Perhaps, it is portable amplifiers that are the last step before falling into the abyss of audiophile. You can not just take a big amp to the same oversized sound source, having received a bulky "sandwich", wrapped in wires, you really need to want to get the best quality sound. Fiio has for many years been the best supplier of "blue pills" for suffering music lovers, and the recently released A5 flagship allowed them to strengthen their positions.
In general, even their first top-end portable amplifier was very successful, the Fiio E12, giving out almost 900 mW to 32Ω load became a real find for fans of tight headphones, followed by a very interesting model Fiio E12DIY, in which users could change the op-amp in their taste. This model was released in a limited edition, and it was for the first time that the MUSES opamp was tested by connoisseurs, who immediately proved themselves on the best side. Fiio quickly realized what to do and released the E12A, which just used MUSES02, and had a reduced power for comfortable work with the IEM.
But what was to be done by those who still wanted more watts? The answer came in the face of the hero of today's review, the MUSES02 OU is also used here, giving its signature color to the sound, but the power is increased to 800 mW at 32Ω load, which is enough for the vast majority of scenarios. Also worked on circuitry, increasing the signal-to-noise ratio and reducing harmonic distortion. From the design, the crossfade scheme was removed, since the function was of little use, and also worked on the appearance, slightly modernizing it. The price of the amplifier remained the same as that of the E12 at the start of sales, for a new A5 ask about $ 130, while the E12 can be found somewhere in dollars for 75, which allows it to remain relevant.
Specifications
- Operational Amplifiers: MUSES02 + LME49600
- Frequency range: 10 Hz ~ 90 kHz (-3 dB)
- Channel separation: ≥75 dB
- Recommended load impedance: 16Ω - 300Ω
- Output power: ≥800 mW @ 32Ω, ≥150 mW @ 300Ω
- Total Harmonic Distortion + Noise : <0.002%
- Signal to noise ratio: ≥115 dB
- Output impedance: ≤0.3Ω
- Channel imbalance: <0.3 dB
- Output voltage: 14.96 Vp-p
- Output current: 250 mA
- Battery: 880 mAh
- Operating time per charge: > 13 h
- Charging time: <3 h from 2 A charger
- Weight: 168g
- Dimensions: 124 mm × 65.5 mm × 14.5 mm
Packing and delivery kit
The search for packaging design in the company continues. This time the design is sustained almost in a monochrome scale corresponding to the amplifier itself. A lot of things were put in the delivery set. There are expected things, such as a microUSB charging cable, a pouch-bag and rubber rings of two sizes, for attaching the players to the amplifier. But there are also more unexpected things like silicone gaskets to avoid scratches when using a bundle of two devices. Also included is a very good short cable with two 3.5 mm connectors and different warranty instructions.
In general, everything you can think of to an amplifier is already in the box.
Design and management
Apparently, in Fiio for some reason found the design of the E12 close to the ideal, and almost completely repeated it in the new model. The same thin body with chamfers, making it visually even thinner. This time again made a different color, a darker one, and dispensed with the longitudinal texture "under the metal." Separately in Fiio noted a new "krutilka" volume, apparently, it came to the peak of the work of designers, now notches on it are made at an angle of 45 °, and as a decoration uses a red ring. These elements, according to the developers, will become "proprietary features" used in other models. Otherwise, the design remained almost the same as it was: a monolithic gray aluminum block, perfectly fitted and leaving a sense of reliability.
At the same end, which housed the volume control, there are sockets for the input and output and the gain switch. As before, the volume control is combined with the switch and in the zero position turns off the A5. The potentiometer in the amplifier is of high quality, so there is no noise when adjusting the volume, and the channel imbalance, which is typical for the initial positions of the knob of the regulator, is very little expressed and almost immediately passes. I'm not entirely sure, but in my opinion, the logarithmic volume control was used in A5, so the signal level first increases smoothly, and only the last third is stronger, it is very convenient for sensitive headphones.
At the other end there is a power socket and a bass boost switch. Faithful to their traditions, Fiio made a boost at the very beginning of the range and did not pick it up quantitatively, so this function adds body sound, but does not put headphones on the rumble. The A5 uses a high-quality battery, so from one charge in the test the amplifier worked 12 hours and 50 minutes, I think after several cycles of charge and discharge this number will increase. The amplifier is charged for 2 hours and 45 minutes from the charger for the iPad.
On the front side in the corner there are two LEDs, one shows that the device is on, the second is used to indicate the battery charge.
In general, all the controls are assembled in a heap near one of the ends of the device, which is logical, given that the amplifier is attached to the player and access to it is limited.
Sound
The following equipment was used for listening.
- NuPrime DAC-10H and Resonessence Labs Concero HP as DAC and Amplifier
- Apple MacBook Pro Retina 2013 as a source
- Fidelia as a player
- Lotoo PAW Gold, Fiio X7, Luxury & Precission L5Pro, Hidizs AP60 and Shanling M1 as portable players
- Headphones: Meze 99 Classics, Ambient Acoustics AM10, Audio Zenith PMx2, Noble Kaiser K10AU, Campfire Audio Jupiter, Dita Audio Brass and others.
- High Definition Records in Lossless-formats (Dr. Chesky The Ultimate Headphone Demonstration Disc and others)
Before writing about the sound of the A5, I repeat my thought from one of the previous reviews. In most cases, you do not need a portable amplifier. Many of today's players themselves have an excellent power reserve, and most of the headphones are sensitive enough not to require high power. So mindlessly buy an amplifier and cling it between your source and headphones is not worth it. The main task of the amplifier is to add power, not changing the original signal as much as possible. Therefore, the situation "I connected the amplifier and everything became much better" is possible in several cases - either you had tight headphones that lacked the power of the player, either it was a placebo or the amplifier colored the sound "from yourself." The real use of the same amp will only come in the case of No. 1. In general, before buying an amplifier - listen to it in your system.
I will not standardly paint the A5, talking about how it sounds in different frequency bands, since the amplifier is quite neutral (unless your headphones go into overdrive from excess power), with a slight bias in the merging feed, typical for MUSES02. I'd rather talk about how it changes the sound of really demanding headphones, in the face of which in this review are ZMF Ori (new name Omni) and to a slightly lesser extent Audio Zenith PMx2. Of course, I'm lying, waiting for my turn to review Kennerton Odin, but they need a much more serious path. Both Ori and PMx2 as isodines are quite demanding for amplification, and when used with good, but low-power players lose dynamics, first of all it is noticeable on bass, the bass becomes flat, the general tonality changes in the direction of sharp and unpleasant giving. After the addition of A5, the situation is corrected: the bass becomes deeper, texture and relief. The division of plans into depth improves, and this applies not only to the low-frequency, but also to the mid-range. This effect will be all the more pronounced, the more "capricious" your headphones have, for example, at 250Ω Bayers it will be heard right away, and on sensitive spikes the difference is almost impossible.
There are also changes in sound that appear for all headphones, although they are not so pronounced. Because of the easy softening, the amplifier shifts the emphasis from microdetachment to the emotional component of the material and slightly (very little) smooths out the flaws of the recording. Plus, of course, the enhancement of the bass - this function, when turned on, gives a noticeable, albeit neat effect, the LF gets a little bigger, which makes the sound warmer and the overall pitch more intimate.
Compared to the old E12, the novelty sounds a bit softer and with a less pronounced emphasis on the HF range. However, this difference is not huge, so you should not rush to upgrade without looking. Fans of the same experiments, I advise you to try to find E12DIY, sometimes they appear in the secondary market, from this amplifier, if you want, you can easily make almost A5, but it allows you to vary the sound in a much wider range.
Compatibility
Despite the low noise level and the near-zero output impedance, it's useless to use A5 with sensitive headphones, its elements are full-sized isodynamic models and multi-ohmic dynamic headphones. If you draw parallels, this is a real SUV, designed to go where no one's foot has stepped (except for the tractor driver who came to pull you), but if you travel most of the time around the city, the best choice for you will be the E12A "SUV".
conclusions
A very good portable amplifier, which is a real portable monster, giving out excellent power and able to cope with almost any load. Of course, it is clearly not necessary for everyone, but in case you want to listen to fairly tight headphones and at the same time keep the ability to move from place to place without using a crew of sober movers, the A5 will be an excellent and very inexpensive solution to the problem.
The article is based on materials .
Comments
Post a Comment