It’s the Labour Day long weekend here in Western Australia. I’ve just sat down for a proper listen to the new LUMIN T3X network music player. I’ve owned and enjoyed LUMIN’s T1 streamer now for around eight years. The T1 has provided thousands of hours of musical delight and has stood its ground against numerous digital source components that have passed through my system over the years. Including some costing more than six times its price! It’s been a faithful companion that I’ve come to rely on to provide consistent high performance, neither adding or subtracting from whatever material I’ve presented to it, but rather remaining neutral and natural sounding. It was also the first digital component in my system that didn’t sound ‘digital’. With the T3X in my rig warming up with some casual listening for the past couple of weeks, I was looking forward to hearing what improvements had been made possible by the LUMIN design team.
Saw the Light
LUMIN was one of the first audiophile equipment manufacturers to emerge with a high-quality dedicated network music player in 2013 with the A1. It was very well reviewed and hailed by many as one of the ultimate streaming source components of the day. Since then, LUMIN has quietly continued to support legacy products with firmware upgrades, it has expanded its range, and released new models with hardware refinements as new technologies have become available.
The T3X is an upgraded version of the award-winning LUMIN T3 and now features a built-in linear power supply with a toroidal transformer, the fibre networking capability of LUMIN’s flagship players (which LUMIN says provides complete isolation from network noise) and an extra USB port. It uses the same familiar app that controls all LUMIN models including my T1. There are no obvious changes to the layout or operation of the app. It’s still rock-solid stable, logically organised and very easy to use, which is reassuring, but it’s a shame that metadata, such as artist and album information, isn’t possible (yes, I’m being picky).
The LUMIN app controls both music selection, volume and hardware configuration. You can adjust settings like upsampling, the look and feel of the app, and power on/off to name a few. Both the front panel display and the app show the bit and sample rate so there’s no guessing as to what you are listening to.
The T3X is ROON Ready and has built-in support for an impressive array of streaming services including Qobuz, Tidal, Spotify, KKBox (Korea), QQ Music (China), Plex, Audirvana, Tune-In and AirPlay. Oh, and with full support for MQA. The designers at LUMIN don’t mess around. It’s almost like they survey the landscape taking note of all possible files formats, bit/sampling rates, services and other relevant technologies and then proceed to thoughtfully implement them into their equipment. Sometimes at no extra cost, which is the case with what they call LEEDH Processing which is an innovative new digital volume adjustment algorithm that eliminates rounding errors and which is now included (at no additional cost) on all LUMIN players!
LEEDH Processing is an innovation of Gilles Millot of Acoustical Beauty, a French manufacturer of high-end loudspeakers. It modifies the digital signal amplitude exactly, without any changes to its shape and remains free from any kind of information loss, vastly improving the quality of the signal feeding into your amplifier. This is good news for those without analogue source components or other digital sources, as the T3X used in this scenario can avoid the need for a preamp.
Like its predecessor, the T3X uses the latest LUMIN processing system which provides all the power needed for the latest streaming technologies, greater resampling and storage capacity. It also has the precision analogue output stage with a fully balanced layout which includes an analogue buffer employing audio grade output capacitors and dual mono circuitry, which LUMIN says provide ultra-low-noise and high dynamic range.
To finish things off, weighing in at 6kg, the T3X also boasts thick CNC panel construction (black or raw anodised aluminium) providing structural rigidity and shielding for the power supply via a separate compartment, reducing interference with delicate circuit electronics. The T series now looks (and feels) like an expensive high-end component. Spectacular. I am puzzled though, why LUMIN decided to call it the T3X instead of the T4.
In terms of specifications, the T3X supports DSD up to DSD512 (22.6 MHz), and PCM up to 384 kHz, 16- to 32-bit utilising dual ESS Sabre ES9028PRO DAC chips.
Digital connectivity includes USB with native DSD512 and PCM up to 384 kHz and BNC SPDIF with DSD (DoP, DSD over PCM) 2.8MHz and PCM up to 192 kHz (24-bit). These rates allow use of an external DAC as a potential upgrade path. Analogue connectivity is via balanced XLR or unbalanced RCA outputs.
The T3X is equipped with USB ports allowing access to music files on a USB stick or USB Hard Drive. It also connects via 100MB RJ45 Ethernet cabling (not Wi-Fi) to your home computer network. This allows you to access music stored on a computer, Network Attached Storage device (NAS) or Lumin’s own L2 Music Server and ensures the most robust connection quality.
LUMIN has implemented the UPnP AV protocol with the OpenHome audio streaming extension. Supported file formats for DSD being DSF, DIFF and PoP and for PCM being FLAC, ALAC, WAV and AIFF.
With the T3X You can mix playlists between locally stored music, Tidal, and Qobuz seamlessly, and you can save your playlists back to your Tidal or Qobuz accounts. Like Tidal and Qobuz, TuneIn (internet radio service) is also built into the heart of the Lumin app. Simply create a free TuneIn account and add Radio Stations to your TuneIn 'Library' for them to appear in the Lumin app.
The T3X is also an AirPlay compatible receiver. Streaming to the T3X is lossless provided that the iPhone/iPad is set to maximum volume. The T3X will appear on your iOS device with the name you have given it in the Lumin app settings.
SoundStage! Australia’s editor Edgar Kramer actually caught up with key personnel from LUMIN at last October’s StereoNET Hi-Fi & AV Show, where he received some further insights which we’ve included in this review. At the interview were LUMIN Director Nelson Choi, Global Sales & Marketing Manager Angus Leung, and Product Development Manager Li On. Edgar started off by asking what are the main challenges in keeping up with the changing playback streaming codecs, music provider platforms and control app requirements and can you share how those changes affect the development of Lumin products?
Angus Leung: Well, I think it will be back in the days. I mean, let's say ten years ago, because we only had basic streaming, so it was very easy to cope with. And now we have Roon, we have Spotify, we have Tidal, Qobuz. If you separate them individually and try to make one function or one of them work, it’s very easy, but having them all work together harmoniously and seamlessly, within a single system or within a single app, that's a very difficult part. We have over eight engineers in Hong Kong constantly working for us and bringing new features and just keeping up with what changes the service providers and the industry bring.
Li On: We started with our own idea, actually. We were before Roon about 13 years ago. Back then there weren’t many playback apps, no Tidal, no Qobuz, and early Spotify. Playback was rough and raw. We started pretty much from scratch and we’ve been refining it ever since. And, of course, then there was Roon and Spotify and all sorts of different music apps. We did get some reference from them, but mostly we do our own design.
Nelson Choi: When we started in 2012, there's a one major player, Linn. They used their own app called Kazoo and we found it… well, we tried to make it better, so we make our own LUMIN app. Then we found lots of Linn users using a Linn player, but using our own app.
Edgar also asked how many customers chose an all-in-one solution and how that compared to more traditional customers who prefer to incorporate a streamer within the context of their own digital-to-analogue converter.
Angus Leung: All-in-one players have always been very, very strong in terms of the LUMIN range, and then we started building Network Players with DACs. But now we see a trend in recent two years or so, people are interested more in a transport, like the U2 or U2 Mini, so we saw a trend here because it's now very easy to get a DAC with DSD512 support, etc. so I think that we will see more customers interested in the transport. Even a CD transport, if built properly, can sound good. Even Redbook performance on a streamer can sound very, very good. So it's just how you handle the signal. Of course, high resolution files can theoretically contain more musical information, but it's how you handle the signals, how it's being mastered. It's not a simple question where, like, more is actually better.
In your view, what do you think is the direction the industry will take in terms of digital music playback and how will LUMIN fit into the evolution?
Angus Leung: That's a very difficult question. We’re living in a world where everything changes so quickly. I mean, if you think about pre-COVID and now, it’s only five years and how many things have changed. Of course, we are always prepared for change. That's why we have our own software team doing, you know, adding different functions to our software… We are on the ride. I don't think we can drive any force, but what we want to do is always to bring more options for audiophiles. We bring more software features, bring out great products, improving our apps. Just making the experience much better for our music lovers to enjoy.
Li On: Yeah, and the one of the strongest points is our future-proof strategy because even our first streamer, the A1 we released 13 years ago, is still getting software upgrades to this day. Yeah, so if you are asking what will happen in the next few years, there's nothing to worry about, we will keep supporting all the new functions.
Nelson Choi: It’s very interesting. You know, we have a CD, SACD, LP and all tape. They all still exist, still people listen to it, all the formats still exist. It's not like the video industry, you know, you have one bringing Bluray, 4K, then kill old formats. But in audio, all the all the formats are still here.
Angus Leung: You know, think about Spotify HiFi. We were working on it three years ago, you know, because we expected it to come. So, we acted very quickly, made it work in a couple of months, got it certified, but now we’re still waiting. So, it does happen sometimes, you know, Amazon Music, we're working on it for two years now we are getting ready to get to launch. It might seem very simple but there’s lots of work involved. We need to make changes to our app as well, because our app runs on iOS, Android, even MacOS, ChromeOS, you know, everywhere. So, there's a lot of work under the hood. I mean, even if the user doesn't notice any new functions, we’ve actually updated quite a lot underneath, now and then we need to change authentication, improve securities, and so on.
Setting Up
There are no switches or knobs to detract from the uncluttered clean lines of the T3X, nor is there a remote control supplied (they are sold as an option), since control is anticipated to be via the LUMIN app which runs on Apple, Android and Chrome.
I connected the T3X to my Perreux e250i via the balanced XLR outputs. Despite popular belief, which connection you should use (balanced or unbalanced) depends on exactly how the balanced circuits are implemented in both devices. Comparing both is worthwhile, bearing in mind that what sounds best in one system may not sound best in another. In my system I preferred the balanced connectors using Kimber Cable Timbre interconnects.
I liked that the T3X is a one box component making for easy placement in your rack, unlike the T1 with its external power supply. I do, however, hope that LUMIN will one day redesign the rear of the case and remove the overhanging casework to make access to the cables easier. Maybe that’s only a problem for audio reviewers who are always moving components around?
Connecting to your UPnP Media Server NAS is super easy! Of course, Lumin also recommends its L2 Music Server (same form factor as the T3X) which is a plug-n-play NAS with a built-in UPnP media server and a 4-port switch utilising optical fibre networking and which is available in 4TB or 8TB capacities.
I connected the T3X to my Western Digital NAS which has a built-in UPnP media server. My music folder was detected and my music automatically added to the library. Awesome! And it was fast… Unlike my T1 which took hours. Finally, time to test it out with some tunes.
The Sound
I sat down with every intention of listening to a variety of tunes that had been assembled in my mind during the daily commutes to and from work this past week. Despite a brief escape to the gym, the entire day thus far has been spent just in the classical realm. It’s now almost 3pm and I’m revelling in Mahler’s Symphony No.9, with Jesus Lopez Cobo conducting the Cincinnati Symphony Orchestra on the Telarc label. Interesting… Like an infatuation with a new crush, every piece I’ve played has evoked the desire for more.
Throughout this piece the soundstage was deep and expansive making you feel like you’re at the venue. The tympani were crisp and powerful, and the bass drum thundering when struck. The brass seemed to have multiple personas, soft and expansive or piercing with a searing edge, the strings sweet and vibrant. The T3X provides detailed insight into the music allowing me to hear more clearly individual instruments and a sense of the space around them. The overall character was very similar to my T1 however the T3X was clearly superior, offering greater resolution and authority.
I do try and avoid using electronic music when I’m testing out audio equipment as there are just too many unknown variables, however… I was impressed by the way the T3X rendered Symphonic Resonance’s (available on Bandcamp), “Armchair Travel Part 4” and “The Continuous Mix” from the album Armchair Travel. This music is reminiscent of, and would appeal to, fans of Jean-Michel Jarre. Spacious and melodic from top to bottom.
Tal Wilkenfeld’s “Corner Painter” from her 2019 album Love Remains was sublime. The T3X again offering up detail and subtle nuances that my T1 couldn’t quite provide. On the T1 everything is all there, but the T3X brings the music to life. It provides a more convincing contrast when guitar or bass strings are struck, allowing you to hear the artists intensity.
The sense of speed in the bass on Umphrey McGee “I Don’t Know What I Want” from their album Asking for a Friend was impressive. The T3X like other top-tier components, has the ability to hold everything together rather than let things get too messy when there’s lots going on in the music. Through the T3X this piece simply had more energy, pace and clarity.
I really enjoyed Nils Lofgren’s “Keith Don’t Go” (Live) from his album Acoustic Live. I love this track. It’s a stunning recording and Nils picking is superb. Through the T3X the acoustic guitar, especially with Nils’ occasional slapping, sounds as if it occupies actual space in my room, and the picking is dynamic and fast! This track demonstrates how low the noise floor of the T3X is – there simply is no noise!
Eva Cassidy’s vocals on “Autum Leaves” from her Songbird album were full bodied and powerful as were Chris Jones’ vocals on “Long After You’re Gone” from his album Moonstruck.
Fourplay’s “Go With Your Heart” from their album Yes Please was another treat. This instrumental piece features Larry Carlton on guitar and Bob James on piano. The T3X really captures the laid-back vibe. The guitar, and piano sound natural and well sized and, again, I could clearly hear the contrast when strings are picked with more or less intensity, or when piano keys are played with more or less emphasis. I got the same experience when I played another Fourplay track “Swamp Jazz” from their album 4. On that track, in particular, I felt that the rhythm and timing was a standout.
Conclusion
There is no doubt in my mind – LUMIN’s T3X is an absolute bargain. It’s fabulously well-appointed, pretty much to “access all areas” standards and physically, it’s beautifully crafted, sleek and understated. Most importantly though, it sounds simply fantastic. Any genre, any vintage, any track, it all sounds great. With its incredibly low noise floor and superior detail retrieval, music really comes to life even at low volume levels. I’m tempted to put my T1 back in its box when I send it back to the distributor and see if they notice… The more you listen to it the more you will like it.
… Barry Jones
www.soundstageaustralia.com
Associated Equipment:
- Speakers — Sonus faber Amati Homage, Sonus Faber Toy Towers
- Amplifier — Perreaux e250i 40th Anniversary Edition integrated amplifier with Eloquence DAC
- Sources — Digital: Lumin T1, Analogue: Rega RP6 turntable, Rega Exact-2 cartridge, Rega Aria phono stage & Rega Couple interconnects
- Processor — DEQX Pre-8
- DAC/Headphone Amplifier — Chord Mojo DAC
- Headphones — AudioQuest Nighthawk
- Cables — Nordost White Lightning, Kimber Cable Timbre balanced and Van den Hul D-300III unbalanced interconnects, Atlas Compass Digital Coaxial Audio Cable, QED Performance Graphite USB
- Miscellaneous — IsoTek Sirius Power Conditioner, 8 x SA8600 bass traps in front wall corners, 12 x Sound Acoustics MP700-40 ceiling acoustic panels
LUMIN T3X Network Player
Price: AU$8490
Australian Warranty: Two Years
Australian Distributor: Audio Magic
+61 3 9489 5122
www.audiomagic.com.au
Lumin Music/Pixel Magic Systems
Unit 603-607
IC Development Centre
No.6 Science Park West
Hong Kong Science Park
Hong Kong
www.luminmusic.com
