[UPDATE 7/18/2013] Firmware update version 1.32 is now available to download; its main feature is DSD playback. I was a bit skeptical about this feature since WM8740 chips were not meant for DSD playback by hardware design. I was also afraid that this update would change the sound signature of AK120 which I love (see below). But I read many positive reviews from headfi and other sites for this firmware update and since I have a big collection of SACD (from which you can rip DSD files), I jumped in. I was so glad I did! The DSD playback is phenomenally good -even greater sound stage, dynamics, incredible treble and airy, musical feel. So I recommend version 1.32 update to all those who purchase AK120, especially if you own SACD discs.
When launching AK120, this company promised USB DAC and DSD playback would be available soon through firmware updates and it did keep its promises. I like companies that keep their promises; it says a lot about how they treat their customers. I hope they will keep improving the firmware.
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I currently own or used to own the following: AK100, AK120, Colorfly C4, Hifiman HM901, and iBasso DX100. That makes me in a good position to compare this one against the rest. (For my extensive review of AK100, see Astell&Kern AK100 Mastering Quality Sound (MQS) Portable System.)
I first had a chance to listen to AK120 in the 2013 Munich High End Show. I brought my AK100 to the Show to compare it with AK120 that was being showcased. I used my own FitEar ToGo 334 gear and initially no external amp. I was instantly hooked. The main differences between this one and AK100 were twofold: ease of sound (ie non-fatiguing, effortless, unforced) and three-dimensionality of sound. I brought my own MicroSD full of music at various compression levels, and in all of them the differences between AK100 and AK120 were clear, albeit some more than others. I found live recordings to have more pronounced differences, meaning you could almost "picture" the live sound in your head and separate the audience's coughs and noises from the artist's instrumental sound. For all its superb tonality, AK100 sounded rather flat and uni-dimensional compared to AK120. I tested Horowitz in Moscow (1986) WAV files (16/44), and the master's playing of Mozart Sonata in C major (K330) flowed with exceptional charm, ease and clarity despite less than perfect recording quality; the concert hall was full of noises made by the audience but the playing shone out loud and clear, exquisite and almost palpable the sort of qualities that put smiles on the listener. You would feel as if you were right in the middle of the historic event. When I tested Elly Ameling's Schubert vocal ALAC (Apple Lossless) files, I felt as if she was singing right next to me. When I switched to AK100 with exactly same IEM and same MicroSD for comparison, the magic was half gone. These things are so hard to describe in words, but the back-and-forth comparison listening assured me of the clear differences between the two models. I instantly decided to purchase AK120 after the experience.
Notice that the above-mentioned Horowitz and Ameling were not "Mastering Quality Sound" or "MQS" (ie 24 bit) files. Any CD quality files (ie WAV or AIFF) or ALAC files revealed the superiority of AK120 quite clearly, and even MP3 or AAC files with various compression levels (eg 320 kbps, 192 kbps, 128 kbps) were absolutely enjoyable same transparency and musicality albeit less "information." When I listened to severely compressed files (ie 128 kbps and 192 kbps) through AK120, I felt as if I was listening to the core bulk of the music, with the outer embellishments taken out. ALAC and beyond, I started noticing the "voluptuous body" of the music, especially for large-scale symphonies, concertos and operas. 24/96 and 24/192 files were not distinguishable even with my very sensitive ears and pro-caliber IEMs; I would think 24/192 may be overkills for me. So AK120 was not really only for MQS as its namesake; it was enjoyable with all types of files with all degrees of compression.
Impressions aside, technically speaking, AK120 has output impedance of 3 ohm in comparison to AK100's 22 ohm, which makes it easier to drive wider variety of headphones. I found it could drive FitEar 334, Shure SE535, Westone 4R, Senn IE800, Triple.Fi 10, Beyerdynamic T5p and AKG K3003 beautifully; it could even drive HD800 somewhat satisfactorily without an external amp. However, as for Beyerdynamic T1, Audeze LCD-3 and Hifiman HE-6, you would need an external amp to obtain the volume level you want.
I initially thought the biggest weakness for AK120 was lack of true line-out. However, after extensive comparison listening with other devices with line-outs, I reached the conclusion that the headphone out was sufficiently good to the degree of rendering line-out almost unnecessary. When AK120 was connected to ALO Rx Mk2 through headphone jack, it had dead-silent background and dynamics to die for -the best sound from ALO Rx Mk2 I had ever heard. With most IEMs and headphones, AK120 sounds already great by itself, but when paired with the right amp, you will feel as if you are playing with sufficient residual power. Forget the line-out.
AK120's newer firmware version has USB DAC capability, which is convenient for PC-fi users. I have not upgraded to this firmware, as I was too fond of the current firmware 1.0 sound and was afraid it would change the sound characteristic. When you know you own the sweet spot, you are afraid to do anything that could possibly alter it. Since I have an Apple Macbook Pro, I do not need USB DAC; Macbook Pro's headphone jack also works as an optical out, which digital signal my AK100 and AK120 can take. Needless to say, when used as a DAC, AK120 produces magnificent sounds and I would think I am benefiting from its monoaural design with dual wm8740 chips.
In comparison to other "usual suspects", I would think the four are in the same league in sound quality and the choice boils down to your preference of sound signature. HM901 comes closest to AK120 in sound characteristic, but I find the AK120's separation of instruments and rendition of vocals more convincing. Colorfly C4 has always been one of my favorites as it is extremely musical but I must admit it falls behind AK120 in HD clarity. DX100 is perhaps the real contender for AK120 with perceptibly different characteristic; it is more "cold", slightly dry and analytical, the hallmark of reference device. AK120 has more tube-type sound and musical presentation, although it could be relentlessly revealing. If you listen to a badly recorded track, it will reveal how truly bad the recording is. It is to the credit of this company that they could condense such quality into such tiny size.
[Conclusion] For many people, AK100 should be sufficient, especially with its new Russian firmware (ie Listrid 2.0). There is always the law of diminishing marginal utility in the working and I can say with confidence that this one does not sound twice as good as AK100. But in the crazy world of high-end audio, there are people who dole out twice to gain 5% better sound, which sometimes amounts to tens of thousands of dollars. Choosing AK120 instead of AK100 will set you back by $600, but people like me consider it totally worth the extra $600 (I even bought this without selling my AK100) because it increases the total enjoyment by about 30%. Perhaps this explains why the expensive AK120 is currently selling like hot cakes in places such as Japan that has large segment of world's high-end audio fans. Perhaps I could have been totally happy with my AK100 had I not listened to AK120. But having listened to it, there is no going back for me.
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