Headphone Amplifier Lehmann Audio Studio Cube

$993.00

Tech Specs

  • Frequency Range (-0.5dB): 10Hz – 40kHz
  • Signal to Noise Ratio (6dB): -90dB
  • Total Harmonic Distortion (+0dB): 0.02%
  • Maximum Input Level: 22dBu
  • Maximum Output Level: 12d
  • BuInput Impedance: 22kΩ
  • Output Impedance: 5Ω
  • Power Source: External Power Supply
  • Power Supply Rating: 24V DC / 420mA
  • Dimensions (H x W x D): 45 x 130 x 130mm
  • Net Weight: 0.9kg
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Description

This Lehmann Audio Studio Cube headphone amp is neither a cube nor wholly black. Incongruous name apart, though, it’s impressive.

It’s undeniable that $600 is a lot to spend on an headphone amp, but hear this with a top-class pair of headphones and a suitably talented source, and you’ll be left in no doubt about the unit’s considerable skill.

If the disc is bright and edgy, as our recording of Tchaikovsky’s Marché Slave Op.31 is, you’ll hear it harshness and all.

Feed in a good recording – Eric Bibb’s Good Stuff, say – and it will deliver a natural and informative sound.

A detail obsessive

And it is detail obsessive, digging up a huge amount and arranging it into a cohesive and convincing whole.

Perhaps even more impressive is that it doesn’t forget to be musical. Dynamics, agility and timing are all spot on.

The feature count is fair. There are two headphone outlets and a line level output. So, if you want, the Lehmann Audio Studio Cube can work as a single source preamp, too.

However, it’s as a headphone amplifier that the unit impresses most. As far as sonic performance is concerned, it’s the best we’ve come across.

Does the ASC have a specific “sound signature”? Yes: the sound is hard, solid, direct. It doesn’t try to sound euphonic or soften things up. This is not a tubey sounding amp. Matched with the right recording the Lehmann Audio Studio Cube can convey warmth, but, for me, its distinctive characteristic is the way it attacks the music. The sound is extremely detailed and energetic even at low volumes. I love drums. One thing that the ASC does with consummate skill: attack percussive sounds with astounding energy. Listening to drums on the ASC is a physical delight.

A recording that I consider one of the most crystal clear I’ve ever heard is Lookin’ for Love by Marlena Shaw. It has studio-perfect sonics. The SACD is released by the Eighty-Eight’s record label out of Japan. With this recording as my infallible reference, I can say that the Lehmann Audio Studio Cube has clarified the “darkly veiled” 650 to the brink of total clarity. Shaw’s voice is not just in your head; she takes over your brain and entire being.

Needless to say, I’m amazed by the way the ASC handles jazz. But what about rock? My test here is the Original Master Recording edition of Surfer Rosa by The Pixies (it’s an SACD issued by Mobile Fidelity). There is no doubt that the BCL delivers the speed and intensity necessary to make well recorded rock an overwhelming experience. There is a bad side here, though. Playing The Kinks’s live album One for the Road was a pretty uncompelling experience. Instead of allowing me to get lost in the music, the BCL-650 combo was showing up all its weaknesses. The most impressive thing was how well the amp conveyed the intensity of the crowd, which I could feel surging against my ears.

In terms of classical music, the Lehmann Audio Studio Cube can easily keep up with an orchestra careening at full tilt . The headstage often sounds too narrow, though, but that’s probably the fault of the 650 rather than the amp. On the plus side, sparkle. The amp got rid of the well known “dark veil” while still keeping the sound relatively warm.

When you connect the USB to your computer, the ASC begins clicking. The clicks come from inside the box itself. I think it sounds like a relay switch, but I can’t be sure. It’s annoying, but after the ASC warms up the clicks stop. The sound of a piano is much smoother using the Lehmann DAC than it is when I plug my phones directly into my laptop, so the DAC is obviously doing something right.

I don’t have much experience with stand alone DACs (for one thing, I rarely listen to music off my computer), so I don’t feel qualified to judge the ASC’s DAC. It doesn’t have a terribly good reputation judging by the comments I’ve read here at headfi. It only accepts 48kHz audio, so no high resolution. The DAC is the lowly Burr-Brown PCM2702E. For what the unit costs, I think the DAC could have been better. On the other hand, the unit was highly commended by the 2009 Sound+Image Awards as an excellent streaming audio product. It is super portable, much more so than the Headroom Micro amp and DAC stack I had (the Micro is small, but has an unwieldy power brick). The ASC itself is small enough to easily fit in a briefcase or book bag. The unit is very easy to take to work. Of course you will need to plug it in once you get there.

Burn in is a controversial issue. Many people have encountered the phenomenon, but others scoff, claiming that it is physically impossible. I won’t take sides here, but will only describe my experience. When I first turned the amp on, it sounded slow and anemic to me. Very sluggish. Pretty much the opposite of what it sounds to me now. For a while, I also seemed to perceive a slight harshness in the highs, also a little bit of graininess. I no longer perceive that. Whether it is due to burn-in or whether I adjusted to the sound I will leave for you to judge.

Reports of the Lehmann Audio Studio Cube getting hot are greatly exaggerated. My unit only gets mildly warm even after being on for hours.

Features

  • two top-of-the-line 1/4″ Neutrik headphone jacks with gold plated contacts (the left jack mutes the line out, while the right one can be used in parallel with the line out if you want to listen to headphones and loudspeakers at the same time);
  • four RCA connectors (two inputs and two 60 Ohm outputs) with gold plated contacts and Teflon isolation;
  • one input mini jack for ipod, hardwired in parallel to the RCA input connectors (so I think you can’t use both the RCA inputs and the mini jack input at the same time);
  • super smooth ALPS knob;
  • gain switches with four settings (0dB, 10dB, 18dB, 20dB) which allow you to use the BCL with headphones of vastly different impedances;
  • detachable power cord;
  • three color-coded status LEDs;
  • USB input (USB version only; USB cable is included;
  • just connect to your computer and you’re ready to go;
  • no driver installation necessary;
  • if you have both the USB and another source connected, the ASC auto-switches to the active source, but if both are active it automatically prioritizes the USB signal;
  • the ASC “simply relays all the system audio from whatever you’re doing on the computer, so music, DVDs, bleeped system alerts – it’ll all come out of the ASC if you let it.

But that could involve your computer mixing files prior to output, so you’d do well to divert system alerts to the internal computer speakers using Audio/Sound preferences.

Conclusion

I can’t say how the ASC compares to expensive boutique amps, but upgrading from the Micro to the Lehmann Audio Studio Cube was a mighty leap forward in terms of how well my headphones are performing. There is now more texture to the sound, a lot more movement of air. There is greater depth to the soundstage, but not much more width. The sound is generally fuller. (The instruments seem to have grown in size!) Is this perfect sound? With classical music, no (the 650’s headroom is just too narrow for a full orchestra), but with rock and jazz it does begin to approach perfection.

Can I imagine an improvement? Sure I can. But that might not be the Lehmann Audio Studio Cube’s fault. Upgrading my headphones (say to the HD800) and replacing my BDP-83 with the Special Edition (or with the new BDP-95) rather than replacing my amp seems to be the logical path to better sound. The Lehmann Audio Studio Cube is not the weak link in this chain.