In this feature, Meldrick reviews the TempoTec March V-M5, a compact desktop dual-DAC and Class A headphone amplifier with optional BT. It is currently priced at $178.00.
Disclaimer: I received this sample in exchange for my honest opinion. Headfonics is an independent website with no affiliate links. I thank TempoTec for their support.
Click here to learn more about TempoTec products previously reviewed on Headfonics.
This article follows our latest scoring guidelines, which you can read in more detail here.
TempoTec is following up on their previous March III M3 DAC Amp with the March V-M5, a $178 compact desktop amp and dual DAC boasting optional Bluetooth connectivity, but with higher power output and a Class A topology.
Coming in the middle of TempoTec’s DAC/AMP lineup, it faces stiff competition from other major Chi-Fi brands’ releases, such as the FiiO K11 and the Shanling EH1.
Read my full review below to see if it has what it takes to compete with its peers.
Features
The March V-M5 is a compact integrated DAC and balanced headphone amplifier with line-out capability. It has a dual AK4493SEQ implementation with decoding capability up to 32-bit/768kHz and native DSD512.
The TempoTec March V-M5 also uses a self-developed FPGA paired with a precision crystal oscillator array, ensuring accurate digital signal handling across all inputs, including USB, optical, coaxial, and Bluetooth.
Powering its output is a fully discrete Class A amplifier, delivering up to 1.75W into the 4.4mm balanced jack down to 425 mW single-ended (measured on a 32Ω load).
Rounding out the feature set for this version of the unit is Bluetooth input with LDAC, AAC, and SBC support. This makes the March V-M5 a versatile all-in-one DAC/AMP that offers both audiophile-grade wired performance and high-quality wireless convenience.
Design
The TempoTec March V-M5 features a sleek all-metal chassis with a smooth black finish and gently curved edges, giving it a refined, understated look.
The front panel includes a 4.4mm balanced and 3.5mm single-ended headphone output, a responsive volume knob, and a clear OLED screen flanked by three tactile buttons: “Mode” for input selection, “Gain” for toggling high/low gain, and “Output” for switching between its different output ports.
It’s noticeably larger than the M3 that precedes it, occupying about three-quarters of the footprint of a standard 14-inch laptop.
While it’s still manageable for most desktop setups, it lacks the M3’s compact versatility. Just like the M3, the included Bluetooth antenna protrudes from the rear, adding to its overall height.
Branding is minimal, limited to a discreet “March V” logo on the front. The OLED display is easily readable in all lighting conditions without being distracting, and gold-accented jacks add a subtle visual touch. Four rubber feet on the base ensure a solid grip and stability on any surface.
I/O
The TempoTec March V-M5 delivers a highly adaptable input/output configuration, paired with broad format support that makes it suitable for a variety of audio setups.
Its USB input supports PCM up to 768 kHz, native DSD512, and full MQA 8x decoding, all without requiring drivers on macOS, Windows 10, or Windows 11. The connection is straightforward using the included USB-C to USB-A cable.
Bluetooth input supports LDAC, AAC, and SBC, with notably improved AAC performance over the M3, working smoothly when paired with an iPhone 14. Latency is low, making it suitable even for casual video or gaming use.
Coaxial and optical inputs support up to 192kHz/24-bit PCM and allow easy integration with legacy digital sources like CD transports, game consoles, or smart TVs.
On the output side, the March V-m5 includes balanced XLR and unbalanced RCA line outs, offering solid flexibility whether you’re feeding active monitors, integrated amplifiers, or external headphone amps.
Balanced XLR is a premium touch at this price point, enabling cleaner signal transmission to fully balanced downstream gear and more professional studio monitors.
The front panel hosts 6.35mm single-ended and 4.4mm balanced headphone outputs, which are standard at this price point, but essential for accommodating a wide range of headphones and IEMs.
Controls
The control scheme on the March V-M5 is barebones but mostly intuitive. The centerpiece is a volume knob with a smooth, well-damped feel and tight tolerances.
Despite being an endless encoder, it tracks volume changes precisely, with the OLED screen displaying levels on a clear 0–100% scale.
Below the screen are three microswitch-style buttons for “Mode,” “Gain,” and “Output,” each giving a satisfying, tactile click when pressed. Long-pressing the volume knob triggers mute, though it takes a couple of seconds to activate, which limits its usefulness in quick situations.
Switching between the USB, Coax, Optical, and Bluetooth input modes does come with a noticeable delay. I regularly encountered a one-to-two-second wait, accompanied by a distinct relay click.
This sluggish transition was already present in the March III M3, and it’s a bit disappointing that the issue wasn’t improved in the M5.
Another quirk is the rear-mounted power switch. While not ideal, it’s manageable as long as the unit isn’t tucked too far back on your desk.
Fortunately, the included remote helps streamline daily use. It features dedicated buttons for input mode, output, gain, mute, volume control, and track navigation. It worked well in most situations, but I noticed a small bug in Bluetooth mode.
Pressing the next or previous track buttons simply paused playback, and pressing again didn’t resume it. It’s a minor issue, but hopefully, TempoTec can resolve it in future firmware updates.
The remote uses a watch battery, which is already installed; just remember to remove the plastic tab before use. I embarrassingly missed this at first and thought the remote was DOA.
Packaging & Accessories
The March V-M5 comes in a simple white box featuring a wireframe illustration of the unit on the front. Inside, you’ll find the DAC/AMP itself, a power cord, a USB-C to USB-A cable, a 3.5mm to 6.35mm adapter, and a remote control.
While the accessory set is fairly barebones, the inclusion of a remote at this price point is a standout—it significantly enhances the usability of the unit, especially for desktop or media center setups.
Sound Impressions
The following sound impressions were made with the Sennheiser HD 580, Audio-Technica R70X, Modhouse Argon MK3, Moondrop Blessing 3, Yanyin Canon II, and 7Hz Aurora as my main headphone and IEM pairings.
Bass
The March V-M5 has a clean, neutral presentation that adds very little to color the overall sound. Its bass presentation lies a bit more on the lean side, however.
Sub-bass presence is modest in quantity, but when it does hit, it does so with satisfying texture and tactility, offering a sense of physicality that gives low-end moments real weight despite the overall restraint.
The mid-bass region is more prominent in the tuning; it isn’t a warm DAC/AMP by any means, but compared to the deep thump of kick drums or 808s, bass guitars have noticeably more room to breathe.
This extra space allows them to sit forward in the mix, particularly in genres like funk and disco, where the groove is central. The March V-M5’s low-end presentation ultimately favors neutrality.
Those who are searching for a warmer sound signature more akin to a tube amplifier may be disappointed, but its uncolored bass presentation excels in playing back tracks without overpowering the mids or treble.
Mids
The March V-M5’s midrange is clean and well-resolved, offering strong separation across instruments and vocals. Strings sound organic with well-reproduced harmonics and realistic decay with just enough reverb to give them space without sounding artificial or lingering too long.
Each strum or bowing feels defined, with a natural sense of movement. Piano notes are similarly well-handled, with each key strike carrying good energy and clarity, allowing dynamic playing to come through convincingly.
Vocals have a clear and emotional presentation; higher-pitched female vocals have a bit more air and sparkle, while male vocals, though articulate, lack the full-bodied depth you’d typically get from slightly warmer amps.
The March V-M5’s leaner tonality gives it an airier presentation with a stronger emphasis on string instrument resolution and harmonics. This emphasis carries over into the treble region as well.
Treble
The treble performance on the March V-M5 is clean, extended, and slightly forward, contributing to the DAC/AMP’s overall sense of clarity and air.
High-frequency elements like hi-hats, cymbals, and chimes are presented with good sharpness and separation, enhancing the sense of space without sounding splashy or uncontrolled.
There’s a noticeable sparkle in electronic and pop tracks, where percussive details like snare hits and crashes cut through the mix with speed and impact. This gives the March V-M5 an energetic character that keeps track of feeling lively and well-defined.
That said, the treble is not overly aggressive. Even on brighter IEMs or headphones, it rarely crosses into true sibilance, and extended listening sessions remain comfortable.
There’s just enough restraint in the upper range to prevent fatigue, which is important for treble-heavy genres.
Staging & Dynamics
The March V-M5 offers a strong sense of soundstage and imaging, with particularly good performance in the midrange, where instruments are well-defined and placed with precision.
In acoustic tracks, string instruments are positioned clearly within the space, allowing for natural separation and depth. The clean, uncolored tonality of the March V-M5 helps isolate individual instruments even in complex mixes, giving a sense of clarity without muddiness.
The soundstage itself is wide and immersive, with good spatial cues that give the music a three-dimensional feel. While not as expensive as some warmer DAC/AMPs, the March V-M5 still provides a satisfying sense of scale, especially for midrange-heavy tracks.
It may not have the same grand, enveloping presentation as something like the FiiO K11 R2R, but it captures a well-balanced, dynamic stage that highlights instrumental detail and positioning.
Click on page 2 below for my recommended pairings and selected comparisons.
