SAEQ Astraeus Amplifier Review: A King Is Born

The new flagship headphone amplifier from SAEQ Audio: Astraeus. With an all new tube hybrid design, 99 step volume attenuator, germanium resistors, powered by a massive solid state output capable of running four headphone at the same time, the Astraeus is quite possibly the best headphone amplifier on the planet.

Pros: On of the best amps I’ve ever heard

- Insanely large soundstage

- Speaker tap output is glorious

- Tube goodness with Solid State foundation and headroom

- Big and meaty, delicate or thunderous

- Exceptional micro details

- Germanium transistors are GOAT

- Tube rolling gives a VERY wide range of tonal options

- Amazingly dynamic

- Loads of power

- 99 step attenuator volume control is very precise and comfortable

- Well built, designed and beautiful.

- 2 Memory presets make AB testing and multiple IEM/HP usage easy

Cons:

- Price (~$10.5k)

- Sonically nothing

- Only three feet

- Can be slightly noisy with sensitive IEMs

Greetings dear audiophiles and sonic explorers, I bid you welcome to my newest review, a Titan of sound: The Astraeus Headphone Amplifier from SAEQ (Serbian Audio EQuipment). For those that follow my work, I reviewed the SAEQ Morpheus and loved it to pieces, giving deservedly highest marks in every possible category. For $3500 it is staggeringly good, and exemplifies everything SAEQ’s Dragan stands for, from its brazen musicality, top end technicals and a giant enveloping hedonistic sound that breathes new life into anything you plug into it. The amp changed my attitude towards desktop gear and IEMs in general. I am talking about my AFI project; Amps For IEMs, in which I originally struck out to see just how far I could scale an IEM using desktop gear. I’m certainly not the first to do this, but I felt IEMs were being constrained in the portable arena. I knew there was more, a unexplored avenue of possibilities in desktop gear. Not just for headphones indeed. In the last two years I have heard just about every TOTL amp available, and it is with this experience and history I excitedly welcome the arrival of SAEQ’s newest beast of audio goodness: the Astraeus.

It’s no secret I am a huge fan of Dragan’s work. Not only his work, but his entire philosophy and attitude towards music and audio in general vibes with me deeply. He’s an absolute gentleman, soft spoken and generous, not some towering attitude machine that thinks he’s god’s gift to audio. He welcomes you with a smile and invites you to sit and hear his creations like someone sharing their art, a fine wine, letting you discover it yourself. We have become fast friends, and I consider him one of the finest in the business of making audio dreams come true.

While reviewing Morpheus Dragan told me about a new project he was working on. He was so excited, barely sleeping, at first he didn’t want to tell me any details in order not to jinx it. He was creating something new, something that satisfied him deeply, a source of inspiration nourishing his soul.

Taking the best from his Germanium powered Hyperion Ge, adding in some Morpheus sinfulness and Armageddon thunder, plus a big(!) dose of voodoo magic into the mix, creating a new monster of audio perfection. The result? Astraeus. An absolute BEAST in all aspects from its huge power, massive sound stage and weighty notes to its delicate nuances and extreme technical precision. Holographic city. Tube flavor with SS power plant thunder. Tube feeding germanium transistor flavor oozing with musicality and deeply dynamic heartstring tugging emotion. 5W of pure Class A, Class AB up to 30W(!) at 4 ohms. It’s absolutely NUTS, and it has careened directly to the top spot in my heart. Coming in at $10k it better be!

The inclusion of a tube immensely opens up the tonal possibilities here. Being no stranger to the rabbit hole of tubes in my guitar amps, the Astraeus uses the more Hi-Fi based ECC88/6922 type of which there are myriad incredible options. The stock tube is a fairly generic Tesla but it sounds fantastic. I know Dragan used them to tune the amp, and it’s a step up from a JJ or EH type commonly offered in other amps. Of course I tube rolled to the moon with this thing, and I can tell you the changes are anything but subtle. Eventually settling on a 1974 Reflector Silver Shield 6922 (bonkers tube!!!), I also really enjoyed some Bugle Boys, Mullards and Telefunkens as steps along the way. Your tube choice then feeds the amp input stage via germanium transistors, which are a personal favorite of mine. Coming from a rich past of Fuzz pedals, there is nothing quite like the sound of a germanium fuzz. While most think of fuzz as some form of distorted wooly sound, the real beauty of germanium transistors is when you back off the input/guitar volume to half or so. You’re greeted to the most harmonically rich tones imaginable! It’s clean and clear, but with such insane touch sensitivity and tactile harmonic control oozing with overtones and spectral details. It’ll redefine your concept of what “clean” means. Think Jimi Hendrix’s shimmer tone on Little Wing, that is what Dragan has employed here in the Astraeus. Tube tone feeding harmonically rich and expressive germanium transistors in perfect harmony. Let’s not forget the massive SS power plant that takes this luscious tone and powers it to the moon. Wow.

This review will be a big one, for multiple reasons. For one it was four months in the making and means the world to me. Second, the Astraeus has a lot to cover. Thirdly, it has a lot of competition in the highest levels from Zahl, Feliks, MassKobo and Riviera’s summit flagships and must be honestly compared. There is also SAEQ's own Armageddon flagship to consider. Fifth, (or fourth for those keeping track) I am mostly an IEM user, and while I approached this review as I usually do with summit IEMs being pushed to their extremes at the forefront, I will also be including some full size headphones for the first time. I will say it clearly here; I prefer the presentation and overall vibe from IEMs. I cherish the isolation and desert island escape they offer. Music is my salvation in a crazy world full of distractions. On a plane, sitting in my listening chair, working in my studio, or tumbling down the tracks on a train ride through the Himalayan foothills. I need that escape, I need that isolation. I love their immediacy and punch, it’s just a different presentation. Also, as a father of a four year old, living in a big city, there is NEVER a moment when my apartment is truly silent enough to enjoy open back headphones to their potential.

You might ask, did I really build this huge desktop setup for IEMs? Yes I did. And it was worth it! Something I think more people would do if they heard what I did to inspire this whole AFI journey. The Astraeus has found its new home here. I haven’t been so deeply inspired by a piece of gear in a long time, the Astraeus encapsulates everything about music I adore, the way it flows and sways, slams and cuddles me. It is the sound of my dreams.

In order to test this amplifier to its highest potential I have enlisted the help of Arctand Labs’ mighty Darren for all the cables. He makes insanely good cables, (bonkers good) and I used them exclusively during the review process. A review of his whole lineup is incoming, really excited for that one. For this review I used:

-Rubi² RCA

-Celestine² USB

-Onyx Speaker Tap adapter

-Rubi² DC for Weiss LPS

-Obsidian² Power

-Source was either Matrix Audio NT-1 streamer or iPad with Celestine² USB and Roon.

Thanks Darren, you’re an absolute master! www.arctand.com

Before we get into the tasty bits let’s start first with my disclaimer and testing methods.

- I received the Astraeus directly from SAEQ, I bought it myself with my own money. I did receive a discount in exchange for a review, but nothing was asked of me other than my unfiltered and honest impressions and critiques. While I love SAEQ gear, I am in no way affiliated with them. I take my review work extremely seriously, what I say here is what I really think.

- I review because I love doing so, it’s a great source of joy for me. No-one pays me for reviews, ever. I know people rely on reviews before they shell out cash for their gear, just like I do myself. For that reason I only review things that interest me, things I would maybe buy for myself. I pride myself on being very neutral and sharing my thoughts in a way that I hope will benefit the community. If I recommend something, it’s because I genuinely loved it, and I think you might too.

- To compare I used my personal Zahl H1 and SAEQ Morpheus, as well as in depth comparisons from Riviera AIC-10, MK464, and Feliks Envy.

- I used a variety of IEMs for testing including: Subtonic STORM, Traillii Ti, DIO, Rhapsodio Master + V3, 64A 18t and CFA Clara. For HPs I had the Hifiman Susvara and Susvara Unveiled at my home for a week each.

- I start out with a varied playlist of testing tracks to form my initial thoughts, and then spend several weeks listening to whatever inspires me, like I normally would. I then come back to the testing tracks to solidify my impressions before sitting down to write the review. I also listen to the gear while I write.

- I love all kinds of music, and to form an honest opinion for any piece of gear I think it absolutely necessary to test with lots of different kinds of music. If you’re taking a reviewer’s word about a piece of gear you want to spend your hard earned cash on, in my opinion, you absolutely must take into consideration how their musical tastes match or differ from your own.

*My ever evolving testing playlist for your discovery is available HERE.

Let’s get into it shall we? Exciting!

INTRO

I first met Dragan at Munich High End in 2024, and as I already mentioned, we hit it off immediately. SAEQ (Serbian Audio Equipment) is Dragan’s baby, a brand known for deeply musical amps that delivery extremely satisfying presentation with loads of detail and spacious stages, but never scream technical powerhouse or “Look at Me!”. The way they portray detail is more ingrained and deep inside the music, offering a palpable buffet of auditory flavors and experiences waiting to be explored and enjoyed. They flow like a beautiful dance, over a more analytical spreadsheet of sound. His attention to detail and endless attempts for improvement are staggering. As the Astraeus was being prototyped I would get emails from Dragan at 4am, excitedly expounding on some new idea he had tried and how he couldn’t wait for me to hear it. I love this, we all need more of this unbridled joy and passion in our lives.

Dragan’s English is somewhat broken, but he lacks nothing in sharing his passion. His way of speaking inspires me, when one can’t speak a language perfectly the words chosen give meaning one might not think to use as a native speaker. Adjectives and verbs I had never thought to use formed powerful images in my mind. He once wrote me:

“I've become addicted to the sound .... the sound image breathes ... air, volume, immediacy and physiological pleasantness, although the whole image is very detailed, the most detailed so far, it's easy to consume ...

A couple of minutes of listening says more than 10 pages of description.

I've entered a new level ... you'll hear.

UNBOXING

There’s not much to say here. Astraeus comes very securely packed in custom foam inserts that prevent movement and damage. There is a remote (which I have yet to try) and a paper manual. No power cable is included as is the case in most top end audio gears.

BUILD and USE

The Astraeus is a fairly big and heavy amplifier coming in around 10kg. It’s more wide than deep, not very tall, and considering what it offers it’s rather compact. Its brushed aluminum enclosure gives a striking appearance, with accents in gold, a very popular style of late. I personally prefer something a bit more understated, but I’m in the minority and I’ll let that go. It feels sturdy, well thought out with controls kept to a minimum and a simple and elegant look. On the top and sides you have gold air vents for heat dissipation. Despite the huge power and tube use I feel no heat other than directly above the tube vent. It purrs cool even under heavy load.

On the front faceplate you have the power button on the left, and on the right the big red eye, a 99 step attenuator volume control that is smooth as butter and provides an extremely accurate and fine tuned control over the volume. With 99 steps there are no switches for attenuation, no gain adjustments, simply choose volume to taste. From very sensitive IEMs to the Susvara and beyond, the adjustments are almost inaudible with the faintest click. The steps are tiny, so you can get perfect comfortable volume, with perfect channel matching even at the lowest volume. I’ve never heard an attenuator so smooth and quiet, without the normal “jumps” they are infamous for. With the Morpheus I had some issues with sensitive IEMs; the difference between one step could already be too much. Here I have 4+ times as many steps and I can assure you in use it feels like more, each step being only a slight jump up.

There are four outputs, like all SAEQ amps, with a 4 pin XLR and 6.3mm on each side. You have a selector switch that goes between each headphone output individually, or both, or the speaker output. Yes, you could run some smaller (or efficient) speakers with the Astraeus, absolutely. The thought had crossed my mind to use Astraeus as the amp for my 2 channel system, replacing my faithful Arcam. Depending on your speakers (or HP/IEMs) the Astraeus offers up to 30w of power at 4 ohms! Thats a lot of juice. With my Storm coming in at 6 ohms, using the speaker taps I get an immensely dynamic and rich output, with almost unthinkable amounts of headroom. The XLR sounds great, but the speaker taps are even better, it seems more solid and planted. Mids are bit more full and forward too. Since I discovered this I use only the speaker tap output for all my listening.

The front panel has the selectable inputs between RCA 1 and 2, as well as XLR or RCA respectively. I love that there are two RCA inputs, I keep my Weiss plugged into number one and my LP6 Ti AE into the other in case I want some juicy R2R tonality. I could use another source in balanced XLR too, switching between all three by simply flicking a switch.

The volume memory presets are a great idea. Simply find the volume you like, hold one of the preset buttons and it’s saved. You have two of these. When you use that HP/IEM again just push the button and your saved volume is automatically applied. This is great for people with multiple monitors with very different power requirements. Take your Susvara, preset one. STORM preset two. Now you can switch between them, keeping a comfortable volume for each without having to potentially damage your ears with accidental extreme volume playback. Doing some testing and ABing? Prepare the volume for each piece of gear, save them, and voila. Something I never thought I needed, but end up using everyday, especially going back and forth between STORM and any other IEM. You can clear both presets with the clear memory button, or just hold the individual preset button to set a new one as you go. The clear memory button also mutes when pushed once, so anytime you need to take a break just give it a tap.

Speaking of tubes, rolling is a piece of cake. The top cover comes off easily with two hex screws. Loosen the screws, slide out the top and you’re greeted to as gorgeous a layout of components as I’ve seen. The tube sits on the buffer board in the back right corner. Make sure to turn the amp off before swapping out. You’ll notice on startup there is a countdown displayed on the volume knob from twenty down to zero, while it warms up the amp has no output. After zero you hear a soft click, the amp is ready to use and off you go.

Over on the back we have two RCA inputs, one balanced XLR and a -10db input attenuator input switch for overly powerful sources. There’s also the speaker outputs. Bottom right is another vent for heat, a Furutech IEC jack and a selectable 110-220V voltage switch with fuse. Simple and clean, all jacks and plugs are of super high quality and feel solid. I like the inclusion of the hardwired voltage selector - some amps come with switching power supplies that drive me crazy, I can hear them and they degrade the sound to my ears. This way anyone can enjoy the amp at its fullest potential no matter where they live.

Lastly the Astraeus has only three feet. This was the case with the Morpheus as well. It stands very study, but does wobble a bit when you swap cables or adjust something in back. This isn’t a big deal, just worth mentioning. One plus, I only need three isolation feet instead of four so that saves me some cash! :)

Astraeus comes with nice feet installed, and I found during my testing they worked well. Only when I used my IsoPods or Les Davis Entropic feet did I notice a difference.

Before moving on to the sound section, let’s see what SAEQ has to say about the Astraeus from their website:

SAEQ ASTRAEUS

“Astraeus represents a structural leap towards tubes with the intention of taking advantage of the physiological pleasantness of tube sound but also to bypass the negative structural limits imposed by output transformers on tube amplifiers and a number of other shortcomings of tubes related to adaptability to a wide range of different headphone impedances.

This carefully designed hybrid overcomes with ease.

As the first step in the construction, the input buffer is made with an ECC 88 /6922 tube that gives the basic character of the sound. The input of the tube buffer is directly exposed to the source without volume control. It must be taken into account that the maximum input voltage to the tube buffer is approximately 5V (peak to peak). Definitely avoid DACs without output regulation and with a voltage greater than 6V (peak to peak). High output voltages of the source are unnecessary and undesirable in this case because the tube input is sensitive.

The next step in this hybrid topology is the 99-step volume control that allows for flawless regulation regardless of the sensitivity of the headphones, thus avoiding input and output attenuation with the aim of good volume control.

Advanced two-level volume memory functions facilitate comparisons with headphones with a significant difference in sensitivity.

The tube sound is transmitted via germanium transistors at the input stage of the power amplifier. The simple and effective application of germanium has preserved the general character of the tube sound.

The output stage operates in class A up to 5W of power. For higher output levels, it switches to class AB, avoiding unnecessary dissipation.

The powerful output stage is insensitive to headphone impedance and the number of headphones connected, so it can easily drive 4 headphones at the same time without any loss of playback quality.”

Most of the big takeaways here I’ve already covered like the huge power, germanium transistor fed input and volume control. One thing to note: SAEQ amplifiers sound best Single Ended. Dragan himself says this, the magic is in using SE. Of course the balanced sounds epic too, you get a wider and more open stage, but the mid magic is lessened, tho focus, and to me -after unbelievable amounts of testing I might add- I concur that SE is simply superior socially.

SAEQ amplifiers are “insensitive” to HP and IEM impedance, meaning that all outputs (using four available jacks) can be used simultaneously, feeding four HP/IEMS concurrently without loss in audio quality. I can attest I used STORM and Susvara UV at the same time with and Astraeus didn’t break a sweat. That’s crazy! This means you and your friend/partner/homie can both listen to a Susvara or Tungsten or 1266 at the same time, while two other friends use the 6.3mm to juice a pair of HD6XXs at the same time. Wild stuff. I will say that using ONLY one output does offer slightly better sound. Once you use more than one there is no decrease in quality, up to the full four simultaneously, which is very impressive.

Without further ado, let’s get into the sound.

SOUND

The Astraeus is hands down one of the very best amplifiers I have ever heard. I would even go so far as to say BEST ever depending on tastes. It’s an insane amp, an insane listen, it’s really bonkers. While other amps I love have many amazing qualities, nothing encapsulates music as a WHOLE the way the Astraeus does. It’s fluid, it’s vast and expansive. It sounds like LIVE music. It has insane resolution and details, both micro and macro. Big meaty notes with authority and finesse. The best treble I have heard, effortless as the wind and endless like the sky. Smooth and gentle but also very textured and weighted. Big growly bass that is taught or bloomy, deep or punchy as called for. I can get lost in the music for hours on end, or I can sit attentively and clearly pinpoint technical marvels till my head spins, dealer choice. Normally we have to choose between musicality or technical marvel, in the Astraeus we truly have both.

My favorite IEM is the Subtonic STORM, one of the reasons I got into desktop gear was to see how far this thing would scale. I can tell you, with the SS8 cable out of Astraeus STORM gives a presentation that smashes the borders of what an IEM is. Not a headphone, but no longer an IEM either. It transforms from an IEM in your ears, to you being INSIDE the music. You ARE the music. I don’t know how else to describe it. The level of clarity, control, space, layering and punch is imply breathtaking and I have a hard time even imagining something better.

This is not a reference sound, the H1 has that covered. STORM here is more “correct” but lacks the grandiosity. Nor is it honey covered warmth like the Feliks, or the very mid centric AIC-10. It’s a chameleon, adding its own slight warmth and character while remaining fairly transparent in the process. It doesn’t focus on one thing, remaining far less constricted, portraying the entire spectrum equally without imposing too much. I know that sounds like a contradiction but I can assure you, when you hear it you’ll understand.

Keeping in mind the heavy influence your tube choice will make, you can dramatically alter the Astraeus’ tonality to your liking. Add a vintage tube and hear the glow and vast endless staging, or use a more modern tube for a tighter sound with more etched details and punchier attack. The choice is yours, and tube rolling is half the fun.

Staging is absolutely massive. What blows me away immediately is the depth this thing gives. Depth and decay are some of the best I’ve ever heard; just put on Andy Akiho’s Pillar I. The drums occupy so much space yet remain nimble and articulate. Attack is clearly defined with decay floating off to the sides, above and way out in front of the you. Everything is cohesive, not overly stretched or unnatural at all, just massive. The sense of grandiosity and magnitude is a defining trait of Astraeus.

BASS

I hear the tube qualities of Astraeus very clearly in the bass. It’s big, thick and with great authority. Equally at home with DJDrum, Om Unit or Synkro as with Herbie Hancock Electric Band or Avishai Cohen. Sons of Kemet, Marcus Miller, Snarky Puppy or Led Zeppelin, the Astreus is very accommodating to the original bass tone while imparting a bit of its own character and color. It can get really nasty with Joe-Armon Jone’s Archetype record. Fuzzy with Asgeir’s low-fi recordings, or ultra clean and precise with Mono-Neon’s modern Ghost Note baselines. Jimmy Smith’s organ is warm and thuddy, Korn and Skrillex’s collab record is ballistic and almost too intense with those massive drops. Put on some Hiatus Kayote and hear that growl. If you want your guts shaken, Kryptic Minds will do just fine. I love Om Unit for his amazing use of bass, the texture from his synths on Acid Dub Studies III is outrageous. My current favorite bass test track is Queen Mary by Francine Thirteen. The bass is so tight and punchy but pay close attention to the decay, you can hear it fade away in front of you, getting more distant as it does so.

My all time favorite bassist is Avishai Cohen, his finger thump and texture is unmatched to my ears in the upright acoustic bass realm. (A close second is GoGo Penguin’s Nick Blacka or Arild Andersen) I would say acoustic and electric bass is presented perfectly on Astraeus, while electronic stuff a close second, but perhaps this is more because of my vintage tube choice. Tubes aren’t known for their speed so much as their body and decay filled growl. The Astraeus is a bit more vast and thunderous over extreme punch, perhaps a touch less mid bass punch, but this is very tube dependent. I could use the H1 or Morpheus if I wanted faster and punchier - but they don’t offer the same level of texture and feel as an exchange. They also feel smaller in the low end, where Astraeus is all around you.

If you’re a hard edge techno lover, or especially consumed with electronic bass I would suggest you stick with the stock tube, or something with higher gain and a more punchy tonality. For those that listen to a lot of different kinds of music, especially jazz, rock and classical, a vintage tube works wonders. I’m not saying the Astraeus bass is slow, not at all, but it isn’t the fastest you get either. Texture wise it’s at the top of the list, so is tonality and feel. Sub bass reaches as low as possible, even sometimes beyond my hearing, wrenching your guts with the right music.

What I find particularly impressive is how well the Astraeus can isolate the bass from all else, leaving pristine mids and treble regardless of how heavy the low end gets. This is where that endless power and headroom really shine. Queen Mary by Francine Thirteen again - that bass is enveloping and massive, but the way the vocals float in mid air completely free and untouched by the heavy bass underneath is amazing. This track will blow your mind.

MIDS

The star of the show for me, even if they aren’t highlighted or pushed forward like in other amps. I love forward mids, and the AIC-10 was like a bolt of lighting to my ears when I first heard it. The mids of Astraeus give a similar sensation of closeness, weight and enveloping velvety goodness without the crowding and overly intimate feeling that can come with forward mids. It’s weighty and dense, but so open and free flowing that you never feel constricted or held too closely. Edges are clean but never harsh, transient response is very fast for a tube amp, with plenty of PRat and energy whilst remaining deeply musical and emotive. I hear no frequency pushed or pulled, no peaks or valleys of any kind, just perfectly balanced midrange that sounds at home with Coltrane’s sax, Christian Scott’s trumpet, Eric Johnson’s guitar, or Tool’s drums. Weighted, emotional and lively, things that normally cancel each other out reside side by side in the Astraeus. The way music flows in the mids is very impressive, angelic and totally effortless.

Vocals are especially wondrous on the Astraeus. I wasn’t so into vocals a year ago, as a guitarist, instruments and drums always came first, but now vocals consume me. I have the Astraeus to thank for this. The sultry wafting velvet of Kandace Springs and Cassandra Wilson to the baritone of Gregory Porter to the almost undefinable Finnegan Tui and Asgeir. Or Napalm, whose delivery and timbre are as unique as her amazing lyrics. Their presence is palpable, like they sit on your lap and whisper in your ear, the faintest accents are alive with detail and life. Or they belt it out and your hair is thrown back with the shear force of their emotion and power. It’s wild, I have never heard vocals so big and all around you as I do with the Astraeus. But it’s not only soft and gentle stuff, put on Vicarious from Tool and wait for Maynard’s scream to splash your face, I defy you to find something more raw and energetic.

I remember when I first heard Astraeus at Dragan’s booth in Munich this past summer (2025). He has a great playlist of test tracks to showcase his amplifiers, and one track stuck with me. It’s an Italian folk song, with a baritone male vocal singing sweetly and slowly. I have never heard before, or since, something so rich and full in my life. Using STORM the voice reached into the sub bass region, through the thick mids, and all the way into the stratosphere of air and space. This was a spiritual moment for me really. Not only is the musical accompaniment amazing, but the sensation of realism and LIVE music struck me to my core. Not lifelike, REAL. This was a holy s&*%t moment, a turning point in my audio life.

And then there’s the instruments, like guitars. Oh my. They are so rich and articulate I laugh, or even cry to myself as walls of sound engulf me. Robben Ford’s white Telecaster sings like a violin from his Dumble amp. The echoing guitar solo from Brothers in Arms haunts me like no other. The intro to Trinity from Snarky Puppy, with its twisting and swirling layers of guitars is as spacious as it is defined. I can so clearly identify -and get engrossed in- all the tiniest details without losing focus on the music as a whole. For heavier stuff Tool, Gojira, Periphery are some of my all time favorites. The texture and grit I get out of the Astraeus is amazing. It grinds, it howls, it’s full of gristle and bad deeds, evil even. What about genre breaking electronic stuff like The Comet Is Coming or Nubya Garcia you ask? Insane. I had a listening session with Sons Of Kemet a few days ago and was so transfixed I let the album play three times in a row. You get true to life acoustic instruments with all their analog and timbre rich qualities, mixing in a glorious audio soup of electronic thumps and waves, covered in low fi drums and searing synth passages that transport you to another world entirely. The tuba, wow. Even Shabaka’s screaming tenor never gives harshness or painful peaks, it’s just energy and vibes all day long.

I listen to a lot of piano led music, Robert Glasper is one of my absolute favorites. His ambient and harmonically rich compositions are a great source of inspiration for me in my own playing, as well as being amazingly recorded. The sound of his piano really brings the entire track together. From R+R=NOW to the Black Radio records, Astraeus gives me the accurate realism and depth I come to demand from Robert’s Piano. Marcin Wasilewski is another master of masters, and his Trio work is some of my favorite jazz to put on while I am working.

Drums sound full and powerful without any snare thinning or phase-ness I hear with some amps vying for a more detailed presentation. Toms thwack and pulse, kick drums have wicked decay, their attack felt all the way through the upper mids in cascading overtones. From vintage tones via Yusef Dayes and Zeppelin to Jeff Porcaro’s studio polished work, I get the feel, the attack, the decay and the body that brings these amazing artists to life. Deftones’ Around the Fur intro is a de facto drum testing track - too thin and you lose the power, too thick and you lose the attack and utterly metronome like crispness upon which Abe Cunningham’s immense talent lies. What a groove that is, check that one out if you haven’t, gold standard.

A prominent issue for me is highlighted and/or pushed upper mids. I know some people like a bit of extra bite here, but I am using extremely resolving sources and IEMs, along with very transparent cables so the last thing I want is any added energy where it’s not supposed to be. Astraeus has the unique and amazing ability to portray detail and energy without sounding peaky, or harsh. I attribute this to the tube and germanium input stage, where detail and resolution are synonymous with harmonics and rich overtones over digital glare and clipping edges. As has the been the case thus far in this review, the Astraeus offers a combination of features that simply aren’t found elsewhere; glorious tube tone, germanium richness without the heavy warmth or potential drawbacks of tube rolloff or stunting. The sheer amount of micro details in the mids is wild. I hear no trade-off, no exchange of richness or fluidity for added resolution.

Speaking of mid range weight, there are others that flaunt this ability as well. Notably the MassKobo 465 and AIC-10. The 465 is a superbly muscular amplifier with density and weight for days. It is extremely transparent, that’s the MK sound, and it’s magical. The AIC is very weighted, but more plump and juicy over the beefcake solidity of the 465. It is very mid forward where the 465 is even and more flatly distributed. The Astraeus sits in the middle, with weighty and muscular notes that ebb and flow more, feeling less planted but more free and expansive. They aren’t as forward as AIC-10, nor as concrete as 465, hitting a wonderful balance between the two. The H1 by contrast is faster, feels a bit more detailed, but loses some weight in favor of articulation and accuracy.

A fitting example...

I use a Medium Format camera for my work, and I think it makes a great analogy for detail. Yes, it has a huge sensor with 100 Megapixels, but the light diodes are much bigger so the actual detail being captured is less squashed in there. The result is a much more ‘real’ looking photo. There is more detail sure, but the details are smaller than a high res full frame cameras, so instead of cramming in as many pixels as possible, looking “sharp” or “crisp” instead they have a look which is undeniably real and especially flattering. Not sharpened, just more detail in a more natural way. Great audio gear reminds me of this a lot.

TREBLE

A friend once said Astraeus “treble is art”, and I have to agree. There is something very special about it, the incredible ability to portray the smallest details with finesse and grace, all while retaining body and texture to the highest regions of audible range. There is no thinning here, no extra detail or weird scoops for the “feeling” of extra air or detail. It’s just massive sounding, with an endless vertical extension that rivals or bests anything I have ever heard.

A test for me in the treble air region is Jordan Rakei’s ‘Clouds’. The intro has some much going on above your head, I’ve heard this song 10,000 times on so many different systems and can hear immediately what the top end is giving me. There is no roll off with Astraeus as some might expect given the tubes. It’s exceptionally open and spacious, exquisitely detailed and texture even in the tipity-top of what I can hear. The finest wisps or air, tracking left to right and back to front, surround me in a near IMAX level of staging, coming from seemingly everywhere without origin. With the Dio I get a very weightless feeling to the treble, it is amazing, but not entirely realistic. Using the Astraeus with Dio I hear more body and texture, and less of that floating vibe without losing the extension.

A torture test for treble, Deftones’ Digital Bath has some serious snarl in the lower treble for guitars, and Chino’s voice can be outright painful with his shrieking megaphone vocals. On the Zahl H1 this can be rather disastrous, a credit to the original recording’s VERY 90s style of absolutely slammed mastering. The Astraeus is definitely less sharp, and also less prominent. The attack is still there, but it’s just less painful. I thank the tubes here again, softening out something that can make me cringe, into a rather tolerable yet energetic album that I love to pieces. Lower end audio gear is way more forgiving of this kind of material, summit stuff is incredible for well mastered recordings but headache inducing with older metal and poorly recorded material.

PAIRINGS

As mentioned above, I bought the Astraeus to use with IEMs. Yeah, a $10k Headphone amp for my STORM. I’m crazy I know, but the results are RIDICULOUS. It works great for everything else too, thanks to the 99 step volume control. You can get a very comfortable volume with anything, noise is a different story. STORM is dead silent, others less so. As would be expected for an amp of such massive power, super sensitive IEMs or all BA sets do have some hiss or waterfall noise. It’s not a lot, especially for IEMs like Dio or Rhapsodio V4 and Master with just a faint hiss. Only in the faintest passages do I notice. Some are worse, especially Campfire Audio IEMs, though I don’t know why you’d ever use such an amp with your Clara or Andromeda. I find all high end IEMs scale to some degree, some FAR more than others. And that’s the fun we’re looking for here, you’ll have to try it for yourself.

Oriolus Traillii Ti

One of the reasons I got into desktop amps in the first place was after hearing my TTi into a Lina DAC and AIC-10 for the first time. Jaw drop, almost lost consciousness even. It was overwhelming, a fountain of sound that left me speechless and sleepless for days. I was at Headphone Auditions in Amsterdam and this was my gateway drug, entry into the endless rabbit hole. I was astonished to hear how the TTi scaled, transmogrifying from a little IEM into this huge gorgeous sound that broke my -then- concepts of what IEMs could do. TTi has a large stage to begin with, but this was ridiculous.

And so it’s no surprise that the TTi sounds phenomenal with the Astraeus. As it does with the Morphy, just more so. Mids get fuller and richer, also more detailed and clean while adding a slight velvety character taking any edge off. Treble is more extended, and more weighted as well. Bass gets much deeper and hits with more control and authority. Mids are extremely detailed but lack the slightly metallic bite the TTi can give with the wrong source. To my ears bass gets affected the most by good power, and as good as the TTi is in the bass department, adding in Astraeus is just another level entirely. Noise was very minimal, and required about 20 on the volume to blast off.

Subtonic STORM

If TTi was the reason I got into desktop gear, the STORM is why I stayed. I acquired it after my AFI clarity moment, and if anyone here doesn’t already know - the STORM is almost a desktop only IEM. Yes, it sounds fantastic with a good powerful DAP like iBasso 320MAX or Cayin N30LE, I’m using it with Lotoo GT2 right now and it’s amazing. But, the STORM scales like nothing else in the world and once you’ve heard it at full potential there is no going back. I would even say, at this level, all other IEMs pale in comparison, leaving me with the feeling I could have only STORM and never miss a thing. Storm is breathtakingly detailed and resolving, perfectly balanced and so natural that everything sounds just as it should. As a musician and studio engineer nothing comes close to it in terms of accuracy and correctness, and even after being around for years, still nothing can touch it to my ears. With big clean power it turns into a godlike monster with near limitless abilities. Let me explain.

We toss around the word “scale” often in portable audio, the term means simply “the more you give it, the better it gets”. Get a better DAP with more power? Sounds better. Add a portable amp, better again. Use a big desktop amp, better still. Run it off the speaker taps from the craziest amp you can find? It just keeps going. And going. The staging is the first thing you’ll notice. STORM is quite vast to begin with, but using Astraeus I get something that is beyond IEMs. I’m not saying that it’s like HPs, they’re not alike in this way. But the sense of size, magnitude, weight and density coupled with breathtaking detail retrieval and absurd levels of bass reach and control is well beyond what IEMs are able to do. The articulation in the mids is unlike anything you’ve ever heard in “portable” gear. They are massive and all around you. Vocals have this life like presence to them that is hard to describe. It breathes. It shakes and rumbles. It’s also delicate and soft, the macro dynamics are otherworldly. Details are intense but always hugely musically so. With the Astraeus and STORM I find myself getting totally lost in the music for hours, and then having a crazy AB session listening critically at the same volume and settings. It really does it all.

I’ve heard STORM on lots of amps, and they all impart some of their character. MK465 was so muscular it was almost too much. But so amazing too. AIC-10 was pretty mid-forward depending on the source, but with a more neutral source is was fantastic. This is an exceptional combo. The H1 and STORM is reference paradise, I have yet to hear anything more precise and correct in my life. It really does sound like Genelecs in a perfectly treated room, astonishingly so. The level of detail, punch and clarity is CRAZY, and if you use the stereo expander on the H1 you get massive staging. Not quite the size of Astraeus’ endless width, here it’s more about centralized density and extended space and detail. The Astraeus is different, imparting some tube and warmth to the STORM’s tighter edges, glow in the top and and slightly softer reach in the lows. Mids are big but also vast, something I didn’t hear in other amps. It’s a great balance, and depending on the day/work/mood I go back and forth between H1 and Astraeus, they’re both so good with STORM. If you prefer forward mids and tight precise sound use the H1. If you want something more lush and spacious without losing the resolution, grab the Astraeus.

Elysian Dio

I love the Dio, it’s a great IEM. As is the case with all Lee’s IEM’s it sounds phenomenal right out of the gate. I’m not saying it doesn’t scale, because it absolutely does, but it doesn’t NEED and amp to sound it’s best. And the improvements are there, but less than STORM or something needy like DC Ti. This is great news for Dio fans, you’ve saved yourself a lot of cash. I really enjoy the Dio out of Astraeus or H1, but I love it just as much out of LP6 Ti AE sitting on the couch. It loves a powerful DAP, especially in the bass.

Despite liking power I do hear some faint buzzing noise being amped. More so with Astraeus over the H1, but it’s coming mostly from Lee’s EST implementation. Morphy is dead silent, as is H1. Astraeus is more powerful, and in a sense overkill for the Dio. There are some great improvements in the bass department, an aspect of Dio I truly love is its gorgeous bass. This is pretty wicked on Astraeus, as are the mids gaining some weight. Just don’t buy an Astraeus (or really any summit amp) to use with your Dio, or Anni either, just not needed.

64 Audio A18t

I have this one as a custom I still use it as a baseline. While not as reference perfect or detailed as STORM, it’s super easy to drive. Interestingly, even for a slightly older all BA design this thing scales a lot! Using my SS4 cable into the Astraeus it got so much bigger and controlled, I was really impressed. Some noise as would be expected, but also a lot of fun. The 18t doesn’t have the LID technology the newest 64A IEMs do, but it sounded great nonetheless.

Hifiman Susvara OG + UV

And so for the first time I am including some impressions with full size headphones, open back no less! The presentation is so different it’s hard to compare, and I will be the first to remind you all again I prefer IEMs. They are more dynamic and tactile at a lower volume, and the hit and slam from the bass is totally on another level for me. Spacious stuff, vocals and jazz are killer on HPs so I went more in that direction in my testing.

I had in my possession two Susvaras during my testing. The Unveiled model came via the EU tour unit, big thanks to the

@hifiman team for sending it out for us to try. I also had the Susvara OG here from the kindness of my dear friend Mat who lent it for the review. He’s awesome for doing so, thanks dude! 😃

I’m a fan of the Susvara in general. It’s a beautiful headphone. From its design, to the tuning it’s an HP that covers all bases, and could easily be your one and only. It’s not a reference monster like STORM, it’s more laid back and enveloping, sweet and spacious. It is however like STORM, it’s world famous, or infamous really, for being uber hard to drive. Without good power the Sus is somewhat flat and boring, bright or edgy even, and just sounds wonky. Give it the juice and you have an amazingly large and spacious stage, great detail and resolution, with endless treble and nice fat bass.

A good judge of power is if the notes are thin or weighty. Even if the volume is searing, it just doesn’t have that bass and body. It lacks musicality and wow factor. With the Astraeus I am getting the whole enchilada, and then some. Big juicy bass with lots of control, great mids with just the right amount of warmth, and a lovely extended treble with nary a harsh edge or peak to speak of. They sound great!

The Unveiled are inherently a touch thinner and more detailed, lacking some of the body, trading for more resolution and a more spacious character. This is the unveiled part. They don’t have less bass per se, but it is certainly less featured and fat, keeping the whole spectrum more light and airy, and less emotive. I first demo’d them with my Morpheus and it was a lovely listen, if only a touch less inspiring Vs the OG.

The changed completely with the arrival of my new (at the time) Astraeus. Despite the Morphy having more than enough power, the UV was on another level now. Precision meets musicality. More body, a more beefy bass tonality that held more authority and power. Still less than OG Sus, but there was no lack or feeling of softness anymore. Mids were more fleshed out, more raw and musical too, while gaining more “unveiled-ness” and extreme levels of resolution. Now it sounded more like a possible Sus successor, or side grade option at the very least.

In terms of power the Astraeus pushes both the Susvaras with ease, even at the same time. Obviously for IEMs it is way overkill in terms of raw power, especially for STORM at 6 ohms and ~25W! The Susvaras are 60 ohms, and on paper that reads only 2W. But in real world use the Susvaras barely needed 50% power to be quite loud and fully dynamic.

While I probably prefer the OG Sus overall as it strikes the perfect balance between detail and warmth, the UV model grew on me a lot and I could imagine having it around. While the UV model goes even further away from the IEM presentation I love, if I was to buy an HP for home use, either Sus would do me just fine.

AMP COMPARISONS

While I have already addressed some of the differences between the top contenders, here is a refresh for you. Some I own and spent 1000’s of hours with, others I was able to AB test in the same room, others I relied on extensive notes, going back and forth many times. My findings were always the same - even on different days and fresh ears.

SAEQ Morpheus (~$3400)) REVIEW​

Solid and full, powerful and detailed. Slightly midbassy and forward mids, energetic and super punchy. While being very resolving it’s more musical and emotive - hedonistic as Dragan calls it. Detail levels slightly below others in this case, but for less than half (or 3rd) the price. Very well balanced and a great choice I could easily live with forever. The Morpheus is one of my favorite amps ever!

SAEQ Armageddon (~$8300)

The previous flagship and an epic amplifier it is. I've heard the 'Geddon on two separate occasions at shows, and while I can't speak at length here it's a fair and useful comparison. Firstly, they both share the same SAEQ DNA. Both are very musical, extremely powerful and detailed. They both have massive staging, great layering and super punch. While the Armageddon is thunderous and resolving the Astraeus is more refined, more open, and more musically delicious. The Armageddon is like a tank, its hyper etched notes have more forward weight and tighter edged, but lack the effortless fluidity and ease in which the Astraeus simply soars. Armaggeddon is more punchy and solid state sounding, headroom for days and such a profound grip on bass and transients, it packs a wallop. Astraeus is silky and mature, without losing that epic thunder, its tube like glow is surrounding each note letting it gleam. They have both sound superbly realistic and LIVE, they are both fantastic as the Armageddon remains wholly relevant. If you like a tighter sound with more defined edges and a strong presentation that grabs your attention you may find the Armageddon to your liking. For a more mature and refined sound, with the added flavor and special sauce of tubes and germanium transistors added to the mix, Astraeus may take home the gold.

Riviera AIC-10 (~$20,000)

The Legend. Another tube hybrid that brings the best of both. Warmer, more imposing and mid forward than Astreus or H1, which is either a great thing or not depending on your tastes and source etc. Great bass thump, mid bass punch and mids are incredible. It’s more tube than hybrid to my ears, even with the SS power amp I get more of the growl, bloom and soft edges tubes are famous for. Very spacious, but also really weighted and full, rich even, which may or may not play perfectly with your gear. Without a doubt one of the very best ever made, but I prefer the spaciousness and stretch of the mids on Astreus for most of my library and IEMs. Mid bass might be better on the Riviera, with Astraeus having more sub and thump, but the Astraeus wins in the treble department to my ears.

The AIC-10 also has two RCA inputs and speaker taps, a few friends run their STORMs out of the speakers and the results are phenomenal. As is the case with Astraeus, the tube choice can make a big difference in the overall tonality and I highly recommend taking the time to try out a bunch. You could easily make the Riviera less forward and more modern with a tube swap, or lean more heavily into the vintage arena with Astraeus style spaciousness.

Feliks Envy (~$10,000 - $17000 25th Ann.)

I heard the Envy 25th Anniversary model in Munich High End and I instantly called in the best tube amp I’d ever heard. It’s phenomenal! Being that it’s a full tube amp, no hybrid, the overall tonality can be much more tailored via tube choices. Input tubes are one thing, but power tubes have so many options with SUCH different sounds. From my friends who use an Envy, this can be a years long process of finding exactly what works best, a true rabbit hole. I’ll base my impressions on the Anniversary and Standard model with whatever tubes they were using at the show.

What instantly grabbed me by the horns was the insanely large stage and texture. This is an all tube amp and you feel that immediately. It blooms like no other! The mids were sultry and warm, so emotive and rich. I could easily see this being too warm for some IEMs and sources. I used their Roon setup which was on the side of warmth I could enjoy, using my LP6 Ti AE was so much fun, but a bit too much of a good thing. The Anniversary model is sublimely detailed with thunderous bass and some of the best tube mids I’ve heard. The standard model was less detailed, less “special” to my ears, but that should come as no surprise as the Anniversary model is $7k more expensive! While I’m sure the tubes used make a big difference too, the 25th Anniversary is up there with the big dogs while the standard is a bit below from my notes.

The Astraeus is more of a hybrid sound, equally as spacious but more planted, more refined. I hear the SS power amp giving a more reference tonality, while the Envy has that tubey growl if not a touch less firm and direct. The Envy flows in rich overtones and gorgeous timbre, its only drawback, if you consider it a drawback, is the overly tubey glow. For some that is surely the main reason to buy it, so there’s that.

Zahl H1 (~$7500) REVIEW

This is a reference beast, no two ways about it. It’s crisp and clean, never bright and the most punchy amp I’ve ever heard. It’s not the more weighty, but it is the most correct and balanced. It’s also dense and punchy like crazy. I would say its closest comparison here is Morpheus tuning-wise, with Morphy being more hedonistic and H1 being more studio Hi-Fi sounding. Bass is splendid on H1, superbly punchy and fast, it lacks some of the texture and growl from the tube fed others. Treble is very extended, and the highest regions are super revealing which can lead to some fatigue with certain IEMs/sources. I won’t say it’s bright, because it’s not- but it’s not gentle on badly recorded music the way others can be. The H1 seems the most resolving of all the amps covered here. I’m not saying it’s the most resolving, but it sure feels that way, those fine details right up front and in your face.

The biggest difference in staging is the depth of Astraeus. H1 can have a very large stage especially using the stereo expander, with details and space off to the sides and a more intimate focus on instruments. The Astraeus is immediately larger and more vast, but what strikes me is the depth of the stage. The H1 sounds almost two dimensional in comparison. It’s massively wide and tall, but lacks that deepness away from you. While the Astraeus’ details feel softer, the bass less punchy in some regard, the space in which your music emanates is much larger. H1 gives it to you in your face, the Astraeus is more gentle and refined.

If you want “perfect” the Zahl is it. The magic mate for the STORM if you’re planning on mixing, doing critical listening or relaxing and jamming out to tunes like you’d do sitting main chair in a studio. H1 is fun, amazingly so, but more analytical. The hybrids and tube amps here might be called more fun and lush, if only by comparison. H1 has more PRat and energy, sounding so channeled and tactile it’s pretty crazy.

Mass Kobo 465 (~$17,000)

This is one of the best amps on the planet. It’s also one of the most expensive too. Extremely transparent, as is the calling card for Mass Kobo, it’s also super muscular and dense. Bringing most of the accuracy of the H1, with the weight of the AIC-10 and none of the tube “trade-offs” of others, the 465 is $17,000 worth of Japanese know how. Handmade by one man, their build and quality control are on a whole other level, with each component hand picked by Mr Masuda-san himself. It is extremely detailed, and while it’s superbly transparent in tonality the note weight makes its presence known. While the H1 is reference legend, the 465 is a beast of transparency and power. Mids and treble are especially great, with bass that slams like a train. If you like the Japanese Hi-Fi sound the 465 is impossible not to love.

The top end of MK465 has a very similar quality to the treble in Astreus, some magic in the endless air and space that also has weight, texture and extreme resolution. Especially amazing treble. I didn’t get as much time with the 465 as the others here, so I won’t expound endlessly for lack of history with it. Let’s say this, the MK465 is a testament piece to what is possible in the SS amp world, and should be regarded as one of the best ever made.

CONCLUSION

What a whirlwind this has been! The last four months I did more listening than I have in a long time. I took every possible opportunity to sit in my favorite chair and be whisked off to audio nirvana at all hours. Even if a spare 10 minutes came my way I would jump on it, a few songs to last me until the house was again quiet and I could relish in my new stuff. This is exactly what having gear like this is for, sitting on the edge of your seat anxiously waiting for another opportunity to listen.

This was a VERY long review, I am aware. I can get a little carried away; a curse or blessing I’ll let you all decide. I am just excited because the Astraeus has breathed new life into my joy of audio, got me tingling like the early days. It’s easy to feel once we get to a certain level of summit the gains are so diminishing that new stuff is only another small piece of the puzzle. The Astraeus for me is a new foundation entirely. It has changed my definition of audio, and what an IEM can do when given the right juice. I have two other amazing amps in the H1 and Morpheus, and they excel in what they do to my daily amazement. But the Astraeus is different, I am completely engulfed aurally, emotionally and even spiritually. Strong words I know, but I really mean it.

At $10,500 it’s not cheap at all. Funny enough it is actually middle of the road cost wise in this group, but sonically I hold it at the very top. Based on your tastes, the SAEQ Astraeus just might be the best headphone amplifier on the planet. I sure think so. And for that money, in the world of ‘best of the best’, the Astraeus is of tremendous value. You can buy it plus a really great DAC for the price of a MK465 or AIC-10, which is nothing to scoff at. We’re talking massive numbers here, but this is bleeding edge gear with a price to match. Would one be equally happy with a Morpheus and a DAP? I certainly was for a year or more. But now, having heard what my system can do there is no going back. So is the way of high end audio. Only you can decide what holds value to you, let no one tell you differently. If your budget is small, there is amazing stuff out there. If you can afford more there’s plenty more and it goes on and on. And on. More money doesn’t necessarily mean better, the Astraeus is a perfect example of that next to the AIC-10 and MK465. But only you can decide which you prefer. Only you know what you like, and that’s the fun of it.

I know what I like, and despite the list of gear I own, I am by no means a wealthy man. Quite the opposite. I just choose to save up and spend everything I have in search of that perfect sound. Perfection isn’t really out there, but what I will tell you is this: please go and try out the Astraeus at your earliest possible convenience, it is an astonishingly good amplifier. It’s about as close to perfection as I have ever heard. Best in the world sounds just about right.

A huge thank you to Dragan for his endless help, patience and understanding over the last months. Your dedication and passion speak volumes, and I am honored to have been a part of your Astraeus journey.

Until next time friends,

Thanks for reading!