While it does offer a few "legacy" analog inputs, it is for the most part all-digital, input to output, including network connections on both ends. Consequently, it is less likely to leave sonic fingerprints on the music than devices that convert digital to/from analog or modulate their signals with active amplification or attenuation.
It is notable that, despite its audio function, the Storm completely lacks traditional audio specifications-distortion, dynamic range, and so on.
Yes, that aspect of the product was appealing, but the real trigger for me was that when I began this review, the StormAudio ISP Evo was the only consumer device to fully incorporate the latest version of Dirac Live Active Room Treatment (ART). An earlier, more primitive version of ART, called DLBC Full Bass Optimisation, was tantalizing² but ran only on Windows or Mac computers and seemed never to get out of beta status. My expectation for the ISP Evo is that the installation and calibration procedures of this integrated version, which is now fully commercial and public, will be more coherent and smoother and that the results will be even better than before.
That's quite an attractive package, but it comes at the cost of easy integration. The ISP Evo cannot just be plunked down into any audio or home-theater system because its primary output is via network. Since it is "AoIP (AES67/Ravenna) Dante Compatible," it can communicate directly to network-enabled loudspeakers, DACs, amplifiers, and other devices-but not to those that don't speak one of those network dialects. In my setup, I needed to connect it to my PC Server by running the appropriate drivers in order to play files from my library or to stream music from the internet; Merging's MAD ASIO driver package installed on my PC server enabled bidirectional flow of multichannel audio between it and the ISP Evo.
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