Opinion 1

Although the current year (for the record – it is 2023) did not come to full speed yet, all signs on heaven and earth show, that we will not be bored and we will not be able to complain, that we are doing the same thing over and over. Why do I have such precognition? Well, we have just hosted the duo from Tone Winner, and (im)patiently waiting for their turn are the 15 from Final, an all having combo from Lindenmann and … a lot more of intriguing products, I will not share with you yet. In general, besides the well know players on the market, we will have some newcomers, who want to get a piece of the audiophile cake for themselves, and are hungry for success. This is how we arrived at the heroes of our today’s test, the line preamplifier XP5 and the power amplifier XP-A1500, manufactured by a company that is debuting on our market, the Dutch Extraudio, represented in Poland by the Chełmża based Quality Audio, a distributor we know already from the Peak Consult El Diablo review.

As a kind of short introduction, I will only mention, that both orange elements (we will concentrate on the color in just a moment), manufactured by the company, which, completely consciously, calls itself a “boutique” brand, are coming from the top Origin series, below which there is also the Discovery series. Both are not very large, and encompass one DAC, one integrated amplifier, a preamplifier and a stereo power amp. In the Dutch portfolio we can also find proprietary cabling, together with minimalistic stands and an optional MM/MC phonostage module, that can be fitted inside the preamplifiers and the integrateds.
As you can see in the pictures, conform with the declaration of being boutique, due to the generosity and efficiency of Quality Audio we received devices in a very attractive color, and not the usual black, grey or white ones. Interestingly, besides the energetic orange, there is a version with varnished and epoxy protected copper available on special order. While the densely perforated chasses catch our eyes, the massive, made from aviation grade aluminum slabs are like the oasis of commonsensical minimalism and quietness. Following current standards, the power amp has its manipulators reduced to only the biscuit shaped power button, with a blue halo around it, but sometimes, the preamplifiers do have some knobs and buttons to turn and press, while the XP5 has only the necessary ones. On the left we have the chromed input selector, on the right an identical twin knob is used for volume control. Between them we have six LEDs indicating the active input with a power button identical to the one found on the XP-A1500 below them. Looking at the back plates also does not cause any controversies. The preamplifier has four line inputs in RCA standard, and a single pair of XLRs. There is also a set of RCAs and XLRs for an external processor (bypass) and a grounding clamp. The output is present in both standards, which are mirrored as inputs on the power amp. The latter also has single, but very good loudspeaker terminals from WBT NextGen™ series, and a trigger port. A nice add-on to the preamplifier, is a chrome plated remote control, which can be charged using an USB cable and has a range of … eighty meters.
Looking at the construction, we have here a very interesting example, that used technologies are not the goal in themselves, but only the means to achieve the those goals. This is why the preamplifier, working in class A, is based around a power stage that uses … a pair of double triodes 6922. Additionally, in the input we have an interference damping circuit, a buffer protection circuit and an AC filter, designed to block EMI and RFI noise. The power supply is also treated with appropriate attention; it uses a proprietary high voltage PSU, heavily filtered, stabilized and regulated, while the analog section is powered by a sanded, medical grade transformer, without oscillations. On the other hand, the power amp works in … AD class. This means, that the input buffer works in class A, using bipolar transistors (BJT), and the output stage is composed of 1500W class D EPAM modules, with a maximum current of 90A. Due to the very acceptable size and weight, the power supply for the amp is not based on classic transformers, but it is a switching one, with 1500W impulse power.

Moving on to the part regarding sound, you might be wondering, why would you need 1.5kW per channel at home, when we are using speakers for listening, and not a … billiard table, or a stadium PA system. The first, and probably most obvious response is probably “because we can”, but in case of audio, the chase for bells and whistles makes maybe an impression in the lower tiers, in High End there is no associated emotion. It turns out, that parameters are one thing, and reality another, so until the impedance of our speakers is “acceptable”, as Dr. Roland Gauder likes to say, and their efficiency “sufficient”, only the synergy of the individual components, regardless of their provenience, color or technology matters. Those are only elements, that combine into a whole and coherent project, and not the determinants, telling about their very narrow specialty, to which we would need to abide, like an orthodox acolyte needs to the truth he is being told. I would even claim, that all kinds of technicalities are only important in a situation, where our components are not willing to talk to each other well, or, what in our case happens much more often, we need to populate the table below our texts, next to the address of the manufacturer/distributor and price.
Why am I mentioning all that? For a very prosaic reason. Listening to the tested duo we are completely indifferent to what sits inside their chasses, because you can listen to it with true pleasure, and everything sounds as it should. I would also like to mention from the start, that people expecting the part of the body, where they sit on, being blown away with even the slightest turn of the volume know, will be disappointed, because you cannot feel the power declared by the manufacturer. Just like that. As if there would not be 1500W inside the XP-A1500 but 15, like in a Leben CS-300f. The reproduced music is presented in an unexpectedly smooth, calm and dense way – without any signs of even subcutaneous nervousness, or any tendency to flex muscles and Hollywood-like spectacularism, where the artists decided to play … with silence. Please do not misunderstand me – power is there all the time – within reach, on every request, immediately, but only when needed. For example on “Jacob’s Ladder” by Brad Mehldau, you could think, that after the opening piece of the album, the cover of Rush “Maybe as his Skies Are Wide” things will still be nice, etheric and nice, and in some way it is (like in another interpretation of the classic – the suite “Heaven”, taken from Yes), but the jazzy look at the fascinations of the leader with progressive rock results in very neck breaking musical forms, and instead of the expected chamber ensemble, it turns out, that on the stage we have sixteen musicians. Of course, the solo parties of the piano are placed in complete darkness – the separated amp delights with nobleness of its operation and absolute silence in the speakers even, when the volume knob is turned up boldly. The king of instruments itself, can proudly present its potential and notable size, which, despite being underlined, is not exaggerated, so it leaves enough space on the stage for the other instrumentalists. Interestingly, the clicks and pops appearing on “(Entr’acte) Glam Perfume” were reproduced by the Extraudio with such fidelity, that I looked at my system to check, if instead of the Lumin I have maybe my Kuzma on, and that without cleaning the vinyl record with the antistatic brush. That you call realism. Also on “Death, Where is Your Sting” by Avatarium the beginning is innocently light and concentrated on the vocal parties of the incredible Jennie-Ann Smith, here also micro-dynamics is sufficient, but when guitars enter and the arrangement gets denser, the power reserve comes in handy, creating a very convincing wall of sound. Maybe this is not the same weight as that, what Leif Edling is doing in Candlemass (for example on “Sweet Evil Sun”), but even such rock sounds, colored with doom esthetics, allows to notice the potential hidden in the Dutch oranges. Well, I did mention the last disc from Candlemass, but not, that during listening to it, it is worth to get a bit crazy with volume and allow their gods (“Scandinavian Gods”) to pull us into the Scandinavian abyss, full of darkness, moans of the damned and all-encompassing desperation. At an adequate level of decibels, the effect is comparable to a trip with a fiery dragster through the darkest alleys of hell. Wildly stinging guitar riffs, bass bashing your innards, and the rugged, structural vocals add to the picture of destruction. Interestingly, despite the mentioned stoic calmness, the drums and percussion were not thickened, so the snare had appropriate fragility, and only the base drum could sound with proper weight and power.
But the longer I hosted the Extraudio at home, the more I became convinced, that regardless of the musical dish served to them, I always hear their company sound signature, which models the final sound a bit. And while it is hard to see this characteristic as playing everything the same way, yet some rounding off the edges and the slightly stereotypical “class D analog sound”, but without any negative influence on the depth of the stage and its airiness, seemed to be written into their DNA. But as it turned out, it was enough to separate the orange brethren, and the XP-A1500 was mostly responsible for the thicker lines, while the XP5 seemed completely and crystally transparent, which, in the sound path, only has the role of a functional interface, transferring the full package of information from before it, and accommodating the electrical needs of the power amplifier being optimally driven.
But let us return to music, because it is now high time for the crazy, and incredibly difficult to quantize, material, which without any doubt is “Hellfire” by Black Midi, where the majority, even strictly high-end systems, throw the towel into the ring, and leaves for the dressing room with the head bowed. This stops being surprising, when we discover, that on a space of only 39 minutes, we are stunned with an unforeseeable conglomerate of psychedelic jazz, metal, noise, art-rock, contemporary classical, punk and … flamenco. It is like that, what was started by Frank Zappa, would be minced over, enriched with psychoactive substances and put back together. Pure musical madness in the purest, and at the same time extreme form, where you are unable to follow the broken melodic lines, where each piece resembles narcotic visions during a rollercoaster ride, and the wealth of information served by the speakers was sufficient not for one, but three albums. And do you know what? While usually after using this medicine I need to relax for a while, the tested duo made this rest period unnecessary. The whole was civilized and structured in such a way, that maybe it lost a little from its ruthless aggressiveness, but finally it was an advantage for it, as well as for the listener’s senses. Of course exchanging the XP-A1500 with my Bryston, equally transparent to the XP5, and ruthless at the same time, gave the true picture of the situation, but three quarters with such truth only the biggest lovers of extreme sonic experiences and … the recording studio team can master, as the 4B³ was designed to be used also in studios, and whatever you say about the Extraudio power amplifier, it is a full blooded salon lion, and a nicely purring couch surfer.

The Extraudio XP5 & XP-A1500 is a truly high-end set, but far away from the laboratory analyticity, and in terms of aesthetic, boldly winks at designer lifestyle. It offers an almost unrestricted power, great ergonomics and a sound nice to the ears, going against stereotypes telling, that the higher level of gear we own, the less discs you can listen to using it.

Marcin Olszewski

System used in this test:
– CD/DAC: Ayon CD-35 (Preamp + Signature) + Finite Elemente Cerabase compact
– Network player: Lumin U2 Mini + Omicron Magic Dream Classic + I-O Data Soundgenic HDL-RA4TB
– Digital source selector: Audio Authority 1177
– Turntable: Kuzma Stabi S + Kuzma Stogi + Dynavector DV-10X5
– Phonostage: Tellurium Q Iridium MM/MC Phono Pre Amp
– Power amplifier: Bryston 4B³ + Graphite Audio IC-35 Isolation Cones
– Loudspeakers: Dynaudio Contour 30 + Brass Spike Receptacle Acoustic Revive SPU-8 + Base Audio Quartz platforms
– IC RCA: Tellurium Q Silver Diamond
– IC XLR: Organic Audio; Vermöuth Audio Reference; Acrolink 7N-A2070 Leggenda
– Digital IC: Fadel art DigiLitz; Harmonic Technology Cyberlink Copper; Apogee Wyde Eye; Monster Cable Interlink LightSpeed 200
– USB cables: Wireworld Starlight; Goldenote Firenze Silver; Fidata HFU2; Vermöuth Audio Reference
– Speaker cables: Signal Projects Hydra; Vermöuth Audio Reference Loudspeaker Cable + SHUBI Custom Acoustic Stands MMS-1
– Power cables: Furutech FP-3TS762 / FI-28R / FI-E38R; Organic Audio Power + Furutech CF-080 Damping Ring; Acoustic Zen Gargantua II; Furutech Nanoflux Power NCF
– Power distribution board: Furutech e-TP60ER + Furutech FP-3TS762 / Fi-50 NCF(R) /FI-50M NCF(R)
– Wall power socket: Furutech FT-SWS(R)
– Anti-vibration platform: Franc Audio Accessories Wood Block Slim Platform
– Switch: Silent Angel Bonn N8 + Silent Angel S28 + Silent Angel Forester F1 + Luna Cables Gris DC
– Ethernet cables: Neyton CAT7+; Audiomica Anort Consequence + Artoc Ultra Reference + Arago Excellence; Furutech LAN-8 NCF
– Table: Solid Tech Radius Duo 3
– Acoustic panels: Vicoustic Flat Panels VMT

Opinion 2

We all know, how the segment of solid state audio amplification is currently divided. We have an uncompromised domination of AB class amplifiers, then, with much smaller numbers, but still holding up the A class, and finally the D class, which aspires to the pantheon. Of course each of them means a different approach to reproducing music. But interestingly, the two first classes, maybe due to the years spent on their development, do have their fierce fans, while the youngest of them all, you may call it even avantgarde, way of amplification (class D) is still fighting for numbers at least similar to the class A amps, perceived as the royal way of amplifying, not even thinking of becoming a cult item. Fortunately this fight more and more often results in an interesting sonic outcome, a good example being the duo tested today. This very intriguing, in terms of construction, pre-power combo, distributed in Poland by Quality Audio, comes from the portfolio of the Dutch company Extraudio. We got the class A XP5 line preamplifier, utilizing electron tubes in its circuitry, and a class D, but with the input stage working in class A, the monstrously powerful power amplifier XP-A1500 (1500W/8ohm).

Probably this is obvious not only for me, but also for many of you, that the set that we are currently hosting, did break the bank in terms of looks. I could even confess, that I think, putting political correctness aside, that in this aspect, it left behind most of the competition. In just a few words, those a very well looking, midsized, for an audio gear, rounded on the edges, rectangular boxes, unified for both products and seemingly modest, but how exciting. Their fronts and back panels were made from very hard, and thus dampening any deteriorating resonances, thick slabs of aviation grade aluminum, while the side and top panels, heavily perforated in the shape of the company logo – a horizontally aligned biscuit shape, to allow for ample airflow for cooling. Those plates are also varnished in a juicy, orange color, something that looks simply phenomenal. This looks so good, and is so diabolically explicit, that although I have seen it with my own eyes, I am not sure if it can be surpassed by the polished copper version, available on order. Regarding the line preamplifier, in the front you have a visually satisfying placement of two chrome plated knobs of the sides of the fascia, from which the left one selects the active input, while the right one controls volume. In the axis between those knobs there is a line of LEDs, indicating the input, and below them, the biscuit shaped power button, edge lit blue. The company name is etched into the button. Looking at the back, the XP5 offers the user four line RCA inputs, with an optional phonostage, a ground clamp, one XLR input, a XLR and RCA output, same set of terminals for the processor and a power socket. Moving to the fully symmetrical power amplifier, the XP-A1500, we do not have too many manipulators, but this is understandable due its function. So on the front we just have a sibling of the power button with the company name on it, and on the back RCA and XLR inputs and WBT loudspeaker terminals. The whole is amended by an IEC power socket. To complete the picture, we have a metal, very convenient in usage, remote control, that operates 4 main functions of the preamplifier and comes with the latter as standard.

Not in every case, but when something brings interesting things to the table, I try to check, what each of the components of the tested set does. Besides enhanced knowledge about the tested combination, this also allows me to draw final conclusions regarding the target group, when I am summarizing the impressions for the test session. This is why in the very beginning of the description of the sound, and with a lot of satisfaction, I will tell you, that the tested devices are complementing each other brilliantly. The power amplifier, using its enormous power, not only kept my big, German speakers in check, but in addition, added a splendid, well controlled, nicely pulsating energy and a taste of great plasticity. This of course resulted in a slight, but far from averaged, rounding off the edges of the virtual sources created on the wide and deep sound stage, but was fully compensated by the reproduction of the amount of impulse in the music. And when we thought, that we would need to endure some small, but still compromises, the preamplifier came to the rescue. Sparky, vital, with a lot of swing in the presentation, and in addition having phenomenal palpability, due to working in class A, together they created something, that no audio system would be ashamed of, even highest priced one. So what was it? A combination of power, and through that handling the loudspeakers brilliantly, reproducing the characteristics of all genres of music, from aggression to some kind of nostalgia, adequately.
I will begin my description from proving you, that it showed the aggression of reproduced music well, using the last disc from Ozzy Osbourne “Patient Number 9”. This is not a very well recorded material, and in theory, already the things brought by the power amplifier, plasticity and saturation, helped it sound more friendly, yet in the combined package with the preamplifier adding a breeze of freshness and transparency resulted in the music gaining volatility and openness, and showing how the material was massacred by compression. On one hand, the sound gained nobleness, but on the other, it was still characterized by showing its true self, so translating into lay language, it still remained audible and did not become a boring mud. Ozzy and his friends fared much better due to the added dose of saturation, with their now denser and better timbred show offs, and in addition, they now showed the expressiveness of each and every note hidden in that madness.
In a maybe not identical example, as the next disc is well recorded, but still interestingly showing the assets of the Extraudio duo, was the show of the Oleś brothers with Christopher Dell “Górecki Ahead”. And it is not only about the better reproduction of the balance between the amount of sound of the body of the contrabass and the sharpness of its plucked strings, or the essence and energy of the base drum played by the mentioned brethren, but also the splendid decay of the juicy, round and incredibly vivid vibraphone, hung in the ether. Its multicolor and range were on a brilliant level, just like I like it, something that was not really obvious after listening just to the power amplifier or the preamplifier alone. The power amp would not be able to show this freshness, and the preamplifier the saturation of this instrument, and this is exactly the reason, that I mention in the beginning, that this duo is meant for each other. This is a combination of fluidness and reasonable sharpness into one, and for this, the manufacturer deserves a big round of applause.

Coming to the end of today’s meeting, I need to tell you the assets and eventual shortcomings of the constructions from the Netherlands, as well as the target group. In terms of the assets, those encompass absolute freedom in managing even the most difficult loudspeakers in the esthetics of well balanced weight, a good impulse and freedom in placing of palpable sources on the virtual stage. However I will have some difficulty to talk about any shortcomings, as those – if we regard the movement of the sound of the system into a certain direction, at the expense of another, when the elements are used separately, something usually done also by the competition, can be regarded as a shortcoming – in my opinion there are no significant drawbacks. Based on this, where would I see the Extraudio pre-power combo? Frankly speaking everywhere, regardless of the potential system. This is such an universal sound, that it should handle even the most mannered setups. Of course, when someone crosses the line of good taste significantly, things can get different. But even in such occasions, if not the power offered by the power amp, then maybe the openness of sound presented by the preamplifier will result in showing that person, who made the mistake, where it is, and even if not the whole set, maybe one of the elements will be a keeper. Utopia? Absolutely not. This is really very probable.

Jacek Pazio

System used in this test:
Source:
– transport: CEC TL 0 3.0
– streamer: Melco N1A/2EX + switch Silent Angel Bonn N8
– DAC: dCS Vivaldi DAC 2.0
– Master clock: Mutec REF 10 SE-120
– reclocker: Mutec MC-3+USB
– Shunyata Research Omega Clock
– Shunyata Sigma V2 NR
– Preamplifier: Gryphon Audio Pandora
– Power amplifier: Gryphon Audio Apex Stereo
– Loudspeakers: Gauder Akustik Berlina RC-11 Black Edition
– Speaker Cables: Synergistic Research Galileo SX SC
IC RCA: Hijiri Million „Kiwami”, Vermouth Audio Reference
IC XLR: Tellurium Q Silver Diamond, Hijiri Milion „Kiwami”, Siltech Classic Legend 880i
Digital IC: Hijiri HDG-X Milion
Power cables: Hijiri Takumi Maestro, Furutech Project-V1, Furutech NanoFlux NCF, Furutech DPS-4.1 + FI-E50 NCF(R)/ FI-50(R), Hijiri Nagomi, Vermouth Audio Reference Power Cord, Acrolink 8N-PC8100 Performante, Synergistic Research Galileo SX AC
– Table: BASE AUDIO 2
– Accessories: Harmonix TU 505EX MK II, Stillpoints ULTRA SS, Stillpoints ULTRA MINI, antivibration platform by SOLID TECH, Harmonix AC Enacom Improved for 100-240V, Harmonix Room Tuning Mini Disk RFA-80i
– Power distribution board: POWER BASE HIGH END
– Acoustic treatments by Artnovion
Analog stage:
Drive: Clearaudio Concept
Cartridge: Essence MC
Phonostage: Sensor 2 mk II

Polish distributor: Quality Audio
Manufacturer: Extraudio
Prices
Extraudio XP5: 117 000 PLN
Extraudio XP-A1500: 105 000 PLN

Specifications
Extraudio XP5
Imputs: 4 pairs RCA, pair XLR, pair RCA & XLR Processor
Outputs: pair RCA; pair XLR
Valves: 2 x 6922
Frequency Response: 10Hz – >250kHz +0dB;1Hz +0db – 1MHz -1dB
Maximun Volts input: 20V rms (XLR)/ 10V rms (RCA)
Maximun Volts Out:16V rms (XLR)/ 8V rms(RCA)
Total Harmonic Distortion:0.0027%
Signal To Noise Ratio:> -102dB
Dynamic range:> -102dB
Gain: 16db (XLR)/ 8db (RCA)
Input Impedance: 120kΩ (XLR)/ 60kΩ (RCA)
Power consuption: 20W; 0,5W standby
Dimensions (W x H x D): 44 x 12 x 40 cm
Weight: 18 kg

Extraudio XP-A1500
Inputs: pair RCA, pair XLR
Frequency response: 2Hz – 110kHz +0dB
Noise Floor: -160dB
Dynamic range: > 120dBA
THD+N (1kHz @ 1W): 0.003 %
Peak output current: 2 x 90A
Voltage Gain: 28dB
Damping Factor: >1000 (8 Ω, 1 kHz)
Ultra Output Power: 2 x 2400W @ 4Ω / 2 x 1500W @ 8Ω
Impedancja wejściowa: 7k2 Ω (XLR) / RCA SE 3K6 Ω (RCA)
Power consuption: 19W idle; 0.5W standby
Dimensions (W x H x D): 44 x 12 x 40 cm
Weight: 18 kg