WiiM first enjoyed tremendous popularity in the budget streamer market, and then consolidated it with baby streaming amplifiers like the Amp and Amp Pro. The Vibelink Amp is the company’s first amplifier model without streaming functionality, and shares the same footprint and design language as the Ultra streamer/DAC. It sports a crisp unibody aluminium chassis that measures 200x200x63mm and weighs 2.05 kg. It’s a tad shorter, and the knob design is different, but otherwise, both units stack up neatly.

The front panel has a single button for input selection, and a volume control knob on the right. The recessed power button is on the rear, along with one analogue (RCA) and two digital (optical and coaxial) inputs. The detachable power cord connects to an IEC ‘clover’ inlet, which will disappoint tweakers as very few compatible aftermarket cables are available. A 12V trigger input is also provided to facilitate power management. The recessed speaker terminals only accept 4mm banana plugs, but WiiM has thoughtfully included adapters for bare wires.

This is WiiM’s most powerful amplifier to date, as its TI TPA3255 Class D chip inside is rated at 100W RMS per channel into 8 ohms and 200W into 4 ohms. The Vibelink Amp also packs in an ESS Sabre 9039Q2M DAC that supports PCM signals of up to 24-bit/192kHz. The analogue input does not undergo any analogue-to-digital conversion, and the output stage uses six TI OPA1612 op-amps to deliver ultra-low distortion, excellent dynamic range and noise-free clarity – according to the manufacturer. If you consider that this product costs about the same as a good night out in town, this is impressive!

The Vibelink also has a Post-Filter Feedback (PFFB) circuit to minimise distortion and enhance clarity across different speaker loads, it is claimed. While affordable TPA3255-based amplifiers and ESS Sabre DACs abound, the WiiM distinguishes itself on several fronts. The unibody aluminium chassis is a premium touch and the switched-mode power supply is internal. Many competitors rely on chunky external power supply bricks, and some encounter overheating due to inadequate cooling.

WiiM’s fully passive cooling solution uses a PID thermal control circuit, a copper heat pipe and a large aluminium heatsink – PC assembly enthusiasts will feel right at home! During my listening tests, the Vibelink Amp reached a maximum of about 15 degrees C above ambient temperature after several days of continuous use. I didn’t trigger the amplifier protection circuit, so the cooling design definitely works. Also, the amplifier will power down after a period of inactivity, which is great in a world of rising energy costs.

Operation is simple. After switching on the power, select the active input and adjust the volume – it’s as easy as that. I would have preferred a raised power button though, as finding the recessed button wasn’t always easy and you need to hold it down for a few seconds. The inputs have a multi-colour LED that show the active input or state of the amplifier (e.g. firmware updating or an amplifier fault). The volume knob is smooth and nicely weighted, and feels more premium than that of the Ultra, which can be scratchy.

The Vibelink Amp does not have any networking or wireless audio capability. However, it can be switched on and off by the WiiM Home App. It does this by communicating with the amplifier’s built-in BLE receiver. The lack of a remote control or subwoofer output will be a deal-breaker for some, but both functions are available with the WiiM Ultra.

The onboard DAC in the Vibelink seems superfluous when you use the Ultra as a partner. However, it provides an upgrade path if you have a DAC-less streamer or one with a lower-quality DAC and/or analogue output stage. The digital inputs are strictly PCM-only, so DSD files cannot be played back. Some users were expecting WiiM to launch a purist amplifier, and maybe that’s on the horizon? I hooked up a WiiM Ultra to the Vibelink Amp through the analogue and digital inputs, and used KEF LS50 Anniversary and Falcon Acoustic LS3/5A Silver Badge loudspeakers throughout the audition period, with a slight preference for the former in this system.

THE LISTENING

The Vibelink Amp plays it nice and safe, with a gentle treble and smooth midrange. Bass has reasonable heft and some richness that gives music solidity and scale when needed. Comparing the digital and analogue inputs, it’s almost too close to call a winner. The Ultra uses the previous-generation ESS9038Q2M DAC, compared to the newer chip in the Vibelink. The analogue output from the Ultra’s DAC has better dimensionality and flow, while the Vibelink Amp’s DAC sounds more precise and focused. The optical input is better to my ears compared to the coaxial input, even though I usually prefer the sound of the latter. Ultimately, the analogue input wins the day, as it sounds more natural to my ears.

Simple works like La Gitana by Yo-Yo Ma and Kathryn Stott showcase the Vibelink Amp’s strengths best. Ma’s Cello sounded full and textured while Stott’s piano reverberated convincingly with good presence on lower notes. Images were large and intimate, with very good depiction of the soundstage both left-to-right and front-to-back. Kudos to WiiM here, as much of its TPA-3255-touting competition deliver comparatively flat soundstages. To nitpick, I noticed that strings had a little less bite than usual, and the high notes on piano lacked some attack. 

Detail retrieval is good – as I could clearly hear the nuances and textures of the single-note motif on Said and Done by Nils Frahm. The hammering piano note that repeats through the performance varies in intensity and expression with the changes in mood of the music. I also liked how well the WiiM captured the opening applause, which sounded highly authentic. On voices, the Vibelink Amp is a little rose-tinted, which results in some trade-off in detail. Listening to Chang Hui Mei’s vocals on Remember, her vocal prowess was on display with soaring high notes and vibrato, but the distinct rasp to her voice was slightly diminished and smoothed over. On the positive side, this made sibilant vocal recordings more listenable.

No One Knows by Queens Of The Stone Age should have you up on your feet, rocking out with the best of them. The Vibelink Amp had no problems keeping up with the fast pace of the track, but seemed a little restrained when asked to reproduce the wonderful guitar riffs and drum work. The energy that makes this track a hard rock classic appeared slightly toned down. Dave Grohl thrashed his drum kit within an inch of its life, but you just didn’t feel his visceral power and intensity. Turning up the volume didn’t help either, as things became less controlled at high levels. To be fair, though, this is an inexpensive amplifier, and the Vibelink is no worse than any of its rivals. Its generous rated power output doesn’t quite translate to the real world, especially with less efficient small speakers like the KEF LS50.

THE VERDICT

Although not quite as muscular as its rated power suggests, WiiM’s new Vibelink Amp is still a very capable product that offers great sound and build quality given its low price. The listening experience at moderate volume levels is enjoyable enough, and it’s only when you put it up against significantly more expensive gear that its shortcomings become noticeable. Overall, this is a perfect starter amp or a companion for near-field listening in smaller spaces. A charming little thing then, just don’t go crazy with the volume control.

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