{"id":26452,"date":"2021-02-22T16:58:19","date_gmt":"2021-02-22T14:58:19","guid":{"rendered":"https:\/\/www.hifi-advice.com\/blog\/?p=26452"},"modified":"2021-07-09T09:00:18","modified_gmt":"2021-07-09T07:00:18","slug":"classe-delta-stereo-en-delta-pre","status":"publish","type":"post","link":"https:\/\/www.hifi-advice.com\/blog\/review\/digital-reviews\/spdif-dac-reviews\/classe-delta-stereo-en-delta-pre\/","title":{"rendered":"Class\u00e9 Delta Stereo and Delta Pre"},"content":{"rendered":"

Review sample provided by Class\u00e9<\/a>
\n<\/a>Retail Prices in the Netherlands including 21% VAT:<\/strong>
\nDelta Stereo Pre: 14.000 euro
\nDelta Stereo Power: 11.000 euro<\/h4>\n

Founded in 1980, Canadian audio company Class\u00e9 became part of the Bowers & Wilkins Group in 2001. In 2016 B&W was acquired by EVA Automation but only a year later the new owner ended all Class\u00e9 activities in Montreal. For a moment, it seemed like that was it for the brand. Fortunately, Sound United emerged as the savior and the activities of Class\u00e9 were resumed under the leadership of Dave Nauber.<\/p>\n

Meanwhile, Class\u00e9 had started developing the third generation of Delta products and this continued after the Sound United takeover. Production was moved from the B&W factory in China to the Shirakawa Audio Works factory, about 130 miles north of Tokyo in Japan, where the more upscale Denon and Marantz products are made.<\/p>\n

The third-generation Delta product line includes the STEREO amplifier, MONO amplifiers and the PRE preamplifier with built-in DAC and streamer, and conceptually based on the CP-800.<\/p>\n

In this review, I will first address the two units separately to assess their individual qualities and after that, I will see how they perform when combined.<\/p>\n

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Power Amplifier Description<\/h3>\n

Although the curvy shape and the outer dimensions have been retained, the new third-generation line sports a stylish gray tone with black accents. On its cleanly designed front panel are two prominent features. First, the beautiful (and, unlike the Anthem STR’s meters<\/a>, quickly-responding) VU meters (which show the average wattage) and, second, the ventilation opening which Class\u00e9 calls the ICTunnel. This concept concerns a quadruple folded heat sink on which all transistors are mounted and through which an airflow is blown by means of an internal fan. This fan has a sensing circuit and rotates exactly as fast as necessary to keep the internal temperature constant. As long as there is music playing, you will normally not hear it. But in a quiet listening room and when playing no music or in between the tracks, you can perceive the familiar soft rustling sound of a fan and some purring bearing noise from the listening position (3.5 meters).<\/p>\n

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While the fan does speed up after the first hour of play, it only increases the wind noise and not the bearing grunt. While the wind noise at this higher speed is certainly audible anywhere in the room, the flow remains at a constant level and the pitch does not vary. And even when playing very loudly or after prolonged listening, the fan does not speed up further.<\/p>\n

Upon checking with the manufacturer, Class\u00e9 commented that the fan should not exhibit bearing noise and that my review unit may contain an out-of-spec fan.<\/p>\n

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The big advantage of the airlock is that the amplifier housing remains remarkably cool. Large parts of the device feel cold even after hours of play, while a constant and quite warm airflow can be felt at the back. This makes it easy to place the amplifier in a rack, as long as the rack at the back is partially open, and you can place devices on top of the amplifier without any problems. That is something that you should not do with a convection-cooled amplifier and certainly not with one such as the Class\u00e9 which is up to 12.5 Watt in Class-A and therefore always gives off heat, even when no music is being played.<\/p>\n

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Power Reserve<\/h3>\n

One of the core goals of the new amplifier design was to reduce the focus on extremely high wattages, in favor of a considerably higher power reserve. Nevertheless, the amplifier still delivers more than 250 Watts in 8 ohms and 500 Watts in 4 ohms in class A\/B. As should be common knowledge by now, the amount of watts is only one aspect and it says very little in itself. When controlling difficult speakers, the most important aspect of an amplifier’s design is how stable its power supply is. All it takes is a peek at the amplifier’s internals to know Classe means business! At almost 53 kilos, the amplifier is very heavy and if you look at its transformer you instantly know why. This amplifier contains the largest toroidal transformer that I have ever seen inside an amplifier. With reportedly half a kilometer of wire and a weight of almost 14 kilos all by itself, it forms a very serious foundation of the amplifier.<\/p>\n

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The Martin Logans that can be seen in the image above have not been used within the context of this review. For the most part, they were moved out of the way to give the Magicos all the room to breathe freely.<\/em><\/p>\n

Listening<\/h3>\n

Fresh out of the box with zero hours on its counter, placed directly on an Artesania platform<\/a>, fed by the Antipodes K50<\/a> Music Server and CH Precision C1<\/a> DAC and, and connected to Magico S1 MkII speakers via Driade Flow 405<\/a> speaker cables, the amplifier immediately sounds satisfyingly robust and pleasingly grunting in the bass. There’s a beautifully articulated and voluminous quality at the same time. The pacing is perfect, not slow nor rushed. The midrange is very natural and convincing in timbre, although I do notice a slight coolness now and then and some hardness here and there. This, I would later find, can be attributed entirely to the required running-in. Nevertheless, the sound immediately involves me such that I blissfully ignore the edge and raise the volume some more. Wow, the Class\u00e9 certainly has no problems playing at storm-levels! The amplifier has the kind of unshakable authority that makes one want to push its limits, only to find that there seemingly is no limit!<\/p>\n

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Wolf von Langa SON<\/em><\/p>\n

One might argue that the cutie S1’s don’t need a beast of an amplifier anyway. But as I know from the CH Precision A1.5<\/a> amplifier and its Watts-readout that with a little (well, ok, a LOT) enthusiastic playing, a whopping 450 Watts easily disappear into these speakers. Speaking of which, the big Swiss amp certainly also has great grip on the speakers, but it has a different character than the Class\u00e9. It is incredibly articulate and highly neutral and even-handed. Some find its clean balance and utter neutrality to result in a sound that is a little too lean and I agree that you could state that its bass is a little on the slim side compared to certain other amps that I reviewed, such as Bryston, Electrocompaniet<\/a> and McIntosh. Indeed, these other amps also have a richer and fuller-sounding midrange, but in my view, the A1.5 is not lacking; the others are deviating from neutrality.<\/p>\n

The Class\u00e9 is also very neutral and very linear but by no means slim. Maybe it’s even a bit more robust and fuller in the bass than I would regard as strictly neutral, but with the Magico S1’s, the balance is just right. The bass is enormously powerful as well as fabulously detailed, a combination that you don’t often hear.<\/p>\n

<\/p>\n

It only gets better<\/h3>\n

After playing a few songs, the aforementioned coolness has largely disappeared and leaving the amp switched on during the night and a large part of the next day, the remaining sharpness has almost gone. Now, you can hear even clearer how beautifully the amplifier combines a sonorous and robust sound with a high degree of transparency and linearity and a dash of smooth forgiveness. The amp is wonderfully direct and has an impressive transient reproduction combined with an unprecedented impact, but it always sounds tonally full and very natural, regardless of the volume. Indeed, especially when you play louder, you notice how wonderfully direct and expressive the amplifier performs. Its delivery is simply infectious, super rhythmic and extremely involving. Sitting still is difficult with this amplifier!<\/p>\n

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With every song I hear with the Magicos after this, my appreciation for the mighty Canadian grows. The way in which the amplifier is both brutally powerful and dynamic while it never gets loud or screamy, let alone ever loses control, reminds me a little of what I heard in the Reference Sounds<\/a> demo room with the d’Agostino Progression amplifier. I’m not claiming that the Class\u00e9 has the same character or is equally good as the d’Agostino but its combination of virtues does verge in that direction: mightily powerful and always in control but never offensive.<\/p>\n

One aspect in which the Class\u00e9 is less than state of the art is in ultimate resolution which most notable in the treble. Please don’t misread this as it being deficient in terms of fluidity or smoothness because the amp has absolutely no signs of sibilance, hardness, or edge. It’s just that soft percussive sounds such as subtle drum brush swooshes can sink into the mix just a tiny bit deeper, or decay just a little bit sooner, than with the A1.5. While on this subject I also noted that the amp sounds best when playing a little louder. At lower volume, it loses some of its finesse and becomes a little less exciting. I hesitate to use the word “grainy” as that implies edginess or hardness which the amp exhibits absolutely never. It just sounds best when playing a little louder. Given my listening habits and knowing those of friends I’d say that I tend to listen on the quiet side of the average level and a “normal” listening level for most people is likely where the amp is in its comfort zone.<\/p>\n

In all fairness, only a very small percentage of amplifiers that I heard can keep up with the CH in terms of resolution and at 3x the price of the Class\u00e9, it is no shame either.<\/p>\n

More importantly, the amplifiers that do manage to offer CH-kind of resolution at less than CH-kind of prices irrevocably perform less stellar in one or more other aspects.<\/p>\n

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For instance, the NuPrime ST-10 Class-D power amplifier has remarkably solid bass, not only for its kind but also in general, there are precious few amplifiers that offer the same robustness and dynamic impact. Well, the Class\u00e9 Delta Stereo actually surpasses it in terms of bass as well as in dynamics and basically in every other aspect. The NuPrime AMG STA offers a different sonic perspective to the ST-10 as well as the Class\u00e9: it is superbly refined and highly resolving. In these areas, it outperforms not only the Class\u00e9 in these aspects but even performs nearly at the level of the CH A1.5. But in terms of authority, bass-solidity and power, dynamics, and the naturalness of timbre, the Class\u00e9 simply has it beat. And as good as the ST-10 is, the Class\u00e9 is clearly better at conveying power and impact. Here, you really feel<\/em> the “threat” of its immense authority.<\/p>\n

Resolution and finesse are aspects that can be felt to be important but they are not necessarily a contribution to the musical engagement nor for the power of communication. Moreover, these are sins of omission<\/em> and they are far easier to live with than those of commission<\/em>.<\/p>\n

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The amplifier also offers a truly generous soundstage but does not image extraordinarily precisely inside of it. Some amplifiers manage to create a palpable depth in which the musicians and their instruments can be heard in different planes. The Class\u00e9 does that a little less convincingly than I am used to from the CH and some other amplifiers. Personally, I don’t find this particular aspect absolutely essential and I attach more value to the tonality, rhythm, dynamics and flow, all aspects in which the Class\u00e9 performs splendidly.<\/p>\n

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Dynamically, the Class\u00e9 truly impressed me with a power, immediacy and attack that the CH does not quite achieve in this manner. Several audio tracks that I have played many times and know well, now actually startled me a bit as the first impact hit me in the gut. To be clear, I’m not talking about hardness but of a desirable<\/em> kind of startling, but the kind that makes one sit on the edge of the seat.<\/p>\n

In part thanks to its dynamic impact and in part thanks to its robust bass, the Class\u00e9 also has the unique ability to make the relatively modest S1 MkII loudspeakers sound bigger than they are. That’s something I’ve so far only attributed to the Soulution 711, and it’s something even the CH doesn’t do.\u00a0With the Class\u00e9, the S1’s sound fuller and more powerful than ever before, yet without the feeling that anything is clogging up. On the contrary, there is absolutely no wooliness or thickness to be observed.<\/p>\n

The longer I play (and I’ve had the pleasure of using the amp for more than a month), the more it becomes clear that the Class\u00e9 team has struck precisely the right chord in terms of voicing. Even though it is a powerhouse of an amp, it sounds simply beautiful and very natural.\u00a0 Timbrally, the amp is very convincing, making not only electronic music sound addictive but also portraying acoustic instruments such as piano, violin and guitar come across realistically and naturally.<\/p>\n

While the amp sounds entirely natural and never sounds cool or sterile, I wouldn’t call its sound warm<\/em>. Its articulate directness and dynamic impact make that is always engaging and lively and although it has a dash of smooth tonal fullness, it’s also got immense clarity and never feels veiled or wooly or otherwise anything but the real thing.<\/p>\n

Tube aficionados would no doubt unveil the amp for what it is: a transistor design. Indeed, it does not try to mask its design principle and if you ask me, that’s a good decision for I have heard too many hybrid amplifiers or amplifiers that try to mimick aspects of another design principle’s sound end up as the worst of both worlds. The Class\u00e9 clearly has a very well-thought-out design and it is one of the best transistor amplifiers that I have heard.<\/p>\n

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The amp has a wonderful combination of robust strength and natural fullness along with a dash of smoothness. When it comes to (bass-) power and full-bodied tonality, another Canadian amplifier brand springs to mind. Indeed, Bryston amplifiers<\/a> have long been known to be rock-solid bass-champs. It must be said that the brand has made great strides in the field of smoothness, fluidity and refinement with their latest Cubed (SST3) incarnation. The new models really are sonically miles removed from the old ST and pre-ST sound but while I still happily recommend the 3B Cubed and 4B Cubed, there is no denying that the Class\u00e9 further raises the performance across the board. In a word, the Class\u00e9 is on a higher audiophile level.<\/p>\n

Of all the power amplifiers that I have reviewed after the CH A1.5, the Delta Stereo power amplifier has honestly impressed me most. If it weren’t for the fan noise, I would have no reservations at all in giving it my highest recommendation.<\/p>\n

So far, I’ve only commented on the Delta Stereo power amplifier and how it behaves in comparison to, and in the context of other components. Now, it is time to involve the Delta Pre preamplifier.<\/p>\n

<\/p>\n

Delta Stereo Preamplifier Description<\/h3>\n

The Class\u00e9 Delta Pre is a stereo preamplifier and processor, designed for discerning music lovers. Firstly, it is a very complete analog preamplifier with both balanced and unbalanced inputs and with an extensively adjustable MM\/MC phono preamp section on board. The analog signal only travels through an analog path, unless you choose otherwise. Walking through the menu it becomes clear why it can be useful to have the analog signals digitized by the Delta Pre. For example, features such as sound control (Tilt, Bass\/Treble), Parametric EQ, Mono and Bass Management are only available when the signal is in the digital domain.<\/p>\n

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In addition to a very complete analog preamplifier, the Delta Pre is also a very high-quality Airplay and UPnP Streaming Endpoint (Network Renderer) and a comprehensibly equipped DAC. In addition to the usual S\/PDIF (both optical and electrical), AES\/EBU and USB inputs, the Pre optionally even offers 4K-compatible HDMI inputs and outputs.<\/p>\n

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Using the unit’s touch display, you can easily operate all of its functions using only a handful of screens. In the menu, all physical connectors can be freely assigned to all available inputs and the virtual buttons on the display. You can enter any name you want for any given input, and unused entries can also be hidden for faster access.<\/p>\n

Touch screen Display<\/h3>\n

The display is not a modern OLED type but a simpler robust type with a proven track record from the automotive industry. This is a very conscious design decision as it relieves customers from having to worry about the display’s longevity. With every product, the Class\u00e9 approach is that it should work for as long as possible without any problems. And, of course, I can only encourage that way of thinking. And there’s another reason why I think the choice of a standard LCD over OLED is a smart move. OLED screens always burn-in in the long run, and especially with static information such as high-contrast white text on a black background, this goes really quickly. Not over the course of years but already in weeks and I speak from experience! This is why, with my CH Precision components, I always have the screens off. As beautifully contrasty and high-res they may be, if you end up not using them then the manufacturer has missed the target.<\/p>\n

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What I feel is not the best decision is that Class\u00e9 has opted for a relatively unwieldy resistive type of display for the touch system. These touchscreen types require a certain amount of pressure in order to register input and as a result, the display is not very responsive nor very accurate. You have to press quite hard and when I click too quickly, sometimes the display does not register a touch. While it works and will likely keep working forever, a more sensitive capacitive screen (as used in phones) would have been nicer in this price range.<\/p>\n

In addition to the stereo outputs, there is a stereo set of AUX outputs and a Subwoofer output, all in both RCA and XLR. The AUX outputs can be used as secondary outputs in a bi-amping setup or as an additional subwoofer output to create a stereo subwoofer setup with individual L\/R calibrations. Using the menu, you can specify the cut-off points for both the main channels and the subwoofer (s) in steps of 10 Hz with a steepness of 6dB, 12dB or 24dB. In this way, you can not only supplement the bass, but also counteract peaks and zeros very effectively, for example, if these are caused by room modes and\/or differences between the placement of the left and right main speakers in an asymmetrical room.<\/p>\n

Literally all settings made can be stored in so-called Configurations, which behave like Snapshots, which can be recalled at any time. If desired, you can even assign the same physical input twice but with different settings, for example for music and home cinema applications.<\/p>\n

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Simplicity<\/h3>\n

Despite its great versatility, the Delta Pre has a beautifully simple appearance. A power button, a touch display, a menu button, a USB input, a headphone connection and a volume knob, that’s it. No hidden buttons behind a large flap as is often the case with home cinema amplifiers. While the Delta Pre is indeed a pure stereo component, it does<\/em> offer a Home Cinema Passthrough so that it can be used in an existing cinema setup. The pass-through function is not limited to 1 single input but can be used with all the inputs. You can simply specify for each input whether the tone control is active, how much gain needs to be applied and whether the volume control should be bypassed.<\/p>\n

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The Delta Pre’s volume knob is something special by the way. Firstly, it feels solid and weighty and it runs wonderfully smooth and evenly without even the slightest play. That is something that I have only seen so beautifully implemented with Jeff Rowland preamps. Even the CH Precision’s rotary control lags a bit behind, not to mention the downright wobbly Goldmund volume knobs. Secondly, the Class\u00e9’s volume can be set extremely precisely in 0.25dB steps. That’s something I’ve never seen before.<\/p>\n

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Remote Control and input selection<\/h3>\n

The supplied hefty remote control is beautifully designed and so sturdy and weighty that you could probably use it as a hammer. Although it works well and you can, in principle, control all of the unit’s functionality in conjunction with info on the unit’s front panel display, a big disadvantage of the remote control is that sources cannot be selected directly. You can remotely call up the input menu on the Pre’s display and select the input you are looking for. However, the display is not readable from a distance greater than a few meters, let alone at my 6-meter listening position. In my case, I need to rely on a second option for input selection which is to toggle through the available inputs using the arrow keys until you find the one you are looking for. Unfortunately, the names of the selected inputs are shown even smaller on-screen than the aforementioned ones, meaning that I have to select them by ear. That still wouldn’t have been much of a problem if the preamplifier switched instantly but that’s not the case. The different types of inputs require a varying amount of time from 1-2 seconds to lock, and while the device is in this process, it will not accept any input from the remote. So, even if you know that the desired input is 3 steps away, you cannot quickly click 3x but you will have to wait after every single click for the Pre to complete the switch before you can continue clicking. This annoyance can be minimized by only activating the inputs that you actually use in the menu but if you are impatient by nature, as I am, it will still lead to enough irritation to make me walk to the device walk and choose the desired input directly from the touch display.<\/p>\n

Class\u00e9 responds:<\/p>\n

The PRE remote control can\u2019t have direct inputs as such because the inputs themselves are so configurable (they can be disabled). Using the F-keys, at least for your two or three favorite inputs (which should be set up in the first three buttons), easily solves the problem without you having to remember exactly what is where.<\/em><\/p>\n

Apart from my two points of criticism in terms of operation, I have absolutely nothing to criticize. If you nevertheless feel that this review is heading in a sour direction, rest assured, what will follow is nothing but praise. Whichever input I use, the Delta Pre performs consistently at a very high level.<\/p>\n

App control<\/h3>\n

The Delta Pre can also be controlled from a tablet using the Class\u00e9 App. The unit’s web interface can be found in any browser via its IP address and it can be pinged, but for some reason, the Class\u00e9 iPad app, freshly downloaded and said to support the Delta Pre, did not recognize the unit. Going from the app’s demo function, however, the interface looks great and it would solve all my operational nags mentioned above.<\/p>\n

<\/p>\n

System Context<\/h3>\n

The instructions for use indicate that the lion’s share of the effects of running in are over after 72 hours of use. Just to be on the safe side, I left the preamplifier switched on and connected to the music server in tandem for more than two weeks (336 hours) before critical listening.<\/p>\n

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The Delta Pre has been listened to in a system consisting of a CH Precision C1<\/a> DAC, CH Precision A1.5<\/a> power amp and, of course, the Class\u00e9 Delta Stereo power amp, the Antipodes K50<\/a> music server, Aqua Formula xHD<\/a> DAC, Aqua LinQ<\/a> streaming endpoint and, finally, the Audio-GD Master 1<\/a> preamplifier. The speakers used are the Magico S1 mk2 and Wolf von Langa SON<\/a>.<\/p>\n

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Listening<\/h3>\n

Whether the Delta Pre is paired with the accompanying Delta Stereo amplifier or with the CH Precision A1.5 amplifier, and whether it is used as a purely analog preamplifier, as a DAC or as a combination, it always sounds consistent and always very well-balanced. The preamp manages to always achieve the same excellent sonic balance between neutrality, openness, warmth and smoothness in every mode.<\/p>\n

Like its powerhouse stablemate, the Delta Pre has a touch of warmth and richness that is present from the lowest bass to the highest treble making it appear very neutral and even-handed while always remaining forgiving. As with any revealing preamp of DAC, better source material will lead to better results but its full and smooth character makes that the result will always be on the pleasing side, even when playing less than stellar recordings.<\/p>\n

Although the preamp’s subtle warmth is identifiable after a comparison with the C1 DAC and the Delta Pre’s bass is indeed fuller than with the leaner-sounding Aqua Formula DAC, I would not consider the Class\u00e9 Pre as warm-sounding. Like the poweramp, the preamp injects the music with richness without being sounding noticeably warm. Why not? Well, for a component to sound warm in my book, it needs to have a “tube”-like creamy midrange and\/or a fatty or woolly bass. The Class\u00e9 has neither. Like the power amplifier, it has solid bass with lots of authority and lively, detailed and communicative midrange.<\/p>\n

The Class\u00e9 is arguably most impressive when combining forces as a DAC + preamp. Although it has the same sonic signature when used as a pure analog preamp along with an external DAC, in this case the Aqua Formula xHD, the relatively affordable Audio-GD Master 1 preamp analog is just that little bit more transparent as well as slightly more neutral under the same circumstances. If you’re looking for the least added signature, then the 1400-euro Master 1 is a better option even if it is relatively less sonorous, colorful, and forgiving, as the Class\u00e9. Using the almost 14.000-euro Aqua Formula DAC with the Delta Pre offers a change in perspective conform the usual differences that I note when comparing the Formula DAC with other DACs: slightly leaner in the bass and slightly more open\/forward in the upper midrange. The Aqua’s main feature, its formidable resolution, is not really evident via the Class\u00e9, which seems to indicate that while a change in perspective can be obtained, there is really no point in adding an external DAC.<\/p>\n

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But of course, as interesting as these individual assessments are, one does not get the Delta Pre just for its preamp function nor for its DAC-only performance.<\/p>\n

My normal front end is the CH Precision C1 DAC that I use coupled directly to the A1.5 power amp without an analog preamp. When replacing the C1 by the Delta Pre I could not suppress a sigh of disbelief. Given the C1’s hefty 40-K price tag I was expecting a serious drop in the overall quality but that did not happen!<\/p>\n

Both components create a solidly grounded and beautifully textured and well filled-out sonic picture with robust bass and a midrange with just the right amount of color and fullness, and they don’t differ much from each other in terms of the size of the soundstage (either left to right or front to back) either. However, I do notice that the C1 makes sounds appear spatially separated from the speakers more easily than the Class\u00e9.<\/p>\n

The main difference that you pick up on, though, is that the Class\u00e9’s treble is a little rounder and a tiny bit less airy than the C1’s. Conversely, one could feel that the C1 is just a little dry. I would argue that the C1 is more extended and precise but indeed also a little less forgiving. In terms of tonal fullness and overall balance, however, they really are remarkably close.<\/p>\n

Where the Swiss reference mainly distinguishes itself is in the greater resolving power, mainly in terms of micro resolution, the separation of harmonic overtones and subtle expression. Also, the C1 has a small edge in separating the instruments out in their individual layers of depth. In comparison, while the Delta Pre would image just as solidly and deeply, the differentiation between an instrument that plays up front and one that plays all the way in the back is a little reduced.<\/p>\n

Because it is just that little bit more revealing and slightly more exciting, the C1 remains my personal reference and at 4x the Class\u00e9’s price, that’s not unexpected. But even with revealing loudspeakers such as the Magicos or the SONs, really, the difference sure is not as large as one might expect.<\/p>\n

In addition, at 4 times less than the C1, the Class\u00e9 Delta Pre not only fulfills the function of a DAC and analog preamplifier but also offers extensive network streaming functionality.<\/p>\n

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Streaming<\/h3>\n

When streaming, the Delta Pre again performs at a very high level and always with the same even-handed balance as with traditional digital sources. However, I did encounter some software instabilities.<\/p>\n

Whilst playing from Roon via Airplay you can simply start a stream from jRiver via UPnP and this will stop playback in Roon, switch the input on the Delta Pre and the music will play. So far so good.<\/p>\n

Starting playback in Roon with the Delta Pre as Renderer whilst playing from jRiver via UPnP also switches the input on the Class\u00e9 to the new input and the music plays as it should but this also kills the jRiver app every time.<\/p>\n

Switching between AES\/EBU and one of the Network inputs (either Roon or jRiver) works as it should, pausing the stream when switching away but not killing the app.<\/p>\n

Switching between any input and starting playback in Roon via the USB connection also switches the Delta pre to the right input and plays the music. There’s no instability here and you can free switch between the inputs with no issues whatsoever.<\/p>\n

These streaming operational peculiarities aside, the sound quality on each of the Delta’s inputs is consistently high.<\/p>\n

Digital Inputs Compared<\/h3>\n

Between UPnP and Roon via HQ Player on the LinQ and the Class\u00e9’s AES\/EBU input, the differences are in line with earlier experiences across a wide range of devices. UPnP has a slight advantage over Roon+HQ Player in terms of articulation and overall crispness and USB sounds slightly more stilted than the other digital inputs. Of all digital inputs, I would rank UPnP the highest, then Roon+HQP via de Aqua LinQ and AES\/EBU, then USB and Airplay last. But I should emphasize that the differences are not at all huge and unless you are in a very attentive mood and compare them directly, any of them will work just fine.<\/p>\n

What’s great is that you can also control the Delta Pre’s volume via the Roon interface when the unit is used via USB, as long as this has been enabled in the renderer’s software and Roon’s zone.<\/p>\n

Airplay<\/h3>\n

Worth mentioning is the Airplay functionality. Although the absolute sound quality with this protocol (using a WAV source, converted to ALAC) is inherently always somewhat lower (more diffuse and less robust) than with UPnP, the quality of Airplay via the Delta Pre was surprisingly powerful, dynamic and expressive. In comparison with UPnP, however, it can be heard that Airplay is a little rough in the treble and overall not quite as delicate as via AES\/EBU.<\/p>\n

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Conclusion<\/h2>\n

Of all the power amplifiers that I have reviewed after the CH A1.5, the Delta Stereo power amplifier has honestly impressed me most. Possessing of a solid and full but natural and even-handed sound with a hint of smoothness, the amp is never cool or sterile. Its articulate directness and positively huge dynamic impact make that is always engaging and lively. In certain areas, such as bass solidity and slam, it outperforms even my Swiss reference! I much enjoyed my time with it and the match with the Magico S1 mk2’s was absolutely perfect. The Class\u00e9 clearly has a very well-thought-out design and it is one of the best transistor amplifiers that I have heard.<\/p>\n

As the power amplifier, the Delta Pre is a particularly well-balanced device that always performs well under all circumstances. No matter how it is used, as a preamp, DAC, streaming endpoint, or a combination, it always possesses the same sonic virtues. Tonally full and robust yet open and communicative with a hint of smoothness, the Delta Pre offers precisely the right balance between “revealing” and “relaxing”.<\/p>\n

Judging from these two components, it seems that Class\u00e9 is going for a uniform sound and the same strengths for all Delta components. Together they perform in an enormously powerful and compelling expressive, beautifully sonorous but also open and honest yet never aggressive manner.<\/p>\n

Power amp fan noise aside I cannot recommend these components more highly!<\/p>\n

\"\"<\/p>\n

Associated Equipment<\/a><\/p>\n

Try out Roon for yourself<\/h3>\n

Get Roon 1 month for free<\/a><\/p>\n

External Links<\/h3>\n

Manufacturer’s website: Class\u00e9 Audio<\/a>
\n<\/a>Distributor for the Benelux: D+M Europe B.V.<\/a> (A division of Sound United)<\/p>\n

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