[Romanee]

These comments are really a (long) teaser -- some preliminary impressions of the Portaphile v2.0 portable headphone amp. I will post more thorough notes soon, but I wanted to let fellow mini portables enthusiasts know that [size=small]the new Portaphile v2.0 you see listed at Portaphile.com is a major step up[/size] from the previous Portaphile (v1.0) and it is a truly excellent portable, deserving of high ranking, possibly in the top 2 or 3 true portable amps. [size=small]It's got a high fun factor with big image, impact and musicality.[/size] [The portaphile.com site notes that the v2 will become available the middle or end of February.] I've been auditioning a beta version (same components as noted on the site) for a few weeks. It was present at the Jan. 30th NYC mini meet at immtbiker's where, though the primary intent of the meet was to hear 2 well-burned in Qualia 010's with a delicious range of high-end sources, amps, DACs, cables and other prime headphones -- we also had a section dedicated to a good selection of portable and transportable amps (though certainly not all available similar-class competitors):

A.N.T. Amber Headphone Amp + wallwart
AOS Flute + wallwart
CIAudio VHP-1 Headphone Amp + VAC-1 PS
GSP Solo PinkFloyd/Lan Mod + Lan-mod PS
Headroom Coda Amp + Overture DAC
M-Audio CO3 (jitter reducer/format convertor)
Meier PortaCordaMkII (2xLM6171) + 1 9V
Portaphile v2 beta prototype (3xAD8610...) + 1 9V or 24V ELPAC WM080-1950 PS
Portaphile (v1: AD8620/AD8610) + 1 9V
Portaphile (2227/227) + 1 9V
Ray Samuels Emmeline SR-71 Hi-Gain + 2 9Vs
Ray Samuels Emmeline SR-71 Lo-Gain + 2 9Vs
Ray Samuels Emmeline SR-71 Lo-Gain + 2 9Vs
Shellbrook Super Mini Moy + 1 9V
Shellbrook Super Maxi Moy Signature (not shown - damaged by ELPAC PS failure)
Shellbrook NEW Ascent Signature + 2 9V or 24V ELPAC WM080-1950 PS
SuperMacro ("standard"=2xAD8610 & 2xBUF634) + 8 AAAs & SM wallwart

Source (player): Apple iPod 4G 40GB + Sik Imp lineout (same as Sik Din)
Source (player): Apple Titanium Powerbook G4 1.25GHz 15.2" Superdrive
Source (player): Vinnie Mod Toshiba 3950 CD Player
Source (player): Vinnie Mod Pioneer DV563a "Universal" DVD/SACD/CD...

Source (DAC): ART DI/O
Source (DAC): Sonica USB Lan-Mod w/Blackgate caps + 16" Belkin Gold USB

Other processor: GWLabs DSP (jitter reducer/reclocker)
Cables/analog: Zu Pivot .5m mini-to-mini, Zu Pivot 1.0m mini-to-mini, Zu Pivot 1.0m mini-to-RCA, Moon-Audio Silver Dragon .5m mini-to-mini,
Cables/digital: Stereovox HDXV (digital coax cable), Glass toslink, AES/EBU digital cable

-----------------------

[size=small]The short story is that the new Portaphile v2.0 as heard at the meet is so much better than Portaphile 1.0 -- that some of us feel it has become a serious contender for portable amp honors. I feel that It has, in many ways, surpassed the very popular and attractive SuperMacro. I suspect that when the final version of the new Portaphile v2.0 is released it may be even better than the beta version I have now.[/size]

Briefly, the v2 has much tighter, more balanced, and better-integrated bass; it is much more dynamic and thoroughly engaging in that it draws you into the music more (we felt) than any other mini portable at the meet. The highs are considerably more balanced and "tamed" as compared to the v1, while maintaining very good extension (both up and down the spectrum). It creates a very big soundstage with good depth, placement, separation and air around performers and presents a big sonic image. It's timbral representation of instruments and voices if excellent and it has excellent attack and decay characteristics. At this (beta) stage it does give up a little in speed and superfine subtleties to the SR-71 which I feel is still unparalleled in top-to-bottom spectral balance, speed, and accurate representation of subtle detail, fast passages and subtle timbral nuances -- such as the very complex and subtle overtones and harmonics that allow recreation of those magical high violin harmonics that have a rare wood flute-like or whistling tone. The Portaphile and the AOS Flute come closest to the SR-71's capabilities. The SR-71 somehow creates a seamless stage front with no gaps from left to right. I haven't yet heard any other portable amp that can do this. It's as though it incorporates a perfect crossfeed with a perfect, naturally-integrated blend of sounds from the full soundstage with no compromise to any other element of the sonic structure. This beta unit of the Portaphile v2 is very very slightly smeared in some of the fast/quiet/complex instrumental runs. The AOS Flute was not adequately burned in so I haven't yet been able to revisit these nuances (Lan is helping give the Flute a thorough burn-in workout.). The Flute, by the way, is capable of wonderfully subtle microdynamics. We'll speak of the Flute -- and the other amps -- after our intensive followup study.

Although it clearly noted in the list above, I want it to be clear that the SuperMacro used at the meet and that I have used in my comparisons is the standard $249 version with no extra options added. I have not yet had the opportunity to audition a SuperMacro with all options (including switches, 627 and 227 opamps, etc.). I hope to be able to do so in the near future.

As another aside -- at that meet, the Solo and Coda/Overture pumped out butt-kicking "AC/DC Live - Back In Black" through the very muscular and aggressive SA5000 phones that Lan provided. My 501s sounded very good with the Coda/Overture but they cannot compete with the likes of the "Baby Qualias" in power-rock. Surprisingly -- possibly due to subtle mods Lan had made to tailor it to Jahn's phones and tastes -- Jahn's Solo did not work well with my K501s, even though it pushed some really powerful sound through them at last fall's Qualia Store mini meet.

[size=small]The Portaphile v2 drives the 501s with ease and I still keep going back to the v2 and SR-71 after repeated auditioning (at home and work) of the other amps ... the SR-71 for the beautiful nuances of classical music and some jazz, and the v2 for energy, size, impact and all-around fun.[/size] [size=small]One member at the Jan. 30 meet said "Stick with the portaphile -- I would. That was the hottest amp at the meet to me."[/size] But of course, it's also a matter of synergy. It remains to be heard which phones the Portaphile v2 is best suited to. Though I most often use my AKG 501s to audition amps, the weird experience with Jahn's "newly" modded Solo is a good lesson for me in the possible negative interaction between amp and phones.

I am holding, for our followup meet, most of the above listed amps, with the exception of Jahn's Solo and Lo-Gain SR-71, Erikzen's XP-7, Lan's Coda/Overture and the AOS Flute 9 (which Lan is now burning in). The CIAudio VHP-1 and Ascent Signature headsamps were in need of major burn-in time, and still need more.

We will have a followup portables and transportables study meet soon, where we will dissect the above lineup of amps and hope to include the Gilmore Lite and the new WNA MkII amp -- though I have not yet received those 2 additional entries.

I'm writing this in the wee hours, so I may update this post if some worthy thoughts come to light when I have more time and energy, or if I spot some errors that I'm too tired to catch now.

Cheers.

 

[Jahn]

yep that was some very very strange oddness with the K501/Solo at the meet. The funny thing is, when I got home, the next day 1911's K501 came in the mail and they didn't exhibit any of that wonkiness with the Solo at all, even with the more sub-bassy bass i had on hand. Who knows what was going on - I blame the electromagnetic waves from the microwave in the kitchen.

First the Empire State Building radio waves, now this - curse you, interference!

 

[Romanee]

Quote:

Originally Posted by Jahn yep that was some very very strange oddness with the K501/Solo at the meet. The funny thing is, when I got home, the next day 1911's K501 came in the mail and they didn't exhibit any of that wonkiness with the Solo at all, even with the more sub-bassy bass i had on hand. Who knows what was going on - I blame the electromagnetic waves from the microwave in the kitchen. First the Empire State Building radio waves, now this - curse you, interference!

Soooo - the 501/Solo boondoggle was some more airborn voodoo, eh? I guess that means we'll have to convene before the post-mini-meet followup mini-meet to resolve that oddity and get back that Solo/501 uber-bass groove that PinkFloyd got poetic over.

But seriously -- with all that insane super-gear at the meet, can you remember anything relevant about the Portaphile v2 vs all the other small stuff we had? (I'm sure you remember "AC/DC Live - Back In Black?> SA5000...)

 

[bobeau]

This sounds very promising and the price is certainly right. I was going to plunk down $300+ for a SuperMacro in a week or two, but now I'm not so sure.

Any other impressions?

 

[Romanee]

Quote:

Originally Posted by bobeau This sounds very promising and the price is certainly right. I was going to plunk down $300+ for a SuperMacro in a week or two, but now I'm not so sure. Any other impressions?

I will post more detailed notes when I find time (too pressured with work at this time) -- but I just looked at the Portaphile site to see what's current and noticed that they have a 2-Week Trial Period, which seems like the obvious way to find out if the new amp suits your tastes and meets your expectations ... here's a cut-and-paste quote lifted from their site (not my words):

"Two Week Trial Period

Amplifiers also come with a no questions asked 2 week return policy.* If for any reason you are not satisfied with your amplifier, Just return it in original condition for a full refund of the the sale price.* Shipping expenses are non-refundable.* Refund will be issued at time of return receipt of amplifier.*

Please email me with any questions of either policies.* I'll look forward to hearing from you!"

It seems that the new Portaphile v2 will not be available for a few more weeks, but I believe it would be worth the wait if you're up to the 2-week trial and can be patient with burn-in time (needed for any of the portables).

 

[Akuan]

Are all the amps in the comparison level matched?
Have you tried doing a blind test?
I've found that most well designed headphone amps sound very similar when they are level matched to each other.
Yes I hear differences among these amps during casual listening but most of the difference dissapear when they are level matched and almost undistinguishable in a blind test.

 

[Romanee]

Quote:

Originally Posted by Akuan Are all the amps in the comparison level matched? Have you tried doing a blind test? I've found that most well designed headphone amps sound very similar when they are level matched to each other. Yes I hear differences among these amps during casual listening but most of the difference dissapear when they are level matched and almost undistinguishable in a blind test.

Yes, they were level matched. Yes, similar-class amps can sound similar, and after long periods of listening, aural/brain fatigue becomes a consideration as well. Ulimately this was not an extended "scientific study", though we've continued studying these amps and will have one or more followup meets for more intensive study, hopefully with a strategic methodology. I've been continuing on my own with daily micro-studies of a few amps at a time (not always under ideal conditions) -- comparing very finite musical passages for very specific performance characteristics of each amp, to try to build more complex subjecive profiles of the pluses and minuses, overall character, and market niche for each amp. I'm not sure if I'll have the time to write up a cohesive report, but it gives me a better understanding and appreciation of each amp.

I'm not a professional, or even skilled reviewer. This is just my hobby, and I work a very high-pressure, long-hour job which makes this hobby very limited compared to many headfiers who have more leisure time, discretionary cash and surplus energy to do a much better job of reviewing than I can. The best I can do is bring my (past) experience as a musician and some years of involvement as an audiophile enthusiast (dilettante, compared to many) to bear and express my own very subjective opinions.

Specifically what type of blind test are you referring to? If you are referring to A/B switch box blind testing, I -- as well as a goodly number of other reputable folk throughout the history of audiophile pursuits -- have had serious questions/objections to A/B boxes. I've had a number of personal experiences with purportedly transparent A/B switch box/cable arrangements of the highest build quality and erudite configuration "leveling the field" to the extent that every amp in a similar class sounded identical -- not close, identical (and I've recently read some posts indicating similar experiences -- albeit without my skeptical perspective). That was all rather absurd, since without the switch box some of the tested units sounded noticeably and sometimes significantly different with all the same ancillary system components (power, transport/source/program material, cables/connectors, phones, quiet environment, no alcohol consumption, etc. -- sorry, no audiological testing done). I'm not an electrical engineer and I don't know if I'll ever hear the answer to this ongoing controversy. If you do some research on the A/B controversy, you may find some reference to the long history of this very heated and polarized subject.


So, back on track -- what sort of blind test?

 

[Akuan]

[Specifically what type of blind test are you referring to? If you are referring to A/B switch box blind testing,

I wasn't looking for a particular type of blind test, just wanted to know if the amp source was concealed during the test.
I believe the ABX type blind test is the most sensitive of all but it is hard and time-consuming to implement.
I agree with you on the listening fatigue factor and this probably one reason many listeners fail to hear difference during a blind testing challenge.

 

[Romanee]

Quote:

Originally Posted by Akuan [Specifically what type of blind test are you referring to? If you are referring to A/B switch box blind testing, I wasn't looking for a particular type of blind test, just wanted to know if the amp source was concealed during the test. I believe the ABX type blind test is the most sensitive of all but it is hard and time-consuming to implement. I agree with you on the listening fatigue factor and this probably one reason many listeners fail to hear difference during a blind testing challenge.

A/B switching is the easiest blind test, but until I hear an A/B switch that I feel does not interfere with the sonic characteristics of the amps, I'll have to plan a different "blind" setup for our next meet. I'll start accepting recommendations now. This sounds like a possible subject for a new thread.

One brief illustration: I heard the SR-71 and SuperMacro through a highly-touted A/B switch box, and was aghast that they sounded very, very different when heard separately, but literally identical through the A/B box. Those amps are far from identical. I've heard more than one sample of the SM and SR-71 amps and the SR-71 is far superior to the SM in subtle detail, speed, high-frequency clarity, completely integrated (L-to-R) soundstage, etc, etc. These differences are not the influence of knowing which amp I'm listening to. I've read a number of similar "all sound equally good" comments from various participants in A/B auditioning at different meets. I find it very strange that none of them have questioned the setup, and all have accepted that the amps are barely different, if at all.

BTW - how do most amp recommendations (or rejections) come about? I would expect that only a tiny fraction come from blind testing, and yet many such reviews are accepted and the reviewers judgments respected (not necessarily a good thing -- just a reality). I'm all for scientific study, but in the interim, if I feel strongly about a product or an issue, I will express my opinions. By all means, take whatever I say "with a grain of salt" ... but I feel that in its class the "v2" portable is at least worth experiencing -- and then form your own opinions. I simply do not trust the A/B testing I hear more and more of lately.

I like your skepticism. I think it's not so different from my own. Thanks for your perspective. It will push me to try to implement the methodology that's needed to get more valuable results - at least when working with a group.

 

[bobeau]

Hi Romanee,

I'll go ahead and order one up. Thanks for your detailed comments. I saw some other thoughts on this amp in the meet thread, just wanted to make sure there were others who concurred. - Beau

 

[Jahn]

Quote:

Originally Posted by Akuan Are all the amps in the comparison level matched? Have you tried doing a blind test? I've found that most well designed headphone amps sound very similar when they are level matched to each other. Yes I hear differences among these amps during casual listening but most of the difference dissapear when they are level matched and almost undistinguishable in a blind test.

I believe the levels were matched - no volume was higher than the other.

The sources for both were identical.

Heck, it wasn't blind, but i came in biased towards the Solo obviously. But the K501 definitely didn't NOT exhibit wonkiness with the portaphile v2. And it showed some nice subwoofery bass, with the K501 no less. Very impressive.

Yep we had the SA5K matched to both the porta and the sr71/overture combo. I feel the SA5K was uber-agressive with the sr71/overture, and the porta was more smoothed out, lush, maybe a bit slower? but i didn't feel like i was losing detail. still had plenty of impact, maybe not as much PRaT. i think the SR71/overture strikes the right balance of speed and, hmm, lushness.

darn it, i just used the same description for both amps. ok then...time to get for subjectively descriptive.

Portaphile is lush as in hugging a warm puppy.

SR71/Overture is lush as in hugging Helen of Troy. In the busom area.

 

[Romanee]

Quote:

Originally Posted by Jahn Portaphile is lush as in hugging a warm puppy. SR71/Overture is lush as in hugging Helen of Troy. In the busom area.

Hmmm -- Helen -- bosom area ... SR-71 is very detailed, soooo....?

Anyway -- the SR-71 is the fastest, most nuanced portable so far. I've just had a prototype of the Portaphile v2 and it is slightly slower & very slightly "smeared" (only compared to the SR-71, not the Supermacro w/2x8610 which did not keep pace with the SR-71 in speed and detail) in very fast, complex, detailed, quiet instrumental runs, such as guitar, harp, "sparkly bell trees", etc. -- though in some ways "juicier". Cesar said this unit was a work-in-progress and he put a lot more work in the design and components after he built this beta unit (i.e.: said he was considering upgrading 2000uf to 6600uf... I'm not sure if these will be implemented, but it was mentioned...) and was working on tightening up the bottom end even more. Nicer exterior, too. We'll see if the results mean more transient speed as well.

 

[philodox]

Quote:

Originally Posted by Romanee the SR-71 is the fastest, most nuanced portable so far.

The SR-71 is faster than the Flute?

I found the SR-71 to be very engoyable, but thought that the speed and clarity of the Flute might be slightly superior. The SR-71 had a very good sound, typical of Ray's amps, but it definately adds something to the music while I find the Flute to be very neutral. They are pretty difficult to compair though as one takes a digital signal and the other takes analog. My impressions were taken from different sources as well so are not the most accurate. [The SR-71 was hooked up to a higher end source than my Flute]

 

[Romanee]

Quote:

Originally Posted by philodox The SR-71 is faster than the Flute? I found the SR-71 to be very engoyable, but thought that the speed and clarity of the Flute might be slightly superior. The SR-71 had a very good sound, typical of Ray's amps, but it definately adds something to the music while I find the Flute to be very neutral. They are pretty difficult to compair though as one takes a digital signal and the other takes analog. My impressions were taken from different sources as well so are not the most accurate. [The SR-71 was hooked up to a higher end source than my Flute]

I have not been able to comment on the Flute yet. Before, during and after our Jan. 30 meet the unit I had was very new and far from burned in. It exhibited a number of weird traits which I expect were due to this. Since I've got a big handful of portables to burn in, Lan is helping me by burning in the Flute. Lan's updated impressions would be very enlightening. I do know he has grown fond of the Flute having burned it in 'round the clock for a week or more. It certainly seems to have a positive synergy with his favorite equipment. Perhaps we can get him to chime with some details. I did find that the Flute excelled at microdynamics and certain subtleties of detail and timbre, but while I had it the SR-71 was ahead if superfine detail, timbral subtleties, overtones, and quite a few other characteristics. I'm looking forward to hearing the well-cured Flute sometime soon.

 

[philodox]

Should be interesting to hear Lan's impressions once he gets it burned in well.