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Innuos ZENith Next-Gen

Stereophile

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May 2025

STREAMER-SERVER

- JIM AUSTIN

Innuos ZENith Next-Gen

The Innuos ZENith Next-Gen ($20,700 as equipped) does what streamer-servers do: store music files, read them into memory, and send them on toa D/A converter to make music. In Innuos's complex (yet logical) lineup of streamers and streamer-servers, the ZENith Next-Gen sits just below the flagship Statement and above the ZENith Mk.3.1 The ZENith Mk.3 remains in the Innuos lineup for now but will be replaced at AXPONA shortly after this issue hits mailboxes and newsstands.

Though similar in many respects, with a very similar appearance, these two products—the ZENith Next-Gen and the ZENith Mk.3—are very different beasts. There is one rather obvious dif-ference: a CD slot on the Mk.3 (with, of course, a CD drive inside), which makes it easy to rip CDs to the server's internal memory. This feature is absent from the more purist ZENith Next-Gen.

imageBut with the Next-Gen you can have your cake and eat it: Attach any USB CD ripper to one of the USB ports, and it will work just the same as the built-in ripper on the Mk.3. The other differences between the Mk.3 and the Next-Gen are less obvious, but those differences go much deeper; see the Details section, below.

If you want to, you can leave off the internal storage in the ZENith Next-Gen and use it as a pure streamer. In addition to the network connection intended to send data to a streaming DAC, there's another you can connect directly to a network switch, providing access to streaming services and music data stored on your local network.

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If you find yourself in Monaco on a Sunday night, make your way to La Note Bleue, a cozy restaurant and music bar on the beach by the Avenue Princesse Grace. There, you're likely to find a legendary world/fusion guitarist sitting in with a group of young jazz musicians eager to cut heads with the acknowledged maestro of inner awareness and otherworldly spirits. Forever known to some as “Mahavishnu,” you can call him by his birth name, John McLaughlin.

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I Can't Give Everything Away is the sixth and last of the Bowie box sets that survey specific periods in the artist's career. The first was Five Years 1969–1973, released in September 2015. That was followed by Who Can I Be Now? (1974–1976), A New Career in a New Town (1977–1982), Loving the Alien (1983–1988), Brilliant Adventure (1992–2001), and finally the new set. Together, the six sets are an impressive testament to a musical giant—a heavyweight tribute figuratively and literally. You could use this last installment to pump up your biceps.

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Dedicated readers know that lately in this space I’ve been on something of an analog kick. Two months ago, in the October issue,¹ I wrote about refurbishing and modding my old McIntosh FM tuner. Last month’s column (November) was on the much-discussed but little-understood topic of the skating force on a phono cartridge stylus.²

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STEREOPHILE'S 34TH ANNUAL PRODUCT OF THE YEAR 2025 AWARDS

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LOUDSPEAKER

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None of the amps I build are better than the others,” Justin Weber of Ampsandsound told me not long after we met. “They are just different.” I may have smirked inwardly. According to his company’s website, Weber makes no fewer than 23 amplifier models, many capable of driving both headphones and speakers, ranging from the $2700 Kenzie OG to the $38,000 Arch Monos. Are they really all equally good?, I wondered. Surely this was just a clever Buddhist ploy to distract us from some of his amps’ high prices. Doesn't the extra $35k spent on the Arch Monos buy you something more desirable than the performance offered by the little Kenzie? Writing for an audio magazine means I hear a lot of marketing claims, some more risible than others, and I have learned to take them with an entire seabed worth of salt.

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Lotti Golden

Her life became a whirlwind. Taking the train in from Brooklyn to Manhattan to pitch songs and experience the East Village scene, she landed a song-publishing deal at age 14. In 1968, at 18, after a chance meeting in an elevator, a legendary songwriter/record producer was interested in assisting her in making her debut album. Released on Atlantic Records in 1969, Lotti Golden's Motor-Cycle was wildly experimental and ahead of its time. Seemingly poised for success, the album and her career suddenly vanished.

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MANUFACTURERS' COMMENTS

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