{"id":31727,"date":"2022-06-27T09:18:41","date_gmt":"2022-06-27T07:18:41","guid":{"rendered":"https:\/\/www.hifi-advice.com\/blog\/?p=31727"},"modified":"2023-08-01T09:51:19","modified_gmt":"2023-08-01T07:51:19","slug":"aavik-u180-u280-and-u580-integrated-amplifiers","status":"publish","type":"post","link":"https:\/\/www.hifi-advice.com\/blog\/amplifier-reviews\/integrated-amplifier-reviews\/aavik-u180-u280-and-u580-integrated-amplifiers\/","title":{"rendered":"Aavik U180, U280, and U580 integrated amplifiers"},"content":{"rendered":"

Review samples supplied by Ohm Audio<\/a>
\nRetail prices in the Netherlands, including 21% VAT:
\nU-180 – 8.995 euros
\nU-280 – 14.995 euros
\nU-580 – 29.995 euros
\nDarkz T2 Resonance Control footers – 800 per piece (3.200 per 4)<\/h4>\n

Description<\/h3>\n

What I will be reviewing here is the complete lineup of Aavik’s U-range of integrated amplifiers.<\/p>\n

The U180, U280, and U-580 are not only visually identical, but they also offer the same connectivity and the exact same technology with respect to power supply, preamplifier, DAC section, and power amplifier. The preamplifier is of the pure analog kind, offering 4 RCA inputs while A high-quality DAC is also built-in along with 2x TOSlink, 2x BNC, and 1 USB input.<\/p>\n

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What makes these amplifiers special, are the proprietary noise-control techniques that are employed and this is also where they start to differ from model to model.<\/p>\n

The important distinctions are in the number of dither circuits and the number of Active coils and Tesla coils. In addition, the U-580 top model also features a copper inside chassis and a resonance-controlling Titanium Bracing cross on top.<\/p>\n

One might raise an eyebrow as to why these differences would induce such a large spread in the amplifier’s cost, and secondarily, one might wonder how much of an impact these odd contraptions could possibly have. Well, allow me to quickly address that second part by repeating just how amazed I was upon hearing the differences between the D2 and D-TC Power Distributors<\/a>, two products that differ primarily in terms of the applied Tesla Coil technology. As I found, these unusual tweaks can absolutely transform<\/em> the sound.<\/p>\n

The Tesla coil<\/h3>\n

The principle is to have two coils that are wound in each direction \/ a coil and a counter coil. In Ansuz words: \u201ca double inverted coil\u201d \u2013 the two coils are both carrying voltage \u2013 and when the Tesla coil encounters a voltage spike a counter spike is activated in order to eliminate the noise. As Noise spikes are pure voltage and carry virtually no charge, the cancellation is quite good, but not 100%. By adding more P-TC coils in parallel the performance increases. By implementing this the perceived blackness in the music improves significantly. Ansuz Tesla coils are available in various types as they complement each other in terms of strengths \/weaknesses.<\/p>\n

Active Tesla coil<\/h3>\n

The active Tesla coils are supplied with power which secures a lower impedance and thus a better ability to eliminate noise. The active version is about three to four times more efficient than passive Tesla coils.<\/p>\n

Active square Tesla coils<\/h3>\n

The active square Tesla coils are embedded in the circuitry boards \u2013 one coil on the top and the counter coil on the rear side. The principle is exactly the same as the active Tesla coil which enables a greater ability to eliminate noise than the passive Tesla coil.<\/p>\n

Analog dither technology<\/h3>\n

This is another noise reduction technology that originates from radars where it secured a stronger signal and thus a wider range. Ansuz active Tesla coils send pulsated signals in well-defined frequencies. These signals are sent in counter-phase and thus eliminate the noise floor whereby the music signal clarity is significantly increased.<\/p>\n

Anti aerial resonance coil technology<\/h3>\n

All cables and cable screens act like antennas for airborne RF noise which of course is a huge problem. The passive cable Tesla coil is wound on the external part of the cable and protects the signal from absorbing the airborne RF noise. This noise is absorbed in the Tesla coil. As there is a voltage running in the conductor itself, and it is wound in the counter direction \u2013 this is used as the counter coil, whereby the RF noise is eliminated<\/p>\n

The table below shows how the various techniques are used in the three amplifiers.<\/p>\n

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The amplifier’s curvy outer chassis, by the way, is made of what the manufacturer refers to as a “natural-based composite material”, and it is the same material as used for the power distributors. It’s unclear what the material is made of precisely but it looks like a form of High-Density Fiberboard. The material’s surface and edges are super-smooth and covered with a beautiful black lacquer finish.<\/p>\n

Aavik makes a rather big deal about the cabinet’s sonic advantages compared to the earlier aluminum designs, citing reduced influences from mechanical resonance, and while I agree that the new cabinets have a very different sonic signature than a typical aluminum cabinet, one might argue over which one is considered best.<\/p>\n

With their super-large LED-Matrix display that even near-sighted yours truly can read from 5 meters away, the amplifiers’ smooth curves, and the big, mirror-polished solid metal volume dial, the appearance is not up to the exalted level of the older U-380 but it is still rather unique and I quite like their style.<\/p>\n

Use<\/h3>\n

The supplied Apple remote control handset looks great and works well, but due to its generic keys, you’ll have to memorize which button does what. It’s no big deal, though. The unit can be linked to a single Aavik amplifier which has the advantage of allowing me to control all three entirely separately.<\/p>\n

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There’s an ongoing trend to have as few buttons on the front panel as possible, for aesthetic reasons, I’m sure. But as button functions are doubled or require presses of different durations, this often leads to less straightforward operation and this is also true for these Aavik amplifiers. For instance, input switching cannot be done directly but requires the push of the navigate button (the one with the asterisk) to select input selection mode and then either a rotation of the big volume dial or the use of the up and down keys. Don’t make the mistake of pushing the up button without first selecting the navigate button. This will shut the amplifier down because the up button doubles as the power button. The shortage of buttons also makes itself known in the menus. You can enter menu mode by long-pressing the navigate button, but you cannot exit the menu again other than by toggling through all the available items until you reach the default display state again. You can actually escape the menu directly from any item, but for that, you need the remote control.<\/p>\n

Besides these quirks, the amplifier’s overall operation is straightforward and it responds very quickly to all commands. Powering on and off is a matter of seconds and it absolutely flies through the inputs. The rotary volume dial is weighty and solid and it has a perfect speed of volume adjustment. When an audio product has only a couple of controls, the feel<\/em> of the controls becomes very important, but with this big volume control, Aavik has done a very good job.<\/p>\n

Naturally, I peeked inside, well, make that studied<\/em> the inside. The next three images show the well-packed insides of the U-580.<\/p>\n

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The Pascal UMAC power amp module was easy to spot and I was pleased to see such a neatly laid-out preamplifier board. There’s an XMOS input receiver and a PCM1792 DAC chip. Mounted on the power amp module’s heatsink are three full-width PCBs full of Tesla coils that together take up roughly a third of the U-580’s internal volume, and as we will see, not without reason. What I could not find, at first glance, was the preamp’s power supply. I assumed that it could be powered from the Pascal module’s integrated power supply but that was not the case. Then, I noticed that the incoming mains power cable led to the preamp\/DAC PCB where it was split off to the power amp module. And then I saw it: underneath a wide flex cable was a positively tiny switched power supply brick. It’s common practice to use either a linear power supply or a custom-built switched supply for analog sections but Aavik does not tend to do things in a conventional manner.<\/p>\n

For instance, the line stage utilizes an inverted, virtual GND amplifier topology, which provides extra high stability. The feedback gets so powerful that it allows damping the signal to a gain lower than 1. This preserves the full signal with a very low S\/N Ratio \u2013 no matter if you turn the volume up or down.<\/p>\n

Next: Stacking<\/p>\n

<\/p>\n

Stacking<\/h3>\n

The amplifiers and other U-series components are conceived to be easy to stack on top of one another using Darkz or just balls. With the exception of the inevitable runaway ball, this works well and looks nice. However, as I noticed, this does<\/em> affect how the units sound. The way that I started my comparisons was with the U-180 positioned on Darkz T2<\/a> feet at the bottom of the trio stack, then the U-280 coupled via Titanium balls on top of the U-180, and finally, the U-580 at the very top, again coupled via Titanium balls.<\/p>\n

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Above: the bottom component sits on Darkz T2 footers<\/em><\/p>\n

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Above: the Titanium balls, onto which the next component can be placed directly<\/em><\/p>\n

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Stacked this way, the top unit is coupled\/decoupled (depending on your viewpoint) by 2 sets of Titanium balls as well as a set of Darkz, while the bottom unit is coupled directly to the Artesania platform and carries the weight of the other two units on top. Given the confirmed significant influence of the Darkz combined with my accumulated knowledge of component placement and support, it’s only logical to assume that the order of the units would be significant for the sound. And indeed, it is. After listening to the U-180 when positioned on the bottom and then again when positioned at the top, I had a clear preference for the latter. Basically, the bottom position makes the sound heavier and darker while the top position provides more enthusiasm, expression, lyricism, and a more open treble.<\/p>\n

\"\"<\/p>\n

Reviewing the amplifiers while stacked would not lead to fair conclusions so I decided to listen to each amplifier set up independently. First, I tried the amplifiers on top of the CH Precision A1.5<\/a> amplifier that sits on an Artesania Aire<\/a> platform with Linear Carbon Fiber Arms<\/a>. While this has often provided the best sonic balance for lighter-weight products, in this case, I can’t say it was better. I reverted to the Artesania Modular Platform<\/a> that typically enhances the upper bass fullness and overall timbre of any component placed on top of it, but here, and with the Darkz T2 resonance control feet, it works highly synergistically. Thus, I decided to assess all three amplifiers individually and placed on the Modular Platform using the Darkz T2.<\/p>\n

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Review Context<\/h3>\n

The system used for this review consists of a CH Precision C1<\/a> DAC, CH Precision A1.5<\/a> power amp, and Magico S1 MkII speakers with Grimm MU1<\/a> and Antipodes K50<\/a> Music Servers. More details can be found on the Main System<\/a> page.<\/p>\n

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Listening<\/h3>\n

Contrary to my own expectations, the U-180 sounds tonally full, sonorous, and dark. Given the preamplifier’s tiny switched power supply module and Class-D power amplification, one might be forgiven to expect the exact opposite. But as Aavik proves, it’s all in the design. The U-180 has a weighty sound with full bass and not of the fat kind, but rather solid, with very good articulation and control. And unlike many Class-D designs, the Aavik does not come across as dry or over-controlled.<\/p>\n

So far, I have listened to the U-180 using the Aqua Formula xHD<\/a> DAC using Driade Flow Link Reference 808<\/a> interlinks. Now, let’s see how the amp behaves with its built-in DAC. As I’ve noticed before, even a seemingly simple built-in DAC can sound extraordinarily good. In part, this could be because this kind of integration allows very short interconnectivity and bypasses not only long cables but also an input- and output buffer here and there. Besides this, I can imagine that the shared PCB could yield positive results in terms of coherence but that’s pure speculation. This, of course, is where the Aavik\/Ansuz expertise comes in. As my comparisons showed, the built-in DAC (used in the Upsampled, Slow setting) is actually very good, with only relatively small audible differences compared with the Aqua Formula xHD. Basically, the built-in DAC is just a little cooler and leaner, less voluptuous and less saturated but otherwise really rather good, highly detailed, and superbly neutral.<\/p>\n

The U-180 does not sound small. It throws a nice sound bubble that extends beyond the speakers. With\u00a0the Aqua DAC as well as the built-in DAC, the U-180 does not throw a particularly deep soundstage but it is easily deeper than average.<\/p>\n

Fed from the Grimm MU1 and connected via a Jorma AES\/EBU cable, the Aqua DAC does not offer higher resolution or better transparency but it does<\/em> provide just a bit more authority, expansiveness, and extension that makes it enough of a worthwhile improvement for me to prefer it during my tests. But given that the addition of this DAC more than doubles the total cost, interlinks not included, I would not recommend it in this combination. That kind of cash would be better spent on a source or on cables.<\/p>\n

The U-180 is a surprisingly potent, solid, and full-sounding amplifier with excellent resolution and a great built-in DAC. It avoids sounding clinical or overly technical but it does sound quite controlled and it is not the sunniest or emotionally most engaging performer in the business. While it sounds natural<\/em>, I would not characterize it as strictly neutral. I’m sure that its darker tonality can work to its advantage in hard-sounding setups but with the Magico S1, I found that the music could sound a little dull or muted. Meanwhile, the amp’s “wooden” tonality can be quite beneficial in making certain kinds of acoustic music more convincing, which is again not something one would associate with Class-D. At other times, however, I feel that this inherent bit of character covers up the instrument’s true tonality, for instance by reducing the brightness of overtones in right-hand piano notes, and as such, it is a deviation from the transparency and neutrality that I personally desire.<\/p>\n

U-280<\/h3>\n

Knowing that the U-280 only differs from the U-180 in the number of Tesla Coils, I wondered, would this step really make a significant difference? Then again, I knew from my earlier experiences with the D2 and D-TC Power Distributors<\/a>\u00a0that the number of Tesla Coils can indeed make an enormous difference. Still, the skeptic in me was not prepared for what I was about to hear.<\/p>\n

The U-280 has the same solidity and tonal fulness of the U-180 but it sounds considerably smoother and richer, more fluid, organic, and refined. Additionally, its soundstage is significantly deeper and its imaging more 3D, and to top it off,\u00a0the U-280 is also markedly sunnier. The balance is slightly warmer and the midrange a little richer, perhaps with a tad less tightness and bite, but overall, still plenty lively and articulate.\u00a0Not only is the amp more refined but it is also more highly resolving. It is more detailed but not in an upfront or explicit manner. The U-280 lets you hear deeper into the mix but the extra detail does not come along with added edge or bite.<\/p>\n

All this combines in a presentation that is not only technically superb but also invites prolonged listening.<\/p>\n

The U-280 may cost 50% more than the U-180 but the difference is 100% worth it!<\/p>\n

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U-580<\/h3>\n

Knowing now what stepping up brings from one model to the next, I assumed that the next step would bring similar improvements, but again, I presumed incorrectly.<\/p>\n

Quite unexpectedly, the U-580 adds a welcome amount of treble air and openness and the overall presentation is considerably more neutral than the other two models. But rather than verging into a bland or clinical kind of sound, the U-580 offers a similar amount of warmth and fullness as the two other models, along with the sunniest and most lyrical presentation of the trio while the aforementioned wooden tonality has receded to the point where it is only still barely audible as a detractor and only its positive influence remains.\u00a0Incidentally, if the resonance-controlling Titanium Bracing on top is responsible for this, it does raise the question of whether or not the non-metal enclosure is actually ideal.<\/p>\n

The U-280 already managed to integrate its Pascal amplification so well that only its strengths remained and with the U-580, this has been pushed even further to the point of being inaudible.<\/p>\n

The U-580’s soundstage does not appear significantly deeper or wider than with the U-280, but nevertheless, I get a distinct sense of the amp being allowed to breathe more freely and this instills the sensation of increased range and expansiveness, as well as the most lyrical performance of the three. I’d say that the U-580 offers the same resolution as the U-280 and with that, it is not of the ultra-revealing kind. Still, in part helped by its deeper, more expansive, and more free-flowing nature, the U-580 allows easier following of small nuances.<\/p>\n

But all this does not yet describe the most alluring aspects of the U-580 which are that it is, with a distance, the most lyrical and emotionally involving, and the most realistic performer of the trio.<\/p>\n

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Inputs compared<\/h3>\n

Early on in this review, I had established that the built-in DAC was of very good quality and since the electronics are identical for the three models, this is valid for all three amplifiers. But because I achieved better results with the Aqua Formula xHD, I continued to use the external DAC with the Driade interlinks for the in-depth assessment for this review. As my most neutral source with the highest resolution, the Grimm MU1 Music Server has so far enabled me to carefully assess the amplifiers’ own neutrality and resolution. With that\u00a0accomplished, I’d like to take a closer look at the amplifier’s digital inputs and listen how they compare, specifically, USB.<\/p>\n

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This is where the Antipodes K50 comes in. This server does not only offer USB in addition to a very complete assortment of digital outputs, but it also provides a rather different sonic approach. Contrasting with the lithe and very linear MU1, the K50 leans to a fuller, warmer, and more relaxed presentation. Connected simultaneously with the Jorma BNC digital cable and the Final Touch Audio Sinope USB cable<\/a>, and running Roon on the K50, I set out to make my final comparisons,\u00a0fully expecting two things. First, that this server would probably be a less ideal match, and second, that USB would sound more formal than S\/PDIF over BNC because that is how the two formats usually compare.<\/p>\n

Rather surprisingly, the K50 provided a remarkably deep soundstage via USB, considerably deeper in fact than with the MU1, but with a richer, smoother, more free-breathing, and more organic overall delivery, much as I am used to hearing from the K50 when using any of its digital outputs, but never with USB. The second surprise was that the BNC connection now sounded tighter and faster, and considerably more explicit than the USB connection, albeit more upfront and extending less to the back of the room. As I found, the K50 actually paired very well with the Aaviks no matter the connection method by adding a welcome dose of liquidity while the amplifiers’ inherent precision ensured that the bass remained tight and articulate. Even though the K50 and the Aaviks both tend to a voluptuous and slightly dark sound, there was no congestion or obscuring of detail. This is the major upside for any component that offers multiple connection methods: it allows the owner to choose the format that works best in any given situation.<\/p>\n

Did I already say “final comparisons”? Spoke too soon, I’m afraid! Besides the three amplifiers, Ohm Audio also delivered Darkz T2 Resonance Control footers.<\/p>\n

Next: Ansuz Darkz and Conclusion<\/p>\n

<\/p>\n

Darkz T2 Resonance Control<\/h3>\n

\"\"<\/p>\n

So far, I have listened to each amplifier with the Ansuz T2 Resonance Control footers. From my recent Ansuz review of the D2 and D-TC Power Distributors<\/a>, I know that their influence is not to be underestimated but still, I wasn’t prepared for hearing such a large reduction in performance with the feet removed. I mean, the amplifier still portrayed the music with all the aforementioned facets but they were all reduced to the point of making the U-580 sans feet sound almost like the U-180 with feet. Such is their contribution that I would consider them mandatory with the purchase of either of these amplifiers. Yes, even the U-180. I realize that 3200 euros may seem like a ridiculous amount of money to spend on something seemingly as trivial as a set of footers but their influence is arguably even larger than the difference between the U-280 and the U-580. Ultimately, the best sound is achieved by going for the top model U-580 and using it with the T2 footers.<\/p>\n

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Price Points<\/h3>\n

8.998 Euros for the U-180 is not pocket change but it is fair for what’s offered, considering the very high-quality built-in DAC. And if you can live without the digital inputs, the I-180 can be yours for an even more reasonable 5.995 euros. At that price point, Aavik offers great value for money. At the U-180’s price point, however, there is competition from the likes of Mark Levinson, AVM, Luxman, and Accuphase, to name just a handful, of which most also offer built-in DACs.<\/p>\n

A price hike of 6.000 euros for the U-280 (14.995) may seem disproportionate for what is the exact same product but with more of Ansuz’ Tesla Coil technology. But Aavik really did their homework with this and the extra measures do absolutely deliver. I’m not sure if I’d still regard it as good value for money but there is no denying that this amp’s performance is several notches above the U-180. If your wallet will stretch to it, the U-280 is the one to get.<\/p>\n

At 29.995 euros, the U-580 is most definitely extravagantly-priced. While this is the best-sounding model of the three, the reality is that there is strong competition at this price point. Accuphase’s Class-A top models spring to mind, as well as integrated amplifiers from brands such Analog Domain, CH Precision, and Goldmund. The list grows exponentially when including pre-power combo solutions and one could even assemble a high-quality DAC-Preamp-Power amp system. However, one should also add the significant cost of all the extra cables that will be required.<\/p>\n

When the objective is a one-stop solution and 30k is within reach, then it’s worth adding the U-580 to the (very short) shortlist. But for many prospective buyers, the U-280 is a saner choice. Just make sure not to listen to the U-580 as it will spoil you!<\/p>\n

Conclusion<\/h2>\n

With the U-180, U280, and U-580, Aavik has introduced a very interesting range of amplifiers with very distinctive aesthetics and a fabulously large display. Nay-sayers will comment on the Pascal modules that are used but Aavik truly elevates these modules’ base performance with their Tesla Coils and overall technical know-how. Contrary to expectations, these amplifiers sound surprisingly potent and solid, and tonally full, with excellent resolution and a great built-in DAC.<\/p>\n

As you move up the model range, what you get is an ever-increasing sense of spaciousness, soundstage depth, and liquidity. In this respect, it can be dangerous to listen to a higher-up model that you can’t really afford. The biggest step is arguably made from U-180 to U-280 in terms of added soundstage depth and overall richness while the U-580 further increases the liquidity and raises the neutrality and transparency.<\/p>\n

If the wallet stretches, do not hesitate to add a set of Darkz T2. Such is their contribution that I would consider them mandatory with the purchase of either of these amplifiers. Yes, even the U-180. Be forewarned, just as with the amplifier models, each successive Darkz model brings further sonic improvements. So, if they are financially out of reach then do not try them at home as you will be spoiled!<\/p>\n

External Links<\/h3>\n

Distributor for the Netherlands: Ohm Audio<\/a>
\nManufacturer: Aavik<\/a><\/p>\n

Team Ohm-Audio bv:<\/div>\n
<\/div>\n
Derk Broos<\/div>\n
Luuk Broos<\/div>\n
Gerbren Noordhuis<\/div>\n
<\/div>\n
As of 01-01-2022, Ohm Audio BV is the official distributor for Ansuz, Aavik, and B\u00f8rresen in de BeNeLux.<\/div>\n

Ohm Audio<\/a><\/h4>\n

Open by appointment
\nTuesday to Saturday 10:00 – 18:00<\/h4>\n

Zernikepark 21
\n9747 AP Groningen<\/h4>\n

Phone line 1 : +31 (0)6-38027736
\nPhone line 2 : +31 (0)6-38027745
\nEmail : i n f o @ o h m – a u d i o . n l<\/h4>\n
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