Musical Fidelity X Can v8 - XPsu v8

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Musical Fidelity   UK


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800 Euro ampli cuffie  390 euro PSU anno 2008

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X-CAN V8p   Specifications9 of 10


·         Power 1.3 Watts per channel into 32 Ohms

·         Output devices 2 per channel

·         Output impedance 2 Ohms

Line input:

·         THD + N <0.008% typical 20Hz to 20 kHz

·         Signal / noise ratio >100dB unweighted

·         >109dB ‘A’ weighted

·         Input impedance 22 k Ohms

·         Frequency response 20Hz to 70 kHz, +0, -1dB


·         Line level inputs: 1 pair line level RCA connectors,

·         Line level outputs: 1 pair RCA loop outputs [constant level]

·         Line level outputs: 1 pair RCA pre-outputs [level controlled by volume]

·         Digital inputs: 1 USB 1.1 [32, 44.1, 48 kHz sample rates] connection for

·         computer only

Power requirement:

12-0-12V (24Vtotal) AC at 500mA    Using mains adaptor (supplied)

Standard accessories:   Power Supply Unit T48A-24-500-3 1 off


·         180mm 7 inches Wide

·         88mm 3 ½ inches High including feet

·         240mm 9 ½ inches Deep including terminals


·         1.85 kg, 4 ¼ lbs Unboxed

·         2.5 kg 5 ½ lbs Boxed unit including power supply and all accessories

X-PSU V8  Specifications9 of 10


·         Power outputs: 4 off 3 way DIN socket

·         Power requirement: 100W maximum


·         3.0 kg, 6 ¾ lbs unit only, unboxed

·         4.3 kg, 11.2 lbs in shipping carton


·         180 mm, 7.1 inches wide

·         88 mm, 3.5 inches high including feet

·         235 mm, 9.3 inches deep including terminals (total 320mm, 12.6 inches with plugs in)

Standard accessories: 10A IEC Mains lead


















I have an X-CAN V8p with the rare X-PSU V8 power supply which was located in my office for the past 8 months. I will be moving soon to another environment where I will be losing my comfy private office so it is time for someone else to enjoy this fantastic set-up.


The X-CAN V8p is the second version of the V8. It is exactly the same as the V8 but it has an RCA output so it can be used as a preamp which is mainly what it was used for as it was driving some AudioEngine self-powered speakers in my office.


I bought the X-PSU V8 in France and the dealer changed the transformer tap in front of me so it could be used in the US despites being the European version. It comes with a European IEC cable so I had to use one of mine instead and you will have to do the same or just get a plug adapter. I splurged and used a nice PS audio cord but I decided to keep it for my home system.


Both the X-CAN and the X-PSU are in as new condition and they come in their respective original box with all the accessories and instructions. You get the wall wart for the X-CAN which you will not need, 4 DIN cables and a European IEC cable.


The tubes had limited use as I only powered the X-CAN when necessary through the X-PSU switch. Without the X-PSU the X-CAN is always on which is not a good idea with tubes.


Review HI-FI+


The budget valve pre-amplifier has long been a staple of the entry-level high-end market. Countless Conrad Johnsons, Counterpoints and Crofts established the tradition, with the likes of Rogue Audio and now Cayin taking on the mantle. But sadly, the biggest bargain of all, first step on so many roads to audio riches (or ruin), the Croft Micro is no longer. And, whilst there are plans to rejuvenate the brand, target price for the micro replacement will be upwards of £700. Which brings us to the nub of the problem. In these increasingly price conscious days, customers consider nearly a grand for an entry-level unit anything but a bargain. So, as fine as the various Rogue Audio and imported designs from the likes of Cayin certainly are, they’re way outside the budget esoteric bracket occupied so effortlessly by the original Croft Micro – a unit that started out at a mere £150.

Time then, to introduce you to the Musical fidelity X-Can V8, a compact but solidly built little box that houses a standalone headphone amplifier, an add-on for amps or systems that lack a headphone socket of their own. So what? I hear you ask… Well, apart from the fact that the X-Can uses a dual-mono, hybrid circuit, with a pair of ECC88 twin-triodes used to drive a solid-state output stage (which is kind of neat…) offers outputs for two pairs of headphones and also features a USB input and DAC – it only costs £350! Great… but so what?! Well, the really interesting thing is that, at the end of the day an amplifier is just an amplifier – and anything capable of driving a pair of closed back, dynamic headphones, sure as shootin’ should be able to laugh in the face of any self respecting power amp. Now do you get it?

The X-Can is built into a nicely presented aluminium extrusion that supports the single, large internal PCB. The brushed aluminium frontpanel sports two headphone sockets, a small dip switch to select between line and USB inputs and a volume control so flagrantly oversized that it’s beyond embarrassing. Feels nice though… The back panel offers line in and out (fixed level) so that you can daisy chain the X-Can if necessary, along with the USB socket and a three-pin Din for connection to the wall-wart power supply (MF do offer a more sophisticated PSU built into the same casework as the X-Can, and capable of driving up to four X-Series components).

Used as a headphone amp the XCan is an admirable performer, well worth the asking price; but that’s not what this is about. What I’m interested in is using it as a pre-amp. Okay, so it’s only got one input (two if you count the USB) and you have to hook up your power amp to the headphone sockets on the front panel (which isn’t particularly elegant), but where else are you going to get a tube pre-amp for considerably less than £500 – especially one this pretty? And isn’t using a headphone amp as a pre-amp kind of weird? Hey, it takes a line input and provides a low impedance variable output; which is pretty much what a pre-amp does. In fact, the X-Can’s output impedance is just 2 Ohms, considerably lower than many high-end pre-amps. Gain is generous, so you need to be a shade careful with the volume control, but otherwise, this thing’s a natural. The only proviso I’d make is that, whilst you can use the X-Can in plug and play mode, a little time spent playing with proper supports and the provision of properly terminated interconnects in place of the 1/4” jack adaptor (thoughtfully supplied) will reap disproportionate benefits. It’s not that the X-Can is fussy, it’s just that if you treat it like a high-end product it really starts to behave like one!

The best pre-amps offer an easy accessibility to the performance, a combination of tonal, spatial and temporal clarity. They sort out the musical strands, keeping them independent but connected, allowing them to run, or walk, at their own pace. Above all they never, ever, impose their own sense of pace on the music; they never, ever act as a turbo charger – or a choke on its ebb and flow. Measured by these purely musical standards, the most important standards there are, the X-Can V8 is astonishingly, frighteningly successful in its unintended role. In some respects, what’s even scarier (for the average audiophile at least) is just how good it is in hi-fi terms.

I used the MF with a whole array of different power amps, solid-state and valve, vintage and modern, in a vain attempt to catch it out. Everything from the Audionet AMP V to the Quad IIeighties, a vintage Leak Stereo 20 to the Hovland RADIA, all came, all were seen and all were conquered, swept along by the solid rhythmic foundation and natural momentum that the X-Can imparts to music. Bear in mind also, that the Leak aside, these amps range from ten to around 25 times the price of the X-Can, yet it never sounded anything other than right at home, even in this exalted company. I don’t know if it’s down to that super low output impedance or the way-overbuilt output stage (for a pre-amp) but when it comes to deep, deep bass this thing is a monster. Fast, solid and sure-footed, there’s an inevitability to the music’s momentum when required, launched from the firmest of foundations. The throbbing, repetitive bass lines and solidly hit drum beats of The Cure’s masterwork, Seventeen Seconds, hold no fears for the X-Can, whether it’s the drive and pace of ‘Play For Today’ or the more measured, reflective evolutions of "At Night". When it comes to low frequency substance, timing and transparency, this little box speaks in a far more authoritative and commanding voice, with more shape, presence and useable weight than it has any right to. If things seem a little slow or turgid, look to its seating. If that doesn’t fix things pull your speakers forward by increments – because one thing’s for sure, it’s not the bottom end of the X-Can that’s flabby; either your support, or your system (most likely your speakers) can’t handle the extra energy. But get things just so and you’ll end up with a silly grin spread from ear to ear, wondering how you put up with what you thought was bass before. Because this isn’t just about quantity – it’s about quality too. And how…

The firm footing delivered by the X-Can provides the perfect underpinning to the easy, open mid-band. Melody instruments and voices have a solidity, presence and immediacy that gives musical performances a direct, communicative quality, a sense of purpose and   intent that makes listening a primary activity; there’s no using a system as aural wallpaper with the X-Can in circuit. This grabs the signal by the scruff of the neck, allowing the music to grab you with equal force. The top end is clean and pretty extended, adding just enough air to the depth and scale delivered by the combination of solidity and transparency across the rest of the range. As a result, soundstaging is remarkably natural, impressive and uncluttered, adding still further to the musical appeal.

Of course, the X-Can isn’t perfect; far from it – but then isn’t everything? In this case the flaws are to do with a diminution of textures and micro-dynamic detail (although this doesn’t affect the immediacy) and a lack of core warmth, that rob voices and instruments of some colour and musical shape. There’s a big-boned, ruggedness to the sound that favours energy and presence over the finest subtleties of musical technique, the whole of the song as opposed to its elements. In part, that’s down to the sheer integrity with which the musical picture hangs together, but it also reflects that ultra resolution isn’t on the menu here – at least not as long as the X-Can relies on a plug-top supply. But the really impressive thing is that, once you take the requisite care, this little box does so much that’s musically right and virtually nothing that’s obstructive or destructive in the process. It puts the music firmly first and in doing so steps out of the limelight, allowing you to enjoy the music rather than the system.

Writing this (and listening to the X-Can) it’s easy to forget, a constant task to remind myself, that this thing only costs £350. That’s three hundred and fifty of our increasingly worthless monetary exchange units! Currently it’s playing in a system in which not one single element costs less than ten times that except for the feet it’s sitting on, and they cost nearly as much as the X-Can – and it’s right at home. Is it a limiting factor? No way. Could I live with what I’m listening to? No problem whatsoever – because it does the important things right, and it does them so well and so unobtrusively that you’ll be looking for something very serious indeed (and probably seriously expensive too) to offer a significant musical advantage. 

The X-Can V8 isn’t a universal panacea. It offers limited inputs; it’s less than elegant in application and has no remote control (it’s £350 for God’s sake). But in a world where musically competent preamps are few and far between, it doesn’t just offer more music than you ever thought possible for the money, it will set your system firmly on the path to high-end musical performance, because once you’ve lived with this you won’t tolerate anything less.

Musical Fidelity’s Anthony Michaelson is nothing if not an old and wily member of the audio manufacturing community. He knows exactly what he’s got here. He also knows that adding a few extra inputs and a rear mounted pre-amp output would remove the objections to the X-Can’s quirky eccentricities, aberrations that only arise from its spectacularly successful misapplication. Add a remote control and it would be almost mainstream. But it would be more expensive too and therein lies the rub. As it stands, the X-can V8  represents a slightly weird, musically wonderful and astonishingly successful route to musical nirvana. It also offers the key to unlocking the musical performance buried in so many systems by inadequate preamplification or passive controllers. Get it while you can; sit back and enjoy the music; wait for the inevitable slew of external upgrades and aftermarket mods. And while you are waiting (and wondering whether those upgrades are actually worthwhile or even necessary) you can bask in that special, smug selfsatisfaction that comes from the sure knowledge that you’ve invested in, and are enjoying, that rarest of all musical commodities, the genuine audio bargain. The X-Can V8 doesn’t just do what it says on the tin, it goes way, way beyond that – and in the process, its affordable price, USB input and stellar musical delivery promises to introduce a whole new audience to the wonder of highend sound. (Some of whom might be under the mistaken impression they’re already there!).