Taiko Audio Olympus Music Server And I/O Review

This review took quite some time to make, as I wanted to put the Taiko Audio Olympus and I/O through their paces with rigorous testing to reach an objective conclusion about Taiko Audio’s flagship music server.

Having owned a Taiko Audio Extreme music server for a long time, I naturally expected top-tier performance—but, as you’ll read throughout this review, the Olympus elevates everything to heavenly heights, more than worthy of its name.

Olympus

Four years of intensive R&D have gone into Olympus, which arrives six years after the launch of the highly coveted Extreme music server.

I consider myself tech-savvy, with over three decades of experience in both the professional and audiophile segments, yet I tend to shy away from overly complex systems when it comes to the pure enjoyment of music reproduction. Despite the advanced technology hidden beneath its sleek, refined chassis, the beauty of the Taiko Audio Olympus lies in its pure simplicity.

The Olympus ecosystem comprises two elements: the Music Server and the I/O Input/Output Interface. The Music Server integrates every aspect of the platform, including Taiko Audio’s proprietary XDMI digital interface. When you add the Olympus I/O, the custom network, and XDMI audio cards move into the second chassis—each powered by its battery supply—to achieve unrivaled sound quality.

Highlights

• Olympus eliminates processing interference and increases isolation between the core (OS and playback software), input (network handling), and output (audio streaming).
• Electrical interference is removed by floating input and output peripherals on battery power supplies, managed via a user-programmable Battery Management System.
• Performance per watt is vastly increased thanks to newly designed, high-speed GaN (gallium nitride) FET–based power supplies.
• Extreme-performance lithium-titanate-oxide battery cells offer over 30 years of continuous-use life expectancy.
• Custom-designed, user-programmable battery management and charging system—with no electrolytic capacitors—to match battery longevity.
• System management and monitoring via iOS or Android app.
• Copper/aluminum hybrid chassis, machined from a solid billet.
• Power architecture includes one custom linear supply, two regulator stages, and two battery power supplies.

The Olympus music server is by no means an off-the-shelf solution—it requires considerable build time to deliver its advanced capabilities. To appreciate the labor involved in crafting the Olympus server and I/O:

• Total CNC time
• – Olympus server: 12 hours
• – I/O chassis: 8 hours
• Copper content
• – Olympus server: 14 kg
• – I/O chassis: 5 kg
• Surface finishing
• – Olympus server: 8 hours
• – I/O chassis: 4 hours
• Assembly
• – Olympus server: 22 hours
• – I/O chassis: 15 hours
• Testing
• – Minimum 72 hours for each module

Grand totals:

• Olympus server: 42 hours of machining and assembly, plus 72 hours of testing
• I/O chassis: 27 hours of machining and assembly, plus 72 hours of testing

Having lived with the Taiko Audio Extreme music server—serving as my reference-level digital front end and music server day in, day out since its introduction—I quickly recognized the Olympus’s allure. Yet its impact surpassed all expectations.

Like its predecessor, Olympus steals no “oxygen” from the music’s essence. But it elevates every genre—studio or live recording—to a completely new level of realism. 

It neither sounds “digital” nor “analog,” nor was it designed to emulate either. Instead, it delivers purity and fidelity that reveal the recording engineer’s true intent: a hyper-wide, impeccably defined frequency spectrum with zero grain, blur, or distortion.

I/O

You can choose the Olympus as a standalone server or opt for the two-piece package: Olympus server plus Olympus I/O. The I/O unit relocates both the XDMI interface and the network card into its own chassis.

Taiko I/O was designed from the ground up to be fully expandable—not just in performance, but also in functionality—and can even serve multi-channel systems.

The I/O design is laser-focused on solving interconnection problems that have plagued digital audio for decades.

With the versatility of the I/O subsystem, Taiko can introduce as many expansion boxes as needed in the future, making this a truly future-proof platform.

Battery power makes extra sense here, as it breaks ground loops: the units float with no common “ground,” so chassis separation isn’t compromised by the usual plus/minus issues or ground-loop concerns.

I/O highlights and possibilities

Isolate digital subsystems: Separate networking and processing. The current I/O already does this by moving the network card out of the server and into the I/O unit.
Protect sensitive outputs: Isolate the output circuitry by relocating the XDMI interface to the external I/O chassis.

Split I & O: Divide into an “I” unit (housing, for example, the network card and router—eliminating the need for an external router) and an “O” unit that splits XDMI into digital and analog sections.

Further segmentation: Within the “O” unit, you can split digital and analog I/O—and even subdivide the digital I/O into two sections, similar to MSB’s Digital Director or Cascade configurations.

Multi-chassis setup: The “O” section could be three boxes—or even four or five in a dual-mono configuration, depending on how ambitious you want to get.
Power-amplifier outputs: These line-level modules can eventually be replaced by powered output modules for direct amplifier integration.

You could even dedicate the entire chassis to each function, pushing the system into the ultra-high end—approaching the realm of $200K+ systems like Wadax, dCS Varèse, or the upcoming MSB Technology Sentinel DAC.

Olympus Battery System

The Olympus battery system is based on a modified lithium-ion chemistry—lithium-titanate—which uses lithium-titanate nanocrystals instead of carbon on its anode surface. This gives the anode a surface area of about 100 m²/g, compared with roughly 3 m²/g for graphite, allowing electrons to enter and leave the anode much more quickly.

Furthermore, the redox potential for Li⁺ intercalation into titanium oxides is more positive than for Li⁺ intercalation into graphite. As a result, fast charging (i.e. higher charging currents) is much safer with titanate, since lithium dendrites are far less likely to form.

The output impedance of the battery system is even lower than the Extreme’s huge capacitor bank—so low that it can supply up to 2,000 A of peak current. This delivers dynamics beyond any linear power supply.

The result is unsurpassed transparency, clarity, and ultra-low noise—measured in nano volts and only below 10 Hz. There is no inherent chemical process or electrical noise, and the absence of electrolytic bulk capacitors (which can introduce noise, muddiness, and blur) further preserves purity.

All voltage-line and ground-plane buffering is handled by film capacitors—possible only because the batteries supply steady power—creating a synergistic effect that magnifies clarity.

While battery systems often have drawbacks, these particular cells avoid those issues entirely.

XDMI – Extreme Direct Music Interface

XDMI is a new, fully integrated music-server platform comprising proprietary software, an XDMI baseboard (PCIe-resident), interchangeable output daughterboards, and—optionally—an external I/O chassis linked via QSFP+ cables.

XDMI (Extreme Direct Music Interface) is a ground-up-designed digital-to-digital and digital-to-analog interface that provides the shortest possible path between the CPU and the output stage.

It combines custom software and hardware to convert music streams directly into digital or analog outputs—bypassing traditional format conversions. Leveraging modern database technology, XDMI achieves throughput from 250× up to 2,000× faster than common USB interfaces.

Olympus’s modular design can be configured in various ways, with user-mountable output options. Standard XDMI daughterboards include an analog RCA-stereo module and a combined AES/EBU + S/PDIF digital module.

It also supports direct connection to third-party DACs via a tailor-made interconnect system.

XDMI Analog is one of the current interchangeable offerings, alongside XDMI AES/SPDIF, XDMI MSB Pro ISL, and XDMI Lampizator Link, with more cards to come.

While the XDMI Analog card isn’t positioned as direct competition, it explores territories that were impossible even a decade ago—and these devices are now used across modern music production, broadcasting, and more. Hands-on experience is far more than merely passable; it’s highly exciting. For the V1–MK1, this represents an impressive foray into the DAC realm, aiming for inaudibility and establishing a potent new framework.

Taiko approaches conversion distinctly: whereas others focus on improving their clocks, Taiko removes them. In a typical Olympus/I/O XDMI setup, four clocks would be present; Taiko Audio pushed things further by designing replacement technology so that those four clocks—and thus any DAC or interface clock—become unnecessary.

Eliminating four clocks avoids sonic coloration and alteration, driving toward ultimate transparency. It’s utterly exciting to imagine where this development will lead, and it demonstrates Taiko Audio’s vision for future I/O expandability.

The Music

Music streaming and playback are entrenched and not going anywhere, but many “newly” introduced concepts point to structured complexity, often making the experience sound more convoluted than musical.

This is where, regardless of genre, the Taiko Audio Olympus with I/O begs to differ—delivering music in a consistently repeatable, expansive way, with a unique aloofness and remarkable ability to project unaltered sonic potency across the entire frequency spectrum.

While there’s no precise nomenclature to capture music exactly, Mono & Stereo readers seem to find my way of transcribing its virtues useful, based on years of feedback.

As always, here are a few highlights that showcase Olympus’s unique qualities and what makes it a stand-out breath of fresh air.

Shane Berry – Fillertet 2

Electronic music is often overlooked as reference material, yet it instantly exposes many quirks in a system chain.

With “Fillertet 2” by Shane Berry, there’s already a great sense of energy in play at every moment. What sets the Taiko Olympus with I/O apart in the reproduction of this track is how purer that energy becomes—without ever sounding intrusive or harsh.

There’s something distinctly captivating about its transient-level amplitude and how the Olympus eliminates fizz, even when scaling up.

On top of it, the Olympus and I/O effortlessly layer tonal contrasts, instantly echoing the track’s intricate portrayal.

Many music servers—regardless of price—can’t lay down and convey transient-rich music the way Taiko’s flagship digital front end can. This becomes even more evident with harmonically complex material: without sufficient density, other systems fail to meet the needed thresholds, and the difference is not minuscule.

With any dynamic shift, the Taiko Audio Olympus has proven its unquestionable harmonic backbone, delivering a jaw-dropping rendering of the music both at very high volumes and at whisper-quiet levels—further cementing its extremely high-positioned capabilities.

Larry Carlton & Robben Ford – “Unplugged”

With Unplugged the Taiko Olympus and I/O again demonstrated their ability to serve any musical content far beyond typical limits—with superbly even frequency distribution, uncompromised dynamics, and zero listener fatigue, even after hours of repeated listening.

Olympus and I/O also delve deeper into the realm of timing—showing how critical timing is to musical realism when it comes to streaming.

Like its predecessor, the Extreme, Olympus is one of those rare products that prove music has no boundaries when everything is set properly and the front end allows true musical flow—letting the listener gravitate toward the depths of the recording and bestowing the order in zeros and ones.

Despite how exotic this might sound, the Olympus music server liberates the mind from logical entrapment, engaging the listener in a rare time-capsule escapade—an almost eerie sensation of floating through time and space without constraints.

Taiko’s digital flagship doesn’t drown the listener in sound; it draws them into the music, creating an interactive, palpable aural–physical atmosphere where sonic complexity never becomes a burden and no sonic blur is introduced.

Mari Boine – “Idjagieđas (In the Hand of the Night)”

With Idjagieđas the Taiko Olympus and I/O leave no detail unrevealed—rendering fractal-like decays and delays that enhance the music’s tranquility and crest factor, all with commendable strain.

Particularly with “Suoivva,” a peculiarly, hauntingly beautifully composed piece, Olympus renders unrestrained mysterious indigenous force yet remains genial, with transparency clear as a bell.

Diving into the recording’s depths, the Olympus intertwines seamlessly with the music’s narrative prowess—never dominating the performance, yet superbly revealing subtle stereo-field differences in perfect synchrony with the unfolding, innately ravishing mystery sonic tale, retaining a silky-smooth tonal balance, expansive atmosphere, and crystalline clarity.

Where many music servers—regardless of price—strip away “Suoivva” narrative details and musical nuances, the Taiko Audio flagship digital combo consistently maintains the music’s movement and timing, never introducing spectral shifts or detracting from genuine emotional connection.

The Conclusion

In the digital domain, changes come rapidly, but at the very top end of the market, it takes more time and effort. That’s why it took Taiko Audio several years to climb the ladder and introduce something truly novel—worthy of its brand name, fame, and recognition.

Under the baton of tireless entrepreneur Emile Bok, Taiko Audio decided not to beat around the bush with Olympus and I/O. They went to the nth degree, from the inside out.

Due to the push to introduce new products quickly—and in a market demanding innovation—too many ultra–high‑end products end up compromised in one way or another.

By contrast, Olympus and I/O were conceived from the very beginning to elevate the industry’s standards and go beyond the ordinary. Taiko Audio took the time necessary to ensure no compromises in state‑of‑the‑art performance and overall design. That commitment included a mind‑blowing R&D investment at a time when uncertainties abound.

Thinking outside the box is Emile Bok’s nature, fueled by untamed passion and fanatical persistence. Taiko Audio began with Bok’s bold move to embrace the role of entrepreneur fully, and Olympus and I/O are a tremendous continuation of that spirit.

Following Taiko Audio’s Extreme Switch and Router, Olympus and I/O continue a rigorous, creatively driven approach. A problem‑solving modus operandi goes hand in hand with deep expertise, active pursuit of new concepts and technologies, and sourcing the best parts regardless of cost.

Fanatically throughout designed and executed under the aural supervision of Taiko Audio’s CEO—whose “golden ears” ensure every detail—the result is a cutting‑edge spectacle. Proprietary technical solutions preserve every dynamic range, creating a vivid sonic tableau unmatched by any digital audio source I’ve experienced.

Olympus’s forward‑thinking design—even more than Taiko Audio’s Extreme Server—disrupts traditional digital front‑end demarcations, delivering a stupefying sonic experience that engages the listener with the performer in real-time.

Bok wants the listener enveloped in sonic splendor while maintaining absolute transparency and accuracy. That philosophy, focused on fundamentals and digging deep into the heart of the music, is anything but easy—but it guides Taiko Audio’s work.

Today’s upper‑plane digital systems have become so complex that it’s nearly impossible to predict their sound. But with field‑tested experience, the Taiko Audio Olympus music server is articulated exactly as it should be, making what might seem an “endgame” digital solution insatiable.

Digital audio is not merely a stepwise representation of analog but its entity and the Taiko Audio Olympus music server instantly demonstrates how crucial a textural approach is in revealing every nuance faultlessly.

The Olympus I/O represents a unique “Babel Fish” for translating zeros and ones into one of the most authentic replays I’ve heard. It leaves me flummoxed by its accuracy in reproducing upper harmonics—the transparency and “air” that analog inherently possesses.

While some even top‑tier music servers occasionally drift off‑piste, Olympus and I/O do not. At every musical turn, they resonate with profound symbiosis to overarching themes and motifs, performing their single job—revealing the music—with aplomb.

Complexities of digital audio are concealed; the listener is presented only with organic ambiance and subtle dynamic contrasts, from softness to thunderous impact.

Where many modern digital products feel like a one‑way sonic escape into disorder, Olympus reflects the music’s true potency with genuine emotional impact. Taiko Audio’s flagship products cater to my sensibilities by providing a structural and sonic framework that transports the music into an almost astral projection.

Excellent products abound, but they don’t matter if listeners are put off by a lack of engagement—a problem that repeatedly occurs not only at high‑end audio shows but also in demo rooms. Potential clients moved on to other realms.

Regardless of the cost, some music servers and streamers sound slogged and indecisive. Not Olympus. It allows the listener to ignore distractions and connect fundamentally with the music. Olympus and I/O have consistently proven exceptional from album to album and track to track—not only spectrally but spatially correct.

Taiko Audio Olympus and I/O act differently than norms; they are the ultimate gateway for discerning audiophiles and music lovers, offering an exploratory depth that transcends price and marketing spin.

Taiko Audio’s core ethos is pure performance. Their top‑tier digital “double‑decker” is seamless in function and sound, made possible only by boundary‑pushing technology that evokes a tangible sense of awe.

If music reproduction isn’t fresh—if it’s over‑processed and flat—it fails to deliver the magic of connection. Quite the contrary, Olympus delivers both emotional and cinematic impact, leaving a lingering, musically and sonically pleasing allure.

Olympus and I/O deliver everything loyal Taiko Audio aficionados expect while incorporating bold design updates that set them apart from previous model.
This digital double‑decker cements Taiko Audio again at the forefront of innovation, securing a well‑deserved position in the digital audio pantheon and offering a genuinely grand sonic memento.

Olympus is the pièce de résistance of digital front‑ends, blending sonic excellence with technical forward-thinking, where for a fresh breeze of the air, the actual R&D is the glue that unites these two worlds.

Every detail expresses the brand’s philosophy: massive parallelism enables minimalist craftsmanship, resulting in an effortlessly elegant appearance and unparalleled musical delivery.

Taiko Audio undoubtedly began its journey with respect for its predecessors—but today it stands on its own shoulders, reigning supreme with a state‑of‑the‑art response to top‑tier digital playback that is visceral, distinctive, and driven by innovation.

Building on the Extreme series, Olympus is a stalwart of the music‑server/streamer world. No wonder their work continues to resonate so widely, maintaining unwavering alignment with the music across genres.

Taiko Audio’s future‑forward proprietary developments have raised the benchmark to new heights, committing to boundary‑pushing innovation and manufacturing emotional masterpieces.

With the latest upgrades and second‑to‑none technologies, this benchmark product oozes class, performance, and exclusivity—and it will shape the next decade’s design ethos. For yours truly, it fits like a glove.

And then there’s the design! While some may find it hard to swallow, Taiko pushed high‑end industrial and hi‑tech implementation to new heights, tying in closely with their iconic Extreme shape and form. The innards are painstakingly curated to perfection—nothing else on the market sounds or looks like it, and I’m firmly in that consensus.

Vince Lombardi stated, “You cannot achieve perfection, but if you strive for perfection you will achieve excellence.”

This is precisely where the Taiko Audio Olympus and I/O stand: building upon the rich experiences gained from the Extreme Music Server, followed by intense research and design.

The fox who dismisses unreachable grapes as sour fails to discover something extraordinary. Similarly, one truly needs to experience the Taiko Olympus music server in a system tuned to perfection by experienced ears — assembled not merely by price point or accolades, but to render music as it is.

Above all, the Taiko Audio combination embodies a profound paradox: high‑end audio is not just about reaching a destination, but about total immersion in a perpetual musical journey. This is where genuine, repeated joy in experiencing music is found.

Like “slow food,” Olympus offers “slow music intake” with heirloom‑quality expressiveness and superior mechanical integrity.

Yes, Olympus and I/O carry a hefty price tag—but considering the time, know‑how, and resources invested in their development — and, most importantly, the sonic outcome — that cost becomes more palatable. In fact, the Taiko Audio combo’s price tag is not as astronomical as some competitive products.

Taiko Audio Olympus and I/O were designed from the ground up to push boundaries, achieving results in a far more sumptuous and meaningful way than even the Bok and Taiko team envisioned — cutting‑edge future‑classicism that defies a highly specific (but utterly important) sector of the ultra‑high‑end audio industry.

I cannot give higher accolades than those I’ve already offered. But if it must be formalized, Taiko Audio Olympus and I/O deserve the super‑rare and most highly coveted 2025 Mono & Stereo Uber Award.

The past two years have been momentous for Emile Bok and Taiko Audio: not only have they built on the fame of the Extreme music server, but with the Olympus project, they have also redefined what’s possible and introduced an entirely new level of performance.

With an open mind, ears, and heart, I look forward to what comes next.❖

The price

• Olympus server XDMI – €84,000 – excluding VAT
• Olympus I/O – €28,500 – excluding VAT
• Extreme to Olympus I/O with XDMI €46,500 – excluding VAT

Technical Specifications

Contact

TAIKO AUDIO B.V.
Zandbreeweg 6
7577BZ Oldenzaal Netherlands

Web: Taiko Audio
Email: contact@taikoaudio.com

Dreamaudio

Web: www.dreamaudio.eu
Email: info@dreamaudio.eu
Phone: +421905806512