Growing At Its Own Pace

 

Ratings

 

 

Pros

 

• Huge quality/sound/price ratio.
• Great sound for a very low price.
• Operates on AC power.
• Fixed XLR and RCA line outputs.
• Fully functional remote control.
• Solid construction.
• Fairly powerful headphone outputs.
• Interchangeable OpAmps.

 

Cons

 

• Appearance and design could be improved.
• Size deviates from the basic standard of 150mm wide.
• Low voltage distance between low gain and high gain.
• The glazed front panels can get dirty and scratched easily, especially on the headphone output side.
• OpAmps are not too easy to change.

 

Purchase Link

 

https://www.tempotec.net/products/march-v-m5

 

Link to the WEB

 

https://www.tempotec.net/

 

Introduction

 

TempoTec has always been known for making products with the best price-performance ratio, always looking for the best sound. With a very particular idea of design, TempoTec has enlarged its small desktop DAC/AMP March III to create its real big brother: March V. This is definitely an enlargement of that product. While the size of the March III was 100x85x34mm, the new March V has grown to 184x180x58mm, weighing in at 986g. The larger size is due to the use of two AK4493SEQ DAC chips that support native DSD512, PCM 768 kHz and MQA 8X formats. Also mounted inside is an asynchronous USB processor, an FPGA digital audio stack, multiple high-performance audio clock sources, an independent analogue L/R circuit, four fully discrete Class A headphone amplifier circuits, a custom low ripple positive and negative output power supply, two replaceable LME49720 operational amplifiers for the two standard versions and two MUSE02s for the limited version. Naturally, there are two 6.35 mm and 4.4 mm BAL headphone outputs, plus two XLR, BAL and RCA outputs. On the input side, it has a USB Type-C connection that supports high-precision asynchronous transmission signals, with a dedicated 12 MHz active data clock. There is an optical and a coaxial input, both of which support SPDIF digital protocol and DSD64 (DoP) reception capability on SPDIF. As an option, a Bluetooth V5.2 input module is available for high-quality audio streaming (AAC and LDAC) with an active data clock of 26 MHz. The March V uses a fully discrete four-way Class A amplifier in the design of its headphone amplification system. The main advantage of the Class A amplifier is that it can provide a constant and stable output current. The 4.4 mm balanced output power is up to 1750 mW + 1750 mW. The March V uses a custom dual output power supply module with an operational amplifier power supply noise suppression circuit and a dedicated audio filter capacitor to provide clean power to the digital-to-analogue amplifier circuit. The power supply module receives 110 V~220 V AC power and supplies ±15 V DC power to the OPA chips. Last but not least, the LCD screen for displaying all status and the remote control for controlling all functions are worth mentioning. All this for a price of less than $200 for the BT version, while the Limited version goes up to $268. The Limited version has a wood and gold finish look, as well as a higher power output and better SNR specifications. Let’s see what this great desktop DAC/AMP has to offer in this review.

 

 

Specifications

 

• DAC: DUAL AK4493SEQ.
• FPGA Digital Audio Stack.
• Headphone output amplified by four discrete circuits completely in class A.
• Independent analogue circuits per channel.
• Two replaceable LME49720 operational amplifiers.
• USB IN: DSD 512, MQA 8X, PCM 768kHz.
• Bluetooth IN: SBC, AAC, LDAC, 24Bit/96kHz.
• Coaxial IN: PCM 24Bit/192kHz, DSD64(DoP).
• Optical input: PCM 24Bit/96kHz.
• Bluetooth version: v5.2.
• RCA Line Output: SNR 121dB. THD+N 0.0004%. Frequency response 0-90kHz.
• BAL XLR Line Output: SNR 125dB. THD+N 0.0003%. Frequency response 0-90kHz.
• Headphone Output SE 6.35mm: SNR 120dB. THD+N 0.0005%. Crosstalk 96dBr.
• Headphone Output BAL 4.4mm: SNR 122dB. THD+N 0.0004%. Crosstalk 118dBr.
• Headphone Output Power SE 6.35mm: 425mW (32Ω). 48mW (300Ω).
• BAL 4.4mm Headphone Output Power: 1750mW (32Ω). 185mW (300Ω).
• Dimensions: 184x180x58mm.
• Weight: 986g.
• Remote control as standard.
• Price at time of review: Option without BT: $178. BT option: $198. Limited option: $268.

 

 

Packaging

 

The TempoTec MARCH V comes in a large white box measuring 345 x 240 x 87 mm. On the top side you can see the brand logo on the top left, the model name underneath in yellow letters and an outline drawing in the centre, as well as the slogan ‘Hear the true sound’ on the bottom right. The rear edge shows the outline of the M5’s rear panel. On the left-hand side are the brand’s branding and web address. The logo and name can be seen on the front flap and the model name on the right side, as well as a sticker with the device option. In my case, it is the Standard BT option with European plug. The flap is sealed with an authentication hologram. Opening the flap reveals a black foam mould and, on the right, an elongated black cardboard box containing the accessories. Removing a foam lid reveals the M5. The complete contents are as follows:

 

• The Tempotec MARCH V – M5 Series DAC/AMP.
• A power cable with European plug for 230V.
• One USB Type-A to Type-C cable.
• One gold-plated SE 3.5mm to SE 6.35mm conversion plug.
• One user manual.
• One Bluetooth antenna.
• One remote control with battery included.

 

The content is adequate. The USB cable is of standard quality. It is very much appreciated that the remote control is included and is not a paid extra option.

 

 

Construction and Design

 

This is a DAC/AMP that breaks with the sameness of my source stack. Where all of them are usually 150 mm wide, the M5 goes up to 184 mm. Its overall dimensions are 184 x 180 x 58 mm and it weighs 986g. It has a simple, black design and is almost entirely based on the smaller MARCH III. The outside is the same, a rectangular piece with very rounded corners and flat on the rest of the sides. On the front face, the audio outputs are on the left: first the 6.35 mm SE output, closer to the edge; then the 4.4 mm BAL output, closer to the centre. Above it is the model name in white lettering. In the centre is a large, plain and simple, somewhat flat potentiometer. It also functions as a mute/unmute button. On the right side is the LCD display and, below it, three control buttons for mode, gain and output. Is OPUT a mistake or a simplification of the word? The front plate is mixed and X-shaped. Most of this face is covered with crystallised panels, while the centre, where the potentiometer is located, is matt. The top and bottom faces are completely metallic and smooth. It has four round legs with a metal rim and a wide rubber base. Each leg is secured by a screw in the centre. The rear face has a switch on the right side, followed by a protected fuse and the EU voltage socket. In the centre are the inputs, with the connector for the Bluetooth antenna at the top, the USB Type-C input at the bottom, the coaxial input at the top and the optical input at the bottom. On the left side are the XLR BAL outputs and in the centre are the RCA outputs.
The remote control is very simple, flat and slim, measuring 132 x 40 x 9 mm. It has a CR2032 battery and allows control of mute, mode, gain, output, volume, forward and reverse functions.
As mentioned, the design is entirely inherited from the March III: the layout is very similar, the buttons, the position of the audio outputs and even the size of the LCD are the same. The glazed front panel has been improved and a wider, flatter potentiometer has been added. However, it is still a very sparse, functional design with limited appeal.
Finally, I would like to talk about the possibility of changing OpAmps. The M5 has three OpAmps: two are the LME49720 and the other is the inexpensive NE5532. To change the OpAmps, you have to unscrew six small screws on the back of the M5, near the edges. Incidentally, these screws are a bit thin and I think they might look more like the Allen screws on the rest of the backplate, with a larger diameter and more durable thread. They don’t. After removing the six screws, the plate is difficult to remove. I managed to pull it out by pulling on the base of the Bluetooth antenna, but I don’t think that’s the best option. Another possibility would be to push the headphone outputs out somehow. Once the back plate is removed, the base plate slides out on a guide. You can’t pull it out completely because there is a multi-stranded flat cable that is still attached and acts almost as a stopper. It is not necessary to remove the whole board to see the three OpAmps. The two LME49720 are in parallel and further back is the NE5532. As I say, the LME49720s are good and the NE5532 is the most susceptible to change. I did not change any OpAmp for this analysis, although I did make changes to take advantage of this possibility. The difficulties were encountered when reassembling the M5. When I tried to put the board back in, I encountered two problems. It is not easy to get the plate to fit completely; firstly, because the headphone outlets have to fit back into the holes and there are two outlets. Secondly, because the back plate must also fit inside the case and there is little space. Finally, when re-tightening the screws, I realised how fragile the threads are and how small the screws are. It is not an operation I want to repeat many times for these reasons, so the exchange of the OpAmps is possible, but it is not very pleasant to do the exchange the first time.

 

 

Connectivity

 

The M5, in its BT version, has four inputs: USB, Bluetooth, coaxial and optical.
The Bluetooth input uses version 5.2 and the connection modes SBC, AAC and LDAC, as well as 24 bit/96 kHz.
The USB input is compatible with most systems and has an ASIO driver for Windows. Supported formats are DSD 512, MQA 8X and PCM 768 kHz.
The coaxial input supports 24-bit/192 kHz PCM and DSD64 (DoP) formats.
The optical input supports up to 24-bit/96 kHz PCM format.
There are four outputs: one professional balanced XLR output, used for connecting professional monitor speakers, and three unbalanced RCA outputs. Professional unbalanced RCA output, used to connect active speakers. 6.35 mm headphone output and 4.4 mm BAL output. It should be noted that both line outputs offer a fixed output level that cannot be varied with the volume potentiometer or gain knob.

 

 

Operativity

 

Operation is very simple.
With the MODE button the inputs can be changed: USB, Bluetooth, optical and coaxial. The mode is shown in the upper left corner of the LCD display. The format and sample rate are indicated in the upper right corner of the LCD display.
While changing the mode, the text ‘CHANGING’ appears on the LCD.
The moment Bluetooth mode is entered, the M5 goes into pairing mode. The Bluetooth name is TempoTec MARCH V. By default, it is set to LDAC 96 kHz mode. The BT connection/disconnection status is displayed on the LCD panel at the top right.
With the OPT button the PHONE (6.35 mm headphone output), BAL PHONE (4.4 mm headphone output), LINE (RCA line output) and BAL LINE (XLR BAL line output) outputs can be selected. The selected output is shown in the lower left corner of the LCD display.
Via the GAIN button the gain can be raised or lowered. High gain is shown with the text GAIN in the lower left corner of the LCD display.
The volume is shown in the middle of the display (VOL: 50, for example). If the MUTE button is pressed, this text is changed to the word MUTE.

 

 

Measures

 

The M5 BT, the model I am currently reviewing, promises 425 mW for 32 Ω and 48 mW for 300 Ω, per SE. That implies a voltage of 3.7 V and 3.8 V, respectively. The no-load voltage per SE output at low gain is 3.262 V RMS and at high gain, 4.359 V RMS.
The output impedance measured by SE is very low, less than 1 Ω, which is a great advantage for use with very sensitive IEMS.
According to the specifications of the balanced headphone output, the power is 1750 mW for 32 Ω and 185 mW for 300 Ω. That implies a voltage of 7.48 V and 7.45 V, respectively. I have not been able to make reliable balanced measurements due to a problem with my measurement system, so I have not been able to corroborate these measurements.

 

 

SE No load

 

The no-load voltage per SE output at low gain is 3.262V RMS and at high gain is 4.359V RMS.

 

 

SE 15Ω

 

The maximum voltage for 15Ω without visible distortion was 3.416V RMS, which implies a power of 780mW and a current of 230mA. Impressive.

 

 

SE 33Ω

 

The maximum voltage for 33Ω without visible distortion was 4.338V RMS (almost the maximum voltage output), which implies a power of 570mW and a current of 130mA. Again, these are very high values, above the specified values. It is true that a slight distortion can be observed at very high frequencies (20kHz), but at all other frequencies nothing is visible.

 

 

SE 100Ω

 

Maximum voltage output for 100Ω, 4,350V RMS implying 190mW and a current of 43.5mA. Very good.

 

 

Frequency Response

 

The frequency response for the M5 between 20Hz and 20kHz is very linear, with a very slight dip at the extremes, very, very small, inaudible. It can be seen that there is no difference between channels, as each signal overlaps and that the signal is cleaner from medium volumes onwards.

 

 

Sound

 

To analyse the sound, I used only the headphone outputs, as I don’t have active speakers.
In my humble opinion, the three features I like most about the M5 in terms of sound are: the DUAL DAC AK4493SEQ, the Class A amplification and the use of switchable operational amplifiers. As standard it uses two LME49720s, which, in my opinion, are already good. In addition to the cheap NE5532 OpAmp, which is worth changing. For this review I have not changed any of the replaceable chips.
We all know that AKM DACs are warmer and SABRE DACs are cooler. However, as new models from each brand come out, they all move closer to neutrality. On this occasion, the combination of the Dual DAC AK4493SEQ and Class A extension adds considerable weight to the music. The entire musical range has plenty of punch, body and physicality. Starting with the bass, its behaviour backs up the above statement: it is full-bodied and punchy, and capable of recreating a good amount of volume. The sense of depth is remarkable, as is the level of control. In the very low frequency pure tone test it behaves like a reference source offering a very low level of colouration, maintaining the physical and sensory level of headphones possessing those characteristics. It is also a source with a low ripple aspect; LFOs tend to sound quite natural and without that vibrational aspect that distances them from reality. However, in this respect, good reference headphones, such as the M5, behave very naturally and are able to reproduce the pure tones of very low frequencies with a remarkable level of effectiveness. The result is powerful bass with punch, punchiness, speed and control. The bases are dry, precise, with a very nice violent edge, but with a quick decay that prevents the bass from feeling too elastic or too rubbery. In this respect, they are rather dry. They don’t feel thick or hazy either, but rather precise, resolute and very pronounced. This is demonstrated in the dirty, complex and unfiltered bass test, where the bass lines are rendered deftly and politely, one might even say elegantly, due to their high controllability and concise execution. Its ability to stratify and recreate layers is also appreciated. Finally, there is an impression of analogue behaviour in the reproduction of the low end, which enhances the realism of the bass.
The mid-range is still characterised by a sense of control, neutrality, calm and naturalness. The impression of realism in the mids is pronounced, with a tight timbre, neither too cold nor too bright. Even so, the M5 is able to deliver enough bass to fill the midrange space and generate full-bodied, grounded and physical male voices, as well as elastic, dynamic and punchy female voices, with just the right amount of brightness and vibrancy to make them musical and pleasantly vivid. The instrumentation also comes across as full and complete, with a very clean, clear and transparent sounding feel, and with a very low level of distortion. I think the Class A also adds extra punch to the mids, generating extra drive in the attack of the notes and maintaining a sense of weight to the instruments, giving an impression of extra dynamics.
In the upper range, the natural AKM character predominates, but with that more neutral tendency. The treble is very full, with no roll-off or emphasis. In addition, the extension is very important and the feeling of air is clearly perceived. The treble can become bright, sparkling and crisp with the right headphones, but it also maintains that velvety sound that AKM is known for. In this respect, the M5 doesn’t force or iron out the treble aspect, but adds that extra weight per note that is present in all ranges. In this way, the high notes are kept in check, delicate when needed and also musical, without ever being harsh or harshly executed.
At the soundstage level it is also above its price, as it is able to recreate a level of three-dimensionality, spaciousness and volume that is surprising for its value. Here I think the Class A amplification also plays a role. The spatial impression is wide and the sound is perceived as very well separated, neat, with a distance between notes quite evident in the best compositions.
The level of detail is quite good and is reinforced by the impression of separation, the distance between the elements, the feeling of a dark and clean background. This is not an analytical font, but it has a good technical performance for its price. The rendering of the minor aspects of the music is quite competent, as it is able to demonstrate high resolving ability without straying from neutrality and without sounding forced or sharp in this respect.

 

 

Comparisons

 

Aune Flamingo

 

The Aune Flamingo is a much smaller DAC/Amp and a bit more expensive, just over $200 when it was released. Clearly they are very different devices, but they are similarly priced. The Flamingo has only SE output, but it has a double amplification, by OpAmp and by a visible valve. This creates a clear trend in the sound of this device. On the other hand, it is a very powerful device, although the M5 is more so: 500 W for 15 Ω in the Flamingo and 780 mW for 15 Ω in the M5, and 250 W for 33 Ω in the Flamingo and 570 mW for 33 Ω in the M5.
Both devices are remote-controlled and designed for desktop use. The Flamingo is powered by a transformer as standard, while the M5 is powered by AC power.
Both devices have Bluetooth connectivity.
I clearly like the design of the Aune better than the TempoTec. But it is worth noting that it gets quite warm and that, despite having 99 steps, the range of volume use is concentrated in the last 30 steps; below that, the power delivered is very low, which severely limits the range of use and power sensitivity for sensitive IEMS. The jump from step 90 to 99 is almost 2 V RMS. In the M5, the current delivery is more progressive and has a gain selector, but the distance between low and high gain is not very high and large voltage swings are also seen in the last step.
The Flamingo has a slight top end roll-off, both by OpAmp and valve, which is clearly visible from 10 kHz onwards. The drop is also present at the low end via valve in the same way. It is clearly a warmer device, although the OpAmp has a more energetic bass. The following sound comparison was made using the OpAmp output of the Flamingo.
The Flamingo’s bass is deeper, more physical and punchier. They have a little more elasticity and a slight boost in power, as well as a slightly more pronounced and noticeable texture. On the other hand, the M5’s bass is drier and more controlled, with a subtle under-emphasis, but with a point more precision and resolution. The sound generated is not as dense in the M5 and seems to have more speed and attack, maintaining a sense of weight per note throughout the audible range. In the very low frequency pure tone test, both show very similar behaviour in terms of level of naturalness, realism and low undulatory character. The Flamingo adds a little more power, emphasis and darkness at the low end. But it is in the dirty, complex and unfiltered bass test that the differences are most noticeable. In this test, the Flamingo demonstrates that its bass is more noticeable, textured and powerful. However, the M5 demonstrates a level of control, speed, less decay and greater technical prowess.
In the mid-range, the M5 is brighter and seems more transparent. The Flamingo is warmer, feels somewhat busier and more homogeneous due to its darker and more powerful low end. In addition, this is also affected by the actual treble drop from 10 kHz onwards, which detracts a little from the airy, sparkling feel at the edge of brightness. The M5 is more detailed, more transparent and also darker. But it also stands out for having a cleaner sound with less distortion. As the M5’s bass is more controlled and dryer, this also favours the mids, contributes to that better sense of cleanliness, clarity and transparency and improves the detection of detail, generating a more defined, resolute sound with greater dynamics.
In the upper range, the greater extension of the M5 is noticeable, providing a broader harmonic level, as well as a slightly higher, more resolved, defined and uncluttered sparkle. It’s not that the Flamingo’s treble is bad, but it does have that more mellowed-out look, even when using the OPA option.
On a technical level, the Flamingo feels more congested, the result of that more powerful, slightly denser and somewhat slower lower area. The M5 feels looser, more expansive, wider and more spacious, and generates more volume while maintaining a greater distance between elements. The sound is more transparent, clearer and crisper in the M5. The Flamingo’s soundstage is narrower and has less headroom. The M5 offers a more surrounding, volatile and gaseous soundstage. It may not be as deep, but it is definitely wider, higher and more voluminous. At the level of detail, the Flamingo is striking despite its density. But the M5’s better sense of dynamics and better impression of lower distortion generate a blacker background, sharper notes and better resolution that allows for a more open, separated sound and a better perception of detail, without ever sounding sharp.

 

 

Conclusion

 

The TempoTec MARCH V is an impressive sound device for a very low price: $178 in its basic version without Bluetooth. It is also available with a Bluetooth option and a Limited version, which has a more eye-catching design with a gold-plated panel and feet, as well as a different potentiometer. The Limited version uses two MUSE02 OpAmps, while the standard version uses two LME49720 OpAmps. It supports up to DSD512, PCM 768 kHz, MQA 8X and Bluetooth v5.2 LDAC 24-bit/96 kHz. It uses an FPGA design and Class A expansion with four discrete amplifiers, as well as an asynchronous USB processor and a Dual DAC AK4493SEQ. It is a very powerful device featuring two 6.3 mm and 4.4 mm BAL headphone outputs, as well as two fixed RCA and XLR BAL line outputs. It is worth noting that the sound offered by the M5 for its price is outstanding and not too far from options twice its size. The sum of the whole: power, sound, performance and price make it an almost unbeatable DAC/Amp in its range, even more so if you can find it on sale.

 

 

Earphones Used During Analysis

 

• Xiaomi 13T.
• Kiwi Ears Aether.
• Kiwi Ears KE4.
• Kiwi Ears Astral.
• 7Hz Timeless II.
• Simgot ET142.
• NF ACOUS NA20.
• Yanyin Canon Pro.
• LetShuoer Mystic 8.
• LetShuoer Cadenza 4.
• LetShuoer S12 2024.
• LetShuoer DX1.
• Apevoix Grit.
• BQEYZ Frost.
• Hidizs MP145 Golden Titanium.