Oriolus BA300s – Portable Tube Balanced Amplifier
Website – Oriolus
Specifications
- Frequency Response: 10Hz~50kHz (+/-0.5dB)
- S/N Ratio: -111dB
- THD+N: 0.02%
- Tube / Op-amp Type: 6N16B
- Analog Input Type: 4.4mm Balanced Standard-jack
- Analog Output Type: 4.4mm Balanced Standard-jack
- Maximum Power Output: 350mW+350mW (32ohm)
- Input Impedance: 47k ohm
- Output Impedance: 0.3 ohm
- Headphone Impedance: 8~300 ohm
- Gain: +3dB
- Battery Type: Built-in Rechargeable Lithium-ion Battery
- Charge Time : ~3 hrs
- Usage Time: ~7 hrs
- Color: Black
- Dimensions: 57x16.5x120mm
- Weight: 165g
Price: ~U$400.
The packaging is pretty simple. A
standard black box with a magnetic closure, holding the BA300s unit at the top
surrounded by foam material, and underneath a USB cable for charging, the
interconnector cable (4.4mm to 4.4mm, G4 version here), and an adhesive pad to
attach the amplifier to a portable player, instead of the traditional rubber
bands. I would like to see at least a simple case to cover the amplifier for
best and safer portable use.
Do note that there are a few
versions of the BA300s. The differences lay on the included interconnector
cables. ‘JP’ version arrives with a PW-Audio cable and is available in two
options, G2 with 2.5mm and G4 4.4mm. The G2/4 cables have a dual cable
connection to the source player, the 4.4mm (or 2.5mm) for sound output and the
extra 3.5mm GND, intended to eliminate any possible noise. With the various
players I’ve tried there was no noise without connecting the 3.5mm.
Design
Build quality on the BA300s is as
good as it gets for a portable amplifier. The whole outer chassis is made of
black matte colored CNC machined anodized aluminum. The metal material is thick
and the whole unit looks very solid. The finish is smooth and rounded on both lateral
sides. The shape of the device is fairly comfortable. It appears so have very
close dimensions to the Sony ZX300 DAP. It reminds of the xDuoo XD-10 which was
designed to match the lower Sony A30~A50 players, where the BA300s aims for the
higher model. Next to the Hiby R5, the BA300s is a bit longer but width and
depth are almost identical, while the iBasso DX160 is wider but same in length,
and the Shanling M5s is much closer as it is to the ZX300. It can be also
connected to other players or even a smartphone with the corresponding
interconnector cables.
The layout is simple too. At the
front there are two 4.4mm balanced sockets labeled for input (left) and output
(right) audio signals. It is fixed for 4.4mm Pentaconn balanced plugs but can
always add a simple 2.5mm adapter. Both have large gold colored rings around
that together occupy about half of the front side. In the middle, there is the
small power switch labeled. There is no LED light that indicates whether it is
on or off on this version, though they seem to be some units that hold one. At
the back side, there is the single micro USB slot used for charging only with a
small LED that goes from red to blue when fully charged. A Type-C option could
had make this more modern and suitable for possible fast-charging.
The BA300s key feature is the real
vacuum tube for its amplification, with a dual 6N61B tubes setup, small but
perfectly suitable for the portable use. These are fixed tubes so tube rolling
is not an option here. At the top cover of the device there is a small window
that allows to see part of the inner panel and right above the two tubes
showing a bit of the small tubes glow light mixed together with a blue LED
light when the BA300s is on.
There is no dedicated volume control on the BA300s itself, so
strictly adjusted directly from the playing source. No gain or EQ switches
either, and the BA300s has a fixed 3dB+ volume gain. It rates an output of
350mW+350mW on 32ohm load, good numbers for a portable amp.
Power is not an issue for the
BA300s, in spite of the lack of a volume control. Depending on the gears used, player
and/or headphones, the BA300s needs about 10~20 less volume steps from the
playing source to already match a comfortable listening level. Change from low
to high gain from the players’ side is less significant than when powering the
headsets directly to the players. On the other hand, the BA300s is not
completely silent when using very sensitive IEMs. It may happen with low impedance
or high sensitivity earphones, mainly hybrids or multi armature sets; for
example, the iBasso IT04 shows some background noise it plugged directly to the
4.4mm output. It is noticed only when music is paused, but once playing it
won’t be heard. With a bit lower sensitivity or a higher impedance rates there
are not issues present. Driving the Dita Audio Twins or Hifiman RE-2000 there
is no noise and the BA300s has plenty of driving power for them, and even with
the Dunu DK-3001 Pro it has a quite clean background. If needed, a small extra
impedance adapter will do the trick, and will also smooth down the sound
presentation. I’ve used the HiBy 20ohm adapter and fixes everything out of the
IT04.
Battery
Playing time is about 6 hours or a bit more, close to the
rated maximum 7 time, it may depending on the headphones or earphones used,
their impedance and sensitivity. The performance may sound nothing stellar for
portable amplifiers, but considering the need to power the vacuum tubes inside,
is a fair result. Full charging does take some time, close to 3 hours and the
micro USB port does not feature quick-charging. Probably the main disadvantage
of the BA300s.
Sound Quality
Tested with HiBy R5, R6 Pro and iBasso DX160 – all 4.4mm
output
For comparisons, Shanling M5s, DX220 w/AMP9, xDuoo XD-10
(Poke)
Variety of IEMs and Headphones (4.4mm Balanced & 2.5mm
w/4.4mm adapters)
The BA300s is no doubt a real tube amplifier
that despite its portable size packs great driving power and true vacuum tube type
of sound. Small tubes inside may not be swappable like large desktop tube amplifiers,
but then again considering the portability goal of the BA300s there is really
not much room for improvement as for what sound quality matters.
Epic. Euphonic. Musical. These are
some words that first come to mind when listening through the BA300s in its
full 4.4mm balanced mode. It may sound too much praise for the BA300s, and in
fact it will not match every single gear perfectly, but when it does it truly
delivers. The sound is more open and spacious with a very realistic natural
timbre, that while can be a bit more lively and a touch more aggressive, also
boosts greater dynamics with coherent imaging and larger stage dimensions. As
expected for a tube based amp, the BA300s adds some color to the sound,
however, it is very natural coloration. Tonality is more towards the warm side,
with added weight and power on the low frequencies while less affected highs
response if just a bit smoothen down on upper-treble region. Not to be confused
as being dark or thicker, but yes rich and fuller tone with more solid texture.
There is a lift on the bass region
with a coloration that is very natural. Not a specific bass gain that focus on
the mid-bass but rather a more coherent improvement on the whole lows from the
very low sub-bass area that continues very linearly through the mid to the
upper-bass. The balance is excellent between quality and pure quantity. It is
more powerful, no doubt about that, more bodied and weightier; however it’s
much more extended and more spacious giving extra depth, layering and better
separation that maintains the high control and speed. While it feels a bit more
aggressive it also offers more natural decay and improved dynamics. The BA300s
may not have a ‘bass gain’ option, but it would be hard to ask for more than
the already offered.
Despite the fuller and strong bass
response, the midrange remains very clear and detailed. The tube amp sound is
so present through the whole midrange, and probably can be considered one of
the best treats of the BA300s as a portable amplifier. The transition from lows
to mids is smooth and the warmer tone adds extra fullness and body, making a
neutral to forward midrange that sounds more natural and much richer. This is
specially perceived with sets that have a cool/colder tuning or a thin midrange
that with the BA300s sound simply more engaging and enjoyable. There is no loss
of accuracy, and in fact a high presentation of detail, even though the amplifier
focus on improving greater dynamics and more articulation. Vocals can
particularly shine here with sweeter and shiny texture; the thicker low-end
adds fullness to male voices, while there is a tad of extra brightness suited
for female vocals. This is not to be confused as more intimate, close sound,
but is rather the opposite case – despite the forward and fuller texture, it is
more spacious and airy.
Treble is much less affected by the
BA300s but there are still some noticeable changes to note. The richer, fuller
tonality of the amplifier levels down some of the extra brightness with
brighter ear/headphones. However, it is mainly on the higher treble area that
may sounds smoothened down a bit and less aggressive. It does help to cut
unwanted sharpness. Even so, there is a more gain on the body and forwardness
of the lower treble that may result sounding more ‘hot’. The extension and
treble dynamics, again, are improved, and overall the treble tonality is more
natural.
The presentation is another area
where the BA300s shines. It is louder with a great out of the head and
surrounding effect. The soundstage is larger in all dimensions, width, depth
and even height. It does not affect the forwardness of the sound, vocals are
not less forward, yet there is more distance between elements. Imaging is also
as impressive and creates a more immersive feel; it could be described as a
very ‘holographic’ 3D effect. Timbre as well is worth praising – the richness
and touch of musicality contribute to more realistic and nicer harmonics
overall.
Pairings
iBasso IT04
For the IT04, the small impedance
cable is recommended to get no hiss, dark background out of the BA300s, and also
for better sound results. The extra impedance my not be reflected much on extra
volume needed, but does help in smoothing a bit of the extra loudness the
BA300s may bring to very sensitive sets. In sound quality, the IT04 + BA300s combo
is excellent. There is already a very good stage size from the IT04 alone, but
when combined with the tube amp it gets even much more impressive. The end to
end extension is highly improved, a larger sound field effect, more depth and
better layering. Bass is more powerful and yet tighter and refined. Probably
the best low-end the IT04 showed so far. Midrange is just a little more forward
with more body, especially on the upper-mids, less lean and fuller in tone.
Treble is smoother a bit, but gains in extension and detail, also being more
open and airy. The presentation is more musical and euphonic.
iBasso IT01s
Second in-ear model from iBasso,
and also well improved with the BA300s. Not as a high gain in sound quality as
when paired with IT04, but still impressive. Tonality changes a bit towards to darker
and has thicker texture overall. Bass is more dense and mid-bass forwarded,
with a warmer midrange. Treble is smoother and less revealing, but greater
detail is still there. Soundstage is certainly improved, not as IT04’s good,
but does sound wider and more extended.
Dita Audio Twins – Fealty
& Fidelity
Both paired with the own Dita 4.4mm
cable. From the two Twins, the Fidelity pairs better with the BA300s.
Originally it has a more linear, neutral response with a gain on the treble
region, what can sound aggressive and less forgiving. The BA300s tube type of
sound matches nicely here. It won’t sound darker, but rather fuller and better
balanced. The bass gains more body and a bit more solid impact. Just a bit
above neutral in quantities, so more engaging and relatively more ‘fun’.
Similarly, the midrange sound more natural, with a less cold tonality, and more
forward and sweeter with vocals. Treble is as bright, though slightly more
enhanced on the lower treble over the upper-end. Soundstage is larger, even
though the Dita Twins already present very good stage dimensions.
Sendy Audio Aiva – (Planar
open-back over-ear headphones)
This is probably the best synergy so
far. You could say the BA300s amplifier was made for something like the Aiva
planar. It is not a very hard to drive set for a plana driverr, but does
require the extra power to sound best, especially in terms of speed and
dynamics. Also, the presentation is neutral with strong treble emphasis, so not
the most comfortable to use with any audio player. The tube amp is what the
Aiva really needs to sound amazing. First of all, the bass is nicely enhanced,
more body and more realistic texture. It is still far from sounding bassy, but
the added warmth is just perfect to bring the best balance. If the mid-bass
gain is more pleasant, the sub-bass is more impressive. It is more extended and
easier to hear, with a bit more real rumble yet effortless and fast. Speed is
superb and has more dynamics and better layering. Midrange too, is a bit more
forward and natural, nothing out of balance but it is richer, musical and enjoyable;
vocals sound more realistic and not cold. Treble on the Aiva is bright, and
remains bright out of the BA300s too, but less aggressive or tiring like when
paired with something like the R6 Pro, keeping all the high micro-detail level.
Best part is yet on the improvement on the soundstage. The Aiva sounds open,
but the stage is not too large. Here it is noticeable bigger, with a more out
of the head feel, greater depth and much wider surrounding effect that still does
not lose in having a well positioned centered midrange. There is better
separation and more sense of air, and all in all, will sound just epic.
With Hiby R5
Out of the three DAPs supporting
4.4mm balanced output, the R5 shows the best synergy with the BA300s
amp. Differences are not huge using the amplifier with these various sources as
all have little coloration and strong transparency, just that the R5 is more
transparent, or rather, less authoritative, when connecting an external
amplifier. Moreover, the change and gain in sound quality is most noticed. The
R5 is rather neutral and linear sounding player, detailed, controlled, but not
best in treble performance and around average in soundstage (though well
positioned for its price bracket). Clearly, the addition of the BA300s brings
larger and extended bass response, much greater soundstage and more realistic
quality of treble. Very clean midrange with richer and musical presentation
that the ‘stock’ R5 can be missing.
Also, the BA300s might have been
design to match the Sony ZX300 player for its dimensions, and it is very
similar to the R5 size (the BA300s is a bit longer), making it perfect for a portable
combo.
With iBasso DX160
DX160 shares the
same Cirrus DAC chip as the Hiby R5, and while also share some sonic technical
characteristics they do sound different in some ways. The DX160 is not exactly
much colored next to the R5, but has a more iBasso kind of signature. Thus, it
is a bit reflected over the BA300s match. Soundstage is as good as with the R5
pairing above, though the improvement is relatively lower, simply because the
DX160 already offers a very good stage for its price. The low-end is a bit more
pronounced than neutral too. Nonetheless, you still get better layering with
the BA300s, stronger bass impact and more controlled, translated in extra
mid-bass kick, and a more forward midrange with more air and 3D presentation.
BA300s VS iBasso
DX220 – AMP1 Mk2 & AMP9
An interesting comparison as the DX220
as current flagship DAP costs as much as the R5 or DX160 together with the
BA300s, and also the size of the DX220 device is already large, close to the
combo of this more compact players when stacked along the BA300s. The DX220 is
enough as a standalone portable player, and the exchangeable amplifier modules
make it even more versatile that can discard the need of extra amplification.
In terms of sound quality, with the
included stock amp module AMP1 (Mk2) the DX220 already stands out in
soundstage, timbre and detail, and it is quite powerful too. The BA300s as an
external amplifier (with R5 or DX160) still performs better. Just starting from
the extension and soundstage, it is higher on the BA300s, offers even more impressive
dynamics and more driving power. It has a more open presentation and
resolution. The AMP1 is more neutral on the bass next to the BA300, and has a
leaner midrange in comparison.
Switching to the new AMP9,
the first tube-amp module with small dual NuTube amp, the sound is already
different enough on the DX220 than with the AMP1, but also different from the
tube powered sound of the BA300. Obviously the BA300 is more powerful and,
well, is also fully balanced, contrary to the AMP9 which limits to single 3.5mm
output. They share that kind of ‘tube’ amp sound, having a richer, more
enhanced low-end response and fuller midrange overall. But treble is more
limited and smoother on the AMP9, while on the BA300s it is less affected and
even improves the treble extension. Soundstage is where AMP9 losses next to the
stock AMP1 on the DX220, and even in micro-detail, and does not have the same
driving power (even with the new added AMP9 High output gain). So obviously the
BA300s clearly wins in that regard.
Value
All in all, the Oriolus BA300s
provides an excellent addition to the portable audio. Build quality is very
solid and the form factor is portable enough to carry along a portable player
that supports full balanced output. Battery time is low compared to other
portable amplifiers, but considering the need to power the real tubes inside it
is a fair performance. More importantly, the sound quality is where the BA300s
stand out in more than one way. Greater dynamics, soundstage, timbre and simply
more musicality.