Burson Audio Soloist Voyager

"In the quest for sonic perfection, where each note is both a history and a prophecy, the fusion of masterful technology and ethereal acoustics not only recreates music—it transcends it, inviting the listener to step into the very heart of sound, where the ephemeral becomes eternal."



In the labyrinthine universe of high-fidelity audio, where fortuitous alignments of equipment more often resemble cosmic events than mere happenstance, I recently found myself in the fortunate position of having an extraordinary assemblage of audio gear at my disposal. The illustrious amplifiers—Burson Voyager Deluxe and the Ifi Ican Phantom—accompanied by two distinguished DACs—the Playback Designs Edelweiss and the revered GoldNote DS-10 Plus, supplemented by the formidable GoldNote EVO power supply—formed a constellation of equipment that promised to elevate my listening experience into the realms of the audibly divine.
Such occasions are rare, akin to the aligning of celestial bodies, offering a brief glimpse into the cosmos of sound where the Voyager and Phantom serve as twin stars, each casting a distinctive luminescence upon the music they convey. This fortuitous juxtaposition allowed for an exploration of aural landscapes as varied and vast as the universe itself, where each amplifier and DAC pairing spoke in its own unique timbre and dialect in the language of high fidelity.

This was no ordinary review but a journey, an odyssey through the ether of sound guided by these twin titans of audio engineering, each paired with an ensemble of transducers as varied as the stars in the sky: the ethereal Hifiman Susvara, the expansive HE1000 SE, the reliable Hifiman Deva Pro, and the sublime ZMF Atrium. Each headphone, with its distinct acoustic signature, served as a vessel through which the nuanced capabilities of each amplifier and DAC combination were revealed and scrutinized.

The ensuing odyssey was less a comparison and more a pilgrimage through the auditory ether, seeking out the holy grail of acoustic truth. With these twin behemoths of sound at my disposal, I embarked upon a journey not just of listening, but of hearing – the kind of deep, attentive hearing where one becomes one with the music. The Burson, with its warm embrace, and the Phantom, with its neutral precision, became my guides through the spectral forests of frequency and the cascading rivers of rhythm.

Thus, with anticipation whispering in the silent spaces between notes, I present to you a tale of two systems, a narrative woven from the threads of two extraordinary encounters with the sublime instruments of audio alchemy.

The Burson Voyager Deluxe and Playback Designs Edelweiss DAC, when paired, unfolded a soundscape so wide and deep it was akin to stepping into the very breath of a jazz club. The smoky vocals of Patricia Barber seemed to whisper directly into the soul, while the vibrant strums of Pat Metheny's guitar reverberated through my bones. The ZMF Atrium, outfitted with Caldera perforated leather pads, thrived under this setup, producing a lush, detailed sound that made every listening session an auditory feast. The warmth of the Voyager, coupled with the detailed resolution of the Edelweiss, coaxed out the Atrium’s purely enjoyable tonal balance, wrapping the listener in a cocoon of auditory silk. In the hallowed lexicon of high fidelity, where the gossamer wings of nuance flutter against the ear’s inner sanctum, one finds oneself in a sanctified state, questing for the ultimate sonic truth. The Burson Voyager Deluxe, when married to the Playback Designs Edelweiss DAC, begets a soundstage that's not merely wide but rife with the intimacy of a confessional. It draws one into the inner circle, into the very breath of the jazz club, a realm where the spatial cues and the air around vocals are as present as the weight of a stare. Within this soundscape, the ZMF Atrium is not just a participant but a conduit to the ethereal, unfurling a holographic tableau that swathes the listener in aural verity.

The Ifi Ican Phantom and Playback Designs Edelweiss DAC, In contraposition, yields a tonality of equanimity and poise. Here the soundstage, exacting in its three-dimensional embodiment, is a surgical instrument of auditory introspection. The HE1000 SE's prodigious width and it's big sister Susvara's penetrating depth carve a diorama of sound where each instrument, each breathy pause, is delineated with the precision of a cartographer's pen. This pairing crafted a soundstage of such precise three-dimensionality that every note and breath was meticulously placed within an imaginary diorama. Again, not to be repetitive the HE1000 SE’s prodigious width and the Susvara’s penetrating depth rendered Gregory Porter’s soulful performance with the London Studio Orchestra not just audible but palpably present. The clarity and immediacy of these two setups bordered on the transcendental, turning live recordings into ethereal experiences.

When one then migrates to the confluence of the GoldNote DS-10 Plus with the EVO power supply, with the Voyager, a metamorphosis occurs: the soundstage burgeons, draped in textures as rich as a tapestry in a Medici villa. The warmth of the Voyager melds with the DS-10 Plus's detail to weave an expansive musical landscape, an odyssey that takes one through every pluck, every sigh, with a vividness that's as palpable as the humidity of a summer's eve at an open-air concert. This pairing did not just play music; it breathed life into it

The Ifi Phantom with the GoldNote DS-10 Plus and EVO power supply, refined its auditory scalpel to dissect each layer of sound with surgical precision. The resulting clarity was not merely analytical but revelatory, offering a perspective on audio that peeled back layers to reveal the skeletal beauty of musical structure. Similarly transformative, the liaison between the Phantom and the GoldNote components elevates precision to an art form. This configuration doesn’t just sing; it enunciates with the clarity of a glass harmonica, placing each tonal fragment in a mosaic that spans the auditory horizon from the granular to the grandiose.

Each DAC and amplifier pairing revealed not only the inherent capabilities of the equipment but also the distinctive properties of the headphones. The enveloping clarity of the Susvara shone with live recordings, capturing the intimacy and vibrancy of each performance. Meanwhile, the balanced and joyous presentation of the ZMF Atrium allowed this listener to explore a spectrum of genres, each rendered with an artisanal touch.

In weaving together the strands of this complex auditory tapestry, my listening sessions transcended mere analysis; they became explorations of the profound interactions between technology and music. Each combination of DAC, amplifier, and headphones offered a unique insight into the potential of high-fidelity sound to not just reproduce music but to transport the listener to the very heart of the performance.

Yet, in the end, as one steeped in the artistry of music rather than the empiricism of engineering, my proclivity gravitates towards the Burson and GoldNote amalgamation. It affords me the luxury to become lost in the melody, oblivious to the machinations of the apparatus that delivers it. It is the musical message, not the messenger, that ensnares my senses. Your own predilections may vary, perhaps swaying towards the Phantom's exacting renditions of sound’s architecture. But rest assured, whether cloaked in the Voyager's warmth or basking in the Phantom's analytical glow, each imparts a unique keyhole into the very soul of our auditory canvas. My journey ends with the Burson and GoldNote ensemble – an alliance that lets the music take center stage, unencumbered by the trappings of the equipment that ushers it forth. Your journey, should you embark upon it, might trace a different route, each step informed by what your ear, attuned to the technical or the transcendental, seeks in the pursuit of acoustic perfection.

INTRODUCTION


My acquaintance with Burson Audio products began not so long ago, but it was quite intensive.

In 2020 I was looking for a replacement for my home headphone amplifier and quite nice and compact Soloist 3XP caught my eye.

I’ve changed several Burson devices through some years and as a result Soloist 3X GT has taken the main place of my desktop headphone amplifiers (the company’s previous flagship).

The amplifier completely fulfills the task to drive all existing headphones.

I think it would be difficult to find an appropriate alternative for the GT at that price.

When the Voyager was announced, it was clear that the company intended to go even further in the TOTL league.

The most significant design difference between the Voyager and the GT is a different type of cooling system. The Voyager lacks active cooling (big and quiet fan by Noctua). Due to this the amplifier gained ~2 kg in weight, and features a large heatsink in the lower part of the device.

The overall dimensions of the new amplifier do not differ much from the GT.

The Voyager is 0.5 cm wider and 1.7 cm taller.


In fact, the manufacturer managed to maintain compact dimensions for an amplifier of this class.


By the way, I have not yet seen any announcement of any vertical stand (Cool Stand) that comes with the GT, but its display allows to switch to a vertical orientation. Maybe such a stand is going to appear later. The existing one from GT will not fit due to the extra almost 2 cm of thickness of the Voyager case.

The active cooling method on the GT in 2021, on the one hand, was a solution to maintain compact dimensions of the amplifier, on the other hand, it raised a certain amount of criticism from “perfectionists" due to extra fan noise.

I personally didn't find the fan noise to be a problem, but I knew it would be better if there was no additional noise at all.

So, the Voyager solved this problem. At least there are no visible fans under the case cover.

Instead of the Active Cooling system we get a new Silent Cooling system.

We'll come back to it later.



SPECIFICATION





WHAT IS INSIDE

It is impossible to talk about the internal structure of the amplifier apart from the previous flagship.

At first glance, there aren't many changes (the Voyager is based on the GT), but they are quite significant.

They are especially noticeable in comparison with GT 2021, which is my home amplifier.

As far as I know GT 2023 being on the market today has replaceable Silent Power Modules too.


So, the first difference: changes in the internal power supply circuit.



The Voyager has five SP modules: four SP02 and one SP01.

According to the manufacturer, the modules can reduce noise levels to 0.8 nVrms.
I think that the numbers of the RMS voltage will not tell us anything, so we will evaluate the changes by the sound quality.

The use of these power modules should have a positive effect on micro-detail retrieval by obtaining a “blacker” background.


The second difference: new 7th generation discrete operational amplifiers - V7V-DUAL.



As many people know, Burson Audio in addition to amplifiers, DACs, has been producing operational amplifiers (opamps) for the last 15 years, and these opamps are in great demand among audio enthusiasts around the world and have a wide range of applications, not only in Burson Audio products.

What do we know about them?

• Top-quality audio-grade components
• 1%-matched metal-film resistors and silver mica capacitors
• Extremely temperature stable
• Each transistor is chemically optimized for its application: NPN or PNP
• Each transistor tested and matched before hand-soldering onto the PCB

There is no detailed information yet about improvements compared to the 6th generation. Later I will try to compare Vivid 6 with Vivid 7 using the Soloist GT.



"The Voyager has greater upgradability. It comes with the top of the line Silent Power Modules. But Burson may introduce SP03, 04 in future...who knows. And combining that with opamps and power supply upgrade options, the Voyage never ends..."


The third difference: finer sound volume control.



1 turn of the Voyager volume knob = 10 digits of the volume scale on the display,
1 turn of the volume knob on the GT 2021 = 15 digits of the volume scale on the display.

So, you can fine tune your volume more precisely with the Voyager.



WHAT'S OUTSIDE

As for inputs and outputs, there are no differences from the GT: the same connectors on the rear panel (two XLR and RCA inputs, XLR and RCA outputs, plus a subwoofer output).



Everything is the same on the front panel: XLR and 6.3 mm headphone outputs, microphone output, volume knob, display and four control buttons.

The only difference due to case design changes is that microphone jack is now closer sitting to the 6.3 mm jack.

The display color changed from white to blue, the dimensions remained the same. Perhaps white color went better with pure silver body of the GT, but the Voyager also added a copper color to silver.

I think there will be supporters of both color schemes.

The sensitivity of menu navigation has been improved. Now you won’t be able to accidentally jump to the next field or select the wrong item in the menu.

As far as I know, this problem has already been fixed in GT 2023.

The remote control has been changed significantly. Now it is not just a silver stick with rounded edges, but a more complex Voyager-shaped device with copper buttons. This remote control looks just great.

Its functionality has not changed: adjusting the volume, muting the sound and switching the sound source.



SILENT COOLING SYSTEM

The new silent system has its pros and cons, in my opinion: it is really silent but makes the amplifier hotter during operation in comparison with Active Colling of the GT.



While burning-up, the Voyager has been working constantly for 6-8 hours with the same temperature level all the time without any problems.

If you put your ear to the back of the device near the heatsink, you can hear a slight background noise, which does not go outside the body of the amplifier. What could be its cause?

There is a small fan under the main board. It's super quiet and slow turning. It is completely hidden. It is impossible to see it.

This Silent Colling does its job:

When the amplifier is turned on, not a single extra decibel is added to the surrounding space.

I measured the sound level with a dB application for Android. It made no difference whether the Voyager was running or not; the ambient noise remained around 33 dB – my “normal silence”.





SOUND. COMPARISON WITH SOLOIST GT 2021.


TEST SYSTEM

Roon ROCK (Intel NUC Akasa fanless case) > Felix Audio Nothing 2.1 > Felix Audio mod.3 optoswitch > Sonnet Digital Audio Hermes > Sonnet Digital Audio Morpheus > Burson Audio Soloist GT > Snorry Trion

Both amplifiers were used with a standard 5A, 24V Supercharger power supply.
Both power supplies were connected to the mains via a Felix Audio Nothing 2.1 power conditioner.

For those who are not familiar with Snorry headphones, Trion is a flagship with a current RRP of 4200 USD with unique technology inside (planar electrodynamic electroacoustic transducer with matrix structure).



Before evaluating the sound, I tried to get the Voyager up to 50-60 hours of burn-in. Although it is difficult to call it a "full burn-in", nevertheless, this is no longer a sound “out of the box” in any case.

In my opinion, the main feature of the Voyager is its Natural sound signature.

It doesn’t matter what’s playing at the moment, when you put on the headphones, you want to keep them on your head longer…
For comparison I mainly used high-resolution files of instrumental jazz performers from the ECM studio, such as Tord Gustavsen Trio, Jakob Bro and other names of the label.

The differences from GT 2021 are immediately heard, even with a short listen.
Maybe GT 2023 will be closer to the sound character of the Voyager taking into account the modification of the power supply circuit inside the device, but I cannot answer this question.

The Voyager builds a soundstage better. It is deeper, more three-dimensional; instruments are better positioned in space. In comparison with the Voyager the GT sounds flatter and more forward. The Voyager has a blacker background; hence you can pick up the quietest micro details easier. The midrange sounds "richer and fuller".

It would be better to describe some of the differences using specific tracks as examples:


FLAC 96/24

Album Gefion by Danish instrumentalist Jakob Bro and the title track of the album. Starting from the first minute of the track, percussion flows into the musical canvas, gradually increasing both in terms of sound pressure and the complexity of the composition.
The GT makes cymbals sound more energetic, but also slightly simpler and more homogeneous at the same time.
The Voyager does it smoother, with a longer “trail” following the cymbal strike, with a more complex picture in general. My ears find it easier to pick up small and quiet details in the track.


FLAC 48/24

Next is the album of the Norwegian trio Ayumi Tanaka Trio.

The Ruins 2 track also does a good job of showing the differences between the amps in terms of overall musical presentation.
The GT plays more forward, with a little more emphasis on highs and lows. The cymbal hit in the center is more emphasized and sometimes draws attention away from the piano.
While the Voyager plays smoother, not that forward, more balanced sounding with fuller midrange. The piano sounds more vivid.


FLAC 96/24

The Tord Guvstens trio with the track Findings from the album "Opening" plunges into "The most beautiful sound next silence" of the ECM label. As far as I know, this album was recorded in the Auditorio Stelio Molo concert hall with an amazing acoustics. This track, like the rest of the album, is led by Tord's piano, which neatly complements the picture, allowing silence to fill the pauses between touches of the keys. The sounds differ in strength, location and duration.

And the Voyager, it seems to me, better conveys this atmosphere: smoother, thinner, more precise.

I won’t say that the GT is not that great but it sounds more “rough” and more simplified.




CONCLUSION

In my opinion, Burson Audio with the Soloist Voyager takes another confident step towards the top of the Olympus of “amplifier engineering”, taking the best from the previous flagship and adding a number of significant improvements that lead to a higher level device.

The Voyager produces a very balanced and rich sound with excellent technicalities.

The Voyager has great upgradability (opamps and SP modules).

Probably not everyone will like the new “space shuttle” design and color. Some may find it too hot. Some people may prefer a different sound signature…But the Voyager is no doubt a significant upgrade of GT 2021.

I can only wish Burson Audio further development and implementation of new ideas and solutions.


P.S. Here is my video review (in Russian language)