SOULNOTE A3 and SOULNOTE E3

The 20th Anniversary is as good an occasion as any to introduce the SoulNote brand and its products to our readers. We start on a high note with two components representing the top line of this Japanese manufacturer, Series 3. Let’s find out what SoulNote A3 and SoulNote E3, integrated amplifier and phono stage developed for optical cartridges, have to offer.

Introduction

It’s already been 10 years since I reviewed my first SoulNote component. It was a small integrated amplifier designated SA710. It offered a whole 10W of output, cost (even back then very reasonable) 1800 EUR, and… was a surprisingly good performer. It was good enough for me to keep an eye on this, at the time, a pretty young, Japanese brand. The company had been established only ten years earlier, in 2004 by Mr. Norinaga Nakazawa, who previously worked as a director for Marantz Nippon. The company employed another talented engineer, Mr. Hideki Kato, two years after my aforementioned review. He was given a pretty straightforward, not to say ‘simple’ task of bringing SoulNote electronics to a new level, or in the words of his boss, to make it “the best audio brand in the world”. Quite a challenge, wouldn’t you say?

As a result, the company, or at least their lineup changed significantly after Mr. Kato took responsibility for the development of the new products. Currently, SoulNote offers three lines of audio products. The entry-level Series 1 includes an integrated amplifier, a phono stage, and a D/A Converter, and so does the mid-level Series 2. One of the key differences between the two is the E2 phono stage, which not only supports Moving Magnet (MM) and Moving Coil (MC) cartridges but also the optical ones currently made only by another Japanese company, DS Audio. The top line, Series 3, comprises as many as nine (!) devices at the moment. There are three integrated amplifiers, plus stereo and monaural power amps. There is also a preamplifier, D/A Converter, SACD Player, Clock Generator, Network Transport, and last but not least, another phono stage. This time though, the latter, designated E3, supports exclusively optical cartridges, and considering its price it is meant to be a partner for the best and most expensive pickups by DS Audio.

Ever since the review I’ve mentioned before my contact with the brand and its products was limited. Every year I visit the SoulNote room at the Munich High End Show and each time it is one of my favorites as the design of the latest components is more advanced, and more sophisticated than that of the first-ever integrated from this brand I reviewed, and the performance is on a whole new level, yet one of the key features still seem to be the beautifully natural, coherent, and musical sound. Which was exactly what I liked the SA710 so much for. It’s also Munich (at least till next year) High End Show where I had a chance to meet Mr. Kato and talk to him for the first time extending my appreciation for his creations.

This year, I met him and Nobumasa Mori (who runs a distribution company in Poland named FONNEX) during the Audio Video Show 2024 in Warsaw. Maybe 30 seconds into the conversation they told me that I had to review the latest, top phono stage by SoulNote, model designated E-3. It’s an absolute novelty, it’s very good, I have to listen to it!, they insisted. To be clear, I didn’t even try to play hard to get and was very receptive to the suggestion. We’ve been talking with Mr. Mori about some review for quite some time but each time something stood in our way before we could make it happen. So I was ready and eager!

There was just one small caveat, though, I wasn’t fully aware at first. Namely, to review the SoulNote E-3 I needed a DS Audio optical cartridge because, and that’s the part I didn’t realize at this point, unlike the aforementioned E-2 model, the new, top one, supported only this specific type, and not the standard MM and/or MC variety. To make that happen I needed to ask for help from the Polish DS Audio distributor, RCM. Their boss, Mr. Roger Adamek, said yes to the idea and sent me, as he told me, his personal favorite from DS Audio lineup, namely the Master 3 set. Master 3 is not the most expensive item in DS Audio’s lineup (there is one phono stage and two cartridges above it), but it is sort of price-appropriate for E-3, as the prices of both phono stages/equalizers are similar.

For those of you who are not familiar with DS Audio, let me just shorty explain that they are the only company (as far as I know) that currently manufactures the so-called optical cartridges. The idea that differentiates those from all other types is to use LEDs and photoreceptors (with sort of an iris in between) to convert vibrations that a ‘standard’ stylus reads from a groove of a record to convert them into electric impulses (which is a constant element for all types of cartridges). As you probably know, in MM cartridges, it is a magnet(s) that is installed on a cantilever, and in MC ones it is a coil(s). These always work in tandem and the difference is where which one of the two is installed. Magnets are heavier, which increases the weight of the whole vibrating system reading the groove which makes it harder to convey all the intricate details. Installing a coil on a cantilever decreases the weight but there is a side effect, namely the output signal is way lower. It entails using a way more gain in the phono stage to bring it up to ‘audible’ levels and that challenge is the fact that the gain is applied to both, useful signals and as well as to all the noise and distortion.

Optical cartridges with their LED/photo receptor and an iris made of super-thin beryllium film (in Master 3) system benefit from roughly 90% lower vibrating mass (compared to MC), which improves the precision of reading even the tiniest information from the groove. Another upside is that this design delivers a way higher signal (50 up to 70 mV compared to, say 5 mV for MM, and sometimes as low as 0,1 mV for MC) thus requiring a much, much lower gain. Long story short, at least on paper, they have a huge advantage over all other types of cartridges.

The only downside (not really, it’s more of a requirement) is that they have to be used combined with phono stages, sometimes called also equalizers, or energizers, developed specifically for them (although each DS Audio cartridge can be paired with any of the brand’s phono stages), and can’t be used with ‘regular’ MM/MC ones. It’s a matter of a much higher signal on the one side and of the need to power the LEDs in the cartridge on the other. The DS Audio’s lineup includes (with one exception) several sets, each comprising a cartridge and a phono stage. The only exception is the top cartridge, Grand Master EX that is sold together with an equalizer for the second from the top, Grand Master. So while one can purchase a ready set from this company, as we all know audiophiles are picky and love to have a choice. Luckily for them, some other manufacturers realizing the advantages of optical cartridges decided to develop phono stages for them. SoulNote and their E-2 and E-3 are among the few of them one can find on the market.

DS Audio Master 3 set the distributor sent over included a cartridge and equalizer, or a phono stage. I used this opportunity to review the DS Audio set separately (you can find the review HERE) to better get to know it and to be able to compare the two phono stages. Later I used Master 3 cartridge for the SoulNote E-3 review. Actually, when it came to it, Mr. Mori brought to my place not only the E-3 phono stage but also the top integrated amplifier from the very same line, A-3. That gave me a chance to review them together as a SoulNote set, and most likely gave Mr. Mori a hernia. The SA710 integrated, I’ve mentioned before, weighed just 6 kg, the E-3 was 27kg and the A-3 was 31 kg (even more, way more when boxed), hence the hernia from bringing them up to my 4th floor.

Design and Features

Both devices use the same large chassis. There are some minor differences when it comes to connectors and manipulators but the same, typical for the brand, chassis is the basis for both. Both devices come with two optional premium finishes, silver (as the reviewed units) or black. Both come with two types of ‘feet’, with one set being more spikes than feet, and the other one also comprises not typical feet but sort of metal rods. Both sets include protective metal washers and wooden boards one places each device on.

The chassis is made of thick milled aluminum panels. SoulNote uses ‘floating’ elements in it – the top panel is not screwed to the rest of the chassis but sort of floats on top of it on spikes. Also, elements of the rear panel, the ones with high-quality terminals, are not firmly attached to the chassis as the same ‘floating mounting’ principle was also used here. The same goes for the amplifier block, AC inlet, top cover, and bottom cover which are all unfixed. As the manufacturer explains it: „The amplifier block uses a three-point lateral sliding structure with titanium sliders. While escaping from the harmful vibration of the power transformer, it also releases its intrinsic vibration.” According to Mr. Kato this solution improves the sound quality. It seems to me that where most designers plan for solid, rigid structures that audiophiles later decouple using anti-vibration feet and platforms, SoulNote devised its proprietary way to dissipate energy in crucial areas of the design.

SOULNOTE A3

SoulNote A-3 is actually, according to the manufacturer, P-3 (pre-amplifier) and 2x M-3 (monoblocks) combined in one chassis without compromise. I am not sure if „no compromise’ is possible considering the size of the integrated but no doubt this dual mono design is based on P-3 and M-3 top separates and the idea was for it to deliver a similar (top) level of performance. From a practical standpoint, A-3 features as many as six inputs, half of them balanced, and half unbalanced. As one would expect from a Japanese amplifier though, it includes also a recording loop, so one of each (no. 3 balanced and no. 6 unbalanced) input is accompanied by an output of the same type so that together they can be utilized in this way.

Next to the set of connectors, one finds also as many as four small switches. Two of them allow the user to bypass volume control for two inputs (No. 2 and 5) with gain fixed at 22dB, one can be used to change phase or pin configuration for a balanced input No. 2, and the last one allows you to disconnect GND. The power inlet (IEC) and high-quality speaker terminals complete the set of connectors. The amplifier offers 120 W output per channel (@ 4Ω) from a single push-pull output stage. It uses a single push-pull SEPP circuit with a TO3 (Metal CAN-type) bipolar transistor as used in the M-3. To drive the TO3 transistor the ultra-powerful TO3P transistors are used in the driver as well as in the pre-driver circuits. A newly developed high-gain-to-GND single-stage Type-R circuit is utilized for voltage amplification. The amplifier stage features a lot of naked foil resistors.

Another feature that SoulNote strongly emphasizes is the complete separation of left and right channel GNDs that originates from the P-3 preamplifier. To achieve a complete GND separation designers separated the control signals of the selector, volume, protection circuit, and other relays with a photocoupler. The aforementioned switch that disconnects to GND is another important feature of A-3. According to the manufacturer, it eliminates sound quality degradation caused by GND loops that occur when many playback devices are connected. The highest grade RSR custom relay is applied for the relay. The Japanese manufacturer decided on the resistor-switching volume using RSR custom relays and naked foil resistors throughout.

2x 700VA unimpregnated toroidal power transformers are used for the power amplification, separately for the left and right channels and a third one for the control system. Instead of using large capacitors SoulNote designers decided on a large number of smaller capacitors for their faster reaction ‘speed’. A-3 features a huge bank of 48 high voltage, 470 micro-farad foil filter capacitors per channel, or 96 capacitors in the power supply in total. They claim that the sheer number of capacitors reduces the load on the power transformer and improves the regulation of ultra-powerful power transformers. The latest SiC diodes are used as the rectifier diodes. In addition, two large power relays are used independently and without fixing as power switches for the two main power transformers. As the manufacturer explains, it means that the power switch on the front panel is dedicated to the control system sub-transformer.

A lightweight, compact copper plate is used as the main heat sink. This heat sink also serves as a bus bar for supplying power to the TO3 (Metal CAN-type) transistor, and the terminals of the TO3 (Metal CAN-type) transistor penetrate the bus bar and are mounted directly on the board underneath. This eliminates wiring and helps overcome instability caused by the inductance component, while, according to the designers, at the same time avoiding sound quality degradation. Furthermore, in the A-3, the power supply and amplifier PCBs are connected by a bus bar heat sink, which also serves as a structural component to form a block.

SOULNOTE E3

The E-3 phono equalizer is dedicated to DS Audio optical cartridges. As already mentioned, it features the same chassis as the A-3 with the amplifier block, terminals, AC inlet, top cover, and bottom cover all ‘floating’ or unfixed. It offers balanced and unbalanced inputs (although they shouldn’t be used simultaneously), and XLR and RCA outputs. The inputs deliver (separately!) the required power to the connected optical cartridge. The set of connectors on the rear panel is completed with a signal ground post and power inlet (IEC). On the front one finds a power button with accompanying power LED indicator plus six push-buttons. These allow users to mute the signal, invert the phase, lower the gain, and turn the lowest frequency filter on/off.

SoulNote used the newly developed discrete, non-NFB, balanced amplification circuit (New Type-R circuit) dedicated to optical cartridges for E-3. Not only the voltage amplification but also the output stage is a single system that operates entirely with respect to GND, eliminating push-pull and bias circuits. From input to output, the signal passes through only four transistors. The power supply consists of three transformers: a large transformer dedicated to the New Type-R Circuit with independent left and right circuits, and a transformer for the LED power supply of the optical cartridge. The phono equalizer uses only 19W of power but it still features an oversized power supply capable of delivering 500W. A newly developed power transformer with a copper short ring is used as the analog power transformer. The rest of the power supply is almost identical as described for the A-3 so I won’t repeat all that.

As the manufacturer explains, an ultra-low loss glass-tube sealed reed relay that performs similarly to a mercury relay as a base has been further customized. This is an original custom relay created by SOULNOTE that can reach sound quality levels comparable to that of wire. The E-3 uses the RSR-2-12D for all relays through which audio signals pass. It also utilizes ultra-high-quality naked foil resistors in all spots critical for sound quality.

Sound

I had listened to the full DS Audio Master 3 set for several days before replacing their phono stage with the E-3. As already mentioned, you can find a detailed account of my experience with it in a separate review @HighFidelity.pl. Let me say, that I was delighted with the set’s performance. It was only my second DS Audio review (after the inexpensive E-1 years ago), and yet these two were enough to sell me completely on the idea of an optical cartridge. I’d reviewed dozens of excellent MC cartridges some even more expensive than Master 3, and yet the original DS Audio set turned out to be particularly impressive.

Its ability to precisely retrieve an abundance of information from the groove and convert it into remarkably resolving, transparent, but also smooth, rich, and astonishingly natural presentation was just something else. Master 3 was, hands down, one of the best, if not THE BEST cartridge + phono stage sets (mind you, most manufacturers do not offer sets so I usually test either a cartridge or a phono preamplifier, rarely sets) that ever visited my listening room even though some cost even more. Having such a great experience with it I was eager to start listening to the DS Audio Master 3 cartridge paired with the SoulNote E-3 to find out how good would it be and how would it differ.

Since from the SoulNote I also got a set for a review, one including A-3 integrated and E-3 equalizer, I decided to divide the assessment into three stages to get a better sense of what each of these devices brings to the table. I started my sessions with the E-3 phono preamplifier alone (plus the Master 3 optical cartridge) in my reference system. Later, I moved back to the DS Audio Master 3 phono stage but paired it with SoulNote A-3 integrated (and listened to the latter also paired with my LampizatOr Pacific 2 D/A Converter as a source). Finally, I combined both tested components, A-3 and E-3, for the ultimate SoulNote experience.

Before we get to it, I’d like to share an observation that I found interesting. Namely, despite the fact, that DS Audio developed a unique product line with their optical cartridges and phono stages, which normally would encourage them to discourage potential customers from products prepared by their competitors, if you go to their website you will find information there about SoulNote E3, and few other phono stages supporting optical cartridges. That’s not common in the audio industry.

My guess is, the guys behind DS Audio realized that audiophiles love to have a choice, to play around with various options. While there is no direct competition for their cartridges, other phono stages capable of supporting optical pickups, first of all, acknowledge the latter’s class, and secondly, give audiophiles a choice while they still have to buy a DS Audio product. Whatever the case, having already listened to a full DS Audio Master 3 set, the SoulNote E-3 allowed me to put myself in the position of a picky audiophile faced with a (considering the price range only a theoretical from my point of view) choice. So how do these two compare? Let’s get to it.

SOULNOTE E-3

The, some say, very important first impression, for both equalizers was a bit different. The DS Audio delighted me from the start with the clarity and transparency of presentation, while SoulNote’s qualities that attracted my attention first were the richness and fullness of the sound and a touch more weighted lower end. More generally speaking, it seemed as if the E-3’s sound had a lower set center of gravity, so to speak. In both cases, as the assessment progressed, the first impressions proved to be true. E-3 sounds a bit more like, for reference, a Class A amplifier, with a touch richer, touch rounder, touch warmer lower end and midrange.

DS Audio Master 3, in comparison, is a bit more like an AB class amp, with a touch drier, tauter, yet powerful, and brilliantly controlled bass. It’s not about some drastic differences between the two, as they are both remarkable devices delivering outstanding performance on all those accounts, but if one has to choose, it can come down to individual preferences and which of them fits better into a particular setup. That will be based on tiny, little differences, as the ones I have tried to highlight for you.

Listening to an album that I played using both, Master 3 phono stage, and now E-3, Jacques Loussier’s „Pulsion”, I actually heard more similarities between the two than the things that differentiated them. This album is about the power of sound, about high dynamics and amazingly lively energy, about rich, saturated, and highly powerful, yet pure sound of the piano, and the fast, powerful performance of the drummer. It requires drive, speed, and control, and the SoulNote delivered all that in spades! As did Master 3 before, to be clear. This unusual pairing of only two (especially these particular two) instruments resulted in a unique, ‘high adrenaline’ performance that was both, fun to listen to, but also a good ‘testing’ material.

SoulNote E-3 did a marvelous job of delivering this uniquely ‘contagious’ excitement, or the rush if you will. The drums were powerful, yet tight, fast, and greatly differentiated. Despite that, they never overshadowed the piano, they supported it, and they set the pace and rhythm in the background leaving the leading role to Loussier. Compared to the Master 3, they had a touch more slam, but with the latter cymbals shone a little bit more, and were a bit more ‘metal’, and „sparking’, if you know what I mean. SoulNote, on the other hand, gave them a little more mass, hence they had a more substantial ‘ring’ to them. All in all, it felt like two slightly (!) different interpretations of the same recording. Both are interesting, top-class, highly engaging, and exciting, just not the same.

Listening to Patricia Barber’s „Companion” I couldn’t help but appreciate how deep, soulful, and highly expressive her voice was with E-3. How captivating her whole performance was actually, how well she ‘worked the audience’ so to speak, getting them, or should I say us, involved, and actively participating. It is an excellent recording and release (2 x 45 r.p.m. from Mobile Fidelity) and in every aspect of it, the sound of every instrument seemed incredibly natural and (almost) real. The latter quality came from both, excellent imaging, as well as rendering the whole acoustic environment and the atmosphere of the venue.

The full extent of the mastery of the SoulNote E-3 phono stage came when I heard the tiniest details on this live recording, like a spoon being placed on a saucer so that the person had both hands free to start clapping with the crowd. Clapping, let me point out again, one of the most difficult elements of any recording to reproduce naturally, sounded very real, very present. Tiny little details like that may seem irrelevant and yet it is they that enrich the experience, make it more believable, and more real, and make the listener feel more like a participant of the event and less as just a passive observer.

Even when I played a very special, intimate, though not particularly good in terms of the recording quality, solo album by Prince, or a compilation of tracks with him and his piano (as it seems) just having fun in a studio, the SoulNote E-3 proved to be amazingly musical and focused more on the essence of the recording than on its technical imperfections. All the technical deficiencies were (almost) irrelevant, at least compared to the passion and ingenuity of the artist during his ‘alone’ moments in the studio. The feeling of sharing those intimate moments with Prince was undeniable as the presentation was highly expressive and immensely energetic offering me a whole range of emotions.

SOULNOTE A-3

As I’ve already mentioned, the first thing that comes to mind when I think about SoulNote is musicality, and it always has been, ever since I listened to the SA710 all those years ago. That hasn’t changed a bit! Even though A-3 is a performer from a completely different level, not to say, a different universe, it still hit me with this incredible musical delivery. It was from a different universe though, because, while musicality was obvious from the very first track, it was also immediately clear that it was accompanied by amazing clarity, transparency, on the one hand, power and energy on the other. It impressed me with its ability to resolve myriad tiny information, details, and subtleties, as only those ultimately create the so natural, musical delivery of any track one plays through it.

The Japanese integrated didn’t stop there. These are not all the ingredients necessary to deliver a top-notch performance. What you still need is explosive dynamics – check, proper extension of both range extremes, treble and bass – check, ability to deliver the fastest impulses as well as to stop the sounds in a fraction of a second when needed – check, and deliver an absolute silence in between – check. That’s still not all it has to offer – a quality that allows the amplifier to present, in a clear way, all the tonal and dynamic contrasts – check, timing as well as pace and rhythm, that are crucial in most music genres, especially in blues, and A-3 delivers again, so – check, the perfect control of the speakers even in the most complex, most powerful orchestral pieces – check.

I could go on with the checklist but the truth is that it is not that kind of component that makes you think about it. Listening to the music is simply fun. Just like with Prince and his „The Vault: Old Friends 4 Sale”. It was jumpy, it was funky, rhythmic, fast, it swung, it rocked, and how about those fabulous vocals! So natural, palpable, and energetic – it simply put, resonated with me in a very special way, almost as if I listened to it using one of my favorite SET amps. With the SoulNote A-3 Prince was also right there, in my room, singing, playing, dancing, and having fun, and it was impossible not to join him.

Another super-fun album to listen to with A-3 was PATAX’s „Patax Plays Michael (A Tribute)”. As the title suggests, all tracks are covers of Michael Jackson’s songs. Covers played by the Spanish bands with all the Afro-Cuban, Flamenco, and Funk influences, so the rhythm and the pace are crucial, but also this fantastic, natural flow of music, the smooth harmony between all the instruments and vocals that came together into a swinging, dance-inducing whole. SoulNote’s top integrated proved its class not only by delivering both, acoustic and electric instruments in a very convincing way but also the flamenco-style tap dancing that created an illusion of the dancers moving around on my wooden floor.

Yes, I can describe the A-3’s performance in a more ‘traditional’ way if I have to (although I don’t want to, not really!). I loved the rhythmic bass digging deep when needed, the crisp, crystal clear, open treble, and the rich, colorful, smooth midrange. The soundstage on Price’s album seemed realistic as well, with the maestro placed front and center, drums in the back, rhythmic section to the side, keyboard in the back, but closer than drums, guitar in the front, bass behind it, and so on (depending on the track).

The same goes for the PATAX album, with even more instruments involved, and yet each of them had a clearly defined position on the stage, the right size and weight, and ‘voice’. The presentation was highly organized left to right and front to back so placing each instrument in a particular spot, and ‘seeing’ its shape and size, all of that came out naturally. Regardless of the musical genre or even the quality of a recording (although I didn’t play any really poor ones) SoulNote A-3 provided a highly energetic, lively, coherent, and natural presentation. It is one of those amplifiers that do not butcher the sound if the material played is less than perfect but it lets the audiophile recordings truly shine.

SOUL NOTE A-3 + SOUL NOTE E-3

Finally, it was time to test both components representing the top SoulNote’s line together. By that time, A-3 drove my bigger, 3-way Ubiq Audio Model One Duelund Edition speakers that simply put, allowed me to better appreciate the bass extension (and power) that the Japanese amplifier offered. The first album that landed on my J.Sikora’s deck was one of the excellent releases by AC Records, an atypical one at that, titled „Four Faces”. It is ‘atypical’ because it is a compilation, a limited ‘double reference album’, as the man behind the label, our fantastic drummer Adam Czerwiński called it, or the label’s tour de force, as I like to call it. What we get is several tracks on two 45 r.p.m. discs showcasing a variety of top-quality recordings and performances.

The SoulNote A-3 + E-3 set played it masterfully. The sound was rich, dense, teeming with details and subtleties, skillfully differentiated, and yet combined into a smooth, coherent whole. The sound overall was on a touch warmer, and a bit more romantic side than with the original DS Audio Master 3 phono stage. It probably helped with rendering a unique, intense, and yet intimate performance, one that I could experience the way I like it, from up close. Some of the tracks on this album are live recordings and so having them served up in this way played right into my expectations of a playback system imitating a concert experience as closely as possible. The SoulNote set did an excellent job at that.

The next one was a ‘niche’ release by Bastek Riedel and Piotr Steczek Kwartet’s „Radio Sessions”. It does not aspire to become a part of an audiophile canon, at least not in terms of sound quality. This was the point actually, as over the years I learned to appreciate more and more those components that are capable of showcasing the top quality of some recordings but also deliver those of lesser quality in a way that allows me to enjoy the music. The tested set turned out to be one of those. It is a moody album with string instruments, guitar, and vocals. With SoulNote it truly came alive.

Summary

I believe that the task Mr. Kato was given to „make the SoulNote the best audio brand in the world” was more of a challenge than a realistic expectation. If not for any other reason, I don’t think there is any consensus on what defines „the best in the world”? Still, what SoulNote achieved with its top ‘3’ line is nothing short of impressive. They offer top performance but also make and finish, that one can call a true high-end without hesitation.

The SoulNote A-3 is one of the best integrated amplifiers I’ve ever listened to. It belongs to the category of more ‘modern’ solid-states, as I like to call them, that are not ‘clinically cold’, that are coherent, musical, and natural and all those features originate from outstanding resolution, clarity, and transparency. It is also a powerful beast that will effortlessly drive most, if not all, speakers, fully controlling the sound coming from them regardless of whatever music one decides to play. I can’t see you going wrong with this amplifier unless you expect an even higher performance level than, I guess, a set of separates that you will find in SoulNote’s lineup, could offer.

The SoulNote E-3, I guess, was more of a challenge for the designer and development team. For one, they had to make sure it would work perfectly with any DS Audio cartridge. Secondly, they had to make sure not to copy DS Audio’s phono stages (in terms of sonic character), to offer some choice for potential customers. In my opinion, they succeeded. The E-3 is an excellent device matching the DS Audio Master 3 equalizer in terms of top sound quality level, yet offering a bit different sonic character with its center of gravity set a little bit lower and a touch more romantic vibe. Comparing DS Audio’s original component and the SoulNote E-3 will be fun for you, I can assure you, yet the ultimate choice shouldn’t be very hard as each of us has certain sonic preferences and these two are different enough to make the choice.

Prices (when reviewed):

• SOULNOTE A3: 20.999 EUR
• SOULNOTE E3: 20.999 EUR

Manufacturer: SOULNOTE

Polish distributors: FONNEX; AUDIOPUNKT

Technical specifications (according to the manufacturer):

SoulNote A3

• Model name: A-3SE(PREMIUM SILVER)/A-3BE(PREMIUM BLACK)
• Inputs: 3 (balanced), 3 (unbalanced)
• Outputs: 1 (loudspeaker)
• Volume bypass:  1 (balanced), 1 (unbalanced)
• Rated output: 120W + 120W (4 ohm)
• Total harmonic distortion (THD): 0.27% (1W, 8 ohm)
• Frequency characteristic: 2Hz to 200kHz (+/-3dB, 1W, 8 ohm)
• Input sensitivity: 480mV
• S/N: 110dB
• Maximum gain: 33dB
• Power voltage: 230V AC 50Hz
• Power consumption: 180W/86W (idle)
• Maximum external dimensions (including spike feet): 454(W)×189(H)×456(D)mm
• Weight: 31kg
• Included accessories: spike board, spikes, spacers (for spike board floating), remote control, power cable

SoulNote E3

• Model name: E-3SE(PREMIUM SILVER)/E-3BE(PREMIUM BLACK)
• Inputs: 1(XLR), 1(RCA) (DO NOT connect both);  dedicated to optical cartridges
• Outputs: 1 (balanced), 1 (unbalanced)
• Sensitivity (1kHz): 50mV
• Rated output (1kHz): 2.54V (balanced), 1.27V (unbalanced)
• Maximum output(1kHz): 12V (balanced), 6V (unbalanced)
• Gain (1kHz, balanced input): 34dB (balanced), 28dB (unbalanced)
• RIAA deviation: ±0.2dB
• THD (1kHz with 20kHz LPF): 0.03% (balanced 2.54V)
• Power voltage: 230V AC 50Hz
• Power consumption: 19W
• Maximum external dimensions (including spike feet): 454(W)×189(H)×407(D)mm
• Weight: 27kg
• Included accessories: spike board, spikes, spacers (for spike board floating), power cable

Associated equipment:

• Digital source:  a custom passive server with WIN10, Roon, Fidelizer Pro 7.10, JCAT XE EVO USB + JCAT MASTER OCXO CLOCK UPGRADE + JCAT OPTIMO NANO, JCAT NET XE with FERRUM HYPSOS Signature power supply, KECES P8 (mono) linear power supply for the server, JCAT USB Isolator
• D/A Converter: LampizatOr Pacific 2 +Ideon Audio 3R Master Time (USB signal regenerator)
• Analog front end: J.Sikora Standard MAX turntable, J.Sikora KV12 & J.Sikora KV12 MAX tonearms, AirTight PC-3, Audio Technica PTG33 Prestige & LE SON LS10 MKII cartridges, Grandinote Celio MK IV & ESE Lab Nibiru V 5 phono stages.
• Power amplifiers: GrandiNote Shinai, Circle Labs M200, Art Audio Symphony II (modified)
• Preamplifier: Circle Labs P300
• Loudspeakers: GrandiNote MACH4, Ubiq Audio Model ONE Duelund Edition.
• Interconnects: Bastanis Imperial x2, Soyaton Benchmark, Hijiri Million, Hijiri HCI-20, TelluriumQ Ultra Black, KBL Sound Himalaya 2 XLR, David Laboga Expression Emerald USB, David Laboga Digital Sound Wave Sapphire Ethernet
• Speaker cables: Soyaton Benchmark Mk2
• Power cables: DL Custom Audio 3D-S-AC Connect, LessLoss DFPC Signature, Gigawatt LC-3
• Power: Gigawatt PF-2 MK2 and Gigawatt PC-3 SE Evo+; a custom power line with Gigawatt LC-Y in-wall cable; Gigawatt G-044 Schuko and Furutech FT-SWS-D (R)
• Network: Silent Angel Bonn N8 + Silent Angel Forester F1 + optical LAN isolator
• Racks: Base VI, Rogoz Audio 3RP3/BBS
• Anti-vibration accessories: ROGOZ-AUDIO SMO40 and CPPB16 platforms and ROGOZ AUDIO BW40MKII feet, OMEX Symphony 3S, Franc Accessories Ceramic Disc Slim Feet and Wood Block Platform, Graphite Audio CIS-35 and IC-35 Premium