iBasso PB5 Osprey

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Sonic Sleuth

500+ Head-Fier
iBasso PB5 Osprey Review: Unlocking Musicality with NuTube Warmth
Pros: Warm and engaging sound: The NuTubes add a pleasing warmth and musicality to the sound.
Powerful output: Drives a wide range of headphones, including demanding planars.
Good battery life: Provides ample listening time for most use cases.
Excellent synergy with iBasso D16 Taipan: Creates a truly captivating listening experience.
Improved soundstage and imaging: Offers a more spacious and immersive presentation.
Enhanced bass response: Adds weight and impact to the low frequencies.
Natural and organic timbre: Instruments and vocals sound realistic and lifelike.
Good layering and separation: Individual instruments and vocals are easily distinguished.
Cons: Slight noise floor with sensitive IEMs: May not be ideal for all in-ear monitors.
Occasional forwardness in the upper midrange: Can lead to sibilance or harshness in some recordings.
Slightly rolled-off upper treble: May lack some air and sparkle.
Stepped volume knob: Feels less smooth than a traditional potentiometer.
Synergy varies with different sources: Not all pairings are equally satisfying.
Preface:

I purchased this unit for myself without any discounts.

Also, I'm not a seasoned reviewer, so whatever I say is purely my observation and your results may vary.

I'm not the one to usually focus on specifications and numbers. I focus more on how happy I am with the equipment's sound and that's it.

Disclaimer: All impressions and opinions in this review are my own. I have not been paid or compensated by any entity for this review. My assessment is based solely on my personal experience with the product.

IEMs and HPs used for evaluation: The list will be long and exhaustive as it has been my primary portable device from the past 6 months.

  • Sennheiser HD600 / 650
  • Sennheiser HD800 (SDR Modded & JAR Modded) / 800s
  • ZMF Bokeh
  • ZMF Atrium Open
  • Focal Utopia 2022
  • DCA Aeon 2 Noire
  • Meze Empyrean 2
  • Softears Twilight
  • Nostalgia Audio Camelot
  • Eminent Ears Ruby
Introduction:

iBasso has steadily carved a niche for themselves in the audio world, consistently delivering high-quality DAPs and amplifiers. They seem to have a knack for striking a balance between technical prowess and musical engagement, which is a quality I truly appreciate.

Design and Build:

The PB5 Osprey is a handsome little device. Its compact size and sturdy aluminum chassis make it perfect for on-the-go listening. The volume knob, while offering precise 24-level stepped adjustments, feels a tad less smooth than I'd prefer. On the front panel, alongside the volume knob, you'll find both 4.4mm balanced and 3.5mm single-ended headphone outputs, along with the 4.4mm balanced input. The back panel keeps it simple with a high/low gain switch. It's a clean and functional design that gets the job done.

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Drivability and Pairings:

This little amp packs a punch! With up to 1700mW of power at 32Ω, it can drive a wide range of headphones with ease.

  • IEMs: While I did notice a slight noise floor with some of my highly sensitive IEMs, it was practically non-existent with most others. I found the PB5 paired exceptionally well with dynamic driver IEMs, bringing out their energy and impact. Multi-driver IEMs, while still enjoyable, didn't seem to benefit as much from the PB5's characteristics.
  • Low Impedance Headphones: The PB5 had no trouble driving my ZMF Bokeh and Focal Utopia 2022. It delivered ample power and control, allowing these headphones to really shine.
  • High Impedance Headphones: My Sennheiser HD600, HD650, and HD800 scaled nicely with the PB5. The amp provided a noticeable improvement in dynamics and soundstage. Similarly, the ZMF Atrium Open, with its higher impedance, also responded well to the added power.
  • Planar Magnetic Headphones: Even demanding planars like the Meze Empyrean 2, Ananda Nano, and Dan Clark Aeon 2 Noire were handled with grace. The PB5 delivered a dynamic and engaging performance, though I occasionally felt like it could benefit from a touch more headroom with the Aeon 2 Noire at higher volumes.

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Battery Life: A Respectable Performer

iBasso claims up to 10.5 hours of battery life for the PB5 Osprey. In my real-world usage, I found this to be fairly accurate, though as expected, the actual battery life varied depending on the headphones used and the gain level.

IEMs:
  • Low Gain: With my less demanding IEMs and the gain set to low, I consistently achieved close to the claimed 10.5 hours.
  • High Gain: When switching to high gain for some of my more power-hungry IEMs, the battery life understandably decreased, landing somewhere around 8-9 hours.
Headphones:
  • Low Gain: With most of my over-ear headphones, I could comfortably get through a full day of listening at low gain, averaging around 8-9 hours.
  • High Gain: Driving my planar magnetic headphones at higher volumes definitely put more strain on the battery, reducing the runtime to roughly 6-7 hours.

Synergy with Different Sources:

While the PB5 Osprey can certainly enhance the sound of various DAPs and DAC/amps, I found that synergy played a significant role in the overall listening experience. Here are my impressions of pairing the PB5 with different sources:
  • Cayin N7: The N7, with its own distinct sonic character, added another layer of warmth to the already warm signature of the PB5. While enjoyable for some genres, I felt it was a bit too much for my preference, occasionally leading to a congested presentation.
  • FiiO M17: The powerful M17 provided ample headroom and control, but its analytical nature seemed to clash somewhat with the PB5's tube-infused warmth. The result was a slightly less cohesive sound than I had hoped for.
  • iBasso DX280: The DX280 offered a good balance of detail and musicality, and its pairing with the PB5 was quite pleasant.
  • xDuoo XD05 Pro with AKM DAC card: This combination provided a clean and detailed sound, but it didn't quite capture the magic I was looking for. The PB5's warmth was somewhat subdued, resulting in a less engaging presentation.
  • iBasso D16 Taipan: This pairing was a match made in heaven! The D16's neutral and transparent sound provided the perfect canvas for the PB5 to work its magic. The combination resulted in a truly captivating listening experience, with a beautiful blend of detail, warmth, and musicality.
  • Hiby R8 II: The R8 II, with its slightly warm tilt and excellent resolution, also paired wonderfully with the PB5. It offered a similar level of synergy to the D16, though with a touch more warmth and smoothness. This was my second favorite pairing after the D16.

Sound Analysis: Unveiling the NuTube Magic

The iBasso PB5 Osprey, particularly when paired with the D16 Taipan, elevates the listening experience with its distinctive sonic characteristics. Let's delve into a detailed analysis of its sound signature:

Tonality:

The PB5 imbues the music with a warm and inviting tonality, reminiscent of classic tube amplifiers. This warmth is not overly thick or syrupy; instead, it's a subtle and refined touch that adds a sense of richness and harmonic complexity. The overall presentation is smooth and engaging, with a natural and organic feel. Listening to "Hallelujah" by Leonard Cohen, the PB5 beautifully renders the weight and texture of Cohen's baritone vocals, while the subtle nuances of his guitar playing are presented with clarity and warmth. Similarly, in "Teardrop" by Massive Attack, the melancholic vocals of Elizabeth Fraser are enveloped in a rich and emotive atmosphere, highlighting the track's haunting beauty.

Sub Bass:

The PB5 extends effortlessly into the sub-bass regions, delivering a powerful and textured rumble. There's a sense of weight and authority to the low frequencies, adding a satisfying foundation to the music. However, the sub-bass never becomes overpowering or boomy; it remains well-controlled and integrated with the rest of the frequency spectrum. In "Angel" by Massive Attack, the deep, pulsating bass line is rendered with impressive depth and texture. The PB5 captures the subtle nuances of the synth bass, revealing its intricate layers and harmonics. Similarly, in "Limit to Your Love" by James Blake, the subterranean bass frequencies are reproduced with remarkable precision and control, creating a visceral and immersive listening experience.

Mid Bass:

The mid-bass region is where the PB5 truly shines. The NuTubes add a delightful warmth and fullness to the mid-bass, giving it a satisfying punch and impact. Drums and bass guitars have a natural and organic feel, with a pleasing sense of weight and texture. The mid-bass is never overly aggressive or boomy; it remains well-balanced and controlled, contributing to a musical and engaging presentation. "The Chain" by Fleetwood Mac showcases the PB5's ability to reproduce the dynamic and impactful bass line with exceptional clarity and definition. The kick drum hits with authority, while the bass guitar maintains its presence without overshadowing the other instruments. In "Can't Stop" by the Red Hot Chili Peppers, Flea's energetic bass playing is rendered with a lively and engaging character, capturing the nuances of his technique and the unique timbre of his instrument.

Lower Midrange:

The lower midrange is slightly forward, adding a sense of warmth and intimacy to vocals and instruments. Male vocals, in particular, benefit from this added presence, sounding rich and full-bodied. The lower midrange is well-textured and detailed, allowing for a nuanced and expressive presentation. In "No Sanctuary Here" by Chris Jones, the PB5 beautifully captures the resonant warmth and texture of Jones's deep baritone vocals. The lower midrange is presented with clarity and detail, allowing me to appreciate the nuances of his vocal delivery. Similarly, in "Roads" by Portishead, Beth Gibbons's haunting vocals are rendered with a captivating intimacy and emotional depth.

Upper Midrange:

The upper midrange is generally smooth and refined, though it can occasionally exhibit a hint of forwardness, particularly with the Hiby R8 II. This can sometimes lead to a slight emphasis on sibilance or harshness in certain recordings. However, this is a minor quibble, and the upper midrange remains largely enjoyable, with good clarity and detail. In "Hide and Seek" by Imogen Heap, the PB5 reproduces Heap's ethereal vocals with clarity and detail, though there are moments where the upper midrange can sound slightly forward. Similarly, in "Bohemian Rhapsody" by Queen, the operatic vocals in the climax can occasionally exhibit a touch of sibilance.

Lower Treble:

The lower treble is well-extended and detailed, adding a sense of air and sparkle to the music. Cymbals and hi-hats have a natural shimmer without sounding harsh or brittle. The lower treble contributes to a well-balanced and engaging presentation. In "Take Five" by Dave Brubeck, the delicate cymbal work is rendered with a natural shimmer and decay, adding a sense of air and spaciousness to the recording. Similarly, in "Little Wing" by Jimi Hendrix, the intricate guitar work is presented with clarity and detail.

Upper Treble:

The upper treble is slightly rolled off, contributing to the PB5's smooth and non-fatiguing sound signature. While this does result in a slight loss of air and sparkle, it also prevents the treble from becoming harsh or sibilant. In "Clair de Lune" by Claude Debussy, the delicate piano melodies are rendered with a gentle touch, lacking some of the sparkle and air that a more extended treble response would provide. However, this also ensures that the music remains smooth and relaxing, even at higher volumes.

Staging:

The PB5 creates a wide and spacious soundstage, with good depth and height. Instruments and vocals are well-positioned within the soundstage, creating a realistic and immersive listening experience. The soundstage is not overly expansive, but it provides ample room for the music to breathe and develop. In "The Sound of Silence" by Simon & Garfunkel, the PB5 creates a wide and spacious soundstage, with the vocals positioned centrally and the guitars placed subtly to the sides. The sense of depth and layering is impressive, creating a realistic and immersive listening experience. Similarly, in "Hotel California" by the Eagles, the expansive soundstage was a really captivating with it's intricate interplay between the various instruments, creating a sense of space and atmosphere.

Layering and Separation:

The PB5 excels at layering and separation, allowing individual instruments and vocals to be easily distinguished within the mix. Even in complex musical passages, the PB5 maintains a clear and organized presentation, preventing the music from sounding congested or muddy. In "Bohemian Rhapsody" by Queen, the PB5 effortlessly handles the complex vocal harmonies and instrumental arrangements, maintaining a clear and organized presentation throughout the track. Each instrument and vocal line is clearly defined, which made me thoroughly enjoy intricate details of the composition. Similarly, in "Stairway to Heaven" by Led Zeppelin, the PB5's layering and separation capabilities make it easy to follow the various instrumental and vocal lines as they weave in and out of the mix, creating a dynamic and engaging listening experience.

Timbre:

The PB5's use of NuTubes imparts a natural and organic timbre to the music. Instruments and vocals sound realistic and lifelike, with a pleasing sense of warmth and texture. The PB5 avoids any artificial coloration or harshness, resulting in a faithful and engaging reproduction of the original recording. In "Imagine" by John Lennon, the PB5 beautifully captures the timbre of Lennon's voice and the delicate piano accompaniment. The vocals sound natural and emotive, while the piano notes have a realistic weight and decay. Similarly, in "Tears in Heaven" by Eric Clapton, the PB5's natural timbre connects with the raw emotion of Clapton's vocals and the poignant acoustic guitar accompaniment.

Detail Retrieval:

The PB5 retrieves a good amount of detail from the music and you will be able to appreciate the subtle nuances of the recording. While it may not be the most analytical or revealing amplifier, it provides a satisfying level of detail without sounding overly clinical or sterile. In "Spanish Harlem" by Aretha Franklin, the PB5 reveals the subtle nuances of Franklin's vocal delivery, capturing the emotion and power of her performance. The delicate piano and string accompaniment are also presented with clarity and detail, adding to the overall richness of the recording. Similarly, in "Hallelujah" by Jeff Buckley, I appreciated the subtle inflections in Buckley's voice and the intricate fingerpicking patterns on his guitar.

Micro Dynamics:

The PB5 exhibits good micro dynamics, capturing the subtle variations in volume and intensity within the music. This contributes to a nuanced and expressive presentation, allowing the music to breathe and flow naturally. In "Moonlight Sonata" by Ludwig van Beethoven, the PB5 captures the subtle variations in volume and intensity within the piano melody, creating a dynamic and emotive performance. The quiet passages are rendered with delicacy and nuance, while the louder sections are presented with power and control. Similarly, in "Nuvole Bianche" by Ludovico Einaudi, the subtle ebb and flow of the piano melody, created a captivating and emotionally resonant listening experience.

Macro Dynamics:

The PB5 delivers impressive macro dynamics, effortlessly handling the large-scale shifts in volume and intensity within the music. This adds a sense of excitement and drama to the listening experience, particularly with orchestral or cinematic music. In "Thus Spoke Zarathustra" by Richard Strauss, the PB5 captures the dramatic opening with impressive power

Conclusion:

The iBasso PB5 Osprey is a remarkable portable amplifier that successfully captures the essence of tube amplification in a compact and convenient package. Its warm and engaging sound signature, coupled with its impressive drivability and respectable battery life, make it a compelling option for those seeking to add a touch of tube magic to their portable setup.

While not without its minor sonic quirks, such as the occasional forwardness in the upper midrange, the PB5's strengths far outweigh its weaknesses. But beware that synergy is a factor to consider. If you have a source like D16 Taipan or Hiby R8 II, getting the PB5 is a worthy investment.
RONJA MESCO
RONJA MESCO
Good review...awesome pics and a good range of cans used here!

antdroid

Headphoneus Supremus
Pros: Lightweight and portable
Subbass boost +3dB
Holographic sound
Great looks
Cons: Not a fan of the stepped attenuated volume control
Does not support PD/USB-C to USB-C cables for charging


The PB5 Osprey is a balanced Korg NuTube portable headphone amplifier made by iBasso and is comes out at the same time as their new D16 1-Bit portable DAC. Since I already owned the DX320 Max, I only purchased the PB5 and used an ownership discount to get the product at a lower price than the $1599 retail price of this unit, which sets out to compete with Cayin's C9 NuTube portable amp and others.

I reviewed the C9 a while back and enjoyed its smooth and enjoyable sound, but disliked how bulky it was. The PB5 is a bit smaller and much lightweight. It's actually surprisingly lightweight, especially without its included green leather wrap-around case. This makes it more portable and more transportable, although it is still thick.

Dimensionally, its very similar in size to the DX320 and DX300 MAX units, in all aspects, and shares similar width and length as the Fiio M15S, but double it's height. This makes it easily stackable with either of the DAPs I use.




The PB5 comes with a bounty of accessories, including 2 sets of 4.4mm to 4.4mm balanced connectors for input/output connection from your source to the amp, the green leather case, a carrying bag, and USB cable. The PB5 cables have a very unique bullet-looking connector shape that I've only seen iBasso use and make and makes it stand out.

There is a downside though, as the larger shape of the connector head makes it sometimes difficult to turn the adjacent volume knob. The knob takes on the same stepped attenutation feature of the 320 Max here, which I found quite annoying. It's slightly less annoying here for whatever reason, but it still cuts in and out when changing volume and can also be stuck between steps causing imbalance.





The other annoyance I found is that USB Charging only works with standard USB-A to USB-C cables. USB-C to USB-C cables and power delivery or even quick charge sometimes don't work. It likes to get old skool power feed. It also will automatically shut-off charging as soon as the battery levels max out, and then start to drain battery even while charging. I'm sure this is a feature to prolong battery life, but I also wish there was a way to bypass the battery altogether, or have some sort of smarter feature here to keep it plugged in and going.

You can, however, unplug and replug the cable after it's started to drain and it'll start charging again. To combat this feature, I ended up buying an in-line on/off switch for my USB-C cable so I can just toggle it on/off to start charging again without having to replug it each time.




The other thing to note on this device is that it is balanced input only! That means you'll need to use a source that is capable of feeding it sound via 4.4mm cable, whether that be using the included 4.4 to 4.4 cables or by an adapter for XLR to 4.4mm or some other connector of your choice.

It does, however, output music to both 4.4mm balanced and standard 3.5mm stereo, so you can use this with any headphones or in-ear monitors of your choosing, or output it to an amplifier, powered speakers, or whatever you want.



Sound​

When I first put this unit on, I was met with an overly bassy and partially muddy sound. It was overwhelmingly focused on the low end, but after about an hour, the Korg NuTubes seemed to have stabilized and it was much cleaner sounding, but still featured a deep subbass boost from what I normally listen to. That was the part that definitely stood out quickly when paired with my neutral monitors, the Subtonic Storm IEM.

It was so much of an effect that I had to measure it to make sure I wasn't just fooling myself. After measuring it on the Storm, the Dunu Zen, and the Tin T5S, I discovered that there was a bass shelf added to the system that started around 100Hz down to subbass regions, with about a 3-5dB addition.







This, coincidentally, was what I had been toying with on my Subtonic Storm recently -- seeing what a small bass shelf addition in the 20-60Hz region would do and I ended up liking the results quite a lot and had been playing with this EQ lately. With the iBasso PB5, I no longer had to mess with software EQ, as it made almost the exact same EQ naturally.

It's not just a bass quantity boost though. The amplifer also added a more 3D holographic space and with a touch of additional upper treble air. These are things that weren't measurable in a simple FR graph, but it was something I heard in comparison to just listening to either my iBasso DX320 Max or Fiio M15S without the amp connected.

Adding this extra layer of bass and imaging may not work with all headphones and IEMs. With the already bassier Sony MDR-MV1 headphones, I didn't necessarily feel like it added much, and only made the bass levels more than necessary. With the Unique Melody MEST MK3 IEMs, I felt the darker tonality was heightened with the PB5 amp and it's already forward soundstage made smaller for some reason.

It does shine with more balanced and neutral-tuned products though, and I absolutely love the extra fun-factor it adds to the Storm and the Dunu Zen. These two products really benefit with this amplifier, given them an extra oomph to bassy tracks, and smoothing out the treble even more.



Final Thoughts​

The PB5 was an amp I wanted to test out at a discounted price and I've been very happy I've tried it. It's been a wonderful new addition to my semi-portable audio chain and one I take with me to work everyday to use. It's a perfect pairing with the Subtonic Storm and the Dunu Zen IEMs, and is definitely something I recommend to check out if you are interested in adding a more punchy and dynamic amplifier flavor to your current audio chain.


BlueA
BlueA
Thanks for the review!
Why do you think there's a link between Korg NuTubes and bass?
Many other product use them and does not expose the same tuning.
Do you think it can be the tuning itself?
antdroid
antdroid
@BlueA I think it's because of the way iBasso tuned the amp. The Cayin C9 doesnt add the extra bass boost that the PB5 does.
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RONJA MESCO
RONJA MESCO
Great write up...clear and concise!

Trance_Gott

Headphoneus Supremus
PB5 Osprey - The endgame mobile nutube amp
Pros: Great design and workmanship
Very powerful
Rich timbre with great texture and body
Very holographic imaging
Amazing bass quality with a little more quantity then neutral
A dream combination with the DX320 MAX Ti especially with neutral and brighter IEMs/headphones
Batteries are easy replaceable
Cons: I wish it had the same design as the DX320 MAX Ti
The PB5 Osprey is iBasso's answer to the question of the best possible portable amplifier with analog tube magic. Of course, no "real" electrode tubes are used here, as these would be too large in a portable device and their waste heat would also be too high. Instead, so-called nutubes are used, two of them in fact. These type 6P1 nutubes are manufactured by Korg and Noritake and are already in their sixth generation. Similar to a vacuum tube, a nutube has an anode grid structure and works exactly like a triode vacuum tube. Similarly, it also produces the same characteristic rich overtones, the unique warm tube sound with excellent linearity. But compared to a conventional vacuum tube, a Nutube requires considerably less energy, is significantly smaller and lasts up to 30,000 operating hours.

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The PB5 is a real powerhouse. With an output of 2x 1.7W @32 Ohm provided by a total of 6 rechargeable batteries, it can drive almost any pair of headphones. Even my Hifiman Susvara! The 24 position stepped attenuator already used in the DX320 MAX Ti is used for volume control. This incorporates the so-called stepped attenuators. By using high-precision resistors, the difference between the channels can be limited to +/- 0.1 dB, which is significantly better than with conventional potentiometers. A total of 24 steps are possible. The behavior of such a setup means that turning the knob initially cuts off the sound, creates a channel imbalance or distorts it until it is "locked" into the next step. The advantage of the PB5 compared to the DX320 MAX Ti is the clearly more perceptible rasterization up to the next step. This means that you almost never reach a position where the left and right channels drift apart. This is something I would have liked to see on the DX320 MAX Ti. The OPAMP is an OPA827 from Texas Instruments, known for its superb performance and very analog sound.

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As with the DX320 MAX Ti, the 6 batteries can be replaced very easily. The housing is simply unscrewed with 2 screws and the batteries can be replaced directly. There is a USB-C port on the back for charging the amp. No QC or PD chargers are supported, only standard USB chargers with 5V. The PB5 is fully charged after around 2.5 hours and then runs for around 10 hours. In addition to a power switch, there is also a switch on the back to switch between low and high gain. On the front is the 4.4mm input as well as a 4.4mm and 3.5mm output for headphones and IEMs.

The PB5 is supplied in a high-quality box that is appropriate for the price. This contains the PB5, which in turn is stored in a leather pouch. Another velour bag contains a USB connection cable and 2 high-quality 4.4 mm cables in two different lengths. From the outside, the cables look like a mixture of pure silver and copper. The plugs are very classy and solid and contribute to the high-quality overall impression.

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The PB5 itself is protected by a green leather case. The workmanship of the PB5 is very good and the design with the glass panel on the top, which offers a direct view of the illuminated nutubes, is very successful in my opinion. I would have liked to see a more matching design to the DX320 MAX Ti, i.e. silver with golden controls and a brown leather case. However, the PB5 has not only been developed specifically for use with the DX320 MAX Ti, but can also be used with any DAP that offers a 4.4 mm lineout. With the DX320 MAX Ti you just have to be careful not to use the highest gain level 4, as this can lead to clipping. I only ever use gain stage 1 on the MAX, as this gives me a much wider control range, especially when using very sensitive IEMs.

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To test the PB5, I naturally use my reference, the DX320 MAX Ti, as a playback device. I tested several headphones such as the brand new Austrian Audio Composer, Focal Utopia 2022 and Susvara. For the IEMs, I used the Radon6, Xenon6, Trifecta and Raven. The PB5 is absolutely dead silent with all headphones. Only with the Trifecta can you hear a minimal hiss in the background, but this no longer plays a role when the music starts. It is important to expose the PB5 to a longer burn-in phase. I recommend at least 100 hours, preferably 150 hours. At the beginning it still sounds a bit constricted and the bass only opens up after about 30 hours and then slowly reveals its full potential. The nutubes in particular apparently need this longer break-in phase.

The difference in sound between direct connection to the MAX Ti and PB5 is immense. There is no need to make any major comparisons. You can hear it directly. The MAX Ti has the characteristics of a transistor amplifier with a very clean, transparent, fast and very resolving sound. The PB5 conjures up richer timbres with more texture and body, especially in the mid-range. The already very holographic imaging of the MAX Ti gains even more breadth and depth here.

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Personally, I attest to the MAX Ti's very neutral reproduction. The PB5 takes this reproduction two steps into warmer realms and emphasizes the bass range a little more, which is more energetic and not quite as soft. My first test for the PB5 was the Austrian Audio Composer. And from the very first second, I just thought that can't be right. It fits like a glove! The very analytical Composer, which can sound very bright depending on the source, gets the necessary foundation in the mids with the silkier highs through the PB5 and sounds more musical, more involved, better than I've ever heard it before! Even my stationary system with the Niimbus US4 has to admit defeat to the mobile chain with the PB5 here. The Composer needs a tube, absolutely. You have to hear it. It's like a Utopia on stereoids. But in my opinion, the Utopia 2022 also gains in musicality with the PB5. And above all the necessary soundstaging, which is a class above, because it's bigger. If I set the MAX Ti to gain level 3 and the PB5 to high gain, even driving my Susvara is no problem. And the nutubes also fits really good on the Hifiman. Fantastic timbres, terrific soundstaging and a bass range with real punch. The 1.7W is good for the Susvara and the PB5 is therefore also somewhat more powerful than the MAX Ti. On the Niimbus US4 + D90 III, the Susvara plays a little less colorful but with even more control, especially in the bass range. Nevertheless, the PB5 is the best mobile amp on which I have heard the Susvara, great!

The Empire Ears Raven is also an absolute dream combination. A very technical IEM in terms of character with terrific bass, lightning-fast transients and a resolution like no other. The mids are very transparent, as the texture of the Raven is somewhat slimmer, and the PB5 gives it a real boost in the mid-range, so that everything sounds a little more contoured with more fullness and directness. I thought a Radon6 could also do with a little more warmth. And this also benefits from the PB5. With the now more analog-sounding mids, it approaches its brother, the Xenon6, in this area.

Does everything sound better with the PB5? In my opinion, the very warm and bass-heavy IEMs are not the best choice, depending on the source. A Xenon6 that already sounds very warm and very analog with a neutral source like the MAX Ti gets an overall picture that is too colorful for my taste with the PB5. The Trifecta, which I love for its full-bodied reproduction of every single sound element, gets another boost in the bass with the PB5, which is a bit too much of a good thing for me and makes the speed too bouncy. But I think you have to weigh things up depending on the source. The MAX Ti with its ROHM DACs doesn't exactly play on the very bright side. I think if you use a brighter DAP such as the FiiO M17 in combination with the PB5, the Xenon6 and Trifecta might be a better fit.

In my opinion, iBasso has created a really ingenious portable amplifier with a lot of power with the PB5. The price of 1500 USD is certainly no bargain. But if you are addicted to the tube sound and want to upgrade your DAP with a lineout, this is the right device for you. The only important thing is that the DAP also has a "real" lineout. In other words, a direct output from the DAC section and not one that also runs through the amplifier section. Because this so-called "double amping" leads to a loss of sound. Now I'm all the more excited to hear how a stack of the new D16 Taipan (1-bit discrete DAC) + DX320 MAX Ti + PB5 sounds!
CharlyBrown
CharlyBrown
Great review 👍

Would it make sense to use the D16 + PB5 as mobile DAC/AMP/Tube AMP solution together with an iPhone / Tablet? (Without the 320 Max or any other DAP).
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santsant
santsant
This amp is awesomely matched with abyss diana series.. even compete with good desktop amp.
M
MAISONOBE AALAIN
Hello

Can someone tell me if the association with a SP3000 is good?

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