Michael Lavorgna von „AudioStream“ hat sich dem Aurender X 100L gewidmet und ihn insbesondere mit dem früher besprochenen S10 verglichen. Nach einer längeren technischen Beschreibung, die insbesondere die Unterschiede zu den teureren Aurendermodellen herausarbeitet, hebt er hinsichtlich des Klangs hervor:
„The first thing that struck me was the noise floor which sounded lower than I’m used to. There was a notable clarity to the music being played through the X100L that suggested an absence of self-noise. Violins rang out true, solo cello resounded from a believable and solid space, while its sounds trailed off into the quiet naturally. There was also a smooth naturalness to the music, an anti-digitalness if you will, making it easy to fall into my tunes.
[…] I would give the S10 the upper hand in delivering even greater clarity and ease, getting out of the way of the music even more than the X100L. But compared to my MacBook Pro, the X100L took things in more of a natural and resolved direction. It was simply easier to fall into the music.
In terms of acoustic autopsy, the various aspects of the frequency range were all handled with the same natural ease. Bass was tight and tuneful, there was a nice amount of timbral richness, and upper frequencies remained sweet and clear, never etched. Again, the music made through the Aurender X100L was easy to listen to and easy to like. There was also plenty of resolution, something digital can do well, sometimes too well. […]
Big boisterous music was also well served and the Penderecki Violin and Horn Concertos in DSD from Channel Classics was gut wrenching, their huge dynamic swings swung convincingly. Boris‘ latest Noise was also big and chunky and delightful. Compared to my MacBook Pro, there was more drama, more distinction between soft and loud and a seemingly firmer grip on moment-to-moment musical events.“
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