{"id":16973,"date":"2025-09-27T11:05:14","date_gmt":"2025-09-27T09:05:14","guid":{"rendered":"https:\/\/audio-2g.com\/?p=16973"},"modified":"2025-09-22T17:02:09","modified_gmt":"2025-09-22T15:02:09","slug":"musical-fidelity-b1xi-amplifier","status":"publish","type":"post","link":"https:\/\/audio-2g.com\/en\/musical-fidelity-b1xi-amplifier\/","title":{"rendered":"Musical Fidelity B1xi Amplifier"},"content":{"rendered":"\t\t
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Musical Fidelity B1 xi<\/b><\/h2>

About a couple of years ago Musical Fidelity<\/a> brought out on the market a new version of one of its great successes of the past, namely theA1, which we covered extensively on our site<\/a> and of which we made a video review. Today the British company is back on the same beat by offering an updated version of the Musical Fidelity B1, which was the inexpensive (690,000 lira) alternative to the A1 at the time it made its debut, which was in 1990. The legacy left by that model is challenging to say the least, on the level of that of the A1, if only because of the names of the designers who conceived it-Antony Michaelson and Tim De Paravicini. <\/i><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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The original Musical fidelity B1 from 1990<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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It should be noted that in the case of the A1, Musical Fidelity showed extraordinary care and a philological approach, basing itself on the original design and modifying its structure only to the extent that it was absolutely necessary (e.g., the unavailability of internal components no longer manufactured) or decidedly utilitarian (e.g., the addition of the remote control). Nevertheless, the new A1 still remained a fully analog amplifier operating in Class A. <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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The appearance of the new B1 xi differs significantly from those of its predecessor<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Musical Fidelity B1xi: design<\/b><\/h2>

So we imagined that for the new B1-which is actually now called the B1 xi-Musical Fidelity would follow the same approach. After studying and testing it, we can say that things have turned out differently. The new B1xi does not have much in common with the historic model from which it takes its cue, right from its appearance. On the black front panel-the only color option available-is a large volume knob in the center with nine source selection buttons on either side. Then there is a power switch, a headphone output, and a 3.5 mm line input. Interestingly, the iconic angled edges of the original model, top and bottom, are still present but have become much smaller. <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Front panel of the Musical Fidelity B1 xi, note the line input next to the headphone output on the right<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Musical Fidelity B1xi: connectivity<\/b><\/h2>

The versatility of this unit is ensured by a wide range of connections: in fact, we have four analog line inputs and a phono input that only accepts signal from MM cartridges (the old B1 handled MM and MC instead). The presence of some digital inputs indicates that the B1xi is a current integrated. Thus we have the inevitable coaxial, optical and an HDMI with ARC that accepts only PCM signals (24 bit\/192 kHz). Interestingly, HDMI ARC is now becoming more important than USB-B (which in fact the B1xi does not have); in its place is a Bluetooth module compatible with several CODECs: aptX, aptX HD, AAC as well as the basic SBC, of course. After all, the users of these entry-level <\/i>amplifiers favor the convenience and practicality of the wireless <\/i>connection, and it seems that almost no one now wants to connect and play music from the computer (via USB), since for a few hundred euros it is possible to buy a streaming player such as WiiM Ultra or Bluesound Node and the like. Perhaps it is on the basis of this consideration that on the rear panel of the Musical Fidelity B1xi Amplifier we find a USB-C socket that is actually only a power source to which to connect the eventual external device for streaming, thus avoiding penalizing its performance due to a power supply that, in most cases, is not of good quality. Finally, we report that, in addition to the analog inputs (RCA), there is also an output from the preamplifier-subservient to the volume control-for bi-amping or for a sub woofer; however, a fixed voltage output is missing. <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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The range of connections is particularly rich and includes, among other things, an HDMI ARC. The USB-C port provides only 5V power since it is not connected to the digital <\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Technical Analysis<\/b><\/h2>

The design of this new B1xi springs from the pen (perhaps it would be better to write from the keyboard) of Mr. Simon Quarry whom we had met and interviewed at the time of the presentation of the new A1 of which he was the designer. The “non-philological” approach reserved for this B1xi allowed him to make choices that improved on the original while remaining true to the sonic setting. The main power supply employs a large toroidal transformer flanked by a smaller but still linear standby<\/i> section. One refinement is the power supply section for the preamplifier section, which is separate from the digital and power section. Most of the analog circuitry (including the power capacitors for voltage leveling) is on a board that takes up most of the available space inside the metal cabinet with extruded aluminum front panel. The Musical Fidelity B1xi Amplifier is a Class AB integrated amplifier using as active devices a pair of Toshiba 2SA1941\/2SC5198 per channel mounted in contact with a single heat sink located near one of the two sides. Volume control is by a motorized analog potentiometer from SoundWell. The speaker outputs are protected by a relay. The signal from the power section is also used for the headphone output via a resistor voltage divider. The phono preamplifier is based on the NE5532 op amp. <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Detail of the power section with the four Toshiba transistors.<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Turning to the digital section we note that some features that we find on most integrated amplifiers currently on the market are not present: here there is no trace of network connectivity (neither wired nor WiFi), no display and no app through which to control the amplifier. However, the manufacturer takes pride in this choice, saying that the economic resources needed to implement these features were “diverted” to the design and implementation of the sophisticated power supply and amplifier stages. Musical Fidelity is convinced (and we agree) that there are excellent digital streamers<\/i> on the market today, even very inexpensive ones, that can be matched with this amplifier. So there was no reason to put such a module inside it that would have risked worsening its performance. <\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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There are two digital boards: input\/DAC\/Bluetooth and HDMI. Both are located above the amplifier board. <\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Relative to the digital section we have two separate modules: one plays the usual role of digital-to-analog converter, while the second is used to handle the HDMI socket. The chip used for D\/A conversion is an ES9018K2M, a model that is no longer very new but still very good; its dynamics reach 127 dB and it is theoretically capable of handling PCM 32\/384 and DSD256 digital signals. However, due to the specifications of the available inputs, the B1xi does not take full advantage of this potential; next to the converter is Qualcomm’s small Bluetooth module. After conversion to analog, signals from the selected input are transferred via a short cable to the underlying analog board and reach the preamplifier section. The HDMI ARC module is not on this board but, as mentioned earlier, on a dedicated board. <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Detail of the main power supply sections with the generous toroidal and standby transformer placed on a dedicated board along with the mains filter<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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For the B1xi Musical Fidelity claims a power rating of 60 W into 8 \u03a9 and 85 W into 4 \u03a9, which is, moreover, several more than the original B1. These are values that provide good freedom in the choice of speakers to match. It leaves somewhat more perplexed the stated value for the damping factor, which stands at a modest 30. <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Image taken from the manufacturer's documentation showing the various blocks and functional sections<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Musical Fidelity B1xi: listening<\/b><\/h2>

When we reviewed the Musical Fidelity A1 we asked ourselves the following question: should an amplifier that evokes not only the image, but also the name of a classic product, limit itself to imitating it outwardly or should it reproduce its sonorities as exactly as possible, even though current technology would premise doing more and better? As I have already had occasion to report the new A1 goes in the direction of respecting both the appearances and the sound of its predecessor while making undeniable improvements. We were also able to realize this thanks to the availability of a vintage example with which we were able to carry out direct comparisons. In the case of the new Musical Fidelity B1xi Amplifier we had no such opportunity and thus were forced into a rather strenuous exercise of memory. In any case, the mere presence of the digital section is an indication of the adaptation to contemporary times with the consequent detachment of this model from its predecessor, at least from a functional point of view. Perhaps this will turn the nose up at some “purists”; I am also convinced that most potential buyers will appreciate such equipment instead. <\/p>

But let us come to the sound whose strengths are timbre and a pleasant feeling of plasticity. The Musical Fidelity B1xi Amplifier has its own way of presenting music to the listener that is made of immediacy, warmth, simplicity. It almost seems to go out of its way to put the listener at ease in a kind of Comfort Zone<\/i> where there are no excessive contrasts in timbre and dynamics, but a sense of relaxed pleasantness reigns. After all, considering the audience for which it was intended, this approach seems to us particularly suitable. In short, that spasmodic search for detail at very high resolution, those dynamic (even microdynamic) contrasts that so enthrall the shrewd listener, accustomed to the wonders of the High End, might also prove indigestible to the beginner in the magical and varied world of audio. So welcome this integrated amplifier, which with its simplicity has the ability to entertain, amuse and fascinate with sounds that tend to evoke the sound of an analog source, even if you are listening to a CD or digital stream. <\/i> <\/p>

Wanting to make a description on the basis of the various frequency groups, we could say that the low range has a fair amount of body, is timbrally reliable but, very importantly, has good control that allowed it to “tame” the various speakers to which we connected the B1xi. The midrange is not particularly open, in fact it tends to favor the warmer tones, while the highs are clean, soft and never brazenly exhibited. In short, an understated, elegant timbral balance that is by no means accidental, but rather – I believe – carefully thought out and stubbornly sought. Thinking about it coldly I had imagined that Musical Fidelity would force more sonic differences between the A1 and B1xi, so as to offer a choice even though the costs of the two devices are significantly different. In retrospect, I can say that the sound of the two amplifiers is certainly not the same, but it still belongs to the same school. Perhaps this also stems from the fact that the designer is the same person. Compared to the A1, the B1xi offers far more power and superior versatility. However, in the A1’s favor is the undeniable appeal exerted by Class A, with all that it implies in terms of sound and a much more beautiful, identifiable, and truly evocative design than its predecessor. <\/p>

In conclusion, we can say that once again Musical Fidelity has nailed it. The Musical Fidelity B1xi Amplifier is a well-balanced proposition in terms of performance and offered at an entirely appropriate price. Testifying to this is its recognition as an EISA Best Value Integrated Amplifier 2025-2026<\/a>. <\/p>

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The edges of the front panel are less pronounced than in the original B1<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Specifications<\/b><\/h2>