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Schiit Lyr3 


To improve on Lyr 2, we had to completely reinvent the amp, introduce two new technologies, and make it modular. Yes, that’s right. Not only is the new Lyr 3 a big sonic upgrade, it can be configured with the DAC or phono preamp of your choice or keep it just as a headphone amplifier.

Want to run IEMs? Sure. Need power for your HE-6? Sure. If this means nothing to you, just be confident that you can plug any headphone into Lyr 3 and get great sound. With full power delivered from the standard 6.3mm jack, you don’t need balanced headphones to take full advantage of Lyr 3.

Unparalleled Flexibility

Select from the internal card or rear-panel analog input, and pick high or low gain with convenient front switches. Connect the preamp output to your powered monitors for a complete desktop system—or use it as a front end to your speaker power amplifier. Lyr 3 provides all the flexibility you need.

Single Tube, Two Complementary Technologies

Now, you can enjoy a serious tube amp—that only requires a single tube. Our Coherence™ hybrid topology makes the most out of the supplied 6N8S tube, and also works with all new-production 6SN7 tube types. What’s more, Lyr 3 introduces Continuity™—a constant transconductance output stage which provides superior performance.

Configure Now, Ready For the Future

Select from two different DAC modules, a phono input module, or no module at all to tailor Lyr 3 exactly to your needs. Modular design means Lyr 3 won’t be dumpster-fodder when technology changes—just swap a card!

Multibit DAC Module.

Choose the optional Multibit DAC Module to get Schiit’s unique digital filter and multibit DAC architecture, as used in Modi Multibit, for $200.

AK4490 DAC Module.

Or choose the more affordable AK4490 DAC module for a world-class delta-sigma DAC for only $100.

Or, choose the MM phono input module, for 42dB of gain and passive RIAA, for great phono sound, at only $100.

The vast majority of the production of the Lyr 3—chassis, boards, assembly, etc—is manufactured in the US.

Most of the Schiit Lyr 3 is covered by a limited warranty that covers parts and labour for three years. That's 3 years. Yes Three. Compare that to the competition.The parts that aren't covered by a 3-year warranty: the tubes. Tubes are covered by a 28-day warranty. They should last 5000 hours. Please note this doesn't mean free upgrades!

Frequency Response: 20Hz-20Khz, -0.1db, 2Hz-700KHz, -3dB

Maximum Power, 16 ohms: 9.0W RMS per channel

Maximum Power, 32 ohms: 6.0W RMS per channel (7.5W at <1% THD typical, one channel driven)

Maximum Power, 50 ohms: 4.0W RMS per channel

Maximum Power, 300 ohms: 900mW RMS per channel

Maximum Power, 600 ohms: 450mW RMS per channel

THD: <0.007%, 20Hz-20KHz, at 1V RMS, high gain (worst case)

IMD: <0.005%, CCIR at 1V RMS, high gain (worst case)

SNR: >102db, unweighted, referenced to 1V RMS, in gain = 1.5 mode

Crosstalk: < -75dB, 20 Hz-20KHz

Output Impedance: 0.3 ohms, high gain (worst case)

Gain: 7.5 (17.5db) or 1.5 (3.5db), via rear switch

Topology: fully discrete, current-mode non inverting 6SN7 / bipolar hybrid with constant transconductance output stage

Protection: standard muting relay for delayed turn-on and fast turn-off

Power Supply: Two internal power transformers with 72VA total rating, plus with over 55,000uf of filter capacitance

Power Consumption: 30W

Size: 22.86 x 15.24 x 5.72 Cm

Weight: 2.72 Kgs

*All measurements made on a Stanford Research SR1+ Audio Analyzer

Hey, wait a minute, this is completely different than Lyr and Lyr 2!

Right. Like we said, we had to reinvent the whole thing in order to improve it significantly.

You changed the tube type!

Yes, life is unfair; change is the only constant; you have to break eggs to make omelettes, and all those platitudes that you probably don’t want to hear. So, here’s the deal: we changed tube type (from novel, 6DJ8-family tubes, to octal, 6SN7-family tubes) because they sound better and perform better. In fact, the 6SN7 tube family is one of the most linear tubes ever made—as evidenced by the amazing performance of Lyr 3 in high gain mode.

I’m just not happy with better performance!

We also changed because the tube world is changing. Rolling two tubes is becoming more problematic, as tube prices increase. With Lyr 3, you don’t have to worry about matching two tubes, or the need for two tubes inherently doubling the price of your rolling adventures. Plus, there are some quite decent new production 6SN7s out there, which makes them viable well into the future.

I still have all these tubes for the old Lyr!

Yes, and if you want to use them, you can still use them in Lyr 3, with an adapter. Lyr 3’s plate voltage isn’t very different than Lyr or Lyr 2.

So tell me about these crazy new technologies you’re pimping. Coherence™? Continuity™? What the hell are those?

Let’s start with Coherence™. This is our unique current-mode, noninverting tube/BJT hybrid topology that eliminates the need for interstage coupling capacitors. These two disparate devices work seamlessly together in this topology, hence the name. Coherence debuted in Vali 2, but Lyr 3 uses an insanely upgraded and tweaked version of the Vali 2 stage. Unlike Vali 2, Lyr 2 has no input or output capacitors, no interstage capacitors, and an overkill 5-pole bias servo.

What’s this Continuity™ constant transconductance output stage?

Transconductance nonlinearity in the transition from Class A to Class B is an inherent problem baked into literally every Class AB amp. Take a look at Bob Cordell’s amplifier design book for a great tutorial on the subject. Also, online, reference John Broskie. Both have written many words about the problem of transconductance nonlinearity.

When you bias a Class AB amplifier, both transistors conduct at low levels. When the output goes outside of this low level, though, only one half conducts. Effective transconductance is halved. You can pursue an optimum biasing strategy for Class AB that minimizes this transconductance discontinuity, but it is absolutely there. You can squint your eyes and say that the emitter resistors swamp the effects, but it’s still there. You can use a ton of feedback to squash it flat, but, again, it is absolutely still there. Sumo addressed this with its Transconductance Linearization error servo based on the work of Hawksford and Cordell. This was a complicated way to get around it, but it did work. Another way to address the problem is to bolt on huge heatsinks and crank everything as far into Class A as possible, so the transconductance is always doubled. That’s great, except for the fact you end up with huge, heavy, hot amplifiers.

Our Continuity™ constant transconductance output stage is a serious attempt to solve this problem. It uses both N-channel and P-channel devices on both positive and negative sides of the power supply, all conducting at the same time, and it uses additional devices that linearize the transconductance outside of the Class A bias region. It addresses both the problem of transconductance doubling and of mismatch between N-and P-channel devices.

This isn’t just hand-waving—the Continuity output stage measures 10dB better THD to clipping.

And finally, Dynamically Adaptive output stage, RIP. That was a sliding-bias arrangement that worked well to increase power, but its performance is significantly worse than Continuity.

So why didn’t you put balanced on this, like Jotunheim?

Because there ain’t no way it would fit. To do balanced (real balanced—don’t assume that every amp with a 4-pin XLR on it is really balanced), you’re looking at two tubes and twice the output stage and a whole lot more connectors. That simply wouldn’t fit. No way, no how. Look at how much transformer and power supply has to go into Lyr 3.

Is this quiet enough for IEMs?

Yes, in low gain mode.

Does the volume control adjust the preamp outputs?

Yes, The preamp outputs are automatically turned off when you plug in your headphones. Unplug your headphones to use the pre outs.

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