iFi Go Blu Air Review

 

Introduction:

iFi Audio has a well-established identity in the portable DAC/amp segment, built around a design philosophy that separates processing functions into distinct stages rather than combining everything into a single chipset. The Go Blu Air is the more accessible, lighter sibling of the original Go Blu, sharing the same three-stage Bluetooth architecture while trading the original’s brushed aluminum chassis and USB DAC functionality for a translucent polymer shell, a detachable magnetic clip, and a more portable form factor at a lower price. At $129 USD, it is positioned as the daily-carry option for listeners who want the Go Blu’s core sonic character without the premium build materials or the wired USB input.

At 31 grams and measuring 53.5 x 33.7 x 19.5mm, the Go Blu Air is genuinely pocketable in a way that DAPs and larger Bluetooth receivers simply are not. Its Qualcomm QCC5144 Bluetooth chipset handles wireless reception exclusively, passing the signal to a Cirrus Logic MasterHiFi DAC for conversion, before a twin-mono amplifier stage with OV Series op-amps delivers up to 262mW into 32 ohms through the balanced 4.4mm output. The result is a device that manages to pack a meaningful amount of engineering into a form factor that comfortably disappears into a shirt pocket.

 

Disclaimer:

I would like to thank iFi Audio for providing the Go Blu Air as a review sample. I am not affiliated with iFi Audio beyond this review, and these words reflect my true and unaltered opinions about the product.

 

Price & Availability:

The iFi Go Blu Air is priced at $129 USD. It is available through the official iFi Audio website and authorized dealers worldwide, including Audio46, Bloom Audio, and Apos Audio. For more details or to purchase:

• iFi Go Blu Air Bluetooth DAC/Amp

 

Package & Accessories:

The Go Blu Air ships in a compact box with a clean, no-frills presentation. Inside, the device is nestled in foam alongside its accessories. The package is intentionally minimal, reflecting the product’s identity as a practical portable tool rather than a premium unboxing experience.

The full package includes:

• 1 x iFi Go Blu Air Bluetooth DAC/Headphone Amplifier
• 1 x Detachable Magnetic Belt Clip
• 1 x USB Type-C Charging Cable
• 1 x Soft Protective Pouch
• 1 x Quick Start Guide

The magnetic clip is the most practically significant inclusion. It attaches to the rear of the device via a secure magnetic interface, allowing the Go Blu Air to be clipped to a jacket lapel, bag strap, or belt without any additional accessories. The attachment is firm enough for active use without excessive force required for removal. The soft pouch provides basic protection during transport. No coaxial cable or ear tips are included, which is appropriate given that this is an amplifier rather than an IEM or source device.

 

 

Design & Build Quality:

The Go Blu Air’s translucent smoky polymer chassis is immediately distinctive. The material is opaque enough in flat light to appear a deep charcoal grey, but in direct or angled lighting the internal circuitry becomes partially visible through the shell, giving the device a subtle industrial character. It is not the most conventional aesthetic for an audio product at this price, and opinions on it will differ, but it is at least genuinely distinctive in a product category dominated by plain black or silver rectangles.

The front face of the Go Blu Air is covered with a soft-textured matte black panel that provides a grip surface distinctly different in character from the translucent polymer panels on the other faces.

The ChronoDial sits at the center, a combined volume control and multi-function button inherited from the original Go Blu. It controls volume through rotation, and clicking the center performs playback functions: a single press for play/pause, and press-and-hold sequences for track navigation, etc.

‒ Volume Control (Turn)

‒ Play/Pause (Single Tap)

‒ Skip Forward (Double Tap)

‒ Skip Back (Triple Tap)

‒ Wake Voice Assistant (Long Press)

The dial’s rotation has a deliberate, slightly stiff action that works in its favor for portable use, resisting accidental volume changes from contact with pockets or bags. The tactile experience of the dial is noticeably less refined than the metal ChronoDial of the original Go Blu, and the silicone material accumulates minor wear marks over time, but it functions reliably throughout extended daily use.

The top edge houses the two headphone outputs: a 3.5mm single-ended S-Balanced output on the left and a 4.4mm balanced output on the right. The output jacks are recessed slightly into the panel surface, which provides a degree of strain protection for cable connections but limits compatibility with plugs that have large-diameter outer barrels. Standard straight 3.5mm and 4.4mm plugs engage cleanly and hold securely. Between mutifunctional dial and the headphone out jacks, a tri-color LED indicator communicates the current mode: the color reflects XBass status, XSpace status, or both engaged simultaneously, alongside Bluetooth connection and digital filter selection states. The LED is bright enough to be read in direct sunlight and provides a reliable at-a-glance readout of the current operational state.

The left side panel carries the power button, which also serves as the Bluetooth codec announcement button and the digital filter selector when pressed in different sequences.

The right side features a clean layout, occupied only by the dial with the iFi branding on top and a second button. This button controls the Analogue Filter Selection (Off > XBass > XSpace > XBass + XSpace), Bluetooth Pairing, and Restore Factory Settings.

The rear panel integrates the magnetic clip mount point in a recessed channel that accepts the clip’s magnetic plate securely.

Located on the bottom surface for easy cable access when clipped upright, the USB-C port is joined by a battery status LED, a factory reset button, and a built-in microphone for hands-free calls.

The overall build is competent rather than premium. There is no flex in the chassis under applied pressure and no assembly inconsistencies at the port or button edges, but the polymer material communicates its economy class clearly compared to the original Go Blu’s metal construction.

 

Technical Specifications:

• Model: Go Blu Air
• Bluetooth Chipset: Qualcomm QCC5144
• Bluetooth Version: 5.2
• Supported Codecs: LDAC, LHDC/HWA, aptX Adaptive, aptX HD, aptX, AAC, SBC
• DAC: Cirrus Logic MasterHiFi
• Amplifier: Twin-Mono with OV Series Op-Amps, TDK C0G and muRata Capacitors
• 4.4mm Balanced Output Power: >262mW at 32 Ohms; >52mW at 600 Ohms (2.9V / 5.6V)
• 3.5mm S-Balanced Output Power: >165mW at 32 Ohms; >14mW at 600 Ohms (2.3V / 2.9V)
• Output Impedance: Less than 1 Ohm (both outputs)
• THD+N: Less than 0.009% Balanced at 600 Ohms / Less than 0.03% SE at 16 Ohms
• SNR / DNR: Greater than 110dBA (both outputs)
• Analog Features: XBass (analog bass enhancement), XSpace (analog soundstage enhancement), combinable
• Digital Filters: Standard and Minimum Phase (selectable via side button)
• Microphone: Built-in MEMS mic with noise reduction for calls
• Battery: Lithium-Polymer 450mAh, approx. 10 hours playback
• Charging: USB Type-C, 5V / 1A minimum (BC V1.2 compliant, up to 1000mA / 6.3V)
• Connectivity App: iFi Nexis (firmware updates, codec management)
• Dimensions: 53.5 x 33.7 x 19.5mm
• Net Weight: 31g (without magnetic clip)

 

Features & Connectivity:

The Go Blu Air’s triple-stage architecture is the defining technical feature that separates it from simpler Bluetooth receivers. Most portable Bluetooth DAC/amps rely on a single System-on-Chip that handles Bluetooth reception, DAC conversion, and amplification simultaneously. iFi keeps these functions separate: the QCC5144 receives the Bluetooth signal and handles nothing else, the Cirrus Logic DAC performs the digital-to-analog conversion independently, and the twin-mono amplifier stage drives the outputs with its own dedicated power path and component set. This separation reduces crosstalk and allows each stage to be optimized for its specific function rather than representing a compromise across multiple tasks in a single integrated circuit.

Bluetooth 5.2 connectivity is stable and reliable across all sources tested in this review. LDAC at 990kbps connected without difficulty to LDAC-capable Android sources and maintained the connection without dropout during typical office and commuting conditions. aptX Adaptive was equally stable. AAC performed well with iOS sources, though iOS users are naturally limited to the AAC ceiling without an LDAC-capable Bluetooth transmitter. Connection range under LDAC is limited to approximately 3 to 4 meters before intermittent dropouts appear, which is a known behavior of the LDAC codec’s higher bandwidth requirement rather than a deficiency specific to this device. Less demanding codecs such as aptX or AAC maintain more robust range.

XBass and XSpace are analog circuits rather than digital signal processing additions, which means they do not introduce the phase artifacts or digital coloration that DSP-based bass and soundstage enhancement can produce. XBass adds a gentle lift centered in the sub-bass region, with the most audible effect appearing below approximately 80Hz. It is particularly useful with open-back headphones where low-frequency extension is naturally limited by the open baffle. XSpace widens the perceived soundstage by adding a degree of crosstalk cancellation and upper-frequency air, giving closed presentations a more expansive character without introducing artificial reverberation. Both can be engaged simultaneously. The iFi Nexis app enables firmware updates and codec preference management but offers limited configuration beyond these basics, which some users will find appropriate for a device of this simplicity and others will find restrictive compared to competitors with full EQ capabilities.

 

Battery Life:

The 450mAh battery provides approximately 10 hours of playback, which iFi rates conservatively. Real-world testing with LDAC at moderate listening volumes through both IEMs used in this review produced results ranging from 9 hours 15 minutes to just under 10 hours, consistent with the stated specification. With less demanding codecs or at lower volumes, somewhat longer runtimes are achievable. Charging via USB Type-C from a standard 5V adapter completes in approximately 1.5 to 2 hours. The Go Blu Air does not support USB Power Delivery fast charging, which means a standard charger rather than a high-wattage PD adapter is the appropriate choice. The ten-hour figure suits a full workday of listening without requiring a midday top-up, and the compact size makes it straightforward to carry a charging cable for longer trips.

 

Equipment Used for This Review:

• Bluetooth DAC/Amp  : iFi Go Blu Air, TimeEar BTE-9
• IEMs                           : Hidizs MP145 Pro, NOBLE Knight

 

Albums & tracks used for this review:

• Gogo Penguin – Raven
• Lorde – Royal Massive Attack – Angel
• Toutant – Rebirth
• Really Slow Motion – Deadwood
• Massive Attack – Angel
• Muse – The Handler
• Twerl – Lishu
• U2 – Sunday Bloody Sunday
• Lunatic Soul – The Passage
• Metallica – Sad but True
• Megadeth – Sweating Bullets
• Rush’s – Leave That Thing Alone
• Slayer – Angel of Death
• Liquid Tension Experiment 2 – Acid Rain
• Edith Piaf – Non Je Ne Regrette Rien
• Diana Krall – So Wonderful
• Aretha Franklin – I Say a Little Prayer
• Hayley Westenra – Odyssey Album
• Dionne Warwick – Walk On By
• Sarah McLachlan – Angel
• Sting – Englishman in New York
• Barry White – Just The Way You Are
• Isaac Hayes – Walk On
• Elton John – Rocket Man
• Eric Clapton – Wonderful Tonight
• Sting – Englishman in New York
• Casey Abrams – Robot Lovers
• Fazıl Say – Nazım Oratoryosu (Live)
• Chopin – Nocturn No. 20 In C-Sharp Minor
• Vivaldi – Le QuarttroStagioni “The Four Seasons”
• Otto Liebert & Luna Negra – The River

 

The Sound:

The Go Blu Air’s overall sonic character is slightly warm and smooth, consistent with what the Cirrus Logic MasterHiFi DAC and iFi’s OV Series op-amp amplifier chain typically produce. It is not a clinical or analytically inclined presentation: it adds a degree of tonal refinement and gentle harmonic smoothness to the signal that makes extended listening comfortable without softening detail to the point of obscuring it.

All sound impressions were formed via LDAC at 990kbps using an LDAC-capable Android source, which represents the Go Blu Air’s strongest wireless configuration. Comparisons between the 3.5mm S-Balanced and 4.4mm balanced outputs were performed with both IEMs throughout.

 

Bass:

The Go Blu Air’s bass is controlled, moderately warm, and better defined than its price and wireless format might suggest. Sub-bass extension is present and communicates the low-frequency content of recordings with genuine weight rather than a hinted approximation of depth. The Cirrus Logic DAC’s conversion maintains the structural integrity of deep bass information in a way that keeps sub-bass from sounding soft or vague. Sustained low-frequency content in electronic music and cinematic orchestral material arrives with a sense of physical grounding, and the decay of each bass cycle resolves cleanly without the blurring overhang that poorly controlled receivers can introduce.

Mid-bass carries a slight natural warmth that gives kick drums and plucked bass lines a satisfying, rounded density. This warmth is not an exaggeration of the recorded content; it is closer to the gentle tonal filling-in that a well-tuned analog path produces rather than a digital shelf applied to the signal. It is most audible in direct comparison with a more clinical source, where the Go Blu Air’s low-end gains a degree of physical body that technically flatter devices occasionally lack. With the Hidizs MP145 Pro, whose large-format planar driver produces a fast, lean mid-bass by nature, the Go Blu Air’s tonal contribution improves the sense of physical grounding in bass lines without slowing the driver’s inherent transient speed. The planar bass retains its precision while gaining a little more body around each note, which suits acoustic bass and cello recordings particularly well. With the NOBLE Knight, the Go Blu Air produces a balanced, full low-end presentation that handles jazz upright bass, orchestral double bass, and electronic bass lines with equal evenhandedness.

XBass, when engaged, operates as a purely analog circuit rather than a digital shelf or DSP boost, which means its effect integrates into the presentation without the phase artifacts or processing coloration that can make digitally applied bass enhancements sound artificial. The lift is centered in the sub-bass region and extends into the lower mid-bass with a gradual curve, reinforcing depth and physical resonance rather than adding mid-bass bloom. On open-back headphones or on IEMs with naturally restrained low-end extension, XBass is a genuinely useful tool that restores the low-frequency foundation that those transducers can underrepresent. On warmer IEMs, it can push the balance past neutral, and most listeners will find the standard mode more appropriate in those pairings. The practical versatility of having an analog bass adjustment available without navigating any menu or software is one of the more underappreciated aspects of the Go Blu Air’s feature set.

 

Midrange:

The midrange is the Go Blu Air’s most consistently satisfying region, and it is where the quality of the Cirrus Logic DAC’s conversion becomes most audible relative to less capable Bluetooth receivers. The presentation is natural, moderately forward, and largely free of the coloration that cheaper chips introduce, particularly in the upper midrange where many budget DAC/amps develop a thin, slightly brittle quality that makes voices and stringed instruments sound processed rather than recorded. The Go Blu Air avoids this characteristic consistently across both IEM pairings and across a wide range of musical material.

Male vocals in the bass-baritone register benefit from the midrange’s low-coloration character. Deep voices have the appropriate physical body and resonance in the lower midrange without the thick, congested quality that can emerge when a device adds warmth indiscriminately across the full midrange range. The fundamental tonal weight of a deep male voice is communicated with convincing accuracy, and the space around the voice, the breath, the room, the harmonic overtones, is preserved rather than smoothed away. Mid-baritone voices and tenor registers sit with good presence and tonal definition, occupying a clearly defined position in the soundfield without being pushed forward artificially or recessed behind bass content. Bass-heavy recordings that include prominent male vocals benefit particularly from the Go Blu Air’s balanced lower-midrange treatment, where the separation between bass content and vocal fundamental frequencies is maintained cleanly. Female vocals in the mezzo-soprano and soprano ranges are rendered with warmth and clarity in equal measure. The upper midrange region, where female voices typically concentrate most of their energy and where many sources introduce a brightness or edge that leads to fatigue, is handled with restraint and accuracy. There is sufficient presence to give voices a forward, engaged quality that draws attention to the performance without pushing the upper-mid energy into the kind of hard, clinical sharpness that makes analytical DAP sources tiring on certain IEMs. The subtle variations in dynamics within a sustained vocal phrase, the slight change in tonal color as a note moves from chest resonance to head register, the quality of breath between phrases, are communicated with a fidelity that rewards attentive listening and that makes long vocal-focused sessions genuinely enjoyable rather than gradually fatiguing.

Instrumental midrange reproduction reflects the same qualities. Acoustic guitars have natural body and string resonance. Piano in solo contexts carries appropriate key weight and harmonic depth. Strings in orchestral settings sit in a realistic tonal register with a woody, bowed character that avoids the false smoothness that over-processed digital sources impose on this material. The Go Blu Air does not resolve the last degree of midrange texture and harmonic micro-detail that wired reference sources with lower noise floors achieve, but the gap at this price and in this wireless format is considerably narrower than expected. With the MP145 Pro, whose forward and analytically inclined midrange benefits from a source that contributes tonal warmth without softening clarity, the combination produces a midrange presentation that is detailed, natural, and comfortable. With the NOBLE Knight, the Sonion BA midrange driver gains additional tonal body from the Go Blu Air’s contribution, and the result suits vocal-focused and acoustic material with good balance.

 

Treble:

Treble on the Go Blu Air is smooth, honest, and consistently fatigue-free across all material tested in this review. It does not use upper-frequency energy as a tool to create a first-impression sense of resolution and air, which means it does not impress immediately in a brief demo the way brighter, more forward treble presentations can, but it rewards extended listening by remaining comfortable and natural over sessions measured in hours rather than minutes. This distinction matters more than it might initially seem in a device designed for daily portable use.

Cymbal reproduction is one of the more revealing tests of treble quality, and the Go Blu Air handles it with a natural metallic texture that avoids both the dull, rolled-off presentation of weaker Bluetooth receivers and the sharp, over-etched quality of analytically bright sources. The leading edge of cymbal hits has a defined transient character that communicates timing and rhythmic information clearly. The shimmer and harmonic decay that follow each strike are reproduced with enough resolution to distinguish between different cymbal types and sizes, and the decay trails into the background naturally rather than cutting off abruptly or blurring with adjacent transients. Jazz recordings with prominent hi-hat and ride cymbal work benefit particularly from this quality, where the rhythmic and textural contribution of the percussion is communicated as a distinct and coherent musical element rather than a generalized upper-frequency presence.

Upper-string reproduction in orchestral material is handled with a similar balance of detail and comfort. Violin passages in their highest registers carry a natural brightness and presence without tipping into the grating, brittle quality that over-emphasized treble introduces in complex ensemble writing. The bowed texture of string instruments, the slight friction and rosin character that gives live strings their physical identity, is communicated as an audible quality rather than being smoothed into a generalized warmth. Orchestral string sections in complex tutti passages maintain their individual identity rather than collapsing into an undifferentiated mass of upper-frequency content, which speaks well of the treble resolution available from this Bluetooth device.

The two selectable digital filters produce a genuinely audible difference in the treble character, though the gap between them is subtle rather than dramatic. Standard mode produces a more relaxed, slightly softer treble presentation with marginally less leading-edge definition on transients. Minimum Phase mode shifts the impulse response in a way that gives the upper frequencies a slightly more forward and airier quality, with sharper transient definition and a greater sense of space above the midrange. Minimum Phase suits IEMs with an already-restrained or dark treble character, where the additional energy and definition improves the sense of extension and openness. Standard mode is the better match for brighter transducers where the softer presentation reduces the risk of fatigue. Neither filter introduces any harshness or tonal discontinuity: the choice is entirely about preference rather than avoiding a deficiency in either option. Sibilance is absent across all tested material with both filters, which is a consistent and practically important attribute for a device used with a wide range of IEMs in daily portable contexts.

 

Soundstage and Imaging:

The soundstage of the Go Blu Air is appropriately sized for a Bluetooth device, with a moderate lateral width and a reasonable sense of depth. XSpace extends the perceived stage meaningfully when engaged, adding a sense of air and openness particularly noticeable on recordings with wide stereo content. Imaging precision is adequate: instrument positions are stable and readable, though the absolute sharpness of placement does not match what wired sources with lower noise floors achieve. With both IEMs, the background is clean and quiet, with no audible hiss at any listening volume. For a Bluetooth receiver with less than 1 ohm output impedance and greater than 110dBA SNR, the noise floor management is genuinely impressive for the price.

 

Comparison:

iFi Go Blu Air vs. TimeEar BTE-9:

The TimeEar BTE-9 at $79.99 is a substantially more feature-rich device than the Go Blu Air: it includes an OLED display showing codec, volume, battery percentage, and gain mode; a 63-step digital volume control; a switchable high-gain mode; a 1000mAh battery rated for up to 20 hours; and a hybrid DAC architecture combining a Cirrus Logic CS43198 DAC with dual ESS9603 op-amps. It also supports USB audio input as well as Bluetooth, a capability the Go Blu Air omits entirely. The BTE-9’s output power from the balanced 4.4mm output is 240mW at 32 ohms, marginally below the Go Blu Air’s 262mW but within the same practical tier. On paper, the BTE-9 appears to offer substantially more for half the price.

In practice, the comparison is more nuanced. The BTE-9’s feature set is genuinely useful and its battery life advantage is significant for users who travel or listen for extended periods. Sonically, however, the Go Blu Air’s smoother, more natural midrange and cleaner treble character give it an edge in tonal refinement. The BTE-9 is energetic and well-resolved, but it carries a slight upper-midrange forwardness that can become noticeable on brighter IEMs or with close-mic’d vocal recordings. The Go Blu Air’s Cirrus Logic DAC and OV Series op-amp chain produce a more composed, fatigue-free presentation that suits long listening sessions with a wider range of IEM pairings. XBass and XSpace are analog implementations that the BTE-9’s digital processing cannot fully replicate in character. The Go Blu Air is also Bluetooth 5.2 versus the BTE-9’s 5.1, though the practical audible difference is minimal. For listeners who prioritize features, battery life, and value, the BTE-9 is the stronger proposition. For those who prioritize sonic smoothness and iFi’s house character in a Bluetooth-only format, the Go Blu Air justifies the additional cost.

 

Conclusion:

The iFi Go Blu Air delivers a focused and well-executed wireless listening experience at $129. Its triple-stage architecture, Cirrus Logic DAC, and OV Series amplifier combine to produce a sound that is consistently smooth, tonally natural, and free of the harshness that can affect more aggressively tuned Bluetooth receivers. Bass is warm and controlled. The midrange is honest and comfortable for both male and female vocal reproduction. Treble is extended and sibilance-free. XBass and XSpace are useful, analog-implemented enhancements that work as intended without coloring the character unnaturally. The 10-hour battery life suits most daily listening patterns, and the detachable magnetic clip makes the Go Blu Air genuinely convenient to use in motion in a way that devices without one are not.

The limitations are clear and worth acknowledging before purchase. The polymer chassis looks less expensive relative to the original Go Blu. There is no USB DAC functionality, limiting the Go Blu Air to Bluetooth-only use. No companion app EQ is available beyond codec management. However, for listeners seeking wireless Bluetooth audio with iFi’s characteristic tonal refinement in the most portable and accessible format the brand offers, the Go Blu Air is a straightforward and satisfying recommendation.

 

Pros & Cons:

• + Smooth, tonally natural sound with no harshness or sibilance across either IEM pairing
• + Cirrus Logic MasterHiFi DAC and OV Series op-amps deliver measurably low distortion and a clean signal path
• + Bluetooth 5.2 with comprehensive codec support: LDAC, LHDC/HWA, aptX Adaptive, aptX HD, aptX, AAC, SBC
• + 262mW balanced output provides adequate headroom for IEMs and moderately demanding headphones
• + S-Balanced 3.5mm output reduces crosstalk for sensitive IEM pairings
• + XBass and XSpace are analog implementations that add useful tonal shaping without digital artifacts
• + Detachable magnetic clip is secure and genuinely useful for active portable use
• + Extremely compact and light at 31g and 53.5 x 33.7 x 19.5mm
• + Built-in MEMS microphone with noise reduction for calls

 

• – Polymer chassis does not match the build quality of the original Go Blu
• – No USB DAC functionality: Bluetooth-only signal input limits versatility compared to competing devices
• – No companion app EQ; sound shaping limited to XBass, XSpace, and two digital filter options
• – Slight hiss audible with very high-sensitivity IEMs above approximately 116dB SPL in very quiet environments

 

Thank you for the Read!