So I’m the fella who asked the infamous question of comparing the DX160 to the flagship R8. And no matter how many reviews or opinions I could theoretically read, I realized I needed to try it myself to determine whether it was “worth” it. The most immediate difference I have noticed from a purely SQ standpoint (
UI/speed/power are all unparalleled from the R8) is the much more vast, black background it sets. Although the DX160 is comparable from a left to right soundstage, it took me a bit to “understand” what I was listening to from the R8 in terms of soundstage
depth.
(Keep in mind, I have no prior experience with TOTL DAPs in the same range such as the MAX 220, SE200, etc., so I cannot contribute much there.) But in my A/B with DX160, the dynamics from the R8 were further extended and the sound came across as more holographic, especially in Turbo mode.
That being said, I did not find the R8 to make me want to pull an Andy from Toy Story and drop my DX160 in the trash for my new toy. DX160 felt to me as a slightly more “fun” and “engaging” listening. Although the soundstage is not small by any means, its’ less technical staging brought the mids more forward which made it easier to get sucked into the music. Notes also felt a bit more “wet” albeit not as extended or detailed.
Both are very neutral DAPs to my ears, with the R8 actually coming across a bit on the bright side-which I particularly noticed with the Elysium. With the R8/Elysium (lack-of) synergy, some notes come off as shrill or piercing, especially trumpets in jazz or high-pitched female vocals. Whereas for the LX, the R8 was a fantastic combo. It changed the LX into slightly more of a W-signature with ridiculous holographic staging, while maintaining those intoxicating bass cannons. The LX sounds great off pretty much any source, but the R8 helped demonstrate that it does scale with more technical DACs. The MSEB is also a fun, "EQ"-noob-friendly feature that allowed me to “brighten” up the LX slightly and add some extra airiness. Thanks
@Shecky504 for the suggestion to up the air setting 10 to 15 clicks.
As for the A18s, I am still getting used to its’ incredibly technical neutral signature (while leaning quite warm). With the R8, I am picking up on additional nuances/details and noticing how incredibly
extended the A18s is in both the lows and highs. Double-bass in metal sounds incredible and natural for BAs, and although the treble is laid-back, it stretches far and is highly detailed. For reference, I am pairing it with the Socrates cable and do look forward to trying a high quality SPC to see the synergy there.
Being new to the TOTL world, I guess I am further learning that there is
usually a form of musical tradeoff as technicalities are increased. I mostly prefer to be in the front row jamming with the guitarist and lead singer rather than in the middle of crowd getting lost in an aura of floating notes (although sometimes this is the pleasant type of listen that I can be in the mood for). But in terms of covering my bases, I can happily say that the two DAPs complement one another. R8 for a bit more of a critical/laid-back listen, and the DX160 for when my dopamine receptors need some additional stimulation while still offering excellent detail. Plus, I do not plan on bringing the R8 around in my pocket as a daily DAP as I do with the DX160
.
