Introducing Olympus & Olympus I/O - A new perspective on modern music playback

For those who just started reading up on Olympus, Olympus I/O, and XDMI, please note that all information in this thread has been summarized in a single PDF document that can be downloaded from the Taiko Website.

https://taikoaudio.com/taiko-2020/taiko-audio-downloads

The document is frequently updated.

Scroll down to the 'XDMI, Olympus Music Server, Olympus I/O' section and click 'XDMI, Olympus, Olympus I/O Product Introduction & FAQ' to download the latest version.

Good morning WBF!​

We are introducing the culmination of close to 4 years of research and development. As a bona fide IT/tech nerd with a passion for music, I have always been intrigued by the potential of leveraging the most modern of technologies in order to create a better music playback experience. This, amongst others, led to the creation of our popular, perhaps even revolutionary, Extreme music server 5 years ago, which we have been steadily improving and updating with new technologies throughout its life cycle. Today I feel we can safely claim it's holding its ground against the onslaught of new server releases from other companies, and we are committed to keep improving it for years to come.

We are introducing a new server model called the Olympus. Hierarchically, it positions itself above the Extreme. It does provide quite a different music experience than the Extreme, or any other server I've heard, for that matter. Conventional audiophile descriptions such as sound staging, dynamics, color palette, etc, fall short to describe this difference. It does not sound digital or analog, I would be inclined to describe it as coming closer to the intended (or unintended) performance of the recording engineer.

Committed to keeping the Extreme as current as possible, we are introducing a second product called the Olympus I/O. This is an external upgrade to the Extreme containing a significant part of the Olympus technology, allowing it to come near, though not entirely at, Olympus performance levels. The Olympus I/O can even be added to the Olympus itself to elevate its performance even further, though not as dramatic an uplift as adding it to the Extreme. Consider it the proverbial "cherry on top".

 

So your thoughts on the sound in the Taiko listening room?

The Taiko room is more of a lab than demo room these days, so the measure is how revealing it is (voicing and tuning). It is remarkable how quickly and how audible changes are. This is where the “art” happens to complement the “engineering”

I was very impressed how well the Zellatons could keep up with the Olympus (speed, control, and coherence). It is the Olympus that has kicked me into considering a speaker upgrade, so it was a VERY interesting experience to hear Olympus with different speakers and electronics (the character of the speaker and electronics really came through) learned a great deal

 

@ray-dude , it was an absolute pleasure meeting you in person, thank you for brightening our Sunday/Monday

A quick question for all those who’ve tried the analog output, what is your opinion on the output level / gain? Would you prefer it to be lower/higher or is it just right?

 

@ray-dude , it was an absolute pleasure meeting you in person, thank you for brightening our Sunday/Monday

A quick question for all those who’ve tried the analog output, what is your opinion on the output level / gain? Would you prefer it to be lower/higher or is it just right?

Seems fine to me...

 

Seems fine to me...

I find it just right

 

...seemed fine to me. Levels were "normal" range here.

 

we really need to put this to rest. There is no correct answer. There are two wonderful paths, both of which lead to Valhalla. Of course there is preference and bias. All we can add are data points. I doubt these will be determining factors when all is said and done when it comes for each user to decide their own path.

In my quest for completely satisfying sound/music from my digitally sourced hifi rig, I have spent a demented amount of $$ -- to the point where my wife instinctively knows not to ask detailed questions like "how much did that big box cost??" If she did, I'd likely say something vague and diversionary like "well...I got a good deal on this..."

As far as super-dacs go, I've had Nagra HD, Lampi Pacfic, Horizon and even Lord Wadax here. Most recently Aries Cerat Ithaka. The Ithaka was the best (imho, in my system, etc.). And, I just sold the Ithaka, but not because it was lacking in any way. On the contrary, I was completely happy with my system (Aries Cerat from Dac to Pre to amps).

I made the decision to move on when I heard how wonderful the simple Olympus analog out sounds. Is it superior to Ithaka USB? In some ways yes and some ways maybe not. ( I'm definitely keeping my AC Ageto pre and AC Essentia amps btw which seem a perfect compliment to the Olympus.) The Ithaca USB is really great. And, I have no doubt the Aries xdmi will be greater.

All I can say is that now I really never find myself thinking I wish this or that sounded a little better. Everything just sound right -- including on less that stellar recordings. And this is all streaming Qobuz, btw.

But what really convinced me to divert and go all-in on the Olympus O/IO system is not the fantastic sound quality of the Olympus analog. Rather it was the realization that Taiko seems to be flying on a slipstream a little higher and faster than the competition.

They are creating a focused, intelligent digital music ecosystem that as it becomes more sophisticated, it also simplifies. To me, it just makes most sense to hitch to this wagon train.

The Horizon, MSB and Aries xdmi may, or may not be better, or simply preferred, than the Olympus analog. But we already know a V2 analog out is coming. It appears clear that it is just going to keep getting better and has a very high ceiling.

Hopefully production issues will become a thing of the past and Emile can devote all his focus to the audio lab!

 

Hi Wil, good for you. Love the simplification process (there are always pros and cons, but I'd prefer to keep my system and life simpler). I'd have made the same decision if I had the luxury. That's why I petitioned Taiko to have digital inputs (my fond dream hope is 3x or 4x RCA i2s inputs as an option), VC and a headphone output (there are moments I want to examine sound more closely or not to disturb family late at night) in a future analog DAC board.

 

@ray-dude , it was an absolute pleasure meeting you in person, thank you for brightening our Sunday/Monday

A quick question for all those who’ve tried the analog output, what is your opinion on the output level / gain? Would you prefer it to be lower/higher or is it just right?

The output level is just fine, in my system/room.

 

Can anyone compare the analog output with the Horizon via XDMI output? My Horizon (at 63) via USB has an output level that is a little too high for my system. I think XMDI add a couple dB to that.

 

More importantly, simplification not only reduces clutter and costs, it would also improve the purity of sound (the pure and unfiltered impact of attack and leading edge of sound, which matter most to me) when the signal path is as simple, direct and short as possible. Regrettable that the leading external DACs are not battery-powered. Understand the difficulty of using battery power when the power consumption of an external DAC is high, but I believe a critical advantage of Taiko's analog DAC is that it is battery-powered as well as its close proximity and direct link in the XDMI circuity (being tech illiterate, I may get the terms wrong, but what I intend to convey should be clear).

 

The next amplifier I'm considering is a two-stage tube amp with a 4V input sensitivity - SE. I'm currently using an EMIA silver AVC, which is fine with my current three-stage tube amps with 1.5V input sensitivity and a DAC with 2.2V output.

The option to have a higher output with XDMI analog would be worthwhile here. Simple is good. Or I may need to spend another $20k on an active preamp for that set-up.

Despite what others say, I really really don't want an active preamp in my current set-up with efficient speakers. I wouldn't say that if I had inefficient speakers 92db and below. I still have too much gain with an AVC. However, if I go two-stage, I have an expensive conundrum.

Simple and good doesn't happen by accident.

 

Simple and good doesn't happen by accident

It took Taiko 3-4 years of R&D (if I remember correctly) to arrive at the "simple" and "good" XDMI (the utter simplicity and directness mentioned by Lukasz in video comment about XDMI). Much easier to pile on with off-shelf solutions and components. I have not heard XDMI and will confirm for myself when the time comes.

 

@ray-dude , it was an absolute pleasure meeting you in person, thank you for brightening our Sunday/Monday

A quick question for all those who’ve tried the analog output, what is your opinion on the output level / gain? Would you prefer it to be lower/higher or is it just right?

I prefer a higher gain

 

The ultimate reference should be live music experienced "nearfield", close to chamber music players or in the first 10 rows of a concert hall. Important to re-calibrate our ears from time to time with attending live music sessions. Otherwise we live in a hifi world, relying on one sound system reference or another comfortable to yourself. I was puzzled by the several references of one's lengthy process of getting used or reoriented to Olympus' sound. For me, it would be simple, does Olympus XDMI sound like live music or not. Live music does not have the kind of exaggerated boom-box or subwoofer bass many hifi lovers crave for or the kind of tubey sound relished by some people. I imagine Olympus XDMI sound may be somewhat leaner (without being clinical) than the Extreme's USB sound (which higher noise may attribute to some "density"). An LP system has its own problems. Nothing wrong if one loves the hifi sound though if it enables him to love music more (which matters ultimately). For me, I prize the clarity of attack and leading edge, which give reproduced music a sense of liveliness.

Worth pointing out the obvious, which is that the Olympus by itself does not produce sound waves. Your impression of the Olympus is a function of the loudspeakers and the room at one end, and the original recording at the other end. For me, getting the right loudspeakers matters most of all and that of course has to match the room. That said, I agree that paying attention to the highest quality digital source is really important. The Olympus is definitely aimed at those who want the highest quality streaming source. It’s quite a remarkable amount of effort requiring a single-minded zeal. I admire that.

 

The ultimate reference should be live music experienced "nearfield", close to chamber music players or in the first 10 rows of a concert hall. Important to re-calibrate our ears from time to time with attending live music sessions. Otherwise we live in a hifi world, relying on one sound system reference or another comfortable to yourself. I was puzzled by the several references of one's lengthy process of getting used or reoriented to Olympus' sound. For me, it would be simple, does Olympus XDMI sound like live music or not. Live music does not have the kind of exaggerated boom-box or subwoofer bass many hifi lovers crave for or the kind of tubey sound relished by some people. I imagine Olympus XDMI sound may be somewhat leaner (without being clinical) than the Extreme's USB sound (which higher noise may attribute to some "density"). An LP system has its own problems. Nothing wrong if one loves the hifi sound though if it enables him to love music more (which matters ultimately). For me, I prize the clarity of attack and leading edge, which give reproduced music a sense of liveliness.

Honestly, I view live performance and recorded music as two very separate things, both to be enjoyed and savored. But personally, I never confuse one for the other.

I've gathered from your posts that you are a classical music aficionado. While it would be wonderful -- mostly -- to have "live" sound in my living room I'm not sure I'm going to be happy trying to shoe-horn a symphony orchestra into my small space. And I don't want the live performance SPL of say, a Who concert blasting me near-field. I've been there, done that, and my ears were ringing for the next day or two.

As far as your implied criticism of audiophiles who tailor the sound of their systems' attributes to tickle their own particular set of pleasure receptors, my flippant answer would be that when you start buying equipment for me, you get a say in what my system sounds like. Up until that time, I respect your decision to chase live performance sound for your listening pleasure and I respect your right to dislike my system's sound as much as you want, but I'll dance to my own drummer (and subwoofers), thank you very much.

Steve Z

 

@ray-dude , it was an absolute pleasure meeting you in person, thank you for brightening our Sunday/Monday

A quick question for all those who’ve tried the analog output, what is your opinion on the output level / gain? Would you prefer it to be lower/higher or is it just right?

Just right and in the same ballpark as my analog sources, give or take a few clicks on the remote control.

Steve Z

 

Worth pointing out the obvious, which is that the Olympus by itself does not produce sound waves. Your impression of the Olympus is a function of the loudspeakers and the room at one end, and the original recording at the other end. For me, getting the right loudspeakers matters most of all and that of course has to match the room. That said, I agree that paying attention to the highest quality digital source is really important. The Olympus is definitely aimed at those who want the highest quality streaming source. It’s quite a remarkable amount of effort requiring a single-minded zeal. I admire that.

Fair point, but I would think that the source is the most important. For "source", I think recording quality is the most important (outstanding recording sounds good via any system; next is the digital server so far as digital reproduction is concerned; leaving out analog reproduction. An excellent speaker is one that reproduces the source as accurately and linearly as possible. It cannot create magic by itself ("garbage in garbage out, sas the saying goes). Recording aims, and is only able, to capture sound at the microphone level (or in big orchestral music with multi-miking, at the conductor's level). A faithful system aims to reproduce that captured sound. In a big concert hall, one gets the hall-reverberated sound if one sits further away (say after row 10 or so on the ground floor or in a balcony, which is good sound too, which blended sound many people prefer but such sound can never be duplicated in one's home system). Therefore, even if I have the luxury of building a "mini-concert hall" or dedicated music room (I intend to pull it off in a couple of years; no parallel side walls, ceiling rising up toward the back, all in wood panels with detractors and no absorbers) it will not be very big as I only listen to my system nearfield (say about 6-7 feet away from the middle point of the speakers, which are separated by the same distance). Finally, even if one has the best equipment, one does not fully realize its benefit until one gets an optimal music room (standard rooms with drywalls and sharp corners and parallel side walls are terrible for sound); in this sense, room acoustics is as important as equipment (some say more important, but I don't have firsthand experience myself). But the experience of people who have experienced Olympus shows what magic a "purified" server alone can create. They may conclude, as I have so done, that the source is more important than speakers in the final analysis.

 

Honestly, I view live performance and recorded music as two very separate things, both to be enjoyed and savored. But personally, I never confuse one for the other.

I've gathered from your posts that you are a classical music aficionado. While it would be wonderful -- mostly -- to have "live" sound in my living room I'm not sure I'm going to be happy trying to shoe-horn a symphony orchestra into my small space. And I don't want the live performance SPL of say, a Who concert blasting me near-field. I've been there, done that, and my ears were ringing for the next day or two.

As far as your implied criticism of audiophiles who tailor the sound of their systems' attributes to tickle their own particular set of pleasure receptors, my flippant answer would be that when you start buying equipment for me, you get a say in what my system sounds like. Up until that time, I respect your decision to chase live performance sound for your listening pleasure and I respect your right to dislike my system's sound as much as you want, but I'll dance to my own drummer (and subwoofers), thank you very much.

Steve Z

As my response to another feedback shows, I have a very limited live music experience in mind as reference point - sitting as close as possible to the musician playing. Otherwise, I only hear the reverberated sound from afar, which is, as you said, a different kind of experience, which is for me equally valid. When you sit close to the musicians, you hear the slightest transients, the bows gliding thru the string instruments, the sizzle, the sss sound, the immediate attack of sticks hitting the tympani, the leading edge of the music notes before they get echoed. Listen to a string quartet right in front of them or sitting in row 3 of a concert hall, that's a different experience from the experience sitting in row 30 or balconies. This is the reference sound I have in mind. Hifi sound is not for me, but there is nothing wrong, as I wrote, for one to enjoy hifi sound as long as it allows you to enjoy music (that's why many people crave the special tubey sound, especially for jazz or solo vocal). My personal experience: while some tube components (but others like Horizon do not do so) make the midrange more lush than usual (nothing wrong), it comes at the expense of bass (which gets lumpy) or high notes (losing the brilliance and sparkle). I remember Emile saying the LP sound is not for him (but that's valid for him only). I really enjoyed an LP system when I heard it (thinking it was better than the digital system in the same room), but ultimately I can only have digital (because it is too inconvenient and limiting to have an analog system for classical music). Given my very happy experience of a purist i2s connection between a modded DVD player and H1 (significantly closer to live music experienced in nearfield than Extreme via USB), I have reasons to believe that Olympus would be for me. But I can see that Olympus may not please someone who uses LP system for ultimate reference (Olympus, I suspect, does not sound as that LP system).

 

Emile
Any update of the balanced analog XDMI (without volume control)? Do you think it can be ready by this quarter? Thanks

 

@ray-dude , it was an absolute pleasure meeting you in person, thank you for brightening our Sunday/Monday

A quick question for all those who’ve tried the analog output, what is your opinion on the output level / gain? Would you prefer it to be lower/higher or is it just right?

Hi Emile/Taiko,
Ray said that you and your team is preparing V2 and V3 of the XDMI dac/analog output card.
And that there will be two dac chips on the V2 instead of one.

IMHO V2 is ready for a true xlr analog output.
Is this what you have planned？

Many thanks!