variables as possible, I briefly revisited the HQ Player functionality and compared the Antipodes and Pink Faun servers with and without it. When using HQ Player as the renderer for the Antipodes CX-EX combo, the combo sounds more precise and articulate and its delivery arguably comes closer to the delivery of the Pink Faun 2.16x with RoonReady as the renderer but in the process, the Antipodes combo also loses a bit of its characteristic full-bodied tonality. Switch to HQ Player as the renderer on the Pink Faun as well, however, and the relative difference between the two servers is restored and basically the same as it is when both are using RoonReady as the renderer. What I conclude from this is that both servers have their own inherent sound signature and while HQ player raises the technical performance and shaves off a small amount of the server’s character, it does not level the playing field.<\/p>\n

Conclusion<\/h2>\n

With the 2.16x, Pink Faun have created a beast of a music server. On an audiophile-level, it is easily the best server that I’ve heard so far. Importantly, added to all of its audiophile splendor, is a level of liquidity, flow, and refinement that normally does not go hand in hand with such technical perfection. The most musically engaging delivery was achieved using the optional SPDIF and I2S interface boards, especially when outfitted with the new OCXO ultra-low noise clock.<\/p>\n

This concludes the main part of the review. Continue reading on the next page for the detailed technical specifications.<\/p>\n

<\/p>\n

Technical details<\/h2>\n

The streamer 2.16 is available in two versions: the standard 2.16 and the 2.16 X and they use the same PSU and computer components. The difference between the two is that the 2.16 X has three low-noise OCXO clocks, all internal wiring upgraded to high-end, all rhodium fuses and a Furutech FI09-Rhodium-NCF AC-inlet.<\/p>\n

Both streamers can be roughly classified into three categories:<\/p>\n