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Κωδικός Προϊόντος: APA-2016-62033
Κωδικός Προϊόντος: APA-2016-62033
The first product in the range is the Pro iCAN – a studio-grade headphone amplifier AND audiophile line-stage. Inside beats ‘two hearts’ as there is are two individual Solid-State and Tube amplification sections – selectable on the go. There is nothing quite like the Pro iCAN; literally.
Flagship, studio-grade headphone amplifier…
Pro iCAN LOGO-03 The Pro iCAN will for many, be used as a top-of-the-line, headphone amplifier that drives anything and everything – from CIEMs through to the most difficult to drive headphone ever made, the AKG K-1000. Further, Gain is adjustable from 0dB/9dB/18dB. The Pro iCAN can output >10V in Single-Ended mode and 20V in Balanced-mode. The 20V mode is equivalent 100W into a 4 Ohm speaker. So the Pro iCAN can drive almost any headphone into very hard-clipping (protection circuitry typically kicks in under such circumstances).
…and audiophile line-stage.
The Pro iCAN has at the core, a Japan Alps motorised rotary volume potentiometer. This is the ‘6-Track’ version with 4 tracks used for a true balanced volume control. This is the litmus test for any amplifier to see if it is truly balanced, or operates internally in single-ended mode. Those using ‘2-Track’ volume controls may offer balanced in and out, but are not true balanced designs. The Pro iCAN however is fully-balanced from beginning to end.
True Differential Balanced®
At the upper end of the headphone amplifier market, despite the best protestations of ‘balanced’ things are not always what they seem. This is a curious case of ‘Is balance balanced? For headphones, it DOES make good design sense to implement a balanced topology (the possibility of higher power, increase dynamic range and lower noise etc.) It goes without saying that the balanced design should be balanced all the way through, ''end-to-end.''
Tube/ Solid-State Real-time Switching
Compared to high-end headphone amplifiers, the tube stage of the Pro iCAN is different in two-ways. First, we don’t use good-quality 6922s or similar. Instead we use the very best; General Electric 5670 which is the premium variant with a different pinout. Second and just as important is the circuit design. Unlike other headphone amplifiers that have the same circuit and just switch in/out the tube section, the Pro iCAN is the very first of its kind that has two individual input circuits – one tube and one Solid-State. This results in the best sonics of both worlds because the signal path is the shortest and there is no compromise to ‘shoe horn’ the tubes into an already existing solid-state circuit.
Class A Solid-State, J-FETs and Fully-Discrete
PThe Solid-State amplification section of the Pro iCAN is just as seriously executed as the Tube amplification section. The amplifer audio circuit is a development of iFi’s revolutionary ‘TubeState’ design. It is fully discrete, fully-balanced with either tube or J-FET input switchable, bipolar second stage and MOSFET-buffered bipolar class A Power stage (with Class AB for low impedance headphones at very high levels). The resulting circuit may be best described as ‘tri-brid’ where each device is used to greatest sonic advantage while minimising any drawbacks. Furthermore, the circuit is pure DC coupled to avoid using any sonically-degrading coupling capacitors.
3D Holographic Sound for Headphones
As stereophonic recording and reproduction became widespread in the 1950’s, a glaring problem was noticed when replaying such recordings through headphones. First formally described by Benjamin B. Bauer of CBS and previously Shure Brothers, in his 1960 patent filing for the US Patent # 3088997A as a “gross distortion in space perspective” and later gained the name “in-head localisation”. BB Bauer proposed a correction circuit, quite similar in nature in fact to the EMI Stereosonic Circuit originated by Blumlein, but with a near opposite transfer function.