Apparently, iBasso have fulfilled their original plan for amplifiers for the DX200, all five modules are already available for order. Unlike FiiO X7, the selection of amplifiers for the DX200 is a difficult task, since their differences are not so cardinal (except for AMP1, of course), so let's deal with novelties under numbers 4 and 5.
The first, the most noticeable difference is the outputs. AMP4 uses the "Sonnian" standard of the balanced connector with a 4.4 mm 5-pin connector. On the one hand, this standard is good: more contact area, less brittle connectors, on the other hand - the usual 2.5 mm TRRS is much more common, so this module will have to be used either with Sony headphones, or buy a separate cable or at least an adapter for example, a model from MEEAudio). Even in iBasso understood the essence of the problem and released the adapter from 4.4 to 2.5. The AMP4 is a slightly optimized version of AMP3, but in fact the difference in sound is noticeable, although I do not know whose merit is the optimized topology of the board or other connector.
AMP5 is a variation on a less powerful amplifier with an ordinary 3.5 mm output for those who want a more relaxed filing. In general, it's funny that in addition to AMP1, iBasso does not have any amplifier offering both balanced and conventional outputs, so when buying a plug-in module, you will immediately have to solve for yourself issues with wires and understand which side you will be moving to future.
The price for both modules is the same and is about 200 dollars.
Specifications
AMP4
- Output voltage: 6.2Vrms
- Frequency range: 15 Hz - 45 kHz (-0.3 dB)
- Signal to noise ratio: 124 dB
- Total harmonic distortion + noise: 0.00032% (@ 32Ω, 2Vrms)
- Dynamic range: 124 dB
- Channel separation: 120 dB
- Approximate running time of the player: 7,5 h
AMP5 (headphone output)
- Output voltage: 3.2Vrms
- Frequency range: 15 Hz - 45 kHz (-0.3 dB)
- Signal to noise ratio: 121 dB
- Total harmonic distortion + noise: 0.00025% (@ 32Ω, 2Vrms)
- Dynamic range: 120 dB
- Channel separation: 107 dB
- Approximate running time of the player: 9 ~ 10 h
Installation
Both modules are sold in the same black boxes with white paper tape, like their predecessors. Inside is the amplification module itself, a brief replacement instruction, a warranty card and a small screwdriver to replace the modules (i think iBasso did some kind of Chinese screwdriver workshop plan for sales).
The installation process is very simple. It is necessary to loosen the side screws a little (literally for a couple of turns, do not completely unscrew them), remove the module by pulling it along the guides, then install a new one and gently tighten its fixing screws. Despite the fact that AMP2 and AMP3 could be installed without shutting down the player, iBasso does not recommend this, and there were complaints on the Internet that the player was freezing when hot-swappable. In general, if you like risk - you can tickle your nerves, although I am for safer entertainment.
In general, the installation process is very simple and very fast.
Sound
I do not even know if there is any sense in describing these amplifiers "in general", because the difference in the sound of the iBasso modules is not so great, they all offer excellent resolution, quality control over all frequencies, good micro and macro dynamics. Therefore, perhaps, I will limit myself to their differences from AMP1, especially since all those who buy the plug-in module in any case have a "unit", received together with the player, and imagine its sound.
The most amusing thing about iBasso amplifiers is that only the most "basic" AMP1 offers both balanced and conventional outputs, while all the "better" models are exclusively either balanced or non-balanced, apparently, this "specialization" is one from the conditions for improving the sound quality. In general, the drain amplifier is very good, except for its incredible fault-finding in the quality of records. AMP2 and AMP3 offer a slightly warmer sound and pitch, allowing the player to be "kinder" with not the best in quality tracks.
Speaking "theoretically", AMP4 should have sounded the same as AMP3, but the fact was slightly different. The peculiarity of the "four" is an incredibly "dark background" - almost complete silence on the "background", which allows this amplifier to effectively play back individual notes, clearly outlining each of them. This is somewhat reminiscent of the sound of the players Astell & Kern, but the latter sounds more natural to each other. Due to the beautiful outline of the sound, AMP4 more "hard" divides the instruments in both directions and builds a wider imaginary scene (not always, however, appropriate). Also, it submits dry land (I repeat once again that the difference is not large) and plays out more extended attenuation on the high frequency. In general, despite neutrality, it is still slightly less critical to the material than AMP1 (although more than 2 and 3).
AMP5, in turn, is distinguished by two features. The first is a more cohesive and slightly softened feed across the entire range, giving the sound more warmth. Slightly less aggression on the HF, a slightly more smooth middle, a little more bass (also with slightly reduced biting), a more intimate building of an imaginary scene - that's what the sound of AMP5 is built on. The second feature of the module - in spite of the lower output voltage range, it is slightly better able to handle the load demanding a larger current swing (the same AKG K702, for example).
About choosing iBasso amplifiers
It is clear that the choice of five very similar amplifiers is not a trivial task, so I decided to describe my subjective opinion about amplifiers and their application.
AMP1. A good "workhorse", effective, neutral and very technical module, offering versatility in the set of inputs and outputs. If you listen to high-quality recorded music (well, or at least do not listen very low quality), then you can easily stop at the basic module and save money.
AMP2. Option for those who want, not greatly changing the delivery of the player, reduce the very criticality to the quality of records. The sound is slightly darker, a little slit, the imaginary scene is a drop smaller, although the HF is almost the same as that of the "unit." Perhaps, the best option for the brutal styles of strings, electronic music and various pop.
AMP3. My favorite module, which offers the best of all models of HF development, especially in terms of length. The MF is slightly relaxed with respect to AMP1 (but less than in AMP2), the bass is almost at the level of the sink module. Amplifier for fans of high-quality VCH / HF, ready to switch to balance. Stylistically - universal, although most spectacularly it sounds on "audiophile" records, complex not brutal metal, large orchestras.
AMP4. If you own a cable with the appropriate connector, the choice of this module is obvious for you, but sometimes you can "twist" and the adapter. It is worth doing in cases when you listen to complex non-orchestral classical music, instrumental recordings or emotional vocalists.
AMP5. Module for fans of "warm-lamp" and moderate HF-fobov. A more intimate scene and a slightly smoothed pitch will be good for jazz vocalists, some instrumental types, classical rock.
conclusions
While iBasso is preparing the DX120 with all its strength (and we also hope for the non-repetition of the DX80 with all our strength), one can take a breath and look back. Obviously, with the DX200, iBasso has proved that it's still possible to create high-quality players, and the extensive choice of interchangeable amplifiers - simplifies the task of gaining "its sound". Or, on the contrary, complicates it, depending on which side to look at.
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