Thread: Lumin D3

Today Lumin announced D3 in Hong Kong High-End Audio & Visual Show 2023.

LUMIN D3

D3 compared to D2:
- New analog output stage originated from T3
- New processor from T3
- Upgrade from WM8741 DAC to ES9028PRO DAC (this PRO-class DAC beats all the mobile-class ES9039Q2M, ES9038Q2M, ES9028Q2M, ES9028K2M, ES9069, ES9068AS, ES9018*, ES9016*, etc.)
- Support Tidal Connect
- Upgrade from maximum DSD128 to maximum DSD256
- Upgrade from DSD64 resampling to DSD256 resampling
- AirPlay2 compatible
- New finishing

D3 compared to T3:
- D3 is a cost reduced version of T3
- Single ES9028PRO DAC chip in D3 instead of Dual ES9028PRO DAC chips in T3
- Maximum DSD256 in D3 instead of maximum DSD512 in T3
- No USB audio output (to external USB DAC) in D3 but supported with T3
- When using non-zero analog balance adjustment, Leedh Processing Volume is disabled (no such restriction in T3)
- Smaller dimension

Because T3 has Dual ES9028PRO chips.

In another thread someone asked about D3 review:

LUMIN D3 Networked Streamer Review | StereoNET United Kingdom

There were at least two other reviews, but not in English.

AI translation of the listening notes of D3 review by HighFidelity.pl High Fidelity

Tidal playlist for review: tidal.com

⸜ JOHN SCOFIELD, Uncle John's Band, ECM Records/Tidal, FLAC 24/96 (2023).
⸜ CLUSTER, Grosses Wasser, Sky Records/Bureau B/Tidal FLAC 16/44,1 (1979/2012).
⸜ KENICHI TSUNODA BIG BAND, Big Band Scale Tidal, FLAC 24/96 (2015).
⸜ SMOLIK/KEV FOX, Belly of the Whale, Kayax/Tidal, FLAC 24/44,1 | 24/88,2 (2023).
⸜ PAUL MAURIAT, Grandes Éxitos, Charm Music/Tidal, FLAC 16/44,1 (?).
⸜ ROBBIE ROBERTSON, Robbie Robertson, Geffen/Tidal, FLAC 16/44,1 (1987/?).

The latest generation of their products, including the T3 model I'm using, and the significantly cheaper D3 model, are returning to density, warmth, and natural sound attack, but now under new conditions. With much higher resolution.

Just the first sounds of Bill Stewart's drums, and then John Scofield's guitar in the song "Mr. Tambourine Man" from the guitarist's latest album titled "Uncle John's Band," brought out the best in it. The transmission had a very nice filling and was incredibly colorful. To some extent, the darkening of the sound, so characteristic of early models from this manufacturer, returned, but not as a withdrawal and softening of the high end, but as a deepening of the blackness behind the sounds.

These, especially the drums, were three-dimensional thanks to it, both in terms of stereo and stereoscopy, meaning not only in width but also in depth. They were truly distinct 3D shapes, perhaps not as clear as with this manufacturer's twice as expensive T3 model, but quite good nonetheless. However, the device builds a rather strong foreground rather than pulling everything back. On the other hand, when the guitar struck harder in the recording of "Avanti," the opening track of the album by the krautrock band Cluster, the reverb carried far back.

Whatever you may say, the D3's transmission is built on a strong foreground. The instruments are large and substantial. It is the opposite of what many other manufacturers propose, even reputable ones who fail to understand that sound must be both clear and full-bodied to be perceived as natural. Let's play the D3 in any well-assembled system, and we will see that this little device can build a transmission on a scale that we associate with large, heavy, technologically advanced products.

Oh, how wonderfully the large ensemble of a big band sounded thanks to it, recorded by the Japanese on the album "Big Band Scale" featuring the Kenichi Tsunoda Big Band! Released by Warner Bros. Japan, the album showcases dynamics and fullness. The D3 played it brilliantly precisely because it can beautifully render strong, dense upper bass and low midrange. The high tones are powerful and have the right weight but are not pushed to the foreground. They are not rounded; they have a clear, swift impact, so it's not about softening them. I would say, however, they have a "golden glow" rather than a "silvery sonority," if you know what I mean.

I highly recommend this album, especially since it is now available on Tidal in FLAC 24/96 format, without MQA encoding. By the way, it's one of the biggest changes I've come across lately in streaming. Tidal still offers hi-res FLAC MQA files, but apparently, they are trying to transition to non-encoded files after the owner of the Master Quality Authenticated patent announced financial problems. In any case, both the previously listened to Scofield and the currently listened to Kenichi Tsunoda big band sound excellent because of it. I know and like MQA, but it's not always the solution to all problems.

D3 delivers a full-range sound with grandeur, creating large, enjoyable, tangible sound sources. And it's not only with purist recordings but also with heavily processed ones, like the latest album by the duo SMOLIK/KEV FOX titled 'Belly of the Whale.' Fox's vocals on this album are not as strong and clear as on their previous record because they have been integrated more deeply into the mix, which the Lumin player beautifully showcased. It didn't artificially bring them forward, even though it plays with a strong range in which the British vocalist operates.

It's actually an interesting case regarding the files. The album was mastered for streaming in 24-bit resolution. The title track 'Belly of the Whale,' which starts with a rattling barroom piano reminiscent of the opening theme of the TV series Westworld (Michael Crichton, Jonathan Nolan, 2016–), is sampled at a frequency of 44.1 kHz, the same as a CD. The same goes for all other tracks except one: 'Move Honey.'

For some reason, that particular track is sampled at 88.2 kHz. It seems that the entire album was prepared that way, and for some reason, the label decided not to provide the full studio resolution, and the mastering engineer forgot to downsample that one track. This wouldn't be possible with MQA because, at least theoretically, the authentication of such files requires the label to provide the original 'master' file. However, it could also be the case that assumptions are assumptions, and we didn't really know what was happening with the files before they reached us. That's actually a significant problem – their absolute anonymity.

Getting back to the player, I'd like to add a few words about the low frequencies. They are powerful, full, dense, and slightly soft. Therefore, they won't be as clear in impact and as selective in sustain as with the previous generation of this company's players or with devices from Linn or Aurender. It's just a different type of sound reproduction. But it sounds so good because of it. That's why we have such a large scale, and that's why all the recordings come alive, vibrant, and spacious with it.

The softness of the bass is controlled by high dynamics. For example, if the bass drum strikes in an orchestra in a recording by PAUL MAURIAT, it is a quick, strong hit without a lingering 'tail' behind it. I mention Mauriat because there is an excellent compilation of his hits available on Tidal. And, let me remind you, he is one of the most famous Italian conductors who became known in the late '60s for his orchestral version of André Popp's hit 'Love is Blue.' He was previously the artistic director for Charles Aznavour and Maurice Chevalier and also collaborated with Petula Clark. It's worth checking out.

AI translation of the listening notes of the D3 review by Lumin D3串流播放機評測：音響性全面進化，絕對是現今最有誠意的入門機種！-普洛影音網

During actual testing, I used the D3 as a preamplifier for streaming, paired with the Keces S300+ power amplifier to drive the Pioneer S-1EX floor-standing speakers that we have been using as a reference for a long time. During the process, I deliberately brought in the previous generation D2 streaming player for comparison. It had the familiar sound signature of warm and smooth undertones, with a huge and intimate musical presentation that created a relaxed and pressure-free musicality. However, when I switched to the D3, its sound evolution amazed me even more. Compared to the D2, the D3 completely elevated the sound to another level in terms of transparency, finesse, and dynamic effects. While the D3 still possessed the softness and directness of the D2's sound characteristics, it improved upon the shortcomings of the D2.

Many people may be curious about the difference in sound between the D3 and the higher-tier T3. In comparison, the T3 has a wider and deeper soundstage, a larger musical presentation, and outstanding transparency and finesse. On the other hand, the D3 exhibits a larger musical presentation and a direct and clear style in terms of detail reproduction. It is evident that Lumin's product lineup is clearly graded. Although entry-level models may slightly lag behind mid-range models in terms of features and sound quality, they still have their irreplaceable sound advantages. Therefore, regardless of your budget, Lumin's streaming players are worth investing in.

First, I played the album "Live at 'The Club'" by jazz pianist Cannonball Adderley. When I switched from the D2 to the D3, it was like lifting a thin veil. The music background instantly became clear and transparent, and the sound positioning was very three-dimensional. I could clearly perceive the sound positions and distances of the surrounding audience's chatter and applause, creating a realistic sense of space as if I were in a dim and lively jazz club. The saxophone had a prominent instrument presence with clear contours. The details of the performance were direct and revealed the intimate breath of the musicians. The brass instruments had excellent penetration, and this distinct and direct sound quality made listening to small jazz ensembles on the D3 feel incredibly realistic.

Next, I played Haydn's String Quartet No. 4 performed by the Modigliani Quartet from France. With the D3, I could hear the four violins arranged in life-size right in front of me. Although the string texture was not delicate and ethereal, the lines were solid and full. The contours of the violin were clear and transparent, and against the backdrop of the resonant acoustics of the concert hall, the lingering reverberation carried a charming sense of air. Even the subtle details of bowing were clearly presented. I could hear the tight and crisp bowing texture of the cello without any sense of bloating. It portrayed the delicate resonances and tremolo expressions vividly. From this, I could also perceive the significant improvement in the dynamic effects of the D3. Even in small chamber music ensembles, the contrast between strong and weak tones was very pronounced, making the string quartet more engaging and allowing me to experience the delicate dialogue of emotions and performances.

The low-frequency performance of the D3 is also its strong point. Compared to the D2, it has significantly improved control and transient effects. For example, when playing rhythmic and energetic pop music like "One Last Kiss" from Utada Hikaru's album "BAD MODE," I could feel the fast and precise low-frequency punch, as if being struck by rapid and powerful punches to the chest. The plucking of the electric bass strings was clear and distinct, with controlled energy and no sense of bloated thickness. This improvement addressed the slight softness in the low-frequency range of the D2, resulting in a solid, clean, and sharp texture. Not only is the low-frequency speed faster, but I could also hear more subtle low-frequency details. For example, in the electronic music album "Aphex Twin - Blackbox Life Recorder 21f / in a room7 F760," I could hear clean and deep electronic bass that extended down to extremely low frequencies, sounding smooth and full-bodied. The humming low-frequency resonance rippled like waves, devoid of mid-low frequency standing waves, and I could also hear more subtle beat variations and surround sound effects in the song.

After three years of waiting, the D3 streaming player has certainly not disappointed anyone. Its materials and design are on par with the high-end T3, allowing the D3 to retain the direct and transparent sound and the warm and gentle undertones of its predecessor, while surpassing it in terms of audio performance. If you happen to be looking to enter the world of streaming audio this year, congratulations! Because this D3 streaming player is definitely one of the most sincere and impressive entry-level models in recent years!

I went with a friend of mine who is just getting back into higher end audio to a local mom and pop store. He ended up buying a Lumin D3 and a Rogue Audio Cronus integrated tube amp. We compared the Lumin to the Bluesound Node and the Node sounded muddy, dull, bright and flat in comparison. I was quite taken aback at how good the D3 sounded and how poor the node sounded in comparison (you get what you pay for). It presented music with a huge and deep sound stage with good resolution and detail. It was quite musical. The build quality is exceptional. The only issue is that the usb inputs are usb A not B if you have a A-B usb cable.

AI Translation of listening notes of Lumin D3 (as a Roon endpoint) review from Hi-Fi Class Lumin D3 test - Hi-Fi Class

The Lumin D3 arrived at a time when I was comparing two fantastic digital-to-analog converters, namely the LampizatOr Pacific 2 and the Weiss Helios, both using their own custom file servers. Each of these DACs costs multiple times more than the entire Lumin, which is, after all, a complete file player. So it would seem that integrating the D3 into the same system could be a painful experience. However, the transition was actually quite smooth. No, it doesn’t mean that the tested player performed as well as the mentioned DACs with my server, but the difference between them was nowhere near the difference in price, and it still delivered excellent sound. And the Lumin positively surprised me. Of course, I can’t honestly say that I perfectly remember how the D1 and D2 sounded because I tested them a long time ago. Nevertheless, my overall recollections primarily speak of a somewhat warm, coherent, smooth, and remarkably ear-pleasing sound.

After connecting the Lumin D3 as the Roon endpoint for my server and attaching it with cables, some of which were even more expensive than the device itself (LAN model Sapphire David Laboga Custom Audio, KBL Sound Himalaya II XLR connecting the Lumin to the Circle Labs P200 preamplifier, Soyaton Benchmark XLR, and further to the M200 power amplifier, with the GrandiNote MACH4 speaker cables), I was pleasantly surprised by the lively, joyful, and open sound. It was the kind of sound that captivates, sways, and brings a smile to your face from the first notes. Of course, the music I listened to initially, such as albums by Spyro Gyra or Acoustic Alchemy, had that cheerful, dynamic, energetic, and positive playing, but not every device can reproduce it so successfully and engagingly. The Lumin D3 did it exceptionally well.

This is a sound that can be described as slightly warm, smooth, and incredibly natural, which Lumin has consistently adhered to over the years, and it’s great! However, if I remember correctly, the D3 has better resolution compared to its predecessors. This translates into a greater amount of information, which is not individually highlighted like some digital sources do, but rather used to build a rich, coherent, and expansive musical image. Thanks to the abundance of these subtle pieces of information, the sound is fuller, more authentic, and… even more natural. Several elements contributed to this. There were the characteristics inherited from other models of the brand, such as coherence, fluidity, and smoothness of sound, as well as an energetic presentation that is not necessarily associated with cheaper Lumin models. The D3 also excelled in openness, transparency, and good drive.

Moreover, the PRAT (Pace, Rhythm, and Timing) performance of this little device could put many more expensive constructions to shame. The latter have an advantage primarily in terms of resolution, as the D3’s resolution is high but doesn’t match that of top-tier players (including Lumin). Nevertheless, as it turned out during subsequent listening sessions, the tested little device handled almost every genre of music very well, be it jazz, blues, or even rock.

In a relaxed and effortless manner, the album by Stanley Clarke’s band played. The master’s double bass, whether plucked or played with a bow in one of the tracks, enchanted with its tone, depth of sound, significant contribution from the soundbox, and in the case of plucked playing, the tightness of the strings and the speed of plucks. The piano sounded big and resonant, and its sound, although saturated and colorful, was simultaneously pure. When the maestro joined in with his electric bass guitar, it became evident that although the lower end of the frequency spectrum, in general, had a certain softness, it was still fast and tight enough to sound authentic when playing an electric bass. Furthermore, both of Stanley Clarke’s instruments, each in its own way, could deliver a solid impact because the D3 provided both a sufficiently low extension and good saturation across the entire frequency range, including the lowest tones. It may not reach the level of the best sources, but even with that awareness and fresh experiences with high-end DACs, it didn’t bother me at all, and I thoroughly enjoyed listening to this album.

Next in line was a live concert album, also featuring (double) bass as the main instrument, with Ray Brown, John Clayton, and Christian McBride sharing the stage. It was recorded live and released by Telarc. For me, as a huge double bass fan, it was a dream come true, but it also posed a demanding test for the components I was evaluating, as I knew the album almost by heart and expected it to sound as good as it deserved. The conversations between the bass masters, as well as Ray Brown’s collaboration with the incredible Benny Green on piano, supported by Gregory Hutchinson on drums, sounded fresh and joyful through the D3. You could feel the chemistry between these outstanding musicians and how well they enjoyed themselves in each other’s company. This live recording, along with a few others I listened to later, revealed that the Lumin D3 is not the most spatially expansive file player I’ve heard. It performs exceptionally well in the foreground and captures what’s happening directly in front of it. The background elements are portrayed with slightly less detail, so to speak. However, this is not a weakness of the device, as I’m comparing it at this point with the best (and most expensive) players that have a greater advantage in certain aspects over the more affordable ones.

The spatiality of the performance, especially the depth of the soundstage and the precision of what’s happening in the background, are advantages of top-tier sources. These advantages stem from even higher resolution, better differentiation in every aspect of sound, and, as a result, higher fidelity and refinement in presentation. However, the Lumin D3 has nothing to be ashamed of even when compared to much more expensive competitors. While it may not match their refinement, listening to music with it is immensely enjoyable, and the sound quality is very high for this price range.

As I have emphasized in previous texts about Lumin, the creators of the brand are fans of the DSD format. That is likely why users can convert any file, whether PCM or DSD, to the DSD256 format. What happens when we make such a choice? As a fan of the DSD format, I can only write about what I heard from that perspective. To be clear, the differences are not significant; it is not an entirely different sound, but rather a slight shift in certain accents. When we play everything in DSD256, which, by the way, has no impact on the smooth operation of the Lumin, confirming the capabilities of the new hardware, there is a subtle shift towards fluidity, smoothness, and richness in the sound. PCM files played natively or upsampled within this format to higher sampling frequencies place slightly more emphasis on aspects such as precision, speed, and transparency. In both cases, the character of the sound remains very similar; we are not turning everything upside down but rather subtly fine-tuning the sound to our personal taste. Purists can still simply set the playback of all file formats to ‘native’ and not worry about shifting accents at all. I believe they will derive just as much enjoyment from listening as those who choose to utilize this option.

I also tested the direct connection of the D3 with a power amplifier using the digital Leedh regulation, and I must admit that it performed very well for a digital solution. Many manufacturers have tried to convince me that good digital regulations measure better, so they are superior, but none of my listening experiences have convinced me yet. It always turns out that even if the differences are small, in the long run, analog regulation simply suits me better. It was the same this time - the excellent Circle Labs preamp did a great job, and with its help, the final sound was even better for me. Nevertheless, Leedh is good enough that if, for example, financial constraints prevent the purchase of a preamplifier, combining it with a good power amplifier will still give you a very good sound that provides a lot of enjoyment.

The sound is better when playing high-quality files from a local network or a USB-connected drive, but it is still very good from Tidal, especially from Qobuz. Internet radio is only an option for background listening, but that is not a limitation of the Lumin D3 itself, but rather the quality offered by internet stations. In any case, it is a fully functional and useful feature for many people. From a practical standpoint, I did not encounter any hardware or software issues during the listening sessions. Everything worked smoothly, quickly, and simply enjoyable.

Summary

The Lumin D3 is a device belonging to the new generation of this brand, and once again, I must admit that its engineers have done a great job. It delivers a more complete sound than its predecessors, smooth, coherent, musical, and natural, but also richer, fuller due to better resolution, and at the same time, cleaner and more transparent. Add to that its higher energy, openness, and dynamic performance. In the end, we get a player that simply sounds even better, regardless of musical preferences, and can confidently serve as a source in a high-class system. Its wide range of capabilities for playing files from local sources, local networks, working as a Roon endpoint, or seamless compatibility with major streaming services make it an incredibly versatile device. What more could you want?

AI Translation of D3 listening notes from FIDELITY-Magazine.com

If I read it correctly, the D3 is reviewed in Roon Only mode.

The little Lumin has power. Its sound immediately captivates the listener. It is rhythmically precise, rich in color, well-defined, and has substance. While “breathing” spaces or holographically reconstructed stages came to mind as spontaneous reactions with other digital players, it is the small Lumin’s physical, dense representation that plays captivatingly forward and is fun from the first note. This does not mean that it lacks atmosphere or resolution - both are simply not the focus. One could certainly attest to the D3’s particularly pleasant and holistic handling of the high frequencies.

In a direct comparison with my Aqua La Voce S3 DAC, the Lumin wins with that very punch. That is more than just a commendable achievement. After all, the Italian DAC is an elaborately built R2R converter, supplied by two linear power supplies based on toroidal transformers, while the Lumin is powered by a switching power supply. Granted, after more intense listening, the Aqua can catch up with its inherent elegance and openness. But the D3 remains the fun machine.

AI translation of D3 listening notes from SPILL | 【評測】LUMIN D3：易用無縫串流體驗　熟悉的 LUMIN 動聽「魔法」

In this test, the LUMIN D3 was paired with the Cambridge Audio CXA81 amplifier and Mission ZX-2 speakers. In terms of streaming, we tested TIDAL, KKBOX, Spotify, and local music playback via DLNA. The D3’s sound signature is familiar to LUMIN’s tuning, with excellent musical layering. Listening to Joe Hisaishi’s ‘A Symphonic Celebration,’ the instruments were detailed and composed, with a smooth and clean sound that wasn’t bland. It had both dynamic and melodic qualities, presenting both dynamic and static music in a balanced manner. The instruments and vocals were slightly forward but not overly pronounced, emphasizing the stereo image while still blending perfectly with the accompaniment. There was proper separation while maintaining the integrity of the music. Describing it as ‘perfect’ might be a bit exaggerated, but LUMIN’s tuning indeed has a unique charm that enhances the musical layering and transparency, giving a sense of ‘it sounds good.’

Furthermore, there are noticeable differences in sound quality among different sources on the D3, particularly in terms of resolution and stereo imaging. TIDAL and DLNA local music offer the best results, followed by KKBOX played through AirPlay 2, and finally, Spotify. The main differences lie in the level of detail and stereo imaging. For the same songs by Jacky Cheung (‘Li Xiang Lan’) and Sandy Lam (‘Breathe In… Breathe Out’), lossless files present a denser and smoother musical presentation compared to compressed audio. However, different sources still provide a pleasing and transparent sound. Of course, the level of analysis and control is not on par with the high-end T3 that we tested before, considering the price difference, but it still maintains LUMIN’s familiar and pleasing sound signature.

Lumin D3 full review by HiFi News with measurements

Originally Posted by wklie

Lumin D3 full review by HiFi News with measurements

Excellent. Will read with interest. Thanks, Peter for the reference. Cheers.

Originally Posted by wklie

Lumin D3 full review by HiFi News with measurements

Terrific review and score!


Sent from my iPad using Tapatalk Pro

Always liked Lumin’s. I parted with my X1, but when I’m in the market again for a DAC/streamer, this would likely be the one! Thanks for posting the review, Peter!