ONIX OC-83
Reference CD Player + DAC
"u-audio.com" - Ultra High-End (Taiwan)
The sound density, weight, dynamics and overall sense of scale of OC-83 are better than U-Audio's own reference equipment. , If you switch to the XLR terminal to connect the amplifier, the performance will be better.
Although this piece is based on Aglisi’s piano, it actually sounds like piano, wind and string music cooperate with each other. Competing with each other, listening to this song in OC-83 is lively but not disorderly, the overall balance is very good, and the description of the details is also in place. The fingertips delivered by Aglisi through the piano are strong and full, the piano particles are dense and shiny, and the shape is huge, clear and realistic. The sound of the brass pipe is clean and fast, with a smooth metallic luster but not irritating. As for the performance of string music, it is as fast, clean and tidy, and it also has a good performance of bowstring friction.
When listening to the cello on the OC-83, there is a clear sense of body, the performance of the details when the bowstring is rubbed is still excellent, the music background is clean and deep, bringing out a deep sound field, and then the sudden strong playing force is solid, and the dynamic performance is very good.
I can listen to Damien’s singing voices are quite large, clear in outline, scribbled lips and teeth, and faint breathing sounds. They were all clearly presented, and the human voice sounded full and dense. The cello that is responsible for the accompaniment has a smooth and smooth tone, the texture of the guitar steel string plucking is fast and vigorous, and the speaker resonance naturally extends and has a sense of volume. In contrast, the sound of the same song when it is expressed through Audiomeca is smaller, and the guitar plucking is softer and less vigorous, not as clear & transparent as the OC-83.
The sound of OC-83 not only has a sense of solidity, but also has a very high level of detail interpretation ability. For example, the audiophile album "Jazz at Pawnshop", the sound engineer was already on the spot before the orchestra began to perform, so when the song started the head can hear the voice of the audience, coughing and even slight collisions of cups and plates, which sounds vivid and natural on the OC-83. At the beginning of the band's performance, the low-frequency particles of the double bass are full of Q, and the saxophone's tone is gentle and energetic, not at all muddle-headed. The jazz drum on the right has a clear shape and a clear positioning, and it is also full of performance details. The positioning of various instruments is distinct, creating a clear sense of space in the sound field. Listening to it, it feels as if you are in the time and space environment at that time. Maybe this is the so-called aliveness!
Reference CD Player + DAC
"u-audio.com" - Ultra High-End (Taiwan)
The sound density, weight, dynamics and overall sense of scale of OC-83 are better than U-Audio's own reference equipment. , If you switch to the XLR terminal to connect the amplifier, the performance will be better.
Although this piece is based on Aglisi’s piano, it actually sounds like piano, wind and string music cooperate with each other. Competing with each other, listening to this song in OC-83 is lively but not disorderly, the overall balance is very good, and the description of the details is also in place. The fingertips delivered by Aglisi through the piano are strong and full, the piano particles are dense and shiny, and the shape is huge, clear and realistic. The sound of the brass pipe is clean and fast, with a smooth metallic luster but not irritating. As for the performance of string music, it is as fast, clean and tidy, and it also has a good performance of bowstring friction.
When listening to the cello on the OC-83, there is a clear sense of body, the performance of the details when the bowstring is rubbed is still excellent, the music background is clean and deep, bringing out a deep sound field, and then the sudden strong playing force is solid, and the dynamic performance is very good.
I can listen to Damien’s singing voices are quite large, clear in outline, scribbled lips and teeth, and faint breathing sounds. They were all clearly presented, and the human voice sounded full and dense. The cello that is responsible for the accompaniment has a smooth and smooth tone, the texture of the guitar steel string plucking is fast and vigorous, and the speaker resonance naturally extends and has a sense of volume. In contrast, the sound of the same song when it is expressed through Audiomeca is smaller, and the guitar plucking is softer and less vigorous, not as clear & transparent as the OC-83.
The sound of OC-83 not only has a sense of solidity, but also has a very high level of detail interpretation ability. For example, the audiophile album "Jazz at Pawnshop", the sound engineer was already on the spot before the orchestra began to perform, so when the song started the head can hear the voice of the audience, coughing and even slight collisions of cups and plates, which sounds vivid and natural on the OC-83. At the beginning of the band's performance, the low-frequency particles of the double bass are full of Q, and the saxophone's tone is gentle and energetic, not at all muddle-headed. The jazz drum on the right has a clear shape and a clear positioning, and it is also full of performance details. The positioning of various instruments is distinct, creating a clear sense of space in the sound field. Listening to it, it feels as if you are in the time and space environment at that time. Maybe this is the so-called aliveness!
ONIX OC-83
Reference CD Player + DAC
Audionet.com - Taiwan Ultra High-End
The overall music picture can be seen more clearly. It is not beautiful, but noble. It is reflected in the "Twenty Essentials of Audio", that is, the sound quality, detail reproduction, dynamic range, and transients are more prominent. After listening to tracks 9 to 11, I can finally tell the difference between single point recording, Decca Tree and Philips recording. To put it simply, single-point recording has the most direct listening experience.
The author's "sound density and weight" of the OC-83 has a new feeling, but this time it is not the low key, but the high key. Also play Vladimir Tropp's "Schumann Romanesque" track 24 "Symphony Variations", when the first note is struck down, goose bumps all over the body, you can clearly feel the finger force concentrated on one point, not the contact between the fingers and the keyboard It’s the moment when the hammer strikes the strings. Very cohesive and crisp, forming a beautiful fundamental/overtone structure together with the recording space. The overall sound field is wide and deep, dynamic range and resolution.
In conclusion, your impression of the appearance of the Onix OC-83 can be compared to the sound performance. Before evaluating the OC-83, I have never heard of a device with such a matching appearance and sound. The production level and tuning level of OC-83 is completely beyond its worth. It is impossible to justify that the "best recommendation" is not issued!
Reference CD Player + DAC
Audionet.com - Taiwan Ultra High-End
The overall music picture can be seen more clearly. It is not beautiful, but noble. It is reflected in the "Twenty Essentials of Audio", that is, the sound quality, detail reproduction, dynamic range, and transients are more prominent. After listening to tracks 9 to 11, I can finally tell the difference between single point recording, Decca Tree and Philips recording. To put it simply, single-point recording has the most direct listening experience.
The author's "sound density and weight" of the OC-83 has a new feeling, but this time it is not the low key, but the high key. Also play Vladimir Tropp's "Schumann Romanesque" track 24 "Symphony Variations", when the first note is struck down, goose bumps all over the body, you can clearly feel the finger force concentrated on one point, not the contact between the fingers and the keyboard It’s the moment when the hammer strikes the strings. Very cohesive and crisp, forming a beautiful fundamental/overtone structure together with the recording space. The overall sound field is wide and deep, dynamic range and resolution.
In conclusion, your impression of the appearance of the Onix OC-83 can be compared to the sound performance. Before evaluating the OC-83, I have never heard of a device with such a matching appearance and sound. The production level and tuning level of OC-83 is completely beyond its worth. It is impossible to justify that the "best recommendation" is not issued!
--- Reviews ---
ONIX is now managed by the YBA Signature series team!
ONIX is now managed by the YBA Signature series team!
--- ONIX is now managed by the YBA Signature series team ---
The sixth song "September in Montreal" by Anne Bisson was played. The piano and drums at the beginning of the song showed the darkness of the background. The weight of the piano continued to increase slightly in the space, the drums were clear and tidy, and the voice of Anne's singing was naturally revealed.
Emotion and details, no matter the volume is high or low, it does not reduce the clarity of the sound. The low volume also has sufficient subtle dynamics, and the high volume maintains an excellent sense of detail.
Play the first song "The Little Black Lake", Onix OIA- 82 interprets the piano sound as if facing a quiet lake in the night light, fully showing the weight of the piano sound, and the darkness of the background shows a sense of silence, which is not inferior to Anne's singing
Emotion and details, no matter the volume is high or low, it does not reduce the clarity of the sound. The low volume also has sufficient subtle dynamics, and the high volume maintains an excellent sense of detail.
Play the first song "The Little Black Lake", Onix OIA- 82 interprets the piano sound as if facing a quiet lake in the night light, fully showing the weight of the piano sound, and the darkness of the background shows a sense of silence, which is not inferior to Anne's singing
Even at low volume, the subtle instrumental details are fully exposed. OIA-82 is not to dig into the bones but to make people feel the resolution. Under the subtle dynamic performance of instrumental music, the listener can enjoy the process smoothly. For the atmosphere creation in the song and the storytelling process, it can be expected, and the short climax of the middle and late stages also shows the amazing instant output of OIA-82 and its' control ability.
ONIX OIA-82
Reference Integrated Amplifier + DAC
Reference Integrated Amplifier + DAC
MY-HiEND
Taiwan Ultra-HiEnd
Taiwan Ultra-HiEnd
RA-125B
Integrated Amplifier
Integrated Amplifier
w/Harbeth M40.1 loudspeakers
Onix amplifiers, however, but also those from Naim, show what we lose by that ("pretty sound design") – dynamics, freshness and immediacy. Proper attack transients combined with a clean sound will get us an amplifier that is capable of conveying inner sonic relationships not only by means of its high resolution but above all by its perfect timing of sounds. The Onix belongs to such a group of amplifiers.
The amplifier under review can perfectly feel the track’s pulse. With the almost trance-like rhythms on Depeche Mode’s remixes we get one of the best, if not the best for the money, imaging of impact, dynamics and speed. Without any hardening of attack. The kick drum, whether synthetic like with Depeche Mode, or real as on Black Sabbath’s 13, is presented as if we listened to it here and now. In a similar manner, that is, as reproducing the “live” sound at home is – for many reasons – impossible. It is very well complemented by the amp’s overall tonality.
Differentiation is one of the amp’s strong points. Apparently, a combination of a fast slew rate, proper phase relations and good resolution resulted in a detailed sound that is open and has a “breath”, without glaring exaggeration.
Its clean, fast sound is not only speed and clarity for their own sake, but also the lack of annoying quivering. Cleanliness also means the lack of grain between the instruments, and their easy sustain.
Actually, a large number of “warm” amps only simulate that depth due to their better vividness. The Onix shows it just as it is. What comes out great is events across the soundstage and in counter-phase. They seem natural and immediate, just as the saxophones on Ornette Coleman’s album The Shape of Jazz to Come, which emerge suddenly and unexpectedly from nothingness only to be firmly and “permanently” located on both sides of the soundstage.
Onix amplifiers, however, but also those from Naim, show what we lose by that ("pretty sound design") – dynamics, freshness and immediacy. Proper attack transients combined with a clean sound will get us an amplifier that is capable of conveying inner sonic relationships not only by means of its high resolution but above all by its perfect timing of sounds. The Onix belongs to such a group of amplifiers.
The amplifier under review can perfectly feel the track’s pulse. With the almost trance-like rhythms on Depeche Mode’s remixes we get one of the best, if not the best for the money, imaging of impact, dynamics and speed. Without any hardening of attack. The kick drum, whether synthetic like with Depeche Mode, or real as on Black Sabbath’s 13, is presented as if we listened to it here and now. In a similar manner, that is, as reproducing the “live” sound at home is – for many reasons – impossible. It is very well complemented by the amp’s overall tonality.
Differentiation is one of the amp’s strong points. Apparently, a combination of a fast slew rate, proper phase relations and good resolution resulted in a detailed sound that is open and has a “breath”, without glaring exaggeration.
Its clean, fast sound is not only speed and clarity for their own sake, but also the lack of annoying quivering. Cleanliness also means the lack of grain between the instruments, and their easy sustain.
Actually, a large number of “warm” amps only simulate that depth due to their better vividness. The Onix shows it just as it is. What comes out great is events across the soundstage and in counter-phase. They seem natural and immediate, just as the saxophones on Ornette Coleman’s album The Shape of Jazz to Come, which emerge suddenly and unexpectedly from nothingness only to be firmly and “permanently” located on both sides of the soundstage.
