In 1954, a Texas Instruments engineer invented the first silicon transistor, and two years later, the first solid-state amplifiers made their way into our homes. The so-called audiophiles started poking fun at them, believing that vacuum tube-based amplifiers still sounded better. When Sony together with Philips created the first CD and subsequently the first CD players with dedicated DAC chips in 1983, vinyl junkies around the world started poking fun at them too. In 2001 Slim Devices unveiled the very first music streamer, the Squeezebox which allowed users to stream digital music files from their home systems, acting as a bridge between digital music and home audio setups. Around 2015, MSB Technology unveiled their audio-grade network switch they called Network Renderer and you know what? Audiophiles still poked fun at music streamers and Ethernet switches.
They still do that today but to a smaller degree. Only a small portion of people aren’t taking seriously the benefits of using a well-made network switch, but since this is our fourth review for an Ethernet switch, we hope you’ll read closely this time around, with an open mind.
My relationship with Matrix Audio goes way back to 2014 when I reviewed a modern-looking DAC, resembling a MAC Mini, the unit was called Mini-i. The form factor, the smooth lines, and the beautiful OLED screen ten years ago were something to behold! It was love at first sight. Then, I toyed around with their fully balanced headphone amplifier, the HPA-3B. However, the year that completely rewired my brain was 2017 when I tested and ultimately purchased a Matrix X-Sabre PRO DAC. It was one of the first commercially available DACs with the newest ESS Sabre silicon (ES 9038 PRO), it worked in a fully balanced configuration, it had a very advanced clocking system for the time, an I2S input as well that I’ve been using with a plethora of digital-to-digital converters (DDCs for short) and most importantly: it sounded fantastic!
Over the years, I tested and acquired additional gear from them and the unit I used most was their Element X DAC, which felt like an upgraded version of their popular X-Sabre PRO DAC, spotting never-to-be-seen features back then, like a true line amplifier circuit and a Roon endpoint via an Ethernet port.
This year at the High End Show in Munich, I met the wonderful Matrix Audio team for the first time and we had a long chat regarding their past, but we also talked about the future of this brand. I was surprised by the newest electronics they were showing off. They looked much beefier, having a stronger high-end allure to them, albeit with a higher price tag too.
I wasn’t surprised to hear the ultimate resolution in that room, super tight control of the stand floor speakers, however, what truly impressed me right from the get-go: the incredible flow of the music, the naturalness finally stepped into their circuit boards and from ultra-linear sounding units, I could finally detach myself and immerse into the music. The sound was mesmerizing, to say the least.
It was a clear sign that Matrix Audio no longer toys around, they want to be seen in the High-End audio segment too. Their newest M series (MS-1 Streaming DAC, MP-1 preamplifier, and MA-1 stereo/monoblock amplifiers) are something else from an engineering standpoint and I’m sure they will sound exactly as they look. Here, have a look at them.
Matrix Audio dipped its toes into digital audio a long time ago, and it was only a matter of when, rather than if, they will start tinkering with audio-grade Ethernet switches that could elevate your streaming setup to higher grounds. A few weeks after the Munich event, I was informed that they are working hard on delivering two Ethernet switches, developed in-house from the ground up. Nothing has been recycled with their brand-new SS-1 and SS-1 PRO switches (as others have done so many times by now), every single board is theirs, from the AC input to the Ethernet/SFP+ ports, everything was custom designed to work seamlessly not only with Matrix Audio streamers, but with any other streamer you can think of. The SS-1 will set you off $1200 and a beefier SS-1 PRO will make your wallet $1700 lighter. These aren’t quite entry-level switches and as such, we’ll test them in an equally impressive setup and even pit them against similarly priced Ethernet switches for a few rounds.
Design & Build Quality
Ten years ago Matrix Audio proved to me that affordable, great looking, and built to high standards can indeed be used in the same sentence with their Mini-i and the SS-1 and SS-1 PRO are following the same trend. Stopping wireless interferences can be done only with thick metallic cases and that’s exactly what I see on both of these models. I’ve used plenty of affordable switches made out of plastic in my early days of streaming, but these two look like beautiful pieces of HiFi furniture, they certainly don’t have that boring look and plasticky feel of regular ethernet switches. Once I started removing the screws and opening up their cases, I realized how thick and weighty their case truly is.
It was imperative to make their cases thick (to remove all kinds of wireless interference) and heavy (to remove mechanical vibrations within the unit) and the well-spaced metallic feet with rubber inlays are adding the finishing touches.
The unboxing experience is always an act of discovery with Matrix Audio creations, the first impression was positive, and both of these units didn’t disappoint. At 2.3 and 3.4 kilos body weight respectively, these are not your average D-Link or TP-Link switches and I think we already got a good start.
Design-wise, the attention to detail goes beyond the price point; Matrix Audio even chose to provide a 12V input for the SS-1 and this way, an upgrade to a high-quality linear power supply is pretty straightforward. The SS-1 and SS-1 PRO follow the same design cues as their Element and M Series of products. The rigid all-aluminum chassis and the excellent layout on their back show special attention to the smallest details.
Remember the annoying tiny LED lights of average network switches? You can now dim them completely after pressing the LED button that can be found on their back, making them much stealthier looking in late-night listening sessions.
While SS-1 PRO is powered by a high-quality toroidal transformer, SS-1 uses a low-noise switching mode power supply. However, you can always use a linear power supply, later on if you choose to. There are plenty of offerings, especially at this voltage and low amperage (12V 1.5A) from affordable to very well-made power supplies. If you want the best from SS-1, you can go with the KECES P6 or FARAD Super3, but considering the high costs and an extra box added to your setup, the SS-1 PRO might be a better choice in the long run.
Controls & Connectivity
An ethernet switch should never tire you down with a complicated layout. Attach a power cord on the SS1 and the unit will power on automatically, the SS-1 PRO, however, comes with an On/Off switch on the back. Two small LEDs will show their working status and everything else was moved on their back.
There, you’ll find two 100 Mb ports, which are suitable for HiFi applications. These ports should be used exclusively to connect your wired streamer. As Matrix Audio explains: “A system capable of supporting higher-speed signal transmission will inherently have a higher stability limit. This also means that the timing error in high-speed equipment is relatively lower compared to low-speed equipment. Therefore, high-speed devices performing at low speeds exhibit superior performance compared to low-speed devices transmitting at the same low speed.” The connection speed will be reduced when connecting to these ports, which will also reduce the bit errors that might occur during data transmission. These ports are also designed with independent sockets. The wider spacing between the sockets prevents crowding when using thick high-end Ethernet cables. The rationale is simple, the port 1 and 2 should be used exclusively to connect the SS-1 or SS-1 PRO to your wired streamer. If you think about it, 100 Mb should be more than enough for real-time DSD data streams, let alone for 32-bit PCM material.
The next 3 to 6 (on SS-1) and 3 to 8 ports (on SS-1 PRO) are your fast 2.5 Gb ports to which the switches should be connected to the router. What’s interesting is that all of these ports use independent Ethernet transformers and fully shielded Ethernet sockets. Each transformer is individually shielded by metal shells, enhancing resistance to any wireless interference.
Last but not least, two isolated 10Gb SFP+ ports with up to 10Gbps connection speed allow you to install optical fiber or RJ45 modules according to your needs. This makes it possible to connect both upstream network devices and digital audio players simultaneously through SFP ports, achieving complete electrical isolation between network devices and audio equipment via fiber optic cables. This also prevents high-frequency noise or interference from network devices from being transmitted throughout the ground wire into your precious audio equipment.
Matrix Audio left a tiny clue for their future plans, leaving a 10 MHz BNC clock input on the SS-1 PRO. If you’re already using a 10 MHz clock generator with multiple BNC outputs, you can use it to control the timing of the SS-1 PRO for ever-better timing & performance.
Under Their Hoods
While on the outside, it seems that the SS-1 has six 2.5G Ethernet ports versus eight on the SS-1 PRO, on the inside things are getting more interesting. As Matrix Audio puts it: SS-1 PRO/SS-1 is an audio-grade network switch specifically designed by Matrix Audio for Hi-Fi streaming heads. Unlike traditional network switches, this product is meticulously engineered to meet the requirements of Hi-Fi audio applications. It includes comprehensive enhancements in its power system, clocking system, cooling methods, and component selection, all focused on ensuring a lossless data transmission.
The biggest difference between the SS-1 and SS-1 PRO is that we have a switching mode power supply (SMPS) unit on the SS-1 and a custom O-core transformer on the PRO variant combined with high-speed Schottky diodes and nearly 10,000 uF audio-grade filtering capacitors. Up to 6 ultra-low-noise LDO voltage regulators provide clean power to the clocking system and mains control chip. A large passive heatsink was also used for the main control chip, ensuring a cool and noiseless operation.
To ensure upgradability, the SS-1 is equipped with a DC input port, allowing you to connect an external linear power supply that will fully unleash its potential. When the DC input is connected, the internal AC power supply is disconnected automatically. We tried the SS-1 with a KECES P6 and later with a nicer P14 external power supply and in both cases, there was a resizable sound improvement.
Everyone knows that the clocking system is the bread and butter of digital audio, the more stable and accurate it is, the better the timing of the audio stream will be, ultimately tightening the sound and revealing additional nuances. Unsurprisingly, the clocking system in network switches is exactly as important. Inside the SS-1 Pro, you can spot a femtosecond clock and a high-precision ultra-low phase noise RF synthesizer. The SS-1 Pro supports two clocking modes: using its internal (and highly accurate) atomic clock, in this mode the internal femtosecond clock serves as a reference for the RF synthesizer, which then generates a highly stable, low-phase-noise clock signal for the main controller.
In external clock mode, the 10MHz clock signal from an external clock generator acts as the reference for the RF synthesizer. The DPLL then outputs a synchronized, highly stable, low-phase-noise clock signal to the main controller. Even though the SS-1 has a simplified clocking system and does not have an RF synthesizer, it still features an ultra-low phase noise femtosecond clock as the reference for the main controller, ensuring exceptional performance at a more attractive price.
Last but not least, let’s not forget everything you see was crafted by the Matrix Audio team. We don’t have a third-party switch with a nicer clocking system and power supply, nicely wrapped in a beautiful aluminum enclosure, and this is how you differentiate real engineering feats from copycats.
Before dwelling deeply on how both of these units performed in my HiFi setup, first, we need to understand what is an Ethernet switch and why it can make a difference. I will quote my dear friend Catalin on this matter.
How does Ethernet work?
Wikipedia writes that: “Ethernet is a technology that specifies software (protocols, etc.) and hardware (cables, distributors, network cards, etc.) for data networks. The data frames are transmitted in the LAN (Local Area Network) either wired (copper or fiber optic) or via a radio network in the WLAN (Wireless Local Area Network).”
For routers or switches, some specifications are usually classified with an IEEE (Institute of Electrical and Electronics Engineers) in front and a number. These standards have been set uniformly since 1980 by a global professional association based in New York. And there’s an IEEE 802.3 Tagged MAC Frame, which describes the standard format of Ethernet data transmission blocks.
Each network interface has a globally unique 48-bit key called a MAC address (Media Access Code), which is included in the data transmission block. The destination and source MAC addresses are specified so the data arrives correctly from the source to the destination.
The CRC checksums are also necessary. When a packet is created at the sender, a CRC calculation is performed over the bit string, and the checksum is appended to the data block. The recipient performs the same calculation after receiving it. If the received checksum does not match the self-calculated checksum, the receiver assumes an incorrect transmission, and the data block is discarded and requested again. This is also the standard argument of those who make fun of Ethernet optimizations. The data must always arrive bit-perfect. But this is only half of the story.
Again, to set the baseline, Ethernet will always be bit-perfect even if influences and minor hiccups occur; the error correction embedded in the protocol will correct that. Also, the correction mustn’t be necessarily time-critical!
Transmission Frequency
It is essential to know that the bits and bytes are transmitted using analog radio frequency (HF) technology. There are various standards for this. A CAT5 cable transmits data at a frequency of up to 100MHz and thus achieves a maximum rate of 100Mbps. A CAT6a cable transmits up to 500MHz with a maximum throughput of 10Gbps.
What we need to know here is that even though we are talking about a digital transmission, it is, in fact, an analog one. The frequency may lie outside the audible band but still be audible in some circumstances. High-frequency components can become very parasitic in devices when they demodulate the useful signal. For example, if you come close to a tube amplifier with your smartphone, you will hear radio signals in the GHz range.
We need to remember that all digital transmissions rely on analog radio frequency transmissions between the modulation/demodulation equipment. What we call digital, clear 1 and 0, sits at the end of an analog transmission.
The Eye Pattern Diagram
The eye pattern or eye pattern diagram allows conclusions to be drawn about the quality of the signal. An oscilloscope is used to overlay successive waveforms to form a composite image. The picture above defines the voltage state from which a binary 0 or 1 is present on the ordinate (vertical y-axis). The time course is indicated on the abscissa (horizontal x-axis) — for example, the voltage states and the time course result in a bit sequence of 011 (yellow color in the graph).
Ideally, the eye diagram for digital signals would consist of two parallel lines with instantaneous rise and fall times virtually invisible. In the real world, even a reasonably good and quite acceptable digital signal will exhibit some amplitude and timing variation, appearing as discrete lines that are not precisely where they belong but will nonetheless suffice. If there are enough of them, a few darkened areas will appear.
In digital transmission, a succession of ones and zeroes flows to the receiver. The transmission can consist of a long series of ones, a long series of zeroes, a regular or irregular sequence that repeats periodically, a quasi-random series, or any combination. The eye diagram will reveal whether everything works as intended or if there are faults that garble the transmission, causing, for example, the reception of a zero when a one has been sent.
While latency defines a fixed time between two events, jitter describes the fluctuations within this time. These fluctuations can be measured in the eye pattern diagram at the intersections of successive waveforms.
The signal quality is okay if you see a big eye in the middle of the different bit sequences on the oscilloscope. Disturbances in the voltage curves, for example, shifts due to jitter or too low a slope in the edges, can lead to misinterpretations of the bit sequences. The checksums detect the faulty data packet, but data packets are lost if this happens too often and must be requested again.
The Signal Path
I hope I didn’t bore you with our technical talk, but it was imperative to explain that digital data transmission isn’t always perfect.
Before getting deep into the sonic impact of the SS-1 and SS-1 PRO, let’s review the system I used for testing:
- Asus GT-AXE1600 Router powered by a KECES P14 linear power supply
- Audiophonics Ethernet CAT7 cable from the Asus router to the Matrix Audio switches
- Matrix Audio SS-1 powered by the internal PS and later by a KECES P6 linear power supply
- Matrix Audio SS-1 PRO using one of the two dedicated audio-grade ports (100 Mb) and with a Crystal Cable Monet Ethernet cable we reach the streamer
- Rockna Wavedream NET 4 Tb Roon server/streamer connected to either the SS-1 or SS-1 PRO
- Rockna Wavedream Signature DAC connected via I2S using an AudioQuest Dragon HDMI cable
- Chord Electronics Ultima 2 Preamplifier
- Chord Electronics Ultima 3 monoblock amplifiers (X2)
- Raidho TD 2.2 loudspeakers
- Everything is powered by a KECES IQRP-3600 isolated balanced passive power conditioner
Sound Performance
I. Preliminary Sound Impressions
I love my Rockna Wavedream NET to bits! Its feature set is nuts and I don’t know a similar unit that does so many things on such a high level. But let’s rewind a little and remember why I got it in the first place. It’s a Roon Server and a very good one at that! It’s a Roon endpoint too (wired streamer), with separated power supplies. It’s also a music server, I currently have a 4 TB SSD installed and all of my offline music goes in there. It’s also a great sounding CD player and after trying out several CDs, I started collecting them again. It can also work as a bit-perfect CD ripper, saving WAV files on its internal SSD, but you’ll need an external Optical drive for that to happen.
With all of these features, the Wavedream NET performs at a very high level, but it also demands a premium price and let’s not forget that the Wavedream Signature DAC never sounded better. There is, however, one minor thing, its Ethernet port doesn’t have any kind of isolation, it’s just an Ethernet port, nothing more and nothing less.
I remember when my buddy Catalin came for a visit with a Melco S100/2 switch in hand and an ear-to-ear smile, suggesting putting it in between the Asus router and the Wavedream NET. We talked a little about what it does and more importantly, how it does it. When the music started playing, we swallowed our tongues as complete silence covered the listening space. After just a minute of playback, I couldn’t believe my ears. The background suddenly became quieter and the musical notes stronger as if I turned the volume up. The smallest nuances were no longer hidden, but lying in plain sight and I didn’t need to focus or enter a mental state to hear the beauty behind them. The biggest difference, however, was the way it bonded the notes together. If you ever experienced a really good SACD player or a legendary sounding 1-bit DAC that does proper justice to Direct Stream Digital (DSD) files, then you know EXACTLY what I’m trying to convey. These kinds of units don’t sound as if a digital conversion is happening in real life and more like hearing a live event, with transitions between musical notes getting smoother, and that’s what the little Melco S100/2 brought to my system.
It didn’t make sense to me, I couldn’t believe my ears, but I was hooked! Bits are bits,1 bit can be only 0 or 1, and 8 bits equals 1 byte and yet there was such a major difference in how fluent the music became, I simply didn’t want to go back to the sound I had a day before. We need to remember that all digital transmissions rely on analog radio frequency transmissions between the modulation/demodulation equipment. What we call digital, a clear 1 or 0, sits at the end of an analog transmission.
From that moment onwards I tested quite a few ethernet switches, from super affordable ones from the likes of TP-Link and D-Link, to much better-sounding ones like the LHY Audio SW-10, the Melco S100/2, and right now I’m rocking a statement Ansuz PowerSwitch D3 which again, removed all of the glare, cleaned up the dirty background, the noise floor is no bugging me at lower volumes and I focus only on one thing that is important to me: on the music itself!
II. Matrix Audio SS-1 on the Test Bench
Assessing the Matrix Audio switches, I prepared a substantial blind test for the ones I love most and would trust my life: the dwellings on this house. More exactly my lovely son and my wife. Before you raise an eyebrow or two, know this: music runs in our veins for a long time and maybe I should write an article about this. We listen to music daily, it’s also one of our weekend activities, staying together, bonding, and listening to our favorite tunes.
The tests I prepared were quite straightforward. First, I plugged the Ethernet cable that came from the Asus router directly into the Rockna Wavedream NET and after three tracks, I included the SS-1 switch in between the router and the Wavedream NET, swapping it later on with an SS-1 PRO, repeating the same three tracks. Super-fast swaps weren’t possible and we needed to rely on our memory, since a Roon Server needs to acquire the stream and sync with Roon, which is, in turn, syncing with Qobuz and Tidal that I’ve linked it to. The whole process takes about two minutes.
I was also a participant, but I didn’t want to influence my tribe in any way, and in the end, I let them explain in their own words if they heard a difference whatsoever. After removing the switches and 15 minutes later, everybody was happy. They didn’t seem to mind that something was missing. After inserting the SS-1 switch, however, there was an immediate transformation in sound. The first track we listened to was Alive by Ajeet, Peia, and Nessi Gomes (Qobuz / Tidal). At the 0-minute and 35-second mark, an intricate bass line starts to emerge from the background and that was the moment when my son turned around and told me that the bass was no longer rattling the room and it felt somewhat clearer to his ears. I tell him to focus his attention on the guitar plucking and the vocal cord vibrations of these three beautiful souls.
As the sound got tighter and more in control, the tiny details started appearing like mushrooms after the rain, the resolution went up by a very good deal and I could discern minuscule differences in layering and micro-detail information. This event was quite transformative, we even paused the music and started talking about this.
What struck me right from the start was that the Matrix Audio SS-1 didn’t juggle with the frequency response, like how was the case with the LHY Audio SW-10. The only things it was influencing straightforwardly, were the timing, the overall tightness of the sound, and the noise floor, which in turn ultimately improved the sound’s transparency and resolutionWith that being said, there was quite a major transformation of the frequency response, not in terms of intensity or amplitude, I was getting a very similar picture quantity-wise, but quality-wise? Things went up like shooting a rocket into the sky.
The bass lines for example were more intricate this time around, intertwining beautifully. There could be extra doses of nuance and detail waiting for the right gear to untangle and show off. And the midrange? I’ve got a longer vibration with air instruments and when focusing closely, small deviations in tonality were transforming a simple event of music listening, into a mystery. My Sherlock Holmes senses started tingling when the SS-1 was inserted as the smallest nuances started to emerge out of nowhere.
The Raidho TD 2.2 loudspeakers have an extraordinary set of skills and I’m yet to find their limits. One of the most impressive skills they possess is placing a massive canvas of sound right in the middle of the room. This canvas isn’t staying close to you and is more like behind the back wall, outside the room, tricking you as if the room is slowly growing in size. I like this effect so much, that everything that is trying to dimmish this grand scale is not passing my tests with flying colors. The SS-1 wasn’t badly interfering in any way, but what I’ve heard next with the SS-1 PRO was nothing short of spectacular.
III. Matrix Audio SS-1 PRO on the Test Bench
Swapping the little SS-1 with a bigger SS-1 PRO, right off the bat several things were put in motion, but summarizing everything I heard with just a few words, that would be: micro-contrast and dynamics! If the bass was tighter and of a higher quality on the SS-1 switch, the top-of-the-line switch added a higher fun factor to the mix. The bass in particular wasn’t just tighter-er, having an even better grip over the loudspeakers, but the low-end went even lower, and the subsequent punches in the chest felt stronger too.
The distance between the lowest and the highest intensity notes was even bigger like the music suddenly had a higher dynamic range. The things that were supposed to be hidden, were now occupying my listening space unhindered. Everything became cleaner and a higher transparency settled over my HiFi system. The backing vocals were now stronger in intensity, and minor movements in the auditorium were easier to spot. Everything that had to do with small shifts in pace, rhythm, and timing, were now more apparent than before.
The SS-1 PRO also added a touch of fullness to the whole affair, without influencing the frequency response’s quantity, only its quality. The micro-contrast went up as well, and the texture of every musical instrument was now apparent, giving a more solid feel to violins, guitars, drums…and everything else. The final piece of the puzzle was getting a stronger sense of realism, of – this is how music is supposed to sound, becoming an engaging and emotionally pleasing experience at the end of the day.
Of all of the Ethernet switches I tried in the comfort of my home, only a single one was able to remove the raw nature of streaming platforms, adding a sense of listening to high-resolution content as opposed to lossy formats, slightly improving the contours of the notes, removing the grain while lowering the noise floor by a substantial amount. It’s the Ansuz PowerSwitch D3 that changed the way my HiFi system sounds to almost unrecognizable, but mind you, it will cost you a pretty penny. The funny thing is that if I’m comparing the PowerSwitch D3 with the Matrix SS-1 PRO, I realize that Matrix Audio similarly tuned their gizmo. The superior power supply, clocking system, complete ethernet isolation, and the custom nature of the whole thing uplifted the performance of music streaming to higher grounds. The PowerSwitch D3 still takes the lead, mainly thanks to its inverted Tesla coils which completely removed the noise floor from the equation, but the SS-1 PRO wasn’t that far off to be completely honest.
As I have experienced many times now, dynamics should always work together with a sense of fullness and warmth to create an emotional attachment to the music you’re listening to. This way, the music would no longer be a collection of sounds of different intensities and frequencies, but an art form that could put goose bumps all over your body and make you feel on top of the mountain. The SS-1 PRO is indeed bumping the richness while infusing a higher degree of dynamics into the mix.
When I moved to streaming platforms a while ago, ditching my digital-to-digital converters and a substantial collection of offline music, and choosing lossless streaming platforms such as Tidal and Qobuz, I always felt that the music was no longer trying to connect with me. It was flatter, the dynamics weren’t so jumpy anymore, but squished and uninteresting, the gap between the lowest and highest intensity notes was smaller, and I needed to make some substantial changes in my HiFi system until things started to sing again. The SS-1 PRO is adding that missing link I’ve been searching for several years now, proving that streaming could still sound as good as offline music. All of that comes at a cost. $1700 no less.
IV. Entering the Matrix, Twice!
Strangely enough, cascading both of these switches can bring surprising benefits. As my colleague meticulously explained in his Melco S100/2 review, connecting two or additional switches, one after the other, can positively affect the sound. Like in an aquarium, it is as if a filter function appears multiple times, and the filter effect improves with each additional switch, getting clearer water in the tank.
And yes, I can confirm that going from the Asus router into the Matrix SS-1 and following it with SS-1 PRO will impact the sound quality. Although the difference wasn’t as big, it was still audible. The stereo separation improved by a tiny bit and the soundstage was now a hair wider too. The music was more three-dimensional and each musical note occupied a distinct space within the soundstage. This created a grander sonic landscape making me feel like participating in a live performance. The immersive soundstage always adds an element of authenticity to the whole experience, this time around making me feel like the musicians were right here with me.
The rationale here is a simple one. If you already moved to streaming platforms and parted ways with your offline music, then you should start with a good-sounding wired streamer and ditch the wireless connection for good. Invest in a well-made DAC that won’t limit the dynamics or the resolution of your system and only after that, start hunting for a good network switch. If SS-1 PRO is beyond your budget, consider getting their SS-1 which sounds less impactful, but is still close to their top-of-the-line unit. When combining all of that, you’ll get top levels of transparency, all the details you crave, a natural flow of the music, and some @ss-kicking dynamics.
Wrapping Up
I thought doing preamp reviews was complicated…but with ethernet switches? It’s like explaining to my grandfather how bits are working. I know, the ways of networking are strange and some things still remain a mystery.
However, sometimes the whys and hows aren’t as important as the final result. And sure, I don’t have any measurements to back up any of these words, but if this is not your first article around here, then you already know that we are on the same page with our followers, viewers, and readers. I will always be on your side and I care only about my tribe.
If you believe that all DACs sound the same, that cables sound the same, that the power lines can’t impact the final performance and everything’s a big worldwide conspiracy, then this article isn’t for you. If you believe you know everything, networking is your specialty and there’s no way an Ethernet switch can impact the sound that comes from your speakers or headphones, then again, this article isn’t for you either.
However, if you already experienced the major impact a single component or even cable can bring to the table, regardless if it’s positive or negative, then you already know the ugly truth. You’re already listening to the weakest link in your system that bottlenecks the others. With HiFi streamers, the bottleneck would be the inception point, the purity and integrity of the signal.
Once the noise enters your system via power lines, USB, or Ethernet cables, it becomes a bigger pain where the sun doesn’t shine. Solve the first issue…before it gets a bigger problem. With offline music listening, the source – the digital transport is the inception point, but with streaming? That would be your router and the Ethernet switch.
I know, it (still) sounds crazy that an Ethernet switch can somehow impact the final result, but it does, and it does it in a biggity big way if your system is up to the task. I don’t like messing around with such claims, but after purchasing several switches, I know how much these can bring to the table. Some wired streamers already incorporated some basic ethernet filtering, re-clockers, and noise suppression mechanics. But my Rockna Wavedream NET has none of that and the impact an ethernet switch brought to the table was Odin-forbid, massive!
While some companies don’t possess extensive knowledge on building a serious HiFi switch from scratch, relying instead on third-party ethernet switch makers, further optimizing their performance with better clocking systems, power supplies, and noise suppression circuits, Matrix Audio developed everything from the ground up and this part needs to be appreciated.
The best part is not having a solid feel, some thick CNC machined cases, or heavy-weight bodies, but a solid sound improvement for HiFi systems based on streaming. I’m not sure I can part ways with my Roon subscription as it manages my offline music and my other two streaming platforms in a single easy-to-understand app that makes sense to me, and as such, I plan on testing many more Ethernet switches around here.
Considering all of the above, the Matrix Audio SS-1 and SS-1 PRO have proven their worth in my HiFi battle station and could be worthy additions to your HiFi man caves.
If you’re toying with mid-upper-class equipment, then the SS-1 will probably make more sense to you, having the freedom to upgrade its power supply at a later stage of your HiFi journey. However, if you want only the best, then SS-1 PRO will offer you the last piece of the puzzle at a slightly higher price point.
Matrix Audio kindly provided the SS-1 and SS-1 PRO for this review. You can get them from their online web store or worldwide distributors, it’s up to you. If you get one and still have some burning questions, feel free to drop me a line in the comments section below. That’s all for now, folks, Sandu’s signing off!
PROS:
- As with all Matrix Audio creations, the build quality is solid as a rock
- While these are still just Ethernet switches, they look like pieces of modern HiFi furniture
- Connection-wise, I don’t believe you can have a wider selection of ports
- SFP+, 2.5G, and 100 Mb ports will cover all of your audio and video needs
- Both units rock an impressive part selection, and everything is designed in-house
- SS-1 PRO, however, impressed with a better clocking system and power supply
- Both units will remove traces of noise
- Both of these will also improve the timing of your setup, albeit SS-1 PRO does it a hair better
- The resolution will go up with both devices, but dynamics will get a serious bump only with the SS-1 PRO
- Both units brought a stronger focus and contour to the notes
- Both units brought a higher sense of fluidity, but the SS-1 PRO was again doing it better
- Digitus went out of the window and brightness was never present
- Both units will unlock the potential of your HiFi streamers
CONS:
- The SS-1 sounded better with a linear power supply, further adding to the cost
- Although SS-1 PRO is better, be prepared to pay a premium price
ASSOCIATED EQUIPMENT:
- HiFi Racks: WoodYard Suspended Triple & Baby Modular
- Digital Transport / Roon Server/ Streamer: Rockna Wavedream NET 4 Tb
- Network Switch: Matrix Audio SS-1 & SS-1 PRO, Ansuz PowerSwitch D3
- DACs: Rockna Wavedream Signature XLR, LAiV Harmony DAC
- Headphone Amplifiers: LAiV Harmony HP2A, Burson Soloist Voyager, HiFiMan PRELUDE, Trafomatic Primavera, Enleum AMP-23R
- Preamplifiers: LAiV Harmony HP2A, Chord Electronics Ultima PRE2
- Power Amplifiers: Chord Electronics Ultima 3 (X2)
- Full-sized headphones: HiFiMan Susvara, Susvara Unveiled, T+A Solitaire P, Meze Elite, Sennheiser HD800S & many others
- IEMs: FiiO FH19, FA19, HiFiMan Svanar, Westone MACH80 & many others
- Loudspeakers: Raidho TD 2.2
- Interconnects: Crystal Cable Art Series Monet XLR (X2)
- Speaker cables: Crystal Cable Art Series Monet
- Power Cables: Crystal Cable Art Series Monet (X4), Roboli Stars (X2)
- Ethernet Cable: Crystal Cable Art Series Monet
- HDMI Cable (I2S): AudioQuest Dragon
- Balanced Isolation Power Conditioner: KECES IQRP-3600
