iBasso DX320 MAX Ti

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!

Functions‎​

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.
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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.



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.
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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)‎ ​

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:
MQA, APE, FLAC, WAV, WMA, AAC, ALAC, AIFF, OGG, MP3, DFF, DSF, DXD.
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.

Amplifier‎ ​

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.

Battery‎ ​

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.

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.

Conclusion​

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!

The DX320 MAX Ti is the new flagship from iBasso, which is limited to 888 units worldwide. Just like its little brother, the DX320, no DAC chip from AKM or ESS is used here, but from ROHM (BD34301EKV). While two of these ROHM DACs are used in the DX320, there are four in the MAX! This drives in the so-called Ultimate Mode (you can choose between the Quad and Dual operation of the DACs), the already good measured values on the tip! How the MAX sounds with it in comparison to the little brother DX320, more about that later.

After opening the storage box, I look at a very massive player made of titanium, which is also so high quality and noble finish that it could come from a boutique. You really have a statement product in your hands. I wouldn't call the MAX really "mobile", because it weighs about twice as much as its little brother. Since I use my DAPs anyway only in the apartment and in the garden, this is not a problem for me. In terms of dimensions, it is even slightly shorter than the DX320, but almost twice as thick. You have to do without the use of amp modules with the Max. A balanced connection with 4.4mm and an unbalanced connection with 3.5mm are installed here. Both connectors can function as headphone outputs, as well as "real" lineout. I tested the latter for connection to my Niimbus US4, more on that later.

The scope of delivery includes a USB-C cable, a 12V charger, a coaxial cable, a burn-in cable, display protection foils, a warranty card, and a very high-quality leather case with metal applications on the back. A manual is unfortunately not included, also I could not find one on the Internet on the iBasso homepage.



The MAX has just like the DX320 a strictly separated analog and digital section, both powered by separate batteries. The analog side can be charged using the 12V mains charger. The digital side is charged via USB-C. The MAX supports the Quick Charge 3.0 and Power Delivery 2.0 charging methods. You can charge both (analog+digital) at the same time. The player is recharged in about 2.5 hours. The advantage over the DX320 is that you can only charge the most necessary part to conserve battery power. With the DX320, both batteries were always charged at the same time. Another advantage of the MAX is that you can easily replace the battery by loosening two screws on the back. Changing the battery on the DX320 is more difficult. The MAX has a lot of power, 9V@300Ohm or 6V@32Ohm in balanced mode. Even my Suvara and Abyss 1266 TC it drives effortlessly to higher volumes. In Ultimate Mode and Gain 1 I could easily reach the 12 hour mark. The DX320 does not manage that.





A total of 128 GB of storage space is available internally. Of course, you can expand this as much as you want via a micro SD slot. The display of the MAX is a bit smaller than that of the DX320. Both are outstanding in terms of quality.

Like the DX320, Android 11 is on board. The whole thing is powered by a Qualcomm Snapdragon 660 with 6GB of RAM, which ensures a fast-acting UI.

The world's first among DAPs, besides the use of a whopping 4x ROHM DACs in Ultimate Mode, is the volume control. This is where DAPs normally use digital volume control, but it has the problem of bitrate clipping. Analog potentiometers do not have this problem, but there is very slight channel imbalance in the lower control range. The MAX has none of these problems, because for the first time in a DAP so-called stepped attenuators are built in. By using high-precision resistors, the difference between the channels can be limited to +/- 0.1 dB. A total of 24 steps is possible. The behavior of such a setup means that turning the knob first cuts off the sound, creates a channel imbalance, or distorts until the next step is "locked in". The unit is not broken, it is quite "normal" for it to behave this way. My then Violectric V281 with relay controlled volume control exhibited the same behavior if you turned the knob too slowly. You just have to get used to it. More comfortable is certainly the digital control, but metrologically the attenuators are superior and with this DAP iBasso did not want to compromise. With the help of 4 gain stages and 24 steps per gain stage, the control range is sufficient even for very efficient IEMs. By the way, my two 64 Audio IEMs, the U4s and Fourte Blanc are dead silent in operation on the MAX! Via software update, it would certainly not be a problem to implement a slider for the digital volume control afterwards. So you could set the potentiometer to level 24 (MAX) and control the volume purely by software. But sonically it becomes worse in any case!




For the sonic evaluation, I used my Focal Utopia 2022 as well as my two IEMs from 64 Audio mentioned earlier. I also ran the MAX via lineout on the Niimbus US4. All in Ultimate Mode with the use of all four ROHM DACs!

The MAX sounds, in words, "spectacular" and "absolutely round". It invites you to listen to music for hours and virtually captivates the listener. I could hardly get enough of listening during the first few days and kept listening until late at night to hear the next track and the one after that. A tonality that I have never heard before in any other DAP. Here we no longer talk about individual disciplines such as bass, mids and treble, but a representation is offered that is so coherent in itself that simply everything fits together perfectly. With the little brother DX320, I focused more on individual aspects that were emphasized by the various amp modules such as the strong punch of the Amp11Mk2s or the enchanting mids of the Amp14. The Max has everything at once and then some!

Tonally, we're not talking about a warm DAP, such as a Shanling M8, or an overly bright presentation that tends toward sibilants. It is all in all neutral tuned with technical finesse at the very highest level, but without sounding purely analytical, but very musical.

I would describe the combination MAX with the Utopia 2022 as an absolute dream combination. Directly noticeable is the very wide and broad room illumination. What the little brother DX320 already represents on a very high level is even a step higher with the MAX. Instruments are even more clearly separated from each other, the stage seems wider and deeper. My Topping D90SE + Niimbus US4 combo has to admit defeat! That is already an announcement. But wait, there was something else! The MAX will be plugged to the Niimbus later! The U4s, which already plays very wide in terms of soundstage here, is a good step up.



Resolution is another feature compared to the DX320. The Max sounds even cleaner, can crystallize individual sound elements even better from the recording. An acoustic magnifying glass, without the slightest hint of too peaky or unstable highs. And I also use the "Sharp Roll-Off" filter instead of the "Slow Roll-Off". It's hard to believe what details my Fourte Blanc can tickle out of the recording.

The midrange gives me goosebumps. Vocals and acoustic instruments as real and natural as possible to reproduce. That was iBasso's goal, and I think they achieved it. The Fourte Blanc goes in the mids even more "pithy" to the point and thus seems even a touch more natural than with the DX320.

You simply have to have heard such an audible bass with an Utopia 2022. I as a small "basshead" set great store by the bass range and the MAX disappoints me here in no way. Punch to the bone when it is on the recording and in addition it goes down to the lowest registers. When the drums kick in during "Prosthetic" from "Haken" and it really "hammers" then I know that the DAP is doing everything right. And how! The control, even in the most complex metal passages is striking and leaves the little brother DX320 behind. The Fourte Blanc and the U4s benefit just as much from the better bass range.

I was excited to test the MAX as a source for my Niimbus US4. There I already liked the DX320, which also has a "real" lineout with direct connection to the DAC without going through the amp circuit. The MAX leaves my Topping D90SE quasi in the "rain". It's in a different league. I have never experienced my Susvara as good as with the chain consisting of MAX + Niimbus US4. Gigantic room illumination, incredible bass precision and a coherence to kneel down. Brilliant! I think my D90SE must now take over the part as a backup.

With the DX320 MAX Ti, iBasso has really hit the jackpot. A musical wonder weapon for on the road, which I have not yet heard in this quality. Madness! The price of 3499€ is of course not exactly a bargain but for me it is worth every penny. To be fair, it must also be said that it is not exactly a lightweight with its approx. 600 grams and is certainly not as well suited for on the road as its little brother the DX320. However, this format also works for the jacket pocket if you absolutely want to take it with you. If you have no problem with the size, weight and not so comfortable volume control, then the MAX is a very clear buy recommendation from me. However, if you're looking for something more portable, you should just stick with the DX320. It already offers 90% of the sound of the MAX for less than half the price.