The Lumin D3 arrived at a time when I was comparing two fantastic digital-to-analog converters, namely the LampizatOr Pacific 2 and the Weiss Helios, both using their own custom file servers. Each of these DACs costs multiple times more than the entire Lumin, which is, after all, a complete file player. So it would seem that integrating the D3 into the same system could be a painful experience. However, the transition was actually quite smooth. No, it doesnât mean that the tested player performed as well as the mentioned DACs with my server, but the difference between them was nowhere near the difference in price, and it still delivered excellent sound. And the Lumin positively surprised me. Of course, I canât honestly say that I perfectly remember how the D1 and D2 sounded because I tested them a long time ago. Nevertheless, my overall recollections primarily speak of a somewhat warm, coherent, smooth, and remarkably ear-pleasing sound.
After connecting the Lumin D3 as the Roon endpoint for my server and attaching it with cables, some of which were even more expensive than the device itself (LAN model Sapphire David Laboga Custom Audio, KBL Sound Himalaya II XLR connecting the Lumin to the Circle Labs P200 preamplifier, Soyaton Benchmark XLR, and further to the M200 power amplifier, with the GrandiNote MACH4 speaker cables), I was pleasantly surprised by the lively, joyful, and open sound. It was the kind of sound that captivates, sways, and brings a smile to your face from the first notes. Of course, the music I listened to initially, such as albums by Spyro Gyra or Acoustic Alchemy, had that cheerful, dynamic, energetic, and positive playing, but not every device can reproduce it so successfully and engagingly. The Lumin D3 did it exceptionally well.
This is a sound that can be described as slightly warm, smooth, and incredibly natural, which Lumin has consistently adhered to over the years, and itâs great! However, if I remember correctly, the D3 has better resolution compared to its predecessors. This translates into a greater amount of information, which is not individually highlighted like some digital sources do, but rather used to build a rich, coherent, and expansive musical image. Thanks to the abundance of these subtle pieces of information, the sound is fuller, more authentic, and⌠even more natural. Several elements contributed to this. There were the characteristics inherited from other models of the brand, such as coherence, fluidity, and smoothness of sound, as well as an energetic presentation that is not necessarily associated with cheaper Lumin models. The D3 also excelled in openness, transparency, and good drive.
Moreover, the PRAT (Pace, Rhythm, and Timing) performance of this little device could put many more expensive constructions to shame. The latter have an advantage primarily in terms of resolution, as the D3âs resolution is high but doesnât match that of top-tier players (including Lumin). Nevertheless, as it turned out during subsequent listening sessions, the tested little device handled almost every genre of music very well, be it jazz, blues, or even rock.
In a relaxed and effortless manner, the album by Stanley Clarkeâs band played. The masterâs double bass, whether plucked or played with a bow in one of the tracks, enchanted with its tone, depth of sound, significant contribution from the soundbox, and in the case of plucked playing, the tightness of the strings and the speed of plucks. The piano sounded big and resonant, and its sound, although saturated and colorful, was simultaneously pure. When the maestro joined in with his electric bass guitar, it became evident that although the lower end of the frequency spectrum, in general, had a certain softness, it was still fast and tight enough to sound authentic when playing an electric bass. Furthermore, both of Stanley Clarkeâs instruments, each in its own way, could deliver a solid impact because the D3 provided both a sufficiently low extension and good saturation across the entire frequency range, including the lowest tones. It may not reach the level of the best sources, but even with that awareness and fresh experiences with high-end DACs, it didnât bother me at all, and I thoroughly enjoyed listening to this album.
Next in line was a live concert album, also featuring (double) bass as the main instrument, with Ray Brown, John Clayton, and Christian McBride sharing the stage. It was recorded live and released by Telarc. For me, as a huge double bass fan, it was a dream come true, but it also posed a demanding test for the components I was evaluating, as I knew the album almost by heart and expected it to sound as good as it deserved. The conversations between the bass masters, as well as Ray Brownâs collaboration with the incredible Benny Green on piano, supported by Gregory Hutchinson on drums, sounded fresh and joyful through the D3. You could feel the chemistry between these outstanding musicians and how well they enjoyed themselves in each otherâs company. This live recording, along with a few others I listened to later, revealed that the Lumin D3 is not the most spatially expansive file player Iâve heard. It performs exceptionally well in the foreground and captures whatâs happening directly in front of it. The background elements are portrayed with slightly less detail, so to speak. However, this is not a weakness of the device, as Iâm comparing it at this point with the best (and most expensive) players that have a greater advantage in certain aspects over the more affordable ones.
The spatiality of the performance, especially the depth of the soundstage and the precision of whatâs happening in the background, are advantages of top-tier sources. These advantages stem from even higher resolution, better differentiation in every aspect of sound, and, as a result, higher fidelity and refinement in presentation. However, the Lumin D3 has nothing to be ashamed of even when compared to much more expensive competitors. While it may not match their refinement, listening to music with it is immensely enjoyable, and the sound quality is very high for this price range.
As I have emphasized in previous texts about Lumin, the creators of the brand are fans of the DSD format. That is likely why users can convert any file, whether PCM or DSD, to the DSD256 format. What happens when we make such a choice? As a fan of the DSD format, I can only write about what I heard from that perspective. To be clear, the differences are not significant; it is not an entirely different sound, but rather a slight shift in certain accents. When we play everything in DSD256, which, by the way, has no impact on the smooth operation of the Lumin, confirming the capabilities of the new hardware, there is a subtle shift towards fluidity, smoothness, and richness in the sound. PCM files played natively or upsampled within this format to higher sampling frequencies place slightly more emphasis on aspects such as precision, speed, and transparency. In both cases, the character of the sound remains very similar; we are not turning everything upside down but rather subtly fine-tuning the sound to our personal taste. Purists can still simply set the playback of all file formats to ânativeâ and not worry about shifting accents at all. I believe they will derive just as much enjoyment from listening as those who choose to utilize this option.
I also tested the direct connection of the D3 with a power amplifier using the digital Leedh regulation, and I must admit that it performed very well for a digital solution. Many manufacturers have tried to convince me that good digital regulations measure better, so they are superior, but none of my listening experiences have convinced me yet. It always turns out that even if the differences are small, in the long run, analog regulation simply suits me better. It was the same this time - the excellent Circle Labs preamp did a great job, and with its help, the final sound was even better for me. Nevertheless, Leedh is good enough that if, for example, financial constraints prevent the purchase of a preamplifier, combining it with a good power amplifier will still give you a very good sound that provides a lot of enjoyment.
The sound is better when playing high-quality files from a local network or a USB-connected drive, but it is still very good from Tidal, especially from Qobuz. Internet radio is only an option for background listening, but that is not a limitation of the Lumin D3 itself, but rather the quality offered by internet stations. In any case, it is a fully functional and useful feature for many people. From a practical standpoint, I did not encounter any hardware or software issues during the listening sessions. Everything worked smoothly, quickly, and simply enjoyable.
Summary
The Lumin D3 is a device belonging to the new generation of this brand, and once again, I must admit that its engineers have done a great job. It delivers a more complete sound than its predecessors, smooth, coherent, musical, and natural, but also richer, fuller due to better resolution, and at the same time, cleaner and more transparent. Add to that its higher energy, openness, and dynamic performance. In the end, we get a player that simply sounds even better, regardless of musical preferences, and can confidently serve as a source in a high-class system. Its wide range of capabilities for playing files from local sources, local networks, working as a Roon endpoint, or seamless compatibility with major streaming services make it an incredibly versatile device. What more could you want?
