*Translation using an iphone and a ipad and Google translate camera.
- not perfect. But you get the gist of it.
Today Fujiya Avic Japan held an online Headphone show as a replacement for their Spring show that was cancelled due to the worldwide spread of the CoVid-19 virus.
Here is some information on iBasso DX220MAX i got off Twitter.
*please search ‘DX220Max’ on Twitter as there is a lot of conversation at the moment.
Please follow the links further below to read in the original language. Or use Google Chrome for a translation.
CAUTION: Google Translate is not prefect.
There maybe inaccurate points in translation. Please read wisely and do not jump to conclusions based on an imperfect translation.
MITER contacted Head pie again to offer to send their latest creation. A Dap+earphone case for on the go, use at work/home or as storage.
I have enjoyed their past creations of cases specifically for daps, which a search of Head pie will show.
Cases come in various sizes and materials. This one is a bit different. The size is larger and the material case more solid which fits with its multi use intention.
A brief piece by MITER on the case follows the unboxing and where to buy at the end.
The photos speak for themselves and tell you all you need to know with minimal commentary. Enjoy.
Lucky Head pie. Personalized bling bling!
The sturdy case opens into two halves.
The left side is for earphones, extra cables, tips and maybe a small back up dap etc etc.
Also contains a small bag for various uses and also a band to secure the cases from accidental openings which might jettison your precious dap etc.
The left side flap is secured. Sensible design.
Whilst the right side for the dap is removeable.
The right side has a sliding piece which locks into place and enables one to easily operate their dap whilst on a desk or table.
Also is a velcro beam which can be used as a separator or to lock the dap more securely in place.
I asked Miter what their vision was for the case. Its a bit larger than the usual cases i use on the go whilst i commute to and from work,
Or did before love in the age of covid-19...
MITER:
‘All of our cases has same purpose, for on the go.
Protection for audio gear is very important for outdoor use. Especially for those with high end gear.
But for MITER DAP+earphone case, it is not only designed for mobility,
We also focused on the storage of your DAP and earphones etc or whilst in use just beside you at your home or office.
Many of audio gear owners place their earphones and players haphazardly in many places and situations.
It is common but looks chaotic and can lead to damage on the go or at office or home.
So portable protection is our goal.’
I was able to squeeze quite a bit in without effort.
I had space enough for another pair of earphones and perhaps a cable and some tips.
The band for securing the case shut whilst on the go.
Pros:
Size.
Sound-so tunable!
Build quality.
Power.
Form/function.
Ability to play for days with all of the controls!
Cons:
Base slides when it is stand alone.
We do not have a better look at the tubes.
Remote is small, but functional.
Cost to some? iFi Pro iDSD ($2499usd): So good, I bought it…last year. iDSD website: https://ifi-audio.com/products/pro-idsd/
iFi
needs little introduction by now, what with the hugely successful micro
iDSD Black Label, x-series portables and nano components as well. Throw
in all of the cable options & DAC’s and the AMR-Audio subsidiary
out of Accrington, UK presents itself well. Seemingly moving to the
smaller and smaller more portable options, the iDSD Pro and iCAN move
iFi into AMR-Audio range. Successful would be an understatement, and
often given as products of the year, the iDSD Pro follows that legacy
accounting well to the heritage.
I have several iFi pieces of
kit. I have a stack with the iTubes2/iDAC2/micro iDSD BL, which I dearly
love. I still use them often. But given the opportunity to try the iDSD
after the iCAN, I found that the Pro truly can replace the stack. That
said for less than half the price, the stack is incredible. But this is
about the iDSD, and it simply put is superb. With so many functions and
hook ups, I do not think I have even tried all to be honest.
So,
after the extended review time, I chose to purchase the unit. As too
often happens with iFi products I demo, I purchase them. Sigh, my wallet
laments, but my sound espouses goodness. Paired with the iCAN, I
imagine the sound to be quite good (OK, better than quite good), and I
have noticed that several have the combination. The iDSD works solo for
me, and that is just fine, especially when hooked to other gear I have.
And, I am just fine.
Specs
Sample rates:
PCM up to 768kHz DSD up to 49.152MHz (DSD 1024) DXD and double-speed DXD (2xDXD)
Inputs:
USB (required for DSD, DXD and sample rates above 192KHz) AES3 (XLR – single link) S/PDIF (coaxial/optical combo) BNC multifunction (S/PDIF in or sync input)
Outputs:
Balanced XLR at 4.6V (+15.5dBu – HiFi) or 10V (+22dBu – Pro) Single-Ended RCA at 2.3V (HiFi) or 5V (Pro) Headphones 6.3mm & SE 3.5mm Jack at 0.55V/2.1V/5V Headphones BAL 2.5mm/4.4mm Jack at 1.13V/4.6V/10V Headphones out 1,500mW RMS X 2 @ 64 ohm, 4,000mW max. 2 X @ 16 Ohm
Balanced (6-gang) Alps potentiometer, motorised with IR remote control XLR/RCA outputs can be selected as fixed level or adjusted 6.3mm headphone jack is always adjusted
Other Functions:
Various digital and analogue filters can be selected for DSD and PCM up to 384KHz
Audeze LCD-3 ZMF Eikon Mr. Speakers Ether-C Flow 1.1 Sendy Avia Campfire Audio Cascade Verum Audio Verum 1
Empire Ears Legend X Noble Savant II CTM Da Vinci X
MacBook Pro XDuoo x10t ii Questyle QP2R Shanling M5s Songs used:
Van Morrison: Three Chords & The Truth Tedeschi Trucks Band Twenty one pilots: Regional At Best, Trench Big Head Todd & The Monsters: Beautiful World, Midnight Radio Bob Marley Ziggy Marley Roger Daltry SRV Santana Los Lobos Los Lonely Boys Unboxing:
Coming
in a large white-sleeved box, the Pro comes well packed and
well-endowed with goodies. With specs laden on the bottom, and the types
of music on the bottom, along with pictures on top; one could easily
spend much time looking at the box after hooking the Pro up. One look at
the back and you understand what a mighty critter this is. And I will
again state that I have not tried all of the options.
As per
typical iFi, once the sleeve is off you have a snow-white box replete
with silver iFi labeling. Clean and clear, I like the simplicity.
Opening the carton, you are met with a protective foam insert to protect
the Pro. Taking the wrapped Pro out, there is a smiley face complete
with wearing headphones and the message “thank you.” Lol, a nice touch.
Several boxes underlay the Pro, with the accessories, and power
pack/cord inside. With an included dual RCA (in purple!!!) cable set
along with the ubiquitous blue iFi device usb cable, there isn’t much
else included. But when you think that you already have two cables you
have a very good start. My XDuoo came with a mini-xlr to xlr, which
hooked directly into the xlr source, so I had three options. As a fourth
I used an iFi Mercury 2.0 cable, which I won. I used that to hook up to
my MBP as well.
Initial set-up:
Hooking
the Pro to my MBP first using a dual RCA to single 3.5 cable, the
MacBook easily recognized the iFi when brought up as “headphone port.”
Hooking the Mercury cable up and a micro-usb adaptor, the MBP recognized
the iFi as an iFi. Easy as eating a pie. Using the input
switch allowed quick changes between multiple sources. I would often
have the MBP and another source hooked up such as the XDuoo or a DAP.
Once
you turn the iFi on it goes through a system check, with the iFi Pro
logo in the top left blinking orange until the tubes heat up enough as
well as the cycling through the menu. Turning to green you are good to
go. The process usually took about 10 seconds total. The unit does
remember previous volume as well, with the knob actually moving to the
level it was when turned off. Of course, this only occurs if you turn
the unit down after turning off. I will admit that watching the orange
glow of the tubes come on is a simple pleasure I enjoy, and the “looking
glass” fisheye on top makes for an voyeuristic approach. With the
curvaceous opening on top mimicking the orbits of planets around the sun
you get the central sun look through the fisheye. Psychedelic and
astronomic at the same time. Coooolll.
With a curvaceous top as well, one is left with a somewhat unfinished
feeling. I understand the iFi want for different shapes, but having a
dead flat front cover, with a tabletop smooth top line you get
mismatched curves. At first glance one might even think that the fit is
not quite right. But it is. When thought of in the iFi vein, you get the
singularity of design, which is their trademark. There is nothing on
the market, which looks like the micro iDSD Black Label, and you could
certainly say the same here what with the curves. In the end, I like it.
Playing Van Morrison’s In The Dark Night Of The Soul,
through my Cascade’s, I immediately appreciate the dark tonality of the
tubes. Just like the iTubes2, you can run full-on tube sound, a gentler
mix (SET), and solid-state (Push-Pull). I love tube sounds in the
portable market, especially after listening to the vaunted (RIP) Apex
Pinnacle 2 and my music. Stunning, extraordinary, exemplary, superb are
words too soft to describe the Apex. The iFi Pro does not fall that
far behind to me but does make me think of the welcomed two weeks with
the Pinnacle2. Played at DXD 768, with a 9dB gain, the sound was
wonderful. I immediately appreciated the sound, but also quickly
realized that for much of what comes on the Pro I would be out of my
element. In that regard, I would have to utilize what I could with the
three cable set ups.
From the manual:
The Pro iDSD (just like the Pro iCAN) is a one-of-a-kind product that is able to switch between:
‘Solid-State’ – a purely solid-state J-FET based circuit of fully discrete Class A topology.
‘Tube’ – the J-FET circuitry is switched to an all-valve Class A section based on 2 x GE5670.
‘Tube+’
reduces available negative feedback to a minimum. As a result, a
greater amount of the tubes natural harmonic distortion is produced
(even order harmonics dominate).
Headfonia mentions the
lack of Bluetooth, and I do miss that, but when taken as a desktop setup
with wireless DLNA capabilities as well as the multitude of other
options, it is not really needed. If need be, hook up a BT source,
connected to another source and you would have it. But one might wonder
why you would degrade the sound as such.
More about the options:
Simply
hooking up a source gives you many options with which to fine tune your
listening pleasure. Keeping the Pro close would be a good bet, as you
could happily change the gain level as well as tube/solid state set up
ad nauseum. Changing the filter setting gives more options, and even
these tired ears can hear some difference amongst the options. Not only
does the “filter” knob rotate to give differing options from BitPerfect
to BitPerfect+ as well as three others, you can push the knob in to
change the mastering level. Leave mastering off and you get how the song
was recorded, which does change between songs on the same album.
Pushing once changes the level to DSD512 (which on TWP Trees)
yielded 22 MHz DSD). Push again and you have DSD1024, 45 MHz DSD. The
brightest option to me (without volume change) was the original. So,
when upsampling, the volume is lowered a bit.
Cycling through the
five digital filters I found myself using the Gibbs Transient Optimized
(GTO) setting the most. I found the treble to be lifted a bit, without
too much sparkle, matching the corresponding darker tube tone well. A
definite Yin-Yang sound to me. Complimentary indeed. My second choice
was Bit-Perfect+ due to the roll-off correction.
Filters:
‘Bit-Perfect’ – No digital filtering is applied, one tap. ‘Bit-Perfect+’ – No digital filtering is applied, one tap, SINC roll-off is corrected. ‘Gibbs Transient Optimised’ – Minimum filtering, no pre-ringing, minimum post ringing, 32 taps. ‘Apodising’ – Modest filtering, no pre-ringing, modest post ringing, 128 taps. ‘Transient Aligned’ – Max filtering, max pre-ringing, maximum post-ringing, 16,384 taps.
Rounding
out the front is the volume wheel, with very fine feel and adjustment,
although using the remote gives less fine tuning. One touch on the
remote yields about 2 adjustments up or down by hand. Next to the volume
are the headphone outputs, with 6.3se, 3.5se and 2.5bal. Since my
purchase a 4.4bal model has come out, which cost $400usd more. I would
assume there has been some other fine tuning as well. I have no qualms
regarding the lack of 4.4bal as I have never had an issue with 2.5bal
jacks and do feel those that have are most likely unlucky or not careful
enough. I get it, accidents happen, but to me that should not be the
reason for purchasing a 4.4bal. Enough on that.
Sources/options:
I found the Pro
eminently changeable and adaptable. With the multitude of source options
as well as filtering/mastering options you have roughly 150+ listening
options when all tuning variables are included. For those that do not
like to tinker, you may find your optimized setting(s) and leave it be.
That is pretty much what I did but will admit it was much more fun than I
thought changing the bits and pieces.
Using the XDuoo x10t ii
transport, I found I liked the Xduoo even more. Since it is a dedicated
turntable, one must hook it to an amp. Running it normally through my
iFi xDSD, the iDSD Pro was a very nice treat. The clarity of tone was
not diminished, but slightly enhanced with the full tube sound. I found
myself changing the filter just for fun, but always seemed to come back
to the GTO. Minimizing the change, I heard the dark tone of the tube
come through, settling any dispute with a less than black background in a
recording, which might have one. With excellent width of sound stage as
well, the sound opened up to allow the vocals to take center stage. On
TWP’s House Of Gold, Tyler’s Ukulele sounded bright and airy.
When his vocals come through the middle, you cannot do anything but
appreciate the center stage. The supporting cast of instruments coming
in behind and in backing of the vocals tied together by the Ukulele. A
thoroughly enjoyable airiness imbued an overall tone of a lilty
atmosphere. Followed by Car Radio’s energetic full sound you
get the sense that the Pro can adapt almost like a sentient being. And
truth be told we are not too far behind that…
Using the Cascade’s
in the above paragraph, one might think the Campfire Audio’s dark tone
would be overwrought with dark tube sound. But, combined with the 2.5bal
LQi cable and the XDuoo you find it open in sound more than other
sources. Even in full-tube sound, the clarity belies the typical
response of the Cascade (run on smallest filter for best bass quantity).
What a wonderful trio.
Much time was spent on my MBP through the
Mercury 2.0 cable and Tidal Premium. Almost as much time as on the
XDuoo. I find the Premium sound of Tidal to be a bit dark of its own
volition. With the Pro in tow, the sound again was a bit less dark, and
more open. Going old school with Hurry Tomorrow from Los Lobos,
the song provides a cacophony of variation. David Hidalgo’s vocals take
on an almost ZZ Top-like quality, thrown in with an old Santana-like
guitar riff. But when you listen, you know…its pure Los Lobos. An iconic
group of which all should be exposed. The mix of guitar, drums,
xylophonic sounds in the background and David’s vocals give you reprise
and respite. This is the stuff of dusty east-Cali stuff, leading to that
long desert road in Arizona on your way to west Texas via New Mexico.
In an old Ford pick-up of course.
I did find that I had to raise the volume level about ¼ higher on the
set up, but that is not all that much. Plus, I could have easily
switched to the full 18 dB gain on the fly. When one does that there is a
lag while the circuitry changes the option. One might be wise to lower
the volume first. I will also note that using this combo gave various
lags, niggles and quirks. Sometimes a loud switch between Tidal songs
was had. I blame Tidal and the MBP because when using Pine Player on the
MBP the lags were not heard. Something with the MBP/Tidal/iFi trifecta
did not like each other.
I could also Airplay over to the iFi as an option as well. I found no problem with either setup.
I follow the above song with Los Lobos live version of Chuco’s Cumbia,
playing it at much too loud a volume, but do not care. The clarity of
which the acoustic guitars come forth is mesmerizing, enticing and make
my feet move in time like an actual dancer. I am wrought with fantastic
organic (yes, I wanted to use the other word…) sounds, which come across
like the clear concise song you would find in a trip to the Mexican
coast of the Pacific on a hot sultry night awash with dancing and much
imbibing. It is a fantastically phenomenal sound with thorough depth and
height to go along with the width. I am just along for the ride. After
listening three times back to back, I must stop, for my typing becomes
garbled, grabbled, gibberish. More in the morning. This is too good not
to just sit and listen.
To go over all of the options, which the Pro can provide would take a
10k treatise. And frankly you do not want to read anything I write,
which is that long. Suffice to say that 4k will usually be enough.
Comparison:
iFi iDSD Pro ($2499) vs Questyle CMA 12 Master ($1999):
Both
of these winner’s approach sound as their mettle. But they approach it
quite differently. Where the iFi is warm and provides much depth, the
Questyle is almost as crystal clear as the finest Swarovski crystal from
Germany. The true greatness of the Master to me is its ability to make
clear pretty much every sound that comes through. That is not to say it
does not provide a soul, or depth; but this is probably the cleanest
sounding set I have ever heard. It’s Just My Heart Talkin’ is
one of my favorite Los Lonely Boys tracks and an outstanding track for
judging detail retrieval and clarity. Along with that, if there is any
sibilance in the source/amp/headphone chain…it shows. And the Questyle
passes with the self-assurance of a Le Mans 24-hour winner. There really
is not anything terse to say about it. It performed admirably in any
set up. The precision fits. Sound stage is quite good, bordering on a
square. But that air between notes certainly makes up for any perceived
“deficiency.” There are wider, there are narrower; but to combine an
adequately big sound stage with that air is truly wonderful. Some might
find the sound too analytical, but I say it is the neutrality that is
driving that verbiage. This is probably the most neutral amp I have
heard (again sample is limited).
That said, most often neutral bothers me for to me it lacks any real presence. There is definitely presence here. Throw on Los Lonely Boys Heaven
and that song alone dispels any thought of analytical and dry. Bass is
rich, vocals crisp like a Minot, North Dakota -35 F morning and a soul,
which belies its neutrality. Want more neutrality? Switch the bias
toggle up for pure class-A albeit a bit less power. This is one damn
fine headphone amp. It really is. But it is so much more than that with
all of its capabilities that to simply think of it as an amp would be an
egregious error.
Whereas the iFi is dark in nature and I am OK
with that. I love the tube sound and can fine tune the sound with the
filters and other settings. But, if I had not already purchased the iFi,
I would have seriously considered the Questyle. Even with that neutral
clarity-driven tone. To me it is that good. A breath of fresh air, and
it would be a superb dac/amp to consider for your home set up.
iFi iDSD Pro ($2499) vs Auris Audio Euterpe ($1599):
From my Euterpe review: Compared to my iFi Pro iDSD,
the Euterpe is simply spartan, utilitarian or void of options with
which to tune the sound, save low/high impedance. The real fun is
changing the tubes in the Euterpe. The iFi has switches and gizmos to do
that. And if one wants to be able to change sound quickly, the iFi has
few peers. Costing half-again what the Euterpe is, I find the sound
comparable, but with many more options, the difference comes to the
front. I can get that same tube sound and alter the sound signature of
the music as well. With the Euterpe you are bound to the source. Not a
bad thing, and really not meant for that many options. If I had heard
both side by side before purchase, I would still have come home with the
iFi. But based upon options, not a huge difference in sound.
Finishing my time with Boom Boom
playing from BHT&TM, with John Lee Hooker, I get why I like the
sound. There is a certain “dirtiness” to the song. A kick the seat back
and find an open road to it, John Lee’s vocals simply give it that down
home sound. The Euterpe adds to that dirtiness. Giving more. Adding a
breadth of sound, which through tubes makes the sound oh so sweet.
Follow that with Please Don’t Tell Her, and you understand from
where Auris comes. One need only look at their website to garner a look
at the more expensive wares. That technology used trickles down to the
Euterpe well. And if this is their entry sound, one can only wonder what
the more expensive units sound like. I am thoroughly satisfied with the
Euterpe sound, and would consider it if there were more options to
inputs and maybe adding a balanced-out option. But as stated earlier, as
a stand-alone pure tube headphone amp, the Euterpe can muscle into the
$1500USD quite well.
iFi iDSD Pro ($2499) vs iFi stack of iTubes2/iDAC2/micro iDSD BL ($1400ish):
My
first genuine attempt at making a quality pairing, the stack still gets
used. It is quite a fun sound, with the ability to play rocket ship
pilot turning and fine tuning all of those knobs. I do not know, but I
estimate there are well over four dozen different combinations to be
had. I enjoy that aspect and can tune pretty much any headphone/IEM that
comes in contact with the set. Plus, I absolutely love the BL alone as
it is. That said, the Pro is better all around. With the option to add
as much or as little tube sound as I want, this trumps the stack. To do
so, I could still use the iTubes2 in the push-pull setting but there is
less variation. The sound is crisper through the Pro, and the tube
sound, well tubier. With all of the filters that can be applied, the Pro
has few peers, even now. I have had several come its way, but the Pro
still resides next to my station and gets the most use.
Conclusion:
This review is long,
long overdue. What started as an audition, turned into a purchase. And
as such, I became quite lazy. I preferred listening, instead of writing.
And due to Lawrance’s infinite patience, I could be lazy and wait. He
politely emailed me again, which was the nudge I needed. I sit here
pecking on my keyboard listening to twenty one pilots through my Legend X
and the fabulous XDuoo x10t ii/iFi Pro iDSD combination. I have better
DAP’s, but to me the XDuoo is about as pure as it gets. And as such, I
can customize the sound at my beck and call through the iDSD. This is as
good as it gets. Sound-wise, the Apex Pinnacle 2 is better (as it
should be for $12k), but with infinite more options for tuning, the Pro
iDSD is my choice for well over 60% of my listening. I will fiddle with
the filters on a sing by song basis sometimes but leaving it to one
setting is as much fun as the other.
And here is where the true
benefit comes in, the ability to filter as I chose, the ability to
source as I chose, and the ability to tube as I chose. That to me is
what sold me on purchasing the Pro. And I do not regret it at all. This
is still a fantastic unit (with 4.4bal option now), and truly one, which
will stay in my rotation for a good long time. It is the basis of my
comparisons, as it should be. And that gives me the kind of joy I have
right now finalizing this. The sound is sublime, and all is good. Enough
said.
Thank you to Lawrance for his continued patience, and to iFi for producing this gem of a critter.
x 63 (h) mm
