Audio Analogue Enigma REV2.0
Italian Multi-functionality
”Enigma Rev.2.0 solve the enigma. It is a unique product because for sure on the market there are not “all-in-one” systems with similar audio quality. We can absolutely assert that Enigma Rev2.0 for its sound can be well compared with even higher expensive true High-end systems.”
That sets the stage pretty clearly. With the Enigma REV2.0 Audio Analogue wants to approach those music listeners who above all appreciate practicality, which for them nowadays means getting all the necessary sound sources – CD-player, FM-tuner, MP3-output - and the amplifier in one package.
The ’problem’, if it’s a problem, is that such ”all-in-one” machines are offered to customers by almost all the manufacturers including many highend brands. To keep the rest of the gang at a distance Audio Analogue stresses Enigma REV2.0’s superior sound quality. That would be a fine marketing strategy unless all other manufacturers, especially highend ones, had not chosen exactly the same one. Therefore there is no other way than to listen to these devices in order to judge if talk about a higher sound quality is more than just bubbling words.
The Enigma REV2.0’s amplifier is a hybrid design. The preamp section is based on their Rossini CD Player REV2.0’s tubed output stage all the parts matched to the preamplifier stage. The vacuum tube is the first phase in an inedited DC coupled low feedback three stage structure. The preamp section with its low output resistence directly drive the power amp stage.
The vacuum tube preamp stage is not based on a differential input which is why Audio Analogue is have worked on a clean anodic power supply. The voltage for the anodic power supply is obtained by a high voltage dedicated secondary and then regulated with a voltage regulator made of discrete components. The regulator output is filtered with a low time constant RC filter.
The power amplifier stages are based on the National Semiconductors integrated component LM3886 producing 50 watts Class AB power into 8 ohms. The ICs are protected against over-current and short-circuits and sports two different temperature protection systems. Extra capacitance have been added to supply a good charge reserve and have the correct low frequency response while increasing the HF band limit to not damage the high frequency performance of the preamplifier. The reserve capacitors for the power stages have a total of 30000µF of filtering capacity.
The CD mechanism is a modified TEAC CD-5010A. The DAC PCB sports a Burr Brown 24-bit, 192KHz, enhanced multi level Delta Sigma DAC and a low jitter 96KHz, 24 bit Burr Brown receiver. The power supplies for the receiver and the DAC are taken from the regulated voltages and stabilized with a dedicated voltage regulator for each power supply. The shielded Tuner Module is of Sanyo origin with electronic tuning and a AM/FM PLL Frequency Synthesizer.
And so on. I’ve allowed a rather lengthy description of the the techniques to be found inside the Enigma REV2.0. Not that I feel that it would be necessary but to show that Audio Analogue could argue, if wanted, for the high sound quality of Enigma REV 2.0 by referring to all the technology that goes in it. But again, so could other manufacturers with their own stories, and since we do not have a good grip of the causal route from the technical side of electronic devices to how they eventually sound, it’s just better to sit down and listen to them.
Sonic behaviour
Before Enigma REV 2.0 I’ve lent my ear to at least a half a dozen all-in-one players, mostly cheaper ones than Enigma REV 2.0. In terms of the sound, Enigma REV 2.0 is quite likely the best one I’ve heard so far. I’m not referring to the FM sound: that’s a world of its own and very hard to assess objectively. Nor did I try the USB port; also another cup of tea. I’m talking about the CD sound quality, and that was very good, if not extraordinary. By that I mean the sound’s lightness and transparency/resolution, spaciousness, and the well structured soundstage. And I’m simply referring to how the music sounded and felt. It felt really good.
Now I have to qualify. First, as the point of comparison I used my c. 1000 euro & 200W Sony integrated. There was such a significant difference between the two that I started to wonder to what extent the mentioned qualities of Enigma REV 2.0’s sound were due to the fact that my Sony has a tendency to sound bassy and warmer as compared to almost any other solid stage integrates. The more massive power supply? I don’t know, but the difference appears systematic. Still, even if a part of the qualities of the Enigma’s sound were only relative to my Sony, that would not remove the fact that Enigma REV 2.0 sounded brilliantly cool, clean and what have you. Plus it did good work in the bass too.
Another qualification springs from the speakers used: modified British classic monitors, LS3/5 type. Not vintage, but new ones. I don’t know what happens if Enigma Rev 2.0 were married with modern monitors with a typical hifi treble behaviour. Would the sound become too light and crispy? I can’t believe so. To my taste Enigma REV 2.0’s HF performance is protected towards excesses by its sheer sophistication.
What can I say. I was completely taken by a surprise how competent Enigma REV 2.0's sound quality was. I’d probably have refrained from reviewing such an ”all-in-one” player for INNER-AUDIO, had the sound not been so appealing from the first minute I connected it to the system. There are other media who deals with devices whose main advantage is their practicality.