{"id":36826,"date":"2023-12-31T11:38:09","date_gmt":"2023-12-31T09:38:09","guid":{"rendered":"https:\/\/www.hifi-advice.com\/blog\/?p=36826"},"modified":"2025-10-04T20:18:21","modified_gmt":"2025-10-04T18:18:21","slug":"grimm-mu2","status":"publish","type":"post","link":"https:\/\/www.hifi-advice.com\/blog\/review\/digital-reviews\/network-player-reviews\/grimm-mu2\/","title":{"rendered":"Grimm MU2"},"content":{"rendered":"

Review sample provided by Grimm Audio<\/a><\/h4>\n

Retail price including VAT:
\nNo internal storage: \u20ac17.999
\nAvailable SSD storage: 2 TB (\u20ac240) \/ 8 TB (\u20ac640)
\nOther storage sizes on special request<\/h4>\n

When I reviewed the original MU1 in 2021, I instantly became a fan, and the server has been a central part of my system ever since. A few years later, I was informed that another server was being developed and would be a groundbreaking product. With the MU1 being so great, what would set the new product apart? Of course, that new product is the MU2 Streaming DAC and Media Player, and as it turned out, they are similar, yet different. And that is both comforting and exciting.<\/p>\n

Principally, the MU2 does not deviate all that much from the MU1, which is a good thing! But instead of relying on active digital speakers or an external DAC, the MU2 includes the company’s proprietary ‘Major’ DAC and a relay-based analog preamp section. This allows the designers total control over the front end and provides customers with a simple, single-unit, easy-to-use central audio system hub.<\/p>\n

\"\"<\/p>\n

MU2 Streaming DAC and Media Player<\/h3>\n

The MU2 combines the functions of several components, including a Roon Server and Roon Endpoint, with internal SSD storage capability, a DAC and Master Clock, a Preamplifier with both digital and analog inputs, and analog volume control.<\/p>\n

The MU2’s main music source is a Roon Core, Server, and End Point that offers playback from local files network files as well as streaming music via Tidal and Qobuz. You can stream from the MU2 to any other Roon endpoint from any brand, even multiple endpoints simultaneously.<\/p>\n

Functionally, so far, the MU2 works just like the MU1. What differentiates it from the MU1 is that it combines its excellent server and streamer sections with an all-new Grimm-proprietary ‘Major’ DAC, a dedicated FPGA processor board with the highest possible quality in analog – and digital signal processing and dejittering, and an analog preamp with relay-based, analog volume control. Besides Roon, the MU2 offers two analog inputs and three digital inputs. There’s one balanced XLR input and one analog RCA input for analog, and TOSlink, RCA\/Coax, and AES\/EBU for digital. Analog outputs are available on RCA and XLR, and there’s even a 6,3 mm headphone output. Thus, the MU2 can function as a compact and beautiful yet very complete central hub in an audio system.<\/p>\n

\"\"<\/p>\n

Key Technical Aspects<\/h3>\n

The MU2 is powered by in-house-designed switch mode power supplies that are clean and powerful and in-house designed voltage regulators (series and shunt type) to offer extremely high electrical isolation of sensitive circuit parts. The audio file and streaming functions are offered by Roon Labs software. The operating system is Tiny Core Linux. Grimm Audio has developed most of the other software that runs in the MU2.<\/p>\n

On board is an exceptionally low jitter clock oscillator that is guaranteed accurate since each is measured with a proprietary jitter analyzer before it leaves the factory. Further, the MU2 employs an extremely powerful FPGA processor with highly sophisticated upsampling and noise-shaping algorithms.<\/p>\n

The preamp section has an analog audio signal path that is Class A throughout, focusing on ultra-low harmonic distortion and ultra-low phase modulation. The relay-based analog volume control lets the user control external analog sources equally well as digital and internal sources.<\/p>\n

The MU2 is intended to be used by the entire family. Its compact single-box design can easily be placed in any environment. The push\/rotary dial on top offers a lot of functionality, while remote control is possible via Roon, a web interface, and any IR remote handset. An IR receiver unit is included with a cable that plugs into the back of the MU2.<\/p>\n

Driven to keep improving, Grimm Audio works actively to provide ongoing updates. Whenever they improve the sound quality or enhance the feature set of the MU2, these improvements are offered to all existing customers via software or hardware updates (when possible). Software updates are free and can be installed automatically via the update server.<\/p>\n

Finally, in case of a malfunction, the Grimm Audio Support Team is dedicated to getting you to enjoy the music again within the shortest timeframe possible. Grimm Audio offer a 5 year limited warranty to customers who fill in their warranty card.<\/p>\n

\"\"<\/p>\n

Above: main web screen of the Grimm Web Interface, reachable by simply typing the unit’s IP address in a browser window. <\/em><\/p>\n

If you need to know the unit’s IP Address, here are two tips: Roon shows the IP address in its settings general section, and the MU2 also shows its IP address on its front panel display on the second screen of the menu. <\/em><\/p>\n

Below: various Web Interface menus and settings.<\/em><\/p>\n

\"\"<\/p>\n

\"\"<\/p>\n

\"\"<\/p>\n

Major DAC<\/h3>\n

Grimm Audio\u2019s proprietary Major<\/em> DAC is a discrete 1.5-bit PWM converter that runs on the FPGA processor. It has a discrete design that combines the company’s Pure Nyquist upsampling filters with a “fundamentally flawless” 11th-order noise shaper of 1.5 bits. Grimm Audio have published interesting white papers, including one covering their \u201cPure Nyquist\u201d filters. For this, please head to the Grimm MU2 page<\/a> and see the Downloads tab.<\/p>\n

\"\"<\/p>\n

For this review, I’d like to focus on the DAC itself. The following is a simplification of the information found in the Grimm Major<\/em> DAC document, which can also be found in the aforementioned downloads section.<\/p>\n

Creating a high-quality analog signal from a digital signal has always been a challenge for any manufacturer. Companies have tried various approaches, including using “discrete DAC” methods to achieve better results. After three years of work, Grimm Audio developed a unique digital-to-analog converter using a combination of FPGA pre-processing and their own discrete DAC hardware.<\/em><\/p>\n

Existing DAC techniques use multi-bit, bitstream, or PWM conversion. The conventional multi-bit conversion demands extreme precision, making achieving more than 18-bit precision difficult. These types of DACs show distortion and cross-talk, causing graininess or harshness in sound character.<\/em><\/p>\n

To get around these problems, Philips introduced the ‘bitstream’ single-bit technology in the 80s, later used for SACD as the ‘DSD’ format. Single-bit DAC is inherently linear, but it can only represent two signal levels, causing a high noise level. The technique works by quickly switching the single-bit value through oversampling and then pushing the high noise away from the audio band into the inaudible region above 20 kHz using a noise shaper. This process brings challenges to a DA converter, such as more stringent requirements on clock jitter performance and significant high-frequency energy on the DAC output. Additionally, digital noise shaper systems operate with limited stability, compromising transparency and audible coherence.<\/em><\/p>\n

A PWM DAC overcomes the disadvantages of single-bit architecture by using multiple bits and varying the width of the single-bit stream. However, a noise shaper is still required and demands extreme processing power, resulting in a compromised implementation and sound quality.<\/em><\/p>\n

The MU2 ‘Major DAC’ threads the theoretical optimal middle ground between all these options. It uses a 1.5-bit architecture, meaning amplitude linearity is inherently guaranteed as the 1.5-bit value is represented with a single-bit D\/A cell in \u2018PWM style.\u2019 Just as <\/em>with PWM DACs, the noise shaper runs with an effectively constant efficiency, realizing a linear operation over the entire dynamic range.<\/em><\/p>\n

The input of the noise shaper is fed from the extreme precision \u201cPure Nyquist\u201d digital FPGA filter, running at 128 times the base rate, which results in a zero error operation of the noise shaper. Moreover, the 1.5-bit DAC choice offers such a stable noise-shaping operation that it allows for a highly optimized, unique 11th-order noise shaper.<\/em><\/p>\n

Finally, the Major DAC uses a 16-cell FIR DAC topology per channel to filter high-frequency noise before entering the analog signal path, which is implemented fully symmetrically using high-quality components and a relay-based volume control section.<\/em><\/p>\n

Next: Running In, Review Context, and Listening<\/p>\n

<\/p>\n

Running In<\/h3>\n

When I received the review unit, another reviewer had already used it, meaning it was likely already run-in. Nevertheless, since it arrived in an ice-cold state, I left it for two days to unfreeze before switching it on. Then, I let it acclimatize for several more days before listening for the first time. After that, I let it run for over a week before listening again. When I listened to it again, I did not note any sonic differences, which indicated that the MU2 was now at a stable point of operation.<\/p>\n

\"\"<\/p>\n

I listened to the MU2 on Artesania and HRS racks, and while there are differences in certain areas, it performs very well on both.<\/em><\/p>\n

\"\"<\/p>\n

Review Context<\/h3>\n

The MU2 will be listened to in the context of the main system<\/a>, which consists of the CH Precision L1<\/a> preamplifier, CH Precision A1.5<\/a> power amp, and Magico S1 MkII speakers. Other digital sources include the Grimm MU1<\/a> and Antipodes Oladra<\/a> Music Servers, the Aqua LinQ<\/a> streaming endpoint, and the Aqua La Diva M2<\/a> CD transport. Available DACs for comparison include the CH Precision C1.2<\/a> and Aqua Formula xHD<\/a>.<\/p>\n

I listened to the MU2 on an HRS EXR audio stand<\/a>, with a range of footers, and on an Artesania Aire<\/a> floor platform with Carbon Fiber Linear Arms<\/a> and KSH2 Krion shelves<\/a>.<\/p>\n

\"\"<\/p>\n

Listening<\/h3>\n

I started listening to the MU2 as an integrated player using local music and Qobuz streaming, and throughout my listening sessions, the main aspect of the MU2’s performance that stands out the most is that it is a thoroughly refined and well-polished machine. It’s got superb resolution but is never braggy about it. It is fabulously linear, neutral, and precise but, at the same time, always pleasant.<\/p>\n

More so than the MU1 (using the average result of a range of DACs used), the MU2 is the antithesis of analytical, let alone clinical. No matter what you play, there is never any harshness, edginess, or even remotely stereotypical digital about it. Still, while it sounds very far from cool, I also can’t say the MU2 is warm per se, and it is most definitely not fat. It’s got fluidity, grace, and charm, and its pacing is spot on, always toe-tapping and neither hurried nor slow.<\/p>\n

In many ways, the MU2’s DAC section seems to “simply” pick up and continue in the same vein as its server\/streamer part after handing over the signal. Like the MU1, the MU2 sounds neutral yet natural, fast and articulate yet fluid, and accurate without sounding tonally lean.<\/p>\n

\"\"<\/p>\n

Having heard the MU1 with a wide range of DACs, I will admit I had a preconception of how the MU2 might sound. It’s a bit like envisioning how a person might look based solely on conversations over the phone – not rooted in reality whatsoever! For some reason, I expected the MU2 to be like a MU1 with a Mola Mola Tambaqui DAC in a single enclosure. For better or for worse, it is not. The MU2’s DAC section does not sound like the Tambaqui (which is brighter and more expressive), nor does it sound like the CH C1.2 (more forceful and robust) or the Aqua Formula xHD (more direct and explicit). In fact, I can’t think of any DAC that the MU2 does<\/em> sound like. Which kind of makes sense, given their unique DAC topology.<\/p>\n

But I realize that still does not really describe what the MU2 does sound like. Let’s break it down into smaller segments to describe the MU2’s performance more accurately.<\/p>\n

Starting with the low frequencies, I was pleasantly struck by the precision, articulation, and agility of the MU2’s bass performance. It’s never boomy or bombastic; quite the opposite. Some might find the MU2’s bass to be just a tiny bit lean compared to more voluptuous-sounding servers such as those by Antipodes or Taiko Audio, but flat-out describing the MU2 as lean would be a disservice. Nimble and lightfooted is how I would characterize it.<\/p>\n

Moving over all the way to the other end of the spectrum, we find treble that is, quite simply, impossible to fault. It’s highly resolving, explicit, delicate, airy, delightfully fluid, and in no way stereotypical “digital”.<\/p>\n

In between these extremes is where something special happens. With tight and articulate bass, one might expect the midrange to be lean or desaturated. This is where the MU2 surprises with density, plushness, and bloom, combined with a laidback gentlemanlike behavior. It’s decidedly calm and quite the opposite of upfront, let alone shouty. This makes for a sound unmistakably highly resolving and transparent yet easy on the ears. It’s weird but the MU2 sounds<\/em> warm without being<\/em> warm, if that makes any sense. In any event, I found that the MU2 invites long listening sessions and goes about its way almost anonymously, leaving the music to do its thing.<\/p>\n

On balance, you could say that the MU2 is positioned between the Grimm MU1 and the Antipodes Oladra. Assuming a neutral DAC is connected, the three servers are more or less equally capable in terms of resolution and precision, but the MU1 presents the music with a slightly leaner tonal balance and slightly more expressive midrange, whereas the Oladra presents the music with a lusher, more euphonic, and more deeply saturated overall balance. Finally, the servers can also be distinguished by their soundstaging. Whereas the MU2 has superb focus, it comes across as a little more compact than the MU1 with either the CH C1.2 or Aqua Formula xHD DAC, while the Oladra (using AES\/EBU) projects the widest and deepest soundstage of the three with the same two DACs. That said, the MU2 has absolutely no trouble imaging outside the speakers, but what happens between them tends to be focused, intimate, and precise rather than breathy or expansive.<\/p>\n

Of course, these comparisons are highly dependent on the influence of the external DAC and should thus be taken with a good dose of salt, but still, I hope they are useful in describing the MU2’s sound.<\/p>\n

\"\"<\/p>\n

MU2 as a DAC<\/h3>\n

Besides functioning as an all-in-one server and player, the MU2 also accepts external sources, both analog and digital. Importantly, the analog inputs follow a 100% analog path, so they are not digitized. First and foremost, I wanted to test its AES\/EBU input. For this, I used an Aqua La Diva M2 CD transport. But before that, I thought it would be interesting to see what would happen if I connected the MU1 to it. Naturally, that is not a normal use case, but it will allow me more insight into how the MU2’s server and DAC sections behave independently.<\/p>\n

So, first up for audition was the MU1, feeding the MU2’s AES\/EBU input via a Jorma Audio cable. Switching between the MU2’s internal Roon Core and the AES\/EBU input can be done via the menu and dial on top, but is made even easier via the web interface that can be accessed via any device that can run a web browser. The server switches instantly and silently and pauses Roon playback when you switch away from it. Playing the same music from the same source and swapping between the two sources initially felt very similar. But upon listening closer, I detected valid differences… in favor of the MU2!<\/p>\n

I found the MU1 to be a little more expressive when combined with a range of DACs than the MU2 by itself, but with the MU1 connected through the MU2, it actually worked out the other way around. Now, the MU2 sounded more expansive, more gushing, and more expressive. Otherwise, the level of detail, the transparency, and the overall character were the same. This tells me that the server part of the two MUs is equally capable, but the integral implementation and direct internal connection place the MU2 at an advantage.<\/p>\n

Switching to the Aqua La Diva M2 CD Transport as an AES\/EBU source and playing the very CD from which the test file was made, the roles are again reversed. This time, the CD transport sounded a little crisper and livelier and, as a result, just a little more engaging. That’s not really a surprise, though, as this transport had impressed me for the same reasons when I reviewed it earlier and compared it to the MU1. The noted difference is partly due to the CD transport’s spritely nature but also partly attributable to the impact of software updates on how Roon sounds. While we would expect updates only to add features or fix certain aspects of the software, the reality is that they often also affect the sound. To my ears, the impact is more than\u00a0subtle, but the effects are not devastating. At worst, they make the software sound round and friendly. If you never noticed any changes or never paid attention to this, it’s probably safe to assume the impact is not large enough to worry about.<\/p>\n

\"\"<\/p>\n

As my final test to assess the MU2’s performance as a DAC, I used the MU1’s double AES\/EBU outputs and two Jorma cables and connected them simultaneously to the MU2 and the Aqua Formula xHD DAC. Then, I fed the same Driade Flow Link Reference 808 cables from both devices to the L1 preamplifier. This allowed me to instantly swap between the two sources using my preamp’s remote control.<\/p>\n

I set the MU2 to +4dB on its display to match the gain between the two. Note that the scale in the Roon app shows values different from the Grimm itself. For instance, the unity setting of 0dB on the Grimm equals 92 in Roon, while 100 in Roon equals an actual setting of +8dB on the Grimm, which may overload a preamp input.<\/p>\n

Incidentally, I used the same setting when directly comparing the sound of the CH C1.2 DAC to that of the MU2. When testing this in both cases, I was happy to find that the volume control operates very transparently. There is no hardening of the treble, no added edge, and no loss of resolution. Just a higher volume and nothing else, just as one would reasonably expect, but which is not always accomplished.<\/p>\n

While switching between the Formula xHD and the MU2 as DACs, I heard notable character differences, confirming my earlier feeling that the MU2 was quite calm and gentlemanlike. While the two DACs have comparable transparency and resolution, the Aqua is upfront, explicit, and exciting, while the MU2 is calm, soothing, composed, and comparatively laidback. It’s a divisive matter but also entirely one of personal taste. I personally like music to be expressive with a high jump factor, but I also know this kind of delivery can be experienced as less romantic, hard, or tiring. Ultimately, I can imagine listeners choosing either presentation with equal validity.<\/p>\n

What remains is the matter of value. While 18K euro is a small fortune, many servers cost more while not containing a DAC, or a preamp, for that matter. In that light, it can be considered relatively cost-effective. And one should not overlook the convenience of having the entire front end in a small and attractive package.<\/p>\n

Speaking of the MU2’s built-in preamp, let’s see how it performs, shall we?<\/p>\n

Next: MU2 direct to a Power Amp, Footers, Cables, and Conclusion<\/p>\n

<\/p>\n

MU2 direct to power amp<\/h3>\n

So far, I’ve ignored one of the MU2’s alluring functions: relay-based analog volume control! The volume control is always in the signal path, but when set at 0.0, it is at a unity position and “effectively” bypassed, and that’s how I used it for its overall assessments.<\/p>\n

Its volume control allows the MU2 to be connected directly to active loudspeakers or a power amplifier, bypassing an external preamp. When using the MU2 like this, I will bypass the CH Precision L1 preamp, directly connecting the Driade Flow Link Reference 808 XLR cables to the CH Precision A1.5 power amp.<\/p>\n

\"\"<\/p>\n

By default, the MU2’s large rotary dial on top controls the volume level whilst briefly pushing it engages play\/pause, and a long press enters the menu. Depending on the chosen menu item, it can control a host of other functions. The easiest way to control the volume, however, is via Roon or the Grimm web interface, which can be opened on any device that runs a web browser. The web interface also allows switching of inputs, along with various other settings.<\/p>\n

For starters, the MU2’s preamp section is ultra-quiet. While the relays make a soft mechanical click when changing the volume and no music is playing, nothing can be heard from the speakers. Just dead-silence. And when playing music, it is the same; just the changes in level, nothing else.<\/p>\n

I already caught a glimpse of the preamp’s neutrality when using the volume to align the MU2’s output level with other DACs, but now that I am actively using it, it is abundantly clear. The preamp stage and volume control are, quite simply, unvoiced and utterly transparent.<\/p>\n

The L1 preamp, by comparison, adds a dose of charm, spaciousness, liquidity, and flow while remaining linear and neutral. At a hefty price, I should add. But if it is purity<\/em> that you are after first and foremost, then there are real benefits to skipping an external preamp altogether. Even one as sophisticated as the L1.<\/p>\n

When directly connected to the power amp, the MU2 produces even tighter and more controlled bass whilst remaining relatively fluid and refined. It doesn’t become brittle or dry as some DACs can get when connected to a power amp directly, but without the L1, it does sound quite matter-of-fact and sober. When using the MU2 like this, I recommend trying different interlinks and power cables.<\/p>\n

I’ll leave it in the middle whether the L1 adds romance or the MU2 subtracts it, but all by itself, the latter certainly relays the information in the source with no beautification. Brutally honest? I would not go that far. Certainly not when carefully matched with synergistic cables. Although the MU2 does sound more analytical without the CH preamp, I really cannot say it is brutal<\/em> because it always remains refined and polite and refuses to get rough or aggressive. With the MU2 connected directly to the power amp, there is simply no “tube-like” charm or richness, additional expansiveness, or beefed-up bass. You get what’s in the source, no more and no less.<\/p>\n

Footers<\/h3>\n

\"\"<\/p>\n

Under the MU2, I tried StillPoints Ultra SS V2 and three versions of Ansuz Darkz. Interestingly, the MU2 seems less sensitive to the influence of footers. Therefore, I assessed the unit primarily with its own neoprene-layered feet directly on the Artesania KSH2 Krion shelf or the HRS EXR Audio Stand.<\/p>\n

\"\"<\/p>\n

When adding either of the aforementioned footers, the MU2 responds as expected, and when the budget stretches, it’s worth investigating to maximize the performance, but the MU2 sounds very well-balanced on its own. Nevertheless, I found that the StillPoints worked very well at maximizing the MU2’s robustness and spriteliness, and the Ansuz T2S worked particularly well at injecting an extra portion of magic into the sound while gently enhancing the articulation and precision.<\/p>\n

Interlinks<\/h3>\n

I keep returning to the Driade Flow Link Reference 808 interlinks for their linearity, transparency, and character-less neutrality. I value these qualities in a cable, not just for reviewing purposes but also for my personal musical enjoyment. With the MU2, too, these cables work fabulously well. If you do not wish to alter the server’s inherent character but play to its strengths, I can wholeheartedly recommend them. That said, not everyone has the same preferences, room acoustics have a massive influence, and system synergy is a very important aspect. And that’s where different cables come in.<\/p>\n

\"\"<\/p>\n

The Vermouth Statement interlinks are a great choice to add a nice dose of creamy smoothness and romance to the sound while retaining the resolution and refinement. These cables work particularly well when the MU2 is directly connected to the power amp.<\/p>\n

\"\"<\/p>\n

The Mad Scientist Black Magic Gold<\/a> provides almost the inverse of the Vermouth and is not quite as refined, fluid, or airy, but they positively maximize the robustness, slam, dynamic contrast, and crispness of texture, leading to a very realistic rendition, especially when playing vocal music or music with real acoustic instruments.<\/p>\n

Power Cables<\/h3>\n

The power cable that I used for setting the baseline for this review is a simple Belden 19364 with a Bals Schuko and Oyaide C-004 IEC connector. Naturally, there are better cables out there, but it is trustworthy with a very even-handed set of skills. It’s quite neutral and linear and neither overly tight nor overly smooth.<\/p>\n

\"\"<\/p>\n

I tried a few other power cables and found that the GigaWatt LC-2 EVO<\/a> does a great job at enhancing the tightness, articulation, and midrange clarity whilst remaining commendably neutral. This cable works very well, provided one does not expect it to add any romance.<\/p>\n

\"\"<\/p>\n

The GigaWatt PowerSync ULTRA<\/a> provides bigger and fuller bass with more body and deeper tonal saturation, along with a subtle dose of lushness and a wider projection of ambient sounds while avoiding sounding warm. Between the two GigaWatt cables, I think the PowerSync ULTRA works best for most situations, especially when the MU2 is used directly to a power amp.<\/p>\n

\"\"<\/p>\n

The Oyaide Tunami V2 with 029 connectors also made an interesting match, providing a ballsy and powerful delivery combined with a delicate touch of fluidity and warmth.<\/p>\n

\"\"<\/p>\n

The Mad Scientist Black Magic Ultra, finally, provided agility and airiness with great flow and a touch of magic.<\/p>\n

With all these different perspectives, making a single recommendation is difficult. Ultimately, of course, the best cable for a given system will be the one that plays most synergistically in that particular system and caters to the user’s specific needs. In any case, I found it interesting to find that the MU2 responds eagerly to power cables.<\/p>\n

\"\"<\/p>\n

Conclusion<\/h2>\n

In many ways, the MU2’s DAC section picks up and continues in the exact same vein as its server\/streamer part. Like the MU1, the MU2 sounds neutral yet natural, fast and articulate yet fluid, and accurate without sounding tonally lean. Strikingly, it presents as warm without actually sounding warm. No matter what you play, there is never any harshness, edginess, or even remotely stereotypical digital about it. It’s got fluidity, grace, and charm, and its pacing is spot on, always toe-tapping and neither hurried nor slow.<\/p>\n

The MU2 invites long listening sessions and performs its task almost anonymously, leaving the music to do its thing. Whether used with an external preamp or connected directly to the power amp, the server has a tightly controlled and precise yet calm and composed delivery with a velvety and laidback quality in the midrange, making for an intricately detailed yet highly sophisticated performance.<\/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: Grimm Audio<\/a>
\nDistributor for the Benelux: Terrason Audio<\/a><\/p>\n

\r\n
Related Posts<\/div>\r\n
\r\n\r\n
\r\n
\r\n \r\n\r\n \"\"\r\n\r\n <\/a>\r\n <\/div>\r\n\r\n \r\n Playback Designs MPT-8 Dream Transport <\/a>\r\n\r\n <\/div>\r\n
\r\n
\r\n \r\n\r\n \"\"\r\n\r\n <\/a>\r\n <\/div>\r\n\r\n \r\n Playback Designs MPD-8 Dream DAC <\/a>\r\n\r\n <\/div>\r\n
\r\n
\r\n \r\n\r\n \"\"\r\n\r\n <\/a>\r\n <\/div>\r\n\r\n \r\n Wattson Audio Madison and Madison LE <\/a>\r\n\r\n <\/div>\r\n
\r\n
\r\n \r\n\r\n \"\"\r\n\r\n <\/a>\r\n <\/div>\r\n\r\n \r\n Melco E100A H80 8TB audiophile USB Drive <\/a>\r\n\r\n <\/div>\r\n
\r\n
\r\n \r\n\r\n \"\"\r\n\r\n <\/a>\r\n <\/div>\r\n\r\n \r\n Aqua LinQ Network Interface – Part 4 – Squeezelite <\/a>\r\n\r\n <\/div>\r\n
\r\n
\r\n \r\n\r\n \"\"\r\n\r\n <\/a>\r\n <\/div>\r\n\r\n \r\n XACT S1 Music Server <\/a>\r\n\r\n <\/div>\r\n
\r\n
\r\n \r\n\r\n \"\"\r\n\r\n <\/a>\r\n <\/div>\r\n\r\n \r\n Melco N5-H50 <\/a>\r\n\r\n <\/div>\r\n
\r\n
\r\n \r\n\r\n \"\"\r\n\r\n <\/a>\r\n <\/div>\r\n\r\n \r\n Antipodes G4 Oladra <\/a>\r\n\r\n <\/div>\r\n \r\n <\/div>\r\n\r\n