ifI iCan Pro - Impressions & Discussion
Oct 24, 2016 at 12:02 PM Post #361 of 2,359
I had a question..since Ifi says not to mix headphones, and speaker. Is turning off a speaker enough or do you have to disconnect the cables? Not sure how the 3d sensing circuit works. Oh I wanted to add that I finally got my demo Ican pro and immediate impressions to my idac2 + Ican + itube was more clarity open.. it was noticeable to me. I do wish though the remote was metal. Yea a few more functions on the remote wouldn't hurt (on/off, mute), but it's the build quality of the remote that just doesn't seem to live up to ifi audio's other products. I'm definitely not sending this back I'm really enjoying it :)
 
Oct 24, 2016 at 2:03 PM Post #362 of 2,359
I had a question..since Ifi says not to mix headphones, and speaker. Is turning off a speaker enough or do you have to disconnect the cables? Not sure how the 3d sensing circuit works. Oh I wanted to add that I finally got my demo Ican pro and immediate impressions to my idac2 + Ican + itube was more clarity open.. it was noticeable to me. I do wish though the remote was metal. Yea a few more functions on the remote wouldn't hurt (on/off, mute), but it's the build quality of the remote that just doesn't seem to live up to ifi audio's other products. I'm definitely not sending this back I'm really enjoying it
smily_headphones1.gif


Interesting question. Generally just unplugging the headphones and turning on the speaker amp is sufficient, or the reverse for headphone use. 
 
There are two separate Analogue Signal Processing (ASP) matrix circuits that switch automatically between headphone and loudspeaker use.
Note: When using the headphone outputs, the Holographic matrix for headphones is engaged. When using the line outputs (RCA/XLR), the Holographic matrix for loudspeakers is engaged.

 
This implies the iCan "knows" if the headphone are being used. Maybe knows based on resistance.
 
Oct 25, 2016 at 4:06 AM Post #363 of 2,359
Q#3B: Is this a unique design? it would great to understand the innovation. Is it something similar to the XXXXX gain stage (conceptually)?

The circuitry in the iCAN Pro is quite unique. It is not a cookie cutter, cut & paste from some textbook or a manufacturer’s design note. With the greatest respect to others, conceptually it has no parallels – except in classic professional studio equipment using tubes, like for example from the legendary R.E.D.D.37 & 51 tube recording consoles.
 
REDD.51 tube recording console, Studio Two/Abbey Road
 

 
However, the circuitry is not a mere rehash of the best classic British or German studio gear either.
 
All tube circuits have their own challenges, so we use the tube where it makes the greatest difference, in the first stage, though it may be switched out for a J-Fet instead for a completely solid-state circuit path.
 
The tube or J-Fet is followed by a second fully discrete gain stage using a combination of bipolar transistors and mosfet selected and operated to achieve very specific goals in terms of linearity, gain etc.

The result is a circuit that very much behaves like a modernised, transformer-less and direct-coupled version of classic recording gear. So much of the common sonic colouration traits found elsewhere from coupling capacitors and transformers do not exist in the Pro iCAN.

 
Q#6:  I noticed you spec JFets rather than the more commonly used Mosfets. What is the difference?

As for tube vs. J-Fet vs. mosfet vs. bipolar transistor, these are all different amplification devices. They have all different parameters and all are subject to limitations and have undesirable traits. No device is ideal for all applications or uses. One of the key skills of a good design is to select the right device for the right application.
 
 
A Short History of Amplification Euphoria
 
         1. The tube
 
Of these four active devices we have available, the tube is the oldest and is now over a century old.
 
Lee de Forest, the father of the radio, invented the ‘Audion’ tube the first electronic amplifier device in 1906



Among the very desirable traits of tubes are a very high input impedance, a high level of inherent linearity for a given gain, the fact that the tube is a depletion device (it produces the highest current it can with 0V between input and common terminal) which allows simpler circuits and the fact that all parasitic (unwanted) effect are essentially constant with signal level and frequency.

The downside is relatively low absolute gain, a high internal impedance combined with a low current capacity and the need for very high voltages to operate, as well as the need to provide extra power to heat up the cathode to a dull red glow temperature. As a result, tube equipment has mostly disappeared from common use, yet especially for input stages they are often still without equal.

The iCAN Pro uses genuine USA made General Electric New Old Stock Tubes 
 

 

          2. The J-Fet
 
Perhaps surprisingly the J-Fet is the second oldest amplification device and the first solid-state amplification device. It was patented in 1926 by Julius Lilienfeld and he put a working theory of operation in place by the mid-1930’s.


 
The 1926 J-Fet Patent

While not actually a tube, interestingly, the J-Fet shares many traits with it.
 
It has a very high input impedance, a moderate level of inherent linearity for a given gain, the fact that the J-Fet is a depletion device (it produces the highest current it can with 0V between input and common terminal) which allows simpler circuits and the fact that if enough voltage is applied all parasitic (unwanted) effect are essentially constant with signal level and frequency.

The downside is merely moderate gain, a high internal impedance combined with a low current capacity and the need for relatively high voltages to operate. Like tubes, J-Fets are often used in Input stages and while they do not equal tubes, if applied correctly they can come quite close. Compared to generic transistors (Bipolar and Mosfet) J-Fets are difficult to make, have a process that is variable and requires selection and cost is around 100 times that of Mosfets and Bipolar Transistors.
 
 
        3. The Bipolar Junction Transistor
 
In 1948 William Shockley invented the Bipolar Junction Transistor which rapidly became the device of choice for modern electronics and for three decades remained the device of choice in the design of discrete and integrated circuits.
 
Electronics rapidly became miniaturised and energy efficient. Instead of the huge, hot running wooden tube radios there were battery powered pocket radios that could drive headphones and could be certainly carried everywhere. Portable audio became possible with the bipolar transistor. Nowadays, the use of the BJT has declined in favour of MOS(fet) technology in the design of most circuits and IC's.

Replica of the first functional bipolar transistor from 1947


 
Compared to tube and J-Fet, the Bipolar Transistor was a radical departure and practical electronics had to be nearly re-invented to suit it. The bipolar transistor is actually a current driven device, meaning it has a low input impedance and it is an enhancement device (meaning it passes no current with 0V between input and common terminal, requiring more complex circuitry. Parasitic effects are wide and varied and all are highly signal level and frequency dependent and linearity is quite poor.

However bipolar transistors can handle much higher currents than Tubes or J-Fets, work well with very low voltages, are easy to manufacture with good consistency and at very low cost, so they displaced tubes and J-Fets could barely carve out a niche where bipolar transistors could just not work well.
 
 
          4. The Mosfet
 
The newest amplification device is the Metal Oxide Semiconductor Field Effect Transistor a.k.a. Mosfet. Invented in 1960 it was meant to displace the bipolar transistor by giving a device that worked much like a bipolar transistor but with high input impedance.

The 1963 Mosfet Patent 
 

 
Problems in manufacturing initially caused higher cost and it was a long time before Mosfets became viable alternatives as linear (audio etc.) amplifiers to the J-Fet and Bipolar transistor. It was however discovered that Mosfets could be made very small and that they made good switches, which drove the revolution in digital integrated circuits and in the end led to modern computers which use chips that combine literally millions of tiny, tiny Mosfets to form the logic.

As a linear amplifier the Mosfet does less well, even in the 21st century, very few types are particularly suitable for the job. Operated at low voltages, the Mosfet has high input resistance but very high and signal variable input capacitance which causes a very specific type frequency dependent distortion that rises with frequency a lot more than bipolar transistors. Linearity is also quite poor, but the more modern types have huge levels of gain allowing very large amounts of negative feedback to be used to overcome the non-linearity.

There you have it, a brief rundown of each amplification device and the pros and cons – as you can gather, in the end no device is perfect and using the right device for the right job in the right circuit can give an excellent outcome. Get it wrong and the results are dire
 
Stay tuned for more!
 
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Oct 25, 2016 at 12:20 PM Post #365 of 2,359
Hi,
As always.  Thanks for the amazing detail you are providing.  A follow-up question:
 
You provided an amazing description of the concept you followed for both tube and solid state.  Where does Tube+ fit in?  Does it use both the jfet and tube?  Is is an analog DSP effect applied to the tube or the jfet circuit?  In other words, what is the intent of tube+?  I did read your main description on the website, but I still don't understand the interplay with "feedback",  how it should be used, or under what circumstances I should pick between SS, tube, and tube+.
 
 
BTW, I hope you can get to the questions about balanced inputs. The question is within the original 12, but I would like to know whether I am compromising sound using unbalanced input with balanced outputs.
 
Oct 25, 2016 at 3:32 PM Post #366 of 2,359
Where does Tube+ fit in?


Pro iCAN is equipped with an actual tube circuit, based on classic Pro-Audio design. The switch selects a J-Fet first stage (solid state), Tube first stage and if the tube is enabled, it is possible to reduce the negative feedback.

Reduced negative feedback trades off an increase in low order harmonics for improved transient response (objective) and some hard to define in objective measurement terms, "improved musicality". 

This "improved musicality" is not a result of the increased low order harmonics, instead the increase in low order harmonics is a result of the decreased feedback.


OK, not obvious to the uninitiated but the bit in bold is referring to Tube+.
 
Oct 26, 2016 at 12:09 PM Post #368 of 2,359
Q#4: What is the impact of using a non-balanced source? Do you still get the benefit of balanced output, or does half the circuit (including the corresponding power) go unused as is the case with some other amps?

If an unbalanced source is used, the iCAN Pro includes a circuit that creates an inverted replica of the signal so after this circuit the signal has been transformed to balanced signal. This uses a very minimalist non-feedback circuit composed out of J-Fets and Bipolar transistors. After this circuit the signal is amplified fully-balanced.

iCAN Pro signal path
 

 
If the headphone uses unbalanced wiring, the circuit actually has no additional stages, that is the single-ended signal is used as the positive half of the balanced circuit but also forms in effect the single-ended signal path.

In order to take advantage of the balanced circuit, headphones require balanced wiring. In this case and with a true balanced source (such as the upcoming iDSD Pro) the signal remains fully balanced from the DAC Chip to the headphone with no added unnecessary stages. Only for a single-ended signal does the circuit create a balanced signal from a single-ended input by adding an inverted polarity signal path.
 
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Oct 26, 2016 at 11:00 PM Post #369 of 2,359
Hi.
Thank you very much.  So the bottom line is that even if you have an excellent non-balanced source, you will get most of the benefit of a balanced system.  I am running balanced out of the ifi, but my source is a Mojo, which I think is awesome by the way.  Thank you very much for clarifying this.
 
Oct 26, 2016 at 11:04 PM Post #370 of 2,359
  Hi.
Thank you very much.  So the bottom line is that even if you have an excellent non-balanced source, you will get most of the benefit of a balanced system.  I am running balanced out of the ifi, but my source is a Mojo, which I think is awesome by the way.  Thank you very much for clarifying this.


If it's a good phase splitter, you will likely not be able to hear the difference between a balanced and SE source. The balanced headphone will provide for better audio, but the phase splitter (again, if good quality) should not be audible. 
 
Oct 27, 2016 at 1:20 AM Post #371 of 2,359


 
 
Received the amp today and have it set up for listening. 
 
Refined, clean and warm are the first words that come to mind. Not getting any stridence or etchy sound so far but I will give it some time. Then post a review. 
 
Oct 27, 2016 at 10:32 AM Post #372 of 2,359
I feel bad for all the caps and resistors right underneath those tubes. I know it's not that bad, I used my temp gun and got 140f/60c I'm sure they are all high temp rated. This has solved one of my issues. I was going to get an audio summer/mixer monitor controller like a drawmer 2.1. I wanted to mix my mics 2i2 adc with my better ifi idac2. Instead I use 2 different inputs depending on situation, and use the audio switcher software to change audio sources with hotkeys. Still have to reach around a turn monitors off and sub not perfect. I'm really waiting to see if the idsd pro can help bring things together.
 
Oct 28, 2016 at 2:33 AM Post #373 of 2,359
Q#5: Most other amps seem to require lots of power and use a giant desktop PC style power cord, perhaps to have a heavy enough gauge and shielding in order to avoid noise and interference. What is the technology that enables the pro to avoid these issues/requirements and use a small cord and wallwart (a great thing by the way)?

Small correction, the iCAN Pro does not use a ‘wall-wart,’ but a 15V/3.5A (52.5W) external power ‘brick’ instead and it can actually be powered with any DC voltage from 9V to a maximum of 16V (18V will activate protection circuitry).

Internally the iCAN Pro uses latest high frequency mosfet technology to power the system. The incoming voltage uses a 1.2MHz converter to create a low voltage DC bus that can provide up to 44 Watt power. A separate 1.2MHz converter creates the 6V needed to heat the Tubes.
 
This DC Bus voltage supplies a bank of further converters also operating at 1.2MHz that produce the high voltage for the tube (or solid-state) circuit which operates from 60V. More converters produce the power supplies for the power output stage at +/-16V. All output voltages are then filtered with multiple inductor/capacitor filters to remove any noise.

Separate supplies exist for left & right channels, so a total of six converters produce the actual audio power supply voltages.
 
The iCAN Pro Power Supply Section.
 

 
By operating at 1.2MHz instead of 50/60Hz, in the power supply we can use radically smaller size parts. As the operation is literally 20,000 times faster, only 1/20,000th of the size of traditional power supplies is needed for identical performance. These high frequencies can represent challenges, we have taken great care in the mechanical and electronic design to address these challenges.
 
As you can see, with the greatest respect, AMR/iFi is different compared to most. As we have digital, analogue, signal and power technology ‘pillars.’ What looks small and unassuming on the outside beneath is a wealth of hi-tech. We also ask our customers to look inside and learn for themselves to arrive at their own conclusions. Rest assured, our gear is ground-up and is far from ‘run of the mill.’
 
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Oct 30, 2016 at 12:56 PM Post #375 of 2,359
Q#7: The description references that 3D sound and XBass are implemented in an analog manner. When these are switched off, are the related sections of the amp circuit physically bypassed, or is there some processing taking place all of the time?
 
There are no ‘additional sections’ in the circuit insofar that there no additional stages used.
 
All functions are realised using passive components; resistors (Vishay MELF), capacitors (TDK C0G Types) and custom made audio inductors. If the function is disabled, these components are completely switched out of the circuit.
 

 
Q#8: Do you have frequency response charts? The lower registers are very important to me and I am curious as to performance in that area.

The iCAN Pro is direct-coupled and uses modified DC Servo technology to eliminate any DC offset that has extremely low gain for audio signals and even subsonic signals. As a result, the low frequency response is in effect flat to near DC, the -3dB low frequency response should be at 0.25Hz by design, however our AP2 only measured reliably down to 10Hz, where it shows a perfectly flat line.

As we cannot measure reliably at frequencies as low as 0.25Hz we have rated the iCAN Pro conservatively as having a -3dB point of 0.5Hz for low frequencies, at high frequencies the -3dB point is above 500kHz. In the 20Hz – 20Khz the frequency response is basically a pure flat line.

You can find some measurements in this review, however they merely illustrate the limitations of the test system used, which is notably inferior to either AP2 or the capabilities of the iCAN Pro:

http://www.head-fi.org/products/ifi-pro-ican/reviews/16481
 
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