Xindak FA-1 Gold

This was the least pricey of the collection. A black jacket with golden accents covers the exterior while a wooden block acts as both a mechanical damper and placeholder for the name and directional arrow. The cable is terminated with simple gold-plated RCA connectors. When we opened the connector, we spotted a piece of Teflon tape as internal isolator from the connector. Underneath that we were greeted by rather crude soldering. The Chinese manufacturer states that he is using a mono-crystal oxygen-free copper foil conductor covered by a silver-gold layer. The OFC shield is wound in a helical pattern. Using a foil rather than wire for a conductor addresses skin effect since a foil is very thin compared to its width. Used between our Audio Note DAC and Audio Note Meishu integrated, the results were better than expectations based on the finish of the cable. The sound was very balanced except for a small hot spot in the upper midrange. Timbres were natural and transients delivered on time.

Review from 6moons.com

Xindak V15 Integrated Tube Amplifier Review

Most Canadian audio enthusiasts aren't familiar with the Xindak brand, at least not yet. But Xindak isn't new at all to the audio business. The company was established in China more than 20 years ago and has since grown to become one of the largest manufacturers of audio components in China. Its products however weren't available in Canada until recently. And if Robert Neill of Worldwide Wholesales, Canadian Xindak distributor, has his way, many more Canadians will be taking interest in Xindak in the coming months.

From the moment I first met Robert, one thing was immediately clear - he's got a lot of passion for audio. He also strongly believes that high quality audio can be achieved at very reasonable prices. That's where Xindak comes in. The company offers one of the largest product catalogs that I've come across including amplifiers, integrated amplifiers, CD players, DACs, speakers, cables, power conditioners and other audio accessories. Most of the audio components are tube-based and priced under $2000. Robert says that Xindak prides itself on build quality, paying special attention to details such as the hand-milled aluminium used for component front panels and remote controls, high quality connectors and capacitors that have a 1/10,000 tolerance level. Unlike mass produced brands, every Xindak product is hand-built at the factory.

My first encounter with a Xindak product was with the V15 integrated tube amplifier, priced at $1299. This two-channel amp offers a power output of 18 watts per channel in triode mode and 45 watts per channel in pentode mode. Two flick switches on the top panel of the amp allow the mode to be changed. Xindak says that the triode mode produces fuller lower mids and warmer overall sound, while the pentode mode produces a more neutral sound with better dynamics because of the increase in power. The V15 has a frequency response rated from 10 Hz to 70 kHz, a signal-to-noise ratio that's greater than 89 dB and a total harmonic distortion (THD) of 0.2 % (1 kHz). A 0.2 % THD may seem high but remember that this is a tube-based amp. Unlike with a solid state amp, the distortion characteristics of a tube amp can actually produce favourable results. The V15 is designed to drive speakers with impedances between 4 and 8 ohms, with separate connectors for 4 and 8 ohms in the rear (the negative connections are shared). A removable metal "cage" reveals seven vacuum tubes and gives the amp a much more desirable appearance. A clear view of the tubes is also a guaranteed conversation starter!

The hand-milled front panel of the V15 is almost 1 cm thick and houses the input selector knob and the volume knob. All operations of the amp are controlled by these two knobs, since the V15 does not come with a remote control. Both aluminium knobs appear to be of high grade and provide very smooth operation. In addition to the gold-plated speaker terminals (which are finished with protective plastic caps), there are three sets of gold-plated RCA inputs on the back panel. Four large feet provide isolation from vibrations of the surface on which the amp is placed on. It is refreshing to see this kind of build quality and fit in a product of this price; I would normally associate these with a much higher priced component. On the whole, the V15 is a very attractive looking piece that I was glad to display in my equipment rack for the duration of the review.

The supplied user manual attempts to explain some of the features of the amp, although it is very poorly translated from Chinese and difficult to understand, as is the Xindak website.

I set up the V15 together with our reference Totem Rainmaker bookshelf speakers and ARCAM DiVA CD73 CD player. My second source was my trusty Goldring GR1.2 turntable connected through a Goldring PA1 phono stage. I used QED speaker cables and QED RCA interconnects to hook everything up. The setup sounded pleasantly warm right off the bat, but it was only after about 100 hours of burn-in that I began my critical listening.

I should mention that early in my tests, I covered the triode and pentode labels around the two mode switches on the V15, so that I could make unbiased notes for each mode while listening to music instead of relying on the manufacturer's description as to how each mode should sound.

First up on the music menu was a new addition to my music collection: Jimmy Thackery & the Drivers' "Drive To Survive" on CD. This blues rock album is full of positive energy and lively guitar riffs. In the pentode mode, the V15 communicated this dynamic energy well across the mid to high frequency range. The highs were detailed and conveyed small differences in metallic instruments such as cymbals. In the mid frequencies, the vocals sounded natural and guitars played with a harmonic richness. The various effects applied to guitars and the muting of strings were clearly distinguished on tracks like "That's How I Feel". The bass line in the modern version of the instrumental track "Apache" didn't have as much impact as I'm used to from my (considerably more expensive) Classe Audio amp/preamp. This is not unexpected from tube-design amplifiers, which are often shy in the bass compared to solid state amplifiers.

Flipping back and forth between the triode and pentode modes, I quickly came to a conclusion that I preferred the pentode mode (which I learned only after removing the tape from the labels). The pentode mode produced crisp, detailed highs and a clean, natural mid-range. It was capable of great dynamics and produced a substantially larger soundstage than the triode mode. The bass in pentode mode however had slightly less weight to it. The triode mode on the other hand sounded warmer and was able to achieve deeper bass reproduction. Unfortunately, the mid-range wasn't as clean and the highs were much more subdued in the triode mode.

Changing the pace to something mellower, I reached for Air French Band's "Moon Safari" CD. The V15 resolved the multi-layered audio of "La Femme D'Argent" and "Sexy Boy" very well. The soundstage had a very good width and depth on all the tracks that I listened to. Again the lower frequencies were not as deep or as well articulated as I would have liked to hear them on this album, but overall the album sounded very enjoyable on the V15.

Then, sifting through my CD collection, I came across an old favourite, Soul Asylum's Grave Dancers Union album. Listening to this disc immediately brought me back to the time I saw Soul Asylum's Dave Pirner and Dan Murphy in a small Toronto bar in the late 90s. The V15 can be played at high volume levels without straining or being tiring to the ears - of course, the Totem Rainmakers have just as much to do with this. I listened to many songs with the volume turned to about 80 percent of the max and yet my ears didn't seem to mind. Instead, at these higher levels, I felt more involved in the music. The V15 had no trouble driving the 4 ohm Rainmaker bookshelves.

To test the V15's imaging and soundstaging, I played some selections from Holst's "The Planets" CD performed by the Los Angeles Philharmonic orchestra, conducted by Zubin Mehta. This symphony played with amazing dynamics and was rendered with great detail resolution in the midbass to high frequencies by the V15. The soundstage had a good definition - I could easily point to the various sections of the orchestra. The width and depth of the soundstage were also impressively large, creating a sense of a large concert hall in front of me.

Finally, I played a few familiar records starting with Jack Johnson's "Brushfire Fairytales" LP. The soft vocals and simple acoustic guitar riffs make this entire album incredibly pleasing to listen to. Jack Johnson's voice sounded natural, rhythmic and warm. I found it almost impossible to not sing along with ballads like "Flake" (which makes it difficult to evaluate a component!). At times, it felt like the songs were performed right in front of me.

During the last part of the review, I did some comparative listening between the V15 and the Raysonic SP-120 integrated tube amplifier ($2380) that I've owned for about three years. Listening to the same songs that I used to evaluate the V15, I found the V15 to produce cleaner, more detailed mids and highs. It also had a slightly better bass definition and the bass notes sounded fuller. I have to admit that the V15's overall sound was slightly more involving and preferable to my ears. Not too shabby for an amp that's more than a $1000 dollars less!

I'm glad to say that in the end, the V15 exceeded most of my expectations. From the moment I unboxed it, it was clear that Xindak has a knack for attention to detail. From the packing care to the materials used to the fit and finish of the amp, everything was of a caliber you'd expect to find in a much higher priced component. This attention to detail also had a clear influence on the engaging sound performance of the V15. If you're looking for a sub-$2000 integrated tube amp, definitely give the V15 a listen. Just look past the poorly translated English in the manual and the website. Highly recommended!

Review from Canada HiFi

by Alfred Fredel

This year’s Olympic games gave China the opportunity to show off its athletic muscle and cultural richness while demonstrating the coming of age of its thriving economy. As the world’s foremost manufacturing power, China caters to companies from around the world that have chosen to have products built there and then ship them back to their markets, often with great cost savings and the resulting increased profit margins. Several decades ago, Chinese-manufactured products were of poor quality and were almost considered disposable. In recent years, that has all changed. Factories in China are now more sophisticated and are very capable of producing goods that are more reliable and of high quality.

In the world of audio, there are many products that are manufactured in Chinese factories but designed in North America, Japan or Europe. Taking advantage of this incredible opportunity of having some of the most important audio companies playing in its own sandbox, the Chinese have started to learn from their Western business partners and are busy at work creating their own companies while designing and manufacturing their own audio products. But when the first Chinese components hit the American market, they were considered a great bargain until tales of catastrophic failures and charred entertainment centers started to flood in to the audio dealers. Needless to say, most dealers dropped these products like hot potatoes. Today, these incidents are not as common, and Chinese manufacturers seem to have addressed the quality-control issues.

One deeply rooted Chinese audio manufacturer is the Chengdu Xindak Electronic Company, which has been building audio equipment since the late 1980s and has a fairly strong foothold in the Far East. Makers of amplifiers, CD players and cables, Xindak, as this company brands its products, is noted as a high-quality manufacturer in its market. The Muse Deluxe 1.0 ($1250 USD) is the company's most ambitious CD player and is built to compete with the big boys on the world stage. It is a Red Book-only player that can handle CDs, CD-Rs and CD-RWs and plays both standard and 3" discs. It offers some interesting features that you don't often see with CD players.

I like the industrial look that the designers of the Muse Deluxe CD player are trying to achieve, but it is not quite there yet in my eyes. The unit measures 17"W x 4 1/2"H x 15"D and is heavy at about 22 pounds. The choice to use what appears to be a beautiful machined-aluminum front for the chassis with a black center control section is nice; however, the gunmetal-gray painted back panel does not mesh well with the overall look of the product. In addition, there are bolts that stick out on the top and sides that should probably be more flush with the chassis. I was painfully reminded on several occasions that they were there as they scraped my hands when positioning the unit on my rack.

The remote is very cleverly laid out with several features, including a dimmer that turns down the LEDs so you can turn out the lights and enjoy the music without the blue lights from the player beaming into your eyes. The remote feels like a heavy bar of aluminum, but ergonomically is a little uncomfortable to handle because of its width and sharp edges. As with many products from China, the Muse Deluxe 1.0's instruction manual is poorly written and provides little information about maintenance. Gloves and a cover for the player are also provided.

Inside, the Muse Deluxe 1.0 is well laid out. It uses solid technology, adopting Analog Devices AD1852 DACs and a Texas Instruments delta-sigma sample rate converter to upsample the data. There is also a precise clock circuit to reduce jitter and distortion, this specially designed by Xindak engineers. As part of the analog-signal amplification, the unit uses Burr-Brown OPA2134 and OPA134 op amps, military-grade resistors, and high-quality mica capacitors.

There are three pairs of high-quality analog outputs: one pair of XLR outputs (the Muse Deluxe 1.0 does not have a truly balanced circuit) and two sets of RCA outputs. Xindak has chosen to use a single 6922 in line with a pair of the RCA outputs to lend some analog warmth to the player's sound. For power, the unit uses a specially designed, closed 70VA transformer with high flux and low magnetic leakage. This has a steel shield that helps to reduce electromagnetic interference.

On the front are the main power switch as well as a sleep button, while around back is provision for a detachable power cord. For use with an external digital-to-analog converter, the unit includes coaxial and TosLink outputs.

Care and feeding of the Muse

All of my gear runs through several levels of AC filtering, including a Jack Bybee Quantum filter and a PS Audio Ultimate Outlet that are all connected to hospital-grade outlets. I have also upgraded the power cords to my equipment, with products from Audio Art and Transparent. I believe that using high-quality interconnects and power cords is essential to good sound.

Nowhere was the effect of this philosophy more apparent than with the Xindak CD player. While the supplied power cord will do the job, an upgraded cord is a must. What I heard was like night and day. With the supplied cord, the sound was a little unfocused and seemed a bit constricted. While the soundstage was fairly believable with the supplied cord, I noticed a sizable difference when I used my Transparent Powerlink Super power cord with the player. The sound really opened up and became richer.

This unit is one of the most sensitive pieces of equipment with regard to how good, clean power can improve performance that I've encountered. Because the unit I received was brand new, I ran the Muse Deluxe 1.0 for over 100 hours to allow it to break in before sitting down to take a good listen. I also encountered an operational quirk: Although the player read and played most of the CDs I fed it, there were times that it would just not read some of my favorite discs, no matter what I did.

My initial impression via the tube outputs was that the unit’s presentation was warm with a very believable soundstage. The tube analog output stage definitely helped to round out the sound, presenting an enjoyable, comfortable midrange. When listening to the solid-state RCA outputs, I found the unit to be a bit antiseptic and not very engaging. I can’t imagine that the XLR outputs would have sounded much better, given that the player doesn't offer truly balanced circuitry. I listened to the tube outputs for most of the review period, because I believed they offered the best sonics. In this configuration, the unit excelled in the presentation of much of the vocal and acoustic selections that I played.

I began serious evaluation of the Muse Deluxe 1.0 with music from Luciano Pavarotti, one of my favorite tenors of the modern era. In Primo Tenore (London, 417713-2), Pavarotti performs "Che gelida manina" from Puccini’s La Bohème with the New Philharmonia Orchestra. On the Muse Deluxe 1.0, his voice had its characteristically ringing, bright quality. It was not forward or overbearing, as I have painfully heard on several other systems. The Xindak CD player was a bit reserved and warm. The unit sounded quite realistic and musical; the orchestra in this recording had a sound that was full and rich with a good sense of presence.

Next, I moved on to a recording by Ellis and Wynton Marsalis of music from the Peanuts series called Joe Cool’s Blues (Columbia CK66880). On "Peppermint Patty," I was introduced to what were to be two of the strengths of the Xindak CD player. Each instrument of the trio (piano, bass and drums) sounded accurate, and the unit conveyed the music of this intimate acoustic setting with a clear soundstage. The music was both warm and rich, which served to enhance the playful interplay between the players and their instruments. To round out my acoustic sessions, I chose Women of Latin America (Putumayo PUT228-2) to give the unit a little more meaty acoustic music that it could chew up. On this album, Tania Libertad sings an Afro-Peruvian tune called "Anda Mareado," which calls for a good deal of Afro-percussion and cajón along with strong vocals. Here the Xindak CD player held the bass line together in tight fashion, and the snap of the percussion instruments was very natural. Again, the sound was clean, clear and warm without any grain or harshness.

At this point, I switched back to the solid-state outputs to listen to them again, but the comfort that I had found with the tube output stage was immediately lost in the unit’s fully solid-state sound. The warmth was not there, and the perceived musicality that I had grown to enjoy also vanished. What was left was a dryer version of what I had previously heard.

When given more challenging music that included driving percussion, electric guitar and rhythm that naturally demanded quicker responses, the Muse Deluxe 1.0 was right on top of it, with an accurate reading of the content of several of the discs that I played. On "Burning Down the House" from Talking Heads' Speaking in Tongues (Sire CD23883), the guitar-and-percussion intro was right on target and sounded just how I would have imagined it would have sounded in the studio. The bass again was warm and tight; it sometimes becomes muddy with much of the tube gear that I have heard. This tightness is a very good quality for a modestly priced unit; however, when it came to the higher frequency regions, while the Muse Deluxe 1.0 was respectable, it could have used just a bit more clarity and focus -- the sort of tightness, perhaps, that it displayed in the bass, which would have given the entire presentation greater precision.

All in all, the Muse Deluxe 1.0 turned in a solid performance. It targets the value-conscious consumer in a crowded field of mid-priced players, and it manages to hold its own.

Bring on the competition

One of the most difficult things for a reviewer to accomplish can be establishing a relevant head-to-head comparison of comparably priced products. Each has its own strengths and weaknesses, and their makers have their own design philosophies, putting their best foot forward to offer a satisfying experience. When faced with qualitative equals, it's difficult to delineate one from the other.

And yet we try. The Cambridge Audio 840C ($1499) is on the cutting edge of the digital world with advanced technology that employs highly sophisticated Adaptive Time Filtering (ATF) asynchronous upsampling DACs developed by Cambridge Audio in partnership with Anagram Technologies of Switzerland. The ATF system interpolates 16-bit/44.1 kHz CD data to 24-bit/384kHz data through the use of a 32-bit Analog Devices Black-Fin DSP. This provides information to two 24-bit/384kHz DACs from the same company in a dual-differential circuit. Each channel also has completely separate analog-filter circuitry, and the unit’s design and layout are symmetrical. I chose the 840C as my comparison point, because both it and the Xindak Muse Deluxe 1.0 are manufactured in China and, of course, are similar in price.

The first recording that went into rotation was The Sky is Crying (Epic EK547390) by blues master Stevie Ray Vaughan. "Chitlins Con Carne" presents an aural palette that includes electric guitar, electric bass and drums -- nothing unusual. I was interested in hearing how both units handled imaging and detail retrieval with this recording. The Muse Deluxe 1.0 sounded detailed but a bit reserved, presenting an enjoyable and relaxed performance. It was laid-back and smooth -- perhaps a bit too smooth with this cut for my tastes. When I placed the same CD in the Cambridge Audio 840C, it was obvious that I was dealing with a totally different animal. The instrumental detail and the imaging were fiercely accurate, almost as if the musicians were playing right there in front of me. Where the Muse Deluxe 1.0 was polite and well-mannered, the Cambridge Audio 840C tore into the music with fire and complete commitment.

Next on my list was Sarah McLachlan’s Fumbling Towards Ecstasy (Arista 18725-2), an album that uses a good deal of electronica and highlights her extremely wide vocal range. On the cut "Fear," she sings in what is probably the top of her vocal range. On this tune, the Muse Deluxe 1.0 turned in a strong performance, with detail retrieval that cleanly separated all the musical components of the tune. It also sounded very even and exhibited good tonal balance. I did, however, find that there was a little bit of sizzle missing from McLachlan’s upper register. Turning back to the Cambridge Audio 840C, the higher frequencies of her stratospheric soprano were as clear as a bell with a "no holds barred," faithful reproduction reminiscent of the many times that I have heard McLachlan in live performance.

Finally, I turned to one of my favorite dramatic mezzo-sopranos performing a classic aria from Cavalleria Rusticana. In The Art of the Dramatic Mezzo-Soprano (Telarc CD-80557), Dolora Zajick performs some of the most beloved arias with the Royal Philharmonic Orchestra. This CD is well produced and well recorded and is a fitting ending to this duel between two formidable CD players. This time, I began with the Cambridge Audio 840C and was immediately drawn into the music and performance through the unit’s captivatingly wide soundstage. "Voi lo sapete" was four minutes of sonic bliss, which I again found remarkably accurate compared to the several occasions that I have heard Zajick perform this aria live. The Muse Deluxe 1.0 sounded similar to the 840C in many ways, but it was also more conservative and relaxed, reducing the impact of Zajick's voice.

There is no doubt that these are both good CD players, but their sonic signatures and objectives are completely different to my ears -- and to yours as well, I would bet.

Some final thoughts

The Xindak Muse Deluxe 1.0's performance is quite good -- best via its tube outputs. Its delivery is a bit reserved, never pushing the envelope of dynamic range, yet it has a solid soundstage and reproduces the music in a believable way. It has a warm, refined sound, and for those listeners seeking a more subtle and relaxed presentation, it may be absolutely ideal. From a price standpoint, the Muse Deluxe 1.0 represents good value, and is worth auditioning if for no other reason than to determine if the tube outputs present the right sound for you.

Review from SoundStage

Some people are more into names than performance. A customer at a local dealer was bragging about a number of high panache brand name electronics that she owned. While there, she purchased something with barely a listen. This person could miss out on certain audio gems like the Xindak XA6950 class A integrated amplifier. Class A amplifiers bias the amplifying circuit such that they always amplify in the most linear portion of their range, reducing distortion but at the expense of using a fair amount of power, even at idle.

Overview

The XA6950 is a minimalist design integrated amplifier with a large emphasis on sound, build quality, and design. It runs in class A mode for the first 30 watts and then switches to class AB in order to achieve 100 watts per channel. It features 4 inputs total with 4 pairs of RCA inputs and one set of balanced inputs which override the first set of RCA inputs when used. There are no inputs for turntables here. The only other specific feature is a temperature readout which actually comes in handy given the class A designation of this unit.

The remote, handsomely carved out of solid aluminum, can control the volume and source select as well as the temperature readout. It has a stylish twist in that the top right hand corner is chopped off making it look a bit like Gumby made out of aluminum. It looks great and feels solid with one visitor mentioning that you could hurt somebody with it. The buttons, labeled B1, S1, S2, S3, and S4, select inputs but do not have any backlighting nor do they glow. Depressing the buttons result in a very distinct “pa-tink” which my wife found off-putting but I found reassuring. They have the distinct feeling of buttons that were meant to last a long time.=

Details

In their quest for the best sound possible, the XA6950 utilizes a top quality ALPS volume control in the analog domain, digitally controlled via a motorized mechanism. This is part of their effort to have a very short signal part for better sound quality. Balance and tone controls are nowhere to be found, extending the minimalist theme. Preamp outputs are also not an option here. This may not really be an issue as the real strength of this unit is the amplifier. Top notch parts are found throughout such as Dale resistors, Wima MKP capacitors, and CMC RCA connectors.

This is the first amplifier where Xindak has employed negative feedback circuitry with a very wide frequency range with the characteristics of high speed and low distortion. It also uses SANKEN MOS FET output transistors in comparison with some of their amplifiers which utilize tubes. In past experience, amplifiers utilizing MOS FET transistors seem to have had a strong authoritative bass characteristic. Read on to see if that trend continued.

The power supply is comprised of two high power torroidial transformers which may lend to the XA6950’s overall dynamic character. In order to cool all this power, both sides of the unit are large cooling fins looking both rugged and jewel like with fine attention to detail. These flank the front panel which is a redesign from the older generation Xindak amplifiers. One feature that is rather rare on an integrated amp, epecially at this price, is a pair of XLR jacks for a balanced input.

The look is rather elegant with an LED screen indicating the input select, volume, and temperature if requested. In the center of the new faceplate is the volume knob. Behind what is arguable one of the best volume controls in the world, is a volume knob that cheapens the look of the system. It is relatively flush with the faceplate and, in order to turn it, one must place a finger inside an indent to turn it. This just isn’t up to the quality level of the rest of the system. My wife commented that it looked like a Bose Wave radio from the front pointing out the cheap volume knob. Lucky for us, it’s the sound of the Xindak XA6950 that really exceeded our expectations.

Setup

The delivery man struggled to unload the XA6950. At 60 lbs this hulking exercise in minimalism is difficult to maneuver with one person, especially one taking extra care with a sample unit. Opening the box revealed the remote, a bound simple yet effective manual, a Xindak cloth bag for the amplifier, and white gloves which were really a nice touch. The white gloves are likely to keep the unit pristine during setup although a better use may be wiping sweat from your brow once maneuvering the amplifier into place.

The Xindak was put into service directly in place of the reference integrated amplifier, a Bryston B100 SST. The setup utilized speaker cables from Cardas, an Audioquest NRG-2 power cord, and BlueJeans LC-1 interconnects. The inputs were connected to the outputs of a Lite Audio DAC AM modified by Pacific Valve. Break-in consisted of playing a 7 disk CD on random changer over and over during the day while keeping the amplifier idling at night. The temperature display indicated an idle temperature of around 38-42 degrees Celsius. The initial listen resulted in replacing the Audioquest NRG-2 power cable with a simple Volex shielded 17604. The Volex was a better fit as it removed some initial harshness and traces of sibilance. Note that the power cord was plugged directly into the wall via a PS audio hospital grade outlet “au-natural”.

Sound

I was impressed by the Xindak sound from the beginning. Stringed instruments, horns, and voices sounded more real than ever before in my listening room. The Xindak’s sonic character revealed itself quickly slightly besting the reference Bryston B100 SST in every way. The Xindak consistently revealed a large sense of space being neither too bright nor rolled off in the highs. The tonal balance was one of warmth with deep very taught powerful bass. Male voices were fleshed out nicely without being boomy while female voices were rendered with great delicacy. After a quick pass with some reference CDs, and then a larger pass with a broader spectrum of music it became clear that this amplifier performs great across all types of music from classical, to jazz, to pop, hard rock, and even dance music. Picking musical references was going to be a fun problem as no one piece of music really showcased the sound over the other, it was just good across the board. My wife noted that she found the Bryston’s slower fuller bass a bit more forgiving with some 80’s music like “Green” from REM.

One rather interesting character was seemingly endless harmonics from stringed instruments which also took on a warm almost boxy tone. This was mostly evident on acoustic guitars as well as the violin and viola where it seemed like the microphone was bit closer than it might really have been. Correct or not, I really enjoyed how real they sounded. A great example of this was Friday Night Live in San Francisco by De Lucia, DiMeola, and Mclaughlin on CD. This also really showcased the detail, immediate speed, and attack of of which the Xindak is capable.

Horns played through the Xindak XA6950 were rendered with beautiful texture and body. Saxophones had a bit more weight than with the Bryston. A visiting listener noted how the horn switched from a trumpet to a saxophone in Dire Straits “Your Latest Trick” on SACD. Thinking it may be the SACD vs CD difference, we played the CD and the effect was still there. Small airy details in the texture were all too clear adding a sense of reality and enjoyment to the sound. We swapped the Bryston B100 SST back in and noticed that there is a larger sweet spot for multiple listeners through the Xindak. My friend’s quote regarding the Xindak was much more convincing in person than in print; “This is a good amplifier”. What is missing is that he said it real slow while shaking his head in disbelief. I was even shunned from my listening room for a while until he had his fill. Taking this one step further, I poured through Coltrane and Miles Davis recordings.

The Boston Pops “Pops Goes the Fourth” was receiving some playtime given the time of year. It’s been two years now since I’ve heard them live. Hearing it through the Xindak brought us right back; “You are there”. It showcased the slight added sense of space and decay with respect to the Bryston while delivering cannon fire with a decent punch.

Playing Tupelo from John Lee Hooker’s “Best of Friends” on CD, the clopping of John’s foot sounded eerily lifelike. My wife and I both noticed how great and intimate the guitar sounded and surprised at how much you could hear his breathing between verses in the song.

Out of curiosity, I hooked up some Maggie MC1 speakers in place of my reference speakers. These have a tendency to be a bit bright but that’s part of their character and somehow it works. They can reveal issues like grainy treble pretty quickly. In the case of the Xindak, yes it was a little bright as expected but those quasi-ribbon tweeters sounded rather good through the Xindak. Note that the amplifier eeked out just enough power to run the Maggies in my rather small listening room. If you have Maggies and you want them to get real loud, you might have a tough time with them combined with this amplifier and a large room.

Cables

The sound of the Xindak XA6950 is neutral enough so that changing cables makes obvious differences in the sound. I originally connected it using BlueJeans LC-1 interconnects and Cardas Crosslink 1s speaker cables. I later tried the Kimber 4TC speaker cables and Monster M1000 interconnects to satisfy a friend’s curiosity. Different permutations of these revealed that the Cardas cable was warmer than the Kimber 4TC. We found the Cardas to be the best match with the Xindak. The interconnects we found most pleasing here were the BlueJeans LC-1, offering tighter bass and extended highs, but it was really the combination that worked nicely. Using the Monster M1000 interconnects and the Kimber 4TC speaker cables was also an acceptable combination but, in the end, the Cardas and BlueJeans combo was a great fit.

But Can You Trust It?

Deep into the review period, something terrible happened. My DAC (not a Xindak) stopped locking on to digital signals. After much trouble shooting, it was deemed necessary to send it back. My DAC is, ironically, a Chinese product imported and modified by a company called Pacific Valve in the US. This brought to light the importance of purchasing from a reputable dealer. The folks at Pacific Valve were friendly and fixed my DAC quickly for a reasonable sum. It may behoove those interested in purchasing a Xindak XA6950 do so from a reputable dealer. The US Distributor, Lotus Audio Import, answered my questions quickly and politely and might be a good place to fall back on if one is looking for a recommended dealer.

Before my DAC died, I was on the fence as to whether to purchase the unit. I really didn’t need another amplifier but it was a bit better than anything else I had. Once my DAC went AWOL, a few things came to light. The amplifier will absolutely not make up for a mediocre source. I tried a few older CD players, an average Panasonic DVD player, and the CD section of a Linn Classik. Each was fine but some of the benefits of the amplifier where it really shines were lost. Suffering from withdrawal from my sonic nirvana, I picked up a used Pioneer Elite DV-47A universal player which brought joy back to Mudville. It wasn’t as good as the Pacific Valve DAC in some ways but it was close and decent enough to enjoy.

Couldn''t Let It Go

I ended up purchasing the amplifier. It was only marginally better than the Bryston B100, albeit slightly less forgiving than the Bryston with 80’s pop music, but still very enjoyable. The Bryston will continue to serve its duty in the main family system while I will get a chance to have the Xindak all to my self in an auxiliary system.

Quibbles

Once warmed up, I honestly couldn’t find any sonic fault with the Xindak XA6950. It needs to be warmed up a bit to sound its best. It takes about five minutes to get past a grainy sound when it’s cold and about ten to twenty minutes to fully warm up. Actually, this is very normal for all components - even speakers - publisher. One could just leave it on all the time, but powered with the knowledge that this was a class A amplifier, I couldn’t help but use a power meter to see how much juice it drinks.

Using a Kill-a-watt meter, it used 127 to 128 watts of power at idle and under normal listening conditions. The Bryston, in contrast, used about 1 to 2 watts of power while idling. Those who want to keep “green” may want to err on the side of letting the amplifier warm up a few minutes before each listening session instead of leaving it on all the time.

The fact that the amplifier switches to the input labeled "S1" every time it is turned on may be an annoyance to some. I would have expected it to remember the last input, but nay. You might want to plug your most often used component, say your CD player, into that circuit. My only other complaint is the labeling of the inputs uses rather non-intuitive labeling - S1 through S4 rather than CD, Tape, Aux, Tuner, etc. My guess is that with only four inputs, perhaps they did not want to be presumptuous. My wife and I quickly realized that remembering what was hooked into S1 and S2 was not so hard after all.

Summary

Xindak is a Chinese high-end name that carries weight in China but is relatively unknown in the US. At least I, nor any of my friends, had heard of them. I've been aware of them for about 4 years - publisher. According to their website, Xindak has been around in China since 1988 - almost twenty years - so this is no recent startup. They have been importing into the US for about five years. Their design goals were to create a more innovative, stylish integrated amplifier that also takes a leap forward sonically with higher speed and lower distortion. Sonically, these design goals were fully met. Style-wise, they get nearly as far.

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Pioneer Elite DV-47A

Nakamichi MB-2s as transport

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Other DIY speakers of different flavors

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Audioquest NRG-2 and Volex 17604 power cords

Cardas Crosslink 1s speaker cables

Kimber 4TC speaker cables

BlueJeans LC-1 interconnects

Monster Cable M1000 interconnects