Intro
So, after a little friendly cajoling by Ray Samuels, I agreed to take a listen to his new XP-7 portable/home headphone amp. As you may recall, I was really knocked out by his marvelous Emmeline HR-2 home headphone amp (link to my review below). I was the first person anywhere to review the HR-2, and I was so impressed, I purchased the review sample.
It was a long road for me getting to the HR-2, and now that I have a system that for me is in perfect balance, with perfect "feng shui" so-to-speak, I have to admit I was a little reluctant to give the XP-7 a spin, considering it's a step below the HR-2 in Ray's line. I was afraid it might detract from my musical enjoyment. Yet others who have experience with both the HR-2 and the XP-7 have commented that they are remarkably close in performance, so I was intrigued. However, unlike the others, I have an evaluation tool at my disposal that they did not—namely the incredible Sony MDR-R10 headphones. If there's any headphone in the world that can reveal the differences between these two amps, this is the one.
I will follow my usual review technique of recording my Initial Impressions of the XP-7, then follow up with a more formal Review.
Pricing
Emmeline HR-2: $875 (an absolute bargain, IMO!)
Emmeline XP-7:
XP-7 module with battery compartment: $495
XP-7 Power Supply: $225
XP-7 + Power Supply purchased together: $695
Links
Ray Samuels Audio:
http://www.raysamuelsaudio.com/index2.html
(XP-7 is not yet on the site as of this writing.)
My HR-2 Review:
http://www4.head-fi.org/forums/show...;threadid=47986
My System
Sony MDR-R10 --->HR-2 (with KAS Audio Primus power cord)--->Virtual Dynamics Reference ICs--->Sony 555ES SACDP (with full sacdmods.com mod package and Virtual Dynamics Reference power cord)
My Amp History
Headroom Home (old version)
Headroom MOH (old version)
Earmax
Earmax Pro w/NOS tubes
Berning Micro-ZOTL w/ NOS tubes
Melos SHA-Gold
Melos SHA-Maestro w/NOS tubes
Denon AVR-5800
XP-7 Cosmetics, Fit 'N Finish, Ergonomics
The XP-7 comes in two pieces, the XP-7 itself (with its two separate compartments for 2 9-volt batteries), and it's optional power supply that allows you to use the amp at home while plugged in to an electrical outlet. Unlike the HR-2 with its long umbilical, the power cord that connects the XP-7's power supply to the XP-7 itself is very short, which means the amp must be stacked on top of its Power Supply in this configuration. There is a small switch on the rear of the XP-7 that allows you toggle in between the batteries and external power supply (making it possible to do instant A/B tests).
Much to my surprise, the XP-7 is every bit as well built as the HR-2. Ray's amps are not built as fashion statements, but they are incredibly sturdy, with a rugged and well-constructed (I assume it's brushed aluminum) chassis. The XP-7 uses the same volume knob, which has a nice firm action, as well as the same top-quality RCA jacks as the HR-2. Nothing rattles around on the inside if you shake the XP-7's case. You get the impression that it would easily survive any brutal treatment that it might have to endure if it's used as your travelling companion.
I can't imagine anyone being anything but absolutely delighted with the build quality of the XP-7. This is no lightweight, that's for sure! The XP-7 is relatively small (and cute!), being even smaller than the relatively compact HR-2. Both the power supply and the XP-7 itself are the same size.
Dimensions: 5.5 inches wide x 4.25 inches deep x 2 inches tall
Initial Impressions
After 2 days of use, here are the notes I've taken so far regarding my Initial Impressions of the XP-7, a formal Review follows which reflects my feelings after 2 weeks of use.
(NOTE: These Impressions relate to the XP-7 as equipped with the STOCK AD825 op-amps. These are different op-amps than the AD797s that come standard with the HR-2. In hindsight, it proved to be the case that many of these Impressions were strongly influenced by the stock AD825 op-amps. In the final Review section below, I have replaced the AD825s with the AD797 op-amps.)
1. In a number of ways, so far I agree that the XP-7 shares a lot of the excellent characteristics of the HR-2; there is definitely a family resemblance here, and that is definitely a GOOD thing. (For the purposes of this review, it would be most instructive to read my whole HR-2 review to get a basic handle on how I perceived that unit's sound.) However, it was possible for me to spot straight away a few differences. (It should be noted that the XP-7 has a key disadvantage over the HR-2 in my setup: namely that the HR-2 has a very fancy power cord, the KAS Audio Primus, while the XP-7 has a standard computer cord.)
2. The XP-7 is a little "smaller" in terms of its soundstage, and a hair less 3-D. Soundstage/imaging is still excellent though, a trademark of Ray's amps.
3. The XP-7 is a little "rougher" around the edges than the sublime HR-2. The XP-7 is a little more brash and impetuous, not as well-behaved, maybe a *little* grittier, potentially a teeny-tiny bit of sibilance relative to the smooooth HR-2.
4. The incredible "blackness" of the background of the HR-2 that many have noted isn't quite as apparent on the XP-7. The XP-7 is a little "whiter" a *little* thinner, and maybe a little brighter than the HR-2.
5. The HR-2 is more "invisible" than the XP-7. The HR-2 just disappears in my rig, where the XP-7 is slightly more noticeable due to it's ever-so-slight "veiling" that it has compared to the transparent HR-2.
6. The HR-2 has a slightly "richer" sound to it in terms of tone and timbre, with more of a sense of presence than the XP-7. However, both amps are very natural and "real" sounding, Ray really knows how to voice his amps, IMO.
7. Bass on the XP-7 is excellent, but again, not quite as full or firm as the HR-2.
8. Here's the big shocker for me-- I would be extremely hard pressed to spot differences between the XP-7 on battery power vs. the power supply. I was expecting noticeable differences, but when I toggle back and forth, I have to admit that it sounds identical (so far) with the batteries. Wow!
I want to really emphasize here the smallness of these differences. If you like the HR-2, you would definitely like the XP-7. The differences I've noted are of such a small size; I wonder how apparent they would be in systems without an R10. I don't want to quantify yet how much of the HR-2's performance you get with the XP-7, it's too soon for that, but keep watching this space for more impressions and conclusions.
So far I am VERY impressed by this portable. No firm conclusions on this from me yet, just an observation. I'll report back in a couple weeks or so.
Ray Samuels Emmeline XP-7 Review
OK, so I took a couple extra weeks with Ray's portable XP-7 to get to know it better. Here are my final thoughts on this great little amp.
Op-Amp Rolling the XP-7
I am very fond of the AD797 op-amps Ray uses in the HR-2, the XP-7’s non-portable bigger brother. I tried rolling the much more expensive OPA627Bs into the HR-2, and wound up greatly preferring the AD797s. The stock XP-7 comes with AD825s. How would the XP-7 sound with the AD797s?
YUM YUM YUM!!! That's how it would sound! The differences between the AD797s and the AD825s in the XP-7 are not as pronounced and obvious as the differences between the AD797s and the OPA627Bs in the HR-2, but the differences for my ears are still appreciable and very desirable.
Everyone hears differently, has different systems, and different sonic goals, so I can't guarantee everyone would prefer the AD797s in the XP-7. However, I would like to point out that one of the strengths of Ray's amps is the ability to quickly and easily replace op-amps to season them to your own individual tastes, making them quite versatile.
To these ears, the AD797s have superior bass response, a warmer, more full and lush sound with more body than the AD825s, which can be a little thin-ish and lean in the middle, and a little crispy up top. The AD797s aren't quite as "bright" as the AD825s, so if your system needs that extra sparkle up top, the 825s may be a better choice. The AD797s have a very smooth, flowing, non-jagged sound that I find very desirable especially in a solid-state amp. I don't want to call them "tubey" because that's a bit of a misnomer; however, they do share the same liquidity that many people enjoy with tube gear.
With the AD797s, the XP-7 manages to capture even more of the magic that the HR-2 has for me. The difference I perceived in the performance of these two amps and noted earlier in this thread is narrowed further. This is one kick-*ss little amp!
My understanding is that AD797s are only around $8 each (you need two of them), so getting a pair will not break the bank if you'd like to experiment.
Bass
Inside every rock 'n roll loving audiophile is a bass-head just waiting to get out! Yes, we've been told that BASS is evil, and that enjoying firm, slamming, punchy and deep bass is WRONG, a veritable audiophile crime.
I say BULLSH*T!!!!! Free your inner bass-head and indulge him with the XP-7. He's been repressed far too long! I can't see anyone being disappointed with the bass performance of the XP-7 especially with the AD797 op-amps in-line.
The XP-7 really defied my expectations regarding bass power and slam. Given that the XP-7 is a portable device with not quite as much power to burn as the HR-2, I confess I had steeled myself to have to do without the HR-2's prodigious bass capabilities. After having lived with the XP-7 a while, there are times when I wonder if the bass it puts out is even stronger than the HR-2's! I can't verify this for *certain*, but it's a teeny tiny suspicion I have. Color me shocked and impressed. Furthermore, there is no drop off in bass response when you switch from the power supply to the batteries. Amazing! In short, the XP-7 has BALLS!
For you audiophile bass-hating sissies
, I would like to note that the XP-7's bass response is very linear, and does not overhang, overshoot, or otherwise interfere with the rest of the sonic package-- it's very well integrated, and able to distinguish between different bass tones/timbres very well.
Midrange
Here is the heart and soul of the music, if a component gets it wrong here, it has failed no matter what its other merits. The XP-7 has great tone and timbre, music sounds musical, and instruments sound like they are supposed to, just like real life.
When I listen to music, I focus a lot on vocals; I don't like gear that obscures the singer, that muffles or buries vocal tracks so I can't understand what is being sung. Happily the XP-7 keeps vocals nice and prominent; it does not play a frustrating game of hide and seek with voices.
Again, overall I would describe the midrange of the AD797 equipped XP-7 as very enticing, rich, smooth and present, a hard feat for a lot of solid state gear to achieve. Images are not ghostly or subdued, sounds are very easy to picture and localize, instruments and tracks are very finely separated, very little gets lost in this presentation.
Treble
Treble is another area in which solid state gear generally has the potential to run into more problems than tubes. Some solid state gear can be stereotypically harsh, grainy, etched and edgy in the treble region, where tubes tend to have smooth, flowing, and lusher highs. I am personally very sensitive to the treble region, especially hash and grit and spittiness. I tend to hone in on it straight away if it's there.
You will recall earlier that I noted some *slight* treble anomalies in my Impressions with the stock AD825 op-amps. If that becomes an issue for you, I heartily recommend the AD797s. Since switching over, I have not noticed these anomalies. Treble is now as clean and clear and effortless as it is with my HR-2.
A very small group of auditioners at meets have called Ray's HR-2 a little "dark". I disagree pretty strongly. The trick with Ray's amps is the total integration of treble with the midrange. With the AD797s in place, the treble is not always calling attention to itself to tell you-- "hey, look at me, look at me!" I find this to be a highly desirable trait-- I don't want to be constantly distracted by grating, abrasive treble, I want to listen to the music!
Soundstaging/Imaging
As with the HR-2, here is another particular strength of the XP-7. As I noted in my HR-2 review, soundstage height and width are excellent, if not as "huge" and intimidating as I have heard with some other amps. Where the XP-7 excels is in terms of soundtage integration, I do not detect any gap in the middle, or any weird "3 blobs" or disembodied-pockets-of-sound effect with the XP-7. You are looking at a nice wide-screen presentation; it is very easy to place instruments and sounds where they belong in the soundstage from left to right and front to back. The XP-7 is also able to give a very impressive sense of soundstage *depth* another feature often lacking in lesser designs. I attribute this to Ray's amps ability to make fine distinctions between loud and soft sounds in the mix, allowing more distant sounds to appear "behind" more prominent sounds in the soundstage. In other words, his amps don't mash all sounds up together in the same plane, leaving you with that distracting 2-D effect.
Soundstage/imaging is a big hot button for me as I like to listen with my eyes closed to allow by brain to "picture" the performance. This process is facilitated by Ray's amp; it's very "holographic" in effect. I give the XP-7 extremely high marks in this area. As with the HR-2, the XP-7's ability to throw a complete and integrated soundstage makes the potential objection that "it doesn't have crossfeed" almost irrelevant. Although the R10s have a natural advantage over most other cans with its angled drivers and huge soundstage, I speculate that even with less well-integrated cans like the RS-1 and HD600, you will still reap substantial benefits even without x-feed.
Detail/Resolution
If you've read any of my reviews before, you know I don't like a veiled, muffled, washed-out, or "polite" sound. I don't want my gear to withhold any information from me, even if it thinks it's for my own good. *I'll* be the judge of that, thank you very much!
OTOH, I'm very picky about the way sound is presented to me. Some gear has a tendency to "draw" images with hard outlines and little substance in the middle. I don't like that sort of sound. I prefer gear that "paints" the sound in full glorious Technicolor. Gear that "draws" always sounds artificial to me; sound in real life does not have these edges. It's very hard to find gear that presents the recording at full resolution *without* resorting to "drawing" these lines. OTOH, some gear that "paints" the sound achieves this by smearing and blurring musical elements together in a sort of soft, pastel haze.
Ray's gear is great in that maintains full resolution, and presents the music as a lush painting instead of pen-and-ink drawing-- this is a hard trick to do. Images are firm and "present" with lots of body; there's no foggy haze between you and the music. The AD825 stock op-amps outline the sound a little more than I personally would like, they're a bit grainier and edgier up top, too, but it's not at the level where it would spoil the XP-7 experience for me on the whole. But for my ears, the AD797s are more skilled painters with a richer sound than their little brothers.
Ray's gear also excels at another trick that's hard to do-- namely it's able to draw very fine and subtle distinctions between louder and softer sounds. IMO, this ability can be as significant as the ability to draw distinctions between subtle shifts in tone and timbre but is often overlooked. Sometimes with some gear, dynamics are compressed so that low-level details are artificially boosted to appear on the same level of importance as the main musical elements. Your first response to such gear is often, "wow, listen to that DETAIL!" But over time you will see that this sort of sound is non-musical and you will get fatigued.
It requires a very low noise floor to keep low-level details appropriately soft, yet still audible. It requires tremendous dynamic range to deliver peaks and crescendos that really have power and stand out when they are supposed to.
In short, Ray's gear delivers all this for me. All these wonderful attributes work together to enable the XP-7 to deliver an extremely high level of detail/resolution without causing fatigue or sounding "gee-whiz fake hi-fi".
Battery Power vs. Power Supply
I can verify that there is NO DETECTABLE DIFFERENCE AT ALL between running the XP-7 on batteries vs. the power supply. The switch on the back makes instant A/B tests possible. I defy anyone to spot any perceptible differences, there is no bass dropout, no loss of soundstage, nada. Again, another totally unexpected conclusion for me. If you take this puppy outside for a spin, you needn't worry that you are sacrificing on its sound potential at all. The XP-7 sounds great with and without the power supply.
Conclusions
At the outset of this review, I had intended to do a comparison of the XP-7 with the HR-2. Initially, with the stock AD825 op-amps, I found a few areas where the XP-7 differed from my beloved HR-2. After putting the AD797 op-amps into the XP-7, these differences lessened considerably. I'm impressed by the similarity in their sound, given the differences in their design, but most especially in their price.
I feel that the XP-7 with AD797s gets you pretty darn close to the performance that you get with the HR-2. There is a strong family resemblance between the two units, with slight differences in overall refinement. (With stock AD825 op-amps, for this listener, the gap is bigger, though. Still, I can't rule out that you might ultimately *prefer* the XP-7 with stock op-amps; this is a personal preference.)
So, for the extremely fussy with above average upstream gear (i.e. me
), I would still give the nod to the HR-2. If portability is a concern, or a deciding factor, the XP-7 is a slam-dunk home run.
Highly recommended!
Mark
Ray Samuels XP-7 Impressions & Review: The Director's Cut
