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iFi audio Pro iCAN

  1. knorris908
    iFi Pro iCAN: Welcome To High-end Sound At Last
    Written by knorris908
    Published Jan 2, 2020
    Pros - Detail
    Flexibility (Tube mode & Solid-state mode)
    Cons - The pad on the bottom isn't as stable as possible when not stacking with other iFi Pro components.

    My Review of the iFi Pro iCAN


    Many thanks to Lawrance over at iFi - who has been patient and supportive of getting me info and started with product the past few years.

    This is my purely subjective review – based on my gear, my ears, and my experience. Please consider and respect this - especially if my impressions do not match your own.

    I have used the iFi Pro iCAN extensively over the past 6 months, and I have clocked a lot of hours with the amplifier in the last 3 months in particular.

    You can read specs anywhere, so for the sake of brevity, I will stick to how my experience went and how the Pro iCAN fit into my stable of audio devices and headphones.



    For this review, I used the PRO iCAN PRIMARILY from PRO iDSD (Also on loan from iFi) Opus #1S, and iBasso DX90. I tested against other amps, (iFi xCAN, iDSD Micro, iCAN SE, Massdrop Liquid Carbon X +SDAC, & Schiit Asgard II) to see differences in performance with various headphones.


    Pro iCAN (Bottom) with the Pro iDSD and assorted headphones

    The Pro iCAN is the combo solid-state and tube amp section of iFi’s PRO line of products which also includes the dedicated DAC and multimedia hub (Pro iDSD), and the transformer/energizer (Pro iESL) which is specifically for electrostatic headphones.

    POWER TO SPARE (0db LOW, 9db MEDIUM, 18db HIGH)

    The Pro iCAN is iFi’s flagship headphone/speaker amp blessed with a surplus of power, (Up to 14W for headphones and its 20V mode can output up to 100W into 40 Ohm speakers!) allowing for the proper driving of the most power-hungry headphones. I never felt the need to raise the volume dial past 10 o’clock in HIGH gain or noon in LOW gain with my hardest to drive 300 or 600 Ohm headphones.


    SOLID. 213(l) x 192.5(w) x 63.3(h) mm metal casing and weighing 1.93kg (4.3lbs) indicates that this is a sturdy and substantial desktop component that was designed to last.



    My planar magnetic headphones respond well to the Pro iCAN


    Of particular note: The widened soundstage on my Sendy Aivas!

    Solid-State - The PRO iCAN was able to drive my old Sennheiser HD-650s to louder volume levels than I am comfortable with even on LOW gain, and both MEDIUM and HIGH gain drove them ridiculously louder! This is my preferred way to listen to the HD-650s. The brighter sound and tighter dynamics of the solid-state mode perfectly balances the HD-650s darker tuning and eradicates any veiling tendencies. While the balanced connection offered more power, the single-ended connections also sounded full and well-rounded.

    Tube Mode - I really enjoyed the first tube mode, finding it the ideal balance of “tubey goodness” to enrich slightly thinner sounding headphones and tracks. I especially enjoyed listening to AKG 550s, Thieaudio Phantoms, and (on LOW gain) my Etymotic ER4XR extended response iems. Classical and orchestral pieces found their stride in this mode, filling-in the sound signature without muddying or dulling the performances.

    Tube+ Mode – I enjoyed this mode the most on my Beyerdynamic T1 (2nd ver.) and the Sennheiser HD-800. While taming the most punishing tones and ringing in the highs, it simultaneously filled-out the mids to lessen to purely clinical and sterile natures of their presentations while adding a bit of weight to the low end. Just what I want when I want to just relax and enjoy, and I love that I have the option to turn the tube+ mode off if I want to dig-in and examine a piece or a component’s effect on the audio chain.



    In order of performance:

    1. Phones – (RCA input) Each sounds about the same.. (Apple or Android) Basic, low detail and flat sounding unless you play with DSP apps. Plenty of volume with low distortion if you adjust your phone’s volume to its particular “sweet spot”.

    2. Tablets - (RCA input) Same as phones, but a little more source power. Louder, but still need to adjust volume to prevent distortion.

    3. Fiio e17 DAC - (RCA input) Adds a bit of “fullness” to the sound and increased detail over early model phones. Newer phones (iPhone 7 and newer, Note 8) sound about equal with tradeoffs for and against each. The Pro iCAN reveals the strengths and weaknesses easily.

    4. iBASSO DX90 DAP - (RCA input) The player offers better detail and resolution than any of the previous choices in the list, and the Pro iCAN easily demonstrates this.

    5. Radsone E100 - (RCA input/2.5mm to XLR) The E100’s app gives you great customization choices, EQ, Crossfeed, Filters, etc.. I didn’t feel the need to alter the signature much, but the Pro iCAN handled changes across the full EQ range with no evident distortion. More dependent on original Bluetooth source quality than I wanted, but has plenty of innate resolving capability and clean clarity of sound if the source has it to begin with.

    6. iFi iDSD Micro - (RCA input) Increased clarity and resolution due to the DAC improvement over all my previous choices. Additions of XBass and 3D were easily-tolerated with no sense of distortion, but the Pro iCAN’s onboard XBass and 3D settings sound a bit cleaner and more refined.

    7. Opus #1S DAP - (RCA input/2.5mm to XLR) Best mobile source I have, and the PRO iCAN really shines with it. The player has a little darker coloring than the DX90 does, which the PRO iCAN displays transparently and perfectly.

    8. iFi Pro iDSD – (RCA input/2.5mm to XLR/& XLR to XLR) Clearly made to match the Pro iCAN. A good bit of clarity, fullness, and detail added to music which demonstrates my first REAL experience with higher-grade audio equipment.
    SONIC COMPARISONS (Solid-State mode only - No tube options to compare against)

    l iFi xCAN - Do you want fun or accuracy? The xCAN is bouncy, robust, energetic, and just plain enjoyable to listen to. Not nearly as accurate, detailed, nuanced, or balanced as the Pro iCAN. Think top of consumer-grade (xCAN) vs hi-end grade (Pro iCAN).

    l iFi Micro iDSD – The Micro has a more congested sound than the Pro iDSD does. The Pro iDSD has better presentation, placement, and more “space” between sounds. It’s clearly easier to place instruments within the soundstage. The Pro iDSD has a wider stage and manages to place vocals in front of you better than both the Micro iDSD and Micro iCAN amps do. Vocals sound clearer and more nuanced on the Pro.

    l iFi Micro iCAN SE - Out of all my amp choices, only the Micro iDSD & iCAN SE output close to the amount of power the Pro iCAN is capable of. (Though still less than 1/3 of the balanced and only 80% of the single-ended capabilities.) Same as the others, narrower soundstage, less instrument separation, and more of a “wall of sound” than a dynamic soundscape than the Pro iCAN provides. Still, excellent showings for portable amps!

    l Schiit Audio Asgard II - This, in the beginning, was my reference for benchmarks. Along with slightly elevated bass, the Asgard II is slightly less neutral and analytical than the Pro iCAN. The exact opposite of the Micro iCAN & iDSD, which I consider more enjoyable for daily driver roles. Narrower soundstage. The lowest dynamic range of the desktop amps compared.

    l Liquid Carbon X +SDAC – Closest match I own to the Pro iCAN when run in solid-state mode. MUCH less power, and slightly less detail revealed by the Liquid Carbon. Also, the bass range is much looser than found on the Pro iCAN, but the amp still works as an option for the enjoyment of relaxed and smooth sound signatures. A narrower soundstage, and oddly-offset instrument placements in the soundscape. Not offensive, but inaccurate.

    l Pro iDSD – Closest match of all. Truly, the differences are very subtle and require very resolving headphones to really demonstrate the differences. To my ear, the Pro iCAN’s overall presentation seems a bit smoother, but with no actual loss in detail. The soundstage is also slightly wider when listening to certain tracks on the Pro iCAN.


    Rock –

    1. “Kryptonite” – 3 Doors Down

    2. “Du Hast” – Rammstein

    3. “Why Me?” – Planet P

    4. “Hotel California” – The Eagles

    5. “Money For Nothing” – Dire Straits

    6. “Amaranth” – Night Wish

    7. “Money” – Pink Floyd

    8. “Lucy” – Skillet

    9. “Layla” – Eric Clapton

    10. “While My Guitar Gently Weeps” – Jeff Healey

    Blues/Jazz –

    1. “Round Midnight” – Thelonious Monk

    2. “Smoking Gun” – Robert Cray

    3. “A Night In Tunisia” – Dizzy Gillespi

    4. “Mood Indigo” – Duke Ellington

    Pop/Rap/Electronica –

    1. “Lose Yourself” – Eminem

    2. “When Doves Cry” – Prince

    3. “Bad Romance” – Lady Gaga

    4. “No One” – Alicia Keys

    5. “Royals” – Lorde

    6. “Ride On Time” – Black Box

    7. “O Fortuna” – Apotheosis

    8. “Obsession” – See-Saw

    9. “Guren No Yumia” – Linked Horizon


    The Pro iCAN is a truly amazing product that has afforded me my first REAL exposure to “the next level” of audio. Just a few years ago, I was blown away by the performance of expensive devices that are now collecting dust because inexpensive devices easily-surpass their capabilities. So, for me, this is a great product that I can’t recall another amp that I’ve heard beating outside of tradeshow booths or swap-meets. Certainly, nothing that I have ever had the pleasure of listening to with my own gear, and in the comfort of my own home. I can easily HIGHLY recommend it!

    To me, there are 3 main benefits:

    l Great sound – This amp simply stomps any other device that I’ve reviewed.

    l Clean power – While I didn’t go into detail about this, the Pro iCAN has great power conditioning built-in. When I connected all devices to bare power mains, there was clearly-discernable audio noise in my Liquid Carbon X and especially my Asgard II that remained until I put them behind an iFi PowerStation that was also on-hand for review. The Pro iCan’s power supply removed all signal interference no matter how I plugged it to mains power.

    l Flexibility – The Tube, 3D, and XBass offerings aren’t just “gimmicks” or cheesy afterthoughts. They legitimately offer options to cater to what I want to hear no matter the characteristics of the source, headphones, or just my mood. It’s like getting 2 equally implemented and customizable amplifiers in one device. The Pro iCAN is not a tube amp with an okay solid-state section bolted on. Both flavors are equally capable and very powerful.
      robo24, VOLKOV9, Cat Music and 3 others like this.
    1. iBo0m
      Good choice of earphones to test out iCAN :)
      iBo0m, Jan 3, 2020
      knorris908 likes this.
  2. ufospls2
    iFi Pro iCAN Full Review
    Written by ufospls2
    Published Sep 29, 2019
    Relaxing with Milo

    Hey Guys,

    Today we are talking about an absolute Swiss army knife of an amplifier, the iFi Audio Pro iCAN. Not only does this amp sound great, it can do pretty much….everything!

    iFi Audio is a British company that was founded in 2012. It is a subsidiary of AMR Audio, which has a long history of making stereo equipment. iFi has always struck me as a company that focuses more on headphone and personal audio, but that does seem to be changing lately, and they are branching out into other areas (see the iFi “Aurora” all in one for an example of this.) Their products are innovative, and seem to prioritise functionality as well as sonic performance.

    The “Pro” line up launched with Pro iCAN that we are talking about today, but has since seen the introduction of the iESL (for electrostatic headphones) and the Pro iDSD DAC (which I will be talking about in a new review in a few days, another great bit of gear.)

    The Pro iCAN, which I will just refer to as the iCAN from here on out, is a small desktop sized amplifier. It features, not one, but two true tube modes, as well as a fully solid state mode. Talk about flexibility! You can switch between these modes on the fly with a flip of the switch, and it takes about 5 seconds for each mode to engage. The iCAN also features the best implementation I have heard of iFi’s “XBass” feature, as well as their take on crossfeed, the “3D” feature. I didn’t use the “3D” feature too often, but it does work well on some tracks, and the “XBass” feature is a tasteful boost at three different levels. I think it really depends on the headphones you are using when it comes to determining which of these levels and features you will want to use, and of course, your personal preference will play a role as well.

    Almost every connection you can think of!
    The iCAN is a bit of a mini powerhouse, it doesn’t take up much space, but it puts out 14,000mw at peak output levels, and with its 3 gain settings, can run everything from sensitive IEMs, to the Hifiman Susvara and HE6. Not many amps can boast such flexibility. Now, if you try to listen at enthusiastic levels, with both the “XBass” and “3D” features on with the Susvara or HE6, the amp will likely go into protection mode as it is starting to struggle, but apart from that it will have no troubles driving them.

    I think the iCAN has a similar sound signature across its three output modes, SS, Tube, and Tube +. The two tube modes are noticeably different from the SS mode, but they seem to maintain a similar sound signature and are not warm and gooey as some people expect tubes to be. The two tube modes seem to round off the edges of notes and make things a bit easier to listen to, but it will really depend on your headphones and preferences as to which mode you will prefer. I ended up using Tube mode with my Abyss, but SS mode with the Susvara. With something like the Focal Utopia, I could see Tube mode being used, and with the ZMF Eikon, maybe SS mode. The flexibility the iCAN offers, again, is tremendous.

    I would describe the Pro iCAN as a fairly neutral sounding amp, perhaps leaning to colder and clinical at times, but not in a bad way, its just not a warm, fuzzy, and thick sounding amp.

    The iCANs technical performance was quite impressive, from dynamic swings to detail rendering. It perhaps doesn’t make the Susvara and hard to drive headphones slam as hard as a speaker amp, but it has no troubles powering them, and does more than an acceptable job at bringing out the positive qualities of said headphones.

    I tried comparing the iCAN to my iDSD Black Label, which is also made by iFi. The Micro iDSD BL is a fantastic transportable all in one unit, I really love it. However, perhaps it is not fair to compare it to a standalone desktop amp, but as both units are made by iFi I gave it a shot. As an amp only, the Pro iCAN, apart from being what seemed like infinitely more powerful, was more detailed and neutral sounding. The Micro iDSD seemed to have a tiny bit bloom that the Pro iCAN did not, as well as less detail. I still hold the Micro iDSD BL in very high regard as a transportable all in one, but its amp section was indeed beaten quite handily by its big brother. No surprises there I suppose.

    iFi Audio has come up true Swiss army knife of an amp with the Pro iCAN, and it really doesn’t do anything wrong! It can power sensitive IEMs without hiss, it can power most of the hardest to drive headphones on the market, it has bass enhancement and crossed implementations, and is both a SS *and* tube amp. I think it sounds fantastic, especially for the sale prices I have seen it available at on occasion (about $1299USD, and about $1000USD used.) I have even seen one unit sell for $850USD! At these prices, this amp is not only an excellent recommendation, but is a very solid value compared to some of the other options on the market.

    With a tower of planar goodness!
    The iFi Pro iCAN gets a very thorough recommendation from me, especially if you are looking for “one amp to rule them all.” I could see this amp being a reviewers dream come true, as it is so truly flexible. Great job and congratulations to the team at iFi for creating such a stand out product. I really enjoyed my time with the Pro iCAN, and to this day, consider purchasing one on occasion, even though I don’t truly need it!

    Thanks for taking the time to read this review.
  3. betula
    iFi Pro iCAN review with Pro iDSD and other amps
    Written by betula
    Published Feb 17, 2019
    Pros - amazing control, dynamism, clarity and detail
    - bass and 3D enhancements
    - power output
    - tube and solid state mode
    Cons - vocals are not as alive as they can be
    - sometimes sounds a bit sterile
    - treble in solid state mode can be a bit harsh
    I reviewed quite a number of iFi’s (AMR’s) portable DAC/amps (Nano iDSD, Micro iDSD BL, Micro iCan, xDSD), therefore I got really interested in reviewing the Pro iCAN, their higher-end amp for £1799.

    The kind people at iFi agreed to send me a review unit, as long as I take the Pro iDSD as well (£2499) and evaluate them as a combo. How could I have said no?

    Luckily I had around my Chord 2Qute (£695) and Questyle CMA600i (£949) along with a Cavalli Liquid Platinum (£790 with import tax and custom fees), so there will be a lot of comparisons in this review.


    Music preferences:
    Mostly electronic ambient with deep and layered bass but I listen to good music from many genres. I like vocals and occasionally even classical music. I don’t like RNB, rap or country. (More details on my profile page.)

    Sound signature preference:
    I prefer a darker and smoother sound with no loss of bass extension, and within this realm I strive for the cleanest, clearest and most detailed sound.

    For this review I mostly used my Audeze LCD2C. It delivers the most excellent bass response while it represents the perfect balance between refinement/details and easy listening. My listening sessions tend to be quite long (over 2 hours) so I need a relaxed sound. For this reason I didn’t keep the Focal Clear for example.

    System used:
    PC with Audioquest Jitterbug and iFi iPurifier 3.0. Source was bitperfect FLAC from my computer along with my balanced Toxic Silver Widow cable. All amps were used in balanced mode as I found this superior to their single ended output in each case.

    I won’t copy/paste all the technical jargon, number of inputs and outputs of all amps here, as this information is widely available in other reviews and on the manufacturer’s websites. I will focus on sound quality only, mentioning just a couple of technical details.

    Source 1: Chord 2Qute

    First I will talk about the amps driven by my Chord 2Qute DAC. The 2Qute is an exceptional DAC for the money, it is very clean, has the strength of Chord DACs which is exceptional soundstage depth and a very lifelike sound. I believe it is the best DAC choice these days under £800.

    iFi Pro iCAN

    As I took the iCan Pro out of the box I was surprised how small and how heavy it is. It feels robust in the hand, and the small size is very desktop friendly. The unit is very well made, beautifully designed, and it looks even better in person than it does on pictures.


    Bass and 3D enhancements:
    Having a gain switch, bass and 3D (soundstage) enhancement is definitely a very attractive selling point of the iCan. These analogue adjustments are even more subtle and better implemented than they are on iFi’s more affordable portable DAC/amps like the Micro iDSD BL. In my opinion they really increase the range of headphones you can use with this amp. With a HD800 for instance you probably want that little extra bass, with a closed back headphone you are very likely to turn the 3D switch a little higher. Both these switches have low, medium and high settings. With my LCD2C I found the highest setting always too high. I can imagine someone using the lowest or middle settings on them. I mostly turned these settings off, only occasionally left the extra bass on the first, lowest setting with some bass heavy electronic music. 95% of the time I didn’t need to use these enhancements with the LCD2C.

    S.S./Tube/Tube+ modes
    In solid state mode the iCan is very clean, but can be a bit cold and sharp. The sound is extremely dynamic, with fantastic speed and clarity. A bit like a perfect machine which might become a little bit overwhelming after a while. I couldn’t use the iCan in SS mode for too long due to my treble-sensitive ears; however I have to admit electronic music sounds phenomenally clear and punchy on it.
    Luckily the buyers of the iCan actually buy two amps in one, since there are built in tubes using a completely separate electric circuit. Therefore the iCan is a solid state and tube amplifier, not a hybrid.
    Tube mode still sounds extremely clean, clear and punchy but there is a little more life in vocals and the sharp edge of the treble which can become bothering after a while is taken away.
    Tube+ adds even more warmth and ease to the sound but to my taste it took away too much from the speed, dynamism and clarity which in my opinion are the iCan’s main strengths.
    For my further evaluations I mainly used the iCan in Tube mode, as I preferred this much more to the other two modes.


    The Pro iCan is technically extremely impressive. The clarity, details, dynamism and control is second to none. It does sound a bit upfront and forward though. It is not a very relaxed amp, not even in tube mode. It is very agile, offering an energetic performance. Even in tube mode it does not sound overly ‘tube-like’ at all. There is a subtle warmth and smoothness compared to SS mode, but it feels just like a breath of life to the music and hardly takes away anything from the amazing technical capabilities of this amp.

    Bass is always tight, deep, exceptionally well-controlled and detailed. There is a good amount of bass even without using the bass enhancement. With my LCD2C I almost never felt the need for it, except to have some real ‘club experience’ with EDM every now and then for a short period only. With other bass light or open dynamic headphones this bass adjustment can be very handy.

    Treble is always clear, clean, detailed, and dynamic. In SS mode it was a bit cold, dry and almost aggressive to my sensitive ears, but switching to Tube mode was a perfect remedy here. Those edges became rounded while keeping all the details. After the perfect and punchy bass response in tube mode I got the perfect treble response too.

    Mids are where the Pro iCan has its weak point in my opinion. Mids sound a little bit recessed compared to the bass and treble and the singers are less upfront blending more into the background. Also on other amps vocals can sound more lively and lifelike than on the iCan, especially for this price.

    Soundstage otherwise is excellent, there is great separation and air between instruments, the soundstage feels spacious enough, but not overly huge.


    Overall I was very impressed by the Pro iCan’s technical capabilities. That control, punch, speed and clarity especially at the low-end is something I absolutely love and respect.
    I did find the treble and the extremely dynamic sound too much for my ears and taste in SS mode, and vocals were not as lively as they can be even in Tube mode.
    While I admire the technicalities of this amp, I couldn’t really connect to it emotionally. I know, this is something highly subjective and immeasurable, but I have to mention for the fairness of this review. I didn’t find this amp very engaging; it didn’t bring me closer to the music. In my opinion the Pro iCan is the perfect amp for the analytical listener.



    Monoprice Monolith Cavalli Liquid Platinum

    Mids are wonderful and liquid on this amp. The whole sound in fact has an addicting liquidity and warmth which is hard to describe, one must hear it.
    I think the Liquid Platinum is worth its US retail price ($770) but it is not in the same league as the CMA600i or the Pro iCan.
    Compared to the iCan and the Questyle CMA600i the LP has a much thinner sound. The meat is missing from the bones: the sound is not very full at all. Bass lacks quantity and quality, treble lacks sparkle.


    The LP is a very polite, very sophisticated amp. It has a very subtle, gentle sound presentation. It is surprisingly neutral and transparent for a hybrid amp, in fact it sounds less ‘tube-like’ than my CMA600i which is a current mode SS amp.
    There is a subtle tube character to the sound but it stays extremely clear, clean, detailed and refined. Mids in fact are better than they are on the iCan and on par with the CMA600i. Where the LP falls painfully short compared to the two other amps is bass performance. It is enough for classical and acoustic music, but EDM sounds anaemic compared to the two other amps.
    The LP is very different in presentation. If the iCan is a hyper-modern club house, the LP is a small venue with a wooden stage where a string quartet is playing. The 600i might be a multifunctional alternative concert venue in this metaphor.

    While the LP is a very nice and musically engaging amp due to the overall lack of body/texture and the more than polite bass response I don’t consider it to be in the same league as the two other amps. With tube rolling I imagine this can be improved to a certain level, but even upgraded tubes won’t completely change the polite/thin nature of the LP.

    Questyle CMA600i

    In technicalities the 600i is somewhere between the LP and the iCan. The sound is meaty enough, has a full body/texture just as the iCan. This amp sounds very liquid too, but in a different way. The LP is more nuanced and subtle. If the LP is a stream, the 600i is a river. It is a funny thing to say, but to my ears the 600i sounds more tube-like than the LP. It has a great, thick sound, liquid smooth and gentle treble, full mids and lifelike, sweet vocals.
    It doesn’t have the amazing technicalities of the iCan. The 600i sounds slower, less controlled. Bass is not as punchy, not as detailed compared to the iCan, however still blows the LP out of the water in this regard.
    The detail retrieval was on a very similar level with all amps, but they do offer it in a very different manner. The iCan pretty much slams the details in your face. The LP tickles your ear with gentle subtleties. With the 600i you find details as tasty raisins in your cake.


    The 600i is nowhere near as technically advanced as the iCan. It lacks punch, lacks control; it is slower and smooth like butter in comparison.
    But, and this is a huge BUT, it does deliver music in its liquid smoothness. It is engaging, involving and emotionally connecting to music. It grabs your soul and not your brain.
    Mids and vocals have much more life and warmth. For relaxed and long term listening sessions this amp is a much better choice. It just sounds sweeter.
    To my ears the 600i pretty much is the perfect compromise between the LP and the iCan. It has the body to the sound; it is technically quite capable and delivers pure sweetness at the same time. I miss the tightness and bass control and treble clarity of the iCan but the liquid smooth and engaging sound with the sweet vocals make it up for me. Also, while vocals are on par with the LP, the 600i is better in everything else compared to Monoprice’s amp.
    Important note, that the internal DAC of the 600i is only acceptable. You need to pair this amp with a good DAC for the same results I had. You need at least a 2Qute, but there is even better, like the Pro iDSD for example. The 600i needs a tight and precise DAC that offers a better control otherwise the sound can be too lazy and too smooth, falling apart. After hearing it with the Pro iDSD I am very tempted to upgrade my 2Qute.
    Another thing I must mention is that the 600i sounds good only in balanced mode. The SE headphone output is pretty poor in comparison.

    Source 2: iFi Pro iDSD


    Using the Pro iDSD in my system instead of the Chord 2Qute hasn’t changed my opinion on the amps. All my observations remained the same. However, the iDSD is obviously a better DAC than the 2Qute. This is not much of a surprise, since the iDSD is four times more expensive and has tons of other features as well apart from being a DAC. I won’t even go through all of them; it is just an extremely versatile device. Just take a look at its back panel. You can use it for Wi-Fi streaming, it has an SD memory card slot, and so on.

    The question is not what it can do, but what it can’t do?

    Of course I tested the iDSD as a standalone DAC/amp from its SE headphone output; but the level of performance was nowhere near compared to the balanced out of any of the three other amps paired either with the 2Qute or with the Pro iDSD as a DAC. To me it sounds only 60-70% as good as the Pro iCan with a good DAC in balanced mode. Bass is almost identical, but the upper mids and treble are not as open and natural as they are on the iCAN. If you want to spend £2400 on a DAC, you owe your ears with a nice amp as well.

    In my opinion the 2Qute is only very slightly better in two things compared to the iDSD which is soundstage depth and lifelikeness of vocals and instruments.
    No question however, that the iDSD is a far more advanced DAC. The control it brings to the picture is simply amazing and sends the 2Qute to the back row. This amazing control is the most obvious in the low-end and treble areas. Bass extension is better, details are better, the soundstage is wider.


    Swapping the 2Qute for the Pro iDSD just brought my ears an overall more satisfying sound. It is a more detailed DAC, bringing the 600i’s sound closer to the Pro iCAN with much better control, low-end tightness and separation.

    I wish iFi would sell a more affordable and simple DAC only version of it, since in my opinion a lot of people don’t need the arsenal of features from the iDSD but could still use its outstanding DAC section.

    I can understand though, if someone needs an extremely versatile and high-quality ‘DAC-system’, the iDSD is a solid choice even for its relatively high price.

    I must mention what a pleasant surprise the ‘plug and play’ nature of this device was. I didn’t have to bother with any download or software installation, it automatically installed itself, even to Foobar2000, which is a big plus.

    Source 3: Chord Qutest
    (Purchased after I finished writing this review. RRP £1195)

    Since I simply wasn’t able to go back to my 2Qute after settling down with the Pro iDSD and CMA600i combo, I upgraded my 2Qute for the Qutest. I was hoping to get a similar DAC performance to the impressive Pro iDSD but without all the bells and whistles of iFi’s high-end DAC and spending the money solely on sound quality.

    Since this is a Pro iCan review which is already getting too long, I won’t go into details here but I have to say I am not disappointed with the Qutest. It is a clear upgrade to the 2Qute and rivals with the Pro iDSD on pure sound quality.

    In some ways it is not the most meaningful comparison since the iDSD offers an array of features while the Qutest is a DAC only, but I believe the sound difference between them is only a matter of personal preference. The iDSD sounds a bit thicker with a more firm low-end but Chord’s Qutest is even more resolving and more spacious. I could be happy with either of these DACs but if I can choose only one that would be the Qutest. I know other audiophiles who prefer the Pro iDSD vs. the Qutest.


    I have got some unexpected conclusions after comparing these three DACs and three amps.
    1, A tube amp can sound quite solid state-like and a solid state amp can sound quite tube-like.
    2, It is not enough for an audio equipment to be technically amazing. There is a magical factor which is the connecting ability between soul and music.


    3, I find the stereotype of the two kind of audiophiles to be true. Imagine a line where at one end stands the audiophile who gets all the pleasure from technicalities, listening to the gear. On the other end of this line stands the music lover who values musical enjoyment higher than any sort of technical brilliance. Of course these are the two theoretical extremes and most of us stand somewhere in-between appreciating both music and gear but to different extent. I am a bit closer to preferring music on this scale; the buyers of the Pro iCan are closer to preferring technical perfection on the same line.

    Finishing words:

    I found the Pro iCan a technically amazing amp. I can listen to its bass delivery for a long time. The layers, the control and the tightness are addictive. The clarity, the speed and dynamism are spectacular. After some time however I got a bit bored in all this technical perfection and I started to miss the soul from the music, especially when it came to vocals.


    Also, the more forward dynamic nature of the Pro iCan is not the very best choice for long term, relaxed listening. While I admire the sound that comes out of the Pro iCan and find the extra features like bass enhancement pretty useful, this amp is not for me. I need something smoother, something more relaxing, something with more life and soul.
    The Pro iDSD paired with such an amp is an amazing combo. If I could afford to collect amps I would happily keep the iCan for certain moods and music, and I am sure other audiophiles who value technical perfection a little higher than musical engagement will be very happy with this amp.
      phthora likes this.
    1. bluesaint
      you should swap out the tubes in the ican pro. I did and makes a whole lot of difference. The stock 1980's GE5670 is at best considered tier3 tubes. Even moving to 1950's GE JG5670wa makes a world of difference.
      bluesaint, Mar 22, 2019
      vonBaron and betula like this.
  4. B9Scrambler
    iFi Pro iCAN: Where Want and Need Meet
    Written by B9Scrambler
    Published Aug 15, 2018
    Pros - Lots of useful features - Clean sound and background - Very powerful - Tons of input and output options
    Cons - Difficult to read labels - Tiny switches may be tough for some to grip - Limited to ability to stack with non iFi Pro range products due to tube protruding from the top of unit - Gets quite warm (not so much a negative as a head-up)

    Today we're checking out iFi's top tier hybrid amp extraordinaire, the Pro iCAN.

    Any time I'm in a thread or forum where someone is asking for a suggestion on which new amplifier to buy, inevitably someone will throw one of iFi's many options into the mix. With such a vast selection of products to choose from, and with a positive reputation to back it all up, it's not particularly surprising. Almost every review of a product of theirs is rife with praise and positivity, regardless of whether the review is coming from someone like myself who was loaned a unit to check out, or from a legitimate customer who simply wants to share their experiences with others who might be interested in buying the same thing.

    I really don't enjoy reviewing devices and prefer to stick to headphones and earphones, so when Lawrance at iFi reached out to see if I would be interested in reviewing a product of theirs, their reputation in the community was more-or-less the deciding factor. I wanted to see what makes the iFi brand so beloved in the audio community. The Pro iCAN was selected almost exclusively for the purposes of getting the most out of the HiFiMan Susvara.

    Before we get started, I want you to know that my experience with other iFi products is nil and other amplifiers limited at best, boiling down to my current headphone amp, the TEAC HA-501, a few old Kenwood's from the 90's, a classic Marantz Model 3800, and an NAD C 356BEE owned by my cousin. I've also messed around with countless other stereos belonging to others but not enough to know them inside and out. If you're expecting a technical, in-depth look at the Pro iCAN, you might want to check out some other reviews. Mine will be a subjective take on this compact powerhouse.

    I also come from a psychology background and as a result my writing can be quite sterile. I can't wax poetic like some other reviewers unless a product really grabs my attention in a particular way, something amps and players haven't really done for me yet. In my world, they're really just there to transmit music to the headphone with little need for in depth features or fancy gimmicks. All I want is for them to be intuitive to use and to stay out of the way of the music. The Pro iCAN does both of those things very well, while also containing a slew of features and things that could be considered gimmicks if they weren't implemented so well.

    DSC02792.JPG DSC02791.JPG DSC02790.JPG


    The Pro iCAN was a loaner unit sent over by iFi for the purposes of review. Thanks to Lawrance for reaching out to see if I would be interested in checking out one of their products, and for suggesting the Pro iCAN. As this was a loaner, it was sent back to iFi.

    At the time of this review the Pro iCan retailed for 1,600 USD; https://ifi-audio.com/portfolio-view/pro-ican/

    • Gain: 0dB, 9dB and 18dB user-selectable
    • Frequency Response: 0.5Hz to 500kHz(-3dB)
    • Total Harmonic Distortion (THD, Balanced/Single-Ended):
    • Balanced SE Solid-State: ≤0.0015% ≤0.005%
    • Tube: ≤0.002% ≤0.005%
    • Tube+: ≤0.012% ≤0.2%
    • Signal-to-Noise Ratio (SNR, Balanced/Single-Ended): >147dB(A) / > 137dB(A)
    • Output Power (16Ω, Balanced/Single-Ended): >14,000mW / >4,800mW
    • Output Voltage (600Ω, Balanced/Single-Ended): >23V / >11.5V
    • Input Voltage (Pro iCAN): DC 9V/6.7A – 18V/3.35A
    • Input Voltage (iPower Plus): AC 85 – 265V, 50/60Hz
    • Power Consumption: ≤ 22W idle, 50W max.
    • Dimensions: 213(l) x 192.5(w) x 63.3(h) mm
    • Weight: 1.93kg (4.3lbs)
    • Test conditions: Gain = 0dB, 0.775V(0dBu) with 300 Ohm load unless stated otherwise
    • SNR Balanced re 23V, SNR SE re. 11.5V
    DSC02795.JPG DSC02793.JPG DSC02794.JPG

    Packaging, Build, Features, Sound, and Other Stuff:

    I'm used to my stereo equipment arriving in a fairly basic cardboard box with some branding, model numbers, and some other random stuff plastered on the outside. Open it up and the device is usually wrapped in a sheet of plastic and tucked in some squeeky foam cutouts. There's usually a manual that could have been crafted from any standard printer, then folded and stapled. To say the unboxing experiences are unremarkable and completely forgettable would be an understatement. iFi's unboxing experience on the other hand is a little more modern and less sterile than that.

    The Pro iCAN's shock-white box and minimal branding, limited to iFi in silver letting on the top and two sides has an Apple-level of minimalism and style to it. The exterior sleeve, which shows images of the front, side, and rear of the iCAN along with a list of specs and features shakes things up a bit. Inside, you're immediately greeted by the iCAN nestled in a soft foam ring shaped perfectly to fit around the plethora of knobs, inputs, outputs, and other protrusions present on the device. Below in a few segmented compartments are the remote, power brick and cable, along with a short audio cable.

    The Pro iCAN itself is a solid and hefty device considering it's compact size. The all-metal shell is nicely constructed with clean cutouts in the rough shape of a rippling wave emitting from the tube. The rest of the shell has a broad corrugation to it which is subtle but looks pleasant. Its too bad that effect doesn't carry over to the faceplate which maintains a simple rectangular shape, breaking design cohesion. On the bottom isn't the usual rubber pad per corner, but one large silicone pad with an indent for stacking the iCAN with their other flagship device, the iESL. As others have mentioned, this large silicone pad lets the iCAN pivot or slide around more than it should. A mild annoyance at worst for me. What annoyed me more was the labeling of the various dials and knobs. The matte silver writing on the silver faceplate meant they were washed out in certain lighting conditions or at specific angles. Not an issue after a couple days with the device as it is fairly intuitive to use. All the iCAN's functions fell to hand without much thought after getting used to the layout.

    When it comes it inputs, outputs, and options, the iCAN should have most users more than covered. This is a very flexible device, much more so than my equivalently priced TEAC HA-501 which is simple and barren in comparison. On the front of the iCAN, starting from the left, you find the power button and LED indicator, input knob, XBass selector, switch for moving between solid state/mixed/tube-only functions, left balanced input, standard 3.5mm input, 4-pin balanced XLR input, right balanced input which doubles as a 1/4” input, 3.5mm balanced input, 3D effect selector, gain selector, volume knob, and the IR receiver for the remote. And that's just on the front. Flip to the back and you've got another set of balanced XLR inputs, three RCA inputs, balanced XLR outputs, an unbalanced RCA output, a DC loop-out, ESL-link, and the 15V/4A DC input for the power brick. That's a lot of holes in a reasonably small device. The most amazing part is that it's all laid out in a very neat and uniform manner where everything is easy to access, though the two toggle switches on the front for the state selection and gain are quite small.

    DSC02066.JPG DSC02805.JPG DSC02806.JPG

    While I appreciate the inclusion of the remote, it found little use while this unit was in my possession. One reason being the iCAN was almost always within reach, usually sitting a couple feet from me on my desk so there was zero need for the remote. The other being the remote adjusts volume only, and each adjustment required an individual press of the button. Maybe the battery was low, I didn't have another to test it with, but you couldn't simply hold the button down to adjust volume. Being the impatient person that I am, I'm much more likely to get up and walk across the room to adjust volume rather than chill in my chair and press a button countless times. Sure, I'd rather have the remote than not, but overall it wasn't particularly useful.

    What was useful was just how wonderful this unit sounded and paired with nearly everything I threw it's way. One thing users won't be wanting is extra power, that's for sure. As mentioned earlier, the primary reason for selecting this amp was to get the most out of the Susvara from HiFiMan, a top of the line, full-sized planar magnetic headphone. It doesn't take much to get it up to volume, but to get the most out of it's dynamic performance it does take some proper driving power. My TEAC HA-501 just barely does the job. The iCAN did not disappoint.

    With the Susvara plugged into the balanced 4-pin Neutrik XLR input, hybrid state selected for a touch of warmth, XBass off and 3D Enhancement off, gain set to +18, I sat down and leaned back in my leather Lazyboy recliner with the lights off and a HiFi E.T. MA8 sourcing Supertramp's “Crime of the Century”. The next 44 minutes were utter bliss. Rick Davies' harmonica solo leading off the album on the track “School” sounded beyond crisp. The following build up to the piano solo and eventual battle between Davies' chunky guitar work and Hodgson's unique vocals egging Davies on set the stage for the rest of the listening session. “Asylum” ended up the next highlight with the iCAN sketching out and defining the soft piano work, swells of emotion from the eventual strings and guitars filtering in as the track progressed. And of course, Hodgson's wailing vocals begging not to be admitted, pleading his case for sanity. On my favorite track, “Rudy”, the iCAN's outstanding separation paired with the Susvara's technical excellence surrounded you in the mellow, weightless piano work dancing in the background. At around 1:20, the pulsing swells of strings were perfectly captured by the iCAN as it worked in conjunction with the Susvara. Around 4:00 things get 70's with a wakka wakka guitar groove kicking in. Hodgson's vocals shift stage from back and to the left with a subtle filter placed overtop, to dead centre and clear as day. The iCAN's outstanding sound stage and layered presentation really aided in giving this track depth and urgency, especially in the closing moments where strings appear again, pulsing louder and louder only to fade into “If Everyone Was Listening”. Closing out the album is another excellent entry in the Supertramp portfolio, the title track “Crime of the Century”. Paired with the iCAN, the dark, heavy tones and pained guitar solo oozed emotion and feeling, even more so when swapping away from the iCAN's hybrid setup to tube only where the presentation takes on a slightly softer, warmer tone. I've listened to this album countless times over the years, front to back. Never was I pulled in quite to the same extent as I was when experiencing it again through the Susvara and iCAN. It was something truly special.

    That feeling carried over into every subsequent listening session as I experienced my favorite albums for the first time all over again. It wasn't just good for music either. Wipeout 2048 on the PS Vita is one of my favorite games and can be an intense experience with headphones, even through that tiny screen. It's fast paced with some pretty outstanding sound design. Filtering it through the iCAN and Susvara was such a hilariously overkill experience to have with a mobile video game, and I loved every second of it.

    20171123_153706.jpg DSC02796.JPG DSC02815.JPG

    Additional Notes:

    Since reviewing devices isn't my forte, here are some additional observations about the device gathered through use during the couple months the Pro iCAN was in my possession. I was having trouble working it naturally into the review. Instead of forcing it, you can read these details in a more easily digested form.

    Solid State (Blue light): In this state, I found the iCAN to present with a very precise, detailed sound with very little coloration. It was nearly analytic in it's presentation giving the Susvara additional definition to it's note presentation. I really enjoyed pairing the iCAN on this setting with warmer headphones like the thinksound On2, A-Audio Legacy, and Polk Audio Buckle.

    Hybrid (Yellow): Here the iCAN sounded quite similar to running in solid state mode, but with some added warmth and a softer note presentation. I found running it in this mode extremely flexible, pairing well with everything. The Susvara especially sounded lovely during hybrid playback, maintaining it's natural warmth but gaining a bit of additional precision.

    Tube (Green): If set to tube more, turning on the iCAN cold would net a relaxed 25 second boot time as the tubes warmed up. Switching from other states after the device was already one was much quicker, as would be expected. Also expected was the iCAN to show off a warmer, softer tone than running in the other modes, though it still wasn't quite a lush sounding in this setting as my solid state TEAC, something that took me by surprise. Vocals in this mode were smoother and slightly less detailed, but damn if you couldn't listen for hours on end without experiencing fatigue. I really like pairing brighter headphones like the HiFiMan HE-350, Philips SHP-9500S, or AKG K553 Pro with the iCAN on this setting. The Susvara sounded best here with classic rock and metal.

    Xbass: Unlike more traditional bass enhancement features, it doesn't simply increase bass across the board but focuses on specific frequencies, namely 10Hz, 20Hz, and 40Hz. This will come in handy for addressing limitations in your headphones. It came into play for watching movies and with the K553 Pro which made use of the 10Hz boost, giving it some extra grunt in the lower bass where I find it lacking.

    3D Sound Enhancement: Beyond the initial 30+ option, this feature didn't do much to the Susvara. Maxed out it also took away from the impact of bass and deeper tones. It's impact was much more noticeable with the ADVANCED Alpha, a more budget friendly planar, and didn't act as a negative towards the low end. It was also very helpful with some of my closed back headphones. The A-Audio Legacy has a reasonably intimate and compact stage, opening up considerably with the setting maxed out at 90+. The thinksound On2 also benefited, but not to the same extent. It already has a pretty good sound stage for a closed back on-ear and lost some imaging precision as 3D Enhancement was added in. For some, the trade off for a more spacious sound would certainly be worth it.

    Black Background: The iCAN was a very silent runner, showing off a colorless, black background with everything I tossed it's way. That included sensitive BA-only iems like the B100 to power hungry products like the HiFiMan Susvara.

    Toasty Taylor: The iCAN runs pretty warm, which is to be expected from a powerful, compact, Class A device with tube functions. It was never hot enough to cause worry, though I wouldn't be particularly keen on stacking it with other units that generate a similar amount of heat unless in a space with ample ventilation. Experience with my own equipment of an older vintage, composed of gear from the 70s and early 80s, shows that devices that pump out heat to the extent of the Pro iCAN really need that airflow. If you're coming from equipment that doesn't run quite as warm, this might throw you off.

    Stacking: Because of the tube poking up gingerly through the top of the unit, the iCAN will probably find itself at the top of your stack of devices. Stacking it with other products in iFi's Pro series would be ideal since they are designed to be used in conjunction, or stacked, with each other. Scroll back up to the picture of the silicone pad on the bottom of the unit and you can see where there is a clear indent to accommodate the tube. Handy little feature.

    vs. TEAC HA-501: To my surprise, regardless of the setting, the HA-501 was the warmer of the two devices. The various settings on the iCAN gave it a lot more flexibility and pushing power. Whereas my TEAC pushes the Susvara adequately, on particularly bass heavy tracks like The Prodigy's “Charly (Trip into Drum and Bass Version)” the TEAC will distort once the volume increases enough. The iCAN did not. Also, with the 3D Sound Enhancement featured dialed in, the iCAN was capable giving off a larger stage. The only area where I definitely preferred the TEAC was in the low end presentation. It seemed to have a little more depth and impact, though the advantage was whittled once you started taking advantage of the XBass enhancements of the iCAN.

    DSC02800.JPG DSC02802.JPG DSC02812.JPG

    Final Thoughts:

    I'm the type of audio enthusiast that finds a source and amp that I like, then builds the rest of my auditory experience around it, focusing on picking up a variety of headphones with various signatures. Others do the exact opposite by finding a single headphone that represents them and their preferences, then they hunt down the perfect amp and/or source so they can get the most out of it. The Pro iCAN is suited to both of these kinds of people. It can be that one reliable source for people like me to build their experience around, yet it has the flexibility and performance to be the one device thats let you get the most out of favorite set of headphones without the need to buy multiple amps for signature variety.

    Being able to run your gear in a solid state, tube, or hybrid setting gives the iCAN impressive flexibility and suitability with a number of different signatures. Further enhancement via the XBass and 3D Sound Enhancement features just adds to it's chameleon-like nature. It's three gain settings let you power pretty much anything at whatever volume you want, free of distortion. It has enough inputs, outputs, and variety within each to let you attach nearly anything, and source sound from pretty much anywhere. It... kinda just does everything. When you take into account the plethora of things it can do, the cost of entry is actually pretty darn reasonable. Would I trade my beloved TEAC HA-501 up for it? Yup. My TEAC looks and sounds gorgeous, but the iCAN is so much more capable and flexible in the long run.

    Thanks for reading, and thanks again to Lawrance and iFi for the opportunity to check out the iCAN.

    - B9Scrambler

    *If you enjoyed this review, head over to The Contraptionist for more just like it.*
  5. ngoshawk
    iCAN, uCAN, we all CAN!
    Written by ngoshawk
    Published Dec 17, 2017
    Pros - Price compared to competitors, multi-function controls, multi-connective"ness." Tubey-goodness, ability to tailor to almost any capability. Sound is wonderful!
    Cons - I'm not sold on the isolation pad on the bottom...makes the critter slippery...Can't see the tubes enough!!! Not as well known as Chord products...XBass/3D buttons too small and close to larger knobs...
    iFi Pro iCAN-4.5 stars...



    I had a dream sometime ago…I was walking down a road, not unlike an old London street, fresh from rain and cobbled, of bygone era. I caught a look into a shop with much dust on the shelves and wares stored on said shelves. I could almost make out that whatever was on the shelves, was quite intriguing, to the point that I changed my path to enter and inquire of the shopkeeper what type of shop it might be….it was at that point I woke up. I have imagined that it could be of almost anything, but after receiving an email from Lawrance, I understood…you see it was a scant two days later, that he contacted me… it was rather unsettling, but titillating at the same time…At current, I look down upon our Australian Shepherd puppy, and pen this intro, thinking of that dream. It all became clear tonight, and one hopes I can convey that in what follows. White Shadows guides me to the finishing of this diatribe, and I am glad.


    Listening to Radioactive from Lindsey Stirling and Pentatonix, through the UM Maestro V2, one simply sits drinking in that fine single-malt, and amazes at the wonderful cacophony of sounds and sensations wrought from such diverse vocals and music. While not something I listen to all that much, the combo certainly gains my respect for their sheer musical prowess, and an exceptional guise to decipher finer and faults of the critter(s) at hand. Love can indeed be built slowly, but explode exponentially when the paths converse in the universe of synergy. And that is what I can garner from the iFi Pro iCAN, adding a synergy of almost simplistic pleasure. Harkening back to an older day, when tubes were not only the best, but an exceptional tool for our indulgence, I find myself imagining that I am front and center in the finest McIntosh system, something I have stated before, and probably will again (possibly from that shoppe…). The combo of Maestro leading, and the tubey-support rendered by the Pro cannot be underestimated. Even through a “normal” MacBook Pro, one can certainly appreciate the qualities wrought from those fine wares. Exquisite mids, and vocals to make one simply exist. Treble, which while a bit hot for me in the Maestro, can certainly be tamed through the tubeyness of the iCAN. And for that I am grateful.


    To come off of the Chord Hugo2 tour, into this was a surprise I could not imagine. To say that I could go from one $2400 DAC/amp (much, MUCH more…) to a $1700 hybrid amp is more than could be asked. But, that does allow one a certain look into how those who relish or fret over a choice such as that think…we as audiophiles are blessed with choice such as that. And I for one am honored to be included with the ability and the want to audition such worthy “problems.” A problem, I hope can be helped by the wretched writings I put forth here. Words cannot really allay the emotives of which I feel. Moving into Kitchen by twentyonepilots, I “suffer” that consequence of trying to garner diminutive differences or similarities, which would allow those in the position to purchase that little extra motivation. That over the edge push I give them in order to nudge them in their chosen path, knowing full well that they probably chose before…but needed that verification I provide.

    I wholeheartedly thank Lawrance and iFi for the continued support. To have such an opportunity come up out of the blue such as this is indeed humbling. My hope is that my feeble words can lend some guidance for those looking. I do not take that responsibility lightly. In return for the loan, they only asked two things, an honest opinion, and the ability to use whatever they see fit from said review in their advertisements (one hopes that part comes true!!).

    About me: *I am older. I am happy that I have rediscovered the joy of music, through personal listening devices. Through this opportunity, I have become exposed to some wonderful kit. Much I now own, much I covet. Much I would never purchase, for various reasons.

    My listening style has changed somewhat over the years…from old time Rock-n-Roll to the Blues to Reggae, to Bluegrass. I cut my teeth on Led Zeppelin, Lynyrd Skynyrd, The Outlaws, The Who, Santana, Bob Marley, Eric Clapton, David Bowie, Bob Marley, and Pink Floyd. But the music I hold dearest and nearest my soul, is Stevie Ray Vaughan. I was lucky enough to see him perform four times…twice in open air venues, followed by (that evening each time!!!) smoky blues bars, where intimate would be an understatement. Each holds a very special place in my psyche, and I can almost remember the whole of each concert in their entirety…

    I enjoy a warmer signature in my equipment, and listening, with a good bass line (but not basshead), complimented by outstanding vocals. Combine the sweetness of SRV’s guitar and Billy Holiday’s voice, and you get my musical grove.*


    Entrée part deux:

    I am lucky to have a stack of the iFi products, running together as my main testing equipment, with the ability to hook into any of my players. Purchasing the excellent iFi iDSD Micro Black Label first, I added the iFi iTubes2 after the audition tour (a victory tour of the BL), and finally an iDAC2, with which to tame the whole system. Spending roughly half of what I would have on the Pro iCAN, this was a natural test of “would it be better,” or “could double the price give THAT much better.” I did compare the two set ups, but mainly used and experienced the Pro iCAN (with and without the iFi iDAC2), since I had fresh knowledge of the stack. A stack, I will add in which I am extremely pleased and feel no need to upgrade.

    The iCAN is a device, which can take the place of my whole iFi stack, but at what cost? As mentioned, costing roughly double what I spent, for the trio, is it worth it? Well…I do think I am the wrong person to ask. But through my words, I hope that a semi-informed decision can be fashioned. I will state, that since my loan of the Pro, I have not even turned on the iFi stack, except to draw a quick comparison (until tonight and a final comparison). Is it better? I would respectfully state, “yes.” Is it worth double the cost I spent? The Luddite in me says NO WAY! But, the practical, long-term answer is I do believe yes. Why? Well, for that price, you do get an all in one, which can do everything my stack can, and does it better. It is more dynamic in sound, takes up less space, and can attach many MANY more device set ups than the stack. One could easily throw this into a small home system, and not miss a beat. I do also believe it has enough power to sufficiently drive all but the hardest speakers or headphones. Using Pinky’s HD600’s, I did have to run the 18dB push. But that was the only set up in which I did. And it sufficiently drove the legendary hard-to-drive headphones. It would be quite adequate for all but the hardest songs. That alone, says quite a bit.


    To get the best out of the Pro iCAN, one should include a DAC of similar quality. Through conversations with Lawrance, I extended my time to test that aspect. And it was WELL worth it!!

    To say I was excited would be an understatement...

    Equipment used/compared:

    Macbook Pro
    Shanling M1/M5
    Fiio x5iii
    iFi combo of: iDAC2, iTube2, iDSD Black Label

    iFi iDAC2 used between MacBook Pro & Pro iCAN

    Unique Melody Maestro V2
    Unique Melody Martian
    Lendmeurears FLC8s
    Grado GH-2
    Audioquest Nightowl
    Sennheiser HD-600 (borrowed from @PinkyPowers)

    Music used:

    Adele- Hello
    Adele-Someone Like You
    Tom Petty-I Won’t Back Down
    Tom Petty-Learning to Fly
    Tom Petty-Free Fallin’
    Coldplay- Technicolor ii
    Coldplay- Sky Full of Stars
    Coldplay- White Shadows
    Coldplay- Paradise
    Coldplay- Lover’s in Japan
    Lindsey Stirling w/ Pentatonix- Rasioactive
    SRV- Mary Had A Little Lamb
    SRV- Look at Little Sister
    Twentyonepilots- Regional At Best album
    Ziggy Marley-I Am A Human
    Ziggy Marley-Dragonfly (Live & Studio)

    Specs (from the iFi site):



    0dB, 9dB and 18dB user-selectable

    Frequency Response: 0.5Hz to 500kHz(-3dB)

    Total Harmonic Distortion (THD, Balanced/Single-Ended):

    Solid-State: ≤0.0015%/≤0.005%
    Tube: ≤0.002%/≤0.005%

    Signal-to-Noise Ratio (SNR, Balanced/Single-Ended): >147dB(A) / > 137dB(A)

    Output Power (16Ω, Balanced/Single-Ended): >14,000mW / >4,800mW

    Output Voltage (600Ω, Balanced/Single-Ended): >23V / >11.5V

    Input Voltage (Pro iCAN): DC 9V/6.7A – 18V/3.35A

    Input Voltage (iPower Plus): AC 85 – 265V, 50/60Hz

    Power Consumption: ≤ 22W idle, 50W max.

    Dimensions: 213(l) x 192.5(w) x 63.3(h) mm

    Weight: 1.93kg (4.3lbs)

    Test conditions: Gain = 0dB, 0.775V(0dBu) with 300 Ohm load unless stated otherwise, SNR Balanced re 23V, SNR SE re. 11.5V



    Compared to iFi stack, the Pro has better control of the bass. Not necessarily MORE (in fact less due to the ability to add “Bass Boost” from both the iTubes2 & BL…and a LOT, too!), but better controlled. Also, the sub bass is a bit forward, giving that more full sound to my ears. The iFi stack for whatever reason has a more forward mids sound, to me. Bass is more, but less controlled. I think this might be a result of the bass boost switch, as mentioned but with either 6dB (on the BL), or 6/12dB (@20Hz on the iTubes2). While I do enjoy that push on some songs, I like the Pro’s ability to add at more frequencies, tailoring to a possible lack in the headphones/IEM’s used…a nice touch, indeed.

    As mentioned above, the Pro iCAN, one can tailor the bass boost to different frequencies. I cannot really tell what the difference is at the 10 Hz setting, but can clearly hear the boost at 20 & 40Hz. The push of bass at 20Hz is quite pleasant, giving that somewhat audible rumble to me. At 40 Hz, the push forward is quite noticeable on songs such as Tom Petty’s (RIP, dear sir) Learning To Fly. An extremely energetic sound is the result. I left the bass switch at 40 Hz most of the time.

    On Ziggy Marley’s live version of Dragonfly, the sound is simply intoxicating. I can say with a decent authority that this is as close a sound as I have heard to the vaunted (to me) ampsandsounds Kenzie, with which I had the pleasure to audition some time ago. An incredible synergy focusing on that exuberant support guitar can be heard like it should be…an equal to Ziggy’s voice. Just incredible. And I would be hard pressed to decide between the Hugo2 and the iCAN based upon that song alone…It would be a long audition’s night for me to decide, and a good one…

    While I appreciate the ability to adjust either set up as needed when speaking of bass boost, 3D, gain, wash, rinse, spin, etc.…I have decided that I am simply a lazy slovenly sod, who would just as soon set something and leave it. There is a reason I like complicated things, but this isn’t one of them. Changing only as needed, I do find both aspects appealing, but…just a random thought, and to tie it to the gear at hand (if you are still with me…), my personal iFi stack needs adjusting more than the Pro iCAN, when it comes to the toggles, and buttons. I can get away with, errr tolerate less adjusting while listening to the Pro. On the stack, I seem to be constantly reaching for those little toggles, and I have a genuine fear of destroying my four hours of hard Lego work on the rack itself as a result…I do lose much sleep over this…no really…


    Coming back to the Pro (finally, you say…), I found it to be eminently competent. As Army Firedog mentioned, it does pretty much all well. This can be a fault, if you want, especially if you are anal about “compatibility.” THIS amp, MUST go with THIS headphone, and THIS DAP, etc…blah, blah, blah. I do not fault any of you that wish, desire and have that. In fact, I applaud and bow in your general direction. But something must be said for a device, which can simply work. I state this in several reviews, going all the way back to my Vibro Labs Aria IEM…it just works. Call it the Luddite in me (haha, I know especially with all this durn technology), but the Pro simply works. I say this as I now listen to twentyonepilots excellent Regional At Best album, with no added bass or 3D. I could go 40Hz on the Bass boost and 90/60+ (floor-standing speakers setting) 3D, and happily drink my Boulevard Nutcracker Ale, but going “naked” seems to be how this particular time in the space continuum was intended for me. And I am not disappointed in that.


    Cracking a smile out of the corner of my mouth, with the Traveling Wilburys song, End of the Line, I get it. I love my stack; don’t get me wrong…I will happily have that for a good long while (ssuuurrre I will…). But the Pro can do that and more. iFi set the bar again when it comes to compatibility and adjustability, but on that simple tubular-level. Desire Solid State? Turn the switch. Tubular? Cool bro, flip the switch one more notch. Totally tubular? Again, flip the switch. It is almost like each Wilbury taking turns singing a verse in that iconic song. And that is the way it should be. A Mega Group to end all Super Groups, much like the Wilburys, the Pro comes along for that ride letting you swing gently in your rocking chair. And I thoroughly appreciate that. And GOD, I miss the Wilbury’s.


    This is one critter you do not have to Handle With Care, for it can handle quiet as well as loud and boisterous. This little critter can rock. Much the way the remaining Wilburys carry on, the Pro just glows along in that sensuous orange, almost smiling through those ever increasing in size vent rings. Taking in more and more, the song envelops your senses, just the way the Pro looks. Small, with the ability to be a multitude of things, and powerful. Kind of like that ultimate Executive Assistant. The one who can anticipate your every move; and in many ways is MORE qualified than you for the job at hand. But one, that just as happily stays behind the scenes knowing their role perfectly. One in support of the overall program. That role, which is invaluable and perfect for most situations. Maybe perfect would be too much of an insult. It has been a good long while, since I have enjoyed an audition device at low volume as much as cranking it up. Quite often we are hell-bent on cranking things to 11, but here I am quite content to stay below the horizon.

    Listening to Adele’s Someone Like You, I think of a dear friend I lost recently. We traveled some of the same roads in life, but not often enough. I am sad I did not find out sooner after he died, but in his honor I analyze the iCAN like he loved analog albums. I so thoroughly enjoyed hearing about his latest find, or replay of an “old friend.” He was an exquisite writer of prose, published rightfully so, deep of thought. I drink a local Porter in his honor, and envelop myself in the sweet succulent virtue of Adele’s melodic interludes. Dear god, this is good. Saturated depth, which would make Rembrandt jealous, the Pro provides that velvet tubeness, which oozes through every tender note of her voice. Simple in support, the piano plants the foundation, and Adele flowers the song, as it should be. A thorough drowning of hue, note & tone; sweet & sorrow; rich and forlorn. Vibrant & colorful, I stop to take another sift of drink. I am thoroughly enthralled with how this song is presented.

    It is often said, that if a song can move our soul, move our desire to provide the best we can, then the song is perfect. I prefect that this song is indeed faultless for my needs as of this instant in the cosmos. Supple bass through her voice, fulfilled and complimented oh so well by the piano. A song, which needs no more, but makes you desire more. A song, which the iCAN presents respectfully, highlighting her sensuous voice of deep, rich and melodious tone. Thorough in presentation, and complimented by her “duet” part, the song indeed is perfect through this mix. I shed a tear, lift my Porter skyward for that dear friend, and do my best to emulate his wonderful prose of writing. I feel, that I fail in that regard, but must continue writing. It is to be, and I will.


    Sound deeper:

    A love affair can be sudden. It can also be long of build. It can blossom from the go, or be subtle of that build. I would say my affair with iFi was of the former. Fortunate I was to be on the iFi Micro iDSD Black Label tour; I was thrown over a cliff at what the BL could do (much the way those of Chord UK love are…). So much so, that my comparison stack consists of the BL, the iTube2 (after I started that tour, honored I was), and the excellent iDAC2. Roughly half the price of the Pro, this is now my basis of comparison for all. The stack held up well to the excellent Chord Hugo2, at roughly 1/3 the price. A comparison you will have to read, and view elsewhere. Needless to say (but I do anyway…), the trio will be used again for comparison, and I am glad.

    At roughly half the price of the Pro, the comparison may be more valid. Should one splurge double the cost for the excellent iCAN? Well, for that my hope is that I have outlaid a proper response. If one wants an all-in-one, then the iFi Pro iCAN should be on your short list. If you are frugal of means, or want of piecing together, you may have to go a different route and still be 85% satisfied.


    As with the latest iterations of iFi products, the Pro iCAN has both XBass and 3D technology. From my first interlude on the BL with both, I was impressed at how the tech could change the sound. Not an equalizer, but worthy of inclusion in that argument, XBass & 3D provide listener “tunable” aspects to aid an otherwise excellent sound. Crave more bass in a song? Move the toggle to the right. Prefer a more “expansive” floor standing speaker sound? Again move the 3D all the way to the right. There is a difference to all, and gives one the ability to tailor each song to your contentment.

    As stated above, I am more one to set the toggles and switches, and simply listen. That said, given the ability to fine tune, one would be silly not to try. Using the above Adele songs as the test bed, when moving the 3D to floor-standing speaker equivalent on the scale I was stunned. Stunned at how the already excellent depth of the song was given MORE. A most definitive width of stage was added, and it was good. Too often when the “bells and whistles” are added and played with, they are either gimmicky, or unfounded in their ability. Happily what iFi does with their two-standout technologies is not gimmick. It works to these tired old ears.

    The XBass does work a bit differently than other iFi products, though. Instead of a 9dB or 12/18dB (product dependent), the Pro uses different frequencies. Coming in at 10Hz, 20Hz & 40Hz, the “added bass” works differently than a simple loudness or the other iFi XBass switches mentioned. Targeting a specific frequency, the 10Hz gain is for headphones/loudspeakers missing only the very lowest bass (below 40Hz). The 20Hz is for bass missing below 80Hz, and the 40Hz is for those missing “substantial bass” & some mid-bass below 160Hz.

    To me, a “thinning” of sound ensued when the switch moved towards the lower frequency settings. When switched off completely, the mids moved forward almost overpowering the sound signature. Almost. Maybe “truer representation” would be a better response. Regardless, I found happiness in all of the settings, leaving the switch mostly at the 40Hz setting with my Martian’s, and off or 20Hz with my Grado GH-2’s. A maximum of 12dB was added, and I assume at the 40Hz level, as I could “feel” that the most. Unscientific, I know, but the added bass could be heard most at this level. Conversely, I kept the bass switched all the way to 40 Hz with the Maestro V2, and I liked it. An added boost of the bass pretty much made the already wonderful Maestro sound near perfect to me.

    As for the 3D, the settings are “similar” to the other iFi units, in that there is a definite widening of stage. Other than that, the settings are unique to the iFi iCAN lineup. With settings running from 30, 60 & 90 degree setups, one can mimic narrow placement of speakers such as outside a computer to a full-on room setup with floor standing speakers. This last set can also be used to enhance recordings, which lack “spaciousness.” The 60-degree setup would be similar to bookshelf speakers, which can sound quite good in and of themselves.


    I ran either 60-degree or 90-degree settings for all headphones involved.

    Comparing the Pro iCAN to the Hugo2 may not seem like a fair comparison, but since I was fresh off the H2 tour, valid in my mind. Garnering numerous design awards for 2017, the H2 is stunning. Getting the connections right, one could very easily be set for a long time in the “portable” audio world. With numerous filter settings, boosts and the ability for a multitude of hook ups, versatile would be an insult. With the sound to back it up, I rarely passed the mid-range on the volume “color wheel.” I did like how when one gets used to the colors, you could easily decipher what settings you were on, and it does make logical sense. If you are across the room, you only need look at the colors to know what adjustments you have made. A novel idea, and done mostly well. And logically laid out, too. Following the color spectrum from cold to hot, you only need know your colors (such as the rainbow…) to decode what levels you set. An interesting concept done well, once you understand.

    Here is where the Pro iCAN falls behind the H2…other than the volume pot and the input switch, you must be fairly close to understand the settings. Not a bad thing mind you, but just like those who want every conceivable option in their CUV, many here would want the ability to read all of the knobs/settings. The Luddite in me says who gives a crap, and leaves it alone. Also, the 3D knob is too close to the volume pot on the iCAN, even for these skinny digits on your humble narrator. But, I’m not sure what could be done to alleviate that…


    As I mention in my H2 review, the Hugo has superb detail retrieval. No muss, no fuss as to where and what the instruments are to sound like. Placed where they should be, the detail amazes me no matter the setting. The iCAN falls a bit behind here, but not enough to worry. I found that the Pro is more listening device of choice dependent than the H2. Moving from my Martians to the Maestro, opened up the iCAN the way it should. Wide sound stage, excellent depth, solid but not bloated bass, as well as detail of the same range as the H2. The GH-2’s were portrayed the same way, with excellent depth as well. Make the iFi more IEM/headphone dependent, and you can hopefully understand the differences. Not unpleasurable mind you, but not as forgiving as the H2. One would expect this most likely for a device costing roughly 50% more…

    That said, when you throw the iDAC2 into the mix, between source & the iCAN to take advantage of it’s excellent DAC capabilities, you end up with something very close to the Hugo2’s price; and a sound, which is quite close. In fact, when using the two together, I prefer the iFi set up. I just do. It’s hard to explain, but just the way I prefer the Shanling “house sound” to their DAP’s, I prefer the iFi sound to others. And as said above, for ½ the price I have a very good set up, in which I am happy. Choosing only one, between the H2 & Pro; I would lean towards the Hugo2. I like what iFi does to the sound very much. I respect what Chord has done for the sound. When it comes down to it, I prefer like to respect in what I listen to...

    Compared to the stack, the Pro wins all the way around. Better control, less fiddling to achieve that “perfect sound, “ in which you strive, the Pro just works. The stack is like that old steam machine you see in movies, where the Scientist is constantly fiddling with knobs, buttons and pull levers to achieve maximum “velocity.” The Luddite in me screams, ENOUGH! Just play! But the techno-Scientist in me cherishes the adjustability…a conundrum indeed. With the iDAC2 along supporting the Pro, it is a sound, which could satisfy for a good long while…




    From my first indoctrination with the iFi DSD Micro Black Label, I have been smitten. My first foray into the netherworlds of “mid-fi,” I have consequently pathed to high priced and “better” items. One need only look at my review of the wondrous ampsandsounds Kenzie or Focal Elear (luckily together) to understand how far I have journeyed. And the last two in my review stable, the Hugo2 and this one iCAN have allowed me to passion further up into the “high-fi” range. But I still harken back to the BL, thinking how it threw me over the cliff, and I protected it, lest we all lose the privilege of such fine wires and circuit boards. Much stays the same with the iCAN, and I am glad. Glad that Lawrance allowed me this extended visit with such a fine piece. One, which I do say can indeed go toe to toe with the vaunted Hugo2, in my humble opinion. The H2 certainly gets all of the accords, while the Pro simply sits by waiting for that next person who wants something a bit different. With a bit of a different approach, and does it well. A stop in that shop, which looks dusty and deserted if one simply walks by, but if one takes a closer look, you see history. You see the old dusty forgotten turntables on the shelves, or the vintage tube amps from days gone by. And you are piqued with interest. Interest you dare not ignore, such, as you would listen to your inner voice. Because to do so, would be what the mainstream does. And in that own right, if that is what makes them happy, that is all right, too. But you stop knowing there is something special in that “shop,” so you enter. An Australian Shepherd of unknown aged sleepily raises her head and looks up at you, smiles (which they indeed do, incredible dogs, they are…) and goes back to sleep, while her owner states, “You have come to the right place, please sit down and join me in a single-malt while we audition.” And you do, knowing you have made the right choice, with Duke Ellington sounding in the background.


    As Tom Petty so fervently stated, I Won’t Back Down, and neither will the Pro iCAN. It takes your challenge and throws it into the wind, to watch the ensuing wonderful show of music on the wind, such as the flowing plastic bag scene in American Beauty. I don’t care if that was a scene, which was staged or made up for the film. To me, it was the most beautiful scene and dialogue of the entire movie (which was simply superb anyway). The artist would be the iFi Pro iCAN, and the bag being strewn about so eloquently the music thrown, and for that I am grateful for iFi and the passion in which they provide their wares. I am so very grateful, that I have found a company as passionate as I in what I listen to…and one, which would be humbled if you were to part with some of your daily wage to make your life better.

    As you Learn To Fly, one becomes enamored and respectful of all that the Pro can do…after all it IS the iCAN. And can do, might as well be the motto.

  6. SoundApprentice
    You Can with the Pro iCAN
    Written by SoundApprentice
    Published Nov 18, 2017
    Pros - Power, Flexibility, Resolution
    Cons - Slides around? Cost might be prohibitive to some.

    It’s funny how things work out sometimes. Just before my annual spring/summer hiatus from pursuing #AudioNirvana, I decided to part ways with my Eddie Current Balancing Act amplifier, HiFiMAN HE-6 headphones, and Schiit Yggdrasil DAC as part of a downsizing, capital-raising, not-quite-sure-why-I-am-doing-this selling spree. During the process, the buyers of the HE-6 and Yggy both asked me how they would perform with iFi Audio’s Pro iCAN. Of course, I hadn’t the slightest idea because I had never used an iFi product in any of my personal audio systems. Ironically, the first product I am offered to audition this fall turns out to be the Pro iCAN. So, thank you Lawrance at iFi Audio; now I’ll be able to share some real opinions about this desktop headphone amp the next time someone asks.

    Prior to this audition, my experience with iFi stretched as far as a brief audition of the original Micro iCAN at a friend’s and seeing several iFi products compared against Schiit Audio’s. Much like Schiit’s USA-made wares, UK-based iFi has made a mark in the computer audio and headphone scenes for its small, silver, affordable amps, DACs, and power-purifying devices. You’ll often see these two brands going head-to-head in debates on audio forums across the web. Aside from competing in the same spaces with similar products, there’s another reason why these two brands are so well regarded among their fan bases: Quality—both brands benefit from R&D by veterans of high-end audio manufacturers. It doesn’t seem often noted, but iFi’s parent company is Abbingdon Music Research, or AMR. AMR is regarded for making ultra-high-end, reference-class stereo amps, DACs, transports, and other hi-fi wares. The Spirited Uncle Mactually cycles AMR’s DP-777 DAC through The Sound Lab on occasion, which I attest is one sweet piece of equipment. But I digress; my point is that iFi is able to later deploy tried-and-true technology from AMR at a fraction of the cost—enter the Pro series.

    The Pro iCAN is iFi’s first flagship product released under the brand’s “Pro” or professional series line. Designed with some trickle-down technology from AMR, the Pro iCAN is iFi’s “studio-grade” headphone amp and preamp, chockfull of features not commonly found in desktop-sized amps, let alone ones priced at $1,699. I can see some iFi fans suffering from initial sticker shock, but this is a distinctly different product from anything iFi has put out before, and it brings far more value and flexibility than you’d first think.

    You can read about all of the technically excellent details and specs—like the end-to-end, fully-balanced design, premium components, and incredible dynamic range—on iFi’s website, so I’ll just tell you about the features I liked most.

    Tube Flavor

    Do you like tube or solid-state sound? Don’t know? The Pro iCAN gives you a taste of both. The Pro iCAN houses individual solid-state and tube amplification sections. A switch on the front panel shifts the Pro iCAN between its Solid-State, Tube, and Tube+ modes, letting you select which circuit sounds best to your ears.

    Solid-State mode is notably for you audio purists; employing a pure solid-state circuit using JFET transistors and a fully discrete, Class A power stage. Switching over to one of the two tube modes engages two top-grade General Electric 5670 tubes for an all-valve sonic presentation to give you that taste of tube flavor.

    As a tube guy, I unsurprisingly preferred the Tube+ mode, which iFi says “reduces negative feedback to a minimum” and lets a “greater amount of the tubes’ natural harmonics” be produced. Still, I personally found the differences between the solid-state and tube circuits to be little more than subtle overall. My takeaway is that the Pro iCAN in Solid-State mode is crisp, clear, and precise. It has good reach and resolution without being overly dry or analytical. On the other hand, the 5670 tubes introduce a few degrees of mild but welcomed warmth and body to my ears. Bass lines and vocals seemed a touch richer and more involving, dynamics became a bit rounder and less pinpoint precise, and the sound stage opens up just ever so slightly, becoming a share wider and more holographic.

    While clearly audible, I admit to wanting a greater sound variance between the different modes—more of that classic tube lushness, make-me-feel-euphoric goodness if you will—but the Pro iCAN remains a dialed and mostly analytical amp across the different modes. Don’t take this as a bad thing; iFi is clearly going for a notably resolving reference sound with the Pro iCAN—just don’t expect it to sound like three completely different amps by switching modes. I know this goes against what some other reviewers have touted, but I stand by my impressions that the solid-state and tube modes only let you subtly tweak the performance to best suit the gear and music you’re enjoying at the time.

    In use, I also personally found the Pro iCAN’s wide dynamic range and sonic purity a challenge to describe in detail. Accuracy and neutrality are what come to mind most, which are pretty self-explanatory. Add in the amp’s ample power and the Pro iCAN is simply a lively performer that lacks any notable “house sound” coloration like my Eddie Current, Ray Samuels, and Woo Audio tube amps all had. Again, not a bad thing, just different. Neutrality and resolution in an amp can help a system’s synergy; by essentially getting out of the way, your sources, DACs, headphones, and speakers are given the opportunity to shine—providing they’re resolving enough.

    That’s not to say the Pro iCAN is sonically boring. In fact, it’s quite engaging as it’s wide dynamic range and resolution draw out fine details and texture in the music that lesser spec’d amps gloss over. Add in the simple and surprisingly good sound tweaks for those that might need, scratch that, will need them, and you can an amp that packs a powerful punch.

    Easy EQ

    I generally let my system speak for itself, avoiding digital equalization tools and adjustments that alter the voicing of my gear. But the Pro iCAN packs two very usable EQ-like features into its compact chassis that are impossible to ignore. “XBass” and “3D Holographic” are two proprietary circuitries that help correct two common headphone and loudspeaker shortcomings: sub-bass and imaging.

    XBass is iFi’s solution to bass deficiency in reference headphones and loudspeakers. Through analog signal processing circuitry, XBass provides a 12dB boost at the 10, 20, and 40Hz frequencies through a convenient front panel knob that lets you dial in the desired level of bass correction on the fly.

    iFi says this implementation is not like traditional tone or loudness controls and is “sonically superior to Digital Signal Processing (DSP) systems.” I don’t know-how to confirm this in a meaningful way, but I can say that I was pleasantly surprised by how well the controlled bass boost integrated into the resolving timbre of the amp. Results obviously vary by recording frequencies and headphone/loudspeaker responses: XBass filled in the nether regions of my Sennheiser HD650 gloriously up to 20Hz but quickly made my AudioQuest NightHawk bloated and boomy with most recordings. XBass is likely more useful for filling out a headphone like the flatter responding AKG K701 or Q701.

    Turning to the recording side of things, I found XBass most useful in combating tipped-up rock and anemic live recordings. And while it would have been nice to have varying levels of decibel boosts, the appeal of the 12dB XBass boost is that this easy-on, easy-off feature breathes visceral life into bass-light recordings and headphones/loudspeakers at the turn of a dial, which turns out to be something pretty nice to have—especially for us bassheads.

    While XBass helps correct for bass deficiency, 3D Holographic for Headphones helps correct for imaging and sound stage deficiencies when listening to stereo recordings through headphones, meaning that closed-in feeling when the sound is stuck right between your ears. In other words, 3D Holographic was designed to create an “out-of-head” headphone listening experience that parallels listening to loudspeakers in a normal room.

    This is something other manufacturers have tried to achieve with software plug-ins and crossfeed features, but as iFi explains, 3D Holographic for Headphones “is not based on a standard crossfeed system, as found in some high-end headphone amplifiers. Many so-called ‘3D systems’ are usually DSP based that artificially effect the sound and add unwanted reverb in order to simulate a ‘spacious’ type of sound.

    “It’s true that traditional crossfeed tends to produce an ‘out-of-head’ sound, but with much diminished spatial components and a narrower soundstage,” iFi continues, adding that these implementations often produce “unnatural, echo-like sound, which may initially be impressive, but soon becomes tiring.” By contrast, iFi claims 3D Holographic for Headphones, which was developed based on research extending back to the 1980s, is the first system in commercial production to achieve the desirable out-of-head imaging rendered without added reverb.

    Because the Pro iCAN is the first amp I have tried with a feature of this kind, all I’m willing to say is that I generally liked whatever was happening when turning the 3D Holographic front panel dial from off to the 30°, 60°, and 90° Loudspeaker Angle settings. Much like the XBass feature, 3D Holographic has varying degrees of impact. In particular, I found 3D Holographic to gradually widen the sound stage in each increment, especially with must-own jazz classics like John Coltrane’s “Giant Steps” and Miles Davis’ “Kind of Blue” where instrument localization is often strongly apparent. Studio recordings by Ben Howard and John Mayer’s various live albums also gained noticeably more depth and dimension by cranking the dial, although electronic tracks from the likes of Bonobo and Moderat seemed to benefit in lesser degrees.

    During my time with the Pro iCAN, I often found myself cranking the 3D Holographic dial all the way to the 90° setting for the fun of it, which created a more lively listening experience at the expense of some precision. The 90° setting generally gushed with the greatest sense of space and width, moving the sound stage from dead center in my head to the edges of my ears. Admittedly, some tracks can get too busy and displaced sounding in this mode and in some instances cymbals and strings tacked on a strange artificial sounding tizzy-ness. So, it’s safe to say results will vary—implement as needed. As a guy who also has a listening room with a loudspeaker setup, I won’t say that 3D Holographic truly emulates properly positioned loudspeakers, but it takes welcomed and major steps in incrementally making headphones far more bearable and spatially believable, especially during long listening sessions when that “stuck in your head” feeling gets fatiguing.

    Heady Options

    Lastly, as I own and audition a lot of different headphones and IEMs with different types of cables, I thoroughly like the flexibility and scalability packed into the Pro iCAN. Never have I had a headphone amp that had every jack I needed, let alone one that could play well with every headphone or IEM I threw at it. The Pro iCAN never failed to impress here.

    Armed with a host of balanced (3.5mm TRRS, two x 6.3mm, two x 3-pin XLR, and 4-pin XLR) and unbalanced (3.5mm and 6.3mm) headphone outputs, outside of some exotic cable types, the Pro iCAN has compatibility covered.

    Better even, regardless of whether I had a sensitive IEM or a power-hungry full-size headphone connected, there was absolutely zero background noise or that annoying gain hiss—even in Tube mode with the volume knob cranked to the max.

    What’s more, the Pro iCAN pumps out up to 20V via its balanced outputs, which is equivalent to 100W into a 4 Ohm speaker. Pair this ample power with the variable gain stages (0dB, +9dB, +18dB) and the Pro iCAN easily drives just about every headphone on the market with accuracy and ease—including the venerable HiFiMAN HE-6 and AKG K1000.

    Parting Thought

    With plenty of single-ended and balanced inputs and outputs, pretty much every headphone jack you could ever need, a ton of power, a few unique tone-tweaking features, great specs, and packed-in premium components, the Pro iCAN packs a powerful punch, offering scalability, flexibility, and performance. Oh, and it sounds darn good. If you’re already an iFi fan, you’ll undoubtedly like the Pro iCAN. If you’ve never tried an iFi product, the Pro iCAN is unlikely to disappoint. Without a doubt iFi’s flagship Pro iCAN is a headphone amp and pre-amp I can live with.


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      Mshenay and ngoshawk like this.
  7. Armaegis
    Jack of all trades, master of none
    Written by Armaegis
    Published May 10, 2017
    Pros - loads of power
    many features to play with
    Cons - features don't live up to the hype
    I had the iFi Pro iCAN on loan for a few weeks and have assembled my notes below. They will remain mostly in point form, because no one wants to read an essay. I ran it through a fairly extensive gamut of different headphones and speakers.

    Since there is a lot of "stream of consciousness" in these notes, it would be prudent to not examine any particular section by itself. At the very least, read the section immediately above it so you know where the relevant comparison is coming from.

    Also be aware that in point form, my notes are very nitpickish. I do not dispense with pleasantries here, and my editing will be minimal. This is simply the style of my note-taking, so don't get your knickers in a knot if you disagree with something.

    Main equipment used for evaluation:
    Hifiman HE-6: well known as the most power hungry brute in the headphone world, and serves as my main reference can, low-ish impedance and stupid low sensitivity
    Sennheiser HD650: my other reference can, and should be well known by most headphone users, high impedance and medium sensitivity
    Sennheiser HD598: little brother of the HD650; horrible impedance curve
    Nuforce HEM8: multi driver iem, low impedance high sensitivity
    Fostex TH-x00 Purpleheart: closed, low impedance medium-high sensitivity
    Bryston B60 - integrated speaker amp and my primary amp for the HE-6
    Prism Lyra and Prism Callia - both pro level dac/amp, the latter being the "hifi" version with a more powerful amp
    RME ADI-2 Pro - pro level dac/amp
    iFi iCAN Pro - well d'uh
    Stereoknight transformer based balanced preamp

    Reviewer Bias:
    - purist
    - leans to preferring dry/clinical sounds
    - snarky

    Build Quality
    - chassis overall very nice build quality; no complaints here
    - casing is solid and feels good
    - large rubbery pad on the bottom isolates it from the desk
    - good feel to the volume knob
    - very slight play to all knobs/switches, but nothing unreasonable
    - gets warm but not hot; avoid stacking though, especially if it's a component underneath that needs to breathe since the rubber pad will insulate
    - remote: cheap plastic thing, it works most of the time but doesn't seem to detect sometimes depending on angle
    - switches are good, stick out just enough to be functional but not feel too fiddly or obtrusive

    First listening impressions
    - first: hey this is nice
    - later: new toy syndrome has worn off, still good but not as enthused
    - kinda brutish, not an ogre, but more Fezzik than Inigo Montoya
    - I have a really hard time matching volume, because the iCAN "feels" louder all the time
    - overall feels slightly on the V-shaped side (both warmer yet brighter)

    On the inputs/outputs:
    - the actual switching mechanism itself is quite seamless
    - use the balanced XLR inputs; they sound so much better than the single ended
    - I'm certain it's not my source, because mine does both and I've evaluated on other gear and found the differences to be marginal*
    - single ended seems muted and loses energy (especially treble) and impact/punch compared to balanced inputs
    * however, I cannot fully discount that this is a function of how my source is interacting with the iFi inputs
    - but noise floor is higher with balanced input while using single ended output... not sure why this is; could be a cabling or power thing but it's unusual and I can't fully track it down
    - switching inputs (both with nothing connected or the same source connected to both xlr and rca), there is a higher inherent noise from the balanced inputs which is opposite from expected
    - however this noise is not affected by gain
    - but it is affected by the pot... so the origin of the noise is coming from in between? It's not a huge problem, so I'm not chasing it down anymore after this
    - balanced output is always quiet, regardless of input

    Noise floor:
    - not detectable with HE-6 (no surprise there)
    - very slight noise floor with HD650 on balanced low gain with volume turned up all the way (can't tell with music)
    - more noticeable with HEM8, but again it's low enough that your music would be deafening by the time you reached audible levels of noise

    Impressions with HE-6
    Note that my primary amp with the Hifiman HE-6 is the Bryston B60 which is a speaker amp. Most of my comparisons will be against that unless otherwise noted. Yes the HE-6 is a power hungry beast, so that makes it a good stress test so to speak.

    General musings:
    - in single ended mode, Callia and iCAN are somewhat close, with iCAN carrying more grunt but Callia feels more refined
    - in balanced the iCAN pulls closer to the Callia in refinement
    - Callia headamp is cleaner (single ended) while iCAN seems stronger and punchier (same impression from both HEM8 and HE-6)

    Initial thoughts on Balanced vs single ended (HE-6) with the various options:
    - no issues with power in either single ended or balance, it gets plenty loud
    - initial feelings on all the various options and knobs: I am not a fan
    - the character of the various settings actually changes depending on single ended or balanced
    - typically I found myself preferring balanced solid state
    - the two tube modes seemed stronger in single ended mode; going to balanced seemed to take out some of that tubeyness or changed the tone to something odd
    - on Xbass and 3D most of the time the first setting is ok-ish, but anything higher I did not like

    Mode: Solid State (single ended)
    - does not hit as hard as the Bryston B60 (but more than Prism Callia)
    - slightly more sibilant yet softer at the same time; the initial "sss" is stronger but the trail is softer or drawn out
    - midbass has a slightly hollow impact (sort of like emphasized at both edges); I can see how this might make people feel it is more detailed and impactful
    - so maybe this is simply how it handles a transient; harder front edge, perhaps more overshoot then followed by ringing?
    - initial feeling is more air and more zing, but this fades after some time
    - coming back to B60 immediately feels fuller and more balanced, even though it's hard to quantify and doesn't have the same "kick" as the iCAN
    - overall prefer solid state over tubes after listening back and forth

    Mode: Solid State (balanced)
    - more power, seems to have more control
    - feels a bit more full bodied, but it's a very slight difference here
    - midrange presence seems slightly smoother, but marginally so
    - upper range unaffected
    - still doesn't feel as full as the B60, but brings a bit more kick to the game
    - if I had to pick one mode of the six possibilities, it would be this one

    Mode: Tube (single ended)
    - definitely not neutral
    - you can easily tell there's a bass hump/harmonics
    - more thump (different from kick), but softer on edges
    - pretty much what you expect of a stereotypical tube sound
    - you'd think this would be nice on music that was a little bass light... but adding those harmonics into stuff that doesn't have it in the first place doesn't work and you get a harmonic warmth but not any actual body; it actually makes those mids feel... not quite honky, but too thick

    Mode: Tube (balanced)
    - less hump, less thump
    - seems like less of a deviation from normal compared to single ended
    - still warmer compared to solid state, but in a different way than the single ended mode
    - let me rephrase... feels like warmer with a tilt?
    - perhaps slightly cleaner sounding than single ended, but tone is slightly offput
    - I find myself marginally preferring single ended over balanced in tube mode

    mode: tube+ (balanced)
    - so I thought: ok if you're gonna go tube, might as well go all the way???
    - seems like richer deeper sound? nope I lied, that's not what I get
    - not any thumpier or softer
    - but definitely an extra harmonic or something that pulls on the ear in an odd way; I'm guessing it's odd order harmonics here
    - upper end feels less refined
    - it's not a treble glare, but maybe a high order distortion product
    - I actually feel like this one is more fatiguing than regular Tube mode
    - not sharp, but seems kinda hissy/sibilant
    - feels like... a delay in the upper registers? (rather than harmonics?)

    mode: tube+ (single ended)
    - ok this one seems richer compared to balanced
    - adds more warmth
    - too much of a "good thing"
    - midbass steps forward
    - does not tame bright recordings; just smooshes it out
    - feels like a reverb
    - even as an outside listener while someone else is wearing the headphones, I could tell this sounded different

    Crossfeed / 3D Holographic:
    - bleh? maybe I'll try a different song... nope, still bleh. Maybe a different setting, wow nope What is going on. Let's try a mono recording... nope, now it's just further away.
    - loses impact and sharpness
    - I do consistently feel that there's less "centre", but it comes at the expense of everything else.
    - Let's not pretend that we're emulating speakers here. I prefer the stock crossfeed plugin on Jriver, or better yet just get the free ToneBoosters Isone Pro vst plugin (but this requires all the software shenanigans)
    30: dips the middle
    60: dips the middle more
    90: boosts the edges
    - really not much more to say here; overall this mode did nothing for me
    - but note for later, this feature redeems itself a bit on the preamp outputs

    - oh the lowest setting is kinda nice... but the others are just too much; in fact distractingly so
    - even with metal recordings which I find are typically mastered bass light, the boost just didn't seem right
    - you can't use this to correct for bass deficient headphones, because then you're pushing past what the headphones are really capable of and it turns into a muddled and distorted mess
    - on bass-light recordings... eh I guess sorta it works, but you can't really amplify something that isn't in the recording
    - so really this is only ok with bass capable headphones but bass-light recordings, and only on the first setting
    - this feels like a bit more than just a typical EQ bass shelf, like maybe there's a tiny bit of harmonics added in too? I wouldn't be surprised if there were some crossfeed effect happening too, but don't know that for certain and am purely guessing here
    - I suppose if you're in the "MOAR BASS" category of listeners then you'll be happy with this; I tried this using some bass heavy Fostex TH-X00 Purplehearts which are already bass heavy and this was simply too much

    Gain (level match as much as possible by ear and multimeter)
    - I'm surprised that it seemed like there were differences here
    - low: kinda weaker? vocals seem slightly strained, but smoothest mid and treble, least impact
    - med: "stringier" (not necessarily bad per se) upper end, impact seems cleaner
    - high: hissier and slightly more sibilant, impact same as medium or ever slightly stronger, feels a bit like midbass boost again
    - overall I stuck with Medium gain as my favourite and most of my listening was done here

    Impressions with Sennheiser HD650
    - all the fiddly knob stuff is less disagreeable on HD650 than the HE-6, like it's not as sensitive/resolving
    - initial impressions seemed positive, but this dissolved after fifteen minutes
    - soft touch/edges
    - I thought it would be warmer but that's not the case
    - still sounds brighter compared to my Bryston, it's not a "tss" sound but the trailing edges have a slight upturn to them
    - resolution is ok, but not the best I've heard with the HD650
    - Lorde - Royals: good kicks, but metallic, snaps don't have the body that they should
    - all above impressions in solid state mode (balanced)
    - Tube mode (balanced): ahh What?? distorted wonk wonk wonk
    - Tube+ mode (balanced): huh better, like returning more to solid state, less sibilant, but slightly more fatiguing than regular tube mode
    - SS mode (SE): sounds about the same as balanced, maybe a touch more metallic
    - Tube mode (SE): warmer, hazier, this is the softest sound of all the modes and configs
    - Tube+ mode (SE): too much harmonic, almost feels like an echo? even fuzzier, loses kick; vastly prefer balanced in this mode
    - overall I do no not recommend the HD650 with this amp; it was not an ideal pairing

    Other headphones:

    Fostex TH-X00 Purpleheart (single ended only)
    - this is a bassy headphone going into what I feel is a somewhat bassy amp...
    - as expected combo produces too much bass overall for my tastes, but could be fun for others
    - Xbass: too much; it overwhelms
    - crossfeed: meh... too mushed with all the bass, it just makes things feel hollow in the middle and flabby everywhere else
    - tube mode: is ok, definition goes down, but rumble and thump increase (no surprise there); if I wanted to go for a stereotypically tubey sound with lots of warmth, this is it
    - tube+ mode: also ok; it's just softly thumpier, same definition as regular tube mode but has a softer tonality, not warmer but low end feels stretched out, upper end
    - this would be a basslover combo

    Fostex T50rp (single ended)
    - just not a good match
    - top end feels withdrawn regardless of setting
    - midrange is there, but feels detached
    - bass hits quite hard, this was about the only part I lked
    - tons of power, but it simply didn't mesh well
    - I gave up on this

    Sennheiser HD598
    - very similar tone as the HD650
    - similar changes with the various settings, but overall effects are less so and this seems to work in its favour
    - I would pick the 598 over the 650 with this amp
    - solid state: single ended is good, balanced feels somewhat tubbier
    - tube balanced: not as wonky as the HD650; I can tolerate this one
    - tube SE: warmer, softer, lazy-ish
    - tube+ balanced: like a slightly edgier solid state
    - tube+ SE: mush mush mush, stick with balanced
    - crossfeed is actually no too bad, the middle doesn't dip as much, overall feel is more like a sideways stretch
    - Xbass: it's weird that the 598 feels more comfortable boosting bass than it's big brother 650; still not my cup of tea, but it's workable here

    NuForce HEM8 (from the 3.5mm jack)
    - the 3.5mm jack is lower in volume compared to the 6.5mm
    - congested? what the heck is going on? I'm having trouble trying to do a volume match because something doesn't sound right
    - no seriously, what's wrong with this thing... is it broken?
    - loses cohesion
    - snaps and plucks are in the wrong place in time???
    - is this just some sort of L-pad going on to bring the level down? feels like something more than that
    - in any event, the sound is a mess and I'm abandoning this
    - reading the manual... oh this is the iEMatch thing? I have no idea what that's supposed to be, but it's clearly not working for me

    3.5mm jack with Fostex T50rp
    - not as messed up as the HEM8, but still feels slightly muted

    NuForce HEM8 from regular TRS
    - ok, so right away this is miles better than the 3.5mm output
    - seems a bit bassier
    - does not feel as neutral as my NuPrime uDSD
    - midrange is flatter, treble has good extension if very very slightly upturned
    - slightly cloudy in resolution...
    - REVISED: balanced inputs cleans this up (don't know why, but the above when I was using single ended inputs the sound sucked)
    - overall tone still slightly fuzzy, but not cloudy like before
    - overall tone balanced is restored
    - Callia headamp is less stuffy, like a veil has been lifted
    - midrange clarity improved, feels much better and breathes
    - bass hits harder and cleaner now
    - all above noted with solid state mode
    - tube mode: there's a tradeoff here... seems cleaner up top but muddier down low
    - tube+ mode: wow big pop when switching mode here so be careful; did not get any cleaner like tube mode but did not get muddier either... but sounds withdrawn
    - actually just be careful with sensitive iems with the knobs; they all seem to produce pops when changing modes
    - Xbass: even 1st notch seems too much, 3rd notch gets distorted
    - 3D: 1st notch collapses the middle stage and becomes withdrawn, 2nd notch not much different, 3rd notch adds elements to the side (but lower, unlike speakers which was placed higher) but still sounds artificial; overall staging feels better with this turned off
    - Callia headamp is cleaner (single ended) while iCAN seems stronger and punchier

    Impressions on Speakers

    Speaker "3D Holographic" settings from the preamp outputs:
    - does not have the middle dip like with headphones; general balance is better
    - staging is better preserved than with headphones

    + mode: it's ok, seems to add more air? very tiny smear but yeah I guess it feels like a different room or speaker setting; placement of side instruments moves further out and slightly up; with a mono vocal and my speakers slightly offset, I can hear this distortion effect like a comb filter? (yes this happens with offset, but I've never heard it this apparent before and it disappears with the crossfeed turned off)
    30+: feels like a reverb now, angle doesn't really change but speakers have moved further away
    60+: really pulls it out to the side, it's gone past reverb and is almost like an echo; instrument location has moved further behind and up, a bit like I have some satellite speakers in a surround mode behind me; the middle is a bit of a weird null zone

    - overall 3D effect is less noticeable in Tube and Tube+ mode

    - with desktop speakers the effect is very noticeable; likely most of the processing occurs in the upper registers of the frequency range, so the entire speaker and staging flies out to the side
    - the various bookshelf speakers I tried exhibited mostly similar behaviours (main ones I had on hand: Celsus Sound SP-One, Centrance Masterclass 2504, John Blue JB3)
    - the one that sounded best was my John Blue JB3 which feels like a horn and has a very narrow sweet spot; the + mode expanded this and gave it more space (almost too much air, though the speaker veers that way to begin with)

    Larger speakers used: Genelec 1030, Yorkville YSM8, Yorkville U15 (full sized PA cabinets), a couple Paradigm bookshelves
    - with larger full range speakers that have a deeper reach, the 3D spatialization is not quite so drastic since the lower energy range doesn't move, thus helps keep things in place
    - but the effect here is that I felt like I moved closer to the speakers (increasing effective angle) rather than have the speakers widen out
    - it's still a bit hazy and/or feels buzzy out at the furthest edges and raised up higher (again like I have some small satellites above and behind me, though their location is much higher here than compared to the desktop movement); the middle isn't a null zone like with bookshelf speakers, but does feel squishy
    - the better the bass reach of the speaker, the less egregious the effect of the spatialization
    - sub integration is kinda odd though; I feel like I'm getting phase discrepancies and walking around the room feels weird, so it's probably better to stick with a regular 2.0-ch setup rather than 2.1

    - but overall I find it easier to adjust my ears to the speakers with the 3D effects; with headphones it just doesn't work for me

    XBass speakers:
    - if you're trying this on desktop speakers, you're gonna push them past what they're capable of and get a horrible mess because you're just distorting the speakers
    - this did not sound good with any of my small bookshelf speakers
    - on speakers with very good bass extension, you'll get rumble but not impact, it does feel deeper but also like you're in a bass bubble
    - my Genelecs gained body, but still the strain was showing
    - with my full range Yorkville PA speakers, this was generously room filling
    - like on headphones, I find the first notch ok, 2nd is passable, but third is way way too much
    - also similar to my headphone assessment, this setting really only works when you have bass-capable speakers and bass-light recordings.

    How about as preamp?
    - I wish there were a way to mute the preamp outputs
    - all the fiddly knobs pass through in their own way
    - not as transparent as the Stereoknight (but this is one of the best preamps I've ever heard); feels slightly mushier in comparison
    - SS (balanced out) - soft yet a bit hard somehow; feels like a slight V emphasis
    - tube (balanced out) - softens the sound, sharp plucks and twangs are smoothed out
    - tube+ (balanced out) - actually less soft than regular tube mode; there's roundness to the sound but not warmth
    - SS (SE) - same as balanced; maybe just a tiny bit more definition?
    - tube (SE) - ever so slightly different flavour from balanced but hard to describe
    - tube+ (SE) - more warmth than balanced

    Closing thoughts:
    - no, I didn't hate it, despite my snarkiness
    - I did not read other reviews before taking my notes, so my observations are fairly untainted
    - solid state mode strikes me as a very competent amp
    - preference for balanced vs single ended depends on the mode used
    - there is an impressive amount of power on tap; it is rare that I find an amp that can handle the HE-6 and not struggle
    - all the variable functions strike me as trying to do too much in such a small space; I understand the appeal and it's a tweakers' delight, but for me those added features were detractors
    - just because I didn't like the Xbass or 3D spatialiazations doesn't mean others wouldn't enjoy them; the only feature that baffled me was the iEMatch
      bidn likes this.
  8. Hisoundfi
    iCAN be one of the most versatile amplifiers on the planet! The iFi Pro iCAN amplifier
    Written by Hisoundfi
    Published Apr 25, 2017
    Pros - Drives every earphone under the sun (including electrostatics when the ESL adapter is launched), Options of Tubes or Solid State, Lots of extras
    Cons - Remote is cheap and functions poorly, Delays when switching from solid state to tube mode, High price tag & still needs a DAC to maximize performance
    At the time this review was written, the iFi Pro iCan was listed for sale on Amazon’s website. Here are some links for purchase and information:
    Are you looking for the ideal headphone amplifier? What are your requirements?
    The answers to these two questions varies, sometimes significantly depending on the person asked. The simple fact that we as audio enthusiasts have to be specific in our answer tells me that there’s room for improvement in one particular area, VERSATILITY. That’s where the Pro iCan steps in.
    There are arguments about amps that carry on in audiophile circles…
    “Is balanced worth the leap in price?”
    “Solid state or Tubes?”
    “High impedance and power hungry cans or low impedance portable gear with sensitive in-ear monitors?”
    ...as well as many others.
    The truth is that there’s no wrong answer. As our gear and preferences evolve and change, so too does our demands and opinions of what’s ideal. What is agreed upon is the fact that we want to get the biggest return on the dollars we spend.
    What if I told you that the answers to just about every single listening preference were answered in one amplifier? The folks at iFi have been listening, and the result is the Pro iCan. I said iCAN, not iCAN’T!
    Let’s take a look at the amplifier that is versatile enough to eliminate specific preferences and go over it with a meat and potatoes review, shall we?
    The Pro iCan was borrowed from iFi in exchanged for a comprehensive review. I would like to thank my good friend Lawrence for the opportunity to spend some time with the unit and share my experience with the iFi community.
    The Pro iCan comes in a white sleeved box about the size of the average men's shoebox. A nice photo of the front of the unit is featured along with a brief description. The back of the box displays a photo of the rear portion of the device along with some key features.
    Removing the sleeve I’m greeted to a simple white box with the iFi logo.
    Specifications and Accessories
    Gain: 0dB, 9dB and 18dB user-selectable
    Frequency Response: 0.5Hz to 500kHz(-3dB)
    Total Harmonic Distortion (by output setting):    
    Solid-State:    Balanced: ≤0.0015%        Single Ended: ≤0.005%
    Tube:        Balanced: ≤0.002%        Single Ended: ≤0.005%
    Tube+:        Balanced: ≤0.012%        Single Ended: ≤0.2%
    Signal-to-Noise Ratio (SNR, Balanced/Single-Ended): >147dB(A) / > 137dB(A)
    Output Power (16Ω, Balanced/Single-Ended): >14,000mW / >4,800mW
    Output Voltage (600Ω, Balanced/Single-Ended): >23V / >11.5V
    Input Voltage (Pro iCAN): DC 9V/6.7A – 18V/3.35A
    Input Voltage (iPower Plus):    AC 85 – 265V, 50/60Hz
    Power Consumption: ≤ 22W idle, 50W max.
    Dimensions: 213(l) x 192.5(w) x 63.3(h) mm
    Weight:1.93kg (4.3lbs)
    1X Pro iCan
    1X Power Supply (15 volt, 4 amp)
    1X Wireless Remote
    1X Pair RCA jacks
    Design, Build, Functionality
    The Pro iCan is an all metal chassis. For a desktop amplifier it’s on the smaller side. The size is comparable to the likes of the Schiit Jotunheim or Asgard. For its size, the iCan Pro is fairly heavy.
    I paired the Pro iCan with its older sibling, the micro iDSD. I ran line out in preamplification mode from the iDSD (used the iDSD as my DAC). Hooking the Pro iCan up was simple. Power adapter and two RCAs is all it took. As if I had to mention, the iDSD did a great job and paired well with the iCan Pro.
    Looking at the back of the unit, there’s multiple inputs and outputs. The Pro iCan has left and right three pin XLR balanced inputs and THREE sets of unbalanced RCA inputs. For preamp output purposes, the unit has left and right three pin XLR balanced outputs as well as a set of unbalanced RCAs. Also located on the back is the power adapter input, a DC loop output, and a ESL link (special connection for a special iFi electrostatic add-on, not yet released).
    Taking a look at the front, there’s a TON of stuff to go over (I will cover the front of the unit from left to right).
    Top left we have a iFi Pro indicator light. Depending on what internal amplifier you’re using, the light will change color. The unit’s power button is discretely located on the lower left part of the front. A large dial is also located on the left side. This dial allows users to choose between the three analog RCA inputs and the dual three pin XLR balanced input. To the right of the input selector dial, there is an XBass selector dial. XBass options range from off, to a 12dB boost at 10Hz, 20Hz, or 40Hz. The XBass is definitely a useful tool that adds depth and lower frequency to leaner headphones, or gets the bass bumping when called upon. The boost is powerful, controlled and tastefully done from what I’ve heard. To my ears, each setting adds a noticeable emphasis that can give even the leanest headphones a nice amount of added oomph. Underneath the XBAss dial, a small metal three way lever switch can be found. This is the amplifier selector switch. I can choose to go from solid state, to tubes (with class A amplification), to a tube+ setting (even more “tube-ish” sounding).
    The middle portion of the amplifier has several output jacks. Let's use the next to paragraphs to explain single ended and balanced modes. 
    Outputs- Single Ended
    In the middle of the device, there are up to FIVE OUTPUTS THAT CAN ALL BE USED SIMULTANEOUSLY (in single ended operation). With single ended operation there are two ¼ inch output options, a four pin XLR balanced output, and two single ended 3.5mm outputs that are wired with IEMatch technology. Simplified, the two 3.5mm outputs are ideal with more sensitive earphones (like IEMs, and sensitive low impedance headphones). I find this many output options to be a very useful tool for someone like myself who does multiple comparisons, writes reviews and goes to shows. The amount of outputs the Pro iCan has is fantastic, and what I consider to be one of the device’s biggest strengths.  
    Outputs- Balanced
    If you use the balanced input, the outputs change to balanced as well. Instead of having five different single ended stereo outputs (in unbalanced mode), the Pro iCan outputs change to three different balanced signals. Options are dual three-pin XLR (or dual ¼ inch outputs) which split the signal into left and right channels. The four pin XLR runs in balanced. The two 3.5mm outputs split the left and right signals as well. When using the Pro iCan in balanced mode, the output power is increased as well.
    On the far right a large dial is placed to control volume. The Pro iCan also comes with a small wireless battery operated remote that changes the unit’s volume. The remote is a simple two button remote to be used for volume only. There is no power or input buttons on the remote. To the right of the outputs another smaller dial can be found. This is the 3D switch. To my ears this is an “awesomifier” for warm headphones and headphones that seem to struggle in terms of soundstage and imaging. Here’s iFi’s definition of this technology:
    “The 3D Holographic for Headphones is not based on a standard cross-feed system, as found in some High-End headphone amplifiers. Many so called ‘3D systems’ are usually DSP based that artificially affect the sound and add unwanted reverb in order to simulate a ‘spacious‘ type of sound. It’s true that traditional cross-feed tends to produce an ‘out of head’ sound, but with much diminished spatial components and a narrower soundstage, sometimes almost approaching mono. Most DSP based 3D designs produce an unnatural, echo-like sound, which may initially be impressive, but soon becomes tiring. By contrast, 3D Holographic for Headphones, provides not only ‘out of head’ placement of the sound sources, but renders the whole 3D sound field in a manner that strongly parallels listening to loudspeakers in a normal room, all achieved without the added reverb. This is the first system in commercial production to achieve this.”
    Underneath the 3D dial is another three way lever switch. This controls the amplifiers gain. There are three gain settings (0, +9dB, +18dB). Just a heads up, the gain settings increase the sound output quite a bit, and the Pro iCan gets insanely LOUD. How loud you ask? It’s capable of putting out up to 14,000mW. This device is literally is capable of pushing any headphone on earth including Electrostatics (with the electrostat add-on component, not yet released). In the same breath it can drive the world’s most sensitive IEMs with minimal to no background hiss (via the 3.5mm outputs).
    Do you want the lean and clinical sound of a TOTL solid state amplifier? CHECK (solid state amp setting)
    Do you want the best of both worlds with a class A tube amplifier? CHECK (Tube amp setting)
    Do you want a warm expansive sound of a creamy tube amp sound? CHECK (Tube+ setting)
    Do you want to use all three of these amp variations with anything from sensitive in-ear monitors to power hungry full sized headphones (and eventually electrostats)? No problem!
    This amp is absolutely fabulous. Don’t get me wrong, this thing isn’t going to slay every summit-fi full sized headphone amp that exists. In some cases there are going to be elite headphone amps that have higher quality internals and perform better with full sized (primarily power hungry) headphones. Just the same, I’ve heard some multi-thousand dollar tube amps that will outperform the Pro iCan’s tube amp setting as well (as well as provide a larger panel for tube rolling). HOWEVER, these higher priced models don’t come close to the Pro iCan in terms of VERSATILITY. It’s really hard to ask for more considering the fact that this thing is under two grand and can push every earphone on the planet.
    Because of the various settings and MULTIPLE amplifiers packed into the Pro iCan, I can’t give the unit a definitive sound signature. This device has multiple sounds once you factor in the various amplifiers and adjustable bass and 3D settings.
    There are some basic observations I made when using the device. I found that neutral and semi open headphones sounded better with the amp in the “Tube” or “Tube+” setting. I found myself using the “Tube+” setting in combination with the Xbass setting on headphones like the Sennheiser HD600 and Philips SHP9500. I was able to really dial it in for my preference using the amp with this setting and added luxury of the Xbass dial.
    Just the opposite, I enjoyed pairing the iCan Pro in solid state setting with warmer, bassier and closed full sized cans. Using the 3D dial seemed to add air and improve imaging with headphones like the ZMF Atticus, Meze 99 Neo and NAD Viso HP30.
    Using the iCan Pro with in-ear monitors was a great solution for desktop use. I had fun using all the settings the amplifier had when using it with IEMs. Truth be told, not many amps are made to work with IEMs and as a result there is a fairly large amount of background noise and hiss. Not only did the iCan Pro avoid this phenomenon, it also gave me the luxury of dabbling with amplifier and sound settings like no other amplifier can. The single ended 3.5mm jacks are equipped with iFi's IEMatch technology found in the micro iDSD, making these outputs ideal for sensitive earphones.
    Factor in price and I can guarantee sound of the iCan in every amp setting will give everything in its range a run for its money. I still love my micro iDSD and think it’s one of the better devices out there, but the iCan Pro’s amplifier section destroys whatever amplifier is under the hood of the iDSD.
    The iCan’s biggest competition is the fact that there are amps in the five hundred to one thousand dollar range that will give it a run for it’s money if we’re talking about performance (based on preference) with one type of amp or the other (solid state or tube, but NOT both). The Brands and offerings that come to mind are Cavalli, Violectric, Woo Audio, Aune, and Schiit. At the same time, that’s the beauty of the iCan Pro. You don’t have to settle for one amp or have to buy multiple desktop amplifiers, you have them all in one!
    Each amplifier setting flirts with or achieves excellent to TOTL fidelity.  You want the clinical and balanced sound of a high end solid state amplifier? Flip a switch… You want the warm and expansive sound of a tube amplifier? Flip a switch…You want more bass? Turn a dial… You want a more spacious sound from your headphones? Turn a dial… You want to listen to your 400 ohm planars? There’s a jack for that… You want to listen to your highly sensitive multi driver in-ear monitors? There’s a jack for that… It goes on and on and on…
    While the Pro iCan doesn’t rule the headphone world at any one thing in particular, the amp's fantastic performance and versatility makes it an epic piece of gear. Ifi has pretty much “cracked the code” and made what I would consider the most versatile headphone amp on the market today. It has an output and setting ideal for any headphone you have. As long as you have a decent DAC to feed it music files (which is an added cost you must consider to maximize the Pro iCan performance), the Pro iCan has the amplifier part down to a sweet science. Much of the magic that was used in the micro IDSD has been utilized with the Pro iCan, and they've also added a phenomenal amplifier section with loads and loads of power.
    The iCan Pro is several amplifiers in one chasis. Owners can use the device with every pair of earphones they have. This provides tremendous value to those who want an all in one amplifier solution.
    Thanks for reading and happy listening!
      ngoshawk, hqssui and B9Scrambler like this.
  9. Aornic
    Powerful amplifier that could have gone audibly further between its three modes
    Written by Aornic
    Published Mar 20, 2017
    Pros - Large amount of power, neutral and un-coloured sound in solid-state mode, XBASS pairing with some headphones, many simultaneous outputs, transportable
    Cons - Overly indistinct sound between the solid-state, tube and tube+ modes
    iFi's response to my criticism as a disclaimer for this review: 
    'The unit may have needed to be run in longer in each mode. It requires 24/7 burn in for each mode (3 weeks total) so this maybe why he says the sound wasn't a big jump between the settings'.
    I had the Pro iCan in my possession for almost a month and ran it near non-stop, mostly in tube mode.
    Having previously found the IFI Micro iCAN SE impressive with its small factor yet high power, along with the synergy between its XBASS hardware bass boost and the Sennheiser HD800, I was greatly looking forward to tackling the company’s flagship amplifier. The elder brother of the Micro iCAN is called the Pro iCAN and it retails for $1700.
    I’d like to thank IFI for sending me this unit of the Pro iCan for my honest impressions and a review.
    Gain: 0dB, 9dB and 18dB user-selectable
    Frequency Response: 0.5Hz to 500kHz(-3dB)
    Total Harmonic Distortion:    
    Solid-State: ≤0.0015% (Balanced) ≤0.005% (SE)
    Tube: ≤0.002% (Balanced) ≤0.005% (SE)
    Tube+: ≤0.012% (Balanced) ≤0.2% (SE)
    Signal-to-Noise Ratio (SNR, Balanced/Single-Ended): >147dB(A) / > 137dB(A)
    Output Power (16Ω, Balanced/Single-Ended): >14,000mW / >4,800mW
    Output Voltage (600Ω, Balanced/Single-Ended): >23V / >11.5V
    Input Voltage (Pro iCAN): DC 9V/6.7A – 18V/3.35A
    Input Voltage (iPower Plus): AC 85 – 265V, 50/60Hz
    Power Consumption: ≤ 22W idle, 50W max.
    Dimensions: 213(l) x 192.5(w) x 63.3(h) mm
    Weight: 1.93kg (4.3lbs)
    Test conditions:
    Gain = 0dB, 0.775V(0dBu) with 300 Ohm load unless stated otherwise
    SNR Balanced: re 23V
    SNR SE re.: 11.5V             
    P1000093.jpg P1000095-Copy.jpg
    Build Quality & External Features:
    I do not know why I expected the actual unit size to be substantially bigger, as it really is not large at all – especially compared to the size of the Audio-GD NFB-28 that I bought recently. I really do not care much for the looks of the Micro-series by IFI, but I had to admit that they were built like little tanks. The Pro iCan takes that robustness and gives it a chassis that one can proudly display as a member of their audio chain with its textured metallic look.
    The front panel has two dials and seven outputs. The large dial on the far left is to select the input feed, as the Pro iCan has the capability of three pairs of RCA in and one balanced XLR input. Also implemented is one pair of RCA and XLR outputs each, all on the back of the chassis. The next dial on the front, a smaller one, selects the four settings for IFI’s hardware bass boost – known as XBASS. The settings are off, 10 Hz, 20 Hz and 40 Hz.
    Neatly placed at the front are no fewer than three balanced output options – dual XLR, 4-pin XLR and a 3.5mm. There are also slots for two 6.35mm plugs contained in the centre of dual of the dual XLR, as well as two pairs of 3.5mm jacks – one balanced and one unbalanced.
    At two points on the front panel are small switches, each with three settings. The switch on the left selects between solid-state mode, tube mode and a mode that IFI calls “tube plus.” The next switch, on the right, toggles between 0, +9 dB and +18 dB gain. The smaller knob on the right toggles between 30/+, 60/30+ and 90/60+.
    I found that the unit ran quite cool in solid-state mode, but heated up a bit when the tubes were activated – showing a picturesque orange glow emanating from the stylized vents of the chassis. This heat is expected from a tube amp, and as there is no exposed tube – there is no chance of burning yourself by accidentally (or deliberately, if you’re into that) touching it.
    Finally, a remote is also included which can control the volume.
    Just like I found to be the case with the Micro iCan SE, the solid-state mode of the Pro iCan provides a very clean and powerful amping experience. There is no colouration to the sound of any sort, to my ears, and it is designed to take the sound signature of your headphones and simply make it louder. However, I honestly could not hear much of a difference in the presentation of the solid state mode between the Micro iCan and its elder brother. Keep in mind that the Micro iCan SE’s wattage was strong enough to power most headphones on its own, so Pro iCan only feels like an upgrade in this mode if you have severely hard-to-power headphones. I wish I had a Hifiman HE-6 on hand to test this, but alas I do not.
    The tube mode is where matters get a bit more interesting. The stereotype of tube amps is that they colour the sound, adding a little distortion and warmth to make the overall experience more “musical.” Other characteristics of tubes is that bass thump is slightly reduced, with the trade-off being increased soundstage and a wetter sound. Allow me to go through this one-by-one:
    1. Distortion is only really audible on really revealing headphones, like my Sennheiser HD800. Even then, it is very low and barely noticeable unless you are actively looking for it.
    2. There is not much more warmth compared to the solid-state mode. On headphones like the ZMF Atticus, itself a very mid-bassy and warm can, a change can be heard but it is not very distinct.
    3. Bass thump is indeed reduced slightly, but a low setting of XBASS can be added to counter this.
    4. With more analytical headphones, such as the Sennheiser HD800 and the ZMF Eikon, a wetter sound is definitely heard over the dry presentation of the solid-state mode. What this means is that music becomes more laid back, with frequencies gelling slightly to achieve a less stark and analytical and more thick and rich tone. However, the change is very subtle once again.
    The tube+ mode is meant to bridge the gap between the dry and analytical solid-state mode and the wet and musical tube mode – with less-reduced bass thump while maintaining some characteristics of the tubes. The most noticeable change between it and the tube mode is that the low distortion is further reduced, providing a blacker background to the audio. However, it does lose some soundstage and the feeling of there being more space in the mix – but adjusting the crosstalk/3D holographic sound setting can adjust this to what you enjoy.
    Ultimately, it took a lot of careful listening to distinguish the three modes with all four of my main headphones as nothing overt comes about from switching between them. I can, however, attest that the biggest difference is between the solid-state and tube mode, but it is still so slight that the tube+ mode being a middle ground is a little baffling. If I could make any changes, I would have picked a tube that is more distinct from the solid-state mode. The current tube mode might have been more suitable for the tube+ mode, a subtle change that bridges the gap between solid-state cleanliness and a very coloured sound.
    That being said, I do have favourite modes for each of my main headphones.
    DAC used: Schiit Gungnir Multibit with XBASS and 3D Holographic Sound Turned Off. All testing done on 4-pin XLR balanced output.
    Sennheiser HD800
    Sennheiser’s former flagship is a very clinical listening experience with vast soundstage and imaging capabilities. I find it difficult to pair with many headphone amplifiers, as the treble glare can get too painful to me with bad pairings. One such painful pairing was when I tried it with the Rupert Neve amp at the London Can Jam 2016 – and that is with the superdupont-resonator mod added to it too.
    In my delta-sigma Schiit Gungnir days, I would find the treble presentation of the DAC to be a bit harsh when paired with the HD800. However, since upgrading to the more natural sounding Multibit version, I have found it to be an easier pairing with some amplifiers due to its less reliance on pushing air out to the listener.
    The solid-state mode did not bring me any sort of glare or pain, but was still a bit treble-peaky at times depending on the source material. I did find the sound to be too dry for my taste, especially since I am used to the more coloured and warm Cavalli Liquid Carbon being paired with the headphones.
    Tube mode brought about subtle changes that I preferred in this pairing. The sound became more laid back, and while not nearly as warm as I am used to – it was not as stark or alert in its attempt to dispense audio. Details, particularly in heavily layered rock and classic rock recordings, seemed to be brought out better in the mix and any distortion was barely noticeable after listening to music rather than deciphering the capabilities of the amp itself. I would actually classify this mode as being more detailed than the richer and more syrupy Liquid Carbon – but with reduced low end.
    Tube+ mode was quite similar to the solid-state mode, too much on this headphone for my tastes. Thus, the winner of the three modes with the HD800 was tube mode.
    ZMF Eikon (Padauk)
    ZMF’s new flagship is a slight departure from their headphones in the past, opting for a more resolving and detailed sound while maintaining a punchy and fun sound signature with well extended and audible sub-bass. Since I’ve had this headphone, I’ve found myself drawn to the possibilities of tube amplifiers for their sound-shaping features.
    While the tube mode of the Pro iCan is not quite a stark departure from the sound I can obtain on the Eikon using the Audio GD NFB-28 solid state amplifier – it provides a more laid sound to the very dynamic headphone. The tube mode rounds off some of the edges in airy instruments such as strings and horn sections, and provides slightly more soundstage to boot. I much prefer this combination with smooth jazz recordings and classic rock, but not so much with electronic genres due to slightly reduced sub-bass performance. Vocals, particularly female vocals, have slightly reduced airiness than the solid state mode but more body to the lower tones.
    Tube+ mode, in this instance, can be used to offer a slightly wetter sound while maintaining the bass impact needed to enjoy genres more reliant on it. However, because it would seem that I indeed prefer the pairing of the Eikon with tubes (no matter how subtle the effects may be) I would say that the tube mode is my preference with the ZMF Eikon.
    Focal Elear
    To my ears, the Elear was not designed to be used for laid back and easy listening. My go-to can for metal music, the dynamic and aggressive nature of the Elear makes it stand apart from the other headphones I am using today. However, due to these characteristics, I would not choose to try and modify the Elear’s sound to be anything other than what it is normally. Tube mode with the Elear does not do this much, but it is still at a level where I feel that it would be better served with the cleaner amping experience of the solid-state mode.
    ZMF Atticus (Cherry)
    ZMF’s new Atticus headphone is a mid-bassy experience with a lush and smooth midrange. It is quite picky with amp pairings, absolutely refusing to play nice with my Cavalli Liquid Carbon for instance, as a warm amplifier causes it to become overly muddy in presentation – with the mid-bass becoming overpowering and causing bleed that detracts from any details and accuracy.
    None of the modes of the Pro iCan are a bad pairing with the Atticus, but I opt for the cleanest experience in this regard. The airiness of the solid-state mode, coupled with the lower distortion than the tube modes (once again, no matter how subtle they may be) make it the best pairing with the Atticus. However, I must admit that the amp of the Audio-GD NFB-28 (solid-state) controls the bass of the Atticus far better, bending it to its will. Comparisons, once again, made with the Schiit Gungnir Multibit DAC being fed into both amps.
    XBASS & 3D Holographic Sound
    While also being present on the Micro-iCan SE that I reviewed previously, both these modes have been upgraded substantially for the Pro-iCan’s usage. In my honest opinion, these two settings are the main selling point of this amp – and its true character, geared towards those wanting customization in their sound.
    XBASS is a hardware bass boost that pairs very well with the Sennheiser HD800, something that I noticed while reviewing the Micro-iCan a few months ago. On the Pro iCan, however, it is a far more customizable experience with more texture and reach. Offering 10 Hz, 20 Hz and 40 Hz settings, it ranges from giving a slight kick to the low-end of your listening experience to making it a basshead’s dream. As it is a hardware boost, any trade-off to its usage is heavily reliant on the headphones being used and their ability to separate the frequencies well.
    XBASS on the HD800 alerted me to just how well the sub-bass on the Sennheiser extended, just not very audibly due to the low volume of its low end. A HD800 with XBASS turned on full transforms the headphones into a punchy and bassy experience while retaining its crispness in the mids and highs – and most importantly the fantastic soundstage and imaging. It is a result that would make purists balk, however, as you are essentially making the headphone “lie” to you in a manner that goes far beyond mere tube colouration. Despite that, it is my favourite pairing of this amplifier – just an expensive one.
    3D Holographic Sound is meant to add more panning distance and area into the soundstage of headphones. Using what I assume to be crosstalk, it widens the soundstage to varying effects depending on the headphones. I found the same function on the Micro-iCan to be a bit eerie, ethereal and whispery in nature – removing any impact or depth from the sound. On the Pro-iCan, however, the experience has been made more robust so that this is avoided.
    Looking to try it, on full setting, with the HD800? Don’t bother, it does not benefit much at all. Closed headphones, like the ZMF Eikon and Atticus, do experience some widening of soundstage – and it is definitely interesting but something that is heavily dependent on the listener’s preferences.
    Some combination of the two settings could fine-tune the Pro-iCan into sounding how you want, making the amplifier a consideration for those who are into such levels of customization.
    Observant readers might notice that I did not touch very much on how the Pro-iCan simply “drives” headphones in this review. That is because it simply does so, driving most headphones is no problem for it with its ample wattage. Once again, I do not have a Hifiman HE-6 on hand to test how it does with that notoriously low-sensitivity headphone, but it handled my three 300 ohm and one 80 ohm headphones with ease. Through the 3.5mm output, it drove the 320 ohm VE Zen 2.0 easily too. I never had to make use of the gain switches.
    I also have to praise the small form factor of the Pro-iCan, which is especially small compared to my gigantic Audio-GD NFB-28. It is quite transportable, and if it had a DAC component then it would have been all you need for a transportable setup.
    However, ultimately, I find that the Pro iCan (when used in its pure solid-state, tube and tube+ modes) lacks a distinctive flavour that sets it apart from other amps that I have tried. While the XBASS and 3D Holographic Sound settings exist to customize your experience, I feel that IFI played it a bit too safe with the difference between the three modes – with tube+ mode feeling redundant with some headphones and it was too indistinct from solid-state mode.
    That being said, there is nothing wrong with this amplifier.  Anyone seeking a cleanly amped experience that comes with the bells and whistles of customizable hardware bass boosts and crosstalk settings will find it here – if they are willing to spend the aforementioned $1700 for it.
    I would imagine that even the subtle differences would suffice for some, but I would personally want a tube amplifier for this price in which it was possible to roll several different tubes for customization in a different way – so the switching mode isn’t a selling point for me.
    So, in summation, the Pro-iCan is a solid product that will drive any of your headphones and give you the ability to customize your experience with features that are, frankly, not present on most amplifiers.
      Fastnbulbous and Hisoundfi like this.
  10. Trogdor
    One of the best headphone amps on the market today.
    Written by Trogdor
    Published Feb 9, 2017
    Pros - Reference clean sound, unbelievable I/O flexibility, unique and rewarding 3D holographic system, luscious tube mode
    Cons - XBass knob should be used with extreme caution, no tube rolling fun


    As I sure many of you are already acutely aware of, we're big fans of iFi Audio. You see unlike a lot of vendors who treat their circuit designs as if they were highly classified secrets, iFi is very open and honest about all of their products. In fact, iFi is one of the few companies I know of that even freely shares high-resolution pictures of every circuit board they fabricate. Couple that with the fact that these Brits are very community focused, vetting feature and collecting feedback constantly, makes iFi, at least to our ears, one of the defacto leaders in the low- to mid-tier marketplace.

    So when iFi announced their "Pro" line, aimed squarely at the high-end market, I was stoked. I already use their now well respected micro iDSD ($499) on a daily basis, which I still maintain is one of, if not the best sounding headphone amp/DAC combos you can buy at its price point. But despite my affinity for the micro iDSD, I'm quite aware of its limitations too.

    First off, the micro iDSD is without question a "jack of all trades" type of device than a truly dedicated component, and as such, comes with all the benefits and limitations that entails - no balanced outputs, only one input, solid-state only, etc. Secondly, I've always felt the micro iDSD is more DAC than amp, with the overwhelming majority of its feature set focused on accommodating headphones with a vast array of juicing requirements than outright performance. Finally, and most importantly, iFi can only squeeze so much performance out of a device that isn't exactly desktop sized and designed for portable use. Put simply, there is room for improvement (literally).

    But going "Pro" also means having a pro price tag as well, with iFi's first offering in this line, the Pro iCAN headphone amplifier, clocking in at a hair under $1700. Not outrageous in the high-end headphone amplifier market by any means, but certainly a price tag that puts it squarely in the prosumer market nevertheless. So with all of that in mind, is the new Pro iCAN all go or just for show? Read on and find out.

    Living A Truly Balanced Life

    I think given all the features the Pro has, the most important one bar none is that it is a fully balanced design. What that means in a nutshell is that from end-to-end this amplifier has two discrete channels, one for the left and the other for the right that the signal propagates through. Why is this so important? Because many manufactures claim that they have a balanced design when in reality it is "balanced" in name only, with just the output stage splitting the single-ended signal into two outputs. And thus won't reap the full rewards of a truly balanced design, which includes higher dynamic range and lower overall THD and cross talk.


    The Pro is what iFi likes to dub as "True Differential Balanced" which is a very fancy way of saying that both the left and right channels go through discrete circuit sections. That also means double the parts since each chain has to go through their own input and output stages during amplification while keeping both channels matched. To that end, iFi has designed their own special potentiometer that is built custom by ALPS Japan exclusively for the Pro. It features 6-tracks with two sets of two tracks each to control the left and right channels respectively, and the last two tracks used to monitor volume operation. In English, when you turn the volume knob on the Pro, you are changing the volume of both channels simultaneously while keeping each channel in sync so one side doesn't sound louder or softer than the other. Again, a mark of a truly balanced design. It's also motorized too so you can use it with the included IR based remote as well. Slick.

    The Eye of Sauron


    If you wanted to live the valve life and still stick with iFi, then your only option was the micro iTube. However, with the Pro, iFi gives you a choice, with the ability to in real-time switch back and forth between the valve and solid-state input stages. Historically, hybrid amplifier designs would usually tack on a tube output stage on top of a solid-state one as an added effect. With the Pro, both the solid-state and tube-side are completely separated from each other and once switched over, the signal path continues to maintain the shortest route to the output stage through each. Nice.

    The tube of choice as you can see is the venerable and well regarded General Electric NOS 5670, and the Pro ships with two of them (again, balanced). This is a premium version of the 6922 with a slightly different pin-out. With the Pro, you actually get two different tube playback modes, Tube and Tube+. The difference between the two is that in Tube+ mode the signal has less overall loop-gain because the J-FET circuitry is switched out for all-valve operation and thus sounds more "tubey" compared its non-plus counterpart, which tries to balance preserving the 5670's natural harmonics with transient response.

    On the solid-state side of things, the Pro offers a fully discrete MOSFET-buffered bipolar Class A output stage. The circuit is also purely DC coupled with no coupling capacitors insight. For very sensitive IEMs and low impedance headphones, the Pro operates in Class AB mode.

    Yes iCAN!


    Speaking of power, the Pro's output is insane. You have three gain stages, 0db, 9db, and 18db respectively. In 20V balanced-mode, it can output the equivalent of 100W into 4 ohm speakers! In fact, the Pro is so powerful that iFi had to put protection circuitry in it. Don't worry though, the added circuit is not in the audio path but rather implemented in the power supply. Basically, this circuitry allows short term, unrestricted peaks but will progressively limit the available current when the amp reaches a certain operating temperature or starts to clip. If the amp does find itself in this mode, it will continually step back the flow of electrons until it completely shuts off to avoid damage. With all that said, be very careful with this amplifier if you are using multiple headphones with vastly different amperage requirements, since very bad things can happen if you use the wrong gain stage or turn the dial too high, especially if you are in balanced mode.


    Again, sticking with the theme of choice, the Pro offers an insane level of I/O flexibility. You have have several balanced and single-ended inputs and outputs to choose from. The large left knob can select from three singled inputs and one balanced one on the back. You even have one 3.5mm TRRS jack if you happen to own an IEM and want to run them in balanced mode. The two 6.3mm jacks can also run in balanced mode too, which is why you see an "L" and "R" above them. The manual states for single-ended headphones you should use the "R" jack which is what I used when I wasn't in balanced mode.

    Finishing Touches

    In addition to supporting highly sensitive IEMs, the Pro also inherits iFi's XBass Bass Correction System and 3D Holographic technologies too. Both are implemented as purely analogy circuitry, with XBass boosting bass 12db at 10Hz, 20Hz, and 40Hz respectively. This is a great feature if you have very bass light cans or are a self-proclaimed bass head. Otherwise I'm going to be the first one to say to you to should never ever have to touch that dial. Never.

    On the other hand, the 3D Holographic system they've implemented in the Pro is fantastic and can single-handily make hypercompressed music sound a lot more alive. Take note, this isn't your typical Bauer crossfeed circuit which I find unbelievably annoying. Rather, iFi has developed their own proprietary matrix that can translate a spacious stereophonic recording with good imaging when replayed on speakers into its equivalent when listening to headphones. I'll have more to say about this knob below.

    The general fit and finish of the Pro just screams "pro" too, from the golden ratio variable thickness chassis to its nylon based quad damped isolation base mount. I also appreciate its overall size too, which can easily fit on any desktop. When its co-conspirator is released in the next couple of months, the Pro iDSD, iFi plans to make a rack that will accommodate both. Sweetness.

    The Miracle Knob


    I thought the best comparison would be to actually compare the micro iDSD with the Pro. That way both chains are using the same DAC and I can simply plug headphones in and out under the same approximate volume level to get a sense of what another $1100 buys you. I used a pair of Focal Utopia ($3999) and Audeze LCD-4 ($3999) for the overwhelming majority of this review.

    LORN's Arrayed Claws is just a phenomenal record and definitively an early contender for AOTY. What really sets this album apart from your prototypical black metal offering is this hypnotic, almost trance like quality to it. Couple all that with the fact that occasionally the album goes all Random Access Memories on you in a few spots, makes for a riveting yet unique listening experience to say the least.

    Right out the gate, the main sonic difference between the iDSD and Pro is refinement - bass sounds deeper and more controlled, the midrange blossoms with all of Claws' distortion and reverb on full display, and the treble is crip and clean. In fact, I've read a few impressions where the reviewer found the Pro somewhat clinical and I do hear that given the Pro's level of cleanliness. But I'd argue that at least in solid-state mode, neutral would be a better description as I found the amp just let the Utopia do its thing. I can't say the same thing with the iDSD, which compresses the Utopias' already middle-of-the-road soundstage.

    However, if the stock solid-state sound just isn't doing it for you, no problem. Flip the Pro into Tube+ mode, wait for the light to turn orange, and bathe in all that tube glory. I found Tube mode isn't really much to speak of, since the differences between it and solid-state is in the noise. But in Tube+, the Pro just sounds so luxurious, with a nice sheen of second harmonic goodness felt throughout that really livens things up considerably. In fact after deciding that the iDSD's amp stage was really no match for the Pro, I did most of my listening in Tube+ since I think it sounds a lot more musical with majority of my favorite metal recordings.

    One thing that I also took me by surprise was just how much more spacious everything sounded. Which brings me to that 3D holographic knob on the right. As I stated above, iFi's 3D system is not just a simple crossfeed circuit, but their own proprietary design. And after playing with it for several weeks it is now what I like to call the "miracle knob." Turning the "miracle knob" to the 90 degree mark, which simulates a wide loudspeaker placement, felt like it added back a few points of dynamic range to Claws instantly (and this isn't even that compressed by DR standards). In fact, I was so impressed on how it transformed the sound, I thought to myself, "What could it do for Ulcerate?"

    So if you're regular around these parts, then you already know how I feel about Ulcerate's latest, Shrines of Paralysis. This is an incredible record and easily could have made my year end list if it wasn't for its abysmal DR3 mastering job. I threw the 3D knob back to the zero mark and gave Paralysis another shot figuring the Pro could liven it up a bit. Yeah, still awful. But with that knob flipped to the 90 degree mark, not bad at all. The record suddenly felt like it had more sonic depth and sounded generally less crushed overall. In fact, for the first time ever, I was able to listen to Paralysis all the way through without suffering any ear fatigue. It's a miracle! If there is one aspect of the Pro you just have to try it is this one - flip that knob over to the 90 degree mark and prepared to be amazed!

    Is it me or has Canada become the place for high-quality technical death metal these days? Must be something in the maple syrup. Anyway, Gomorrah's The Hauspex was one of the unsung tech death metal heroes of 2016 and still manages to climb its way back into my rotation every so often. For this outing with the Pro, I went with the LCD-4 and listened to Hauspex in both balanced and unbalanced mode to compare the two. Unlike the Utopia, the LCD-4 requires a lot of juice given its 200 ohm impedance. Full disclosure: I don't think balanced mode makes that much of a difference with the overwhelming majority of headphones. With that said, I thought balanced mode did improve the LCD-4 slightly, mainly in the bass department. Bass was just outright thunderous on tracks like "Sitra Achra" and "Cerulean" in balanced mode to the point that I thought I had the XBass knob turned up. I didn't. The LCD-4's bass is just incredible when driven to the fullest. And that's what balanced mode gives you. Unfortunately, my custom Utopia balanced cable was not ready in time for this review so I can't comment if there are any improvements in running the Utopia in balanced mode or not. My guess is like the LCD-4, bass extension would improve substantially since as Tyll over at Inner Fidelity reported, there is a big jump to 300 ohms at 50Hz from its nominal 85 ohm impedance. In other words, even though the Utopias are very easy to drive, they do require a lot of on-demand juice to extract every drop of performance out of them and the Pro is more than up to the task.​

    Final Thoughts


    Is the Pro a reference level component? No question. I think $1700 is actually quite a fair asking price given its sheer sonic performance and flexibility. And it certainly sounds better than all of its cheaper siblings by a wide margin. Moreover, iFi's proprietary 3D holographic system is just a godsend for the audiophile headbanger at large. I must have listened to hundreds of metal records over the course of this review, most of which were all hypercompressed, but with a simple turn of the knob, all of these recordings sounded significantly more open and dynamic. That in itself might be worth the price of admission alone.

    If I had to nitpick though, I think some of its features could have been removed to save cost. For example, having a 3.5mm output is more or less superfluous on a system like this. If you bought the Pro for your expensive IEM or CIEM, you're audiophiling all wrong! And though I'm quite aware that bassheads will love cranking up that XBass knob, it is definitely not for me. Finally, even though I think serving the 5670 as the main course every night is fine and dandy, I still prefer a la cart. Especially since the 5670 won't last forever and eventually will need to be replaced.

    Still, it's hard to argue with the Pro since it is such a joy to listen to and use. That's why I have no qualms giving it our highest honor even with its lofty price tag. The new Pro iCAN is definitely all go and no show (well, maybe a little show).

    This review was originally featured on Metal-Fi.
      Zyklonius likes this.
    1. View previous replies...
    2. loplop
      Interesting to read a metal-head's take, thanks for posting @trogdor.

      I use the XBass on occasion, usually the 10hz setting, to fill in recordings that are light in the bass. On some classical, for instance, the bass is quite light and without reinforcing you miss some of the hall ambiance. My LCD3 can be bass shy themselves at times, so 10hz is often on for them. LCDX not as often. I have also used it on 20 or even 40 with bass-light headphones, usually fairly cheap ones like B&W p5s2 or thinksound ON2. It's a very well done implementation, IMO!

      @jeffhawke I am waiting for the iDSD Pro, also, and currently using an iDAC2 > iCAN Pro. Before I got the iDAC2 I used my iDSD BL. It's a great pair with the iCAN Pro, definitely up to the task. Really, really enjoyable listen.
      loplop, Feb 11, 2017
    3. jeffhawke
      Thanks @loplop. Any noticeable differences in terms of SQ between using the iDSD BL and the iDAC2?
      jeffhawke, Feb 11, 2017
    4. iFi audio
      Thank you for your putting your time into our pro iCAN. We are glad you enjoyed it.
      iFi audio, Jan 10, 2020