Network Acoustics eno2 streaming filter system
The eno was a lockdown project between Richard Trussell, an ex-IT professional who is a qualified electronics engineer, and Rob Osbourne, who previously worked as a publisher, filmmaker and DJ. Dissatisfied with the sonic results they were hearing from their music streaming systems, they worked together and came up with a product that fixed some of the compromises. Both Rob and Rich were active members of various hi-fi forums, and positive feedback from fellow forum members who had listened to their prototypes encouraged them to launch the eno as a commercial product.
The original eno System retailed for £995, including a high-quality ethernet cable, which, whilst not a ‘budget’ offering, still undercut some network switches by a considerable margin. The original eno filter and system were discontinued earlier this year. Its big brother the muon pro, which, whilst it produces stunning results, could prove a financial stretch too far for many audiophiles. Network Acoustic’s Rob Osbourne, who exudes passion for the brand’s products, explained to me that the aim of the eno2 was a product at a price point that allows more streaming enthusiasts to enjoy a high percentage of Muon’s magic. As a company, Network Acoustics is really excited to launch the eno2, which they feel takes them back to their roots and allows them to demonstrate all they have learned over the last few years.
What’s changed?
For the unfamiliar, the original eno system was a plastic box with a captive ethernet cable to the output side, the input side having an RJ45 socket. Most users would place it between their network switch and streamer, although it can be used between a server and streamer or even between your router/switch and TV box. From a personal perspective, I found the box cumbersome and somewhat awkward to position on my equipment rack, mainly because the lead-out cable was only 35cm long. With both in and outputs on one side the eno2 solves this issue, and I was able to neatly slot it behind another component in my rack, hiding the cables in the process.
The eno2 is housed in a machined aluminium box with detachable cables. Aluminium was chosen for its electrical and isolation properties; from what I am told, getting the thickness of the case just right was the work of many hours, this having a critical effect on the performance of the device. The eno2 is available with a 75cm cable for £995, or as the eno2 Streaming System, which includes a second 1.5m high-performance cable, priced at £1,395. The company have tested noise filters and ethernet cables from many major brands and feels confident that in the eno2 Streaming System, they have produced something superior to competing products. It’s worth noting that the eno2 cables have high purity copper/silver alloy conductors and top spec Telegärtnerconnectors, they also have a green leather cuff at the receive end which is a nice touch.
Interestingly, Network Acoustics recommends using a 1Gb connection for streamed audio, which is contrary to experience in my system, which has always sounded best via a 100Mb connection. Therefore, I was interested to see if the eno2’s superior noise-reducing properties unleash the previously unrealised potential of the higher-speed connection.
Improvements?
I have been using the original eno System at home since reviewing it in winter 2021, so have become extremely familiar with the device. Since upgrading my original Melco N1A/2 to the N1-S38, I have got best results when playing stored music via its USB output into my Moon 780D DAC rather than via its MiND2 streaming board. I had concluded that this was due to the Melco having a better streaming stage than the Moon’s. The eno2 has shown me this may not be the case, and whilst the USB stage can at times sound a little more focused and detailed, via the streaming stage of my DAC, the eno2 has cleaned up what was previously a slightly splashy top-end and opened up the soundstage, improving depth and layering. Since adding the eno2, I have been enjoying a larger soundstage and fuller sound via the 780D’s ethernet input, with the slightly more precise and somewhat cooler balance of the USB connection, perhaps better suiting more dense recordings. With the eno2 System in the chain, I find myself now preferring the Ethernet input with the majority of my music.
There is something very ‘right’ about music streamed via the eno2, which is hard to put your finger on, but I will try. In common with the best network noise-reducing products, the music sounds more relaxed, yet with no less urgency or immediacy when required. The older product was not ‘bright’ in the unpleasant sense of the word. Still, I always felt it lifted the high frequencies somewhat in its quest for detail retrieval, occasionally resulting in a slightly lean balance. The eno2 does not have such an effect; more of the music’s natural warmth and texture gets through and there is more body to instruments and performers. All of which makes for a more stimulating and enjoyable streaming experience. The soundstage is not larger as such, but its extremities are better defined, no doubt due to a lower noise floor.
I have been streaming Fink’s new album, Beauty In Your Wake, via Qobuz rather a lot lately. This album, available for streaming at the 24/48 resolution, is one of the rare recordings of contemporary music that has a half-decent dynamic range. Comparing eno systems old and new with this album shows the younger model makes the music sound freer, more open, warmer and more intimate than its older sibling; it is a difference that takes no longer than a few bars of music to appreciate.
Those familiar with my ramblings may notice I often talk about how products designed to reduce digital noise, when successful, allow the music to escape the cabinets of the speakers; you guessed it, the eno2 does that trick, too. Arooj Aftab’s latest album, Night Reign, streamed via Qobuz at 24/96 by comparison with the original eno, sounded more fluid, expansive, airy and detailed, with low-level dynamics more apparent and the voice more natural and expressive. Lucy Rose’s This Ain’t The Way You Go Out (Qobuz 16/44.1) benefits in similar ways, but the often faster and more staccato nature of this music provided the eno2 the opportunity to demonstrate its ability to clean up the edges of the music, whilst simultaneously bringing more life and energy – a neat trick and doubtless the results of lower noise.
I learned of the manufacturer’s preference for the 1Gb connection towards the end of the review period. I decided to compare the results between the 100Mb and 1Gb output of my Melco S100 switch. Interestingly, via the original eno, which only has filtering on four cores and therefore up to 100Mb, I preferred the sound via the slower connection. Switching to the eno2 favoured the faster connection, suggesting that filtering across all eight cores was beneficial. As a user of Melco products, which generally work best via the slower connection speed, I found this an eye-opening experience, which goes to show that the implementation of any protocol is crucial.
The sonic effects of network noise may vary between setups, so I employed the services of my Chord 2Go/Hugo2 portable network-playing DAC. Annoyingly, this machine always sounds best over a wired connection, which can prove restrictive in a portable device. Still, once you’ve experienced the benefits, it’s hard to go back to wifi. Listening via the revealing yet musical Sendy Peacock headphones made the job of identifying the qualities of the eno2 a simple but pleasurable job.
I began with the Chord 2Go/Hugo2 hooked up to the Melco S100 switch via the eno. Substituting the eno2 and returning to Fink’s Beauty In Your Wake, the music sounded both warmer yet also more immediate. Detail levels increased via this setup, as did the bass in both fullness and texture. Next up was an album I’ve been playing a lot lately, Tangk by Bristol band Idles (Qobuz 24/48). Track two, Gifthorse is a standout, and here, the stronger, weightier bass and drums added to the musical involvement. The Lucy Rose album mentioned earlier sounded magically intimate via eno2; again, the added warmth, detail, and superior timing provided a welcome increase in engagement.
Stacked up
The Stack Audio Smooth LAN impressed us considerably back in May and showed just how much performance is available at its £240 price. It provided a sense of ease and natural flow to the music without changing the tonal balance or robbing the music of life or excitement. The eno2 retains such qualities, but the Stack Smooth LAN cannot match the sense of body and texture I heard from the eno2, nor does it deliver quite the same level of involvement or expansive soundstage as its more expensive brethren.
The un-filtered verdict
When weighing up the value of a product like the eno2 System, which represents a considerable investment, one must consider whether potential buyers would be better served by upgrading a major component of their system. I have recently hosted two DAC and amplifier combinations that considerably outperformed my reference components. I can comfortably say that eno2 Streaming System allowed my system to raise the bar in certain areas of performance, such as imaging, low-level dynamics, emotional connection and refinement above those more expensive components; so, my tentatively planned DAC and amplifier upgrade is on hold for now, and negotiations to keep hold of the eno2 system will start tomorrow. The eno2 proves that reducing network noise is paramount in releasing the maximum potential of your streaming system. The designer’s aim to create a product that makes streamed music more engaging and enjoyable has been achieved. Network Acoustic’s 60-day returns policy makes the eno2 Streaming System an essential and risk-free purchase for music lovers with mid to high-end streaming systems.
Editor’s notes
I started my eno2 assessment by hooking up a Lumin U2 Mini streamer directly to an English Electric 8Switch (that connects via a very long cable to my router) using a Melco ethernet cable and listened to Lady Blackbird’s Fix It using Qobuz. Dropping the eno2 and its cables in place of the Melco cable brought about a clear and definite upgrade in timing thanks to far better definition overall and especially on the leading edges of notes. This was joined by an increase in presence that made the hairs stand up on the back of my neck because of the way that the sadness and beauty of the performance is amplified.
Making the same comparison with Ike White’s rather more dense blues piece Changin’ Times the immediate impression was of increased focus in both imaging and timing terms, there was greater solidity to the bass line and more life in the cymbals, all of which contributed to a much tighter groove.
I then moved over to the Network Acoustics Tempus switch, which brings a high degree of noise isolation to the party, and used the local library on a Pachanko Labs server, then made the same switch from Melco cable to eno2 Streaming System between switch and streamer. With the Locrian Ensemble’s Mendelssohn Octets putting the eno2 in line increased depth of image and the sense of the recording venue in the first instance but further listening resulted in far greater involvement, right up to the air baton flailing level, which in my book is as good as it gets.
Finally I used the shorter of the eno2 streaming cables to join streamer to Tempus switch then added the eno2 and a second cable, which with Ali Farka Toure and Ry Cooder’s Ai Du (Qobuz) revealed extra reverb and a far more definite tempo, the result being a much deeper and less blurred groove that increased involvement dramatically. This system is very good at cutting through the sonic fudge and defining exactly what’s going on with transients.
I have to agree with Chris’ conclusion that for owners of decent streaming systems the eno2 and its matching cables represents a significant upgrade and one that would require considerably higher spend to achieve with a streamer or DAC.