Douk H7 Pro Nobsound

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Review: Douk H7 Pro, Part I

Part II (on XLR use)

Surprise! I'm actually in the middle of writing another article that shall tell the story better. But, hell, sometimes we usurp our own order, even upstage ourselves. Let it be known that I have a couple of new toys, and this one is perhaps easier to start with, even if it didn't appear so at first.

As you know, I'm not usually a solid state person but lately I've been using the Beydas 11 ohm "LS3/5A", and I know it can take to solid state amps just as well as (or even better than) tube amps. So, during a recent visit to Douk, I spotted this amp, which looks marvelously finished, and I brought it home (some kind of pet mentality, or sheer vanity?). This one is a higher powered one, a TPA-3255 amp that is able to take 48V DC. It's akin to the Aiyima A-08 Pro which ELO has reviewed before and still uses. So, I decided to give it a try, with the thought that if it passes my initial muster I'd have ELO compare it with the A08 Pro.

Built and Ergonomics Not much to comment on. The gun-metal finish is fabulous. Internals look well built with good components. This is just a simple amp. No digital input, no BT. No Op-amp sockets for swapping. Unlike its predecessor H7, this Pro version has a single volume knob, balance knob and dual meters. The meter sensitivities are adjustable via pots on the bottom. For the Inputs, there is one RCA and, unusually, one XLR.

Steup I just brought back the amp, without box or anything else. Standard PS I think is 32V, but for testing I just used my Aiyima T9's 24V SMPS supply. IMHO, the less the power the better (if your loudspeakers are reasonably efficient). The H7 Pro is barely warm even after running for the whole day.

Run-In Be patient, it took a while (at least several full days of play) for the amp to run-in (as well as for me to acclimatize again to solid state). Run-in definitely smooths out the initial rough edges, which are particularly noticeable in classical music. In case you don't know (say, you're Ken Kessler) vocals, jazz, pop are the easiest to reproduce and classicals the hardest. Many systems can pass with jazz and pop but fail miserably with classical; far too may in my experience. Mind you, I don't look at this from a classical music vantage point; rather, my system must play everything well!

Associated Equipment With the Beydas "LS3/5A" as mentioned. DAC initially was my default workhorse 1-bit  TDA-1305, later an exciting new toy (a tubed DAC/BT/Preamp) which shall for now (not for long) remain unnamed. Preamps tested were the usual Tubed suspects, ETA 6N3 SRPP, Douk T8 Pro, Douk E6 and my 6J4/6P3P Preamp.

Performance I didn't expect to review this so soon, but everything went smoothly after patient run-in. Marvelous!

• A Word on Cables I basically used my regular cables (for interconnects, like Belden 8451), no different than when I'm using my tube amps. But, initially, for convenience, I recruited my Canare 4S10F 4-conductor bi-wire loudspeaker cable (normally hooked up to our keyboard and Sansui loudspeakers) just because I didn't want to upend my tube amps. But during the run-in, the sound proved to be too forward and a little sharp, so I reluctantly reverted back to my somewhat slower and darker (but more depth) "Belden 1309" and, voila! that smoothed out the sound significantly and they stayed.

• As Integrated Amp This means, in my case, DAC direct in, using the unit's volume control. From my listening, this is an amp with a passive volume control (no additional gain in "preamp stage"). Sound is decent and transparent, with good air, rhythm and pace. The initial bit of tightness and treble grain smoothed out with run-in. I right now have on hand 2 DACs, and they are very different, and the H7 Pro effortlessly shows the difference. Very good!

• With Tube Preamp Used as an amp, the volume is maxed out. Although each Preamp brings its own color, across the board a (Tube) Preamp brings additional benefits: more tonal sheen, better control and greater dynamics. Addition of preamp also makes the images a little more textured and clearer in outline. Of course, tubes make the soundstage larger and airier. The transparency of the H7 Pro means the differences between the preamps are very apparent: the 6J4/6P3P is slower in transient and less focused, which I preferred during run-in, but not afterwards; the ETA 6N3 SRPP (with JAN GE 5670) is very focused and airy but it developed problems (again); the tube-buffered op-amp based Douk T8 Pro (with 6CG7) proves to be a good match, well-tempered and with good transient speed. As for the Douk E6 , it imparts the most air and the largest soundstage.

• XLO Facilities I haven't tested this yet, as I don't have any XLR cables or adaptors here in SZ. But next time I go to HK I shall bring both the H7 Pro and T8 Pro with me to test out the XLR connection. Not only that, I could challenge the H7 Pro with the B&W Matrix 801 Mk II - a tall one indeed.

• vs Aiyima A08 Pro I don't have the Aiyima anymore. From my memory, I'd reckon the H7 Pro is a little smoother and more refined. But why rely on faulty memory? I shall get this to ELO, who is still using the Aiyima, for a fair comparison. Also, his Dynaudio Crafft is much harder to drive, so that's a good challenge. And, he has the larger power supply (36V). Whether he agrees with my assessment or not, I shall be happy with a large slice of truth!

I have been listening to this for days and haven't gone back to my tube amps yet. I don't miss the extra liquidity and that says a lot about the H7 Pro. Recommended without reservation!

Below are several albums played during this evaluation. Big complex works well rendered!

Stunning Varese (Vol 2 just as great) 

Muscular Elgar, This is BIG Brass galore and not for once the sound grates.

Wonderful 17th Century Spanish Music for trumpet and Organ

Wonderful scores even if you don't know the movies