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Rear panel connectivity is comprehensive and includes—as you look at it—a set of unbalanced RCA and balanced XLR (transformer coupled for common-mode noise rejection and RF/EMI buffering), two S/PDIF inputs via 75Ω BNC connectors, one Toslink and one USB plus the multi-pin power supply input. AES/EBU is not catered to because "... the AES/EBU connector itself is not typically rated for the required 110Ω characteristic impedance. Only a 75Ω industry-standard BNC interface connection on the source, cable and load guarantees a true high-performance low-jitter high-bandwidth transfer of data without cable reflections."


This tour de force of digital playback is a combined design effort between Jeff Rowland and Thomas Holm of Holm Acoustics. Many more technologies and design strategies are implemented in the Aeris and discussed further in a white paper which I believe may be available on their website soon or acquired if you ask nicely.


The ‘air’ you hear. Listening was done via hook-up to the awesomely good AMR CD-77.1 which its superb custom transport section and a MacBook, AIFF files, iTunes and Snow Leopard. Yes, iTunes does open a door to debates on its sonic qualities—or lack thereof in some opinions—but for review purposes it served well whilst investigations are underway into alternatives.


Regardless, the Aeris was one of the very best digital playback components I’ve ever had in my system. There! Out with it early and without mucking about. There’s a solidity and robustness to the sound that makes the Aeris a superb DAC for any music genre. With Rock for example, the bass hits with speed, bounce and punch. Just play any Tool or A Perfect Circle and you’ll quickly lock in on what I’m on about.


And the sound is big not just in terms of soundstage width but how the Aeris scales along in volume and musical magnitude. This of course works brilliantly with orchestral music but the timbral accuracy and ability to scale down also makes it an extraordinary DAC for more intimate genres such as small jazz or chamber ensembles.


My soundstaging reference discs (usually Ani Di Franco’s Living in Clip and Harry Belafonte’s Belafonte at Carnegie Hall) gave me the expected lateral enormity but quite unexpected was the Aeris‘ ability to extend the depth of the stage beyond most other DACs I’ve auditioned in-house. The usual cliche of ‘beyond the front wall‘ applied here without exaggeration.