iFi Pro iCan Mixed Tube and Solid-State Headphone Amplifier

iFi Pro iCan Headphone Amplifier ($1699)
Let's say you've been enjoying the headphone scene for a while now. You've built up a sizable collection of cans and you'd really like to get the most from them. You know your current amp just doesn't bring out the full capabilities of your collection—you've set aside some money and finally feel ready moving up to a high-end model. But how to proceed?

The sensible part of you knows the best course of action is to find a good solid-state amplifier capable of doing justice to your entire collection. A neutral, straight-forward device with plenty of power for driving anything you might throw at it. But there's also that nagging voice inside, drawing you towards the sweet coloration of a mellifluous tube amp. Neutrality and accuracy is overrated, isn't it? Despite your indecision, you absolutely refuse to run more than one amp in your setup—maybe your source doesn't have enough outputs to support multiple devices, or perhaps there's just no room for another device. Either way, and despite your conflicting desires, you can only have a single amplifier.

What to do?

iFi Audio claims to have the answer in the form of their Pro iCan, a powerful $1,699 headphone amp with loads of sound tweaking features, most notably the ability to run in tube or solid-state modes. That aspect, plus several others, make it a pretty unique entry on the upper tier of headphone amplification.

Let's back up a bit and talk about the company behind the device. If you aren't familar, iFi is a relative newcomer who has made a big splash with their compact DACs, headphone amps, and power filtration products. Their first release, the $299 iDAC, earned a very respectable Stereophile Class B rating a few years back, and the praise hasn't let up since. After leaving a trail of positive reviews all over the web, most of which compliment iFi's formula of delivering high performance per dollar, the company now looks to move upmarket with their Pro series.

At time of writing there exists but a single model—the Pro iCan. In the works is a matching Pro series DAC as well as a very interesting add-on piece allowing the Pro iCan to power electrostatic headphones. As far as I can tell it's a transformer box which accepts signals from speaker amplifiers (just like the classic Stax SRD boxes, and the more recent Woo Audio WEE) or from the Pro iCan via proprietary connector. It then spits out a signal capable of driving electrostatic headphones. Interesting. I wish that had been available so I could try it out along with the Pro iCan, but it doesn't appear to be quite ready at this point.

Despite moving up-market, iFi hasn't completely lost their focus on value. The Pro iCan aims to compete with the best headphone amps on the market, while undercutting them in terms of pricing. Top headphone amps these days can hit $3-4K without breaking a sweat, so the $1,699 Pro iCan could theoretically be seen as a bargain.... assuming it performs on that same level.

Despite its small stature—just 8.5 inches wide, 7.5 deep, and 2.5 tall—there's a ton of functionality packed into this thing. The rear panel sports a total of four inputs; three RCA and one XLR. That's more than you'll find on the majority of competing headphone amps. The idea here is that the Pro iCan doubles as a preamp, complete with simplistic remote for volume control. Not sure how useful the preamp function is for most headphone lovers but as a reviewer testing numerous devices I found it quite handy.

Up front, iFi provides an array of headphone jacks which is among the most comprehensive you'll find anywhere. For balanced output, we get the standard 4-pin XLR along with dual 3-pin XLR, and—interestingly—a 3.5mm 4-pole balanced jack. The two 3-pin XLR jacks double as 1/4" single-ended outputs, and there's also a standard unbalanced 3.5mm jack specifically for IEMs. No matter what your headphone might be, iFi has you covered, with the soon-to-be-released electrostatic transformer box being the last piece of the puzzle. Okay, I suppose it's still missing a few obscure options like the 2.5mm TRRS jack favored by Astell & Kern, or that Ray Samuels/ALO mini-balanced connector, or the so-called "hirose" jack used by iBasso over the years. None of these are serious omissions as far as I'm concerned.

Gain on the device can be set to 0dB, 9dB, or 18dB via front panel switch, meaning everything from sensitive IEMs to the HiFiMAN HE-6 can be dialed in quickly and accurately. iFi also gives users a choice between full solid-state or tube operation, as well as a "Tube+" option, the ramifications of which I'll discuss a bit later.

As if that wasn't enough, the Pro iCan sports some unique sound enhancement options. First is something called "3D Holographic" sound, which is iFi's proprietary take on crossfeed. It's noteworthy in that it has two independent circuits—one each for headphone out and line out, with each offering several different levels of enhancement. Next is "XBass" which iFi calls a "Correction System" rather than merely a bass boost. It provides a 12dB bump centered at your choice of 10, 20, or 40 Hz. Both 3D Holographic and XBass are handled entirely in the analog domain, and I appreciate the fact that both can be tweaked beyond a simple "off/on".


The Guts
Internally, the iCan Pro is a fully discrete balanced differential design, with a MOSFET-buffered bipolar output stage biased deeply into Class A. It's a direct-coupled design with a DC servo to eliminate any DC offset coming from your source. The input stage is where we get options—choose the J-FET based solid-state implementation, or the tube section which uses a NOS pair of General Electric 5670 triodes.

This differs from most audio devices with defeatable tube sections—in nearly all other cases, the underlying solid-state circuitry is always in play, and the tubes act as a buffer on top of that. iFi goes a different route, giving us two completely separate designs acting independently of one another, either one being activated with the flip of a switch. The "Tube+" option makes for a third option, using the tube input stage but dialing back negative feedback to provide superior transient response along with a small increase in low-order harmonics. This makes for three fairly unique sounds, each with distinct advantages in certain circumstances.

The power supply starts with a large external power brick labelled as "iPower Plus". This is no mere wall-wart but rather a powerful outboard supply delivering 15V/4A with very low noise. The compact dimensions of the Pro iCan mean internal real estate is lacking—the external brick is practically as long as the amplifier itself. Keeping it outside the chassis also allows for isolation (via good old fashioned distance) from stray EMI and RF emissions. The Pro iCan then takes the incoming signal and does extensive conversion and additional filtration, providing ideal power for each separate stage of the device—6V to heat the tubes, 60V for the input stage, and +/- 16V for the output stage.

iFi has been selling power enhancement and filtration products since their early days, so it's not surprising to see plenty of attention to detail here. There is, in fact, an existing product in the catalog called the iPower which has been very positively received, which makes me to wonder if the included power brick might eventually be sold as a stand-alone product. No insider info here though, just pure speculation.

Output impedance measures under 2 ohms for single-ended outputs, and double that for balanced jacks. That's low enough to avoid problems with the vast majority of headphones and IEMs on the market. Power levels are absurdly high—max output in balanced mode is 14W into 16 ohm loads, with voltage swings as high as 23V into 600 ohm loads. The single-ended outputs cut those numbers down by more than half, which is still extremely potent. I have not encountered a headphone the Pro iCan couldn't drive with utmost authority.

That's a lot of features, but none of it matters if the resulting sound isn't of the utmost quality. As you'll read on the next page, iFi got the formula just right.

iFi Audio USA
5007 C Victory Blvd. #403
Yorktown, VA 23693

tony's picture

Why are some Companys so shy about where they make their products?

I checked iFi's web page, they don't mention where the place is located or where they make things.

If they simply put "Made in USA" on their stuff their sales would increase 25%. If they can also suggest that they use Recycled materials they'd pick up plenty more percentages.

So, why hide it?

Tony in Michigan

Brown Sound's picture

British company and manufactured in China, like so many others now days. I own an iFi iDSD Nano, which does good by me.

tony's picture

I just had a look at the iFi product range, the RETRO 50 System has me interested as does the Pro iCAN.

I'll have a close read of the above Review.

The Pro-Audio people are the ones selling iFi here in the States, is this a Pro-Audio level Company?, seems so.

Mr. Brown Sound thank you for writing.

Tony in Michigan

John Grandberg's picture
iFi is affiliated with AMR (Abbingdon Music Research) out of the UK. They make stuff like the $5.5k DP-777SE DAC/preamp. iFi is sort of a way for them to bring their tech to the masses via budget products, and yes, even the $1699 Pro iCan is affordable in light of the AMR products.
detlev24's picture

That would be a great contender for $1,999 and it comes with some unique features. :)

https://www.rme-audio.de/en/products/adi_2-pro.php [measurements to be found in the manual]

Yep, regarding tubes it always is about liking (...or not) the specific euphonic distortion.

Phoniac's picture

I wanted to point to that RME unit already in Bob's article. This device seems to be the best tool on the market right now to compare headphones as it has two independent stereo outputs with all the FX stuff (EQ etc) also independent...no need for cumbersome and fault-sensitive setups like described by Mr. Katz.

tony's picture

Phew, this device seems to have the tools a Mastering Engineer ( Bob Katz ) uses to get the desired result.

Is this a Pro Tool packaged and presented to us Consumers? or is it intended for the Pro market?

I think I like what I'm reading.

Thanks for introducing us to this product.

Tony in Michigan

PAR's picture

Other reviews of this product have all liked the sound but have criticised the fact that it is so light in weight that any tension on the headphone cord moves the amplifier around. Did you find that?

As a Phonitor 2 user and very much liking many of its attributes ( especially its very sophistacted implementation of a cross feed circuit) I nevertheless have sympathy for your views on its sound in comparison. Very good but could do better as I read it. However the price differential over here in the UK between the two is significant, the i-fi costing almost half as much again as the Phonitor which puts another perspective on it and seems the reverse of the situation in the USA.

John Grandberg's picture

That was my experience as well. Not a huge deal imho, as I find many smaller/lighter components have that same issue. I don't really think it has to do with this thing being overly light though (it's not), but rather their solid rectangular "non-slip" thingy on the bottom. It's similar in concept to what Arcam uses on their rHead and other r-series components, and it's just not as anti-slip as traditional feet in the corners would be.

Regardless, this just means I give it extra support when plugging or unplugging a headphone. It's not an issue while in use unless you roam around the room and count on the amplifier to reign you in - not a good idea regardless.

Too bad about pricing though. International markets are weird that way.

ednaz's picture

Looking for some other info I came across this again, and just wanted to share that I agree with the comments you made about the sound enhancements - which I suppose is just another way to say DSP. I have the iFi Micro-iDSD, the black version. When I bought it I fully expected to try the bass enhancement and the 3D Holo switches once and never use them again. So much bad history with "one button and WOW" sound processing over the years.

I was wrong, and came to a lot of the same conclusions you mention. The 3D Holo is fantastic on some albums, distracting and maybe even annoying on others. The XBass adds just the right amount of bump up to a lot of albums but on others is kind of bloat-y. I find that I use the two signal processing tweaks fairly often... the 3D holo most of all, but on some bluegrass, classical, or small combo jazz, the XBass gives heft and energy to the sound - makes things feel less dry or antiseptic.

The sound quality of the iDSD overall, along with the effects, were good enough that I was considering getting an iCan for a bit, then I realized that the micro-iDSD had everything I needed in one box - I really don't own hard to drive headphones, and for me, headphone listening isn't a major thing. But, for those who prefer headphone listening and have a killer DAC, don't be afraid of the DSP that's built into the iCan. They really did a nice job with it.

tonyo442's picture

étant nouveau possesseur du iFI pro ican, après une trentaine d'heure le iFI pro ican c'est adouci, la restitution était assez montante et rêche, je me posais la question de savoir si j'avais fait le bon choix en comparaison avec le modèle de démo,

le réglage volume étant réglé à + 9 db, branchement symétrique sur le T+a dac8, j'avais lu qu'une boutique sur la capitale Française avait privilégié ce réglage avec le LCD-4, le reproche que je faisais c'est sur la course du potentiomètre, sur quelques petits millimètres je passais d'un volume faible à un peut trop fort, position du potard 9 heures maxi, j'ai donc fait un essai et placé le réglage à 0 db, et je pense avoir gagné un peut, le message est un peut plus aérien, encore plus fluide, comme en localisation des intervenants, puis pour tester le grave mes essais ont été fait sur du classique sur un pédalier d'orgue d’église et je ne ressent pas du tout de frustration, la course du potentiomètre est devenu plus agréable à manipuler plus précis, de 9 heures à 10 heures, après bien sur tout dépend de la dynamique et des enregistrements, d'ou, je pense l'importance de bien régler la demande puissance de cet ampli, et de faire des essais si le LCD-4 fonctionne bien en position 0 db, je ne pensais qu'un si petit ampli pouvait donner autant de plaisir musical,

et surtout le plus important c'est que le iFI pro ican va bien mieux avec le LCD-4 que le Moon 430ha, plus de caractère, bien sur en position 1 transistor, sur la position 2 tube je préfère le Moon 430ha, qui arrive à avoir la même douceur mais bien plus de definition de dynamique et de transparence, et une très belle cohérence scène sonore bien mieux défini dans le bas medium, et le grave