Since their 2010 inception, Schiit Audio have carved themselves out as industry disruptors. Their company name keeps the would-be Dad jokers amused whilst slowly extending a middle finger to anal-retentives. If you’re easily offended by the sloganeering – “This Schiit is bananas”, “Some seriously good Schiit”, “It’s the Schiit” – you’re not a Schiit customer.
Got a hankering for Femto clocks, MQA and DSD? You’re not a Schiit customer either. “Proudly NOT buzzword compliant” read their booth backdrop at CanJam SoCal 2016. Co-founders Mike Moffat (ex-Theta) and Jason Stoddard (ex-Sumo) don’t care for industry buzzwords or trend surfing.
Here them opine on the very same here:
Schiit Audio’s MO is arrestingly simple: to design and manufacturer, in the USA, solid, well-engineered audio hardware without the high-end’s tendency toward snobbery, technical sideshows and multi-thousand dollar pricing. Schiit’s most expensive product sells for under US$2500. The majority of models leave their Valencia workshop/warehouse for less than US$500.
Take a factory tour with Jason Stoddard here:
On the surface, it might seem like Stoddard and (especially) Moffat are on a lark. But as we know, actions matter more than words. They’ve got that covered too. Their products range’s ongoing redefinition of performance expectations is without equal. Little wonder Schiit have enjoyed consistent year-on-year growth and, crucially, without a Stateside dealer network. Each unit is shipped directly to the consumer with a 5-year warranty and 14-day return policy.
Bringing a layer of seriousness to the scene, each Schiit device is named after Norse mythology. The Bifrost DAC has long been a DAR favourite. Its Uber and multibit iterations have seen it maintain pole position alongside the Chord Mojo as Darko DAC pick for less than a grand. The more expensive multibit Gungnir is also a cut above the competition. The Wyrd re-clocker cleans up USB line noise nicely despite Schiit’s semi-faux insistence that it does nothing at all. And good luck finding a phono stage at US$129 that’ll best the Mani for performance and configurability.
The Jotunheim – “YO-tun-hame”, the land of the giants in Norse mythology – is Schiit’s newest headphone amplifier: single-ended and balanced inputs, single-ended and balanced outputs front AND back, the Jotunheim also does double-duty as a pre-amplifier to a power amplifier or active loudspeakers. I’d wager most will want it for its headphone drive. 32 Ohm headphones will see 5 watts coming down the pike. 600 Ohm variants get a kick up the rear from half a watt. Those numbers relate to the balanced 4-pin XLR front panel socket. From the neighbouring single-ended 6.4mm hole, output power flows into connected ‘phones like this: 1.5W into 32 Ohms, 0.175W into 600 Ohms.
Housed in a cost-saving L-bent chassis, none too dissimilar to the U-bent Gen 2 Lyr/Valhalla/Asgard, Jotunheim’s internals sits two distinct steps apart from these three forerunners. So too the larger statement Ragnarok and upper-end LISST/tubed Mjolnir 2:
1) Jotunheim is modular. For an extra US$100 on top of the base unit’s US$399 street price, an internal slot accommodates an optional, factory-fitted balanced DAC or passive MM phono. A side-mounting that sees each module face away from the amplifier circuit limits its exposure to electrical noise disturbance, especially critical for a DAC’s more noise-sensitive circuitry.
Going a little deeper, the DAC module implements a pair of AK4490 chips in “hardware-balanced configuration, with a passive-filtered output stage and asynchronous USB Gen 2 input.” PCM sample rate-compatibility tops out at 192kHz. An absence of DSD support falls in line with company ethos but its delta-sigma nature is where business pragmatism overrides Mike Moffat’s multibit idealism.
For my review unit, I skipped out on the DAC in favour of the phono module which, according to Stoddard, is a trimmed back take on their standalone Mani. They call this configuration Jono (“Yono”).
Jotunheim’s phono board is set for MM carts only with two stage gain at 44db (Mani has three stages) and a single load of 47 kOhms. RIAA curve correction is passive. For those who care about such technicalities, a DC servo stands in for coupling caps.
2) Jotunheim is the first Schiit showing of Jason Stoddard’s proprietary Pivot Point circuit – “inherently balanced, fully discrete current feedback topology that provides both balanced and single-ended output without the need for splitters or summers” – whose viability was doubted by Stoddard’s team until a stable prototype – then another and another – proved otherwise.
Stoddard reckons that any attempts to patent Pivot Point would reveal its inner-workings and would therefore be counter-productive. Moreover, a patent only affords the holder the right to sue transgressors – a potential black hole for Stoddard’s (and Moffat’s) time and money.
Jotunheim’s first public outing was August 2016 — at the second annual Schiit Show in Marina Del Rey. Reportedly four years in development, this modular piece wasn’t originally conceived as such. It’s genesis was more practical: a way to clear a surplus of (expensive) volumes pots originally earmarked for the (then balanced-only) Mjolnir headphone amplifier.
More interestingly for those eye-ing Ragnarok or Mjolnir 2, Schiit claim the Jotunheim’s measured performance as the best of any Schiit amplifier to date. Clearly Stoddard isn’t worried about product line cannibalisation. Progress is as progress does.
So – how does the Jotunheim sound? Claims of window-like transparency or the use of weasel words like “musical” don’t help. Neither do a writer’s preferences (as covered the Schiit multibit Gungnir review).
I observed the Jotunheim’s personality via its reflection; how it interacted with different headphones and how it compared to other gear. A paucity of similarly specified headphone amplifiers in the market, let alone at the DARhaus, spoke to Jotunheim’s high value quotient from the outset.
A phono stage-d Jotunheim alternated between two distinct configurations over a number of weeks; one hi-fi, the other head-fi.
The first was as pre-amplifier to Genelec’s G Two active with a Pioneer PLX-500 turning vinyl tricks on a nearby bench. One afternoon was all it took to learn that Jono’s phono board is light years ahead of that fitted inside the Pioneer deck: better separation (less congeal) and greater clarity (less murk). And if Schiit make an even better phono stage we need not start again; just send it back to the Schiit factory for an upgrade.
The second Schiit system was as standover man between AURALiC Aries Mini – sometimes using its internal D/A converter, other times a Chord Mojo outboarded via Curious USB cable – and two distinct pairs of headphones: the portable-friendly Final Sonorous III and the more demanding, high/er-end Sennheiser HD800S.
Final’s ‘phones offer an inherent tonal chunkiness, most notably in a voluptuous bottom end. This quality mates well with Chord Electronics’ outstanding go-anywhere device, which in turn is one of the most detailed DACs available for the money. However, introduce the considerably more revealing Sennheiser HD800S and we note a leaner tonal mass than via the comparatively foggier Finals. One might liken these differences to the build of a 200m sprinter (Final) vs. that of a long distance runner (Sennheiser).
Juiced by the Chord directly, the Sennheiser’s greater inner spaciousness translates to a thinner, reedier presentation on late 80s indie like The House Of Love’s (Creation) debut and Goodbye Mr. Mackenzie’s Good Deeds & Dirty Rags.
Having the Jotunheim intercede between Chord and Sennheiser serves up a far more satisfying result. We ditch the 6.44m-to-3.5mm adaptor and note weightier tonal mass extracted from those aforementioned weaker recordings. Along for the ride comes sharper rhythmic poise and a better behaved top end – think: smoother. Talk Talk’s Laughing Stock has some raggedly intense moments. With the Jotunheim’s Schiit smeared atop the Mojo, it doesn’t stink. It’s much better; any the deepest strands are fattened up.
A similar transformation takes place with Fitear’s hybrid custom IEM. Here the Jotunheim demands we drop the gain switch to ‘low’ and savour its 0.1 Ohm output impedance, one sidesteps the funky frequency response anomalies of higher values. Hiss? What hiss? This is the first time I’ve taken the Japanese customs away from portable devices and they turned in their finest performance to date. Meatier and more muscular than via the Sony NW-ZX2 DAP.
The avidity delta between the Mojo running solo and with Schiit assistance is even more pronounced once the high-end Sennheisers are moved over to the Jotunheim’s balanced socket where the former’s 300 Ohm nominal impedance meets with the latter’s 900mW output power – that’s an extra 550mW over and above Jotunheim’s single-ended headphone output.
Going balanced, robust HD800S SPLs arrive at the halfway marker on low gain – none too similar to the Mojo itself – but the Q in SQ doesn’t stand for quantity but quality. The Jotunheim evinces with better tonal colour, player fleshiness and finesse. You both when you’re knee deep in Galaxie 500’s back catalogue.
And it’s this balanced connection sees this Schiit step ahead of the Rupert Neve Headphone amplifier on functionality. It’s a 3 x input + 1 x output kinda guy and single ended only.
Even in a single-ended stand-off, the RNHP is more reserved with macro-dynamic oomph than the Schiit.
The RNHP is more of a movable feast – its casework has been designed to withstand the rough and tumble of field recording life – and it remains a sonically seductive option despite the Schiit offering quite a bit more in terms of connectivity and modularity but for the same money. Some folk will prefer the relatively prettier, more polite sound of the RNHP (as I do with the Fitear custom IEMs), but others will dig the Schiit’s more – but not overly – rambunctious ‘tude (as I do with the Sennheisers and Finals).
For its five-hundred dollar asking price (US$399 if you don’t want the DAC or phono module), it’s unlikely there exists a headphone amplifier that can compete with the Jotunheim’s combined audible performance and feature set. The MK2 Soloist from Burson sells for US$499 but it isn’t modular or balanced. iFi Audio’s balanced iCan Pro isn’t far off two grand. We might journey to Audio-gd in China for their 8 watt NFB-1AMP muscle amp (US$450).
Closer rivals come from Schiit themselves: the second generation Asgard (US$249) is solid state whilst the Lyr 2 (US$449) and the Valhalla 2 (US$349) offer alternate takes on tubular infusion. None are modular. None offer balanced circuits. For that, we have to step up to the Mjolnir 2 at US$849.
If this tells us one thing for now, it’s that Schiit dominate the entry-level headphone amplifier market and that, Jotunheim prospector or not, these two Dad-jokers are consistent in packing an iron fist in a velvet glove and, as such, will rightly be many a head-fi-er’s first point of call. If you’ve the cash, the Jotunheim is where ya start.
No doubt as Jason Stoddard intended, the Jotunheim headphone amplifier is a stone in the high-end’s shoe. One of the most effortlessly earned DAR-KO awards to date. Wallop. Thump. Kapow.
Further information: Schiit Audio