Astell&Kern PD10
By now, most people in the audio community are aware of the news: Astell&Kern, previously under iRiver, has been acquired by Meewang Group. This shift sparked extensive discussion across online forums—both domestic and international—with a noticeable lean toward negative speculation. Many overseas users even questioned whether the brand had been sold to China.
Astell&Kern, however, has opted not to respond to rumors directly. Instead, their stance is clear: let the products speak for themselves. The PD10 is the very first model released under this new leadership, launched at a time when the company clearly felt the pressure to prove itself.
It's a product that showcases significant change and according to A&K, it's also the beginning of a more experimental direction, free from the constraints of past conventions. Just by looking at the PD10, one can begin to anticipate how the brand may evolve in the coming years. Traditionally, Astell&Kern has structured its product lines into four main categories: Ultima, Futura, Norma, and Kann. Even without in-depth knowledge, you could generally guess a device's tier based on its assigned lineup.
While this system had its advantages, it also created constraints. From the company’s perspective, these established categories started to feel like a framework that limited more radical innovation. Even when they wanted to take bold steps, they had to work within the bounds of the pre-defined concept. The Futura line had served as something of a playground for trying new ideas but eventually, the decision was made to eliminate all mid and upper tier categories entirely, except for the flagship Ultima. The PD10 is the first model to embody this shift.
This departure from tradition is immediately apparent in the PD10’s design, which looks completely different from any previous A&K product. At first glance, it even reminded me a bit of Sony’s Qualia line from its golden era. Long-time A&K users will likely find the look unfamiliar.
For the first time ever, there’s no volume knob. Astell&Kern has replaced it with side-mounted buttons, marking a clear departure from their design heritage. The PD10 retains a square body, but the use of different materials for the buttons and housing gives it a minimal yet sophisticated look. Personally, I quite like the direction. Some in the community have already voiced concerns following the product announcement, especially around quality control. If the alignment is even slightly off, complaints are bound to arise.
Astell&Kern was already aware of these concerns. Internally, there was strong opposition to this button-centric design, but in the end, they decided to move forward with it. It's probably quite difficult to get perfect alignment, and even if it's flawless out of the box, there's always the possibility of slight shifting over time.
If you're someone who’s obsessively sensitive to such details, I’d suggest looking elsewhere to avoid unnecessary stress. From my own unit, build quality appears solid. The high-gloss chrome finish is visually stunning, and each button has its function deeply engraved an especially nice touch. On the opposite side is a large, physical hold switch. This prevents accidental volume changes while the device is in your bag or pocket.
The power button on the top side still uses LED colors to indicate the bit-depth or sample rate of the current track. The edges of the chassis are beveled slightly to avoid a boxy appearance, giving the device a more refined, polished silhouette. The rear panel appears to be finished with reinforced glass, featuring a patterned design that subtly incorporates Astell&Kern’s signature ‘A’ logo and various geometric shapes.
The top of the unit houses 3.5mm and 4.4mm headphone outputs. On the bottom, you’ll find a USB-C port and a microSD memory card slot.
Specifications
The PD10 uses four AKM AK4498EX DAC chips in a quad configuration. The 4498EX is a new DAC chip that AKM introduced in late 2024, and the PD10 is the first commercial product to adopt it. Based on the model number, it initially seemed to be a lower tier alternative to the existing 4499EX, so I didn’t pay much attention to it when it was first announced. However, in a statement released by AKM around March, it was clarified that the 4499EX and 4498EX were developed with different sonic characteristics in mind.
According to AKM, the 4499EX emphasizes energy and dynamics, while the 4498EX focuses on finesse and detail. That kind of description certainly piqued my interest. The PD10 uses a dual 4191EQ + quad 4498EX DAC configuration. As of now, it's the only product on the market utilizing this exact combination. Not just the DAC, but the amplifier section is also quite unique.
The PD10 features a dual-amp system, meaning it houses two separate amplifier circuits with distinct sonic characteristics. This isn’t clearly communicated on the product page, where it’s simply labeled as “Normal Gain” and “High Gain.”
A new feature called “Smart Gain” has also been introduced, which automatically adjusts gain based on the impedance of the connected earphones. However, I’m not entirely convinced that this feature aligns with the nature of the product. As mentioned earlier, the PD10's two amplifier circuits don’t just differ in gain level. they sound fundamentally different. With Smart Gain enabled, the user doesn’t get to choose the amp’s tonal character; instead, the device selects it automatically based on hardware specs.
In terms of output, the balanced output delivers 5.6Vrms in Normal Gain and 8.3Vrms in High Gain. When used with the optional cradle and connected via XLR, the output is fixed to Normal Gain. For IEMs or portable headphones, the Normal Gain mode offers sufficient driving power. So rather than selecting between the two amp modes based on output level, I recommend choosing based on their respective tonal characteristics and how they match the track or headphone in use.
Battery life is rated at 15 hours. While actual usage will vary, most Astell&Kern products tend to realistically yield around 8–9 hours. In that context, the PD10 offers significantly improved endurance. The battery capacity itself has increased, now 5,770mAh. For comparison, the SP3000’s battery capacity is 5,050mAh. This improvement isn’t due to better efficiency, but simply a larger battery.
A newly added feature is support for Apple AirPlay 2. While AirPlay isn't a must-have feature on a DAP, this addition could be valuable for Apple users, especially since the PD10 can be used in a semi-stationary setup when paired with the cradle. Other functions remain consistent with existing Astell&Kern products.
Cradle
Finally, it’s back. For years, I’ve been asking Astell&Kern representatives to bring back a dedicated cradle every time I had the chance to meet them. Time after time, the idea was shelved due to doubts about market viability. Back when the SP2000 launched, A&K at least included a cradle connector port and publicly shared its specifications so third-party manufacturers could develop accessories. But nothing ever came of it. With the SP3000, they didn’t even bother adding the port—essentially signaling the end of the idea.
And now, it finally returns with the PD10. Personally, I couldn’t be happier. Yes, DAPs are meant to be portable by nature. But for devices like the PD10 and others in this class, I find them a bit too large and heavy to carry around on a daily basis.
In my case, I actually use these players more often at home or indoors than on the go. That’s probably why I’ve felt the need for a cradle even more strongly. While the cradle’s primary purpose is to provide balanced XLR output, it’s also perfectly useful for charging or as a desktop dock, even if you don’t use the analog outputs. Especially with Astell&Kern, which is usually the first to adopt new AKM DAC chipsets, it makes sense to give these DAPs more versatility. As I mentioned during the SP3000 release, the DAC performance in these devices rivals some desktop components, so there’s really no reason to limit them to portable-only use.
On the rear of the cradle are the input and output ports. There are no control buttons—just a USB input and balanced XLR output. Its functionality is very straightforward: charge the device, enable digital connectivity, and provide XLR output. That’s it.
Sound
Let’s begin with the amplifier section, as that’s arguably the most important element here. The PD10 offers three amp modes: Normal, High, and Smart. I’ll be excluding Smart mode from this discussion since it simply selects the amplifier automatically.
The sonic difference between Normal and High modes is significant, so I’ll start by describing the sound in Normal mode and then move on to High.
One thing I find disappointing is how the amp modes are named. The PD10 physically contains two separate amplifier circuits—comparable to how the A&K 3000T used both a TR and a tube amp—yet Astell&Kern labeled them merely as “Normal” and “High,” as if they were just gain levels.
Add to that the Smart Gain option, and the presence of dual amps becomes much less apparent. If you’re trying out the PD10, make sure to listen to both amp modes manually.
When I first listened to the PD10, it reminded me more of the 2000 series rather than the 3000 series in terms of tonal character. Back when I reviewed the 3000, I noted that its tonal balance had become significantly denser and weightier. That sound came across as refined and premium to me—heavier, more musical, yet still highly resolving. I described it at the time as a dramatic shift in sonic direction compared to its predecessors.
With the PD10, the tonal balance feels slightly lighter again—closer to the 2000 series. I wonder if this reflects AKM’s new DAC design philosophy. As AKM stated, the 4499EX emphasizes energy, while the 4498EX—used in the PD10—focuses on delicacy and nuance. To my ears, this translates into a noticeable difference in tonal character. The PD10 renders the mid and upper-mid frequencies with exceptional detail and texture.
There’s a slight forwardness, and the grain and edge in textures really come through—marking a distinct departure from recent A&K tuning. This clarity is focused in the upper mids; the bass remains tight and controlled, adding an enjoyable contrast.
This is the character you get in Normal amp mode. When you switch to High, the entire personality of the sound shifts. The once-prominent and textured mids calm down, the soundstage expands, and the bass becomes fuller. It feels like you’ve plugged the player into a more powerful amplifier. This illustrates just how much analog circuitry still matters—even in digital gear. The High mode sound reminds me more of Astell&Kern’s Kann series—akin to the energetic, bold ‘American sound’ often associated with ESS chipsets.
What’s interesting is that both amp modes offer distinct characters that are complementary and well-balanced. This is exactly why I recommend avoiding Smart mode and instead switching manually depending on your preference. Normal mode already delivers ample output, so power isn’t a limiting factor. High mode is tuned to be more dynamic and impactful—great for full-size headphones.
Note: when using XLR output via the cradle, the amp is locked to Normal mode. This is an appropriate choice for source-level applications where resolution and clarity are prioritized.
Take Yo-Yo Ma’s performance of the Shostakovich Cello Concerto with the Boston Symphony Orchestra as an example. This piece is rich in lower-mid and low-frequency textures, driven by strings.
Depending on which amp mode you use, the emphasis changes. With Normal mode, each string instrument’s texture is more sharply defined, highlighting that gritty, tactile sensation. In High mode, that texture softens, while scale and grandeur take over. The bass becomes deeper and more expansive, and the spatial reverb spreads out more naturally.
So if you value scale and space, High mode is ideal; if you want to focus on fine-grained detail and string texture, Normal mode will serve you better.
Whenever a product exhibits distinct sonic character, there's often that feeling of, “If only this one aspect were just a bit more refined...”. Personally, I’ve rarely used DAR (Digital Audio Remaster) on previous A&K products. It’s essentially an upsampling function, and I never found much use for it. However, I had a good experience with DAR on Activo devices—especially in widening what felt like a slightly narrow stage.
As mentioned earlier, the Normal amp mode slightly emphasizes the midrange and upper mids. For me, when the mids are pulled too far forward, the left–right soundstage can feel a bit constrained. That was the case here as well, and in this context, DAR turned out to be quite effective.
DAR has two modes: PCM and DSD. PCM tends to sound tighter and more textured, while DSD comes across as smoother and more mellow. So, my personal recommendation is to enable DAR PCM mode when using the Normal amplifier. It makes the stage feel more organized. You still get the Normal amp’s detailed texture, but the left–right width expands slightly.
For me, this was the most satisfying setup on the PD10. On the other hand, High amp mode occasionally sounded a bit dull or veiled. In those cases, DAR DSD mode helped bring out more refinement. Interestingly, DAR PCM in High mode made the low end feel too dominant in some cases. That’s how differently these combinations behave. Of course, this reflects my own preferences.
To summarize
The PD10 offers two amp modes—each favoring either texture (Normal) or weight and impact (High). Add to that two upsampling modes, or the option to disable DAR altogether. This gives you six total combinations to tailor space and timbre to your taste.
Let’s try another track to explore this further. Since we’re on a Shostakovich theme—turns out this year marks the 50th anniversary of his death—let’s look at another relevant performance.
This time, it’s Yuja Wang with the Boston Symphony Orchestra performing Shostakovich’s Piano Concerto No. 1, conducted by Andris Nelsons. Shostakovich, a skilled pianist himself, composed this as his graduation piece and originally performed it himself.
Though technically a piano concerto, the trumpet plays such a prominent role that the piece is often described as a double concerto for piano and trumpet. Listening to this piece with both amp modes reveals their contrasting characteristics very clearly.
In Normal mode, the piano is more defined and structured; the upper-mids of the violins stand out more, and the trumpet sounds brighter and more forward. In High mode, the piano softens slightly—less articulated than in Normal—but the contrabass becomes significantly more prominent, anchoring the bottom end with authority.
When DAR is added, the differences become even more interesting. With Normal + DAR PCM, the soundstage opens up, and the balance between direct sound and hall reverb shifts. DAR had a noticeable effect on enhancing spatial cues. With High + DAR DSD, the overall timbre feels smoother and more refined.
One issue I had with High mode alone was that violins positioned toward the rear of the stage felt thin and distant—almost hollow. Once DAR was enabled, the tonal body of each instrument filled out. It wasn’t just an increase in bass quantity, but a fuller, denser sound extending into the mids. I really appreciated this aspect.
In the case of this particular piece, it’s genuinely hard to pick between Normal + PCM and High + DSD. Both have their own distinct charm—and ultimately, it speaks to just how well the PD10’s sound has been crafted.
Cradle Usability
This might actually be the main highlight of the entire release—the use case that many users have been waiting for. When using the PD10 with the cradle, XLR output can be activated from the on-screen widget. The amp mode is locked to Normal while in this setup. Even when using XLR output, the volume can still be adjusted directly on the device. The LED embedded in the “A” logo at the bottom front of the cradle mirrors the LED color scheme used on the device’s power switch, and this can be toggled on or off via the PD10’s settings.
In my case, I’ve been using the cradle both for charging and connecting to active speakers. It essentially functions as a hybrid source device that bridges portable and desktop roles. As a Roon Ready unit and a network player for Apple Music or Tidal, it performs excellently.
There are a number of aspects that still need refinement. It’s been a while since Astell&Kern has offered a cradle, and that shows—both in terms of UI integration and some design quirks.
The PD10 supports battery-off mode when functioning as a DAC, but not in normal playback mode. The cradle only has a single USB port, which handles both power and data transmission. Astell&Kern appears to be aware of the issue, as evidenced by the inclusion of battery-off functionality in DAC mode. However, when charging and playing music simultaneously, noise can be introduced depending on the power environment. Since battery-off is not available in standard playback, even with a full charge, you may experience noise unless you unplug the USB cable from the cradle entirely—an inconvenient workaround for regular use.
Ideally, I would love to see a full battery bypass mode when the PD10 is used with the cradle. It would significantly improve long-term battery health and usability. Fortunately, these are all issues that could be addressed through future firmware updates. I hope A&K includes them in the next round. If these small usability issues were resolved, the PD10 would clearly stand out as a product that excels in both sound quality and versatility.
But there’s always that one thing...
This time, it’s the included case. Aesthetically, it looks great. The materials are also of high quality. The problem? You can't dock the device into the cradle while the case is on. Seriously—how did this pass testing?
Having to remove and reattach the case every single time is frustrating. It doesn’t come off easily either, which raises concerns about dropping the device during the process.
Unfortunately, that’s not the only issue. At least in my case, when the device is in the case, I can’t swipe down from the top of the screen to access the widget menu.
It appears the upper lip of the case physically interferes with gesture input.
It’s just plain inconvenient. The kind of accessory that ends up causing more trouble than it's worth. I’m already planning to switch to a third-party case the moment one becomes available.
Aside from that, I’m extremely satisfied with the PD10 itself.