Long-term review: I bought the RME ADI-2 Pro FS R Black Edition in October 2020 and used it as the central DAC, preamp, analog-to-digital converter and conventional headphone amplifier in my system until 2024. It was eventually replaced by the Eversolo DMP-A8 — not because the RME was a bad product, but because the way I listened to music had changed.

Why I Bought the RME ADI-2 Pro

Before buying the RME, my main digital source was the Gustard X20u. I had owned it for years, liked how it sounded and regarded it as my reference DAC at the time.

The problem appeared when I entered the analog side of the hobby and bought a turntable.

My Gustard could act as a DAC and control volume, but it had no analog input. Adding a turntable meant adding a phono stage and finding some way to combine that analog source with the digital side of the system.

One possibility would have been a conventional analog preamp. Instead, I became interested in converting every source to digital and continuing to use one digital volume control and one DAC.

That required a high-quality analog-to-digital converter. After investing in a serious turntable, cartridge and phono stage, I did not want to route the signal through an inexpensive computer sound card simply because it had an analog input.

The RME ADI-2 Pro FS R Black Edition appeared to solve almost everything at once. It provided the analog input and ADC I needed, while also replacing the Gustard as DAC and preamp. It added two capable headphone outputs and a long list of professional functions that were unusual in a domestic hi-fi product.

The name was absurdly long, but the concept made sense.

When I bought it in October 2020, the ADI-2 Pro sold for close to €1,800. That was a substantial amount of money, especially for such a small box. Looked at as a combination of DAC, ADC, preamp, headphone amplifier and USB interface, however, the price was easier to justify.

How I Used the RME From 2020 to 2024

The RME performed several different jobs during its time in my system.

At first, a computer connected through USB was my main digital source. Later, I added the WiiM Pro, which handled streaming while the RME continued to perform conversion and volume control.

That combination worked well. The WiiM app made streaming easy, while the RME handled the audio side with far more flexibility than the WiiM’s own analog output.

The system was arranged like this:

• Streaming: WiiM Pro → RME ADI-2 Pro → Hypex monoblocks → loudspeakers
• Computer playback: USB source → RME ADI-2 Pro → Hypex monoblocks → loudspeakers
• Vinyl: Turntable → phono stage → RME analog input → Hypex monoblocks → loudspeakers
• Headphones: Digital source → RME ADI-2 Pro → AKG K712

The RME became the control center of the system, even though streaming still required another device.

What the ADI-2 Pro Actually Does

Calling the ADI-2 Pro a DAC does not really describe it.

It is a two-channel analog-to-digital converter, four-channel digital-to-analog converter, USB audio interface, preamp, headphone amplifier and digital format converter. It supports sample rates up to 768 kHz and can record and play DSD.

The rear panel provides a stereo pair of servo-balanced analog inputs through combined XLR and 6.3mm TRS sockets. The inputs also work with unbalanced sources when the correct cable or adapter is used.

That made it easy to connect my phono stage, even though the phono stage itself did not have to be balanced. The RME does not replace a phono preamp: a turntable still needs the correct gain and cartridge equalization before its signal reaches the ADI-2 Pro.

The analog outputs include balanced XLR and unbalanced 6.3mm connections. Digital connections include USB, optical SPDIF or ADAT, coaxial SPDIF and AES/EBU through the supplied breakout cable.

The two independent headphone outputs can also be combined in RME’s Advanced Balanced mode. I did not buy the unit primarily for balanced headphone operation, but it demonstrates how much functionality RME managed to fit into the half-width enclosure.

There are also professional functions such as sample-rate conversion, reference-level adjustment, channel routing, phase reversal, stereo-width control, M/S processing and detailed level metering.

I probably never used half of those functions, but having them meant the RME could accommodate almost anything I connected to it.

Design, Display and Operation

The ADI-2 Pro is unusually compact considering what it contains. It is closer in size to a desktop audio interface than a traditional full-width hi-fi component, and it fits easily into a crowded equipment rack.

The construction feels professional rather than luxurious. The enclosure is solid, the controls operate precisely and the connectors feel appropriate for equipment designed to be used in studios as well as domestic systems.

The front display is small but exceptionally informative. It can show input and output levels, sample rate, clock status, active processing, channel information and a real-time spectral display.

I liked having that information available, although the screen can make the unit look more technical than a conventional hi-fi DAC.

Basic operation becomes easy once the unit is configured. Changing volume, selecting an input or activating EQ does not require reading the manual every time.

The deeper menus are another matter.

Three rotary controls, several buttons and a large number of nested settings provide access to almost everything. They also create a learning curve. RME’s manual is excellent and unusually detailed, but this is not a device that can be fully understood by casually exploring the front panel for five minutes.

For a technically interested owner, that depth is part of the appeal. Someone who only wants to select an album and change volume may find the interface unnecessarily dense.

The Analog Input and My Vinyl-Digitizing Project

The analog input was the main reason I chose the Pro version instead of the less expensive ADI-2 DAC.

I owned several valuable records, including a small number of original Blue Note mono pressings. My idea was to convert them to DSD and use the digital files for everyday listening.

Whether normal playback would have worn those records significantly is debatable. At the time, digitizing them seemed like a sensible way to preserve the physical copies while still hearing their particular masterings.

The RME made the recording process technically straightforward. I connected the outputs of my phono stage to the analog inputs, selected the correct reference level and recorded the converted signal through USB.

The adjustable input sensitivity was useful because phono stages and other analog sources do not all produce the same output level. Correct adjustment allowed me to make use of the available dynamic range without clipping.

I also used the analog input to digitize several old tapes. For that job, the RME was exactly the kind of tool I wanted: compact, reliable and capable of producing high-quality digital files without adding another questionable recording device to the chain.

The analog input can also accept other line-level sources such as tuners or external preamps. Owners with several analog sources would still need an external input switch because the RME provides one stereo input pair.

Why My Opinion on AD Conversion Changed

My original article made a very confident statement about the RME’s analog-to-digital conversion. I wrote that the converted signal was indistinguishable from the analog source and that neither my friends nor I could identify a difference in our comparisons.

That was honestly what I believed at the time.

In the early A/B sessions, I could not reliably identify the converted signal. The technical performance of the RME also gave me little reason to expect a meaningful audible loss.

My opinion became less certain after living with the system for longer.

During extended vinyl listening, I sometimes felt that playback through the RME’s conversion chain sounded slightly flatter and more smoothed over than listening through a direct analog path. I cannot prove that impression, and I would not present it as an objective weakness of the converter.

Level matching, different signal paths, expectation and the difficulty of comparing analog playback may all have influenced what I heard. It is entirely possible that another listener would consider the conversion transparent.

The more important change was conceptual rather than technical.

I eventually asked myself why I was converting a record to digital when I could simply play the record. Digitizing vinyl involved recording, splitting tracks, entering metadata, organizing files and storing yet another version of music I already owned.

The project turned listening into file management.

I stopped trying to archive my record collection and returned to using the turntable as an analog source. That decision removed one of the main reasons I had originally bought the ADI-2 Pro.

DAC and Sound Quality

Used as a DAC, the RME sounded clean, crisp and highly resolving.

It did not add obvious warmth, soften treble or exaggerate bass. Its presentation was controlled and transparent, which is exactly what I would expect from a product designed for both monitoring and measurement-oriented applications.

Compared with my older Gustard X20u, I sometimes thought the RME sounded slightly leaner. The difference was small, and I was never confident that I could identify it reliably without knowing which component was playing.

The Gustard had a more traditionally substantial high-end appearance and may have influenced my expectations. The RME was a small studio-style box powered by an external supply, yet it never sounded limited by its size.

Later, I preferred the sound of the Eversolo DMP-A8 in my system. The RME seemed slightly flatter and less involving, while the Eversolo appeared a little more natural and spacious to me.

That comparison remains subjective. Output levels, filters, preamp behavior and expectation can all influence the result, so I’ll stop short of claiming the DMP-A8 measures better or that every listener would hear it the same way I did.

The broader lesson from my years with the RME is that differences between good modern DACs are usually much smaller than changes in loudspeakers, headphones, room acoustics or mastering.

The ADI-2 Pro never gave me reason to think that its conversion quality was holding back the system. Its replacement was driven by integration and daily use more than by sound.

I discuss the relative importance of DAC specifications and system matching in my DAC Buyer’s Guide.

Using the RME as a Preamp

One of the ADI-2 Pro’s most useful functions was its ability to connect directly to a power amplifier.

I used the balanced XLR outputs with my DIY Hypex NCore 400 monoblocks. The RME handled source selection and volume control, eliminating the need for a separate preamp.

Parts for similar Hypex projects are available from SoundImports (advertisement link).

The RME allows the output reference level to be matched to the sensitivity of the connected amplifier. This is more useful than it may sound.

A DAC with excessive output voltage can force the volume control to operate in a narrow range, while too little output may prevent the power amplifier from reaching full level. The RME provides enough adjustment to optimize gain structure rather than relying on one fixed consumer output level.

Volume changes were precise, channel balance remained stable at low levels and the unit was quiet enough to connect directly to the Hypex amplifiers without audible background noise.

For a purely digital system, the ADI-2 Pro and a power amplifier may be all that is required. Add active speakers instead of a separate power amplifier, and the system becomes even simpler.

Analog sources can also pass through the RME, but they are converted to digital for processing and volume control before returning to analog at the outputs. That behavior eventually became important in my decision to move to the Eversolo.

The Headphone Amplifier

The two front headphone outputs are not token additions.

RME designed them as separate high-performance outputs with very low output impedance and high available power. They include low- and high-power operating modes, protection circuitry and independent settings.

I mainly used the RME with my AKG K712. The combination sounded clean, controlled and completely free from obvious background noise. The RME had more than enough power for the AKG and did not give me any reason to add another conventional headphone amplifier.

I had read reports from owners using more demanding headphones such as the Sennheiser HD800 and Audeze LCD-2, but I did not conduct long-term tests with those combinations myself.

On paper, the amplifier section is capable of handling a broad range of loads. RME specifies very low output impedance and up to 1.5 watts per channel from the individual Extreme Power outputs.

The two outputs can also be used together in Advanced Balanced mode with a suitable cable. That mode provides considerably higher voltage for demanding balanced headphones, although it makes both front outputs part of one headphone connection.

My main headphones were STAX electrostatics, which require their own specialized high-voltage amplifier and cannot be connected to the RME’s conventional outputs. The ADI-2 Pro therefore never replaced my STAX system.

For someone using dynamic or planar headphones, however, the RME may genuinely replace both a DAC and a separate headphone amplifier.

Parametric EQ, Loudness and Crossfeed

The DSP section is one of the clearest reasons to choose the RME over a conventional audiophile DAC.

It includes a five-band parametric equalizer with separate channel adjustment. Presets can be stored for different headphones, loudspeakers or sources.

Five bands are not enough for every complex room-correction task, and the RME does not automatically measure the room. For correcting a headphone’s tonal balance or dealing with a few specific speaker and room problems, however, it is extremely useful.

The bass and treble controls are also better implemented than the basic tone controls found on many amplifiers. They can be adjusted precisely and accessed quickly without navigating through the complete EQ menu.

RME’s loudness function changes its effect with listening level. That makes it useful for quiet listening, where human hearing becomes less sensitive to bass and upper frequencies.

I normally avoid processing that exists only to make equipment sound more impressive. The RME’s loudness control serves a clear practical purpose and can make low-volume listening more satisfying.

The crossfeed function is intended for headphones. It blends a controlled amount of each channel into the other to reduce the extreme left-right separation found in some recordings.

Crossfeed does not turn headphones into loudspeakers, but it can make older recordings with hard-panned instruments easier to listen to. The strength is adjustable, so the effect does not have to dominate the presentation.

These features are not afterthoughts. They are integrated into the device, can be assigned to outputs and presets, and are shown clearly on the display.

Remote Control and ADI-2 Remote Software

The supplied infrared remote provides direct access to the functions most home users need: standby, volume, balance, bass, treble, input selection, mute, loudness, EQ and display control.

Several buttons can be reassigned, which helps when one particular function is used frequently.

The remote is far more useful than the minimalist handsets supplied with many DACs. It looks functional rather than luxurious, but it fits the character of the product.

RME later added the free ADI-2 Remote application for Windows, macOS and iPad. The software allows settings to be viewed, edited and backed up through a much larger graphical interface.

That development addressed one of the device’s main usability limitations. Adjusting several EQ bands or managing presets is much easier on a computer or tablet than on the small front display.

I bought the unit before the software existed, so most of my ownership was based on the physical controls and infrared remote. The fact that RME continued adding meaningful functionality to an already mature product family is still a significant advantage.

That kind of long-term support is one of RME’s real strengths. Drivers, firmware and software remain part of the product long after the initial sale.

The Stock Power Supply

The RME uses an external switching power supply with a locking connector.

That inevitably encouraged some audiophiles to replace it with a heavier and more expensive linear supply. I was curious enough to try an aftermarket “audiophile” power adapter myself.

I heard no improvement.

The replacement did not produce a wider soundstage, deeper bass, quieter background or more natural voices. The RME’s internal regulation and filtering appeared to do exactly what they were designed to do.

I returned to the original supply and never felt that I was sacrificing sound quality.

An alternative supply may make sense when someone needs battery operation, electrical isolation for a specific installation or a replacement for a damaged unit. Buying one simply because the supplied adapter looks too small is not something I would recommend.

The money is better spent on music, headphones, loudspeaker positioning or room treatment.

Living With the RME

The ADI-2 Pro was reliable throughout my ownership.

It locked onto digital sources without drama, remembered settings correctly and operated quietly. I never experienced the random crashes, disappearing network connections or software instability that can affect more computer-dependent audio products.

It also started quickly. There was no operating system to load, no music database to scan and no streaming service waiting for an update.

Once configured, normal use was simple:

• Select the source.
• Adjust the volume.
• Choose the appropriate output or preset.
• Listen.

The complexity became visible only when I wanted to change the configuration. Input routing, reference levels, EQ assignment, USB modes and independent output settings can lead to moments where the unit is doing exactly what it was told to do — but not what the owner currently expects.

The detailed display usually helped identify the cause. The manual was never far away during the first months.

I never considered that complexity a design flaw. It is simply what happens when three knobs and a small display have to control this many functions.

The question is whether the owner wants that control.

Why the Eversolo DMP-A8 Replaced It

By 2024, my priorities had changed.

The RME still worked extremely well, but the complete system had become a combination of several devices. The WiiM handled streaming, the RME handled conversion and volume, and my local music still required separate storage.

Playing vinyl also meant converting the analog signal to digital inside the RME before converting it back to analog for the power amplifiers.

I wanted one component that could:

• stream Qobuz and other services,
• store my local music internally,
• act as DAC and preamp,
• accept the output of my phono stage,
• connect directly to the Hypex power amplifiers,
• and provide one interface for the whole system.

The Eversolo DMP-A8 provided exactly that combination.

Its internal SSD slot allowed me to move my local collection into the player. Its streaming software removed the need for the separate WiiM. Most importantly, its analog input and relay-based volume control allowed my phono stage to remain in an analog signal path.

The DMP-A8 therefore replaced the WiiM, RME and the need for another analog preamp in one step.

I also preferred its presentation in my system, finding it slightly more natural and involving than the RME. That was a secondary reason rather than the foundation of the decision.

The main improvement was that the system became easier to use.

Replacing the RME did not mean that I had discovered a serious defect in it. The product remained extremely capable. I had simply stopped needing the function that made the Pro version special to me: its analog-to-digital converter.

What the RME Still Does Better

The Eversolo fitted my system better, but it did not make the RME obsolete.

There are several areas where I would still choose the ADI-2 Pro.

Recording and Analog-to-Digital Conversion

Anyone digitizing vinyl, tapes, live feeds or other analog sources needs a proper ADC. The RME is built for that purpose and provides detailed level control, metering and USB recording.

The Eversolo accepts analog sources, but it is not a replacement for a professional two-channel recording interface.

Headphone Amplification

The RME provides two serious conventional headphone outputs, independent processing and an advanced balanced mode.

The DMP-A8 is primarily a streamer, DAC and preamp. Headphone users would normally add another amplifier.

DSP and Precise Control

The RME’s parametric EQ, loudness, crossfeed, independent output settings and reference-level controls remain unusually comprehensive.

These functions are valuable for headphone correction, monitoring and systems that require precise gain matching.

Professional Connectivity

AES/EBU, SPDIF, ADAT, sample-rate conversion, USB interface modes and detailed metering matter in studios and complex digital systems.

A normal streamer is not designed to replace those functions.

Long-Term Product Support

RME continued developing firmware and later introduced the ADI-2 Remote software for an already mature product family.

A streamer depends heavily on apps, operating systems and continued support from music services. The RME can perform its core conversion and preamp functions without an online platform.

That may make it the more reassuring long-term purchase for someone who does not need integrated streaming.

RME ADI-2 Pro or ADI-2 DAC?

The less expensive ADI-2 DAC belongs to the same family but is not simply a discounted version of the Pro.

When I bought the Pro, its analog input and ADC were central to my plans, so paying more made sense.

Once I abandoned vinyl digitization, much of the reason for owning the Pro disappeared. Had I wanted to remain with RME in a digital-only system, the ADI-2 DAC would probably have covered my needs for less money.

Do not choose the Pro merely because it is the higher model. Choose it when its additional inputs, conversion and interface functions will actually be used.

Who Should Buy the RME ADI-2 Pro?

The ADI-2 Pro makes the most sense when several of its major functions replace separate equipment.

It is particularly suitable for:

• Listeners who want to digitize vinyl, tapes or other analog sources
• Studios and technically advanced desktop systems
• Users who need both a high-quality DAC and ADC
• Headphone listeners who want EQ, crossfeed and strong built-in amplification
• Owners of active speakers or power amplifiers who need precise volume and gain control
• Systems requiring AES, SPDIF, ADAT or sample-rate conversion
• Buyers who value long-term firmware, driver and software support

It is less suitable for:

• Someone who only needs a simple USB DAC
• Listeners who want streaming and a music library in the same device
• Users who have no interest in recording or analog-to-digital conversion
• Systems that already include a preamp and headphone amplifier
• Anyone who dislikes deep menus and detailed configuration
• Buyers seeking a large luxury enclosure rather than compact professional equipment

For a digital-only home system, the ADI-2 DAC may be the more rational purchase. For a streaming-first system, a WiiM or Eversolo may fit the daily workflow better.

For someone who needs a converter, headphone amplifier, preamp and recording interface in one small component, the ADI-2 Pro remains difficult to replace.

Final Verdict: Would I Buy It Again?

I bought the RME ADI-2 Pro FS R Black Edition in October 2020 because I wanted to combine digital playback, analog sources, vinyl recording, volume control and conventional headphone listening in one device.

For that purpose, it was an excellent purchase.

It replaced my Gustard as the central DAC, drove my Hypex monoblocks directly, worked very well with the AKG K712 and allowed me to experiment seriously with digitizing vinyl and tapes.

My early comparisons suggested that its analog-to-digital conversion was effectively transparent. Over time, I became less convinced by the sound of vinyl through the conversion chain, although I could never establish that as an objective flaw.

More importantly, I realized that I did not want to turn records into files. I wanted to play them.

Once that changed, the RME’s strongest unique feature was no longer central to my system. The combination of a separate WiiM, RME and local storage also became less attractive than one integrated component.

The Eversolo DMP-A8 replaced the RME in 2024 because it matched my actual listening habits better. It provided streaming, internal storage, DAC and preamp functions while allowing the turntable to remain analog.

That does not make the RME inferior. In several areas — recording, headphone amplification, DSP, professional connectivity and technical control — it remains the more capable product.

Would I buy it again?

Yes, if I once again needed a high-quality ADC, recording interface, flexible headphone system and preamp in one compact box.

For my present system, I would choose the Eversolo again because integration matters more to me than having every possible conversion and studio function available.

I didn’t replace the RME because it let me down. I replaced it because, four years on, I wasn’t the same kind of listener who bought it in the first place.

Last updated: August 2026. I purchased the RME ADI-2 Pro FS R Black Edition myself and used it in my system from October 2020 until it was replaced by the Eversolo DMP-A8 in 2024.