The Aurorasound HEADA is one of those hidden gems of a product from Japan with excellent performance.

A Review On: Aurorasound HEADA Balanced Headphone Amplifier

Aurorasound HEADA Balanced Headphone Amplifier

Rated # 518 in Headphone Amplifiers
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Review Details:
Audio Quality
Design
Quality
Value
Currawong
Posted · 6386 Views · 13 Comments

Pros: Very detailed and revealing sound with a touch of warmth. Compact design. Can easily drive most headphones.

Cons: Not ideal for IEMs. Balanced inputs go through the SE phase splitter. No pre-amp option.

 
Every 6 months I've had the pleasure of talking to Shinobu Karaki of Aurorasound at the Tokyo headphone festivals. As an ex-Texas Instruments employee he has come up with some interesting designs, most significantly the VIDA phono stage. I’d previously built his DIY balanced amp, which, primarily due to the case cost, was a bit expensive for what it did. After lending Karaki-san a pair of Audeze headphones, he was very clear on the direction he should take with his designs, the result of which is the HEADA. So when he suggested I audition the HEADA I readily agreed.
 

 

Aurorasound’s VIDA and HEADA, as befitting an expensive product come by default in a neat, retro wood “sleeve” around the amp, though they can be ordered without if space is at a premium or if bare metal is more attractive to the customer, as the metal case of the amp is only about the same width as a Schiit Asgard or Valhalla. Likewise the amp comes with components of the highest quality, from the Nichicon and Elna capacitors on the inside to the silver plated RCA jacks on the rear. The only contrast to this is the rather colourful Aurora logo on the front, which almost seems out of place in the design.
 
The only downside to the design is that the balanced inputs aren’t balanced at all, but are fed to the same phase splitter as the RCA inputs. That makes buying a balanced DAC to use with it rather pointless. Likewise it might have been nice if the through output was a pre-amp output instead, as a dual-purpose headphone amp and pre-amp would make it better value.
 

 

 
Regardless, these things were forgiven with my first listening impressions using my Hugo as the source, with a feeling of an effortless, get-out-of-the-way-of-the-music presentation.  The amp didn’t get in the way of my HD-800s, in fact bringing them a degree of body and dynamic that the Hugo by itself doesn’t seem to be able to quite deliver, despite being awesomely competent on its own. It was in contrast to my ALO Audio Studio Six and current tube complement that the character of the HEADA become apparent. While the Studio Six takes what the source gives and delivers it with that SET magic of powerful and precise, yet effortless dynamics, more like a top solid-state amp, it was the HEADA that was more “tube”-sounding, with a touch of warmth, yet without any sacrifice of dynamics. This was a spot-on match with the HD-800s. Where the Studio Six seems best with ALO’s own warmish Reference 20 ICs and Reference 16 headphone cables, the HEADA was the opposite, taking the sometimes too-much-of-a-good-thing clarity of the Hugo and my ruthless Van Den Hul The Orchid ICs and delivering just the amount of warmth and sweetness required to make listening enjoyable. If I weren’t already aware, I’d be surprised that it wasn’t a tube amp.
 
Despite this, the HEADA isn’t at all forgiving. Elbow’s The Seldom Seen Kid was not spared any mercy, its less than stellar recording quality readily apparent. The piano in Medeski Martin & Wood’s End of the World Party was just as disappointingly harsh as is always apparent on good equipment. On the other hand, the magic of HDTracks remaster of Miles Davis’ Kind of Blue was as ever readily apparent, the extra nuances extracted from the recording as clear as ever.
 

 

What was most apparent was how the HEADA managed the dual trick of being both musical and ultra-resolving. The last solid state amp I’d had the fortune to audition that attempted such a trick was also Japanese — the Luxman P-1u attempts to add a subtle richness to the music, but doesn’t always succeed in making good music with all headphones. After my experience with the HD-800s and the HEADA I feared that the experience with Audeze’s contrasting LCD-Xs wouldn’t be as good, but I wasn’t to be disappointed, the richness of the music coming through just as strongly despite the different amplification requirements and different tone that the Audezes present.
 
Surely, I thought, it can’t all be all good, so I switched tack and tried my Ultimate Ears Reference Monitors instead. While there was some hiss without music playing, especially if the volume was turned up in high gain mode, it wasn’t enough to interfere with listening enjoyment at all. I’d probably stick to using those with a portable player instead, though it was good to know the HEADA could be used with sensitive IEMs, even if it’s 9-10 Ohm output impedance isn’t ideal for them.
 
240,000 yen (roughly US$2400 if $1 = 100 yen) puts the HEADA in the serious money territory for headphone listening. When I agreed to review it, after having reservations about the value of Karaki-san’s DIY amp, I was worried about the HEADA at 3x the price. Let alone that products such as the Hugo are coming out with very capable amps already built-in, threatening to make high-end amps redundant. Suffice to say after only one day with the amp any reservations were completely removed. What it more it is actually small enough to sit on my desk. I am going to be sorry to have to give it back.

 

Gear used:

Apple MacBook Air

Schiit Wyrd

Chord Hugo

Sennheiser HD-800

Audeze LCD-X

MrSpeakers Ether

13 Comments:

Nice write up.  Interesting piece of kit.
There are arguments considering SE/DUAL inputs. Your renowned skills about headphone gear can easily point out that design and components is all the matter. Among the best there are SE like EC 445, Viva Egoista, Audiovalve MKIII and linking a dual DAC isn't a worry using a desymetrizer (TotalDAC D1 DUAL).
Surprisingly more tubey that ALO SIX, did you compare it to the CL Prautes ?
Thank you the review.
@cladane  Thanks for the comments. The SE tube amps are that way usually because balanced tube amps are often SE with balanced output transformers. The HEADA is all solid-state. People usually expect a balanced amp to be that way from the input forward, so this amp is a little odd in its design, though not the first by far to be this way. The Studio Six -- you can roll tubes to make it a bit softer, but the idea of a SET amp is that it is fast and dynamic. The HEADA is only a very touch mellow, but not in any way that sacrifices dynamics to my ears, which I think works very well for a headphone amp with TOTL headphones that gravitate towards the neutral.
Thank you for those details.
Looking at a Luxman p700-u which is not more available in France (and elsewhere ?) I am considering buying the HEADA since you compared it to the P1-u. I have noticed that the p700-u had a wide soundstage bigger than tube amps.
Great review!
May i ask when i can purchase a similiar headphone stand to the one in the video? It is so good looking..!
@MusicMate  The headphone stands are from Codia in Korea. You can get them on eBay directly from the company.
I didn't like this review . There are not much detail .
@HeadHigh  What kind of detail would you like to see in a review. Please PM me to let me know.
Thank you Amos. Great review. You obviously really know your s***. I like your videos, too, though maybe it's because of the mellifluous tones of your antipodean accent. Cheers.
The Aurorasound should be on the short-list for anyone looking at top-tier, commercially available headphone amplification.
 
Amos and I agree that the Aurorasound is musical, smooth, neutral, and powerful. In my experience, the Aurorasound reproduced complex classical pieces without breaking a sweat. How many amps can tame the HD-800? I have heard about three, and this is one of them. With the right amp, the HD-800 is enjoyable.
 
I had the opportunity to listen to the Aurorasound for a few hours. Both in show environments and in quiet store environments. At the Spring 2014 Fujiya-Avic show in Tokyo, the Abyss distributor used the Aurorasound as their demo amp; I don't know if that was a partnership, for financial reasons, or just because he liked the Aurorasound amp. Incidentally, I had the opportunity to meet Jude and Amos at that show just after listening to the Aurorasound. And I was able to chat with Karaki-san and check out his phono stage.
 
I have utilized a variety of phones with the Auroasound, but focused on the Sennheiser HD-800, Abyss, Various Audeze phones, and JVC HA-FX850.
 
Amos noted some "potential" shortcomings which I address briefly. I found the Aurorasound to be dead silent regardless of headphones, including the JVC-FX850. I think the "balanced debate" comes down to engineering decisions vs. marketing hype. There are never absolutes here so the key questions are, "How was the design executed globally and, more importantly, how does it sound?" Unfortunately there are several definitions of "balanced" in audio applications and there are both benefits and issues in most cases (complexity, parts count, cost, distortion/cross talk/noise cancellation, etc.) Finally, I note that whilst the Hugo is transportable, attractive and convenient, the amp stage is not comparable to the Auroasound's. I think Amos was clear but wanted to emphasize.
 
It is good to see Amos taking the time to provide information about good products with limited distribution. I know the ratings are subjective, but I sense the 4 stars for value might be a bit too "strict." Only a handful of amps play at this level, and they are all expensive.
 
For reference purposes, I enjoyed a few other commercial boutique Japanese amps that are in the same league, including the Audio Design DCHP-100 and the Mass Kobo 394. I only listened to the McIntosh amplifier for a few minutes but would like to check that out more.
 
Hurry up and book a ticket to Tokyo to test drive them all and benefit from the cheap Japanese Yen.
Nice comments ! I ordered it.