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

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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".
 
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I don't believe that to be true at all. Digitally recorded music only started in the last 80s, well past the era of rock and jazz that many of us prefer. Given the average age of likely purchasers of expensive servers like the Extreme or Olympus, I have a feeling that the majority listen to music made in the 50s-80s which was almost 100% analog. I am generalizing here but my perspective is based on what music I see people talking about.
true for pop, rock, blues and jazz; especially for the older generations. but for classical there is a huge catalog of very fine digital recordings. with more coming out all the time. but for many those are under the radar. also international music has many fresh native digital recordings.

personally likely 60%+ of my listening is to native digital classical streaming files. and i listen a lot. never run out of new stuff. and lots of things to explore.
 
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I don't believe that to be true at all. Digitally recorded music only started in the last 80s, well past the era of rock and jazz that many of us prefer. Given the average age of likely purchasers of expensive servers like the Extreme or Olympus, I have a feeling that the majority listen to music made in the 50s-80s which was almost 100% analog. I am generalizing here but my perspective is based on what music I see people talking about.
Not sure we have any real difference in opinion. Perhaps we have different things in mind (I made it clear that historically to date there are 2 categories of recorded music, analog and digital). Digital servers were created for digitized (whether digitally recorded or AtD converted) albums. Obviously one does not buy an Olympus to play one's LPs (or LPs converted to digital files himself). Obviously, if one loves the LP sound the best and can live only with LPs, no need to have or bother with a digital server.
 
Not sure we have any real difference in opinion. Perhaps we have different things in mind (I made it clear that historically to date there are 2 categories of recorded music, analog and digital). Digital servers were created for digitized (whether digitally recorded or AtD converted) albums. Obviously one does not buy an Olympus to play one's LPs (or LPs converted to digital files himself). Obviously, if one loves the LP sound the best and can live only with LPs, no need to have or bother with a digital server.

Agreed, but there is a ton of jazz, rock and blues digital music that was recorded analog. It seemed like you were saying these servers were meant mainly for music recorded digitally. That's the part for which I have a different opinion.
 
true for pop, rock, blues and jazz; especially for the older generations. but for classical there is a huge catalog of very fine digital recordings. with more coming out all the time. but for many those are under the radar. also international music has many fresh recordings.
Absolutely. I listen to classical music 100% and cannot imagine limiting myself to LPs. Virtually all artistically great performance LPs in the classical music have been mastered digitally (I have around 40 albums of Bruckner 8 alone, ranging from 1944 Furtwangler/VPO, 1955 or so Beinum/RCO, etc.; of my top 5 choices, only 1, Wand/NDRSO 1987 live, was recorded digitally). Even if I am willing to spend the expenses or trouble of acquiring an LP rig, a vast majority of my treasured recordings are not available in LPs. This does not even include my big and growing video disc library (of operas and live concerts). Music is more important to me after all.
 
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true for pop, rock, blues and jazz; especially for the older generations. but for classical there is a huge catalog of very fine digital recordings. with more coming out all the time. but for many those are under the radar. also international music has many fresh native digital recordings.

personally likely 60%+ of my listening is to native digital classical streaming files. and i listen a lot. never run out of new stuff. and lots of things to explore.

I rarely listen to classical music so I have no knowledge there. I tried to limit my comments to rock and jazz.
 
Agreed, but there is a ton of jazz, rock and blues digital music that was recorded analog. It seemed like you were saying these servers were meant mainly for music recorded digitally. That's the part for which I have a different opinion.
I did not mean it at all. Just revised to remove the ambiguity, to state the obvious - digital servers are meant for digitized music.
 
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I take it to heart that users have reported that hitherto unbearable digital recordings have become very listenable via Olympus. My ears bleed and get hurt all the time with metallic sounding recordings. I never use DSP or a tuner. Cannot wait to receive Olympus to re-listen to those problem recordings (which are more often not the case with classical music recordings, including DG as the biggest offender). Sick of the endless remastering of certain recordings (say Karajan's) rather than others' (say Jochum's - Warner should remaster all his recordings).
 
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Anodising update:

Unfortunately still no shipment of the various anodising companies. I've booked additional much needed anger management sessions but seriously *********** ******* ***** !!!! ****.

This is (their) backlog, aka what we are waiting for:

Anodiser 1: 33 chassis
Anodiser 2: 39 chassis
Anodiser 3: 30 chassis

Anodiser 1 now promises a Friday shipment
Anodiser 2 now promises a Friday status update
Anodiser 3 is a new anodiser we recently acquired, promises 10 a week starting from next week

As eager as we are to start building, we have no other choice but to try to exercise a little more patience.

Better news today:

Anodiser 1 has indeed shipped to us
Anodiser 2 says we can collect from monday 1PM

Looks like we’re back in business!
 
true for pop, rock, blues and jazz; especially for the older generations. but for classical there is a huge catalog of very fine digital recordings. with more coming out all the time. but for many those are under the radar. also international music has many fresh native digital recordings.

personally likely 60%+ of my listening is to native digital classical streaming files. and i listen a lot. never run out of new stuff. and lots of things to explore.
There’s also a huge catalog of very fine jazz recordings from the digital age! Where digital is far less reliable is with pop/rock- hit or miss.
 
After over a month of daily use, I feel the Olympus has now settled, hence I feel ready to share some of its standouts in my system (Horizon 360 via XDMI). YMMV.

Liquidity
It's simply the most grain-less digital I have heard to date.

Density AND Air
Musical objects and timbre solidify like a Canova sculpture, seemingly alive with pulsating blood vessels. Yet, there is no hint of foggy saturation haze or clogginess.

Authority AND Nuance
The boldness of the O. shocked me since the very first notes it uttered. It has gravitas combined with speed, such an ease of moving any given amount of musical weight that has redefined dynamics in my setup. At the same time, minute swings of volume or timbral color unfold with disarming effortlessness.

Spatial Presentation
Music just invades the room. The usual left-to-right panning explodes into a fully formed three dimensional deployment of sound images, from well in front of the speakers to way behind the front wall. Something I have experienced only with top flight analog so far.

Resolution AND Smoothness
There is nothing 'analytical' about the O., rather it seems to behave like an organic source outpouring massive amounts of information without apparent strain or hardness. Even within the most challenging full blown orchestral climax - for example - the location, color, dynamic level, weight of every single component of the music, and the character of the hall, can be easily not only heard, but seen and felt as well.
 
After over a month of daily use, I feel the Olympus has now settled, hence I feel ready to share some of its standouts in my system (Horizon 360 via XDMI). YMMV.

Liquidity
It's simply the most grain-less digital I have heard to date.

Density AND Air
Musical objects and timbre solidify like a Canova sculpture, seemingly alive with pulsating blood vessels. Yet, there is no hint of foggy saturation haze or clogginess.

Authority AND Nuance
The boldness of the O. shocked me since the very first notes it uttered. It has gravitas combined with speed, such an ease of moving any given amount of musical weight that has redefined dynamics in my setup. At the same time, minute swings of volume or timbral color unfold with disarming effortlessness.

Spatial Presentation
Music just invades the room. The usual left-to-right panning explodes into a fully formed three dimensional deployment of sound images, from well in front of the speakers to way behind the front wall. Something I have experienced only with top flight analog so far.

Resolution AND Smoothness
There is nothing 'analytical' about the O., rather it seems to behave like an organic source outpouring massive amounts of information without apparent strain or hardness. Even within the most challenging full blown orchestral climax - for example - the location, color, dynamic level, weight of every single component of the music, and the character of the hall, can be easily not only heard, but seen and felt as well.
0b9a5fe0294a435f7a18c7f27918fb91--bode-museum-neoclassical-722483936.jpg

Per ballare e cantare, bravisimmo!

Steve Z
 
After over a month of daily use, I feel the Olympus has now settled, hence I feel ready to share some of its standouts in my system (Horizon 360 via XDMI). YMMV.

Liquidity
It's simply the most grain-less digital I have heard to date.

Density AND Air
Musical objects and timbre solidify like a Canova sculpture, seemingly alive with pulsating blood vessels. Yet, there is no hint of foggy saturation haze or clogginess.

Authority AND Nuance
The boldness of the O. shocked me since the very first notes it uttered. It has gravitas combined with speed, such an ease of moving any given amount of musical weight that has redefined dynamics in my setup. At the same time, minute swings of volume or timbral color unfold with disarming effortlessness.

Spatial Presentation
Music just invades the room. The usual left-to-right panning explodes into a fully formed three dimensional deployment of sound images, from well in front of the speakers to way behind the front wall. Something I have experienced only with top flight analog so far.

Resolution AND Smoothness
There is nothing 'analytical' about the O., rather it seems to behave like an organic source outpouring massive amounts of information without apparent strain or hardness. Even within the most challenging full blown orchestral climax - for example - the location, color, dynamic level, weight of every single component of the music, and the character of the hall, can be easily not only heard, but seen and felt as well.
welcome to the new frontier. It makes one rethink analogue as the Olympus is knocking on the door IMHO
 
It’s now been 4.5 weeks of continuous break-in for the O-I/O (XDMI Analog card) with steady incremental changes over that time.

This evening after not listening for a couple of days, I walked in for a quick listen after the football game, and I heard a significant, non-linear, order of magnitude, increase in musical purity, emotional engagement, and artistic intent over what I heard a few days ago.

As someone has in their signature on WBF - and I am paraphrasing - I don’t want to know where the musicians are, I want to know why they’re here.

The only possible explanations I have for this non-incremental change are that three days ago I (1) switched the power distribution connections of the taiko switch from ALT 2 to ALT 1; and (2) upgraded the CAD (Computer Audio Design) grounding cables for the CH precision L10/M10 amp/preamp.

At the time, the sound tightened up a bit but it wasn’t significant.

Or possibly a non-incremental change is possible after 4 weeks.

I don’t know. All I know is that today it’s a different system. The sound is no longer a facsimile - it is now ALIVE.

Unfortunately, my words can’t do justice to what I’m hearing. Although I do compliment Simorag for his valiant effort to summarize his listening experience earlier.

I’ve heard a number of high end DACs (although not the Wadax and none through the XDMI digital card, or a DAC specific XDMI digital connection) but I’ve never heard any that have sounded like this.

At this point, I don’t see, in my own personal case, how the value proposition could be made to go with any DAC other than the Taiko analog card in my system - especially given the v2 version being somewhere in the near event horizon.

I’ve been wrong before. But I’ll have an opportunity for some expert third party validation next week to see where the Taiko analog card stands.

I just hope I don’t wake up and it was all a dream! ;)
 
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Better news today:

Anodiser 1 has indeed shipped to us
Anodiser 2 says we can collect from monday 1PM

Looks like we’re back in business!
From your previous post:
"Anodiser 1: 33 chassis
Anodiser 2: 39 chassis"
If you add Anodiser 1 and Anodiser 2, it totals 72 chassis. I wonder how many of those will pass your quality check.
 
From your previous post:
"Anodiser 1: 33 chassis
Anodiser 2: 39 chassis"
If you add Anodiser 1 and Anodiser 2, it totals 72 chassis. I wonder how many of those will pass your quality check.
Don't think we can assume all of them were completed just yet.

If at first you don't succeed, there is a return trip to the dark side.
 
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From your previous post:
"Anodiser 1: 33 chassis
Anodiser 2: 39 chassis"
If you add Anodiser 1 and Anodiser 2, it totals 72 chassis. I wonder how many of those will pass your quality check.

Let me elaborate on that as we appear to have solved the anodising issues we have been experiencing initially.

The technical explanation:

Stripes caused by uneven cooling during the solidification of a cast aluminum alloy ingot are more likely to occur in the middle of the ingot, where the cooling is slowest. Here's why:

Key Factors:

Thermal Gradients During Solidification:

The outer layers of an ingot cool and solidify faster due to direct contact with the mold or the surrounding environment, leading to a finer and more uniform microstructure.

The center of the ingot cools more slowly, allowing more time for segregation of alloying elements (e.g., silicon, magnesium, or copper) and impurities during solidification. This creates compositional gradients that can manifest as stripes during anodizing.

Dendritic Segregation:

In the middle of the ingot, slower cooling promotes the growth of larger dendrites, with solute-enriched liquid being pushed into the inter-dendritic regions as the metal solidifies. This segregation can result in non-uniform anodizing characteristics and visible zebra stripes.

Shrinkage and Porosity:

Slower cooling in the ingot's center also increases the likelihood of shrinkage cavities and porosity, which can trap anodizing fluids or cause uneven oxide layer growth.

Surface Effects:

While the outer layers experience faster cooling, they tend to develop a uniform microstructure because the rapid solidification limits the extent of segregation. This uniformity reduces the likelihood of visible stripes in the outer layers, even if they cool faster.

Practical Observations:

Stripes or other anodizing defects associated with segregation or porosity often correspond to areas of slower cooling (e.g., the core of thick castings or ingots).

The surface layer of the ingot, despite cooling rapidly, tends to have fewer issues due to the suppressed segregation and finer microstructure.

In conclusion, zebra stripes caused by uneven cooling are more likely to occur in the middle of the ingot, where slower cooling enhances segregation and microstructural inhomogeneity.

Additionally there's an increase in recycling increasing the amount of contamination:

When they cast the ingot, it is poured in a vertical column. All the heavy metal sediment sits at the bottom of the crucible. When they pour the molten metal into the ingot cast, the last of the molten metal which contains the sediment poured directly into the center of this ingot. The reason it can vary so much ingot to ingot is the contamination is based on the recycled material being used. Source material, not the process. The process has unlikely to have changed so dramatically, but material input is always changing. Perhaps standards are lowering in that regard.

The solution to this problem is to purchase the complete ingots, cut blocks from the outside parts, and use those for anodising.

This is easier said then done as these ingots are large, 1.2*1.2*2 meters weighing around 8 tonnes.

However we have that process up and running now and the first 30 chassis produced with those blocks are at anodiser 3.

Anodiser 3 is also a significantly larger Anodiser willing to work on our products (most don't). They can even reserve one bath exclusively for us if we can supply enough to keep it "busy" enough. The main output rate limiting factor however is the mechanical surface finishing, nobody has a bead blasting robot large enough to treat our chassis, so this is a manual process taking up around 2 hours each chassis part (4 hours for an Olympus server, 2 hours for an I/O).

Anodiser 1 we've been using for a while now has let us down there as, as I posted before in this thread they had allocated overtime, 2 employees willing to spending 5 evenings and Saturdays to bead blast around 30 chassis parts a week. However they never reached that quantity, and their motivation seemingly dropped over time, understandably as a lot of their work was in vain due to the zebra striping issue. Our own crew here has not been unsensitive to working long hours in shifts to only see 60% of all that hard work go to waste.

We now have an external company machining chassis parts in parallel to us, they have been machining 10 a week for the past 3 weeks (the same 30 which shipped to Anodiser 3). They have indicated they have spare capacity for a larger volume, however again the remaining limiting factor is the necessity of manual bead blasting, the people doing the bead blasting need to be skilled as well, it's very easy to do this wrong resulting in a chassis reject.

Obviously we're exploring alternatives paths to anodising, which may become increasingly troublesome in the future as more then likely usage of recycled materials will only increase.

To answer your question:

For silver we're still at around a 60% rejection for what is/was at Anodiser 1. They shipped half btw with the other half "promised" for today.
Anodiser 2 is doing black, it will most likely be like a 10% rejection rate.
Anodiser 3, new blocks (cut from the outter parts of the ingots), new process, optimistic for a 5% rejection rate!
 
I take it to heart that users have reported that hitherto unbearable digital recordings have become very listenable via Olympus. My ears bleed and get hurt all the time with metallic sounding recordings.

Actually we have some evidence pointing towards this issue being (partially or not) exacerbated, or perhaps even caused by out of band artifacts, we have run some experiments where we made unlistenable digital remasters sounding pretty darn good! It is possible we may be able to address this in the future (no timeframe, sorry).
 
To answer your question:

For silver we're still at around a 60% rejection for what is/was at Anodiser 1. They shipped half btw with the other half "promised" for today.
Anodiser 2 is doing black, it will most likely be like a 10% rejection rate.
Anodiser 3, new blocks (cut from the outter parts of the ingots), new process, optimistic for a 5% rejection rate!

It is unfortunate that one of the less technically challenging aspects of the design and build has ended being the most difficult to solve.
 

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