June 2026

Lyngdorf TDAI-2210 Review — Can This One Box Replace Your Streamer, DAC, And Amp?
A compact, room-correcting, streamer, Hi-Res Audio DAC, and stereo amplifier for serious music lovers, audiophiles, and tech geeks.
Review By Dwayne Carter

   Some of the best gear in my house has shown up at the worst possible moments. A Bryston amplifier I once reviewed arrived the same week my refrigerator quit. A Pass Labs piece landed on my doorstep about an hour after I'd injured my back, lifting an amplifier I should not have been lifting alone. So, when the Lyngdorf TDAI-2210 streaming amplifier turned up on a quiet Tuesday afternoon, I should have suspected the universe was about to charge me for the privilege. And it did.

This afternoon, I cleared my schedule for the Lyngdorf TDAI-2210. The box glared at me from across the room. I would wait no longer.

The unboxing process was relatively easy. The Lyngdorf TDAI-2210 arrived in a heavy box. Upon opening, I found the unit nicely packed and protected. Once everything was unboxed, the microphone stand's quality caught me off guard. This serious microphone stand is easily worth a couple of hundred dollars. I knew at that moment the Lyngdorf TDAI-2210 was no joke. It was time to figure out just where the unit would live in my audio room. Normally, all my equipment goes to the left of the room, in racks, leaving the front of my audio room nice and clear: just speakers and sound reinforcements. My amp and speakers are about 8 feet apart, so my cables are only 8 feet long. The problem: the TDAI-2210, which has a built-in amplifier, would have ended up all the way on my left. This was not going to work. With a little effort, I cleaned off one rack and moved it to dead center, right between my MartinLogan loudspeakers and where my Bryston amp would normally rest. For now, the Lyngdorf TDAI-2210 held center court.

I quickly set about wiring the Lyngdorf TDAI-2210's clean yet densely packed rear panel. First, the Vermouth Audio Reference Power Cord, followed by a series of AudioQuest XLR, RCA, and digital cables. The clear labeling on the back made the process quick and easy. With the wiring complete, it was now time to look at her.

Build Quality And The Volume Knob I Cannot Stop Touching
Out of the box, the TDAI-2210 doesn't feel like $5K worth of amplifier. It feels like maybe $2K, until you pick it up. Then your hands tell you something the eyes missed. The chassis has a density that doesn't match its dimensions. Lyngdorf claims this unit has a stiffer case than its larger TDAI-3400 sibling, and I believe it. Knock on the top panel, and you get a dull, dead thump. No ringing, no panel resonance, nothing. The matte black finish doesn't show fingerprints, which I appreciate as someone whose fingertips remember every meal he's eaten.

The dimensions are 12.8" wide, 4" tall, and 11.8" deep. Weight is 10.6 pounds. Compare that to most integrateds in this price tier, and you'll find the Lyngdorf is roughly half the size and a third of the weight of the typical Class AB competitor. Compactness isn't a marketing accident. With Class D efficiency, you simply don't need the giant heatsinks and oversized power supplies that bulk up traditional designs. Lyngdorf has used the saved space wisely instead of leaving it empty.

The front panel is split into two halves, and the visual logic of the split tells you what the engineers prioritized. On the left, taking up most of the available real estate, sits a color touchscreen behind real glass. On the right, taking up the remaining space, sits the volume knob. That is, more or less, the entire front panel. No source-select buttons. No balance dial, no tone controls. A small standby button hides to the right of the volume wheel, and a 3.5mm headphone jack tucks into the left. The remote, the app, and the touchscreen handle everything else.

About that volume knob. I must give it real estate here, because frankly, it's one of the most satisfying physical interfaces I've ever encountered on an audio component. The knob is large. Its diameter is nearly the same as the amplifier's overall height, giving it real visual presence on the front panel. It has a heavy, weighted feel, the kind of resistance that suggests an oversized flywheel inside, and it turns with a smoothness that lands somewhere between a Leica focus ring and a high-end tape deck reel. This is no stepped encoder pretending to be analog. It is genuinely tactile. Slow rotations give you fine increments. Fast rotations let you swing across 30dB in a single thumb flick.

As you rotate it, the touchscreen responds in real time. The current volume value appears in big numerals against an animated backdrop, and a graphical wheel mirrors the movement of your fingertips. The knob is the centerpiece of the user experience, and Lyngdorf knows it. It even comes with a warning not to turn the unit onto its side with the volume knob.

What's even more interesting is what the knob is doing electrically. On most amplifiers, turning the volume control adjusts attenuation in the input stage, meaning the signal is reduced before it reaches the amplifier itself. In the Lyngdorf, the volume wheel adjusts the output-stage gain by directly modulating the power-supply voltage that feeds the amplifier modules. The signal itself is never attenuated, never resolution-reduced, never run through a potentiometer. Whether you're listening at 30 dB or 80.3 dB, you're getting the full bit depth of the source. This is a real benefit at low listening volumes, where conventional designs lose detail because they're effectively scaling a quieter signal. Late-night listening on the Lyngdorf retains its body and presence. I'll come back to this in the listening section.

The touchscreen on the left is a vivid, high-contrast affair, with a real glass surface that feels closer to a phone screen than to a typical front-panel display. When music is playing, it can display cover art pulled from your streamer of choice, along with the track title, artist, elapsed time, and a progress bar. When you're not playing music, it can display volume level and current input. The icons are large, the menus are nested logically, and the response is immediate. I expected to use the screen mostly for setup and then ignore it. Instead, I found myself constantly glancing at it. Music metadata visible from across the room is just a nice-to-have. I don't have that feature on my Bryston streamer, and I will miss it.

The back panel is dense but not chaotic. Two pairs of speaker binding posts up top, well-spaced for spade lugs. Below that, the connection cluster runs left to right: balanced XLR output, RCA single-ended output, two pairs of RCA inputs, the XLR microphone input for the RoomPerfect calibration mic, three coaxial digital inputs, two optical inputs, an HDMI eARC, USB-C, USB-A for thumb drives or firmware updates, an Ethernet jack, trigger in, trigger out, and the IEC power inlet on the right. The first optional analog module, which Lyngdorf installed on my review unit, adds a balanced XLR input pair, two more RCA pairs, and a moving-magnet phono input with proper grounding post. The other module offers two HDMI 2.1 inputs and one HDMI output. Plenty of real estate for a turntable and a CD player, both set up exactly how I had them.

One small thing that says a lot about the company: every TDAI-2210 is run for 24 hours on a test bench before it leaves Skive, with all inputs and outputs exercised under load. That's not a marketing claim someone made up. It's printed in the manual and verified in the documentation. I appreciate the discipline.

Do You Hear What I Hear
The first test of the engineering centerpiece is RoomPerfect. This is Lyngdorf's room correction system, and it's a different animal from Dirac, Trinnov, ARC, Audyssey, and others. Most room correction systems impose a target curve on your speakers, essentially flattening everything to a reference response. RoomPerfect doesn't do that. Instead, it characterizes both the speaker's inherent response and the room's acoustic interaction with it, then applies correction only to address the room. The speaker's voicing is left intact. The idea is that if you bought a particular speaker because you liked the way it sounds, you don't want a room correction system to change that. You want it to address the room. RoomPerfect tries to do that, and in my experience, it does it better than most.

The setup process is supposed to take about twenty minutes once you know what you're doing. My first attempt took over an hour. Remember that expensive microphone stand I mentioned earlier? Well, the TDAI-2210 also ships with a very sensitive calibration microphone and a long XLR cable. You position the mic at the listening position, plug it into the rear panel, run a focus measurement to establish the speaker's reference, then take a series of measurements at random positions around the room. The DSP determines what the speaker is and what the room is and applies corrections to the room component. You can store two speaker profiles in memory, which is convenient, as you're about to find out. My first attempt at room calibration failed because my room also holds two racks of whole-house equipment, complete with fans, servers, switches, you name it. Apparently, they make too much noise for RoomPerfect . After I figured out what the problem was, it just took me a few minutes to turn off all my fans, switches, and routers, essentially shutting down my whole home. All excess equipment is now nice and quiet; I began the room calibration again. Yes, it took about 20 minutes this time. By now, it was evening, and I was settling down to begin a nice, long review session.

Then the audiophile gods smote me with their hammers.

Just one day into reviewing the Lyngdorf TDAI-2210, my trusted MartinLogan Summit speakers decided to call it quits. One of the panels developed that telltale crackle, then went silent. After fifteen years in my listening room, those electrostats had finally given up the ghost. I stood there, glass of bourbon in hand, contemplating my existence and whether the audio gods had a particular grudge against me or whether I was simply being asked to demonstrate a reviewer's faith in his equipment.

Luck, as it turned out, was on my side. I had a pair of SVS Ultra Evolution Pinnacles in for review at the same time. Different beast, dynamic floor standers rather than electrostatic panels, but they were sitting in their crates, ready to go. By the next day, I had them positioned, slightly broken in, and connected to the Lyngdorf. The little Dane didn't flinch. If anything, the swap revealed something I might have missed if everything had gone smoothly: this amplifier doesn't impose a sound on the speakers. It just lets them do their thing.

After a challenging start, we now have the pleasure of reviewing the Lyngdorf TDAI-2210, a streaming integrated amplifier from a small Danish company that has been quietly working on the problem of digital amplification since most of us thought Class-D was a curiosity. It's a deceptively simple-looking box. It is not a deceptively simple piece of engineering.

A Bit Of Lyngdorf, A Bit Of Context
If you don't know Lyngdorf, here's the short version. Peter Lyngdorf has been knocking around the Scandinavian audio scene since the 1970s, and his fingerprints are on Snell, NAD, TacT,  DALI loudspeakers, and a few other names you'll recognize. The company that bears his name today is part of the Steinway Lyngdorf umbrella and operates in Skive, northern Denmark. Their lineup is small. They make a handful of integrated amplifiers, a couple of audio-video processors, some power amplifiers, a CD player, and a small range of loudspeakers and subwoofers. That's it. When they release a new product, they tend to mean it.

The TDAI-2210 sits in the middle of their integrated amplifier range. Below it is the TDAI-1120, a more compact stereo @ 120 Watt per channel model. Above it is the TDAI-3400, the long-running flagship, on sale since 2017, and now the senior sibling. The 2210 is described by Lyngdorf as a from-the-ground-up redesign rather than a 3400-lite, and after spending a good while with it, I believe them. The DSP is faster. The signal path has been cleaned up. And the user interface, which is the part most reviewers seem to bury, has been completely rethought.

Three things made this amplifier interesting to me before I started my review. First, it is fully digital. I'll get into the engineering in a minute, but Lyngdorf does not convert to analog at any point in the signal chain except at the speaker terminals. Second, it carries Lyngdorf's RoomPerfect room correction system, which is the most elegant DSP-based room correction I have used. And third, it is small. Compact, light, with a footprint that fits on the second shelf of a normal rack without complaint.

Price as reviewed: $5049. That's the base unit at $4499, plus $550 for the high-end analog input module that adds the moving-magnet phono stage I needed for my Pro-Ject. There's also a $650 HDMI 2.1 module if you want to send a TV through it, which I did not.

Specifications And The Engineering Worth Knowing About
Now the engineering, which I'll keep digestible, because nobody clicked on this review to read a textbook. Power output is two channels at 105 Watts into 8 Ohms (210 Watts into 4 Ohms). Maximum output current per channel is a respectable 35 Amperes, so the amplifier should not run out of breath when driving difficult loads. Frequency response is 20 Hz to 20 kHz, with a +/-0.5 dB tolerance. Total harmonic distortion is 0.05% maximum across the audio band. These are good numbers for an amp this small, but they aren't the headline.

The headline is the topology. Lyngdorf calls its amplification approach the True Digital Amplifier Integrated (TDAI). A digital input, say a stream from Roon or a CD player connected via coax, comes in as PCM (pulse-code modulation, the standard digital audio format). Most digital amplifiers convert that PCM to analog using a DAC chip, then amplify the analog signal in the conventional way. Lyngdorf does something different. Their DSP converts the PCM directly to PWM (pulse-width modulation), which is the format the Class-D output stage uses to drive the speakers. There is no analog conversion, no DAC, no preamplifier stage in the conventional sense. The signal stays in the digital domain right up to the speaker terminals, where it gets filtered into an analog waveform on its way out to the binding posts.

A little historical context is worth offering here, because Roland Hoffmann, Lyngdorf's director of product marketing, was good enough to walk me through some of it. The world's first commercial digital amplifier was the Millennium, launched as the TacT Millennium just before Lyngdorf Audio's founding in 2005, then renamed the Lyngdorf Millennium when the new company took over the design. That amplifier introduced the PCM-to-PWM topology that has lived on in every TDAI model since: the TDA 2200, the TDAI 2170, the original TDAI-3400, and now the current trio of TDAI-1120, TDAI-2210, and TDAI-3400.

Hoffmann's framing of the lineage is one of evolution rather than revolution. The amplification core has stayed largely the same since the Millennium. The output filter has been refined across models. What has changed is the work happening around the amplifier: faster DSP, more sophisticated room correction, voicing, subwoofer alignment in the digital domain, and full modern streaming. The 2210, by Hoffmann's account, sits on an entirely new PCB platform that is neither a scaled-down 3400 nor a souped-up 1120. It's a fresh design built from the ground up, and the most visible giveaway is the color touchscreen.

One observation from Hoffmann stayed with me. Compared to the Lyngdorf approach, he pointed out, every Class A, Class A/B, and even Class D amplifier is essentially an analog amplifier. They all amplify an analog waveform at some point in the chain. The TDAI does not. It takes a digital signal, converts it directly to PWM, and drives the speakers from there. A meaningful philosophical and engineering distinction, and one I had honestly underweighted before our exchange.

Why does this matter? The argument is that every conversion stage adds noise, distortion, and signal-path complexity. Eliminate the conversions, eliminate those degradations. There is also a philosophical purity to the approach: if your source is digital, why convert it twice? It's a clean idea, well executed, and you can hear the result in the noise floor.

The other engineering centerpiece is RoomPerfect. This is Lyngdorf's room correction system, and it's a different animal from Dirac, Trinnov, ARC, Audyssey, and others. Most room correction systems impose a target curve on your speakers, essentially flattening everything to a reference response. RoomPerfect doesn't do that. Instead, it characterizes both the speaker's inherent response and the room's acoustic interaction with it, then applies correction only to address the room. The speaker's voicing is left intact. The idea is that if you bought a particular speaker because you liked the way it sounds, you don't want a room correction system to change that. You want it to address the room.

As stated, if your room is quiet, the setup process takes about twenty minutes once you know what you're doing. The TDAI-2210 ships with a calibration microphone, a stand, and a long XLR cable. You position the mic at the listening position, plug it into the rear panel, run a focus measurement to establish the speaker's reference, then take a series of measurements at random positions around the room. The DSP determines what the speaker and room are and applies corrections to the room component. You can store two speaker profiles in memory, which is convenient if you swap speakers or if your main system speakers die during a review. I originally wanted to have the MartinLogans alone in Profile #1, then add the MartinLogans plus my SVS Subwoofer in Profile #2. My final configuration was the SVS Ultra Evolution Pinnacles on Profile #1 and my Jamo Concert (original) bookshelf speakers and SVS subwoofer on Profile #2.

Beyond room correction, the DSP also offers what Lyngdorf calls voicings. Fourteen presets are provided (neutral, music, action, voice, late night, and others), and you can also build custom voicings with up to eight parametric filter sections, which you can edit graphically right on the touchscreen. There are bass and treble tone controls, a subsonic filter at 18 Hz with a 24 dB-per-octave slope (great for vinyl rumble), and support for proper crossover if you want to add subwoofers. The flexibility is impressive. I played with the settings for hours.

On the streaming side, the 2210 covers the major bases: Roon Ready, Spotify Connect, Tidal Connect, Qobuz Connect, Apple AirPlay 2, Google Cast, DLNA / UPnP, airable internet radio, and Bluetooth. It plays nicely with Audirvana. It will accept PCM up to 24-bit/192kHz Hi-Res Music on most digital inputs, and 32-bit/384kHz Hi-Res Audio from local files on a USB drive. The streaming engine is rock solid. I never had a dropout during the review period, which is more than I can say about a couple of better-known streamers I've owned.

Set Up With The MartinLogan Loudspeakers
My system at the time the Lyngdorf arrived: Pro-Ject RPM 5 Carbon turntable with a Sumiko Blue Point cartridge feeding the analog module's MM phono input, an Onkyo CD player connected via coaxial digital, and Roon running on a NUC pulling from a NAS in my office. Ethernet to the Lyngdorf, balanced XLRs used through, speakers running directly off the binding posts. Speaker cables were AudioQuest Rocket 44s. Power was conditioned with my Niagara 3000 on its own circuit.

The first speakers connected were the MartinLogan Summits I'd been listening to for fifteen years. If you don't know the Summits, they are hybrid electrostatic-dynamic floor standers with curved CLS panels for the midrange and treble, and a powered 10" woofer in the base. They are fast, transparent, fuss-free, and (like all electrostats) particularly about amplification. Large Tube amps love them. Solid-state needs to be both clean and capable. I have driven them with Bryston, Krell, and Pass Labs over the years, and they sound different with each one.

The first track I cued up was Diana Krall's "The Look of Love" from the album of the same name, a 24-bit/96 kHz FLAC pulled from Tidal through Roon. Within the first ten seconds, the MartinLogan gave out. Silence.

Set Up With The SVS Ultra Evolution Pinnacles
I'll spare you the eulogy for the Summits. Fifteen years of service, and now they sit in a corner waiting for me to find a panel rebuild service and/or to replace a field-serviceable amp. The relevant point for this review is that I had the SVS Ultra Evolution Pinnacles in for review at the same time, and they are roughly the antithesis of the MartinLogans: dynamic three-way floorstanders, four 8-inch woofers, midrange driver, and tweeter, with much higher sensitivity and a much easier load to drive. Different speakers, different sonic philosophy, different room behavior.

I did not immediately run a fresh RoomPerfect calibration. I wanted to first hear what the Lyngdorf would do with the SVS without correction, to get a baseline. The answer: a lot. The SVS came alive immediately, with an authority in the lower octaves that I simply hadn't been getting from the MartinLogan loudspeakers, and a treble that was a touch hotter, a touch more forward. The Lyngdorf delivered them with the same neutrality it had delivered the Summits, which is exactly what you want from an amplifier. It did not voice the SVS to sound like a Summit replacement. It lets the SVS sound like SVS.

I was originally going to run a second RoomPerfect calibration (the system stores two profiles), so I could keep my Summit settings just in case of a quick repair. I ended up calibrating the SVS speakers at Profile # 1, my dependable Jamo Concert speakers for Profile # 2.

I got the same kind of room-versus-speaker disambiguation I'd gotten before. The SVS bass became less boomy in the corner where one of the speakers necessarily sits, and the imaging tightened up nicely. Different speakers, same correction philosophy, equally good result. This versatility, I think, is the real test of an amplifier with built-in DSP. It is not enough to be good with one speaker. It must handle whatever you put in front of it.

This is where I started running my dense rock and electronica material, because the SVS Pinnacles are built for it. "Black Star" from Radiohead's OK Computer, the original 1997 album on a 24-bit/96kHz reissue, gave me the kind of layered guitar architecture I'd struggled to hear properly on the Logans. Phil Selway's drums had real punch in the kick, real snap in the snare. Thom Yorke's vocals sat exactly where they should, neither pushed forward nor recessed. When the song hits its harder middle section, the Lyngdorf maintained composure. The amplifier isn't underpowered for the SVS, even though the SVS could take more juice than 105 Watts a side. It feels appropriately matched, never strained.

Massive Attack's "Angel" from Mezzanine, another familiar reference and another track that punishes weak amplification with bass bloom, was reproduced with the kind of grip I associate with much more expensive amplifiers. The opening bass figure had outline and texture, not just weight. The percussion in the second half had the right spatial separation. Horace Andy's vocals were dead center and floating, which is how they're supposed to be.

I also spent a fair amount of time with electronica at lower-than-reference volumes, partly because my wife was watching TV in the next room and partly because I wanted to test the volume control claim. This is where the gain-stage-only approach really pays off. Music played at 11 PM at conversational-speech volume retained its character. Bass didn't disappear, transients didn't soften, vocals didn't lose their air. On most amplifiers, low-volume listening sounds compromised. On the Lyngdorf, it sounds smaller but proportional. The 2 AM Death Metal Jam session is now a real option in my house.

Back to vinyl. I cued up Stevie Ray Vaughan, Wisconsin 1990 (Live from East Troy, WI), one of the most documented and most listened-to live jazz recordings ever made. Most notably because it was his last performance, dying in a crash just a few miles from my childhood home. The Pro-Ject RPM 5 Carbon connected to the analog module's MM phono input using an upgraded AudioQuest tonearm cable.

The Lyngdorfs ' phono stage is good. Not exceptional, but good. It is quieter than several $500 standalone phono stages I've used, and it nicely preserves the air around the bass and the room ambiance of Stevie's guitar. I heard the appropriate attack and decay; the brushed cymbals were delicate and clear. If you're a vinyl-first listener with reference-level cartridges, you'll probably want a separate phono preamp. If you're a digital-first listener who sometimes plays records, the analog module is perfectly competent. I own the Parasound Halo JC 3 Jr. and still prefer the sound qualities over the Lyngdorf add-in card, but the card is 70% less expensive.

What The TDAI-2210 Sounds Like
If I had to give the TDAI-2210 a single sonic descriptor, it would be transparency. Not bright transparency, not clinical transparency. Effortless. That is the word I keep coming back to. The amplifier does not insert itself into the signal chain in any audible way I can identify. It produces an extraordinarily low noise floor, even at high gain settings. It has dynamic headroom that feels much greater than its rated 105 Watts a side suggests. And it has none of the Class D character that gave older Class-D designs a bad name among audiophiles.

Older Class D amplifiers had a reputation for being grainy in the upper midrange, for having a slightly papery quality to vocals, and for losing image specificity when the music got dense. None of that applies to the Lyngdorf. The midrange is liquid and continuous. Vocals have body, breath, and emotional weight. Image specificity holds up under load. I ran a few deliberate stress tests (Mahler symphonies at concert level, big-band tracks with horn sections that should fight for placement, dense electronica with bass and synth lines that overlap in frequency) and the soundstage stayed coherent.

Bass control deserves its own paragraph. With the SVS, the Lyngdorf delivered bass that was tight, articulate, and pitch-defined. The bass guitar lines on the Talking Heads' Stop Making Sense were musical, not merely present. Tina Weymouth's runs had pitch movement you could trace. On the SVS, especially, with its four 8-inch woofers, the Lyngdorf had no trouble stopping and starting on a dime. The 35-amp current capability isn't just a number on a spec sheet.

Treble is similarly well-behaved. I am sensitive to treble glare, and I will turn an amp off after 30 minutes if it hurts my ears. The Lyngdorf never did. Cymbals have an appropriate sheen without becoming wiry. Acoustic guitar string noise (that squeak of fingers moving on the fretboard) is captured without being exaggerated. Sibilance on vocals is present where it should be, absent where it shouldn't.

Soundstage and imaging are excellent. With well-recorded material, the soundstage extended well beyond the physical boundaries of the speakers, both laterally and in depth. Specific instruments occupied specific spaces, and those spaces did not blur when the music got busy. Center fill on vocal recordings was rock-solid. I have some acoustic treatment, so I'm not going to claim Trinnov-level holographic imaging, but I will claim that the Lyngdorf gave me a soundstage that beat every other amplifier I've had through here under $10K.

Inner detail and resolution are very good without being fatiguing. There is a particular kind of detail retrieval (what audiophiles sometimes call inner detail) that lets you hear the air around a vocalist, the room reflection of a snare drum, the rattle of a piano damper. The Lyngdorf gives you that. It does not make a recording sound more detailed than it is, which I appreciate. Some amplifiers seem to manufacture detail by emphasizing transients. The Lyngdorf does not. It just lets through what's there.

A note on CDs: coaxial S/PDIF from my Onkyo into the Lyngdorf, listening to beat up 80's and 90's discs, the amp handled Redbook as gracefully as it handled the hi-res streams. The Lyngdorf treats every digital input with the same respect.

The headphone output, which I tried with a pair of Noble Audio K10 CIEM0s, was respectable. Not in the league of a dedicated headphone amplifier, but better than most headphone outputs on amplifiers I've used. A perfectly serviceable secondary option on the nights I want headphones in the listening chair.

What Makes The TDAI-2210 Stand Out
The volume knob is one. I've already gone on at length, but here's what I want to add: in three months of use, I never once reached for the remote when I was within arm's length of the amplifier. The knob is just better. The app does its best to mimic the experience with haptic feedback on a virtual wheel, and Lyngdorf gets credit for both, but the physical knob wins (with the app a close second).  Some details can't be replicated.

The all-digital signal path is another. The argument that elimination of conversions yields cleaner sound is, on paper, an engineering argument. In practice, it manifests as a lower noise floor than I expected and a quiet authority that feels different from that of the Class-AB amps I've owned. Whether this is the topology or simply Lyngdorf's general execution, I can't say definitively. What I can say is that this is one of the quietest amplifiers I have ever lived with. Put your ear to the tweeter with no music playing and the gain at unity. There is essentially nothing.

RoomPerfect is the third. I have used Dirac Live, Anthem ARC, Trinnov, Audyssey, and a few others. RoomPerfect is the easiest to set up of the bunch, and it produces results I can hear without sounding processed. The fact that I can run the entire calibration from a phone, without booting a PC, store two profiles in memory, and switch between them on the fly, is exactly the kind of user-friendly engineering I have come to expect from Lyngdorf and almost nobody else in this corner of the industry.

The modular upgrade slot is the fourth thing worth highlighting. Buy the base unit today. Add the analog module later if you decide you want a phono stage and balanced inputs. Or add the HDMI 2.1 module if your TV will live with this amplifier. This kind of modularity is unusual at this price point and protects your investment in a way most integrateds do not. Lyngdorf has done a good job of building product longevity into a category that has historically had short lifespans.

The value proposition is the fifth. At $4499 for the base unit and just over $5000 with the phono module, the TDAI-2210 is competitive with, and in my experience often better than, amplifiers I've heard in the $7000 to $10,000 range. I'm not going to name names; the comparisons aren't apples-to-apples, and your speakers will determine your preferences. But the value here is real, and I don't say that lightly.

A cooking analogy keeps coming back to me. A great pan doesn't add flavor. It transmits heat. The TDAI-2210 is a great pan.

What's Not Perfect
I promised an honest review, so let me list the small grievances I do have.

The two-year warranty is shorter than I'd like to see at this price. Lyngdorf has a strong reputation for reliability, and the 24-hour test before shipping speaks well of their quality control, but a five-year warranty would close the deal more cleanly. Several competitors at this price point offer longer coverage.

The remote control is fine but unmemorable. Slim, light, plastic. Works. Not an heirloom. Most users will operate the amplifier from the app or the touchscreen anyway, so this is a minor complaint, but for $5000, I expect a remote that feels like part of the product.

The phono stage in the analog module is solid but not class-leading. If you run a $2K-plus turntable with a high-end cartridge, budget for a separate phono preamp.

The final thought is something you may have missed, because it didn't affect the sound quality. The Lyngdorf TDAI-2210 does not support native DSD playback. Like the rest of the Lyngdorf TDAI amplifier lineup, it operates as a "True Digital Amplifier," processing all incoming audio signals entirely in the PCM domain before converting them to PWM to drive the speakers directly. If you are a spec sheet guy and you need to DSD on the spec sheet, then I don't know what to tell you. Every single DSD track I played sounded amazing. No difference. None.

That's about it. Small stuff. Real, but small.

The Last Word
The Lyngdorf TDAI-2210 is the cleanest, most user-friendly, most musically convincing streaming integrated amplifier I have spent serious time with. It does not sound like anything in particular, which is exactly what an amplifier is supposed to do. It drove a difficult electrostatic load (briefly) and a much easier dynamic load equally well. It provided room correction that made my actual room sound more like the room my speakers wanted to live in. And it did all of this from a chassis that would fit comfortably on the second shelf of my equipment rack.

So the question remains. For all of us multi-rack-loving geeks... could a one-box solution work for you? If I had a dream office. No question. Buy a Lyngdorf TDAI-2210. Hook it up. Done (and happy). If I were starting from scratch, would I suddenly change the long-time advice I have given friends getting back into hi-fi (to buy three boxes: a streamer, a DAC, and an integrated amplifier). The Lyngdorf is making me reconsider that advice. This single box does the work of three boxes in most rooms, and it does so at a price competitive with just the integrated portion of a multi-box setup. If you want the most amplifier you can buy under $5500, with room correction included, a streaming engine that just works, and a build quality and feature set that has been thought through carefully, this is the unit.

I will fully admit to not missing the ritual of turning on my audio room. One (button) and done, Son!

I have a lot of audio soul searching to do. I have a lot of uncertainty.

Here's what I am certain about. I am sad about my MartinLogans but thrilled to have the SVS speakers (for a little while). And I am going to miss the Lyngdorf TDAI-2210 when it goes back to the dealer.

Specifications
Type: Stereo integrated streaming amplifier with DSP, RoomPerfect room correction, and amplification
Power Output: 105 Watt @ 8 Ohms; 210 W @ 4 Ohms
Maximum Output Current: 35 Amperes per channel
Frequency Response: 20 Hz to 20 kHz (+/-0.5dB)
Total Harmonic Distortion: 0.05% maximum
Digital Inputs: three coaxial S/PDIF (24/192), two optical TosLink (24/96), USB-C (24/192),HDMI 2.1 eARC (24/192)
Digital Output: Coaxial S/PDIF (24/96)
Analog Inputs: two unbalanced RCA, XLR for RoomPerfect calibration microphone
Analog Outputs: Unbalanced RCA , balanced XLR, and 3.5 mm headphone
DSP / EQ: RoomPerfect room correction
Streaming: Roon Ready, Spotify Connect, Tidal Connect, Qobuz Connect, Apple AirPlay 2, Google Cast, DLNA/UPnP, airable internet radio, Audirvana support, Bluetooth (BLE), Wi-Fi, Ethernet RJ45
Local Playback: USB-A storage device support; PCM playback up to 32-bit/384kHz
Control: Color touchscreen, iOS and Android app, infrared remote control, IP control, CEC over HDMI
Optional High-End Analog Module: MM phono (RIAA) input, two single-ended RCA, XLR balanced
Optional HDMI 2.1 Module: two HDMI 2.1 inputs, HDMI output, eARC/ARC, CEC integration
Dimensions: 12.8" x 4" x 11.8" (WxHxD)
Weight: 10.6 lbs.
Warranty: Two years, parts and labor
Accessories Included: RoomPerfect calibration microphone with stand and cable, infrared remote control
Price: $4499
With Optional Analog Module (as reviewed): $5049
With HDMI 2.1 Module $5149

Company Information
Lyngdorf Audio (Steinway Lyngdorf)
Rævevej 3
7800 Skive
Denmark

Voice: +45 9614-5600
E-mail: contact@lyngdorf.com 
Website: Lyngdorf.com