[ngoshawk]

This will also be posted on my blog, various FB groups, and HF in a dedicated review thread, when I set it up, unless one of you wants to do that...

Questyle CMA Twelve ($1499): Another stellar Questyle product

CMA Twelve

Audio46 link

The unit has come my way through another excellent tour from Audio46. I have heard the Questyle CMA Twelve Master from another tour and found it fantastic. Among the cleanest sounding, if not THE cleanest sounding DAC/Headphone Amps I have heard, I eagerly anticipated the “normal” Twelve. If the Master sounds as good, then Questyle has kept their traditional excellent sound going nicely. I have the unit for one week and will do my best to provide competent thorough information. Hopefully through the other reviews on the tour and gaps will be filled in. I thank Audio46 for the loan of the unit and will send said unit off when my time is up to the next lucky person.


Specs (from the Questyle site):

DAC+Headphone Amplifier Section

– Outputs:

4.4 mm balanced headphone jack
4PIN balanced headphone jack
6.35mm headphone jack

– Max Output Power(Po):

247mW @ 300Ω; 900mW @ 32Ω(6.35mm headphone jack)
825mW @ 300Ω; 2W @ 32Ω (balanced headphone jack)
– THD + N:
0.00070% @Po=100mW, 300Ω
0.00167% @ Po=50mW, 32Ω
– Frequency Response:
DC-20kHz(+0, -0.4dB)@0dBFS, 24Bit, 192kHz
DC-80kHz(+0, -3dB)@0dBFS, 24Bit, 192kHz
– SNR: 112dB, non-weighting

DAC+Pre-Amp Output Section:

– USB Type B Input:

Support 44.1kHz-384kHz/16Bit-32Bit PCM and DSD Native DSD64, DSD128, DSD256, as well as DSD64, DSD128, DSD256 of DoP format
(Note: support Win XP, Vista, Win7, Win8, Win10 and Mac OS)

– Digital Input & Output:

SPDIF input and output, Optical input, AES/EBU input
Support 44.1kHz-192kHz/16Bit-24Bit PCM

– Pre-Amp & DAC Section:

Balanced XLR x1 pair, unbalanced RCA x1 pair
STANDARD 14dBu: XLR: 5.084V RCA: 2.549V
STUDIO 20dBu: XLR: 8.887V RCA: 4.475V
THD+N@STUDIO 20dBu: XLR: minimum at 0.00085% RCA: minimum at 0.00115%
SNR: XLR:>112dB RCA:> 109dB (non-weighting)
(Note: FIX/ADJ: Fixed Output Mode or Adjustable Output Mode of the pre-amp.)

In The Box:

CMA twelve
Power cord
Remote
Manual


Gear used/compared:

Audeze LCD3
Empire Ears Legend X

Cayin C9 (in house as well)
iFi Pro iDSD/iCAN

Macbook Pro
Shanling M6 Pro


Songs:

Alex Fox
Stevie Ray Vaughan
Elton John
Twenty one pilots
Santana
Buena Vista Social Club
Jeff Beck
Pink Floyd


Unboxing:

As per usual with Questyle, the unit comes well protected. A box within a box is standard fare, and that inner box (along with outer box) can be saved for moving purposes. The Twelve sits inside a thinner soft foam insert but is well protected due to the efficient shape of the foam. The Twelve also comes wrapped in its own cloth sleeve, complete with a full-length Velcro closure. Protected like a top end product should be. The remote and power cord come wrapped in individual plastic bags as well, in a separate side compartment of the foam. Nicely done.

Build:

I have yet to see or own a Questyle product with sub-par build quality. Many other companies should take note of the excellent fit of material and shell components as well. Sleekly defined, much like the integrated amps of old, the Twelve looks the part as I would expect.


Parts:

Coming with multiple hook ups and options, the Twelve continues Questyle’s mantra of adaptability. With optical in, digital XLR hook up, SPDIF and USB input, you have multiple options with which to use for a source. You can bypass the amp for a dedicated DAC using RCA or dual XLR hook ups as well, much like the iFi Pro iDSD (the only item I have of comparable aspects). I used the USB input exclusively using my MBP and Shanling M6 Pro as sources.

Switching between options lies on the front of the packed Twelve, with three toggles used to differentiate between power, function (headphone amp or DAC) and Bias Control (standard and high). A small push button near the left allows you to change source input, going through the options mentioned above, including a wireless BT (5G) option. The option of choice is lit in yellow when chosen. Another nice feature is the format support, which also lights up for sampling rate. Once you get used to the layout, you can know what source and format is playing. All of this can be controlled through the very thorough remote, which even has a mute button for those times when it is needed. Also included is an option for Questyle’s own Qlink docking station, which came out a few years ago allowing wireless connection and a charging station for your Questyle DAP. I have not tried this option, but reviews are good. One expects a complete package with a Questyle product, and the Twelve does not disappoint.

Coming with three headphone hook up options, you should easily find a way to hook your IEM’s or headphones up. I used the 4.4bal connection for the Legend X (Eletech Socrates cable), and the XLR for the LCD3, both balanced options. The 6.35mm is unbalanced, but from experience with other Questyle top shelf items, the sound should be as good (it is...). The volume button on the far right finishes the black anodized unit. Personally, I am not a fan of the toggle switches in the overall look, but they function so easily I understand why they were used. Modest design principles are used throughout the Twelve, and I appreciate understated elegance. The Twelve would look equally at home as part of a fine stack system in your home unit or highlighted in a listening room or office on its own. That subtle look draws people in with questions and you go from there.

Technicals:

The Twelve uses four Current Mode amplifiers (CMA), Questyle’s in-house designed units, promoted as “close to the musician” as possible, sound-wise. Having heard that in other Questyle products, I would agree. The vibrancy with which sound permeates the listening device comes across through the use of CMA to me. With purse Class-A bias control as well, you can give your hard to drive headphones an added push along the ability to use in a system for speakers. The CMA Twelve uses an AKM AK4490 DAC chip with true DSD inside, and when combined with the other wizardry provides the listener with anything but a sterile, antiseptic listening pleasure. Vibrant and full of energy, the Twelve matches what I have found in the others; a clean clear, detail almost extravagant listening pleasure, full of verve as well. This did of course come before the Twelve Master, so that is to be expected.

This is not your basic expensive DAC/amp either. The unit can be used in a studio situation, providing instant live feedback to recordings through the “studio” and “standard” switch on the back while listening through the 6.35mm jack. In studio mode, the power is increased to match the studio-level professional equipment, taking its place among the highest offerings.

Combine all of the offerings listed and you have the makings of a top-class DAC/amp. I expect nothing less from a Questyle. But how does it sound?

Sound:

Summary: coming off another fine headphone amp, which can also do much more, the Questyle was a nice surprise as I thought I wasn’t that close yet. Having experience the Twelve Master already, I was curious to note the differences and if I could hear them. From memory, the Master is exceptional. One of the finest offerings out there, but at $2000, it is rather expensive for many. Happily, the Twelve comes in with fewer internal offerings to make that sound clean without shorting anything. For that $500 saved, I would opt for the Twelve myself because I am hard pressed to actually hear the difference too much. The Master is fantastically musical and has a clarity of it few can match no doubt, but what you would give up by going with the Twelve is not that much to my ears.

Exceptional clarity is again had, without coloring the sound other than to add a bit of energy. I liken this to what the engineers offer at the studio directly. Alex Fox’s Love Is In The Air makes for an excellent sound, with spacious detail as well. Giving each instrument its own space allows you to experience what is meant to be in each song. The only limitation would be your source unit. This is another where you really owe it to yourself to have a good source unit in place to accommodate the Twelve. It deserves that.

In-depth:

I do find reviewing amps of this mature a bit harder than your average IEM or headphone. Those are easy to pick out differences in build quality and sound. When you reach into this level, to me it is harder to quantify those differences, for all units are pretty decent in their own right. If you want to tailor something to your sound, you certainly can. If you want the source to be the star, then you owe yourself a look at units, which allow that to happen. The Twelve is one of those unit, which indeed allow the source and headphone to shine (or not). I found listening through the Audeze a much more pleasurable experience than my Legend X through the MBP. Something just seemed off. I will note that the Legend X was extremely easy to drive, and I could have easily blown my ears or the unit through the volume knob. Even on the Audeze, I never passed 1/4-1/3 on the volume to satiate my listening.

What stands out to me is the purity of sound that emanates from Questyle products. There is almost no coloration to the sound, and what could be construed that way is actually to me a vibrant, rich energy. That energy promotes itself as coming through with excellent detail and clarity (words I have used a good bit of late) but with more vibrancy than some previous offerings. Detail promotion permeates through separation and the laying of good foundations within the sound. If you want an equalized sound, then look elsewhere, for the only EQing you can do is through your source. Crystalline sound originates from within the Twelve, or maybe from the source, but Questyle to me is known for promoting a cleanliness of sound (other verbiage I have used a good bit of late) that is extremely hard to beat.

While I do love the sound from my iFi duo, if I had the need for a simple usable device, which provides me with an equal amount of listening pleasure, the Questyle Twelve would be at or near the top of recommendations for replacing. Sometimes you just don’t need all the extras like iFi incorporates such as the bass boost and holography of sound and here the Questyle may very well best the iFi in terms of straight sound. Don’t get me wrong, I would never trade the iFi duo in until they give out (hopefully never), but were there the need, the Twelve would promote itself to me in the grandest terms.

Yes, there are indeed other sources, which may even be had used, which can come close but when someone is looking for something such as this there is something about getting an item new. I love bargains and would jump at some of the used recommendations I have received over the years (and did on the iCAN to complement the iDSD), but new is new and that’s that.

When one looks for gear, they want the item to promote their listening style and most tailor towards those needs. Many also like to diversify their listening sources as well. I like a richer warmer signature and as such tend towards those objects. But when you come across something, which goes a different direction, you not only look and listen; but pay attention. The Questyle Twelve would be one such source as a departure from my normality as well as appreciation. I pretty much knew this going in after the Master and I have not been disappointed. Filling the listening expanse with excellent detail, decisive layering and separation of the instruments allows those instruments to come across with precision and accuracy (hard to combine both), which is the intended option by the musicians. Present what is there, harvesting the sound in a manner that does not dilute or shade that sound.

The trumpet solo on Chan Chan from The Buena Vista Social Club as well as the acoustic guitar work afterwards presents itself as clean as any unit of late. An almost spatial definition is promoted through the rendering of the Twelve. Not painted but allowed to show its mettle without being stopped at the gate. Follow that with Robert Plant’s still sumptuous and stony voice and you come out with the appreciation of each musician in their own right. Succinct in Bones Of Saints, the staccato of drumstick hit combines with the deep richness of bass guitar and lower chords of electric guitar. Concealing a darker tone, the song hides then promotes a certain promiscuity to it that I would describe as moving towards a crescendo, then back. Over and again with each verse, the Twelve happily allows the sonic pleasures through the gates. No hiding or hindering of sound at all.

Moving to Jeff Beck’s seminal Brush With The Blues, I turn the volume up to “acceptable” levels allowing me to hear each note of separation and distinct percussive hit. Subtle of presentation rising to near euphoric levels, his guitar works through the Questyle and LCD3 effortlessly, allowing me to hear to faint but audible conversations going on in the background of the venue as well as finger plucks much of the time. In other words, like intended. I stop for the long solo and listen. This is where that 1/3 level comes about on the volume knob mentioned above.

Comparisons:

Questyle CMA Twelve ($1499) v Cayin C9 ($1999):

Also in-house for review is the phenomenal C9. Labeled as a “portable” amp, the C9 would be at ease in desktop use as well as being more transportable to me. I mention in my review of the C9 that had I the need for a single device across travel and house, the C9 could very well be it. When one thinks of how much we put into our own gear, it is easy to imagine pairing it all down to singular devices for the same cost (add up all you have spent, and you see I’m pretty much right).

The C9 can be used in solid state or tube as well as Class-A or Class-AB. Having four distinct signatures is a huge advantage if worked properly. For me the icing is the Class-A or AB and the tube timbre. Without going into too much detail, the sound emanating from that combination comes closest to my preferred signature. And yes, that means it does color the sound. With power to boot, it can compete well with the Twelve, only lacking in source hook up options. You can also use it as a pre-amp for other fine devices, which adds to its flair. If I had to choose one of the two, it would probably be the C9, even with the lost options of source hook up. I can make it work with almost everything I would want to listen source-wise, and that extra money involved would keep me honest and use the unit a lot.


Questyle CMA Twelve ($1499) v iFi Pro iDSD/iCAN ($4500):

My home set up came about after a couple of years of saving and purchasing separately. Together these make up what I will happily live with until they go caput. Taken together as my preferred signature affords me many hook up options as well. All I listen to can be hooked up without fuss. Taken separately against the Twelve would be a better option as I chose the iDSD first for its better DAC. The iCAN came in later for the amp characteristics but I could have happily stayed with the iDSD alone.

The iDSD compares favorably to the Twelve but comes with more bells and whistles. The ability to add bass and a holography of sound promote it well. There are a couple of bass-shy IEM’s I listen to often, and the bass boost of the iDSD comes in handy. That would not happen with the Twelve. The iDSD also provides me with a somewhat richer and darker signature to boot. If you want a clean, clear detailed sound both are good, but the tube-richness of the iFi will indeed provide that richness the Twelve does not have. You can tailor out the tube sound on the iFi, but it would still fall behind that crystalline structure of the Questyle to me.

This one comes down to how much you want to spend and what sound characteristics you are looking for. Richness? iFi is the choice. Crystalline sound backed with the ability to fine tune through your source? Then the Twelve would be the better option. Both are fabulous.

Finale:

I always find it harder to review a component such as the Questyle Twelve, for my “expertise” is less valuable here and I rely upon my listening instincts and bad ears. What I have found though is that certain companies come across with a sound that just merits respect. And very much respect to boot. Questyle is one of those, and when I first heard the QP2R on loan, I ended up purchasing one for its clarity-driven clean sound, which allowed the song to come through. To date, it is still my go-to when I need to analyze a sound without coloration. Yes, even with my ears. I do prefer a richer signature, but that can be accommodated through headphones and source units “compensating” for a “lack” of character from the unit. Parenthetically speaking, the Questyle allows the music to shine and shine through without gizmos and tuning options that can cloud the intended. And isn’t that the point?

Sometimes tailoring your sound signature is good and I cannot dispense with the importance of that for good reasons such as mood or work or pleasure. That cannot be underestimated. But when you color something too much, you may find yourself coloring outside the intended lines. And here is where the Twelve keeps you inside the lines, without minimizing your listening pleasures. That is about all I can ask of an item, and I do so enjoy Questyle’s approach. The Twelve is a wonderful listening device with which to devour time, and you can easily lose track of that time while listening. It was time well spent.

I thank Questyle and Audio46 for sending this excellent unit out on tour. It was as much of a pleasure as the Master was when I listened. Wonderful stuff, indeed.

 

[szore]

This will also be posted on my blog, various FB groups, and HF in a dedicated review thread, when I set it up, unless one of you wants to do that...

Questyle CMA Twelve ($1499): Another stellar Questyle product

CMA Twelve

Audio46 link

The unit has come my way through another excellent tour from Audio46. I have heard the Questyle CMA Twelve Master from another tour and found it fantastic. Among the cleanest sounding, if not THE cleanest sounding DAC/Headphone Amps I have heard, I eagerly anticipated the “normal” Twelve. If the Master sounds as good, then Questyle has kept their traditional excellent sound going nicely. I have the unit for one week and will do my best to provide competent thorough information. Hopefully through the other reviews on the tour and gaps will be filled in. I thank Audio46 for the loan of the unit and will send said unit off when my time is up to the next lucky person.


Specs (from the Questyle site):

DAC+Headphone Amplifier Section

– Outputs:

4.4 mm balanced headphone jack
4PIN balanced headphone jack
6.35mm headphone jack

– Max Output Power(Po):

247mW @ 300Ω; 900mW @ 32Ω(6.35mm headphone jack)
825mW @ 300Ω; 2W @ 32Ω (balanced headphone jack)
– THD + N:
0.00070% @Po=100mW, 300Ω
0.00167% @ Po=50mW, 32Ω
– Frequency Response:
DC-20kHz(+0, -0.4dB)@0dBFS, 24Bit, 192kHz
DC-80kHz(+0, -3dB)@0dBFS, 24Bit, 192kHz
– SNR: 112dB, non-weighting

DAC+Pre-Amp Output Section:

– USB Type B Input:

Support 44.1kHz-384kHz/16Bit-32Bit PCM and DSD Native DSD64, DSD128, DSD256, as well as DSD64, DSD128, DSD256 of DoP format
(Note: support Win XP, Vista, Win7, Win8, Win10 and Mac OS)

– Digital Input & Output:

SPDIF input and output, Optical input, AES/EBU input
Support 44.1kHz-192kHz/16Bit-24Bit PCM

– Pre-Amp & DAC Section:

Balanced XLR x1 pair, unbalanced RCA x1 pair
STANDARD 14dBu: XLR: 5.084V RCA: 2.549V
STUDIO 20dBu: XLR: 8.887V RCA: 4.475V
THD+N@STUDIO 20dBu: XLR: minimum at 0.00085% RCA: minimum at 0.00115%
SNR: XLR:>112dB RCA:> 109dB (non-weighting)
(Note: FIX/ADJ: Fixed Output Mode or Adjustable Output Mode of the pre-amp.)

In The Box:

CMA twelve
Power cord
Remote
Manual


Gear used/compared:

Audeze LCD3
Empire Ears Legend X

Cayin C9 (in house as well)
iFi Pro iDSD/iCAN

Macbook Pro
Shanling M6 Pro


Songs:

Alex Fox
Stevie Ray Vaughan
Elton John
Twenty one pilots
Santana
Buena Vista Social Club
Jeff Beck
Pink Floyd


Unboxing:

As per usual with Questyle, the unit comes well protected. A box within a box is standard fare, and that inner box (along with outer box) can be saved for moving purposes. The Twelve sits inside a thinner soft foam insert but is well protected due to the efficient shape of the foam. The Twelve also comes wrapped in its own cloth sleeve, complete with a full-length Velcro closure. Protected like a top end product should be. The remote and power cord come wrapped in individual plastic bags as well, in a separate side compartment of the foam. Nicely done.

Build:

I have yet to see or own a Questyle product with sub-par build quality. Many other companies should take note of the excellent fit of material and shell components as well. Sleekly defined, much like the integrated amps of old, the Twelve looks the part as I would expect.


Parts:

Coming with multiple hook ups and options, the Twelve continues Questyle’s mantra of adaptability. With optical in, digital XLR hook up, SPDIF and USB input, you have multiple options with which to use for a source. You can bypass the amp for a dedicated DAC using RCA or dual XLR hook ups as well, much like the iFi Pro iDSD (the only item I have of comparable aspects). I used the USB input exclusively using my MBP and Shanling M6 Pro as sources.

Switching between options lies on the front of the packed Twelve, with three toggles used to differentiate between power, function (headphone amp or DAC) and Bias Control (standard and high). A small push button near the left allows you to change source input, going through the options mentioned above, including a wireless BT (5G) option. The option of choice is lit in yellow when chosen. Another nice feature is the format support, which also lights up for sampling rate. Once you get used to the layout, you can know what source and format is playing. All of this can be controlled through the very thorough remote, which even has a mute button for those times when it is needed. Also included is an option for Questyle’s own Qlink docking station, which came out a few years ago allowing wireless connection and a charging station for your Questyle DAP. I have not tried this option, but reviews are good. One expects a complete package with a Questyle product, and the Twelve does not disappoint.

Coming with three headphone hook up options, you should easily find a way to hook your IEM’s or headphones up. I used the 4.4bal connection for the Legend X (Eletech Socrates cable), and the XLR for the LCD3, both balanced options. The 6.35mm is unbalanced, but from experience with other Questyle top shelf items, the sound should be as good (it is...). The volume button on the far right finishes the black anodized unit. Personally, I am not a fan of the toggle switches in the overall look, but they function so easily I understand why they were used. Modest design principles are used throughout the Twelve, and I appreciate understated elegance. The Twelve would look equally at home as part of a fine stack system in your home unit or highlighted in a listening room or office on its own. That subtle look draws people in with questions and you go from there.

Technicals:

The Twelve uses four Current Mode amplifiers (CMA), Questyle’s in-house designed units, promoted as “close to the musician” as possible, sound-wise. Having heard that in other Questyle products, I would agree. The vibrancy with which sound permeates the listening device comes across through the use of CMA to me. With purse Class-A bias control as well, you can give your hard to drive headphones an added push along the ability to use in a system for speakers. The CMA Twelve uses an AKM AK4490 DAC chip with true DSD inside, and when combined with the other wizardry provides the listener with anything but a sterile, antiseptic listening pleasure. Vibrant and full of energy, the Twelve matches what I have found in the others; a clean clear, detail almost extravagant listening pleasure, full of verve as well. This did of course come before the Twelve Master, so that is to be expected.

This is not your basic expensive DAC/amp either. The unit can be used in a studio situation, providing instant live feedback to recordings through the “studio” and “standard” switch on the back while listening through the 6.35mm jack. In studio mode, the power is increased to match the studio-level professional equipment, taking its place among the highest offerings.

Combine all of the offerings listed and you have the makings of a top-class DAC/amp. I expect nothing less from a Questyle. But how does it sound?

Sound:

Summary: coming off another fine headphone amp, which can also do much more, the Questyle was a nice surprise as I thought I wasn’t that close yet. Having experience the Twelve Master already, I was curious to note the differences and if I could hear them. From memory, the Master is exceptional. One of the finest offerings out there, but at $2000, it is rather expensive for many. Happily, the Twelve comes in with fewer internal offerings to make that sound clean without shorting anything. For that $500 saved, I would opt for the Twelve myself because I am hard pressed to actually hear the difference too much. The Master is fantastically musical and has a clarity of it few can match no doubt, but what you would give up by going with the Twelve is not that much to my ears.

Exceptional clarity is again had, without coloring the sound other than to add a bit of energy. I liken this to what the engineers offer at the studio directly. Alex Fox’s Love Is In The Air makes for an excellent sound, with spacious detail as well. Giving each instrument its own space allows you to experience what is meant to be in each song. The only limitation would be your source unit. This is another where you really owe it to yourself to have a good source unit in place to accommodate the Twelve. It deserves that.

In-depth:

I do find reviewing amps of this mature a bit harder than your average IEM or headphone. Those are easy to pick out differences in build quality and sound. When you reach into this level, to me it is harder to quantify those differences, for all units are pretty decent in their own right. If you want to tailor something to your sound, you certainly can. If you want the source to be the star, then you owe yourself a look at units, which allow that to happen. The Twelve is one of those unit, which indeed allow the source and headphone to shine (or not). I found listening through the Audeze a much more pleasurable experience than my Legend X through the MBP. Something just seemed off. I will note that the Legend X was extremely easy to drive, and I could have easily blown my ears or the unit through the volume knob. Even on the Audeze, I never passed 1/4-1/3 on the volume to satiate my listening.

What stands out to me is the purity of sound that emanates from Questyle products. There is almost no coloration to the sound, and what could be construed that way is actually to me a vibrant, rich energy. That energy promotes itself as coming through with excellent detail and clarity (words I have used a good bit of late) but with more vibrancy than some previous offerings. Detail promotion permeates through separation and the laying of good foundations within the sound. If you want an equalized sound, then look elsewhere, for the only EQing you can do is through your source. Crystalline sound originates from within the Twelve, or maybe from the source, but Questyle to me is known for promoting a cleanliness of sound (other verbiage I have used a good bit of late) that is extremely hard to beat.

While I do love the sound from my iFi duo, if I had the need for a simple usable device, which provides me with an equal amount of listening pleasure, the Questyle Twelve would be at or near the top of recommendations for replacing. Sometimes you just don’t need all the extras like iFi incorporates such as the bass boost and holography of sound and here the Questyle may very well best the iFi in terms of straight sound. Don’t get me wrong, I would never trade the iFi duo in until they give out (hopefully never), but were there the need, the Twelve would promote itself to me in the grandest terms.

Yes, there are indeed other sources, which may even be had used, which can come close but when someone is looking for something such as this there is something about getting an item new. I love bargains and would jump at some of the used recommendations I have received over the years (and did on the iCAN to complement the iDSD), but new is new and that’s that.

When one looks for gear, they want the item to promote their listening style and most tailor towards those needs. Many also like to diversify their listening sources as well. I like a richer warmer signature and as such tend towards those objects. But when you come across something, which goes a different direction, you not only look and listen; but pay attention. The Questyle Twelve would be one such source as a departure from my normality as well as appreciation. I pretty much knew this going in after the Master and I have not been disappointed. Filling the listening expanse with excellent detail, decisive layering and separation of the instruments allows those instruments to come across with precision and accuracy (hard to combine both), which is the intended option by the musicians. Present what is there, harvesting the sound in a manner that does not dilute or shade that sound.

The trumpet solo on Chan Chan from The Buena Vista Social Club as well as the acoustic guitar work afterwards presents itself as clean as any unit of late. An almost spatial definition is promoted through the rendering of the Twelve. Not painted but allowed to show its mettle without being stopped at the gate. Follow that with Robert Plant’s still sumptuous and stony voice and you come out with the appreciation of each musician in their own right. Succinct in Bones Of Saints, the staccato of drumstick hit combines with the deep richness of bass guitar and lower chords of electric guitar. Concealing a darker tone, the song hides then promotes a certain promiscuity to it that I would describe as moving towards a crescendo, then back. Over and again with each verse, the Twelve happily allows the sonic pleasures through the gates. No hiding or hindering of sound at all.

Moving to Jeff Beck’s seminal Brush With The Blues, I turn the volume up to “acceptable” levels allowing me to hear each note of separation and distinct percussive hit. Subtle of presentation rising to near euphoric levels, his guitar works through the Questyle and LCD3 effortlessly, allowing me to hear to faint but audible conversations going on in the background of the venue as well as finger plucks much of the time. In other words, like intended. I stop for the long solo and listen. This is where that 1/3 level comes about on the volume knob mentioned above.

Comparisons:

Questyle CMA Twelve ($1499) v Cayin C9 ($1999):

Also in-house for review is the phenomenal C9. Labeled as a “portable” amp, the C9 would be at ease in desktop use as well as being more transportable to me. I mention in my review of the C9 that had I the need for a single device across travel and house, the C9 could very well be it. When one thinks of how much we put into our own gear, it is easy to imagine pairing it all down to singular devices for the same cost (add up all you have spent, and you see I’m pretty much right).

The C9 can be used in solid state or tube as well as Class-A or Class-AB. Having four distinct signatures is a huge advantage if worked properly. For me the icing is the Class-A or AB and the tube timbre. Without going into too much detail, the sound emanating from that combination comes closest to my preferred signature. And yes, that means it does color the sound. With power to boot, it can compete well with the Twelve, only lacking in source hook up options. You can also use it as a pre-amp for other fine devices, which adds to its flair. If I had to choose one of the two, it would probably be the C9, even with the lost options of source hook up. I can make it work with almost everything I would want to listen source-wise, and that extra money involved would keep me honest and use the unit a lot.


Questyle CMA Twelve ($1499) v iFi Pro iDSD/iCAN ($4500):

My home set up came about after a couple of years of saving and purchasing separately. Together these make up what I will happily live with until they go caput. Taken together as my preferred signature affords me many hook up options as well. All I listen to can be hooked up without fuss. Taken separately against the Twelve would be a better option as I chose the iDSD first for its better DAC. The iCAN came in later for the amp characteristics but I could have happily stayed with the iDSD alone.

The iDSD compares favorably to the Twelve but comes with more bells and whistles. The ability to add bass and a holography of sound promote it well. There are a couple of bass-shy IEM’s I listen to often, and the bass boost of the iDSD comes in handy. That would not happen with the Twelve. The iDSD also provides me with a somewhat richer and darker signature to boot. If you want a clean, clear detailed sound both are good, but the tube-richness of the iFi will indeed provide that richness the Twelve does not have. You can tailor out the tube sound on the iFi, but it would still fall behind that crystalline structure of the Questyle to me.

This one comes down to how much you want to spend and what sound characteristics you are looking for. Richness? iFi is the choice. Crystalline sound backed with the ability to fine tune through your source? Then the Twelve would be the better option. Both are fabulous.

Finale:

I always find it harder to review a component such as the Questyle Twelve, for my “expertise” is less valuable here and I rely upon my listening instincts and bad ears. What I have found though is that certain companies come across with a sound that just merits respect. And very much respect to boot. Questyle is one of those, and when I first heard the QP2R on loan, I ended up purchasing one for its clarity-driven clean sound, which allowed the song to come through. To date, it is still my go-to when I need to analyze a sound without coloration. Yes, even with my ears. I do prefer a richer signature, but that can be accommodated through headphones and source units “compensating” for a “lack” of character from the unit. Parenthetically speaking, the Questyle allows the music to shine and shine through without gizmos and tuning options that can cloud the intended. And isn’t that the point?

Sometimes tailoring your sound signature is good and I cannot dispense with the importance of that for good reasons such as mood or work or pleasure. That cannot be underestimated. But when you color something too much, you may find yourself coloring outside the intended lines. And here is where the Twelve keeps you inside the lines, without minimizing your listening pleasures. That is about all I can ask of an item, and I do so enjoy Questyle’s approach. The Twelve is a wonderful listening device with which to devour time, and you can easily lose track of that time while listening. It was time well spent.

I thank Questyle and Audio46 for sending this excellent unit out on tour. It was as much of a pleasure as the Master was when I listened. Wonderful stuff, indeed.

Another epic review...you're killing it!

 

[ngoshawk]

Another epic review...you're killing it!

 

[szore]

So the 12 has arrived with a bang; it's awesome. Gobs and gobs of power. On standard, or 'low' gain, with my custom Valkyrie and the PWAudio Monile 1950s, and SilverDragon USB cable, I'm cranking a song and the volume is at 9:00, at 11:00 is the pain threshold for me, now imagine putting this in 'high' gain, and cranking it to 3:00 oclock? Thats a LOT of power! Surprisnigly, my 3dt sounded great, but it was past it's design limits. The 3DT showed the boundry of what it can do, but the custom has scaled up amazingly! Even over the 400i there is a more controlled and more powerful presentation.... The custom has REALLY come alive now, with the silver usb cable and the monile, this crap rocks, man....

 

[szore]

Wow. The Q is magical...at first I thought it was overkill for me, maybe not overkill after all... very impressive...great depth...sophisticated tuning, very nice.

 

[szore]

So I'm listening to Whole Lotta Love off the live Celebration Day, and i'm on the cutting edge; right below pain threshold, and the Q is half asleep at 10:00...THAT'S power!

 

[szore]

Wow, so I'm trying my other cables on the Q and my custom Valkyries, and maybe I was too dismissive of sub 1k cables, the Forzaworks silver/copper hybrid and the PWAudio1% gold/silver alloy, both bring their own charms...their soundstage isnt as big as the monile 1950, and they don't have the same dynamic range, yet in the signature they bring, they are doing a phenomenal job and have great synergy with the Questyle. I have the Forza in right now, and it is the cleanest and smoothest of the 3...the bass is the most controlled, yet has tons of layering and slam....the mids are smooth and textured...I also hear great clarity and depth. The highs are not that extended, but they are buttery smooth and detailed.

When I go back to the 1% gold, suddenly I get this great coherency that I think only alloys can bring...in it's wake we get deep, rich, layered bass, tons of sub bass rumble...Yet in the midst of this bedrock of bass, we have the mids and highs, layered in their own space, presenting brilliantly...The high end has more air and detail, and the mids, I can never get this image out of my head with this cable, the mids are like.. imagine there is a christmas tree, and the top is the treble, the bottom is the bass, and the mids are the ornaments and lights, all layered and micro detailed, hanging in space....Really fantastic...

Going back to the Monile 1950, we get more volume and depth in the bass, but there is greater detail and clarity as well...It really is a quantum leap up. Greater dynamic range, etched, bigger sound stage, holographic effect, and again, phenomenal clarity....and the synergy with the 1950, the customs, and the Questyle, is really terrific. The Q is a tad warm, in a good way, and its authority and power is softened by a kind of warm musicality, that also allows you to see deep into the mix. I just cranked the volume up to 10:30, and my hair is vibrating....

 

[durwood]

Let me first thank Audio46 for the opportunity to test this out in my home sanctuary. This is outside of the realm of equipment I usually consider so not a whole lot of equivalent equipment to compare it to.

Cosmetic Package
The Questyle CMA Twelve (how dare anyone substitute a 12) DAC and Headphone amp combo is a solid hunk of amp with a very premium feel and a 2019 premium-ish price tag at $1499. All sorts of options up and down the scale. In my house the closest competitor is a whooping $200 stack of compact DAC and no frills headphone amp Liquid Spark + JDS Labs Atom. The design of the Questyle CMA Twelve has a geek side something that satisfies the more mature crowd without overly bright flashy displays, but instead goes for an engineer’s idea of a piece of lab testing equipment. The indicator lights are not overbearing and very sharp looking. The toggle switches feel dainty, but my experience with these in my day job will no doubt prove to last a long time.

Commentary
It’s a wonderful piece of machinery with a few minor near misses. Sonically it does everything a premium product should do, powerful amplification, transparent noise-floor, butter smooth presentation with exceptional precision, I think I am in love.

There is only a minor imperfection, low volume channel imbalance. It goes away after a few clicks up from 0 and is present on my normal setup as well. It should not a be a deal breaker, unless it exhibits this at listening level someone would actually use.

The other strange thing I do not understand is if their claim to fame is the current mode amplifier running in their controlled/auto Class A bias mode, why is it not an option to toggle to headphone amp only mode with input from another DAC?

Power Consumption tests, I was curious how much extra power is used when switching the bias setting.
0.14/0.17A standard vs High Bias
0.16/0.19A after warm
12W/15W Volume/load has no measurable bearing on this.
14W/16W after warm

Modes
DAC/preamp fixed or adjustable output
DAC + Headphone Amp
Headphone amp only (missing option...bummer)

Sound
The Bias switch does make a difference, I am glad they allow you to switch it on/off just to see the effect-show and tell. Bass has a little more haptic while the treble portrays everything more dimensionally. Similar to going from a more dead room to a lively room, extremely subtle but still noticeable. The question is does this add coloring or remove coloring? I cannot answer but I would love to believe it makes it more expansive without coloring.

Testing the DAC output to my JDS Labs Atom, there was also a slight improvement in the separation of instruments, but as expected it is the total combination of the DAC and amplifier that are musical and organic. The Questyle CMA Twelve treble comes off smoother and yet still more detailed. I found myself missing that extra little seismic information that it extracts when I went back to my Atom. Going from memory, I prefer the Questyle CMA also over the SMSL SH-9 due to the sterile cleanliness and the more analog volume control.

Power output should be plenty to drive almost anything, I don’t have anything besides the Sennheiser HD6XX that really needs the super power, but the Oppo PM-3 and JVC HA-FDX1 also benefited from the extra headroom. I pretty much used it in standard gain mode with everything since it was annoying to flip it over to make changes.

Other features that I was unable to test but it comes equipped with:

• 4.4mm Pentacom or 4Pin XLR balanced output. I don’t have any cables to utilize.​
• Balanced output into an amplifier as a standalone DAC. I have no 2 channel system that would do it justice.​
• Proprietary 5Ghz wireless receiver input.​
• DSD playback, not my thing​
• Studio output, not a music producer/mastering engineer so no gear.​
• The Remote, probably more useful in DAC only mode. Buttons appear to be fuzz magnets.​

Final Remarks

Wonderfully sounding DAC amp combo that extracts the microdetails, plenty of connection options minus the ability to use it as a headphone amp only being the only drawback. If I had the desire to purchase gear over $300-400, this would be on my short list. Since this product was released in 2019? it doesn’t utilize the newest DAC chips or boast over the top SINAD numbers, yet it still sounds more musical and more transparent. A caveat-I don’t want to pile on, but there have been some past complaints about support, and as you go up in price tiers the support is something you hope to never have to use. Perhaps they will be more responsive if there is an issue, but this is something to consider with any brand in such a niche market. With that out of the way, overall excellent sounding DAC/Amp combo.

 

[macdonjh]

It's here. And I thought I was going to make progress on my honey-do list this week.

 

[macdonjh]

I was fortunate enough to be invited to participate in a tour for the Questyle CMA Twelve DAC/amp, organized by Audio46. As part of the tour, I was able to use the CMA Twelve at home for a bit more than a week. Thank you to Audio46.

Preliminaries: I used the same pair of head phones throughout my audition: HiFiMAN HE-500 planars. They’ve been with me for years, and have proven to be upgrade-proof so far. I tried getting a couple other pair in for this audition, but my plans fell through. I didn’t try any of my IEMs with the CMA Twelve as I use IEMs for on-the-go listening rather than at home.


Amps and DACs: at home I have two head phone systems. One system pairs a Schiit Bifrost I multi-bit with a Mjolnir I amp. My other system is a Gungnir delta-sigma paired with a Sys and Aegir. I’ll admit, it’s somewhat crazy to use a 20W amp with head phones, but the Aegir’s primary purpose is to power my Stax, so the oomph is warranted. It’s nice to have essentially limitless headroom…

I kept my source consistent as well. My source was an Astell&Kern AK70 Mk II using its USB output. Keeping variables to a minimum, you know.

Unboxing was fairly uneventful. The CMA Twelve arrived in a plain brown box with several mailing labels from its travels. Inside was the manufacturer’s box. Inside that was the CMA Twelve, power cord and remote control (which I didn’t see until I was reboxing, sheesh).

Some basics: even with standard gain, there is plenty of power supplied to my HiFiMAN HE-500 planar head phones with the volume knob at 9:00 (connected to the 4-pin XLR balanced port). Because of that, I didn’t try the amp at high gain. I don’t have a big collection of high-resolution files, and no DSD, so I didn’t use any of the various sample rates the 12 is capable of decoding.

I didn’t follow my normal rush, rush, A/B listening regimen while I had the CMA Twelve. Rather, for the first couple of days I simply listened to the Questyle and made notes about what stood out to me. Then I spent a couple of nights doing listening to my familiar gear and doing A/B comparisons when I thought I heard something. Finally, I went back and simply listened to the CMA Twelve again. New music, familiar favorites, whatever came up on my DAP. While I only refer to a few pieces of music below, those are the songs which contained specific examples of what caught my attention about the CMA Twelve’s sound. So, I won’t spill a bunch of words describing the basic sound of the Questyle, which is quite good: it soars high, digs deep, attacks when called upon, relaxes and grooves when the mood strikes you. Rather, I’ll jump into the details about what is different between the Schiit gear I am used to and what Questyle brings.

Most of the time I listened with a balanced connection to my head phones. I did; however, use an XLR-to-TRS adapter for a little while to see how the CMA Twelve performed single ended. The difference between balanced vs. SE was pretty obvious to me. Yes, there is the additional gain from a balanced connection, but I did my best to compensate for that by turning the volume up a bit when listening SE. I’ll pick on a couple of songs: “Promised Land” by Queensryche and “Red Baron” from Vince Guaraldi. Even just the first thirty seconds or so of “Promised Land” was enough to let me hear better control of the bass. Eddie Jackson’s notes had more weight and more nuance (overtones and detail) when I used the XLR connection. That detail was important and worthwhile to hear. I actually listened to “Red Baron” first: and had the same first impression: better control of bass. More specifically, when listening SE I thought the bass notes were rolled off and softened. Not less extended, not less deep. What I heard when I switched to balanced was at the other end of the frequency spectrum. Treble, in “Red Baron” the cymbals and bell, had noticeably more defined leading transients. Decay was excellent when listening either SE or balanced, but there was more life in each note when I used the balanced connection for my head phones.


Mark Lettieri, “Pulsar”, and Queensryche, “Promised Land”, showed me bass detail is excellent. I was floored by the texture in Eddie Jackson’s bass: much more than simply thumping notes. Likewise, the complicated bass lines in Mark Lettieri’s “Pulsar” were threaded with clarity and understanding. There is a nagging difference between Questyle and Gungnir/ Aegir when listening to “Pulsar”. The leading edge of Lettieri’s bass notes are sharper when listening to the CMA Twelve. It’s kind of like Mark is picking the strings with the Questyle and strumming them with the Gungnir/ Aegir. The Gungnir/ Aegir digs a little deeper though, provides a bit more rumble from the lowest notes. These two songs were equally satisfying through all three DAC/ amp combinations. The differences between the Questyle connected SE or balanced were more easily discerned than the differences between the Questyle and Schiit pairs.

In “Psycho Sam”, Jeff Beck’s guitar sounded strange. Something seemed off in the upper midrange. Likewise, vocals in other tracks during the first hour of auditioning seemed recessed and muddled. However, these were isolated incidents (some chant and other early vocal music sounded clean and human, so there), so it’s difficult to understand what might have been happening. Later, “Boogaloo” Joe Jones, “Right on Single” relieved those tensions. His Gibson hollow body sounded just right, his rapid pizzicato-ish notes rang true. The balance between guitar, bass and drums was excellent as “Boogaloo” Joe double-picked notes over, under and around his rhythm section. Quite satisfying.

Here’s an isolated, and odd, failure of the CMA Twelve. “One for My Baby” by Frank Sinatra: the first syllable of every word Blue Eyes sings starts at the bottom of his range then swoops up to his normal voice. At least with my reference gear, including my Questyle QP2r DAP, it does. Not so with the CMA Twelve. Odd. And something like that happened only with that song. Odd again.

One of my favorite audition songs is “Chitlins Con Carne” by Stevie Ray Vaughn. With bass, guitar and drums it provides a simple spectrograph for bass, midrange and highs. I had no angst about the sound of Stevie’s guitar, so let’s not talk about midrange anymore. Cymbals were rendered with shimmering clarity and no sibilance whatsoever. Transient snap, applied to the leading edge of those cymbal strikes could be startling. Again, the CMA Twelve held the edge over my Schiit gear in transient response. “Chitlins Con Carne” is quite a smooth recording. It lays a groove and lets you relax into it. In contrast, One O’Clock Lab Band has some bite up top. Sibilance is still refreshingly absent, but trumpets, when playing up had a touch of nastiness. All in service to the music.

Black Sabbath, “Rat Salad” and Michael Carvin, “Rhythm-a-Ning” made me feel a bit better about small dynamics and articulation. When “Rat Salad” started I was dismayed at the dull thud of the drums. I heard little differentiation between the drums and no “snap”. Dull and disappointing. However, “Rhythm-a-Ning” came around shortly after and I relaxed. Here was the rattle of the snare drums’ springs, the snap. The more- hollow tone of a tom and the thump of a kick drum. OK, let’s blame the dullness of “Rat Salad” on 1970’s rock recording engineering rather than any sins of the Questyle or Schiit.

One specific: when listening to “Rhythm-a-Ning” I had the recurring feeling the Questyle provided more air between the notes than the Gungnir/ Aegir. I went back and forth a few times, even though that’s not really a good way to capture the performance of gear. Even with the A-B comparison, the sense stayed nebulous. I had a theory that the Aegir wasn’t being pushed hard enough, so I even (unfairly) turned the volume up. Dynamics improved as did the attack of the notes, but I’m still not sure there was any more space between the notes.


One O’Clock Lab Band, “Red Herring” is new music to me. But the big band acoustic jazz provided a compact venue in which to hear the sound of trumpets, saxophones, drums, trombones, all manner of fun acoustic sounds. Even the dense passages sounded full and natural with each instrument a distinct entity. Liquid Tension Experiment, “Rhapsody in Blue” provides the exact opposite experience. This is a complex, sometimes crowded, offering with nary an acoustic instrument to be heard (yeah, OK, drums are acoustic instruments…). So rather than listening for overtones, decay and the space of the hall, I listened for frequency balance, fullness of the notes, involvement. It was all there: my head was filled. The CMA Twelve was able to negotiate crowded sound stages without allowing my head phones to sound congested or overwhelmed.

Rush, “Red Barchetta” provided my first experiment with volume. I started the evening with the volume quite low, wanting to be mellow. However, without a bit of juice behind them, my HE-500s couldn’t make Geddy’s bass sound very enthusiastic and Neal Peart’s drums were hardly there at all. Even Geddy’s voice was distant, muffled and subdued. I knew Moving Pictures sounded better than this. Just a couple of “dots” on the volume dial provided what was missing. Bass and drums stepped up to join the rest of the sound. Geddy Lee’s vocals came out in the open, prominent at center stage. Both the Questyle and the Gungnir/ Aegir did a great job of separating Geddy’s bass from Neal’s kick drums in the opening. The Questyle put the emphasis, slight as it was, on Neal’s drums, while the Gungnir/ Aegir did the opposite. Now, Mark Lettieri’s “Red Dwarf” was recorded at a higher level than Moving Pictures was and when it came on the sound thundered in my head. Through all three rigs. Big fun.

Let’s talk delicacy: Hank Garland’s “Relaxing”. Hank’s guitar is often doubled by a vibraphone. Hank is sweetly strumming his soft notes, and the vibes provide extra-long decay, adding to the ambience created by the reverb applied to the guitar. Lovely, mellow music. I don’t know if it’s correct, but the Sunday Afternoon sound imparted by my Gungnir/ Aegir was so right. The Questyle’s incisiveness actually worked against it for this song. Those leading transients were at odds with the mellowness of the song.

When listening to head phones, sound stage is typically far from my mind. If I want to hear imaging, I typically turn my living room system on. However, in “Suite for Large Orchestra”, 1st Movement (Edward McDowell), there are some weird effects going on. Flutes sound like they are seated amongst the violins, the basses extend all the way to center stage, the violins sometimes extend past center stage and also sometimes are twice as tall as the rest of the orchestra. Why, oh why is the bass drum hard left? For better or worse, that soundstage weirdness was present in both the CMA Twelve as well as my Gungnir/ Aegir, so it must be in the recording. Interestingly, the basses and bass drum were less prominent when playing the Questyle. Hmm.

Contrast this with Malcolm’s “Symphony 5, 3rd Movement”. This Naxos recording has more traditional sound stage than the Mercury Living Presence recording of the MacDowell. I always smile at the playfulness of the solo flute near the middle of the movement. Front, center, demure, just a bit quiet to contrast with the rest of what the orchestra has been doing. The Questyle presents the breathy lightness of the flute as well as the deep brusqueness of the brass, bass drum and basses.

Everyone has a few songs which must be played “correctly”, otherwise it doesn’t really matter what else the gear does, it’s just wrong. One such song for me (in addition to “Chitlins Con Carne”) is Emmylou Harris’ “Deeper Well”. There absolutely must be a sense of world weariness in her voice, a sense of the miles traveled, otherwise the story doesn’t make any sense. I mean, really, could Arianna Grande pull this song off? Also, there must be a helping of menace in the low keyboard and drum notes, especially in the bridges to the third and fourth stanzas. When Emmylou sings the line, “Nipple to the bottle to the gun to the cell” you have to believe she’s hurt somebody before and would do it again. Like the Schiit gear I’m familiar with, and like the QP2r I use with my IEMs, the CMA Twelve brought shivers down my spine. I’ve heard this song a lot, but when played well, it still does that.

Another example of a touchstone song is “It’s for You” by Pat Metheny Group. This has been a favorite of mine since I heard the album’s title track during the early morning hours of a high school day when I should have been sleeping and bought the album that weekend. It even makes an appearance in one of my favorite movies, Fandango. There’s kind of an inflection point near the end. After a long middle section during which Pat Metheny solos and uses lots of repeating motifs to quietly build tension, Steve Rodby’s bass joins Pat and they pick up and lift the song to the precipice before playing a down beat and then taking the song off on a new, up-tempo track. I still get a tingle at the back of my neck during this transition and the CMA Twelve was able to deliver. Steve Rodby’s bass, playing impossibly low notes, was even rendered with more volume and power than typically available from head phone systems. I still think I need a subwoofer again for my living room system. So, bravo Questyle on both counts.

Vince Guarldi, “Red Baron” provided me with perhaps the most satisfying four minutes of my week so far. Oh, Good Grief is a long-time favorite album for me, and I can’t help but see the Peanuts stories in my head. “Red Baron” is perhaps my favorite song on this album: I love the rhythm, the repeating figures; Vince’s bright piano, the guitar, just everything about this song. I was unable to listen to the sound of the gear…

Before I close, I’ll ‘fess up to having a preconceived notion about the CMA Twelve. I mentioned once, in passing, I own a Questyle QP2r DAP. The signature quality of the QP2r sound, what sets it apart for me from the other DAPs I own, is immediacy brought about by its excellent driver control and ability to render the leading edge of notes. That quality adds life to music for me. I don’t get it to the same extent with my Astell&Kern DAPs. It’s what I wanted to hear from the CMA Twelve. I got it. In addition to all the other things we expect our audio gear to do (deep bass, natural midrange, extended airy highs, instrument placement, rhythm, etc., etc.) I also got that transient attack and microdynamic control. That was the most meaningful difference between my Schiit gear and the Questyle. The Schiit went a little lower, was a little lusher or wetter, a little more laid back. The Questyle was a little more detailed, drier, perhaps provided more blackness between notes. But that extra oomph at the beginning of each song was impossible to ignore.

So my preconceived notion, my expectation, was… what, satisfied? Confirmed? Whatever. I heard what I’d hoped the CMA Twelve would deliver. Questyle also provides the full-range frequency response, dynamic capabilities and other technicalities we all expect from our audio gear. Good stuff. Thank you Questyle and Audio46 for letting me experience it.

 

[hottyson]

Questyle CMA Twelve
The Questyle CMA Twelve is a $1,500 combined DAC and headphone amplifier in one chassis that is at the top of the price range that I would normally purchase. So, being absolutely curious about what I might be missing, I joined the list for the Questyle CMA Twelve tour through Audio46. Audio46 kindly and most generously provided the demonstration Questyle CMA Twelve unit for a one week audition in my home. What I experienced using this DAC/headphone amplifier has unexpectedly turned out to be quite a shocking revelation to my ears resulting in a turn of events that has led me down a very unexpected path of enjoyment.

Questioning Value
For me, value is inseparable from gear evaluation. For decades I have lived as a devout disciple to the philosophy of the point of diminishing returns. Among my fellow disciples, are traditions of reassurance that too little improvement in sound quality is gained by spending over some predetermined amount of money. For me, this spending cap amount began decades ago at $150, then increased to $300, and then again to $800. Last year, my cap limit had raised all the way up to $1,200. The value of the Questyle CMA Twelve amplifier section is approximately this amount when one considers that it contains a DAC that might be valued somewhere in the neighborhood of $400. Consequently, I was dying to find out if this $1,500 DAC/amplifier would be a waste of time or worthy upgrade.

Amplifier Section
I decided that I would compare the amplifier section of the Questyle CMA Twelve to seventeen of my favorite and popular solid state amplifiers of my collection. I was particularly interested to see how the Questyle CMA Twelve would compare against my very favorite of the bunch, the Rebel Audio RebelAmp $500. The RebelAmp is a giant killer when paired with certain headphones of my collection. In some combinations able to outperform costlier amplifiers such as my ultra-dynamic Headamp Gilmore Lite Mk2 $800 and my ultra-detailed Ray Samuels Emmeline HR-2 $875.

For connection to the RebelAmp for the demo, WBC Mogami Amphenol interconnects from the DAC section of the Questyle CMA Twelve fed RCA input on the RebelAmp. A front panel switch on the Questyle CMA Twelve facilitated easily switchable A/B amplification comparisons. From the get go, the amplification section of the Questyle CMA Twelve demonstrated extreme competence with a variety of headphones. Having fallen in love with my RebelAmp over the past few months, I initially preferred its’ organic warmth over the sharp amp section of the Questyle CMA Twelve. The RebelAmp presented a sweeter, warmer, bloomy smooth intimate sound that I had grown to love and have become accustomed to hearing. Conversely, the amplification section of the Questyle CMA Twelve manufactured precision within a detail oriented presentation that was a sharp contrast to the organic round full sound of the RebelAmp. It became apparent that the Questyle CMA Twelve had very good technical qualities. This included evenly distributed and precise imaging across the sound stage in conjunction with a high degree of instrumental separation that might likely benefit studio production work. I however preferred the RebelAmp’s relaxed smooth blend of instruments that formed a comforting, intimate, and enveloping realistic ambiance that I could easily lose myself within the music. Unfortunately, my excitement over the prospect of uncovering further proof of the RebelAmp’s greatness was short lived. Instead, the amplifier section of this $1,500 high-end Questyle CMA Twelve crushed each one of my preconceived notions one by one. As listening commenced, and more time passed, my ear began to hear and appreciate so much more from the Questyle CMA Twelve than I could have anticipated.

The Questyle CMA Twelve brain burn-in grew within my being. Meaning, my ears and brain began to hear characteristics that I had been initially unaware of. Since my brain had become accustomed to the magic of the RebelAmp and formed a bias towards many of it’s particularly formidable characteristics, brain burn-in was a prerequisite to making comparisons between headphone amplifiers. An appreciation for the heightened precision of the Questyle CMA Twelve manifested each time one of my biases for the RebelAmp melted away. I continued to listen to a variety of tracks switching A/B between the amplifiers. I could now distinctly detect multiple characteristics of the Questyle CMA Twelve that exceeded the RebelAmp’s. For one, the perceived image of instruments upon the soundstage was so precise that each time I returned to the amplification of the RebelAmp I could not help but feel that instrumental separation had manifested into a sort of defocused blur. Not blurred to a large enough degree to detracted from my enjoyment. However, enough unfocus that I began to find myself leaning towards a preference for the precision provided by the Questyle CMA Twelve. Enough to suggest that in a blind A/B test, that most would probably choose the Questyle CMA Twelve over the RebelAmp. So, the answer to my quest was a resolving “No.” My precious RebelAmp, that I prize above all other solid state amplifiers of my collection, could NOT outperform the Questyle CMA Twelve in terms of sound quality save for the ability to create a warmer intimate up-close presentation. What quantifiable ratings can I assign to the amplifier performance of the Questyle CMA Twelve? With my top performing planar headphones, the amplifier selection of the Questyle CMA Twelve is favorable with over ninety percent of my music. This would safely allow me to also place it at the best amplifier of the bunch. So, congratulations are in order. Questyle, I hereby award your CMA Twelve amplifier first place.

Just as I wrapped up this listening comparison with my favorite headphones, the UPS man knocked on my door and delivered a pair of HifiMan HE6se V2 $600. So, I threw the HE6se V2 on the rigs. I began the entire listening session over again, comparing all of the amplifiers to the Questyle CMA Twelve using my new favorites the HE6se. The Hifiman HE6se V2 blew me away and is likely to replace the Monolith M1570 as one of my two favorite headphones. But, that is another story for another day.

Some of you will likely ask me how certain amps in the comparison stacked up against the Questyle CMA Twelve. So I will provide a brief summary.

Amplifiers that came close or possibly sometimes excelled with Audeze LCD-X (2020), HifiMan Ananda, and HifiMan HE6se V2 headphones:

1st place - Questyle CMA Twelve
2nd place - Rebel Audio RebelAmp
3rd place - Schiit Jotunheim 2
4th place - Schiit Jotunheim 1 (Discontinued, readily available used)

Amplifiers that came close or possibly sometimes excelled with Monoprice Monolith M1570:

1st place - Questyle CMA Twelve
2nd place - Rebel Audio RebelAmp
3rd place - Ray Samuels Emmeline XP-7
4th place - Singxer SA-1

Notes On Runner Ups
Questyle CMA Twelve has turned out to be quite an excellent piece of gear and a spectacular value. It is worth noting that the Schiit Jotunheim also had the Multibit DAC card installed so I figured I may as well let you know that for those of you that want to save lots of money, that are looking for an alternative to the Questyle CMA Twelve that the Schiit Jotunheim 2 at $600 with the Multibit DAC card is a very good budget alternative that does not achieve the performance of the Questyle CMA Twelve, but does not disappoint at it’s price point. The only thing that bothers me is that the Schiit Jotunheim 2 does put out heat from the top from it’s vent holes compared to the Questyle CMA Twelve that is barely warm. One plus side of the Schiit Jotunheim 2 is that it does take up a smaller footprint.

I could not help but notice the similarities of the front jacks and switches of the Questyle CMA Twelve to my $540 Singxer SA-1 and I get the feeling that someone out there just might be wondering if they sound the same. Hooking them both up to an A/B switch, I was met with very similar qualities. Both provide very technical and detailed presentations. However, on A/B comparison, the Questyle CMA Twelve is superior. The Singxer SA-1 is sort of a baby Questyle CMA Twelve. If you already own the Singxer SA-1, you may not want to upgrade if you are already content. An upgrade to the Questyle CMA Twelve would gain you clarity and precision but similar characteristics are found in the Singxer SA-1 at perhaps sixty percent of the amplification performance at perhaps fifty percent of the price.

Will I Upgrade?
Previously, I would never have considered the Questyle CMA Twelve. I entered into this trial fully expecting to inform the headphone community not to purchase the Questyle CMA Twelve. Instead, I am now wondering if I should liquidate all of my headphone amplifiers and upgrade to the Questyle CMA Twelve. How very unexpected this all has turned out for me.

DAC Section
I am in the camp that believes that cheap budget DACs are good enough, again due to the point of diminishing returns, which is of a magnitude greater when considering DACs compared to amplifiers. So, even though I think many would be willing to spend the money for the improved sound of the Questyle CMA Twelve DAC section, I could easily stay content enough with a thinner sound of $100 DACs. The lessened quality sound is easily distinguishable to my ears yet it does not detract from my enjoyment of music when the A/B switch has been removed from the equation. The one exception being my $200 Schiit Multibit DAC card in my Schiit Jotunheim 2 all in one headphone/DAC amplifier. It only sounds better on some tracks on the rare occasion that I am in the mood for colored multibit sound. But this is not enough to make any real difference. Perhaps I might not appreciate a substantial improvement until I have upgraded to a very colorful DAC such as the very popular and highly acclaimed Schiit Bifrost 2.

However, for the rest of you that would like me to make a statement on how the Questyle CMA Twelve DAC performs against my mostly $100 DAC collection. Yes, the superiority of the Questyle CMA Twelve DAC is most clearly evident through an A/B comparison. Thinner $100 sound versus full bodied purer sound from the Questyle CMA Twelve. I think the majority of listeners would likely agree that the Questyle CMA Twelve is a superior DAC. It does propose quite a modest price for the upgrade over $100 DACs if one values the DAC section of the Questyle CMA Twelve somewhere around $400 of the Questyle CMA Twelve’s $1,500 msrp. In terms of value, the CMA Twelve is quite tempting. Plus, the DAC is already built into the unit for combined convenience if one is looking for a tidy setup. The DAC value is a conundrum of personal choice that one has to decide for themselves.

The Final Verdict
Clearly, I have been thrown a curveball. The Questyle CMA Twelve has caught me off guard with amazing performance along with tempting value. In quantifiable terms, I enjoy the Questyle CMA Twelve eighty percent of the time over the RebelAmp as a headphone amplifier. I enjoy the Questyle CMA Twelve nearly one-hundred percent of the time over my large collection of headphone amplifiers and $100 DACS. I can wholeheartedly recommend the Questyle CMA Twelve. It is a very good value. Particularly to those of you that are currently looking for an upgrade from entry level gear or someone looking to purchase their first headphone gear setup.

 

[Monsterzero]

First, I'd like to thank Audio46 for including me in the Questyle CMA 12 tour. Also to Nat @ Audio46 for working with me and my schedule by placing me at the end of the tour so that my move did not conflict with the tour.

I will skip all of the tech specs as theyve been covered extensively in the prior reviews. One thing that has not been covered yet however, is the actual footprint of the unit.

Pictured here is the Questyle CMA12 with a Schiit Modi 2 on top. Next to the CMA12 is my everyday DAC, the Lampizator Atlantic TRP. While the CMA12 isnt large, it does drawf the Modi 2, so anyone who is looking to move away from the ubiquitous Schiit stack and into this all-in-one device might need to factor in desk space requirements to accomadate it.

I used the CMA12 in my system for driving headphones as well as using it as a DAC/preamp for my nearfield speaker set-up. The initial setup was quite easy and hassle free. It was a literal plug and play with my server, which hosts locally stored files, Roon+Tidal+Qobuz. All played flawlessly with no drivers or drama involved.

I tried some of the various switches and options located on the faceplate, and like others, I did not feel the bias toggle made much of a difference in the overall sound.

When used as a DAC/preamp into my speaker amp and out to my Focal Aria 905 bookshelf speakers and the SVS SB-1000 sub woofer it provided a pleasant sound with strong bass. Width and depth of the staging was as expected from a solid state D/S DAC at this price point. If there was any digital hash I did not detect it.
The included remote control performed well when I adjusted the volume up/down.

When I switched to headphones I threw many dynamic headphones at the CMA12. Unfortunately I no longer own any planar headphones, and all of my headphones are single ended, so I was not able to test out the balanced amp section of the CMA12.

With low impedance/high sensitivity headphones there was plenty of amp to drive the Philips Fidelio X1, as well as my OG AKG K701, as should be expected given the specs of the amp section.

Moving up to my 300 ohm, 94 sensitivity Sennheiser HD250 the CMA12 drove it quite well. The HD250 is my electronica/trance headphone with super strong sub bass. The Questyle handled the vintage Sennheiser well with good control of the bass.

With both of the ZMF Verite open and closed, which are 300 ohms and 97 and 99 sensitivity respectively, there was plenty of volume to be had. However the sound was a bit congested and there was a noticeable glare, especially on the Verite closed. Oddly I experienced the same issue years back with the Questyle CMA400i and my old ZMF Atticus. I was hoping the Twelve would have eliminated this issue, but it did not. Perhaps on the balanced outputs the glare would be less?

Finally, I threw some truly hard to drive AKG K240 sextetts(600 ohms and a 89-95 sensitivity, depending upon what you read) In my experience the K240 sextetts are much harder to drive vs. the HD250s, so im prone to believe the sensitivity to be in the very low 90s.
In single ended mode the CMA12 simply could not deliver the power needed to make the magic of the Sextetts appear. It was plenty loud but it sounded flat and tired.
The story was the same with the 600 ohm/87 sensitivity AKG K340.
To be honest, I wouldve been quite shocked if the CMA12 were able to drive my vintage AKGs well. Both are notoriously hard to drive and sound their best from a solid state receiver of the same vintage, so I do not consider this to be a negative in the least. Again, perhaps in balanced mode the results would be different.

Finally I wouldve liked to have seen some analog inputs included in the design. In my case I was curious to hear the amp section when fed by my Atlantic TRP DAC, but alas no RCA ins are included.

Overall I felt this unit performed well at its price point. It is quite versatile in the many roles it can handle seemlessly, its ease of use, the various file types it can decode and would recommend it to anyone that does not have super demanding headphones who is looking for an all-in-one solution.