WiiM Amp Ultra Streaming Amplifier Review

WiiM is a brand of Linkplay Technology, founded in 2014. After extensive experience developing voice-interactive control systems, home automation and IT technology for other major brands, the company decided to launch its own products. Today, WiiM’s streaming range spans the budget-friendly, hockey-puck-style Mini through to the full-featured Amp Ultra reviewed here. The latter is the newest addition to the company’s streaming amplifier line-up, and the first in the family with a colour touchscreen.

Up Close

The Ultra’s squarish unibody aluminium chassis measures 200 × 211 × 76mm and weighs 2.5kg. On the left of the front panel sits a 3.5-inch glass touchscreen, with a rotary knob/button on the right. While it closely resembles the Ultra Streamer, the Ultra Amp is not simply a bolt-on amplifier version. In fact, the Ultra Streamer offers broader connectivity (including a phono stage, headphone socket and multiple digital outputs), making it better suited to tinkerers, whereas the Amp Ultra aims to be a one-box solution.

Turning to the rear panel, there’s an IEC “clover” power socket for the universal-voltage power supply. A pair of RCA inputs (digitised at 24-bit/192kHz), TOSLINK optical, and an HDMI input (both supporting PCM and Dolby Digital) complete the wired inputs. Outputs comprise a mono subwoofer jack and a USB-A socket that doubles as a digital output or a connection for external storage; if both are required, WiiM recommends using a USB hub. The speaker terminals are recessed holes for 4mm banana plugs, and WiiM includes a neat adapter for spades or bare wire.

Wireless features are comprehensive. The Ultra includes two-way Bluetooth 5.3 with SBC and AAC codec support, plus Google Cast (but not AirPlay). Networking is via a 100Mbps Ethernet port or tri-band Wi-Fi 6.

On paper, the Ultra shares core components with the Vibelink Amp, including an ESS ES9039Q2M Sabre DAC, dual TI TPA3255 Class-D amplifier chips, and six TI OPA1612 op-amps for the analogue stage. The DAC handles PCM up to 24-bit/192kHz (DSD is not supported), while the amplifier is rated at 100W into 8 ohms and 200W into 4 ohms — ample power for sensible loudspeaker loads. Thermal management uses a copper heat pipe, a large aluminium heatsink and PID control to regulate temperature in real time. Post-Filter Feedback (PFFB) helps keep the amplifier’s output linear regardless of speaker load, which WiiM claims yields more accurate, balanced and natural sound.

Streaming support covers Spotify, Amazon Music, YouTube Music, TIDAL, Qobuz, Deezer and more, and the Ultra is Roon Ready. Music libraries on attached USB media can be shared with other WiiM devices on the network; navigation is smooth enough to be a viable alternative to running a separate media server.

Users can tailor the sound via a 10-band graphic or parametric EQ, alongside RoomFit™, WiiM’s proprietary room-correction suite. Settings can be applied per input, and RoomFit and EQ can be used together — for instance, adding a tasteful bass and midrange lift on the HDMI input for greater home-theatre impact and clearer dialogue.

In Use

Setup is straightforward, in keeping with the broader WiiM ecosystem. After downloading the WiiM Home app, power up the unit and follow the on-screen prompts; a firmware update may run, and you’ll be playing music within minutes. As a long-time WiiM user notes, firmware updates arrive frequently with new features and fixes. The app is stable and easy to use, and the included aluminium remote accepts voice commands and covers the basics — a welcome inclusion given competitors often charge extra for remotes.

RoomFit was tested using both an Android phone’s microphone and a calibrated UMIK-1. The app lets you constrain correction to specific frequency ranges or cap the magnitude of changes. Results were tangible: more powerful bass and clearer mids. While the phone yielded respectable improvements, the UMIK-1 produced better outcomes and is worth the outlay. Corrections are displayed in the parametric EQ, and individual filters can be disabled for fine-tuning. Subwoofer management is a highlight, with automatic time-delay calculation, crossover frequency, phase and level adjustment; both sub and mains can be run full-bandwidth or filtered, improving sonics and headroom.

Home-theatre integration is also on the menu. WiiM devices can be combined into a Dolby 5.1 setup — for example, the Ultra can handle left, right and subwoofer channels while other WiiM units take centre and surrounds. The newly launched Sub Pro operates wirelessly within the WiiM ecosystem for a tidy, cable-light solution.

For evaluation, the Ultra drove a pair of KEF LS50 on 24-inch Partington Dreadnought stands, spaced 2.2m apart and 0.75m from the back wall. It achieved satisfying volume with ease. A JL Audio e112 was connected to the subwoofer output; listening comparisons were made with and without the sub engaged.

The Listening

The Ultra’s full, relaxed balance is engaging. It delivers a cohesive, weighty and musical presentation that’s appropriately detailed at the price. Initially, the Vibelink and Ultra sounded broadly similar, but enabling RoomFit saw the WiiM pull clearly ahead — and the improvement wasn’t subtle.

On Myself When I Am Real by Julia Hamos, solo piano sounded authoritative and tonally dense. Reverberation was lifelike and sustained chords decayed delicately into the room. Repeated figures carried texture and variation, revealing fine nuances in fingerwork, while upper registers remained focused and clean.

Yes! Ramen!! by Hiromi and Sonicwonder conveyed infectious, playful energy, with video-game-inspired bass lines bouncing along. Instrumental lines were well separated in a busy mix; while trumpet and bass solos could have been a touch more incisive, any sins of omission did little to dent overall enjoyment.

Midrange timbre is a strength. Natalie Merchant’s River sounded creamy and dream-like, communicating the song’s melancholy without harshness. The Ultra is happy to switch from dance to downtempo: Michael Jackson's Billie Jean delivered snappy, punchy bass and kept its composure even at high levels.

Home theatre performance was similarly confident. In Black Hawk Down, the helicopter minigun sequence was dynamic and convincing; the crisp clatter of spent shells landing and bouncing created a vivid sense of space. On gentler fare like K-drama The Sound of Magic, dialogue was inviting and musical cues filled the soundstage. If we’re nit-picking, stage width doesn’t extend far beyond the speakers compared with its depth, and the laid-back voicing won’t be every detail-spotter’s cup of tea — nor the last word for effects-chasing cinephiles.

The Verdict

A cracking little package at the price. The WiiM Amp Ultra’s small touchscreen and relatively limited connectivity are the only reminders of its budget origins; in most other respects, performance far exceeds expectations. A clear winner — and an essential audition.

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