{"id":41466,"date":"2025-07-26T15:16:11","date_gmt":"2025-07-26T13:16:11","guid":{"rendered":"https:\/\/www.hifi-advice.com\/blog\/?p=41466"},"modified":"2025-12-04T16:35:56","modified_gmt":"2025-12-04T14:35:56","slug":"aavik-u-588-unity-amplifier","status":"publish","type":"post","link":"https:\/\/www.hifi-advice.com\/blog\/amplifier-reviews\/integrated-amplifier-reviews\/aavik-u-588-unity-amplifier\/","title":{"rendered":"Aavik U-588 Unity Amplifier"},"content":{"rendered":"

Review samples supplied by Ohm Audio<\/a>
\nRetail price in the Netherlands, including 21% VAT:
\nU-588 – 29.995 euros
\nDarkz T3W Resonance Control footers – 1.200 euro per piece (4.800 euro per 4)<\/h4>\n

U-588 Description<\/h3>\n

The U-588 is the range topper of Aavik’s latest U-x88 range, which encompasses the U-188, U-288, and U-588 models. Each model draws inspiration from the acclaimed 880-series flagship models, with improved performance in a completely new design. These models are referred to as Unity Amplifiers because they unite multiple functions in a single chassis: a streaming endpoint, DAC, analog preamplifier with analog inputs, and power amplifier. Each component serves a precisely defined purpose, ensuring the lowest inductance, zero hysteresis, and exceptional resonance control to preserve the finest musical details.<\/p>\n

The new series is the result of a unique collaboration between two renowned designers. Gryphon Audio\u2019s esteemed founder, Flemming Erik Rasmussen, joined Aavik\u2019s team in 2021, bringing over 35 years of design expertise. The new range is the result of Flemming Erik Rasmussen’s artistic vision combined with Michael B\u00f8rresen\u2019s innovative technical approach.<\/p>\n

The new housing of the Aavik U-X88 series is thoughtfully redesigned and more robust, thanks to Audio Group Denmark’s extensive research into materials. While the electronics are crucial, the casing and its materials also influence the sound of the device. Previously, Aavik used solid aluminum for their cases, but after determining that aluminum wasn\u2019t the best option, they later switched to a natural composite material for the U-180, U-280, and U-580. As I discovered firsthand during my U-series review<\/a>, the U-580’s titanium cross and copper interior had a significant impact on the amplifier’s sound, which underscores the importance of the casework.<\/p>\n

The U-588 features solid copper side plates and a top and bottom plate constructed using a sandwich design of copper, natural composite, and stainless steel, which lends it a premium look. The amplifier retains the large, dimmable red dot display, which remains easily legible even from a great distance, and now features touchscreen buttons instead of physical ones. Additionally, the amplifier now features large-diameter footers with an internal cavity designed to seamlessly incorporate sister brand Ansuz Darkz decouplers, thereby minimizing the contrast between the amplifier and the decouplers.<\/p>\n

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The remote control has also been upgraded to match the high-quality remotes of the 880 series. It looks beautiful, feels nice in the hand, and has a magnetic lid for easy battery access.<\/p>\n

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Other models<\/h3>\n

The other amplifiers from the U-X88 Series, the U-188 and the U-288, are built based on the same principle. The size of the casing for all U-Series amplifiers is the same, and so is the power delivery. The differences lie in the amount of noise and impedance-reducing techniques implemented through Tesla Coils, Anti-Aerial Resonance Coils, and Analog Dither Technology used in the amplifier. The Aavik U-588 performs at the highest level of the U-X88 series amplifiers.<\/span><\/p>\n

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Technical<\/h3>\n

The Aavik U-588 serves as an all-in-one central hub that accepts a wide range of sources, including both analog and digital formats. The analog preamp section offers 2 RCA line inputs and a pre-out output for connecting a subwoofer or additional power amplifiers. Volume control is in the analog domain, but is done uniquely.<\/span> The Class A driver stage is directly connected to the amplifier modules. So, there are no potentiometers, no resistors, and no relays in the signal path. Instead, a feedforward loop has been implemented in parallel, which provides the desired volume level through feedback in 67 steps (dB) in a lossless, age-resistant manner.<\/span><\/p>\n

The amplifier <\/span>features a high-quality, built-in MQA-capable DAC that supports PCM formats up to 32-bit\/384 kHz, and the USB input also supports DSD formats up to DSD128. <\/span>The DAC section features two BNC coaxial inputs, a TOSLink optical input, a USB input, and an RJ-45 Network input. Additionally, there are two USB ports that can be used to connect a Wi-Fi dongle for wireless connectivity or to plug in a USB stick or drive for direct playback of music stored on the connected device.<\/span><\/p>\n

The unit also features a built-in streamer that works via wired Ethernet or Wi-Fi, making it a true all-in-one device. The streamer currently accepts DLNA\/UPnP from all compatible hardware or software servers, including Audirvana. The streaming endpoint can be controlled using the Audio Group Denmark app (based on MConnect), MConnect\/MControl, JPLAY, or BubbleUPnP. Additionally, the amplifier can be streamed to via Tidal Connect and Qobuz Connect. While RoonReady support is not yet available, the certification process is underway, meaning it is only a matter of time before this functionality is added.<\/p>\n

The U-588 incorporates the latest power amplifier generation from Pascal. This generation of UMAC\u2122 amplification can switch even faster and generates even less noise than previous generations. As a result, less filtering is required, and the output impedance is lower, which gives the amplifier even more control over the connected speakers. The U-588 delivers 2 x 300 Watts at 8 Ohms, doubling to 2 x 600 Watts at 4 Ohms, allowing the amplifier to drive practically any loudspeaker.<\/span><\/p>\n

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As usual for Aavik, the technical construction incorporates various Ansuz Acoustics proprietary technical solutions<\/span>. For example, the Aavik U-588 features extensive noise and impedance reduction through Ansuz Tesla Coil and Dither Technology. The Aavik U-588 features the highest number of noise- and inductance-reducing techniques among all amplifiers in the U-X88 series. The amplifier is equipped with 108 Active Tesla Coils and 216 Active Square Tesla Coils. There are also 8 Gold Anti-Aerial Resonance Coils applied to the internal wiring. <\/span>Additionally, there are nine analog dither circuitries from the latest (3rd) generation. <\/span>The power consumption is only 1 Watt in standby, and less than 30 Watts when switched on and idle.<\/p>\n

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Review Context<\/h3>\n

The U-588 was listened to in the <\/span>main system<\/a>, which currently consists of the <\/span>CH Precision L1<\/a> preamplifier, <\/span>CH Precision A1.5<\/a> power amp, and Apogee Centaur speakers. <\/span>Digital sources were the Antipodes Oladra<\/a> and Grimm MU1<\/a> music servers. All interlinks are Driade Flow Link Reference 808<\/a>, and the speaker cables are Driade Flow Reference 808<\/a>. All components, including the U-588, are powered by the PS Audio P20<\/a> PowerPlant.<\/p>\n

Firmware Update<\/h3>\n

After I received it, I was prompted to carry out a Firmware Update. This was done very easily via the front panel menu, and the upgrade implemented Qobuz Connect. Roon Ready is not yet available, unfortunately, but when it is, it can be added later in the same way.<\/span><\/p>\n

Listening – First Impression<\/h3>\n

I was forewarned that my review sample was brand new and would need some running in, but that it would get on song relatively quickly. Before listening, I just switched it on and left it idling for several days.<\/p>\n

For my initial listening impressions, I positioned the U-588 on an Artesania Organic Line Modular Floor Platform and connected it using a long Belden 19364 power cable. The Antipodes Oladra music server was used as a source, connected directly to the U-588 via Belden RG59 coax and simultaneously also via I2S to the LAiV uDDC and Harmony DAC. This way, I could test the Aavik’s analog preamp section and perform comparisons with its built-in DAC. Finally, to enable UPnP streaming via the network, I connected the U-588 via an Ethernet cable to the Silent Angel Bonn NX Switch and Genesis GX clock<\/a> combo.<\/p>\n

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Starting early in the morning, all it took was 10 seconds of the first track in the playlist to realize that U-588 is much more neutral than the previous series. The sound is cleaner, faster, crisper, more highly resolving, and definitely no longer tonally colored or warm. Although the technical advancement was evident during the first hours, the sound was still a bit lumpy and dynamically compressed, not very<\/span> musical, free-flowing, or emotional, just yet<\/span>. This was strange, as the previous amplifier range was decidedly musical. So, t<\/span>he only logical explanation was that merely being switched on for a couple of days was not enough to properly awaken it, and the amplifier just needed more time to come into its own.<\/p>\n

Next: Running In, Serious Listening, and Streaming<\/em><\/p>\n

<\/p>\n

Running In<\/h3>\n

As the amplifier was freshly unpacked and still brand new, I decided to let it play music continuously while checking in periodically. After a couple of hours, I had not yet noticed any differences, so I left it playing for the remainder of the day while tending to other matters.<\/p>\n

Lo and behold, when listening again at the end of the day, it was an entirely<\/span> different story! The sound was still crisp, clean, and fast, but now, the music also possessed fluidity, flow, expression, and emotion! The effect was so enormous that I doubted my observations and wondered if it was merely the current music selection, but that was not it. All the tracks in the play queue, including the ones played first, now sounded so much better.<\/p>\n

At this point, the amplifier had been switched on for several days but had only played music for about 8 hours. The manual does not state anything regarding running in, but 8 hours is admittedly still far from the usually suggested number of hours for running in a serious audio component. So, I kept it playing during dinner and while watching television, and only turned off the music when I finally went to bed.<\/p>\n

The next day, I feared the sound might have reverted to pre-playback levels, but the accumulated hours had stuck, and the sound was still musical and engaging, as well as technically excellent. The amplifier continued to perform beautifully, and I did not notice any further changes during this listening session, nor in the multiple successive listening sessions on the following days.<\/p>\n

At this point, it seemed that the amplifier was either already close to being fully run in after a full day of use, or its further development would occur at a much slower pace. In any case, it sounded great, so I prepared for serious listening.<\/p>\n

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Serious Listening<\/h3>\n

The U-588 is easily the most well-balanced Aavik amplifier I’ve heard so far. It’s neither lush and relaxed nor upfront and spicy, but positioned precisely in between. In contrast to the previous range, the U-588 has almost no inherent character or discernible coloration. It is accurate, neutral, and transparent, with a nearly subliminal dose of smoothness and warmth, so subtle that it does not come across as thick or sluggish. However, it ensures that there is always substance and body to the sound, and it does not veer over into being clinical.<\/span><\/p>\n

I’ve long used the relatively affordable Accuphase E-270 as a benchmark for integrated amplifiers, not just for equipment in its price class, but also for much more expensive equipment. Although more costly amplifiers have frequently bettered it in one area or another, or even in multiple facets, only a few have exceeded it in terms of sheer musical pleasure. The Aavik is more controlled, yet still matches it in musicality, while being undeniably superior in every single aspect. It has the Accuphase’s earthiness and solid bass, but with a tighter grip and better articulation. It also has a similarly meaty midrange, but with higher resolution. And as we move up the frequency range, the Aavik’s quality stands out even more. The E-270’s weakest area is its treble, which is rough, dry, and lacks openness. Conversely, the Aavik provides a more open, more finely resolved, and more fluid treble.<\/p>\n

In the recent Bryston review<\/a>, I explained how the Bi-200 outperformed the Accuphase; however, the Aavik takes it a step further, similarly overtaking the Bryston in very nearly all aspects.<\/p>\n

Before I delve into the sonic differences, I would like to briefly address the issue of perceived neutrality<\/em>. Bryston amplifiers are renowned for their neutrality, and the Bi-200 is undoubtedly one of the most neutral amplifiers I’ve heard. When listening to the Aavik, I also feel that it sounds very neutral. Yet, the two amplifiers sound very different when compared directly to one another. How can this be?<\/p>\n

Although the Aavik is even more detailed, articulate, and precise than the Bryston, it is most definitely every bit as neutral, and subjectively perhaps even more so. This is because the Bryston has a higher degree of laid-back smoothness in its presentation, with a “riper” and more relaxed bass, whereas the Aavik is crisp, tight, and precise in the bass, as one might expect from a Class-D amplifier. Indeed, in this respect, the Aavik is more similar to how the LAiV GaNM mono power amplifiers sound, although the latter are crisper and more direct still, whereas the Aavik retains a super-gentle amount of bloom and fullness. In essence, the Bryston trades a bit of tightness and crispness for more lushness, whereas the Aavik trades a bit of liquidity for more control and precision.<\/p>\n

In terms of imaging, the Aavik is not only very precise but also features a large and wide soundstage. It actually sounds more spacious than the Bryston, which surprised me given its Class-D amplification. Then again, enhanced soundstaging is one of the benefits of the coil technologies used inside the amplifier.<\/p>\n

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The U-588’s sound is so well-balanced that it made me rethink some of my long-standing convictions, particularly regarding Pascal. Among the popular switching amplification methods, I always found ICE, nCore, and Hypex to sound more pleasing and “musical” than Pascal, precisely because it always imparted such an evident mark on the music. <\/span>However, and this is a big one, the U-588 is by far the least “Pascal-like” amplifier I have heard to date. In part, this is probably a result of Pascal’s ongoing refinements to their amplifier modules. Still, I do not doubt that <\/span>Ansuz’ Tesla Coils and Dither Technology also play a significant role in this.<\/span><\/p>\n

The only sonic aspect by which I can still recognize the Pascal ingredient is the subtle sobriety. There is an element of immovability in the lower registers, combined with very well-behaved higher registers, which creates impressive solidity and stability without ever being splashy, harsh, or coming across as boastful. This makes the amplifier very easy to listen to, but it also makes it less airy and free-flowing than the CH Precision A1.5, and slightly less crisp and direct than the LAiV GAnM power amplifiers. But that is all that can be said about the U-588’s nature, which is honestly not a whole lot compared to most amplifiers I come across. Otherwise, the amplifier gets out of the way and lets the music speak for itself.<\/p>\n

The U-588’s strongest selling point is that it manages to do this from a single, small, and beautiful (but surprisingly heavy!) enclosure, bypassing the need for a separate Streamer, DAC, preamp, and power amp, along with their associated interlinks, power cables, rack space, and equipment support.<\/p>\n

Timbrally, too, the U-588 ranks among the most neutral amplifiers I’ve heard. Please don’t read that like it is devoid of color or saturation. It renders everything in the recording, whether wooden, metal, string, vocal, or otherwise, just as it is supposed to be. The pacing is also perfect, neither slow nor hurried, but precisely in between, and moving along with the music. Likewise, the U-588 is dynamically very capable, scaling precisely as needed by the music, neither undercutting nor bragging.<\/p>\n

As I proceeded to listen to various tracks, I realized that the U-588 has a stealth-like musicality. By this, I mean that amplifiers that are usually found to be “musical” and engaging are typically warm or lush, or in some other way veering from purity or neutrality. With the Aavik, there is simply no added warmth, thickness, or coloration. Nevertheless, it does not devalue the emotion or reduce the warmth embedded in the recordings. In short, it is earthy and neutral, yet natural and musical.<\/p>\n

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Streaming<\/h3>\n

Conveniently, the U-588 switches to the streaming input automatically when a stream is directed its way. Using the Oladra server again, but now streaming directly to the Aavik instead of using coaxial digital, the sound is beautifully clean, transparent, and precise. It’s less voluptuous and not as juicy and meaty as when using the Oladra’s player engine and its Reclocker output, but more articulate, and arguably even purer. In direct comparisons, I preferred the Oladra, but the embedded streamer still conveys the soul of the music and is so good that it made me forget about the differences after playing a few tracks.<\/p>\n

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The U-588 does appear in Roon under the “Roon Ready” header, but is listed as “Uncertified”, indicating that the certification process has not yet been completed.<\/span><\/p>\n

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While awaiting certification, this zone cannot be enabled yet.<\/span><\/p>\n

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Next: Analog, Support, and Conclusion<\/em><\/p>\n

<\/p>\n

Analog<\/h3>\n

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

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

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

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

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

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

Support<\/h3>\n

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

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Ansuz Resonance Control Footers<\/h3>\n

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

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

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

Now, it was time to change to the new T3W Darkz.\u00a0Ansuz does not make it clear what model the T3W replaces, but to my ears, it takes qualities of the T2 and T2S while providing a new tonal balance. Like the older T2, the T3W lends the U-588 greater resolution, precision, and refinement, but unlike the T2, this does not come along with a leaner and cooler presentation. Rather, the T3W provides a calmer, smoother, and lusher delivery, along with a deeper soundstage that reminds of the T2S, but with fuller bass and more richly saturated tonality. If the budget stretches, a set of T3W is highly recommended with the U-588.<\/p>\n

Power Cable<\/h3>\n

With its well-balanced sound, the Aavik almost made me forget about the power cable. So far, I’d been using a Belden 19364 with a Bals Schuko and\u00a0 Oyaide C-004 IEC connector. With power cables, it remains a matter of obtaining the ideal balance in a given setup. For the CH A1.5 power amplifier, I use the same Belden cable, as it works best in that application and often performs well with amplifiers in general. For the other components, I use various cables as needed. My favorite cable for the CH C1.2 DAC (and most other DACs) is still the GigaWatt LC-2 EVO<\/a>. Of course, the U-588 is not just an amplifier, but also a DAC and a Streamer. When using the LC-2 EVO with the U-588, it is immediately clear that the amplifier can sound even more solid, precise, and impactful, although this also comes with a reduction in fluidity. The GigaWatt PowerSync Ultra<\/a> is a different animal. This cable lends the Aavik a grander presentation with enhanced liquidity and a slightly more relaxed pace, while retaining neutrality. I get the impression that the Aavik will work well with a wide range of cables.\u00a0The room, personal taste, and the rest of the system will dictate which of them provides the most synergistic match.<\/p>\n

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Perspective<\/h3>\n

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

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

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

So, how does the U-588 rank compared to the competition at hand?<\/p>\n

Final Comparisons<\/h3>\n

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

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

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

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

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

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Conclusion<\/h2>\n

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

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

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

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

Side Notes<\/h3>\n

While the IR remote control is very responsive, volume control seems a little over-excited, as a single button press frequently incurs a volume change of multiple dB steps, even though single dB steps are possible.<\/h4>\n

The front panel rotary dial is very solid and rotates smoothly, almost frictionlessly,\u00a0without any wobble or play. For volume adjustments, it works beautifully. However, using it to change the input feels uncertain due to the flashing text on the display and the lack of haptic feedback. Moreover, the flashing rate is also affected by the rotary input. So, when you start turning the encoder while the text is off, the display remains off long enough for you to skip through multiple inputs without you knowing before the display turns back on. As a result, one ends up selecting an unintended input.<\/h4>\n

Streaming UPnP directly to the U-588 via BubbleUPnP reacts more slowly than usual, taking about 3 seconds for a manual track change, whereas this is nearly instantaneous using Oladra’s internal player or other streaming endpoints, such as the CH C1.2 DAC or the Aqua LinQ.<\/h4>\n

The internal streamer can become confused if you attempt to rush it by skipping multiple tracks or navigating back and forth while it’s still queuing. This may cause tracks to start playing, only to be abruptly cut off after a second as it skips to the next track, or it might skip some input steps altogether. The streamer remains stable as long as you do not rush it.<\/h4>\n

External Links<\/h3>\n

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

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

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

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

Zernikepark 21 <\/span><\/span>
\n9747 AP Groningen<\/span><\/span><\/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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