Lynn reviews the EarMen L-Amp, a new dual JAN6418 NOS vacuum tube portable headphone amplifier and DAC with up to 1W of output power. It is currently priced at $399.
Disclaimer: This sample was sent to me in exchange for my honest opinion. Headfonics is an independent website with no affiliate links or status. I thank EarMen for their support.
Click here to learn more about EarMen products previously reviewed on Headfonics.
This article follows our latest scoring guidelines, which you can read in more detail here.
The name EarMen is synonymous with quality and portability (or transportability). Having reviewed all of the previous offerings from this sub-brand of Auris Audio, as well as the venerable Euterpe DAC/headphone amplifier from Auris, I am quite familiar with their offerings.
The EarMen Angel still sees regular usage within my system, not only for reviews, reminding me of the sheer power that is wrought from the company’s offerings.
Innovative to a point, the company now presents its first portable tube amplifier offering, the L-Amp, running NOS Raytheon JAN6418 tubes, and well protected on a suspension system.
I am honored to get the chance to review Media Sample #2 (my favorite number), with Miki’s signature blazoned on the back. If the company’s previous history is a foretelling of the future, the L-Amp will be quite good, indeed.
Features
The L-Amp is an integrated DAC and portable tube amplifier. It uses a single ESS SABRE DAC (32-bit, 384kHz PCM, DSD DoP128), paired with the NOS military grade JAN6418 USA-made tubes.
The dual tube setup is mounted on an innovative suspension system using 4 silicone O-ring mounts to reduce vibration, minimize mechanical feedback, according to the EarMen. A statement that bears out while listening.
While there is still the familiar “ping” of a tube amplifier, the isolation works its magic once the music starts. Plugging in headphones or IEMs will bring on a short, fairly soft “pop,” which is typical of amplifiers of this sort.
The fully balanced circuitry on both outputs runs seamlessly, with no need to change any switches. The power stage of the L-Amp then comes into play, built using the INA1620 Burr-Brown operational amplifiers to provide 1W at 8Ω.
I had no problem running the notoriously hard-to-drive SJY Horizon headphones on the L-Amp, which did surprise me.
To save battery power on your source, another USB-C input allows for an external power source. I utilized the L-Amp in both ways. A nice feature is the Full Power Protection, which automatically resets power to protect the headphones and the device from potential damage caused by overdriving.
Design
The glossy black rectangular L-Amp looks the part and, thankfully, does so without being prone to fingerprints. The top carries gold-plated 4.4mm balanced and 3.5mm single-ended headphone jacks, while the bottom carries the two gold-plated USB-C ports.
The left one is for data (and power if you do not use the other), and the right is for external power, should you want (or need) to save the battery of your source.
The front carries both EarMen and L-Amp in tasteful gold lettering. Set between the two is the window to the past, so to speak.
While the tubes do not light themselves up, the red LED behind gives off a tube-like glow to the Raytheon tubes. When activated, the red LED for Bass+ shows below the tubes as well.
The left side carries the aforementioned Bass+ switch, with the play/pause button above; both are withdrawn into an inset so they are flush with the side.
The right side carries the volume up and down buttons with the IEM switch above, again inset. The IEM switch quells any noise for sensitive IEMs, allowing the music to come forth silently.
The back carries two large, rounded rubber “feet” for use on your desktop, with the “Media Sample 2” and “Limited Edition” embossed between, along with Miki’s signature.
This is a classy-looking unit that really should be showcased. Those feet can do double duty when paired with your smartphone or DAP, stacking them like in the old days if you like.
I/O
The L-Amp provides the user with a single USB-C input. That’s it. But since pretty much all Smartphones and sources utilize USB-C now, that makes sense. Plus, why present more when this will provide for our musical needs?
You can either use the L-Amp straight from your source (losing about 3-7%/hour depending upon volume levels and source) or use the other USB-C port to run an external power option. I found no difference in the musical tonality between the two.
With either 3.5mm single-end or 4.4mm balanced jacks, the output side presents two simple options, too. The connection was straightforward and without issue.
USB-OTG
Since the L-Amp has only a USB-C input, this was an easy test. The connection was seamless and timely, especially if I ran the external power option.
While the L-Amp only used a few percentage points an hour, running from a dedicated power source helped alleviate the drop. I did find it best to “warm up” the device for a small bit of time before listening.
Of course, the L-Amp functioned well without an external battery source, and I only lost 5-7% per hour from my iPhone 16 Pro Max. This is much better than other devices I have tested in the past.
Controls
A minimal number of options are available for the user to control, but still vital. On the right side, you have the volume up and down button and the necessary IEM switch, which minimizes potential noise for sensitive IEMs.
The right carries the play/pause button and the Bass+ button, adding more weight to the already hefty sound signature. I ran the Bass+ on the majority of the testing period, especially for headphones such as the Kennerton Rognir, which run a bit bass-light in depth anyway.
Packaging & Accessories
The EarMen L-Amp comes in a rectangular box, with a clamshell-type opening, which reveals the unit tucked safely into a soft foam insert. Once you open the box, you catch sight of the glossy L-Amp, and the tubes front and center.
Tucked under the L-Amp is the familiar mesh carrying pouch, along with two USB-C to USB-C cables. One of the cables is about 9” long for stacking purposes, and the other is about 18” for desktop usage. You also get the user guide and warranty card.
Sound Impressions
Listening impressions were made using my iPhone 16 Pro Max, HiBy R4, FiiO JM21, and my MacBook Pro as sources. Headphones and IEMs used throughout the test included the SJY Horizon, Kennerton Rognir, Campfire Audio Supermoon, and the Drop x Campfire Audio Dark Star.
The L-Amp was ‘burned in’ for over 75 hours before critical listening occurred.
Summary
The precision with which the ESS shows forth counters the tube-like sound with aplomb. An excellent balance between the two allows the listener to experience both, much like you would on a desktop unit.
I found the power completely adequate to drive even the hardest headphones I own, the SJY Horizon, without a bother.
This shows that power is not an issue and can be controlled even with those harder-to-drive units. IEMs, on the other hand, benefit from the IEM switch, darkening the background to a minimum, especially with the notoriously delicate Campfire Audio offerings.
What transpired is a thoroughly organic, yet musical sound emanating forth with deep-reaching bass (especially with Bass+ on) that flowed without bother into the sumptuously tube-like midrange.
The treble reach, while not far-reaching, lends enough presence to expand the height of sound offered. Vocals come across as thick and lush but accurate, finishing off the L-Amp sound signature.
Bass
The bass is definitely enhanced with the Bass+ switch, which became my preferred choice with headphones and IEMs that may seem “bass-light,” such as the Rognir.
Contrary to that, the Kennerton provides an excellent foundation instead of massive amounts of low-end grunt. Adding the Bass+ afforded the music to carry forth into the lower-midrange, but without encumbering the mids.
The bass quality is what you might expect from a tube amplifier, good to excellent, but without the tightness of a true solid-state offering. To many, this is the absolute appeal of an amplifier such as this.
I just came off a tube amplifier review, and moving to this one affords an excellent comparison between the two. While the true desktop unit can indeed come across with true tube-like sound, the L-Amp claims itself well, providing good low-end reach, even if not the most controlled.
Mids
The ESS chip makes its presence here probably the most, with a precision that is most definitely from that familial line. While the slower signature down low can present a more mellow offering, the midrange brings forward an alacrity to it that keeps the music moving.
The level of detail from the ESS chip makes itself heard, with a precise detail retrieval that gives the L-Amp that balance of which I spoke above.
The midrange is an easy listen when combining the two, giving me a liquid presence that provides very good clarity and a slight crispness to the sound that a pure tube amplifier might not match.
That balance carries over into vocals, too. The musicalness presented, especially with certain genres such as jazz, promotes a sultriness to the vocals, which gives the impression of being right at the show.
That should not overrun the accuracy of vocals, either. More defined music can still present itself as accurate, musical, and natural at the same time.
Treble
That accuracy comes forth in the treble region besides the upper midrange. Instruments that should be precise and present, but not overbearing, come about with levels of detail that show precision, but not in a dry manner.
That liquidity carries into the upper reach, presenting just enough detail to show extension without becoming too peaky or sparkly.
The treble region is probably where I found the most detail when using IEMs. Brighter offerings such as the Supermoon did come across with more background noise, but this could be mostly calmed by using the IEM switch.
However, once the music started, that noise was relegated to the very back without issue.
I also found headphones that carry a typically brighter signature, such as the Rognir, to come across without bother, and I even used the IEM switch with those to provide a comparison, listed below.
Staging
The cubic effect of the soundstage is appreciated for its accuracy in representing the location of all involved in the presentation.
The width is excellent, presenting an out-of-the-head experience that is spacious and roomy, but not too expansive so that the music thins in quality.
The depth presents accurate to-and-fro affirmation of placement, while the height affords the listener with a good representation of imaging and layering. This might help to explain why the vocals come across as musically accurate with good weight without becoming strident or peaky.
With each layer working in concert in this effect, the result is an accurate representation of the source music, but with a more laid-back nature to it.
Note weight is thicker, promoting a lush character that is neither too thin nor too thick, which can sometimes happen when note weight overtakes transient response.
This note body gives the whole presentation a likeness of a full-on tube amplifier but without becoming slushy or too drippy, which is an excellent trick.
Click on page 2 below for my recommended pairings and selected comparisons.
