The German-made Phonitor does not let you enter the sound built on professional foundations. Like other pro companies, SPL only later broadened its portfolio to focus on home users outside recording studios. In terms of its basic functions, this product would not be revolutionary, but (in part) thanks to the unique VOLTAiR technology, it sounds with such fidelity that it is comparable to more expensive rivals.

Brief background story

SPL is a manufacturer that has existed since 1983, which supplies the world of music and film sound studios with various devices, but also provides devices with different functions for the broadcasting technology and hi-fi world. In the development of its products, in addition to measurements, it attaches great importance to personal listening and experimentation. We often read meaningless statements from manufacturers that they "strive for innovation" and "pursue unique technologies", but SPL is really different from the broad average. It has already developed special features such as the auto-dynamic de-esser that reduces hissing sounds and works with phase cancellation, the first discrete 5.1 microphone (Atmos 5.1), or the 120 volt operational amplifier, which is also used in the currently presented device.

In summary

The SPL offer consists of three parts. Their names speak for themselves: Mastering, Studio and Professional Fidelity. Especially the latter contains tools that music lovers at home can take advantage of. Here we find the models using 120 volt VOLTAiR technology, of which the Phonitor is not the smallest. There are also larger options called Phonitor x and Phonitor xe, with more functions, of course for an additional fee. The line level amplifier is the same in all three devices. The Phonitor also includes the basics of its bigger brothers, promising the same sound experience, only in a more affordable design.

Design

The SPL Phonitor se is not hundreds of thousands cheaper than its x/xe relatives, but it is close to them in terms of material use and production quality. The first thing that stood out after unpacking and was surprising to us was that it had a much larger footprint than a traditional headphone amplifier. Its completely metal housing stands on wide metal feet with rubber soles. It is interesting that the members of the Professional Fidelity series are produced in an elegant red edition in addition to the silver or black that is common nowadays. We visited the latter and it was a pleasant surprise. It was much more impressive in person than in photos. By the way, all members of the product family are 278 millimeters wide. They take up less space than traditional, 435 mm wide hi-fi devices and when built as a tower, they also offer a harmonious view.

A signal level control (or, as many people call it, volume control) milled from aluminum was placed on the right edge of the front panel with a discreetly rounded corner. It turns an Alps RK27 potentiometer, it feels simply flawless, it moves with a slight resistance, and you can adjust the volume perfectly with it. We had the edition containing the DAC module, on the front of which a separate switch must be clicked to activate the digital circuit. This is followed by a DAC input selector (the module contains optical, coaxial and computer USB-B connectors). When switched on, a red LED lights up in the middle, below the emblem.

During use

Most of SPL's offer is made for professional use. This discipline and seriousness was also transferred to the user experience of Phonitor se. What some will love or object to, it has the same quality: its spartan simplicity. It does not require any deeper claims. As with most headphone amplifiers integrated with a DAC, it is enough to connect our source devices. Switch on, select the source, adjust the signal level (volume) and you're done. Nowhere is there a settings menu or a multitude of controls typical of mixing consoles. What makes serving professional?

With the Alps signal level control mentioned above, we can set how loud the music should be surprisingly precisely. The fit and quality of the switches is precise. When we switch from one input to another, there are no annoying popping sounds. By setting the signal level (volume) higher, there is no annoying buzzing noise (if the source also provides a clear signal). It just does its job and it's done.

For the sake of a better price, its designers tailored the services of the Phonitor se to be narrower than those of the larger models. Therefore, we do not get symmetrical input/output and CTL, i.e. control connector, as in the case of Phonitor x (using it, you can switch the SPL power amplifier off and on from the CTL output preamplifier). This headphone amplifier cannot be used as a preamplifier, which in itself is not a disadvantage, but can be a limitation for users with complex needs.

Phonitor Matrix in practice

Another interesting feature is the switch labeled MATRIX, which can be used to activate the Phonitor Matrix function. The advantage of this has already been mentioned in the Marc One monitor control article, so we will not explain its advantage at length - but briefly! It serves the purpose of cross-mixing a specific part of the right and left sounds. It tries to eliminate a classic headphone problem. With a hifi system that uses speakers, we sit opposite the sound source and the stereo space is formed in front of us. When listening to headphones, the information comes from the right and the left in a false way, there is no spatial effect as with the classic speaker placement. Phonitor Matrix promises to display music as if it were coming from speakers. Further explanation and demo in the English video below:

On the more expensive SPL devices, we can set the strength of the Crossfeed and the opening angle of the stereo image very minutely. The Phonitor is not only used at an angle of 30 degrees and you can choose from two levels (C1 or C2). According to our subjective assessment, the first one made only a few changes to the spatial effect. However, as soon as the MATRIX switch clicked on C2, the stage of the music I was listening to came through with completely different proportions. We found this setting to be especially beneficial for music with heavily L/L mixed instruments or tracks.

So was the Dave Brubeck Quartet - Take Five. Anyone who has ever listened to it in a traditional stereo set probably understood the lively effect created by the drums coming from the left and the piano playing from the right, accompanied by a saxophone in the middle and a double bass in the back. This track appeared with headphones on a spacey, spacey stage. When switched to level C2, the space was three-dimensionally smoothed and the cymbals were not congested as hard to the left as in the default setting. The same thing happened with the piano coming from the other direction. The instruments were better positioned on a forward-directed virtual plane. This did not make the music clearer or more beautiful, but the surround effect was closer to reality.

For testing, we used higher-quality headphones (Sennheiser HD 800 S), which displayed the central details of most music tracks in the virtual center of the head. We didn't feel the urge to turn on the Phonitor Matrix for all works, but for mixed music like Take Five, it really helped to eliminate the disturbing sound effect separated into two sides, missing in the middle.

Sound quality

For the price, we expected a neutral character and finely detailed resolution, and that's exactly what we got. The SPL Phonitor se does not embody a quality category for which it is advisable to consciously choose headphones and cabling. First, the source was an iMac connected with an AudioQuest Carbon USB cable, we listened to the usual test music with our reference headphones. I liked that the electronics did not embellish the high notes, but treated all frequencies soberly and proportionately. The HD 800 S can become dry and cool in a less balanced system, but this did not happen when using the SPL.

Joe Satriani - Wind in the Trees c. is an instrumental progressive rock work, in which the guitar virtuoso's unique, fluid sound is accompanied by clear drumming and deep piano melodies and bass guitar. In addition to the distorted guitar playing in focus, undistorted guitar playing constantly floats in the background. The result is like a complex painting with many colors and layers. The pair of SPL and Sennheiser adequately conveyed the depth of the music track, which is understood both by the spatial location of the sound tracks and the attention to detail. The Phonitor se didn't steer our listeners in a too dry direction either, so the cymbals didn't become disturbingly bright either.

The combination of a high-quality DAC and a neutral headphone amplifier circuit enabled a fuller, more beautiful sound experience compared to average entry-level and mid-range rivals. Thanks to the latter, our well-known reference track list was also published in a fresher, more exciting way, but without attention-grabbing details. The distinguishing mark of a good hi-fi set is that it makes the listener forget the passage of time and the stop button on the player.

The Phonitor se really shined when it brought previously unperceived details to the surface with complete naturalness. Such were the works of Nils Frahm, in which the piano usually plays a unique, novel role. In the case of Momentum or Hammers, we got an engaging stereo stage with a continuous spatial effect even if we switched off the Matrix mode. Every single key of the piano appeared holographically in our heads, and during Momentum, the "accidental" rustling noises and choir voices floating far away created a huge space. With our eyes closed, we could immediately forget that it was all coming from headphones.