Thank you to Questyle for organizing the tour and facilitating the various stops. I am delighted that I was included.
Inputs:
The Questyle CMA Fifteen features: USB Type-C, USB Type-B, optical, co-ax, Bluetooth (LDAC support!) and analog inputs (I did not test but I believe the analog inputs are intended for a record player input).
Headphone Outputs:
I used the 4.4mm balanced headphone output for most of my listening. There are switches on the bottom to make it favorable for IEM/CIEM listening. I use the Audeze LCD-i4 IEM with tips customized for my ears. The LCD-i4 requires EQ. When properly EQ’d, it sounds great for my ears. My critical listening was with the Dan Clark Aeon 2 Closed and without EQ.
Line Outputs:
I used the line outs with my bi-amped ADS L1290 speakers with recapped crossover. Due to my limited available time, I only auditioned this configuration briefly. It was lively, exciting, and engaging. The bass was awesome. It easily outperformed the PS Audio DAC I’ve used the past five years.
Critical listening:
My primary use case is with my Dan Clark Audio AEON 2 Closed headphones and a Windows 10 laptop. The Questyle USB driver installation was easy and intuitive. No drivers were necessary for my Samsung S21 phone and Samsung Tab S6 with UAPP. The result was awesome. The seamless Android experience begs the scenario of the reuse of an old Android device to serve music to the Questyle CMA Fifteen.
I’ll say up-front that the bass has wonderful texture. The detail is without bloom. Control is perfect. Anyone who might think of the Dan Clark Audio AEON 2 Closed as a bass-shy headphone will have a new opinion when listening with the Questyle CMA Fifteen. Only after I auditioned and wrote my impressions, did I play with EQ. Wow! The tight control of the Questyle CMA Fifteen is unlike anything I have previously heard.
Impressions:
King Crimson’s 1975 U.S.A. 40th Anniversary Edition Remastered (24bit 96khz 2013), “Exiles” and “Improve Asbury Park” were the tracks I started with. It was incredible. I imagined sitting 35 feet out and at stage level height. John Wetton’s base had a weight and substance I had not appreciated previously. Robert Fripp’s guitar growled with the ferocity of a tiger that had just escaped. Setting the volume at 8 o’clock gave a concert-like performance. I expect the Questyle CMA Fifteen will light-up less efficient headphones!
Dave Brubeck Quartet - Time Out (1959, 2012, APJ 8192-45) [DSD256], “Blue Rondo A La Turk”. Until now, I underestimated Joe Morello’s deft and delicate rhythm balance with the other musicians. I now hear the detail of every note from Dave Brubeck, Paul Desmond, Eugene Wright. It sounds like an all-new performance.
Paganini, 24 Capricci, Op.1, Salvatore Accardo (2021) [DSD64], “101 Andante in mi Maggiore” reveals a large empty room. I hear everything from the rosin on the bow to the walls of the room reverberating from the performance. Exhilarating!
Billy Childs, 2014 Map to the Treasure - Reimagining Laura Nyro (2014, Masterworks) [24bit 44khz], “The Confession” is a song that can be overlooked when heard with lesser equipment. Lesser equipment makes it sound congested and confused. The CMA Fifteen keeps up with all the moving parts just fine. It is at this point that I begin to think that I should consider summit level / flagship headphones
Bernstein conducts Copland SACD DST64, “Appalachian Spring – Allegro” is a torture track. If the reproduction fails, it shrieks and sounds harsh. In this case, it was reproduced with perfection. The size of the room is revealed as well. There is a separation and a blackness between the notes that makes the music ever more engaging. A few technical recording flaws are revealed and enjoyed, which might be missed with other equipment. Fun!
Hoff Ensemble, 2018 Polarity [SACD] DST64, “Innocence” features a jazz trio at the top of their game. Scandinavian Jazz proves to me that there are still brilliant musicians creating thoughtful and moving music. Jan Gunnar Hoff’s piano notes linger in the air, delicate and sustained. The CMA Fifteen offers up each note whole, complete, and without inhibition.
Talk Talk, 1988 Spirit of Eden [SACD] 2003 Remaster DSD64, features empty spaces between lovely notes. The bass has more substance than I have heard with other DAC/Amps. The pedals on the organ are spot on without any bass-bloom. Mark Hollis’ vocals perfectly accompany the recording without shouting above the notes as is sometimes the case with other equipment.
Select comparisons:
The Cayin n6ii R01 paired with the Cayin C9 is my daily driver. Cayin does not endorse this match because R2R introduces too much distortion to be properly run at a line-level output. Begging forgiveness for my unorthodox use, I enjoy it. As my impressions above suggest, I mostly listen to acoustic music, and Cayin’s R2R excels at this. Questyle’s greater power reserves will reward those with difficult to drive headphones.
I owned the Burson Conductor 3XR. I no longer have it available for direct comparison. I mention it because it was good, but it didn’t keep me engaged. When I decoupled the DAC from the Amp, I understood why. The 3XR DAC is a tad harsh and the amp is a just a bit warm. Together, it sounds very good, but it didn’t sound “better” when played “louder”. The Questyle CMA Fifteen has better bass control and performs brilliantly at any volume level.
Wrapping it up:
The Questyle CMA Fifteen presents texture and detail that exceeds my expectations. I believe those who listen to newer electronic or dance music will be especially impressed. No matter your listening style preference, it is positioned as a foundation audio component. Headphones and other components can change or be upgraded while your Questyle CMA Fifteen remains as a reference component.
The Questyle CMA Fifteen is one of the best ESS based DAC/Amps that I have heard.
Inputs:
The Questyle CMA Fifteen features: USB Type-C, USB Type-B, optical, co-ax, Bluetooth (LDAC support!) and analog inputs (I did not test but I believe the analog inputs are intended for a record player input).
Headphone Outputs:
I used the 4.4mm balanced headphone output for most of my listening. There are switches on the bottom to make it favorable for IEM/CIEM listening. I use the Audeze LCD-i4 IEM with tips customized for my ears. The LCD-i4 requires EQ. When properly EQ’d, it sounds great for my ears. My critical listening was with the Dan Clark Aeon 2 Closed and without EQ.
Line Outputs:
I used the line outs with my bi-amped ADS L1290 speakers with recapped crossover. Due to my limited available time, I only auditioned this configuration briefly. It was lively, exciting, and engaging. The bass was awesome. It easily outperformed the PS Audio DAC I’ve used the past five years.
Critical listening:
My primary use case is with my Dan Clark Audio AEON 2 Closed headphones and a Windows 10 laptop. The Questyle USB driver installation was easy and intuitive. No drivers were necessary for my Samsung S21 phone and Samsung Tab S6 with UAPP. The result was awesome. The seamless Android experience begs the scenario of the reuse of an old Android device to serve music to the Questyle CMA Fifteen.
I’ll say up-front that the bass has wonderful texture. The detail is without bloom. Control is perfect. Anyone who might think of the Dan Clark Audio AEON 2 Closed as a bass-shy headphone will have a new opinion when listening with the Questyle CMA Fifteen. Only after I auditioned and wrote my impressions, did I play with EQ. Wow! The tight control of the Questyle CMA Fifteen is unlike anything I have previously heard.
Impressions:
King Crimson’s 1975 U.S.A. 40th Anniversary Edition Remastered (24bit 96khz 2013), “Exiles” and “Improve Asbury Park” were the tracks I started with. It was incredible. I imagined sitting 35 feet out and at stage level height. John Wetton’s base had a weight and substance I had not appreciated previously. Robert Fripp’s guitar growled with the ferocity of a tiger that had just escaped. Setting the volume at 8 o’clock gave a concert-like performance. I expect the Questyle CMA Fifteen will light-up less efficient headphones!
Dave Brubeck Quartet - Time Out (1959, 2012, APJ 8192-45) [DSD256], “Blue Rondo A La Turk”. Until now, I underestimated Joe Morello’s deft and delicate rhythm balance with the other musicians. I now hear the detail of every note from Dave Brubeck, Paul Desmond, Eugene Wright. It sounds like an all-new performance.
Paganini, 24 Capricci, Op.1, Salvatore Accardo (2021) [DSD64], “101 Andante in mi Maggiore” reveals a large empty room. I hear everything from the rosin on the bow to the walls of the room reverberating from the performance. Exhilarating!
Billy Childs, 2014 Map to the Treasure - Reimagining Laura Nyro (2014, Masterworks) [24bit 44khz], “The Confession” is a song that can be overlooked when heard with lesser equipment. Lesser equipment makes it sound congested and confused. The CMA Fifteen keeps up with all the moving parts just fine. It is at this point that I begin to think that I should consider summit level / flagship headphones
Bernstein conducts Copland SACD DST64, “Appalachian Spring – Allegro” is a torture track. If the reproduction fails, it shrieks and sounds harsh. In this case, it was reproduced with perfection. The size of the room is revealed as well. There is a separation and a blackness between the notes that makes the music ever more engaging. A few technical recording flaws are revealed and enjoyed, which might be missed with other equipment. Fun!
Hoff Ensemble, 2018 Polarity [SACD] DST64, “Innocence” features a jazz trio at the top of their game. Scandinavian Jazz proves to me that there are still brilliant musicians creating thoughtful and moving music. Jan Gunnar Hoff’s piano notes linger in the air, delicate and sustained. The CMA Fifteen offers up each note whole, complete, and without inhibition.
Talk Talk, 1988 Spirit of Eden [SACD] 2003 Remaster DSD64, features empty spaces between lovely notes. The bass has more substance than I have heard with other DAC/Amps. The pedals on the organ are spot on without any bass-bloom. Mark Hollis’ vocals perfectly accompany the recording without shouting above the notes as is sometimes the case with other equipment.
Select comparisons:
The Cayin n6ii R01 paired with the Cayin C9 is my daily driver. Cayin does not endorse this match because R2R introduces too much distortion to be properly run at a line-level output. Begging forgiveness for my unorthodox use, I enjoy it. As my impressions above suggest, I mostly listen to acoustic music, and Cayin’s R2R excels at this. Questyle’s greater power reserves will reward those with difficult to drive headphones.
I owned the Burson Conductor 3XR. I no longer have it available for direct comparison. I mention it because it was good, but it didn’t keep me engaged. When I decoupled the DAC from the Amp, I understood why. The 3XR DAC is a tad harsh and the amp is a just a bit warm. Together, it sounds very good, but it didn’t sound “better” when played “louder”. The Questyle CMA Fifteen has better bass control and performs brilliantly at any volume level.
Wrapping it up:
The Questyle CMA Fifteen presents texture and detail that exceeds my expectations. I believe those who listen to newer electronic or dance music will be especially impressed. No matter your listening style preference, it is positioned as a foundation audio component. Headphones and other components can change or be upgraded while your Questyle CMA Fifteen remains as a reference component.
The Questyle CMA Fifteen is one of the best ESS based DAC/Amps that I have heard.
