ONIX transport XST20 and DAC XDA20

“If you turn your gaze south of London on the map of the British Isles, you will find a small seaside town called Brighton. A famous tourist spot in England known to many as the capital of British music and art. The soul of creativity. In the 1980s, ONIX was born here.”

This is the suggestive text I found under “About us” on the ONIX Audio website that immediately awakened memories of my youth. Yes, because I remember the OA20 integrated amp from the early 1980s very well since it was present in the system of a college friend of mine. Not only did it sound great, but it was also beautiful as hell in its minimalist aesthetic characterized by a volume that was quite unusual for those times. All this is beautiful and evocative and made me welcome the Zenith XST20 + XDA20 “combo” with open arms. However, a lot of water has passed under the bridge since the Brighton days, and the Chinese flag flies on the company website clearly suggesting that much has changed. So what is left of the ONIX of that time?

ONIX: a bit of history

The history of the ONIX brand overlaps with that of several other British brands that contributed to the birth and establishment of the British Sound in the past century. Brands saved from certain decline by farsighted Asian (Japan, China, Taiwan) entrepreneurs/enthusiasts who were able to enhance them by updating their technologies. For example, the International Audio Group (IAG) is a Chinese company that owns the iconic Wharfedale, Castle Loudspeakers, Audiolab, Luxman, Mission, Quad, and Leak brands. Sometimes these operations have an exclusive commercial purpose, while other times they are respectful of the brand tradition. In any case, it is undeniable how the quality of these Asian products has elevated over the years, going today to be more than a challenge to European or American brands, but a solid alternative.

As for ONIX, it all began in 1979, when Tony Brady, a student at Brighton Technical College, began designing power amplifiers in a warehouse located near the docks in Brighton, a popular coastal town in southern England. His friend Michael O’Brien, according to the company history, was astounded by the small size and enormous power of those amplifiers. At the time, Michael already held a managerial position at the renowned British loudspeaker brand Rogers, and spotting commercial potential in Brady’s creations, he decided to partner with him. The first models, launched in 1981, were the OA20 and OA21 integrated amplifiers, which attracted the attention of critics (and yours truly, for what it’s worth) because of their use of a high-quality power supply stage, a feature that was far from common in those days. The company also went on to produce high-end amplifiers and an interesting radio tuner, but it ran into financial difficulties in the late 1980s. In 1990, the shares, then wholly owned by Adam Worsfold, were transferred to Onix Electronics Ltd. and a year later sold to his new partner, Michael O’Brien, who at the time owned the Rogers brand.

Several interesting products were created at that stage, including, in 1993, the brand’s first CD33 compact disc player. Similar to what the Scottish Linn did, the company did not rush to adopt this innovative technology but preferred first to study its problems thoroughly and try to solve them. Linn and ONIX both introduced their first CD players in the same year. I recall for historical purposes that Sony released the first commercial CD player, the CDP-101, on the Japanese market on October 1, 1982. However, making some good products was not enough to regain market share, and after changing its name in 1997 to Kendal Electronics Ltd. the company was closed.

In the same year, the ONIX brand was purchased by Pu Hsao Hsiung of Taiwan Sound Art Co. For him, according to news reports, ONIX constituted little more than a hobby and not a real business venture. Nevertheless, his efforts led to the birth of a new generation of devices. Evidently, however, passion alone was not enough, as in 2002 the rights to the name were sold to the Chinese company Shanling, known since 1988 for OEM manufacturing, which began production of ONIX-branded devices at its factories in China. Since 2003, a wide range of models have been released, among which we highlight the ambitious OC93, a CD player/DAC/streamer, and the OIA92 integrated amplifier with built-in streamer, both from 2022. During the 2023 Munich High End show, Onix relaunched itself on the international market with new products and a new global distribution.

The controversial issue of the SACD player

The ONIX Zenith XTS20 is a Super Audio CD transport, and this is by no means trivial. Thus it is not the classic CD player transport in which the output digital signal is sent to any DAC. Nor is it the classic CD/SACD player: these types of devices-at least limited to the Super Audio CD format-always combine with a DAC from a specific company that performs the D/A conversion. Just to remain among the products tested on the Audio 2G channel, this is the case with Esoteric. The technical problem is how to transmit the DSD signal, since Philips and Sony, the patent holders, have never licensed a commercial standard presumably because of a choice motivated by (legitimate) concerns arising from the problem of digital piracy. As far as I know this ONIX Zenith XTS20 thus constitutes the first example of a SACD transport that can work with any DAC that supports the DoP(DSD-over-PCM) format on its RCA coaxial, optical or AES/EBU inputs. Paul McGowan, owner of PS Audio, often clarifies that DoP is not a conversion of the DSD signal to PCM. Rather, it is a “wrapping” method in which DSD data is placed inside a PCM frame to be carried through interfaces (such as USB) that do not natively support DSD. Once at the DAC, the data is extracted and processed as pure DSD, with no loss of quality. This involves selecting groups of 16 adjacent 1-bit samples from a DSD stream and inserting them into the lower 16 bits of a 24/176.4 data stream. Data from the other channel of the stereo pair are inserted in the same way. A specific marker code(header) in the upper 8 bits identifies the data stream as DoP, rather than PCM. The resulting DoP stream can be transmitted via USB, AES, Dual AES, or SPDIF interfaces with 24/192 capability to a DoP-compatible DAC, which recomposes the original stereo DSD data stream completely unaltered.

DSD over PCM

The DSD over PCM (DoP) protocol was invented and formalized in 2011 by a group of high-end audio experts. The key players in its creation were:

Andreas Koch who devised DoP to allow computers (especially Macs, which had no native DSD drivers) to transmit DSD signals without converting them. Then the British company dCS (Data Conversion Systems), which collaborated in defining the open standard, published the first specifications in 2011. The development also saw support from key figures such as Andy McHarg (dCS) and Rob Robinson (Channel D), and companies such as Aesthetix, Focusrite/Novation, and MSB Technology, who helped make DoP an Open Standard universally adopted by the audio industry.

Chronologically, we must remember how the DoP protocol dates back to 2011, while the original DSD format was developed much earlier (1999) by Sony and Philips with Andreas Koch’s crucial contribution to SACD support. DoP is thus a way to send DSD signals via USB to DACs that did not accept “native” signals of this type. Over time, it was expanded to include the S/PDIF connection standard, over RCA and BNC connections, and then Toslink and AES/EBU. It should be mentioned that nowadays there are many DACs that accept DSD “natively,” thus without the need for the DoP step. This has caused interest in it to wane. In addition, there are those who argue that the additional operations performed on the signal, both transmitter and receiver side, affect the sound by worsening it because of the noise introduced in the process.

ONIX Zenith XST20

The device is slightly smaller than the standard measuring 320 x 240 x 72 mm. The cosmetic appearance is as luxurious as it gets, but this has now become a standard for high-class Chinese productions. I am thinking, for example, of the LAiV Harmony DAC or the various Eversolo we tested. The material from which the cabinet is made is an aluminum alloy machined with numerically controlled machines, thanks to which it was possible to achieve the groove pattern parallel to the major side that enriches the top panel and the two side panels. The diskette slot is located on the top panel(Top Loader) with the diskette being placed directly on the motor axis and held in place by a small plastic-coated magnetic diskette. Once the CD/SACD is placed, the compartment should be closed with a glass cover with an aluminum handle.

On the front panel of the ONIX XST20 we find a 3.4-inch color touch display next to which is a large gold multifunction knob that allows the classic Play, Pause, Stop track forward and track back controls. I don’t think I have ever come across a player with this type of control but, in fact, I found it simple and effective. The information shown on the display is arranged rationally and neatly, which makes even small auxiliary indications readable. Selection of inputs and outputs, as well as an additional set of configuration options, is done using simple menus characterized by sufficiently self-explanatory icons. A remote control is also supplied, which, being shared with many other ONIX products, is really too full of buttons for my taste, while being solid and also beautiful. For my part, I found it easier and more effective to operate the touchscreen. The reading unit is the Sanyo HD870 flanked by a MediaTek MT1389EE DSP chip. This unit can read CDs (including CD-Rs and RWs) and DVDs and, consequently, also SACDs since they have the same physical structure as DVDs; in addition, this player can also decode MQA-CDs, which are indeed quite rare. On the rear panel, in addition to the IEC power cord tray, we find as many as six digital outputs: ^I2S(usable with CD, SACD DoP), optical, coaxial, AES/EBU, BNC (usable with CD, SACD DoP) and USB (CD only). The ^I2Sport is implemented on an HDMI socket that is slaved to an FPGA used to address the problem of lack of standardization of the ^I2Slink. It is in fact possible to select one of ten different pinout modes, making this transport unit compatible with almost any converter with an ^I2Sinput. We have repeatedly pointed out how the qualifying element of this connection is that it transmits separately the signals of the left, right and clock channels. Conversely, in the S/PDIF link, everything is contained within the same string, which therefore must be decoded at the output, which could generate Of the errors.

ONIX Zenith XDA20

The ONIX DAC XDA20 of the Zenith series shares the size and appearance of the player we have just described. The only difference is the obvious lack of a CD loading door. For completeness of discussion, I recall that in the Zenith series there is also the XMT20 streamer that runs on a Linux-based platform developed in-house by Shanling and arrives with Tidal Connect, Qobuz Connect and Roon Ready certification and DLNA and AirPlay 2 compatibility. The qualifying elements of this DAC are the dual ESS ES9039Pro conversion chipset that ensures support for PCM files up to 32bit/768kHz and DSD512. Downstream of this we find eight TI OPA1611 operational amplifiers from Texas Instruments that realize the conversion circuitry I/V (current/voltage) named, not coincidentally, Brighton. The components used are of a high standard: for example, the power supply is based on two 15 W and 25 W Talema transformers, and four 3300uF/63V Vishay capacitors are used for filtering. The XDA20 is also a headphone amplifier based on Texas Instruments’ TPA6120 chip that provides power up to 1.6 W with headphones with a nominal resistance of 32 Ohms, which allows it to work even with a complex load. The XMOS XU316 chip is responsible for signal output via interfaces I ²S (HDMI) and USB-B.

Also on this XDA20 we find a 3.4-inch color touch display and the same multifunction knob seen on the player. In the center of the display is shown the indication of the type of file being played (PCM or DSD) with an indication of its resolution. If you are using the preamplifier function, which is excludable, the volume level is also shown. Two gain levels(Low Gain / High Gain) are available in the headphone amplifier mode. Selection of inputs and outputs is intuitive, to say the least, thanks to the convenient icons represented on the display (See Graphic).

From the settings menu it is possible to select one of the eight output filters and the mode of illumination of the display and physical controls of the DAC (See Graphic). Also included in the package is a remote control quite similar to that of the player seen above, resulting in finding oneself with two identical remotes and, at least in my case, unused given the greater convenience of the touch display. The Rear Panel is well organized and contains the six input ports and, on the right, the two vertically placed balanced (XLR) and unbalanced (RCA) analog outputs.

Listening

Listening

We tested the ONIX XST20 transport and XDA20 DAC pairing by connecting them together in ^I2Sand taking advantage of the balanced output of the DAC to connect it to the Audio Analogue Maestro 2.0 integrated amplifier driving the Vivid Audio Kaya S12 speakers. We also used the XST20 transport by connecting it to our Aqua La Scala MKII reference DAC, which in turn was connected in unbalanced to the same amplifier. The XDA20 DAC was then connected to one of our Audio PCs via USB ( JCat USB EVO Card) to check its compatibility with the Audiolinux operating system and the various software we routinely use on it (ROON, UPnP, etc.). Obviously, the first test we wanted to do was to listen to our, few indeed, Super Audio CDs which were read without any difficulty both by the ONIX XDA20 – this was certainly not a surprise – and by the Aqua La Scala MKII which is compatible with the DoP protocol. The Audiolinux operating system also viewed the XDA20 DAC without hesitation.

Those who routinely read us are aware that in the course of our tests the source mainly used is streaming from Qobuz and, through Minimserver, from our capacious NAS. However, this rehearsal has forced me to take back some of my collection of silver floppy disks and come to terms with the “physical” interaction they presuppose. In this regard, I want to point out that I have always considered the CD, at least on the level of “tactile/aesthetic” enjoyment, absolutely not comparable to the LP. If I wish to enjoy the aspect of the rituality of the gesture the analog has no comparison, just as the quality of theartwork of a vinyl is incomparable to that of a Compact Disc. Nevertheless, and I cannot explain why, I was pleased to return after a long time to handling my CDs. Of course, I had to get used again to the remote control for changing tracks and to having to abandon my usual mode of listening based on the “comparison of interpretation” that only streaming audio allows one to do almost in real time. In its place, however, I enjoyed listening to entire discs from track 1 to the last track (or musical note), and even that is not an insignificant fact.

Other food for thought was listening to SACD, which, objectively, is an extraordinary format. Unfortunately, my collection is really limited to only a few Classical and Jazz titles, but they are all records of rare beauty both artistically and technically.

Let us turn to the observations that arose from listening, starting with the first configuration tested, that is, the one that had both ONIX products working together connected in ^I2S. The first thing that struck me was the truly unusual size of the proposed virtual soundstage. The width on the three axes-particularly in height-is at least unusual and gave rise to a very gratifying perspective illusion also thanks to the strong skills in this sense of the small Vivid Audio Kaya S12. The timbral balance of this combo tends to favor the upper midrange with bright colors and a nice feeling of naturalness and silkiness. Nevertheless, it seemed to me that with some instruments such as violas and cellos, it lacked some body and warmth giving rise to an impression of excessive lightness. This behavior was partly mitigated by the purposeful use of the various output filters that the DAC XDA20 provides, however always in a way that was too measured to be decisive. Very different was the behavior with the Aqua La Scala MKII DAC connected in SPDIF: in this case the tonal balance veered toward “warmth,” restoring the sense of balance to which I am accustomed. I am unable to say whether the phenomenon can be attributed to the ONIX DAC or to the particular type of connection, since the La Scala MKII does not have an ^I2Sconnection over HDMI, so it was not possible for me to make direct comparisons. However, it remains my belief that the tests on the readout mechanics are strongly influenced by the type and quality of the DAC placed downstream of them. The other point I would make is that the ONIX XST20 transport can be serenely employed even with DACs in a higher price range than its DAC of choice, without fear of disfigurement.

Of both devices, I appreciated the simplicity of operation that comes from the careful design of the interface elements. Here I refer not only to the two excellently made and implemented touchscreens, but also to the nice rotating knob of the reading mechanism. A highly effective but, strangely, uncommon solution.

Conclusions

Shanling offered us two excellent ONIX axes brand products that were well coordinated with each other. I would have been curious to also try the Zenith series streamer within the combo, but this was not possible due to logistical issues. Maybe it will be for next time. While I consider the XDA20 DAC to be an excellent product in every respect, even in relation to its price, which is definitely affordable, I think most of my attention was absorbed by the XST20 readout transport. Equipped with a beautiful design, well made, quiet and stable in operation, it made me rediscover the charm of a physical medium, the CD, which I do not usually frequent. Moreover, the decision to equip it with a system that allows it to use the DSD over PCM protocol (DoP) seemed ingenious to me.

Giulio Salvioni

Technical Specifications XDA20

Product type: DAC + headphone amplifier

Inputs:

1x I2S via HDMI
1x USB-B
1x Coaxial
1x Optical Toslink
1x BNC
1x AES/EBU

Outputs:

1x Balanced stereo XLR
1x Single-ended stereo RCA
1x Headphone output Jack 6.35mm

DAC chips: (2x) ES9039Pro

USB Interface: XMOS XU316

Supported sampling rates:

SPDIF input: PCM up to 24bit 194kHz, DSD64 DOP
I2S input: PCM up to 32bit 768kHz, Native DSD up to DSD512
USB input: PCM up to 32bit 768kHz, Native DSD up to DSD512

Amplification chip: TPA6120

Screen: 3.4″ touchscreen

RCA output specifications:

Output level: 2.1V
Frequency response: 20Hz-40kHz (-0.5dB)
Total harmonic distortion + noise (THD+N): 0.0003%
Dynamic range: 123dB
Channel separation: 122dB
Signal-to-noise ratio (SNR): 123dB
Noise: 117dB

XLR output specifications:

Output level: 4.2V
Frequency response: 20Hz-40kHz (-0.5dB)
Total harmonic distortion + noise (THD+N): 0.0003%
Dynamic range: 127dB
Channel separation: 126dB
Signal-to-noise ratio (SNR): 127dB
Noise: 114dB

Specifications 6.35mm headphone jack outputs:

Output power
- Low gain: 101mW @ 32 Ohm
- High gain: 1620mW @ 32 Ohm
- High gain: 252mW @ 300 Ohm
Frequency response: 20Hz-40kHz (-0.5dB)
Total harmonic distortion + noise (THD+N): 0.003%.
Dynamic range: 121dB
Channel separation: 69dB
Signal-to-noise ratio (SNR): 120dB
Noise: 112dB

Output impedance: 3.3 Ohm

Dimensions: 320 x 240 x 62mm

Weight: 5.7kg

Color: Black

Price: €2,599.00

Technical Specifications ONIX Zenith XST20