Dx320Max Titanium

General Information


Allow me to disclose first thing first that I am not affiliated with Ibasso, and hence I only speak from my most honest point of view. It may sound like a shill which help to hype the player, but I assure that I am not. Please remember that personal preferences is always a key player and the most important one in any subjective hobby. What is best for me, isn’t necessarily the best for your preferences. Please give it a try, experiences different systems, and understand your inner beasts. All of the followings are the result of my analyzations and comparisons of the 320Max performances in references to my desktop system and over the many years experiences.

The summarized :
As a tinkerer who played around with many different systems, build, diy craft, upgrade, mods….etc….there are marks that I want to score and achieve. The 320Max as a portable in this compact form and the performances , all of it is exactly what I have Been looking for, neutral, references, and yet musically performing. If you love full-size phones, look no further, this one is the best of it kinds, and will even challenge many other dedicated portable stacks, or desktop systems.

The introductions


With AKM fires and Sabres slowing down their productions during Covid, there was a new DAC chip introduced to the industry, the ROHM new flagships. Now, this isn’t the first time that ROHM is doing DAC chips, but it is the first time they are stepping into the high-end segments of it. They were known for many other silicon based IC productions. Anyways, it was something to be excited about, and we can never judge something without having to observe it. Especially in this hobby, when it comes to our senses, preferences, paper specs really only is half of the battle

The first ROHM chips being used on a portable was Cayin N8ii. You probably have known it, and may even be cross shopping in between ? The next one one the market that came a few months later was from Ibasso Dx320. I listened to N8ii, and I loved it. I didn’t know if it was the ROHM or the manufacturers that did a good job. However, after confirming with Ibasso next player, and now the 320Max, I gotta say that ROHM is an amazing chip. How so ? Because it has the best of both worlds, between AKM & Sabres. To sum it up, AKM is overwhelmingly warmth toward the highs and extensions, while Sabres is too dry and analytical in the low and the mids. It is so diverse that either you are an AKM or a Sabres fan. We are not even talking about the amplifications and the house tuning yet

For all that said, I found myself to be enjoying ROHM by a lot, simply because to my preferences and listening to various genres, from classical, orchestral, EDM, modern pops with the exception hip-hop, I found that ROHM is the best. However, in the portable hobby, it doesn’t stop there. Even with desktop systems, we all know that there are ways more to the chains than just the DAC and it chips. Therefore the next thing would be the gears, either the headphones or the buds, and it depends on many different factors. Most of us would agree that power is never enough. However, when you have too much output power by a little 3.8V li-ion packs, we will be faced with consequences, the floor noises/the hisses. Therefore, in order to have a dream system technically, we will have to optimize the system under compromises. Usually, it is form and costs.

The chassis:


The 320Max Ti, and we don’t call it Ti, is because it only have 1 version, made by titanium. We should be calling it Ti, so that we don’t confuse it with other players which usually is made by Stainless steel or aluminum. Titanium by itself is also an exotic materials, while being abundant as a resource, the processing is why it is expensive. Because they are hard to produce, and high cost, most of the time, you would see either SS or Aluminum to be the common chassis. Now, from different players, different chassis versions, the titanium as a chassis materials can still affect the end performances, which make it usually to be a special editions or limited editions. Here we have a limited release of 888 units world wide of the 320Max. You may remember that the stainless steel version of 300Max was cheaper in comparison. Now with 320Max, you only get 1 chassis, and it is Titanium.

The technicalities:


What bring to my attentions is that it is a Max series. This stands for it being the top of the line from Ibasso, the flagship of the flagship. I have been with Max series since the Dx220Max, and I can clearly tell that there is evolutions with each successor. Most importantly is that all of the Max are Limited release. They are what they are, and they will not be produced anymore than that.

I was very happy with the last generation, the Dx300Max-Ti. But how come I moved on away from it ? There are a couple reasons, and that is because I seek for the high fidelity, the textures, the sparkling, the extensions that AKM chips just don’t bring in the game. I am pretty sure for anyone who love the AKM signature, the 320Max will carry a very different signature. Whether or not it is an upgrade, that is a personal choice. However, in my opinion, I love ROHM chip, and for this reason alone, the 320Max is already an upgrade.

Now, let’s talk a bit more in-depth into the other segments of Dx320Max prowess. It sports 4X BD34301EKV of the ROHM flagship DAC, which makes it the first portable being worldwide at this moment. This chip dedicated into Stereos processing, which means it process full signals per channel which consists of L+ L- R+ R-. Therefore, theoretically speaking, using one single chip is already enough for fully balanced digital processing. But Ibasso didn’t stop there. Because the flagship Dx320, which is much more portable, already have dual chips. This little brother has a unique modular amplifiers that you won’t be able to find on the Max. The 320Max is sporting 4X ROHM chips.

Then, in order to give the users a better controls, Ibasso sport in the patented MangoOS system. Yet, I can not stress enough that other makers usually do not give you such option for dual OS, due to the complications and incompatibilities, the cost to develop and continue to support the platforms from firmware updates but, with Ibasso, you have it. Together with the 2 modes of Standard and Ultimate, with each modes, the playtime will be either 16-12 hours respectively.

Standard modes: Utilizing only 2X of the ROHM chips, just like any other flagships that is using Dual DAC. Each chip carry 4x signals, and we have 8 Signals, to finally be summed up into whether Balanced out 4.4mm or Single ended 3.5mm. It lasts upto 16 hours

Ultimate modes: Utilizing all 4X of the chips. The first of it kind, and the only one on earth at this moment to be implemented with 4X of the chips and be fully utilizing it. We may take it for granted that giong from 2 chips into 4 chips are not going to be complicated, and especially true for current output architectures. If you have to tackle the aspects of achieving performances, and optimizing the power consumed, together with minimizing thermal activities system wide. Ibasso have checked all boxes. If you have tried the Cayin N8ii, you possibly realized the differences in thermal activities between Cayin and Ibasso. Then you will be just floored with Dx320Max. It virtually generates Zero heat in comparison to other players on the market. It lasts upto 12 hours. You should be burning in ultimate mode, so all 4 chips will be utilized, then when you want to use normal mode, you can do so and skip the burn-in process

Between AK4499EX and ROHM, the ROHM itself is a truer current output converters. Being a current output DAC, it is both simple and complex in order to implement the DAC in a high-end overall. It is very complicated to keep the current constants regarding the load variations. However, it seems that Ibasso is trying to head that way with the digital converters at the optimized output, while using gain level with the analog gain knob, together with the stepped attenuation. We may take it for granted that both the DMP-Z1 and 320Max has “pure analog gains and volume attenuations”. However, in order to achieve such milestone accurately, to bypass the digital controls of “gains/attenuations”, the engineers will have to finely tuning the digital conversions from the algorithms, the amplitudes, the interpolations, and all things related, in order to keep the DAC chips under the most optimized performances while having no undershoots/overshoots problems. Yes, I did put in some inquiries about this, and there are some “secret trade aspects” that Ibasso refuse to comments about, but Ibasso do confirm that they have utilized a new and innovative implementations overall for the 320Max Regarding the ROHM chips.

Ofcourse, while these modern chips are allowing digital controls of it interface aka, attenuations, gains. But that is taking it an easy way at compromising the overall performances. DMP Z1 was the first one to tackle the issues. The previous Maxes were still having digital controls. Now, with 320Max, we have the first Max ever to be utilizing this optimization from it own digital processing unit that is sporting Quad ROHM DAC chips! A milestone of achievement for such a small form factor.


Amplifications technologies: before we get there, the one thing I want to state out loud is that Ibasso understand their own market very well, and many reasons would come from the market researches from the flagship players that has modular designs. Simply following the feedbacks, the desires from both the engineerings, the acoustic tuning team, together with the sell and the customers. Yes, this approach was criticized by different groups of people, and just like anything on the world, there are always pros and cons. But I can guarantee that by listening, looking at the evolution of the Max, the 320Max clearly carrying out the understanding, the most optimized tuning, and the best remarks that Ibasso have yet to achieve right at this very moment. Even if you think about how fast Ibasso has been releasing their products, there are clearly new developments, new research, with every little bit of hard works behind it. Ibasso shows to me that they are into this as much as a dedicated hobby with all the love and dedications, and not just the sales/profits alone.

The amplifier being used in the 320Max is the Super Class A with discrete architecture. It eliminates the switching distortions of active transistors, while performing just like a classical class A with minimizing heat generation. On top of that, Ibasso also implement the best approach for tuning the analog circuitry with the most idealistic components yet. The mixtures of Tantalum capacitors and polypropylene multilayer filmed capacitors, electrolytic capacitors. The Dx320Max is also the first player to have implemented very bulky capacitors into such little board and into such compact space at higher level of complexity in comparison to the 300Max-Ti. You will not see these from even any of the other so called External portable amplifiers either. Yet, the amplification within is Dedicated amplification. It has it own batteries which consists of 4X li-ion packs. If you know about Cayin C9, which probably was inspired by DX220Max, then the 320Max is a 2 systems in one housing, a dedicated and balanced amplifier Plus a dedicated DAC/DAP. A 2 systems in one compact chassis With each system have it own battery as power source, and dedicated voltage regulations

With balanced out achieving 9Vrms and Single ended of 4.5Vrms, the 320Max has the power that is unrivaled in this compacted form factor
. It proved so by the first time when you plugged in any full-size headphones such as the Hd800s and the like, just listening to it, and be carried away into a blissful audio performances that could only be normally achieved by connecting into desktop systems. Not just any systems, but high end systems. Yet, there are other aspects that high end desktop systems would still pull ahead. However, in this form factor, the winner is 320X and not any desktop system. Because of this, I will call the Dx320Max to be the best portable player for Full-size headphones yet to be released by any manufacturers known to man until now. You don’t have to take my words for it, please give it a try, and be floored.


On the more detailed view of it, and from a tinkerer point of views, in order to populate the amplification sections with densely packed capacitors on the top of surface Mount components, it requires extreme skills. Why didn’t other companies not doing similar ? Because the labors for this would be too extreme, too costly, too intense. The 320Max is cheap from how I am looking at it. I can assure that in order to have these components mounted, no machines could have done it, except hand soldering by very skillful people. Cost would be significantly reduced if it was all done by machines instead. I know Astel&Kern advertised that their SP3K is the one that has all the Quad DAC chips implementations, and dedicated amplifications, but without dissecting too far into it, I gotta say that Maxes has been having dedicated power source, voltage rails, and separated channels all along, with the 320Max being a step up from the previous by utilizing all the fancy components as mentioned above. When you really dive deep into it, you will see that Ibasso is carrying the innovations, the complexity, the dedications to aim for better audio performances while keeping the MSRP suggestion down to earth. The level of innovations, the complexities of the hardware inside the 320Max is definitely mind blowing to my own level of technicalities. Yes, I do perform complex works when I modify things that I desire, and on the 320Max Ibasso has my respects to pull it off for such pricing.

Stepped attenuator: in order to achieve the best balances between channels, Ibasso opted to go as far as to custom design and producing a 24 steps stepped attenuator. The reasons being is that, instead of using resistive stripes, it uses discrete resistors with traces and grooves, which physically is more reliable and bullet proof in comparison. It also has a much better balances controls between signals. With only one set back that is on portable, you may have some sound anomalies when turning the knobs. There will be a segment where the shaft will be lifted slightly before it could drop into the designated grooves again. This normally doesn’t happen on desktop systems, because with desktop systems, these stepped attenuators are about 20X larger. The whole attenuator can get as large as your palm.

True Line Out: for both SE or Balanced available in settings after connecting to your external amplifiers. It completely bypassing the internal amplifications, and is available in the setting menu. Using it this way, the 320Max is a high-end digital to analog conversion source, which boasts 4X ROHMs. It does extremely well in this role.

Sound signatures:

Very neutral, natural, yet full of musicality, engaging, liquid, and effortless. Beautifully balanced throughout for all 3 main spectrums of Low-Mid-High. Usually, in portable worlds, the players will have to compromise at the least 1 spectrum in order to optimize the other 2, and that makes sound signatures and synergies matching to be a huge factor in choosing your personal system. It is more so for portable system and less so for desktop systems. Here, the Dx320Max does not compromise any of the 3. For this, it is already an achievement. Please noted that I am speaking relatively to other portable devices. When compared to my desktop system, and using 320Max excellent line out as a comparison, the tuning from the amp section do have some thinning out in the mid section and this provide an even more grandes soundstages for a portable system.

I have faced questions before, what am I trying to achieve with my tinkering and modding ? If you want to know it, the Dx320 is an example of “my perfections”. It is what I have always aimed for, desired for.

Sparkling trebles, smooths, detailed, amazing extensions, no harshness, no graininess, just perfection! Yeah…perfection doesn’t exist, but IMO, up until now, the 320Max-Ti is that perfection from all of my experienced so far from many years of listening to portable systems.

Bass is very articulated, well controlled, great articulations, great exertions within it density and tonal balances, virtually zero distortions, very dynamic but also very fluid and effortless. I don’t typically observe such bass performances from many products, even desktop products. It isn’t easy to have this “blended formulation”

Mids and vocal are straight out amazing, vocal is leaning a bit of being analytical and brighter. Though, it is still amazing this way. Anything more than this is just going to be icing on the cakes.

Do not mind me, but do take note that I am comparing the 320Max in references to a 300B western electric amplifier which is decked out with Lundahl transformers and constantly plugged in. I have had a friend who loves asking question in a perspective number, such as how would I rate the 320Max to my desktop amp in % ? The 320Max is like 95% there. It depends on your view of how much different any 5% would be. For example, the human DNA VS Ape ? For me, specifically, the last 5% that my desktop has better is the ability to stretch the spectrum wider in both musicality and neutrality, enough to show me that the 320Max as a portable, still remaining portable, because it has some thinning in the mid spectrum, very small segment of it. However, the 320Max is non the less once again transcending portability, stepping into the desktop world, having to perform better than the previous maxes, and that means a lot to me. Most importantly is the ROHM chips, which I love so much and in QuAD !


Burn-in: So then, will the Dx320Max need burn in ? Yes, definitely, even though you will be welcomed with such amazing performances out of the box. You will be greeted by differences during the time it burns in. Most of the rides are smooth, and not negative, until I met with 125 hours approximately toward 170 hours or so, which is about 3 days (not 24 hours burning in). I do have an overwhelming bass textures and some congested layerings in mid spectrum. But it quickly fade and back to performances. I recommend you to not constantly burning in, but rather to give it a couple hours rest between burning in sessions for the best performances. Each sessions would be about 8-10 hours, depends on whichever works better for you. Basically, never fully do 24/24 burn in. Also, please burn in with your favorite mixes of different collections.

Charging: Ibasso provides 2 different charging circuitries, a strictly 12V DC in which uses the common 5521 or 5525 plug, and a USB C with PD compatible. You can buy a PD triggered 12V and look for charger that listed specifically 12V supported. If you would like to use power bank, which I use. So I can always charge it up anywhere I desire, on a plane, a cruise, a beach vacation, whatever. Do make sure that they do have 12V supported. Please do notice that the previous Maxes have a huge range of 12-18V charging circuitry, the 320Max is specifically 12V.

The stock protective case: it has been improved over the previous, it fits better, and doesn’t slide out at all for my unit. The back is no longer just a thick slab of leather that covers up everything, but with a nicely imbedded Ibasso logo by steel. It gives the 320Max a great aesthetic appearances. Though, grabbing the back at the steel cut out feel sharp. I tried to handle it with care, but the sharp feelings that it can cut me is always there when I grabbed it.

The player doesn’t come with screen protective pre-applied. For some reasons, even if I tried to use it with tempered glasses from 320 screen, or the plastic film, the touch sensitivity just gone down, and become annoying from times to times. So at this moment I just use it as is.

A candidate of endgame worthy: as a decked out player coming off the assembly line, together with the performances out of the box and the ability to easily unscrew the back plate, plugging and replacing the battery packs, which can be purchased from your authorized Ibasso dealer, the 320Max is a candidate for an endgame for portable system that can drives full-size such as 800s effortlessly

Final words: I love this little player. It may be huge, thick, brick like. But I do believe this is the most optimized and compacted form for such a power house that can drive the likes of 800S with eases. Yes, the stepped attenuator will be a love it or hate it situation, but if you are all about music performances like I am, then it is a must. I am surprised that Ibasso could have customized it. This is what I have been seeking for, and it will remain on my side for many years to come, which means it is an end game in it own rights

Some more questionnaires : DSD filters Low-Mid-High. This is the ability of the DAC chips to filter out it own processing during the conversions. This will yet be again filtered by the analog filters behind it as well. No human are meant to tell the differences, but it is a thing, and you may be able to tell the differences. However, what is it ?

low: allow the high extensions to roll off earlier and suppressing upper frequencies noises which were a result of sigma delta processing to the most aggressive. You can relate it to a much more musical and smoother performances at the cost of sparkling sand sharpness

mid: the nice medium in between low and high, the most optimized performances for human bandwidth as it is slightly above human limitations and still providing noises suppressions enough

high: almost no noises suppression at all as this one will let the noises to be going upward to 56kHz as shown.

What does it all mean ? Well, if You have sibilants and sharpness, please choose DSD filter Low, and if you want more aggressiveness, go for High, and a nice medium is Mid. Once again, you are not meant to be able to tell the differences though :wink:. Yes, this control system is after the pcm processing and will affect both pcm/DSD alike.

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500+ Head-Fier
The King of The Hill
Pros: Design
Comfortable to hold and use one-handed
Industry-leading SoC (for this form factor)
Industry-leading 6GB RAM (for this form factor)
Quad DAC
Flagship Japanese ROHM BD3401EKV DAC chips
Titanium chassis, built like a tank
PVD coating on the knobs
Tactile buttons
Premium accessories
Android 11
Battery life!
True fully balanced output and line out
Analog volume control with the in-house stepped attenuator
Physical gain control
Fully isolated digital and analog circuits
Discrete amplifier board with desktop-grade capacitors
Use of film capacitors
Serviceability (removable back design allows easy battery replacement)
Advanced parametric EQ
Stable software
Incredibly lightweight for what it offers (desktop-grade features in a true portable package)
Customer Support and continued FW Updates (one of the best in the industry)
Sound performance... Reported to outperform the SONY DMP-Z1
All for $3499?
Cons: Mango OS can be more refined
Analog volume control might not be for everyone due to short audio cut-off between steps.

Design & Features

The MAX series’ silhouette is a formula that iBasso has been brewing for three years now. Numerous upgrades and improvements are introduced with each new release, but one thing that has remained mostly the same, is the design. That very same blocky chunk of metal is here to stay. It’s not getting any wider, longer, or thicker. Whether this is something that the company will stick to in the future, only time will tell.

If you were a DAP in a barber shop and wanted to get the MAX 'cut, you’d ask for, “straight on the sides, round on the corners”. It’s an elegant look shared across all three MAX models; bevel faces on the sides, and flat top/bottom edges on the front and back. The DX320MAX doesn’t stray away from the classic silver & golden accent color scheme, just like it still makes use of texture to elevate that classic luxury look, with the horizontally brushed pattern on the flat sides of the chassis; polished bevels and edges. Let’s shift the focus to the inputs and outputs:
At the front, there are two physical outputs; 4.4mm balanced, and 3.5mm single-ended. Much like on the DX300 and DX320, they double as phone outs and line outs. The DX320MAX is missing the third output that was present on the DX300MAX, the dedicated true balanced line out. It wasn’t thrown out for any reason, as the new physical gain switch took its place. The remaining fourth member of the front section is, of course, the volume knob.
At the back, there is a DC-in, USB-C port, coaxial out, and a Micro SD card slot.
On the right-hand side, there’s a power on/off button and the media control buttons which are spaced farther down from it.

Each input and output has its label laser etched, but the new gain switch is the only one that has the label placed above. Also, it’s nice how the gain labels are in Roman numerals that are warped around the switch. Though it might not be apparent at first glance, the inputs and outputs have the most details. For example, all are placed within a golden faceplate with a circular finely brushed texture. Another touch is the recession of the outputs at the front. Among the less visible differences between the DX320MAX and the DX300MAX are how the DC-in is now recessed and its faceplate is larger in diameter, and how the USB-C and coaxial ports have also been recessed. The eagle-eyed will notice the addition of bevels on all input/output cutouts, and it’s minor details like these that prove iBasso’s pursuit of perfection. On the other hand, the more obvious difference between the two is the volume knob. It was already a nice upgrade going from the DX220MAX to the DX300MAX, but the DX320MAX improved it a step further. Instead of slashes, it now has deeper and grippier diagonal ridges, and the indicator indent has gotten longer. Other than that, both the volume knob and the gain switch have a brushed face and polished sides. Speaking of, the gain switch is attractively shaped, and the only way I could describe it is as if you took a circle and cut off its two sides. It looks beautiful, and it’s an even greater joy to use. I’m a big fan of the elegant look of the MAX series. Kudos to the whole design team!

In my eyes, what's a serviceability game changer is the removable back. Yes, ladies and gentlemen, you can now remove the back and completely open your DX320MAX thanks to the two large screws on the back. The backplate is still made of glass, but a small metal plate has been added at the bottom. Do note that if you want to remove the back, you must be cautious, as the batteries are both attached on the underside and have cables connected to the circuit boards. The last thing you want is to damage the circuit board, so please be careful! Also, if I may give you a piece of advice, try to lift off the small metal plate instead of tilting it toward/away from the glass. It's so tightly placed that you might crack the glass by accidentally pinching it. Anyway, the reason why I believe having the option of removing the back is so significant is that so many doors open to the daring enthusiasts that are interested in modding. Though it might be tempting to fiddle around the readily accessible insides, I highly advise against making any changes that will void the warranty or damage the device!


The DX320MAX was provided to me free of charge. I am neither paid nor am I gaining any financial benefit from iBasso for writing this review. The review is based on my personal experience, it is free of any bias from an external force (whether that's online influence, other people's opinion, or the manufacturer itself). I would like to pay special thanks to @NaittsirK and Marek of AudioHeaven (iBasso's official Poland distributor), and of course, Mr. Paul. This review wouldn't have happened if it weren't for these gentlemen!


Whether the 4.4mm and 3.5mm outputs function as phone outs or line outs depends on which one you set it to through software. When set to PO, they are to be used with your desired headphones, earbuds, earphones, and IEMs. When set to LO, they allow the DX320MAX to serve as a source, fully bypassing the internal amplifier and letting you use an external amplifier.
The physical gain allows you to choose between 4 gain stages.
The DC-in port is where you plug in the included 12V AC/DC adapter to charge the analog battery section. The USB-C port is used for both data transfer (USB 3.1 Gen 1 Superspeed) and charging (supports QC3.0 and PD3.0 quick charging) the digital battery section. The Coaxial Out allows you to connect the DX300 MAX to a device with a Coax In and allows the DAP to act as a digital transport (24bit/384kHz, DoP DSD128).
The Micro SD card slot supports SDXC and SDHC Micro SD cards.
The display is a 1080p IPS panel.


Build Quality

The MAX series was always about the highest grade of quality, and the DX320MAX is no different. As far as my experience goes, the same can be said for the rest of iBasso’s high-end product line-up. One thing is for sure, the sheer size of the MAXs will spark the portability debate. In my DX300MAX review, I gave you my take on it. My opinion was that it can be considered portable, as it can be transported with ease, but that it cannot be considered pocketable, as it’s too heavy and big to be conveniently carried in pockets. Well, my views have changed for the DX320MAX. The main reason behind that is the significant weight reduction. Keep in mind, there were two versions of the DX300MAX, the Stainless Steel version and the Titanium version. It’s the former that I had my hands on. To the best of our knowledge, the DX320MAX only comes in one variant, titanium. Here are some numbers to put things in perspective:
iBasso DX300MAX SS: 775g (without case), 819g (with case)
iBasso DX300MAX Ti: 570g (without case), 614g (with case)
iBassoDX320MAX: 626g (without case), 688g (with case)

The measurements of the DX300MAX and the DX320MAX are directly from me [using a basic digital scale], whereas the measurement of the DX300MAX Ti comes directly from iBasso. The numbers aren’t 100% accurate, I even saw people commenting under the DX300MAX that an iBasso rep told them that the weight of the DX300MAX Ti is 590g. Regardless of which measurements we use, one thing is clear: the weight difference between stainless steel and titanium is immense. If you’ve never held the SS and Ti versions side by side, you wouldn’t understand how much lighter the latter feels. Actually, it kind of changes everything, because now I can see true enthusiasts carrying the DX320MAX in a fanny pack around their waist. That would change the narrative of the portability debate and finally allow it to be considered portable. This is a big deal, and you’ll understand why later on.

Just to make sure I don’t forget to mention it, the grade of the titanium is Grade 5 (Ti-6Al-4V), which is among the most commonly used titanium alloys for industrial applications. Aside from the obvious weight reduction benefits, it is known for its excellent corrosion resistance properties. However, among the more impressive publicly unknown details is the use of PVD coating on the knobs. Physical vapor disposition, or PVD, is a highly advanced coating method that brings a solid or liquid metal to its vapor point (gas state), after which it is ‘shot’ at a target metal, resulting in a permanent bond. This process leaves a very thin (thickness typically measured in microns or nanometers) solid-state film on the target (stainless steel knobs in this case). There is a wide variety of metals available for PVD coating, and they are most commonly chosen for their thermodynamic, physical, mechanical, and chemical properties. For audio products, however, they are frequently chosen based on their appearance.

In-House Developed Stepped Attenuator


Somehow, iBasso keeps raising the bar with its innovations. Just when you think its pockets have been emptied, there’s more!

In my DX300MAX review, I mentioned how the analog potentiometer is one of its signature features. This time around, it is the signature feature. The custom 4-wiper analog potentiometer on the DX300MAX was enough in itself to stand out from the competition, but this... this is taking it to a whole other league. What’s the fuss about with these analog potentiometers? I’ve seen a lot of confusion in the Head-Fi thread, so let’s break it down. The reason iBasso introduced analog potentiometers in the DX220MAX and DX300MAX in the first place was that, in iBasso’s own words, it “retains the full resolution of the recording” and doesn’t suffer from “the bit rate truncation problem” that digital volume adjustment does. However, there’s a price you have to pay when going with this design: ±2dB channel imbalance at low volumes, and audible distortion that’s caused by the wear of the potentiometer’s carbon film after years of use. What if there was a more precise way of controlling volume? Introducing to you, stepped attenuators. Unlike rotary potentiometers, stepped attenuators allow for fixed & precise volume adjustment(s). Allow me to explain. Let’s focus on series-type stepped attenuators, which is what we are dealing with here on the DX320MAX. They work by using a series of discrete resistors to form a voltage divider. The output level is determined by the position of the rotary switch, which essentially specifies which resistors are included or excluded in the signal path. Each resistor has a predetermined value of resistance, i.e. attenuation level.

This is a lot of technical terminology, and even for myself, at first, it was too much. When it comes to listening to music and judging the quality of sound, I like to think that my opinion holds some credibility. However, when it comes to technical knowledge, I’m as qualified as a fish is at climbing trees. In reality, it’s not all that complicated. Think of an audio signal as a stream, and loudness as thereof flow. In an unrestricted path, this stream will have the strongest flow, and this is how your amplifier would behave if there were no volume control. To gain control over the strength [flow] of the stream, we can introduce pathways that restrain it by a specified amount. The more we want to restrain the flow, the more pathways need to be used. That’s an oversimplified principle of how series-type stepped attenuators work. Attenuation means reduction of the amplitude of a signal. Perhaps this clarifies the word stepped attenuation. In a series-type stepped attenuator, the resistors are connected together to form a chain, a series. As mentioned in the previous paragraph, there is a rotary switch that determines which series of resistors is activated. Each resistor is connected to a fixed contact point, while the rotary switch rotates a contact of its own, and when the two align, a connection is established. Let’s put all this information into practice. For example, when at position 20 (clockwise), you’d have the output level attenuated by 3 resistors. The more you turn the knob counter-clockwise, the more resistors are activated and added to the chain, resulting in more attenuation. That’s the best explanation I could give you, so I hope it was helpful.

A 24-position stepped attenuator has 23 resistors. It might appear confusing how we get 24 positions when there are only 23 resistors, but it’s rather logical. When at position 1, i.e. when the knob is fully clockwise, the output level is unattenuated (no resistor in the signal path). This is called zero attenuation. On the other end of the spectrum, when the rotary switch is at position 24, i.e. knob is fully counter-clockwise, the signal level is at 0dB. This is called infinite attenuation, or the maximum attenuation level.


Diagram of iBasso's in-house developed stepped attenuator, made by me​

Since series-type stepped attenuators use a fixed-resistor voltage divider, perceived to be the purest method of analog signal attenuation, the measured resistance always remains the same. There’s no wear, even after years of use. This is because: a) wearing parts are low resistance (switch contacts which firmly snap in place), b) the resistance value is ‘stored’ in stationary resistors, c) the resistance values are fixed (fixed predetermined voltage division ratio). There are many benefits of this design over rotary potentiometers, even the most expensive ones! All resistors are individually matched and calibrated, and this is why all the specifications are constant, reliable, and predictable. iBasso uses high-precision 0201 resistors for their stepped attenuator.
In contrast, rotary potentiometers, like the one on the DX300MAX, use a variable resistor voltage divider. A rotary potentiometer consists of a: conductive resistive track and a rotary wiper (a contact that slides along the track). The rotary wiper is a movable contact point, much like the rotary switch in stepped attenuators, while the conductive resistive track is the element that ‘stores’ the resistance value. The resistive track’s total length determines the maximum attenuation level. The output level is specified by the position of the wiper, i.e. contact point on the resistive track—you’re essentially changing the effective length of the resistive path with the wiper. This resistance value is not fixed and it becomes more inaccurate after years of use. This is because: a) wearing parts are high resistance (wiper gliding against the resistive track; mechanical wear), b) the resistive track is a wearing part; the resistance value is dependent on the resistive track. In other words, this design is fundamentally flawed. Rotary potentiometers are not reliable, suffer from channel-to-channel imbalances, and are neither accurate nor precise—especially in the long run!

Internal Hardware​

Embrace THE BEAST.


SoC (system on a chip)

Holding it all together is Qualcomm’s Snapdragon 660 SoC (system on a chip). It’s not industry-leading anymore, but it fulfills all the needs of the MAX. The official specs are: 128GB of internal storage, 6GB of LPDDR4X-3733 RAM that operates at a frequency of 1866 MHz, a 64-bit octa-core 14nm processor (four Kryo 260 Silver cores operating at 1.84 GHz + four Kryo 260 Gold cores operating at 2.2 GHz), and an Adreno 512 integrated GPU operating at 647 MHz. CPU-Z revealed that four cores operate at 633MHz – 1843MHz, while the other four operate at 1113MHz – 2208 MHz.

GeekBench 5 Benchmark Results (Picture 1: CPU Score; Picture 2: CPU Single-Core Score; Picture 3: CPU Multi-Core Score; Picture 4: Compute OpenCL Score):

DAC (Digital to Analog Converter)


Official ROHM BD3401EKV Block Diagram
We got a taste of ROHM chips in the DX320, and to be honest, ever since it was released, I was hoping to see it in a MAX implementation. It had me so curious that I couldn’t resist asking Paul whether we would see a new model any time soon, to which he replied that there are no plans for its release any time soon. Surprise, surprise, it turns out that iBasso delivered what we dreamed of! More than that, the quad DAC is back, but this time with ROHM’s flagship BD34301EKV chips. It’s a chip from the company’s MUS-IC™ lineup, which consists of its highest audio grade—read audiophile—ICs (integrated circuits). When it comes to chips, mostly three companies have been in rotation for the past decade: 🇯🇵 Asahi Kasei (AKM), 🇺🇸 Cirrcus Logic, and 🇺🇸 ESS Tech. Though ROHM is far from a new company, its DAC chips haven’t been widely implemented in the audio industry. Strictly speaking about the DAP space, Cayin was the first to bring one on board with its N8ii, with iBasso being the next to follow up with its DX320. Since there were no details in the marketing material, we can only speculate about the implementation of these chips in the DX320MAX. This said, there is a possibility that they work in a dual-parallel configuration, like the Cirrus Logic chips on the DX300. Whatever the case may be, you are getting two chips per channel. Once Ultimate Mode is activated, all 8 channels get utilized for a true balanced output. Considering each BD3401EKV chip has 2 channel outs, only 4 channels get used while in Standard mode.

Regardless of its small presence, ROHM has gained a cult-like following and become one of the highest-regarded DAC chip manufacturers in the portable player market. There’s a reason why Japanese craftsmanship is praised around the globe!

Alright, let’s get some specs out of the way. The following are the supported audio formats:
PCM: 768kHz/32-bit; Native DSD512

You can also use the DX320MAX as a USB DAC, and when doing so, it supports up to 384kHz/32-bit (PCM) and DoP DSD128.

3.5mm Single Ended Line Out​
4.4mm Balanced Line Out​
Output Level​
2.25Vrms (@No Load)​
4.5Vrms (@No Load)​
Frequency Response​
10Hz-40kHz (±0.3dB)​
10Hz-40kHz (±0.3dB)​
Dynamic Range​
-107 (No Load) (1k/44.1kHz/24bit, 2.25 Vrms)​
-112 (No Load) (1k/44.1kHz/24bit, 4.5 Vrms)​



Like in the past, the analog and digital circuits are completely isolated from each other. Moreover, each is controlled independently, with the digital section being controlled through software, and the analog section exclusively by the stepped attenuator. There are also optocouplers and I2C isolators for the digital/analog hardware and signal communication, which serve the purpose of isolating each section from interference. iBasso has always been very passionate about the concept of completely separating the analog and digital sides, so it wouldn’t surprise me if this idea gets pushed even further in the future. As for the present, we can mention iBasso’s super class-A amplifier. Though such a class isn’t recognized in the official classification system, there’s reasoning behind the name. Class A is highly sought after for its sound characteristics, but the trade-off is heat generation. Combine high heat generation and small space, and you will get a rather inconvenient result, an oven. Super Class A achieves the Class A sound signature, but simultaneously reduces heat generation and eliminates the switching distortion of transistors. From my experience, the design is successful, as I don’t recall a time when my DX300MAX got hot, and the DX320MAX ran even cooler.

We still haven’t gone over one of the most important elements of an amplifier, its components. This is where things get a little crazy. The amplifier board features 8x polyester film capacitors, 4x Philips KP series polypropylene film/foil capacitors, 2x 🇯🇵Nichicon FW series aluminum electrolytic capacitors, 2x 🇯🇵Toshin Jovial UTJS series aluminum electrolytic capacitors, and 2x ERSE C-cap metalized polypropylene film capacitors. That’s a whopping total of 18 capacitors!!! Not just any capacitors, oh no, polyester film capacitors—recognized as some of the best-sounding by audiophiles, film/foil capacitors—many consider them to be the true pinnacle of capacitors for audio applications and find them to sound the best by far, and then there are the two ERSE capacitors—flagship film capacitors from the highly acclaimed manufacturer. When it comes to DAPs, the only other manufacturer using such desktop-grade components is SONY. Let that sink in.

As long as I’ve been in this industry, I recall iBasso using the highest-grade parts and proudly disclosing them. It never settled for basic and conventional designs because they wouldn’t satisfy customers, which is why the complex designs keep getting challenged with every new release. Perhaps you’ve noticed by now that iBasso favors discrete circuit design. Though true that it can benefit performance, whether or not it does so is entirely dependent on the quality of the discrete components and how they are implemented. As a whole, it’s a significantly more tedious and expensive process for the R&D team and the manufacturer. Give a Ferrari to someone who lacks driving skills, and they will turn it into a wreck. It's who’s behind the wheel that makes the difference.

3.5mm Single Ended Phone Out​
4.4mm Balanced Phone Out​
Output Level​
4.5Vrms (@No Load)
4.5Vrms (@300Ω)
4.0Vrms (@32Ω)​
9.0Vrms (@No Load)
9.0Vrms (@300Ω)
6.0Vrms (@32Ω)​
Frequency Response​
10Hz-40kHz (±0.3dB)​
10Hz-40kHz (±0.3dB)​
Dynamic Range​
-112 (No Load) (1k/44.1kHz/24bit, 4.5 Vrms)
-109 (@300Ω) (1k/44.1kHz/24bit, 4.5 Vrms)
-101 (@32Ω) (1k/44.1kHz/24bit, 1.0 Vrms)​
-114 (No Load) (1k/44.1kHz/24bit, 9.0 Vrms)
-113 (@300Ω) (1k/44.1kHz/24bit, 9.0 Vrms)
-102 (@32Ω) (1k/44.1kHz/24bit, 2.7 Vrms)​


The patented dual power supply structure has become a staple of iBasso’s flagship-series players for a reason. Not only is it convenient, but it also aims to benefit performance. If numbers are all you are after, then you’ll be happy to hear that there’s still a total of 9800mAh powers the beast. The digital section is powered by a single 6200mAh battery pack, while the analog section uses four 900mAh batteries. What too got carried over from the DX300MAX is the optimized power supply path for the analog section, the battery pack directly loaded on the amplifier board, and a true ±8.4V battery pack for the amplifier section with no voltage boost.

If you care about battery health, then you should never allow your battery to drop below 25% and should stop charging at 80%. If you are more curious about this topic, check out this link (thanks to @Poganin for recommending it): https://batteryuniversity.com/article/bu-808-how-to-prolong-lithium-based-batteries. Other than that, I advise you to avoid Samsung’s fast chargers with all basso DAPs, and it might be smart to avoid other smartphone brand fast chargers. They are not optimized for iBasso players and create a complete mess. For one second it says it’s fast charging, the next second it says it’s charging, and then it says it’s not charging. It’s inconsistent and not healthy for the batteries. If you already want to get an aftermarket charger, look into Anker’s offerings.
Per iBasso, the marketed average playtime in standard mode is 17 hours, and in ultimate mode, 13 hours. As expected, these estimates can be impacted by several factors such as screen brightness, OS, volume, headphone and/or IEM load, single-ended or balanced, audio file format, etc. I was getting an hour or two less than the marketed times.


Android 11

Much like other iBasso’s DAPs, DX320MAX features a custom ROM. The Android OS is very similar to a stock ROM, but the most noticeable differences are in settings. Of course, there is the addition of some exclusive settings, but there are also some settings that are missing — as was the case in the DX300. The whole experience is as smooth as butter. There wasn’t a time when the DAP showed any signs of having a hard time. However, I should point out that I didn’t do any demanding tasks like playing video games.

The home screen still benefits from flexible features, but it’s missing some that were present on the DX300MAX. After a long press anywhere on the home screen, a pop-up appears and there are three options: Home settings, Widgets, and Wallpapers. Under “Home settings”, DX320 offers three options: Notification dots, Enable feed integration, and The main screen. The first gives you some options to fine-tune notifications. Feed integration is an extra audio-focused desktop that can be accessed once you swipe left on the homepage. It features a mini Mango Player & audio settings (Gapless, Gain, Digital Filter, Play Mode, USB DAC). The main screen is a setting that gives you the choice to display all the apps on a separate home screen. If turned off, you will be able to use the standard app drawer which can be accessed by swiping up. DX300 had one extra option under “Home settings”, and that was “Change icon shape”, which just allowed you to further personalize app icons.

Wallpapers and Widgets remained the same. The only difference related to wallpapers is tied to the new Android 11 OS, and that’s that your wallpaper will be automatically cropped. Whenever you swipe up, pull down the notification bar, or go to recent apps, the wallpaper will zoom out.

The most important audio settings are located in the notification bar. They are: Output, Digital Filter, and Gain.

Output: PO (Phone Out), LO (Line Out)

ROHM’s BD3401EKV chip has two selectable digital FIR (finite impulse response) filters:
D1: Sharp Roll-Off
D2: Slow Roll-Off

Mango App (Version 3.2.7)

The interface of this app is quite simple and minimalist, making it easy to navigate through. On the top-left corner, you can go to a menu in which you can search through your music, or browse your internal/external storage for music. In the top-right corner are located all the audio settings: Gapless, Gain, Play mode, Equalizer (graphic with visual representation, parametric), L/R balance, Digital Filter, Media Scan, and Advanced. In Advanced you can choose: DSD Filter, DSD Volume Match, Unplug Pause, Indicator, USB DAC, Bluetooth DAC, Display settings, Sleep Timer, and System Info. “DSD Filter” allows you to set the cut-off frequency (Low, Medium, High), and “DSD Volume Match” increases DSD files’ volume by 6dB. The addition of these two settings will certainly be greatly appreciated by users who listen to a lot of DSD tracks.

In level with the above-mentioned settings, if playing an album, the track number will be displayed (e.g. “4/10”). Everything below looks exactly the same as in the Mango OS. There is a large track/album cover art, file format, track’s timeline, track info, and playback options.


I’d like to mention that both the parametric equalizer and the graphic equalizer are quite refined. With the graphic equalizer, you can adjust 10 frequency bands (33Hz, 63Hz, 100Hz, 330Hz, 630Hz, 1kHz, 3.3kHz, 6.3kHz, 10kHz, 16kHz) with 24 stops (+/-12), of which each stop alters 0.5dB. On the other hand, the parametric equalizer is much more capable and allows you to adjust make incredibly precise adjustments. Besides being able to play around with the visual graphic, you can put number values to pinpoint the adjustments. There are a total of 6 filters, each can be turned on/off individually. Each filter comes with 4 options:

Filter Type (8 total): low pass, high pass, band pass, notch, all pass, peaking, low shelf, high shelf
Fc: any value between 33Hz - 16kHz
Gain: +/- 20dB
Q Factor: any value between 0.3 - 20

I know that there are a lot of technical terms mentioned here, but they are not rocket science. Visit this link to gain a basic level of understanding of common types of equalizers and filter types: https://iconcollective.edu/types-of-eq/
Or read iBasso's own DX320MAX manual where it's explained how each filter affects the frequency spectrum:

Mango OS (V 2.03.286)

iBasso continues the implementation of its custom operating system — first introduced in 2014, on their DX80 DAP. Mango OS is a very raw operating system, there are no fancy visual effects (that are present on Android), it’s a very stripped-down operating system whose focus is on audio. If you are wondering what I’m talking about, I’m talking about things such as transition animations. These animations contribute to the smooth experience on the Android OS, though you can technically turn them off in Android’s “Developer Options”. Either way, Mango OS is much more than an OS with transition animations turned off!

You will notice that the whole OS is visually quite similar to the Mango App, hence why they share the same “Mango” name.

In total, MangoOS boasts only two menus: “My Music” and “Settings”. The first one is accessed by clicking on the menu icon in the top-left corner. Through this menu, you can access everything related to music media (now playing, all music, directory, album, artist, genre, and playlist). All music, as the name suggests, displays all scanned music. You are given 4 options for sorting all of your music: title, album, artist, and added. Besides “My Music”, “Album” gives you an option to sort all your albums in either a list or an icon layout. “Settings” are accessed by clicking on the settings icon in the top-right corner. Once you’re in the settings menu, you have the option to change the following: gapless, output, play mode, L/R balance, equalizer (graphic EQ), digital filter, advanced, and the option to switch to the Android OS. In “Advanced”, there is a second set of settings: Media Scan, Languages, Display, Power Management, System Info, DSD Volume Match, DSD Filter, DAC [mode], System Info, MTP (media transfer protocol). Button Settings, Ultimate Mode. For those unfamiliar with MTP, it is used when you want to transfer media between the DAP and a computer.

Menus aside, MangoOS has a homepage/main screen with a bunch of important info. First of all, at the very top (where the notification bar is usually), aligned to the right, you can see the percentages of the digital and analog battery sections. The majority of the screen space is taken by the track/album cover art. Below the cover art, you can see the file format information (audio coding format, bitrate, sample rate, audio bitrate size).

For the most part, everything below the cover art and file format info is pretty familiar: track timeline, track name/artist/album centered & displayed one below the other, play/pause & previous/next buttons. In line with the artist/album: on the left side, is a sound wave icon that reveals thorough information about the current track (track name, file format information, artist, album, duration, path, and an option to delete it); on the right side, play mode icon (Order, Loop, Shuffle, Repeat).

And that’s the whole Mango OS for you.

Bluetooth & WiFi

The DX220 was the first DAP to support two-way Bluetooth 5.0, which provides native support for LDAC and aptx. The DX320MAX inherited this feature. As for WiFi, it's equipped with two antennas (2x2 MIMO) that allow it to support up to two streams of data. It also has the dual-band 2.4Ghz/5Ghz ability. The WiFi standard that is implemented is the 802.11b/g/n/ac. Aside from being a transmitter, the DX320MAX also acts as a Bluetooth receiver. This allows it to have the Bluetooth DAC function, which basically means that the DAP receives digital data from a source and converts it into an analog electrical signal. However, when using it as a Bluetooth DAC, you are limited to AAC and SBC codecs.

Sound Performance & DX300MAX SS Comparison


To answer this question, I took my SR3 and made notes of any audible differences between the volume-matched DX320MAX and DX300MAX SS. After listening to a wide variety of tracks from different genres, the one difference that remained audible across all of them was bass. The DX320MAX is characterized by a snappier and more defined low end. Besides being pure ear candy, Pink Floyd’s “Dogs” is a phenomenal track to listen to for imaging and bass qualities. Oh, I’m fully aware of how insulting it is to use such a masterpiece for benchmarking purposes, and trust me when I say that I’d rather be listening to it for enjoyment purposes any other day! However, now is the time for me to put my critic coat on, and provide you with valuable assessments. For this, we can start by narrowing down the focus to the percussion, which is dynamic and moves on an XYZ-axis. More specifically, it’s the drumming segments in Dogs [3:48-4:15; 6:37-6:45; 7:23-7:30; 14:13-14:40] where a clear difference can be heard between the DX320MAX and DX300MAX SS. Not only is each and every drum hit more firmly defined in space, but the DX320MAX also has an edge over the DX300MAX SS when it comes to speed. It bites down on the attack quicker, leading to more responsive and controlled drum hits. The mids, on the other hand, remain largely the same in terms of timbre and quality. There are some tracks on the DX300MAX SS where vocals are ever so slightly more forward and have a tad bit more of a lower mid-range presence, but other than that, the two are very alike. Something interesting that I found no explanation for is how vocals sound on the DX300MAX SS. They have something special that gives them this quality of pure transparency and realism, but it’s only true for vocals. Instruments such as acoustic guitars tend to sound better on the DX320MAX. Something that pretty much all DX320MAX vs DX300MAX impressions agree upon is a blacker background, more headroom, and an expanded soundstage on the former. My findings align with this, but I would also add a major improvement in imaging precision. I concluded that both the larger perceived soundstage and better imaging precision are directly correlated to the blacker background and more headroom. It’s rather logical, you decrease the noise floor and thus give all elements in the mix more room to breathe, more room for details, and also make their placement better defined in space. Pretty much everything I just mentioned can be heard in Dogs. We can also take Sia’s “Dressed in Black” [0:54-1:40], where there’s a xylophone in the background. While it is sort of mushed into the mix on the DX300MAX SS, it’s clear and detailed on the DX320MAX, which is actually an indicator of DX320MAX’s superior separation capability. Last but not least, treble. The case here is similar to DX300MAX SS vs DX300MAX Ti, the latter having an overall brighter sound signature. Percussion has an extended edge, giving it a crisper and sharper sound, which I most certainly appreciate! Due to these factors, it’s more forward, but there are also more details and fine nuances that can be heard in percussion instruments. If you would like to give it a listen yourself, play Daft Punk’s “Get Lucky” or even better, Russian Circles’ “Philos” [4:16-5:38; 5:39-6:18]. It shouldn’t take long before you hear just how much more it pops on the DX320MAX.

To my surprise, the differences were greater than I initially anticipated.



The iBasso DX320MAX Ti is the most advanced portable DAP to be ever released, there’s no way around it. I’ve been labeled an iBasso fanboy multiple times now, but if acknowledging all the accomplishments and product’s values from a neutral standpoint while taking the whole market offerings into consideration makes me one, so be it. I will say that no manufacturer continues to push the envelope as consistently and frequently as iBasso. With the DX320MAX, we got the quad DAC implementation that was introduced in the DX300, we got the flagship ROHM chips that were introduced in the DX320, we got analog volume control with the brand-new stepped attenuator, we got hardware gain control, we got Android 11, we got a capable SoC, we got the discreet amplifier design with some of the best components, we got the separated battery design… Until iBasso surprises us with another innovation, the only thing that’s left for the MAX series is to feature a modular amplifier module system. Aside from that, it’s got it all!

Sound-wise, is it worth the $1300 premium over the DX300MAX SS? It all depends on how much you value the differences and what your preferences are. What I can tell you is that the DX320MAX has, what’s in my opinion, a significant technical advantage—audibly faster and more tactile low-end response, better bass definition, blacker background, greater detail retrieval, more precise imaging, better separation, crisper treble. If I’m being asked, I’d take the DX320MAX because the previously mentioned technicalities are of great significance to me. You might also be wondering whether the DX320MAX is worth the $200 premium over the DX300MAX Ti, and while I cannot speak about sound performance, the hardware advancements alone justify the price by a long shot! Not to mention how much the longevity is extended with the replaceable battery design and the stepped attenuator volume control. When you have several community members who either own or have heard the majority of the flagship DAPs and say that the DX320MAX is the best out of all of them, what more can I tell you? It’s definitely not the most expensive DAP on the market, yet it did get praised above the almighty $8500 Sony DMP-Z1.

It’s the beginning of a new era for DAPs, and companies like iBasso, Cayin, Sony, and Lotoo are leading the way!
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Great review with amazing technical Details!
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For all the DX320MAX owners out there, I strongly recommend you try maxing out the volume, even if that means you need to switch to a lower gain. There's something about not having resistors in the signal path that opens up the sound so much! I love how there's an added edge, treble really pops when the stepped attenuator is at position 1.

Give it a shot, tell me what you found. I know it's usually recommended to switch to a higher gain if you're at 80% volume, but here I really suggest you try switching to a lower gain (if possible) at max volume. I know it's less ideal for the more sensitive headphones and IEMs, but if you find the max volume to be at your desired listening level, perfect!



New Head-Fier
Hi Whitigir.

Brilliant review you posted there! This is to let you know, that I'll test the DX320 MAX TI against my DX220 MAX from 2020 and will add my experiences to your post after my test cycles as well.

In my feedback I'll mainly focus on the recognized improvements or changes in soundstage, sound fidelity, etc... If existent.

I was very interested in getting some other user feedbacks, who might had been able to write about there own experiences based on the direct comparison of these two models. As there was no feedback, I'll add mine to your post as a kind of an addendum.