The Sword of Damocles Of The Dongles

 

Ratings

 

 

Pros

 

• Simple design, stellar construction and presentation.
• Ultra-natural, analog bass with great texture.
• Superb mids, tremendously musical and slightly prominent.
• Rich and exciting micro detail.
• Extensive and very coherent sound.
• Superior sound at the height of desktop equipment of the same value, even higher.
• It has the best technologies of the brand.
• Enormous amount of power.
• Very good accessory cables and beautiful leather case.

 

Cons

 

• As it does not have a screen, the handling of so many functions can be somewhat complex.
• It does not support the highest resolution formats.
• High power consumption for connection to a DAP.
• It heats up a little when it is demanded.
• The IEMatch switch is a little loose.
• High weight for a dongle.
• Surface susceptible to fingerprints and scratches.
• High price.

 

Purchase Link

 

https://ifi-audio.com/products/go-bar-kensei/

 

Link to the WEB

 

https://ifi-audio.com

 

Introduction

 

Since 2012, iFi, the Southport (UK) based brand with distribution center in the USA, has developed more than 50 products. iFi sources parts from all over the world (Germany, USA, Japan, etc.) to offer the highest quality in all its electronic products (TDK C0G (Class 1) ceramic capacitors, Panasonic OS-CON capacitors, tantalum capacitors, muRata control type high Q and low ESR multilayer multilayer capacitors, etc.).
In its own words, the iFi GO Bar Kensei is similar to a legendary sword meticulously forged for a kensei. Embodying the dedication of a master swordsman, we focus on purity, balance and refinement to reveal the true essence of his music. Kensei is a Japanese term that translates to “saint of the sword” in English, a title bestowed upon the elite who elevate the art of swordsmanship beyond the best masters. With cutting-edge Japanese audio processing technology, K2HD, and enhanced power supply and clock circuitry, the Kensei represents the pinnacle of our journey of refinement in the GO bar range.”
The GO bar Kensei features K2HD technology developed by Victor Studio (JVCKENWOOD) engineers. K2 technology revives the rich, natural harmonics of digital sound, revitalizing the sound of studio recordings.
For this occasion, the iFi GO bar Kensei iFi GO bar features analog circuitry with a balanced design and a symmetrical two-channel output stage. It also has four digital filters and two analog processing modes (Bit Perfect, GTO, Minimum Phase, Standard, XBass+ and XSpace). The 32-bit Cirrus Logic DAC section of the GO bar Kensei uses a powerful 16-core XMOS microcontroller to process audio data received at the USB input. The precision GMT (Global Master Timing) clocking system ensures ultra-low jitter.
The GO Bar Kensei is made of Japanese stainless steel for maximum rigidity. It incorporates two power adjustment technologies: iEMatch for high-sensitivity IEM and Turbo mode for high-power headphones. iFi’s unique 3.5 mm S-Balanced* technology reduces crosstalk and noise by 50% compared to standard single-ended headphones.
Finally, it is worth noting that iFi prides itself on being an environmentally friendly company.
Firmware v1.6A has been used for the following review.

 

 

Specifications

 

• Input: USB-C.
• Formats: PCM 44.1/48/88.2/96/176.4/192/352.8/384 kHz. DSD 2.8/3.1/5.6/6.1/11.3/12.3MHz. DXD 352.8/384 kHz.
• Full MQA decoder.
• DAC: Bit-Perfect DSD & DXD DAC by Cirrus Logic.
• Headphone output. BAL 4.4mm. S-BAL 3.5mm.
• Output power (RMS): Balanced 477mW@32Ω; 7.2V@600Ω. S-Bal 300mW@32Ω; 3.8V@600Ω.
• Output impedance: ≤1Ω (≤3.6 Ω with iEMatch enabled).
• SNR: 132dB(A) / 121dB(A) (BAL/S-BAL) (With intelligent muting enabled ).
• SNR: 114 dB(A) / 114 dB(A) (BAL/S-BAL).
• DNR: 108dB(A) / 109dB(A) (BAL/S-BAL).
• THD+N: Balanced ≤0.0025% (600Ω 2V) @ (20-20KHz). S-Bal ≤0.009% (16Ω 1.27V) @ (20-20KHz).
• Frequency response: 20Hz-70kHz (-3dB).
• Power consumption: <4W max.
• Dimensions: 65x22x13.2mm.
• Weight: 65.5g (2.3 oz).
• Warranty period 12 months.
• Price at time of review: $449.

 

 

Packaging

 

The iFi GO Bar Kensei comes in a medium-sized, white-backed box with dimensions 137 x 96 x 64 mm. In the top left corner is a pair of kanji, in the top center is the brand name in gray and in the top right corner is the Hi-Res Audio logo. In the center of this side is the actual picture of the dongle. Below is the product name and a brief description. On the back, top left, is the product logo. The rest is gray text. It starts with a short introduction about the reasons for using the word Kensei. Then it lists the main features of the product: content, connectivity, specifications, brand signatures and standards it meets. On one side are all the logos of the technologies used and, on the other, a real side picture of the bar. Opening the box reveals a bamboo wood box with a sliding lid. Inside is a quick guide card with the bar’s connections that protects the Kensei itself, which is inside a thick black foam mold. In the second layer is the leather carrying case. The complete contents are as follows:

 

• The iFi GO bar Kensei.
• USB-C OTG cable.
• USB-C to Lightning cable.
• USB-C to USB-A adapter.
• Leather carrying case.
• Quick guide card.
• Instruction manual.

 

The presentation with the bamboo case is top notch, as is the black leather belt holster. The inner recess is designed to hold at least one adapter cable, although it really does fold up a lot. The GO Bar Kensei is protected by a sheet of paper to prevent scratches.

 

 

Construction and Design

 

The GO Bar Kensei is a Japanese stainless steel bar measuring 65 x 22 x 13.2 mm. Its weight is 65.5 g. Its shape is rectangular and elongated. On the upper face it has two small sharp edges on both sides. On the upper side are the brand logo, the two kanji, the model name and the sticker with the Hi-Res Audio logo. On the rear face are the LEDs indicating the playback formats, as well as the LEDs indicating the filters or modes used. The bar is divided into two parts: a sleeve and the lower cover containing the LEDs. On the upper edge is the USB-C input connection. On the underside are the two audio outputs: one 4.4 mm (BAL) and one 3.5 mm (SE). As usual, the BAL output is gold-plated, while the SE is plastic. At the base there is a small black Torx screw. On one side there is only a white sticker with a QR code. On the other side are the IEMatch controls, two buttons for volume and the mode button. The two cables are of the same type. The oval, black, plastic sleeve that protects the connections is of the same type. The cable is covered with a gold braided textile fabric. The USB-C to USB-A adapter is metallic and black in color, and bears the brand logo in white lettering. Without a doubt, this bar is on the larger and heavier end of my dongle collection. You notice its stainless steel construction and its almost minimalist and sober design, with a scratch-sensitive surface. In order to use it, the normal position is upside down, with the flat side containing the LEDs facing up. The GO Bar Kensei looks like a desktop dongle, rather than a dongle for everyday or street use.

 

 

Connectivity

 

The GO bar Kensei is compatible with Apple cell phones, Mac tablets and other IOS systems. It is also compatible with Android and Windows systems. From Windows 10 onwards no drivers are required. It has ASIO drivers that can be downloaded from iFi’s own website.

 

 

 

Operativity

 

The truth is that the GO Bar Kensei has many additional features, such as IEMatch. Its function is to reduce the output level, so that even the most sensitive IEMs can be matched to the GO Bar Kensei. It has three positions: the center one is disabled and can be activated for both the 4.4mm BAL output and the 3.5mm SE. To tell the truth, this switch seems to me a little sensitive and with little travel, it gives the feeling of being somewhat “loose”.

The volume can be synchronized with the volume of the connected mobile or computer. If synchronization is enabled, the connected device will indicate a volume change on its display.

By default, the synchronization function is disabled. To activate or deactivate it, press the button for more than 8 seconds. Activation is indicated by the six white LEDs lighting up. In that order, from the PCM LED to the center.

Turbo mode increases the gain by 6 dB. To activate or deactivate it, press the volume + and – buttons at the same time for more than 2 seconds. Turbo mode is activated when the 2 white LEDs (K2HD – DSD) are lit. Normal gain is indicated by 6 white LEDs (K2HD – PCM), which decrease to two and light up for two seconds.

Pressing the mode button (short press) toggles between Off > XSpace > XBass+ > XSpace and XBass+.

To enter the digital filter setting mode, press and hold the mode button for ≥3 s. The MQA LED will flash with the color of the currently set digital filter. Pressing the – button changes the filter selection. A short press of the mode button will select and exit the filter setting mode.

To activate the K2HD mode, the mode button must be held down for ≥3 s, after the MQA LED starts flashing. Then press the + button and the K2HD LED will light up to indicate that K2HD is activated.

 

Filters:

• Bit-Perfect (Cyan): Provides natural tones, ideal for all genres.
• GTO (Red): Enhances the details and density of the sound, especially suitable for vocal tracks.
• Minimum Phase (Yellow): Produces a warmer sound, blending Bit-Perfect and Standard characteristics, perfect for Soul and Jazz.
• Standard (White): Provides a tighter sound with controlled treble, perfect for pop music and movie soundtracks.

 

Sound effects:

• Blue: Xspace
• Orange: Xbass+

 

K2HD LED

• White: On
• Off: Deactivated

 

MQA

• Green: MQA
• Blue: MQA Studio
• Magenta: Original sample rate

 

 

Measures

 

According to the specifications the GO bar Kensei can provide:

• SE: 300mW at 32Ω, which is a voltage of 3.1V and a current of 97mA.
• SE: 3.8V for 600Ω, which is 24mW power and 6.33mA current.
• BAL: 477mW at 32Ω, which is a voltage of 3.91V and a current of 120mA.
• BAL: 7.2V for 600Ω, which is 86.4mW power and 12mA current.

 

It should be remembered that my measurements are based on finding a pure response over the entire frequency range and not just the pure 1kHz tone.
As a general rule, my measurements fall a bit short of what is specified. But there can be many factors for this to be the case. For measurements I have used the Kensei connected to several DAPS with very similar results. But the current delivery may not be the maximum.

I could see that some filters alter the frequency response for high tones, such as the Bit Perfect filter.

 

 

On the other hand, the output impedance is really low and almost tends to zero (without using the IEMatch).
Finally, I have not made measurements with the IEMatch on as it is an output attenuator.

The Standard filter has been used for the measurements. I have checked that the use of K2HD mode does not affect the power.

 

 

SE No load

 

At no load the maximum RMS output for low gain is 2V and 3.8V for high gain.

 

 

SE 15Ω

 

1,474VRMS for 15Ω, which means a current of 98.3mA and 140mW. Surpassing the mythical 90mA barrier.

 

 

SE 33Ω

 

This is where the discrepancies begin. According to the specifications, 3.1VRMS should be reached. My maximum measurement at 1khz has been 3VRMS, but that measurement is not reached for the whole frequency range, as distortion is observed in the pure tones. The maximum measured voltage without visible distortion for the whole range has been 2.651VRMS, which means a power of 210mW and a current of 80mA. Somewhat off the specification.

 

 

SE 100Ω

 

Surprise for 100Ω, the maximum voltage of 3.8V is not reached, but remains at 3.354VRMS, with 110mW and 33.5mA.

 

 

BAL No load

 

At no load the maximum RMS output for low gain is 4V and 7.535V for high gain.

 

 

BAL 15Ω

 

As I have seen in other dongles, the output for 15Ω by BAL is less powerful than by SE. 1.323VRMS, which is 120mmW and 88.2mA.

 

 

BAL 33Ω

 

3,562VRMS for 33Ω, which implies a current of 110mA and 380mW. 477mW and 120mA are specified. It falls 10mA and 0.35V short of reaching that figure. Not bad at all because it is a very high value.

 

 

BAL 100Ω

 

5,673VRMS for 100Ω, which means a current of 57mA and 320mW. Again, very high values for a dongle.

 

 

Frequency Response

 

Flat response in the audible frequency range. Only 0.5dB loss at 5Hz, however there is a slight gain at 40kHz.
With the Xbass+ enabled a gain of 8.5dB at 20Hz is achieved, which becomes 4dB at 50Hz and 0.5dB at 200Hz. You notice a fairly steep roll-off and a good job of gaining depth without bloating the mid bass. I like it.
The XSpace filter generates a sustained 5dB drop at 20Hz up to 100Hz, crosses through zero at 1kHz and gradually rises to 3dB at the 20kHz figure.
With both filters at the same time the subwoofer at 20Hz rises to 60dB, but drops 2dB at the 200Hz figure to match the XSpace curve above 1khz.

 

 

Sound

 

As is often the case, the various filters make very little difference. It is true that they exist, but it is difficult to explain the changes in words; they seem more like very subjective sensations.
For the sound review, I used the Standard filter without K2HD activated.
The first thing that makes me feel the GO Bar Kensei is that its sound moves away from that of any conventional dongle and resembles that of any desktop in its price range. I don’t have any dongle that can compete on the same level. The Aune Yuki does not generate as good bass as the GO Bar Kensei, and neither does the EPZ TP50.
On a comparative level, the pure tones of the Kensei are very realistic, very analog, with no wave character, which gives it great realism and depth. Compared to other dongles, these generate more oscillations that are less realistic and more noticeable at the sub-bass end. The very low frequency tones appear more natural, colorless and without artifacts that spoil their behavior or sonority. It is the best dongle I have tested in the very low frequency pure tone test. And, of course, the translation to bass response could not be otherwise. Having no wave character, the bass is very restrained, very tight and concise. They are dry and relatively dark, with a very high level of precision, resolution and detail. The Kensei really knows how to extract the best bass from headphones.
En la prueba de graves sucios, mal grabados y sin filtrar, se mantiene la naturalidad y el control por encima de todo. El Kensei sabe cómo mantener los graves en su feudo sin que la sonoridad ni el timbre se vean afectados. Sobresaliente.
I mentioned that the bass is excellent, but the Kensei has the virtue of boosting vocals without being midcentric. In that sense, the GTO filter can be useful. Textually, this filter enhances the detail and density of the sound, especially suitable for vocal tracks. But, in reality, the Kensei is like that by nature. The mids are perceived dense, close and very present, with a certain sense of intimacy, without implying tightness or overwhelming. It also feels sweeter and softer, more analog. Vocals are more velvety, more textured, and move away from the smoothness they present with other dongles or even other desktop DACs/AMPs. And this is where the classic iFi sound comes into play: warm, rich, organic and highly textured, coming across as very analog and engaging, exciting and lush. It is possible that the notes are a bit thicker and their weight heavier, hence the density and texture are predominant in the sound. But that only enhances the impression made by the mids. The midrange moves away from dryness and becomes more focused or analytical. It becomes clear that the mids are profuse, plethoric and very full, highly enjoyable. They move away from any bland or purely informative impression to become much more expressive and exciting. And that is the true paradigm of iFi sound that the brand has achieved with this Kensei dongle.
It could be said that the nature of the Kensei allows the personality of the connected headphones to be expressed. The Kensei does not make all headphones connected to it warm. It is true that it favors and brings out the potential of softer headphones, enhancing those characteristics. But those that are cooler or more analytical also benefit from its level of transparency and resolution. The richness of the sound and all its details are also demonstrated on the other side of the scale. The Kensei does not shy away from a stark or harsh presentation, but instead comes across as softer and more musical, with nicer, rounder edges and profiles. But that doesn’t detract from the treble’s fuller, even subtly extolled response. The musicality of the ensemble makes the treble come across as more joined-up and harmonious, coming to sound like one long, wide piece. It loses that more focused, individual and concrete feeling, in which each note seems to have its own representation, to sound in a more natural, organic and combined way. All this, while maintaining the definition, clarity, transparency and level of resolution that the Kensei treasures, as can be seen in the frequency response graph, in which a slight emphasis of the harmonics is noted above 20 kHz.
The Kensei’s stage is very large for a dongle. The layering capability and the thorough breakdown of background detail are on par with, or even above, the best desktop systems. It is impressive how the Kensei can compete on equal or superiority with desktop systems of the same price point. Despite this level of musicality, the Kensei does not shy away from being explicit with micro-details, displaying them in a precise, elegant, natural, realistic and analog way. The ability to delve into the depths of the sound is one of the virtues that I have most enjoyed about this equipment. But, above all, its differential expression stands out, far from any cold, profiled and over marked representation. The Kensei knows how to breathe life and passion into that micro-detail, generating musicality from the smallest elements. From there, the sound expands and fills the soundstage coherently, big, but without overflowing. The sound is broad, but also dense, full and enveloping. The sense of laterality and height is immediate. The sound immediately passes over the head and surrounds it, but without losing the sense of attachment and blending of all the notes together. It is not a gaseous and ethereal sound, but rather a powerful and extensive one, which expands thanks to its capacity for depth, prolongation, dilation and propagation of the notes. In this way, the recreated image appears very realistic, even close at times. But it is also full of life.

 

 

Conclusion

 

I can’t say for sure that the iFi Go Bar Kensei is the best dongle on the market, but it is the best I have tried. It is true that it is also the most expensive, but its sound and all its special features can justify this price. Starting from the premise that it is a special edition, made of Japanese stainless steel, and presented with the refinement that this level of construction deserves, ifi has wanted to provide this dongle with all the particularities of its best equipment: IEMatch for both outputs, the best electronic components, K2HD technology, XBass+, XSpace, four sound filters, S-Balanced technology for its 3.5 mm output and a huge amount of power to move practically everything. And the best part is that all those special properties do work when it comes to expressing the best sound, the trademark of the house. The sound of the Kensei is big, analog, realistic, natural, organic, powerful and expansive, as well as terrifically musical, expressive and, of course, warm, smooth, highly enjoyable, engaging and enveloping. It is a real pleasure for the ears and also a headache for other desktop devices of the same price. I think the EISA award for best product of 2024-2025 in the compact DAC category is undoubted.

 

 

Earphones and Sources Used During Analysis

 

• Kiwi Ears Quintet.
• Kiwi Ears KE4.
• LetShuoer S12 2024.
• LetShuoer Cadenza 4.
• Simgot SuperMix 4.
• Simgot EA1000.
• NiceHCK Himalaya.
• BQEYZ Frost.
• Rose QT9 MK3.
• Hidizs MP145 Golden Titanium.
• Hidizs AP80 PRO-X Red Copper LE.
• Tempotec V3.