Guide to Preamplifiers & Power Amplifiers

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Contents Sponsored by Pre/Power Amp Power Features Cominations Preamplifiers Amplifiers • From the Editor • The Ten Most Significant Amplifiers of All Time • The Ten Most Significant European Amplifiers of All Time • Editor's Choice: • Aesthetix Rhea Signature • Electrocompaniet EMC 1UP, • conrad-johnson ET3 preamp • Almarro A340A Monoblock Power Amps phono stage, Calypso EC4.8 and Nemo system • Holm Acoustics DSPre1 Digital Power Amplifier • Editor's Choice: Signature line-stage preamp • Lamm LL1 Signature Preamplifier Preamp and Room/Speaker • Audio by Van Alstine Preamps and Atlas Signature hybrid and ML3 Signature Amplifier Correction Device Ultravalve Power Amplifier and monoblocks • Musical Fidelity M6CD, M6PRE • Marantz SC-7S2 Reference Salk Sound SongTower QWT • Ayon Audio Vulcan II and M6PRX CD, Preamplifier and Control Amplifier Loudspeaker Power Amplifier, Polaris III Power Amplifier • Siltech C1 preamplifier • Classé Audio CA-M600 Preamplifier, and CD5s CD • Mystère CA21 Line Preamplifier Monoblock Power Amplifier Player/DAC and PA21 Power Amplifier • DarTZeel NHB-458 • Burmester Top Line System • Octave Jubilee Mono Monoblock monoblocks • Cary Audio SLP 05 Linestage Power Amplifier and Preamplifier • Edge G6 power amplifier Preamplifier and CAD 211 FE • Quad 99 Series Preamplifier and • Krell S-150m Monoblock Power Monoblock Amplifiers 909 Stereo Power Amplifier Amplifier • David Berning ZOTL- One • Vincent Audio SA-31MK Hybrid • Mark Levinson Nº53 Preamplifier and ZH-230 Linestage Preamplifier and Monoblock Power Amplifier Power Amplifier SP-331MK Hybrid Power Amplifier • NuForce Reference 18 Monoblock Power Amplifier

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STEREO • MUSIC

GUIDE to Preamplifiers & power Amplifiers

publisher...... Chris Martens senior writers...... Anthony H. Cordesman NextScreen, LLC, Inc. editors-in-chief...... Robert Harley Wayne Garcia chairman and ceo . . . . Tom Martin Alan Sircom Robert E. Greene vp/group publisher. . . . Jim Hannon Chris Martens executive editor. . . . . Jonathan Valin Tom Martin acquisitions manager Dick Olsher advertising reps . . . . . Cheryl Smith and associate editor. . . Neil Gader Andrew Quint (512) 891-7775 founder; chairman, Paul Seydor Marvin Lewis editorial advisory board. . Harry Pearson Steven Stone (718) 225-8803 Alan Taffel music editor...... Mark Lehman Pete Trewin reviewers & +44(0)1425 655699 contributing writers. . . Peter Breuninger creative director. . . . . Shelley Lai Jacob Heilbrunn production coordinator. . Aaron Chamberlain Roy Gregory To sign up for Buyer’s Guides Kirk Midtskog alerts, click here Chris Thomas Address letters to the Editor: The Absolute Sound, 8868 Research Blvd., Austin, TX 78758 or [email protected] or [email protected] ©2011 NextScreen, LLC 4 Guide to Preamplifiers & Power Amplifiers www.theabsolutesound.com

elcome to the 2011 Preamplifier and Power Amplifier Buyer’s Guide, brought to you by The Absolute Sound and Hi-Fi+ magazines. A year ago, we published a similar guide on the subject and Wit’s fascinating to see just how much change has happened in those intervening months. We are

in a time of great change in audio and that even Electrostatic loudspeakers? Why not try an output- twists and turns in the amplifier chain are only possible when echoes through the pre/power amplifier sector. transformerless tube power amp for a magical mix? Whether using separate preamplifiers and power amplifiers. In this relatively short time, the high-end integrated amp it’s driving ‘difficult’ loudspeaker loads or ensuring the best In this Buyer’s Guide, we’ve concentrated on reviews of – especially the high-end digital integrated amp – has found possible power supply to each amplifier in the signal path, standalone preamplifiers, standalone power amplifiers and even greater traction and provides yet more of a challenge to separate preamplifier and power amplifier systems provide one-make combinations of pre and power amp. You shouldn’t the dominance of pre/power combinations. Whereas at the the widest variety of choice and performance potential, and necessarily think those one-make combinations only work lower end of the audio world, the separate pre/power system the least compromise. in the context; there are many excellent products in those has become relatively uncommon and has seeing its market The pre/power market now perfectly reflects the diversity pre/power duos that should be considered in their own right, share continually cut into by one-box rivals. This last has, in today’s audio market. State of the art electronics rub not just as part of a double act. However, we chose these in fairness, been a trend that started in the 1960s and has shoulders with designs from the 80 years ago. Whether your as combinations simply because both parts of the pairing continued at pace ever since. system needs a low-power single-ended triode design or a had great merit and the natural partnership of preamp and But far from writing off the preamp and power amp as a fire-breathing kilowatt power house, there’s a power amp out power amp should be considered as a great first point of lost cause, the duo offer continued room for flexibility and there for you. Similarly, if it’s a full-function, multi-platform investigation. performance for today’s audiophiles. They offer the designer system nerve-center or a hyper-minimalist passive preamp Whether you are reading this in search of your next power the ability to tailor a design for a very specific set of needs you need, there are designs to suit. amp, or an integrated amp owner wondering what all the fuss and allow the end-user to configure an amplifier to perfectly It’s also possible to mix and match components for an is about, check out the following. They are the best of the suit their demands. Take turntables for example. Although excellent sound that would be impossible to obtain through best amplifiers you can hear today. Read on! the built-in phono stage is fast becoming a addition (rather normal means. There are many who think the path to musical than the core) to the traditional preamp, it still appears on Nirvana lies in using a tube preamp and a solid-state power many of the best new preamps. amplifier. There are others who think the polar opposite is the It’s the flexibility that really attracts high-end buyers. best way to make great sound, and there are still more who No turntable? Opt for a preamp without a phono stage? suggest all-tube or all-solid-state is the only way to go. Such

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The Ten Most

Significant 10 Audio Research Reference 600/610T This no-holds-barred assault on the state of the art in tube amplification is ARC founder William Johnson’s crowning achievement. The Reference 600 is the amplifier Johnson always wanted to Amplifiers of build—massive output power (550W), pure tube regulation, and cost-no-object implementation. Each monoblock featured 34 vacuum tubes, most of them 6550s (output stage and regulators). The result was an amplifier that produced prodigious heat, but also a very special musical magic. The 600 and its successor the 610T (now in a vertical, rather than horizontal chassis) set new standards in timbral All Time liquidity, freedom from grain, dimensionality, and, for a tubed amplifier, dynamics and bottom-end control. Perhaps the finest high-powered tube amplifiers ever made. Peter Breuninger, Neil Gader, Robert E. Greene, Robert Harley, Dick Olsher, Paul Seydor, and Jonathan Valin

hat amplifiers have had the most impact on high-end audio? Changed the market? Influenced future designs? WIntroduced new technologies or concepts? Established 9 NAD 3020 Integrated new sonic benchmarks? To answer this question, our senior writers each named the The modest NAD 3020 might lack the star-power of the other amplifiers on our Most Significant list, amplifiers they thought were the most significant, and explained but significant it is by virtue of its tremendous influence over an entire generation of music lovers. For why. From these individual selections we chose the Significant budget-minded listeners who cared about sound, the 3020 was the amplifier you bought instead of a Amplifiers of All Time. The Top Ten, presented in ascending order mass-market receiver. The 3020 sold in unimaginable numbers—1.1 millions units (even more if you of significance (No. 1 being the most significant), is followed by include variations on the basic circuit)—and in the process created tens or hundreds of thousands each writer’s individual selections. Harry’s Pearson’s selections, of dyed-in-the-wool audiophiles. Although not the last word in resolution or treble clarity, the 3020 along with commentary on each one, appear in this issue’s HP’s rendered music with a warmth and engagement that was the perfect antidote to the bright, sterile, Workshop. Let the controversy begin! grainy budget electronics of the day. Moreover, the 3020 sounded more powerful that its 20Wpc rating suggested, thanks to an innovative output stage designed for reproducing musical dynamics rather than impressing on the spec sheet.

The Ten Most Significant Amplifiers of All Time

8 Threshold 400A/800A 6 Marantz Models 8B/9

The Threshold 800A, the first product from a company newly formed by Nelson Pass and René Saul Marantz and Sid Smith’s two 1960s classics—the Model 9, a 70W monoblock amplifier Besne (the latter was responsible for the industrial design), took the audio world by storm upon its (switchable to 40W in triode mode), and the Model 8B, a 35Wpc stereo amp (switchable to 18W in introduction in 1975. Here was a high-powered amplifier that seemed to defy the laws of physics by triode mode)—were relatively low-distortion, highly stable (so stable in fact that NASA ordered slightly delivering lots of Class A output power from a large but still manageable chassis. The secret, which modified versions to drive their precision arrays of tracking antennas for the space program), ultra- Pass patented, was to vary the bias to the output transistors based on the characteristics of the audio linear, pentode (switchable to triode) power amplifiers that are still famous for their meltingly beautiful signal, keeping the output stage in Class A operation but reducing the bias (and thus heat dissipation) sound. If there ever was or has since been a sweeter amp than the Marantz Model 9, very few of us at idle and low signal levels. The result was a relatively cool-running, compact, and affordable Class have heard it. It was the essence of liquidity and loveliness—and a sonic model for some of the Class A amplifier that stood in stark contrast to the 25W or so of a similarly-sized statically-biased Class A A solid-state amps that came along in the 70s and later. Like the McIntosh MC275, it wasn’t a world- amplifier. That innovation, along with the triple-series, triple-parallel output stage, established Pass as beater in the bass or top treble and it was definitely on the dark side in overall balance, but, oh, that one of the most creative minds in amplifier design. midrange! The Model 8B was a drier, slightly sunnier-sounding amp than the Model 9, but like its big brother a thing of utter loveliness on voice and strings. Probably the most collectible amps in the world today, and like the McIntosh MC275 the very models of beautiful-sounding hi-fi gear.

7 Krell KSA-50/KSA-100

The KSA-50 wasn’t the most powerful or best-sounding product Krell ever made, but its sonic and 5 Mark Levinson ML-2 commercial success irrevocably changed the amplifier landscape. The KSA-50 established the “dreadnought” concept of power amplifiers, specifically that an amplifier could be unfazed by any This 25W pure Class A monoblock was groundbreaking in many respects upon its 1977 introduction. loudspeaker load. It’s no coincidence that Krell and Apogee, whose ribbon speakers were notoriously It demonstrated the virtues of exquisitely executed Class A amplification, set a new standard in clarity difficult to drive, ascended to prominence simultaneously in the early 1980s. The first Krell also and transparency, and established an unheard-of “watts-per-dollar” price. Before the ML-2, no one established a new standard in bass dynamics, extension, and slam. For decades Krell amplifiers had had experienced a transistor amplifier with such purity and freedom from solid-state artifacts. Despite a monopoly on “center-of-the-earth” solidity and power that was the envy of other manufacturers. its modest power rating, the ML-2 could double its output power as the impedance was halved, all The KSA-50 influenced an entire generation of solid-state amplifier designers. It’s impossible to the way to 0.5 ohm. The ML-2 had less of a sonic signature than other amplifiers of the day, but also a imagine high-end audio in the 1980s without Krell and the KSA Series. warmth and delicacy that were never matched by the subsequent ML-3.

4 McIntosh MC275

Sweet, dark, and delicious as the plums that William Carlos Williams’s wife left in the refrigerator, the 75Wpc MC275 stereo amp is, along with the Marantz 9, the poster-boy for “high-powered” 1960s tube amplification. This means it is, along with the Marantz 9, also the quintessence of what some of us older-hands now think of as “old-fashioned” tube sound. The MC275 was (and is, in its current McIntosh “commemorative” version) a gorgeous-sounding thing. Though it may have had wider bandwidth and lower measurable harmonic distortion than the competition did back when, it wasn’t the last word in bass definition, definitely drooped a bit on top (thus the darkish coloration), and had a touch of upper-midrange grain that you didn’t hear with the Marantz amps. Nonetheless, like the Marantz Model 9, the MC275 was so very lovely sounding in the midband (particularly on strings and winds) that it has been and continues to be a crowd-pleaser to this very day, especially with electrostatic fans. Along with the Marantz 9, the progenitor of many, many, many amps that aimed, first and foremost, at making music sound beautiful.

3 Audio Research Corporation D150

Our Number Three finisher is, by consensus, the great high-powered tube amp of the 1970s. As HP said, there was no amp quite like this one in the midrange, where its neutrality, truth-to-timbre, presence, air, bloom, and dimensionality made voices and instruments (and the spaces they were recorded in) come alive—particularly through Magneplanar loudspeakers—like no other amp most of us had previously heard. At the time, its 150Wpc seemed (and sounded) limitless. Though it definitely gave ground to solid-state in definition and grip in the bottom octaves and the top ones, it gave nothing away to solid-state or other tube amps in the midband and lower treble, which it lit up like acoustic instruments themselves do. In HP’s beautifully chosen word, a “singularity” because of its then-unparalleled faithfulness to the sound of the real thing, the D150 is one of those rare products, like Quad 57s or Maggie 1-Us, that no one ever forgets first hearing—and the first of what was to become a long line of very-high-power tube amplifiers.

2 Phase Linear 400/700

Back in the 50s and early 60s, when audiophiles were using high-sensitivity horn speakers from JBL and Altec-Lansing or infinite baffles from Bozak, power was not an issue and fly-weight tube amps like the ST-70 or the Marantz 8B were more than enough to fill the bill. But with the advent of higher- fidelity, lower-sensitivity acoustic-suspension speakers—and later of power-hungry planar-magnetics and hard-to-drive ribbons—big power (and the current to deliver it) became essentials. Bob Carver’s two great solid-state amplifiers were the first to add volts and watts (200Wpc in the Phase 400, 350Wpc in the Phase 700) to the solid-state norm without exacting a Crown DC-300-like price in graininess and odd-order-harmonic roughness. That they did this at a bargain price, to boot, and set the norm for what was to come in high-power solid-state amplification are the reasons why these two classics from the early 70s finished a close second to our pick for the Most Significant Amp of all Time (for which, see the next page).

1 Dynaco ST-70

Number One on our hit parade of most significant amps, this 35Wpc EL-34-based pentode stereo amp from David Hafler was and remains the exemplar of affordable excellence. There is nothing quite like it today, because there is nothing at such a comparatively low price that can compete without excuses against today’s Big Boys the way the ST-70 could against the Marantz 9s and McIntosh MC275s. A profound influence on virtually every tube amp that followed it from the classic ARC designs of the 70s and 80s to Van Alstine’s Ultravalve of today, it is the very definition of an audio classic.

The Ten Most Significant Amplifiers of All Time

Individual writers’ selections

Peter Breuninger Robert E. Greene Dick Olsher Jonathan Valin Dynaco ST-70 The Williamson Amplifier (1947–1949) Futterman H3 OTL Marantz Models 8B/9 McIntosh MC3500 McIntosh M50W1 Dynaco ST-70 Dynaco ST-70 Phase Linear 700 Dynaco ST-70 Marantz Model 8B Phase Linear 400 Krell KSA-100 Quad 303 Harman Kardon Citation II ARC D150 Mark Levinson ML-2 Phase Linear 400/700 McIntosh MC275 Mark Levinson ML-2 ARC Reference 610T ARC D Series and conrad-johnson ARC 76A Krell KSA-50 c-j Premier One Premier Series GAS Ampzilla II c-j Premier Four Carver Silver Seven Hafler XL-280 Threshold 400A Lamm Industries ML-2 Audio Note Ongaku Carver Sunfire, Lightstar, and A Series Cary Audio Design CAD-805 ARC Reference 610T Cary Audio Design CAD-805 TacT Millennium EAR Yoshino 509 Technical Brain TBP-Zero Sanders Magtech

Neil Gader Robert Harley Paul Seydor For HP’s choice of and extensive Plinius 8150 Dynaco ST-70 Dynaco ST-70 commentaries on the Ten Most Dynaco ST-70 Threshold 800A McIntosh MC275 Significant Amps, see p. 118. Marantz Model 8B ARC D150 Marantz Models 8B and 9 McIntosh MC275 Krell KSA-50 Quad 303 For each writer’s commentary on his ARC D-150 Phase Linear 700 Harman Kardon Citation 12 individual choices, go to AVguide.com. Rotel RB-1090 NAD 3020 integrated ARC D150 NAD 3020 integrated ARC Reference 600/610T Phase Linear 400 Comment on our choices or post Phase Linear 700/400 NAD M2 NAD 3020 your own selections for The Ten Most Mark Levinson ML-2 Hafler DH-200 Mark Levinson ML-2 Significant Amplifiers of AllT ime at Heathkit amps BAlabo BP-1 Mk.II Krell KSA-100 AVguide.com.

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The Ten Most Significant European Amplifiers of All Time Alan Sircom

ood sound is a universal thing. And good audio has been a popular pursuit among enthusiasts the world Gover for decades. There have been deeply innovative and important amplifiers from all points on the compass, but until relatively recently what happened locally, stayed local; the Dynaco ST-70, for example is virtually unknown outside of the USA, while the Leak Stereo 20 tube power amp was extremely popular in early 1960s Britain, but almost unheard of elsewhere. The rise of the high-end movement meant good products were not so restricted by country boundaries, but what’s prosaic in one part of the world is often exotic in others. This meant each part of the world developed its 10 Quad II power amplifiers own trends; the big is beautiful movement of the US high-end, the lower- power minimalist amps of the British and the Scandinavians, the old-world We could place any of the range of Quad amps from the 1950s to the present day here, but the Quad opulence of French and German products, the suave turned-wood luxury of II is something special. These small tube amplifiers first appeared in 1953, were in production until Italian audio. Eventually this isolationism all but dissolved, but the character 1970, have been the subject of endless modification and enhancement and were reborn a few years of these ‘flavors’ of audio persists to this day. ago as part of Quad’s new Chinese production. Europe has a rich heritage of audio, and picking ten of the most significant The little Class A 15 watt per channel cathode-coupled push-pull paraphase mono amplifier was products is always going to be an exercise in omission. Where is Arcam, a pioneering design, for among other things, it was one of the first to use a tag board rather than Creek, Cyrus, Copland, Densen, Gryphon, Hegel, MBL, Musical Fidelity, point-to-point wiring. By today’s standards, it’s also an ultra-minimalist design, with just 13 resistors, Restek, T+A and the rest? Each one is worthy of inclusion, in its own right. six capacitors and five tubes per channel. Back in the 1950s, 15 Watts was considered enough for But arguably – and such things are argued in perpetuity – these 10 amplifiers any domestic setting, especially when used with Quad’s original Electrostatic loudspeaker. It was have changed the face of audio significantly in their own right. obviously a successful formula, because 93,000 of those diminutive amps were sold.

EQUIPMENT review - The Ten Most Significant European Amplifiers of All Time

8 Sugden A21

And the award for longest running product in audio goes to… Denon for the DL103 cartridge, which has been in production since 1963. Sugden’s A21 amplifier comes a close second. One of the first solid-state amplifiers made (the Leak Stereo 20 beat it to the punch… just), Sugden’s low power, hot running pure Class A design is still in production today, albeit several generations later. Sugden has based every product in its five-decade history on the same Class A Perhaps part of the reason for Sugden’s continued success is its beguiling sound, warm and comforting. Or maybe it’s down to Sugden’s reputation for building products that never, ever break down. Whatever the reason, the A21 in all its guises is still very much alive and kicking, despite being older than the Moon Landings. Those canny Yorkshiremen from Sugden really live by the maxim “If it ain’t broke, don’t fix it”.

9 Leak Stereo 30

Although an invention of the late 1940s, the first commercially available truly modern all-transistor hi- fi amplifier didn’t appear until 1963, and came from H.J. Leak & Co, Ltd. of London, England. There had been transistor amplifiers before the Leak Stereo 30, but most used a transformer-coupled output stage (in the manner of a tube amp). The Leak design featured the first commercially available transformerless transistor output stage, which set the archetype for almost all solid-state amps 7 Naim Audio NAP 250 that followed. Leak improved on the basic Stereo 30 with the Stereo 30 Plus, which changed the transistors from germanium to silicon, thereby making the amplifier more stable, and there are still One of the most popular amps of the last 35 years is still made in Salisbury, England. Originally Stereo 30 Plus amps in daily use. designed as a musical, ultra-reliable amplifier for his friends, Julian Vereker’s Naim Audio company Harold Joseph Leak is very much the ‘forgotten hero’ in audio. His company was founded in 1934 hit pay-dirt when he was commissioned to make amplifiers for the studios of London’s Capital Radio. and in 1945 it developed the ‘Point One’ range of tube amplifiers, so called because it was the first The 70 watt NAP 250 power amplifier was launched in 1975, formed the core of all Naim’s amplifier design to deliver 0.1% total harmonic distortion. This, along with the Williamson amplifier circuit designs until 2000 and – although not the same circuit design - the amp remains in production to this published in Wireless World in the late 1940s, helped create a market for high-fidelity ultra-linear day. Original ‘chrome bumper’ NAP 250s are still highly prized by many, still fully serviceable by Naim amplifiers. and considered by their followers to still be the best amplifier in the world.

EQUIPMENT review - The Ten Most Significant European Amplifiers of All Time

5 Electrocompaniet ‘The 2 Channel Audio Power Amplifier’

Back in the early 1970s, the prevailing view among amp designers was to deliver high power amplifiers using large amounts of global feedback. They measured perfectly, but frequently didn’t sound good, and no-one knew why. Then one Dr Matti Otala started discussing Slew Rate or Transient Intermodulation Distortion, which undermined the performance of an amplifier but did not appear on steady-state measurements. Dr Otala’s concepts first appeared in a 25 watt Norwegian power amplifier called the Electrocompaniet. It wasn’t easy to get, it wasn’t that reliable and it was that powerful, but boy did it sound great. As a result, TIM became widely accepted and good amps sounded better as a result.

6 Burmester 808 preamp

Now in its fifth iteration and its 31st year, Burmester’s modular Reference preamplifier is a timeless chrome masterpiece. The two-box Class A preamp can be configured exactly how the listener wants, with optional phono boards, balanced or single-ended connections and unique top-mounted input/ 4 NAD 3020 output gain adjustment for each channel. From the outset, the 808 eschewed the use of capacitors in the DC-coupled signal path. The net result is a preamp that hardly ever appears on the second-hand A genuinely groundbreaking amplifier with a truly international lineage, the NAD 3020 was an amplifier market, because it’s so good, few ever find anything better to upgrade. from an company based in England, designed by a Scandinavian, and built in Asia. The 3020 The 808 set new standards in build quality, sound quality, finish and price way back in 1980, and appeared in the late 1970s, a tiny integrated low-power integrated amplifier that sounded better than through a series of constant improvements and developments, it’s never been far from the top slot. many far larger, more expensive amps from then-famous names. It was the brain-child of Bjørn Erik Edvarsen, who designed the amplifier to use a flexible power supply to cope with real music and defeatable soft clipping to prevent the amp from sounding harsh when pushed. It came to redefine what an amplifier could do when the prices (and style) was stripped to the bone. The brand moved around Europe before settling in Canada, but the designed in the West, built in the East concept behind the 3020 set a precedent that is even more important today.

EQUIPMENT review - The Ten Most Significant European Amplifiers of All Time

3 Lavardin Model IT

A relative newcomer to this line-up, the French integrated amplifier first hit the audio scene about 15 years ago. Lavardin’s circuits rely on eliminating what the company calls ‘memory distortion’, a form of non-linear distortion in the time domain that is not recognized or measured elsewhere. The company suggests this distortion is inherently lower in tube amp designs compared to most solid- state models, and this is the secret to the continued success of tubes. Lavardin’s solid-state circuits claim to reduce this temporal distortion to as low as 1,000th that of other solid-state designs. The range has grown to include a cheaper integrated amplifier, two preamps, four power amps and a range of cables today. And there’s also a 15th anniversary amplifier that improves upon the IT. But it’s that first integrated amplifier that took the European audiophile world by storm that really started the ball rolling. Fifteen years on and, from a temporal perspective, few products still come close.

1 Devialet D-Premier

Great audio products aren’t just in the past. The D-Premier from Parisian design team Devialet has 2 Lyngdorf/TacT Millennium caused a stir since first appearing less than two years ago. The slim, chrome pizza box effectively combines a powerful integrated amplifier with very high-resolution analog-digital and digital-analog New amplifier topologies don’t come along that often. The Millennium is the exception. When it first conversion, a high-resolution phono stage (designed for archival) and more. It uses Devialet’s unique appeared (given the name, perhaps unsurprisingly at the turn of the century), the idea of a Class D, ADH architecture, which uses a small, high quality Class A amplifier with a Class D amplifier providing pulse width modulation amplifier was not new or exceptional, but such systems were commonly used the motive force (in a manner not dissimilar to a 21st Century version of Quad’s Current Dumping 405 in low-grade settings where their small size and low operating temperature was prized above sound amplifier). quality. The problem was a distortion that rises with frequency. Because it’s still in its early stages, there still room for growth. And ‘growth’ for the eight processor So, when an amplifier that not only overcame the problems seemingly inherent to the performance D-Premier a purely 21st Century concept, with firmware updates that radically change the amp-DAC of Class D (by switching at a far higher frequency than usual), but also managed to produce a sound concept, by adding daisy-chained multi-amp connectivity improved transients and a remapped, that redefined clarity and detail, meant the world sat up and listened. Some stunning reviews, a whole more responsive power supply. Forthcoming improvements include a unique asynchronous WiFi slew of products that followed in the Millennium’s footsteps and four iterations later, the amp still connectivity. Devialet call the D-Premier ‘The Audiophile Hub’, and for good reason. It’s changing the sounds like the future. face of amplification.

Editor's Choice: Power Amps Neil Gader

Under $1000 with sonic virtues: a forgiving tonal balance, lifelike midranges, qualities that extend to the top beer pocketbook. Review forthcoming Odyssey Audio Khartago good soundstage dimensionality, and naturalistic of the spectrum. By design the bottom isn’t flat to $795 depth. Paired with its companion preamp, the DC, so this may not be the best choice for deep, odysseyaudio.com solid Soloist 3 is a great way to get into separates deep bass freaks. Eleven very muscular amps of Although the 130Wpc Odyssey Khartago solid- at an integrated-amp price. Reviewed by NG, peak current ensure formidable dynamic range state stereo amp has been around for better than Issue 174 and stability. A great sanely‑priced option for a decade, it was new to JV. Shockingly similar driving any Quad ESLs. Reviewed by PS, Issues in tonal balance to high-priced solid-state amps, $1000–$2000 128 and 203 it has no discernible grain, high resolution, and Audio by Van Alstine Ultravalve a deep, wide soundstage. Positively, the best $1699 PrimaLuna ProLogue 5 budget amp JV has heard (and the $2k Odyssey avahifi.com $1599 Khartago monoblocks are great, too). Reviewed The Ultravalve represents the distillation of primaluna-usa.com by JV, Issue 195 over 30 years of design experience. Sounding The 36Wpc vacuum tube-powered ProLogue 5 is more powerful than its 35Wpc would indicate, more authoritative than its rating would lead you Parasound Halo A23 it is intended as a thoroughly modern and to expect, and offers a warm, rich presentation, $2000–$3000 $950 rationally priced vacuum-tube amplifier. While yet really does not sound “tubey” in any traditional Vincent Audio SP-331 MK parasound.com its perspective is not as romantic as that of its sense, producing clean, deep, tight bass and $2199 Parasound’s A23 isn’t the last word in low-end “godmother,” the Dynaco Stereo 70, it is far grand soundstaging. A synergistic match with wsdistributing.com authority, and it’s a bit cool in the midrange, but better focused, clearly more dynamic, and in the companion ProLogue 3 preamp. Reviewed The hybrid SP-331MK delivers 150Wpc into 8 what it lacks in oomph it makes up for in finesse general a higher-resolution device. A synergistic by SR, Issue 156 ohms and 300Wpc into 4 ohms, and operates and pitch definition. Moreover, this reasonably match for the Salk Sound SongTower. Reviewed in pure Class A for its first 10 watts. This makes priced amp is musically quite involving. Reviewed by DO, Issue 204 Odyssey Khartago monoblock the amplifier somewhat dual-natured, in that at by SB, Issue 138 $1800 moderate levels it sounds spacious, naturally Quad 909 odysseyaudio.com balanced (if a tad dark), with good dynamic Belles Soloist 5 $1550 They may not be fully twice as good as the scaling and fine rhythm and pace. Pushed $995 quad-hifi.co.uk Khartago stereo amp (see above), but they’re harder, and its tonality turns grayer, strings get belles.com At 140Wpc the most powerful iteration of Peter mighty good, improving on the Khartagos in a bit ragged. Overall, a terrific design that seems A paradigm of minimalism and musicality, this Walker’s famous “current dumping” amplifiers, every area (particularly in stereo separation and happiest when not pushed all the way to its power small, cool-running sixty-five-watter is stuffed the 909 has one of the most natural yet vividly lower noise). Once again, champagne sound on a limit. Reviewed by WG, Issue 208

EDITOR'S CHOICE - Power Amps

Parasound Halo A21 about tube gear. Indeed, their transient quickness and quite respectable weight in the bass. A 3-D by the solid-state output stage. Soundstage $2300 and ability to drive difficult loads may fool you into soundstage and tight focus round out the virtues dimensionality is superior to that of conventional parasound.com thinking you’re listening to a very good hybrid. Yet of this highly musical design. Reviewed by SK solid-state designs. It closely fulfils the promise of An excellent Class AB stereo transistor amp, they still have that wonderful tube magic. Reviewed with WG comment, Issue 153 a hybrid design: Tube magic with plenty of bass designed by the redoubtable John Curl, capable by JH, Issue 169 crunch and drive in one nicely “gift-wrapped” of 250Wpc into 8 ohms (400 into 4 ohms). Though Edge G4 chassis. Reviewed by DO, Issue 188 not the last word in solid-state amplification, the $3995 A21 offers a lot of power at an affordable price. edgeamps.com $5000–$10,000 Reviewed by JV, Issue 168 A downsized version of Edge’s more costly Krell S-150m amplifiers, the 100W G4 offers some of the same $5000 Wyred 4 Sound SX-1000 sonic attributes—the speed, extension, and krellonline.com $2398 control one expects from a high-end transistor Krell’s compact, narrow-profile, cool-running wyred4sound.com amp without any associated brightness. It has 150W monoblock is basically a scaled-down While many amplifiers use Bang & Olufsen’s ICE Cambridge Audio 840W the natural timbre and sonic realism we typically version of the Evolution Series amp with a tight, output device, the SX-1000 combines it with its $2699 associate with tubes, coupled with startling musically convincing bass and superb treble own direct-coupled, balanced, dual-FET input cambridgeaudio.com transparency and holographic imaging. Pace, openness that place it on a par with Krell’s stage designed by Bascom King. A powerful The key to the 200Wpc 840W is its proprietary rhythm, and timing freaks will love this thing. best. Further, it displays a dynamic liveliness amplifier capable of effortlessly delivering copious XD topology, which allows pure Class A at low Reviewed by JH, AVgM, Issue 5 and dexterity that verges on the uncanny. In the amounts of power, the SX-1000 Series II serves up levels and a transition to an “enhanced” Class midrange, it was as grainless as any amp in SS’s detail with the aplomb of a sommelier uncorking B without the crossover distortion of Class Conrad-Johnson LP66S experience. Perhaps faltering just a bit in terms a prize bottle. Reviewed by SS, Issue 193 AB designs. The result is a wide soundstage, $4300 of three-dimensionality and harmonic juiciness, excellent micro-dynamics, and near limitless conradjohnson.com for most applications it gives up little to the Big Rogue Audio Stereo 90 power—plus that familiar, buttery, pure Class A Have your sights set on a romantic tube stereo Boys. Reviewed by SS, Issue 205 $2495 vibe. The acoustically damped, satin-smooth power amplifier? This 60Wpc design is it! Tonal rogueaudio.com casework is absolutely first-rate. Reviewed by emphasis is squarely on the lower midrange. NuForce Reference 9 Special Edition (SE) V3 This tube monoblock combines a rich treble and NG, Issue 186 Timbres and textures are slightly liquid and warm. monoblock midrange with a gutsy, controlled bass and a The treble range is laid-back. Count on a mellow, $5000 clarity unusual in its class. Its one shortcoming $3000–$5000 relaxed presentation with an exceptionally low nuforce.com is a tendency to push the midrange a bit Balanced Audio Technology VK-55 listener-fatigue factor and plenty of imaging NuForce’s best Class D amp yet, the Ref 9 SE forward. Even with this, it makes all types of $3995 magic. Reviewed by DO, Issue 193 V.2 monoblock delivers the expected virtues music sound right. Reviewed by SR, Issue 171 balanced.com (articulate, well-defined mids and deep tightly A remarkable amp and terrific value, BAT’s 55- Vincent Audio SP-T800 monoblock controlled bass), plus noticeably sweeter, more grain- PrimaLuna ProLogue Six watt tube model may not be as revealing as some, $4790 free highs than previous NuForce designs. The SE $2599 but it offers a high degree of harmonic, textural, wsdistributing.com V.2’s clarity, definition and control can bring certain primaluna-usa.com rhythmic, and ambient information. Tonally, a This 200Wpc hybrid amp is a remarkable speaker systems alive, but they can also make some These beautifully built, affordable, and “hassle-free” bit warmer than neutral, with a gorgeous, well- performer. Its tube signature shines through speakers sound slightly “clinical.” V2 reviewed by 70Wpc monoblocks will alter your preconceptions balanced midrange, an easy, natural top end, clearly in the midrange, albeit slightly diluted CM, Issue 188; V3 review forthcoming

EDITOR'S CHOICE - Power Amps

Sanders Magtech is natural, centerfill is excellent, and imaging is $5000 realistic in size. Reviewed by AHC, Issue 208 sanderssoundsystems.com This no-nonsense amplifier was designed to Bel Canto 1000 monoblock drive any loudspeaker impedance, particularly $5990 full-range electrostatics, which can have an belcantodesign.com impedance of less than an ohm in the top octave. If you like the concept of an amplifier that is The Magtech “sounds as if it had infinite power compact, efficient, powerful, transparent, into anything with total stability,” said REG. The musical, and extremely reliable, the Bel Canto Ref fully regulated power supply is unusual. The rated 1000 Mk II amplifier could be the last amplifier power output of 500W into 8 ohms and 900W into 4, you’ll ever need. While it may not warm up an coupled with its stability driving capacitive loads, overly sterile-sounding system like a classic tube makes it the perfect choice for electrostatics. amplifier, it certainly won’t subtract any harmonic Reviewed by REG, Issue 210 warmth. Reviewed by SS, Issue 193

PrimaLuna Dialogue Seven Modwright KWA150 $5495 $5995 primaluna-usa.com modwright.com The 70W (40W in triode mode) PrimaLuna “To my ears,” said reviewer Dick Olsher, “the KWA Dialogue Seven monoblock employs a unique 150 represents a smashing success, combining output stage—two discrete amplifier channels the musicality of tubes with the punch, power are paralleled at the loudspeaker terminals. delivery, and bass reach of transistors. Factor in This technique preserves the purity of a low- the performance and looks of this amp relative powered design while imbuing the amplifier to its asking price and the result is a fantastic with higher current capability. “No tube amplifier value.” Reviewed by DO, Issue 199 I’ve auditioned comes close to its performance for anywhere near its modest price,” said Jim Atma-Sphere M-60 Mk III OTL Hannon. Reviewed by JH, Issue 199 $6800 atma-sphere.com Cary CAD 120 S II Atma-Sphere’s uniquely simple, 60Wpc, Class $5500 A, all-tube OTL (output transformer-less) design caryaudio.com offers a rare and exhilarating glimpse into the This 120Wpc Class AB tube amp offers a music few others can duplicate. This triode- sound that emphasizes the natural warmth of based classic also possesses outstanding the midrange and upper bass, and produces neutrality, clarity, definition, soundstaging, musically natural upper-octave energy without and unfettered dynamics. Relatively sensitive losing the highs you hear in live music. Detail speakers with an impedance of 8 ohms or higher

EDITOR'S CHOICE - Power Amps

are recommended for best bass performance. amp, the Atlas is a sheer joy—both sonically and Reviewed by SK, Issue 184 musically. Reviewed by AT, Issue 196

Chord SPM 1050 Berning ZH-230 ZOTL $7695 $8360 bluebirdmusic.com davidberning.com The compact SPM 1050 delivers 200Wpc and is David Berning’s latest refinement of the ZOTL all but unflappable when pushed hard. Indeed, technology offers 30Wpc of pure tube delight. it likes it that way. It has terrific control and grip It is intended to work with nominal loads in over speakers, delivers explosive dynamics as the range of 4 to 16 ohms, and ideally, would well as nuance, and is coherent across the band. appreciate a speaker sensitivity of at least 90dB. Cool under fire, the 1050 never sounds forced or Superlative transient speed at the point of attack exaggerated. Reviewed by WG, Issue 196 leaves conventional transformer-coupled tube amps in the dust. Control of transient decay is also exemplary. Treble nuances are silky smooth and delicate. Its considerable gift lies in blending the best of tube and transistor sound. Reviewed by DO, Issue 210

Plinius SB-301 $8685 eliteavdist.com Big and heat-sinked to beat the band, the Plinius outputs 310Wpc of the sweetest Class Aesthetix Atlas AB NG has heard. A model of silken control $8000 and neutrality, it doesn’t sound like tubes or musicalsurroundings.com transistors, or any combination of either. Rich in Aesthetix’ first foray into power amps is an tone color, with wide-open dynamics and sweet, unqualified success. The amp has great embraceable highs, it never failed to improve any resolution and reflexes, making it a snap to follow set of speakers that it hooked up with. Reviewed interwoven melodic and rhythmic lines. The Atlas by NG, Issue 169 creates a mushroom cloud of air around each instrument, and a deep, convincing sense of Air Tight ATM 300 space. Tonally, the amp is on the sweet side in $8795 a way that is consonant with real music. Slightly axissaudio.com less dynamically incisive than AT’s reference The Air Tight ATM 300 is one of the handful of

EDITOR'S CHOICE - Power Amps

300B SET amplifiers that lays claim to magical “Budget-priced” (for a Boulder), these 200Wpc grain that so fre que ntly plague eve n the be st solid- of a recording’s acoustic signature. If you crave sound extending beyond the midrange. This monoblocks brought a new level of realism to state amps. That said, there’s no faux vacuum- tube magic, rest assured that the A-100 delivers the amp’s airy highs, natural tonality, and low-bass MS’s system, excelling in low-level resolution, tube sound here either, just a remarkable sense of goodies. But it also breaks through the traditional extension defy common perceptions of 300B dynamics, and bass reproduction. Through neutrality, openness, and detail that doesn’t draw barriers of tube amplification with low-distortion SETs. Reviewed by Scot Markwell, Issue 128 the 850s, the soundstage was more three- attention to itself but instead serves the music. harmonic textures, lightning transient speed, and high dimensional, instruments more realistic in timbre, The only things lacking are the last degrees of air, resolution. It is the state-of-the-art in medium-power Parasound Halo JC 1 lyrics better articulated, vocals more life-like, and decay, and bloom. Reviewed by WG, Issue 149 tube amplification. Reviewed by DO, Issue 191 $9000 the music ultimately more engaging. Reviewed parasound.com by Max Shepherd, Issue 166 Classé CA-M600 monoblock Pass Labs XA100.5 monoblocks The latest collaboration between legendary $14,000 $16,500 designer John Curl and Parasound has resulted Pass Labs X350.5 classeaudio.com passlabs.com in the Halo JC1: “…silky-smooth, crystal clear, $11,550 Thanks to a highly sophisticated passive cooling These Class A masterpieces from Nelson Pass bring and abundantly detailed. The kind you could passlabs.com system, the Classé monoblocks don’t run hot; the virtues of Class A to a more efficient package. The listen to all day long without fatigue.” Reviewed A 350Wpc solid-state stereo amp that has what nevertheless, their sheer dynamism and alacrity XA100.5 monoblocks have a purity and transparency by SK, Issue 141 Pass amps always seem to have in abundance: are stunning. Blinding speed is coupled to a that are jaw-dropping. Timbres are also well served, with remarkable midrange presence and immediacy. spookily low noise floor. So linear and revealing a warmth and ease reminiscent of tubes but without A shade darker-sounding and less bloomy than are these amplifiers that in some systems they “tubey” colorations. Reviewed by RH, Issue 186 something like an Edge 10.1, it is exceptionally may best be coupled with tubes elsewhere in the lively from top to bottom, with remarkable deep audio chain. You can search far and wide for a Air Tight ATM-3 monoblock bass and fast sweet treble. JV better amplifier at double the price. Reviewed by $18,195 JHb, Issue 210 axissaudio.com Nagra PMA monoblock These beautifully made, metered, push-pull, Electrocompaniet AW180 monoblock $13,750 Simaudio Moon W-8 100Wpc, 6CA7-based monoblocks combine the $9590 nagraaudio.com $15,000 rich textures and timbres of SET amplifiers (though electrocompaniet.com/usa The Nagra monoblocks confound expectations. simaudio.com they are not SETs) with the fine resolution, more The AW180 is a “tube-like” solid-state monoblock They are small and lightweight, and possess only This 80-pound, dual-mono, bridgeable amplifier is extended bandwidth, more neutral balance, and amp offering 180W into 8 ohms (considerably more two output transistors. No, they’re not as powerful Simaudio’s premier stereo unit, boasting 250Wpc superior transient speed of Class A solid-state into lower impedances). It provides a very natural as monster amps. But they have more than into 8 ohms (an even thousand when bridged). (though they are not solid-state). Little marvels timbre and exceptionally realistic upper bass and enough power to get current-hungry Magnepan Like its companion preamplifier the P-8, the W-8 of fidelity, they mate wonderfully well with fast, lower midrange. Both low- and high-level dynamic loudspeakers up and running. What’s more, they is tonally neutral, has iron control yet exquisite neutral loudspeakers like Quad 2905s. Reviewed contrasts are excellent. Reviewed by AHC, Issue do it with the finesse of only a few other select finesse, and appears to do nothing but amplify by JV, Issue 188 198 amplifiers. Reviewed by JHb, Issue 173 the signal fed to it. Reviewed by PS, Issue 185 $20,000 and above $10,000–$20,000 Edge G8+ Esoteric A-100 Cary 211 FE monoblock Boulder 850 monoblock $13,488 $16,000 $20,000 $11,000 edgeamps.com esoteric.teac.com caryaudio.com boulderamp.com The Edge designs don’t have the darkness and This innovative tube design offers fantastic resolution A zero-feedback design, the all-triode 211 FE

EDITOR'S CHOICE - Power Amps updates the classic 211 that Cary has produced Another winner from the fertile mind of Vladimir bass slam, whiplash speed, and power galore. for 17 years. Though it may lack the ultimate Lamm. Combining brawn and finesse, the M1.2 The abundant power on tap means that the Boulder 1050 monoblock wallop of a powerful transistor unit, and may—if drives even challenging loads with ease. Its soundstage is utterly holographic, allowing the $42,000 you’re into large-scale classical or hard rock— siren song of suave harmonic textures, tight listener to pinpoint each instrument. A superbly boulderamp.com run out of juice before you want it to, this is one bass control, articulate transients, kinetic drive, liquid midrange and refulgent sound make it one A truly superb power amp that offers the very gorgeous-sounding amplifier—pure, exciting, and essential tonal neutrality is musically most of the most commanding monoblocks around. best in bass, power, transients, and low-level and expressive. Reviewed by WG, Issue 205 persuasive. Reviewed by DO, Issue 188 Reviewed by JHb, Issue 203 detail. It’s slightly warmer and more tube-like than many competing solid-state designs, but Spectral DMA-360 MKII monoblock Balanced Audio Technology VK-600SE Ayon Vulcan II monoblock this adds—rather than subtracts—from musical $20,000 monoblock $39,500 realism. If you want the real-world sound of spectralaudio.com $26,000 ayonaudio.com acoustic instruments, this may be the amplifier The DMA-360 monoblocks combine high balanced.com If you value huge panoramic soundstaging with for you. Reviewed by AHC, Issue 188 output current with lightning-fast audio circuits, This fully-loaded version of the 300W VK-600 velvety black backgrounds and eye-popping producing an unparalleled portrayal of music’s possesses a remarkable transparency and detail, the Ayon Vulcan II is for you. A rare do-it- Audio Research Reference 610T monoblock dynamic expression. They also deliver what is, immediacy that are musically vivid without being all design, it marries the drive of solid-state with $43,990 in RH’s experience, the largest, best-defined, sonically vivid, although soundstage depth is the magic of SET. Perhaps the most holographic audioresearch.com and most accurate spatial presentation of any slightly foreshortened. The top end is extremely amplifier ever manufactured, it is not as tonally Capable of better than 600Wpc into any real-world amplifier. Timbral realism is also a DMA-360s’ smooth and non-fatiguing, with perhaps a very pure as the Lamm ML3; nonetheless, it is PB’s load, the pentode- powered Class AB 610T is the strong suit, as is amazing resolution of fine inner slight loss of air in the upper treble. Needs current reference amplifier due to its outstanding single best tube amplifier JV has yet heard, with detail. Reference-grade amplifiers at a rational an unusually long warm-up to sound its best. spatial presentation. Reviewed by PB in this seemingly limitless power, gorgeous tone color, huge price. Reviewed by RH, Issue 190 Reviewed by RH, Issue 159 issue soundstaging, minute resolution of low-level detail, and truly lifelike bloom. With speakers ranging from Pass Labs XA160.5 monoblock Burmester 911 Mk III Soulution 710 cone Magico Q5s to planar-magnetic Symposium $22,000 $29,995 $40,000 Acoustics Panoramas, the 610T comes closer to passlabs.com burmester.de axissaudio.com sounding “real” than anything else JV has tried. His “An amplifier with soul,” the XA160.5 is the most Burmester components are unquestionably Jaw-dropping resolution and transparency- tube reference. Reviewed by JV, Issue 177 “tube-like” transistor amp AHC has heard. Its expensive, but also uncommonly versatile and to-sources sets this 120Wpc into 8 ohms sound is warmer than most, and the music aesthetically exquisite. The sound of this stereo (240Wpc into 4) solid-state stereo amp apart. It Mark Levinson No.53 monoblock emerges from deep black silence. Moreover, its amplifier is on the same plane, with hold-your- is preternaturally “not there,” making inherently $50,000 soundstage depth matches its width, dynamics breath dynamics, uncanny timbral realism, and neutral speakers, in turn, sound more “not there,” marklevinson.com are musically natural and slightly “soft,” and the a remarkable sense of “inevitable” pace. Review and music (and the engineering and mastering The No.53 is based on a new Harman-developed amp has terrific harmonic integrity. Reviewed by forthcoming that went into putting that music on LP or disc) output stage. The patented circuit cascades multiple AHC, Issue 192 “more there.” If you truly want to know what’s on pairs of transistors to eliminate the classic timing Classé Omega monoblock your records, this supremely honest, astonishingly problems of switching output stages. The No.53 has Lamm M1.2 Reference monoblock $35,000 colorless, incredibly low distortion amplifier must a distinctive sound characterized by unbelievable $23,890 classeaudio.com be heard. Reviewed by JV, Issue 199 bass extension, solidity, power, and articulation. lammindustries.com Classé’s statement monoblocks possess Stygian The presentation also has a vividness and three-

EDITOR'S CHOICE - Power Amps dimensional “sculpted” quality different from other is as lovely to listen to as it is to behold. If power amplifiers, tubed or solid-state. RH, review ravishing gorgeousness of tone color coupled pending to outstanding resolution of detail, quick natural transient response, and huge reserves of power VTL Siegfried monoblock is your cup of Saki, you will have to look long and $50,000 hard to find an amp that sounds this lovely and vtl.com this lifelike. RH’s reference amp. Reviewed by JV, At 800 watts per side, VTL’s superlative Siegfried Issue 201 monoblock is prodigiously powerful. It features an array of features, including automatic biasing of the Soulution 700 monoblock 6550 output tubes, to banish many of the problems $115,000 associated with tubes and high power. Driving the axissaudio.com Wilson MAXX 2, it displayed iron-fisted control over Capable of 860W (into 4 ohms) these huge, the bass and spooky clarity. Above all, a decided Bauhaus-handsome, solid-state monoblock move away from the more romantic sound of earlier amplifiers are, like their littler brother the 710, VTL designs. Reviewed by JHb, Issue 180 paragons of neutrality and transparency. Just a touch warmer and more gemütlich in tonal balance than the utterly colorless 710, the 700s Krell Evolution One monoblock bring the same astonishing resolution to the table, $60,000 reproducing sources with standard-setting high krellonline.com fidelity (and showing what other components While the Evolution One is not a radical sonic upstream and down of them are doing to the breakthrough—the best aspects of Krell “voicing” signal). Reviewed by JV, Issue 199 have been preserved—the Krell virtues of deep- bass power and rich natural timbre have been Lamm ML3 Signature monoblock steadily enhanced, while air, life, microdynamics, $139,290 soundstage depth and detail, and the upper lammindustries.com octaves have improved to contenders for the This four-chassis, 32Wpc SET amplifier sets state-of-the-art. A true sonic benchmark. new standards in sound reproduction. The ML3 Reviewed by AHC, Issue 158 delivers amazing speed plus captures the full harmonic envelope of each instrument. The result BALabo BP-1 MK-II is unparalleled tonal neutrality. Surprising, for an $77,500 SET design, the Lamm can be used with a wide balabo.com range of loudspeakers, though care must be This exquisitely made, extremely powerful exercised in impedance and sensitivity matching. (500Wpc) solid-state stereo power amp from Reviewed by PB, Issue 208 Japanese master-designer Fumio Ohashi

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Editor's Choice: Preamplifiers Neil Gader

Under $1000 $1000–$2000 Vincent Audio SA-31 Van Alstine Transcendence 8 Cambridge Audio 840E $599 $1099–$1697 depending on options $1799 wsdistributing.com avahifi.com audioplusservices.com The SA-31 is a well-made entry-level vacuum- Configured as a linestage (the optional The preamp companion to the 840W amp, tube preamp that provides tone controls and a phonostage fared less well), the T8 is one of the 840E is highly configurable, with excellent loudness contour switch. The preamp’s sound is those rare products that genuinely transcends Vincent SP-31MK connectivity and a wonderful premium-resistor- characterized by a rich, seductive midrange and its price. Its sound is not particularly smooth or $1399 ladder volume control. Musicality and neutrality solid bass. Though not quite the equal of today’s euphonic. But it won praise based on its stable wsdistributing.com are top-class. It’s almost unsettling how quiet this best $1k preamps in resolution, definition, or imaging and killer dynamics. It benefits from An upgrade to its SA-31 linestage, Vincent’s SA- preamp is. The 840E/840W tandem represents high-frequency “air,” the SA-31 offers terrific being mated with a romantic tube amp. Reviewed 31MK features a new output circuit with shorter one of the most satisfying debuts in recent years. bang for buck. Reviewed by CM, Issue 208 by DO, Issue 173 signal paths and improved component parts, Reviewed by NG Issue 186 including a second set of 6N16 vacuum tubes. Rogue Audio Metis Quad 99 A little dark and finely grained, it brings an extra $2000–$4000 $995 $1200 bit of texture to a violin, cello, or bluesy vocal. Mystère CA21 rogueaudio.com quad-hifi.co.uk Staging and focus are strengths, though it could $2195 Rogue Audio’s Metis is a USA-made, vacuum- This svelte front-end is packed with extraordinary benefit from a bit more air and bloom. Reviewed mystere-usa.com tube-powered (6SN7-based) preamplifier. The functionality, including a dandy built‑in mm/ by WG, Issue 208 Built like a tank, the CA21 is a fine example of the dynamic liveliness and harmonic richness we mc phonostage and some very sophisticated, minimalist approach: a line preamp with an input expect in any good tube design are present here, musically useful tone controls. Sonically it shares PrimaLuna ProLogue 3 selector (four line inputs) and a volume control, but at levels that remind us of the sound of $2500 all the neutrality, the freedom from edginess, $1599 no balance control. Stock tubes are Chinese 6SN7s. tube preamps. But unlike tube designs that hardness, and grain, and the involving musicality primaluna-usa.com Substitution of NOS 7N7 or 7AF7 Loktals yields sound focused in the midrange and soft at the and naturalness of the 909 amplifier, yielding The vacuum-tube-powered ProLogue 3 preamp smoother textures and more palpable images. A frequency extremes, the Metis remains evenly only that last iota of transparency and resolution makes an ideal companion to PrimaLuna’s giant killer in clarity, soundstage transparency, balanced and finely resolved from top to bottom. to much more expensive units. A continuing ProLogue 5 tube power amp. Like the power and detail resolution. A slightly closed-in treble Reviewed by CM, Issue 160 reference in its price category and several amp, the preamp combines tube warmth and range highlights the midrange. Tonally, the center notches above as well. Reviewed by PS, Issues richness with a clear, crisp, precise presentation of gravity is centered in the lower midrange, 128, 135, 201, and 203 reminiscent of the best solid-state designs. Bass, enabling a big-tone portrayal of cello and upright too, is taut and clear. Reviewed by SR, Issue 156 bass. Reviewed by DO, Issue 208

EDITOR'S CHOICE - Preamplifiers

Reviewed by SR, Issue 181 many others. Detail is natural. Flute, clarinet, Atma-Sphere MP-3 Conrad-Johnson ET3 and piano have transients and peaks that sound $4750 $2500 ($3350 with phono option) musically realistic; brass has bite without being atma-sphere.com conradjohnson.com hard, and female voice does not lose its warmth This no-frills tubed preamp from Atma-Sphere is Despite its entry-level status, the ET3 is a low- or emphasize sibilants and breathing sounds. a must-hear for the purist music lover. Offering distortion, high-resolution line preamplifier Reviewed by AHC, Issue 208 a crystal-clear, smooth, and concise window on that delivers timbral accuracy and phenomenal the music, the MP-3’s expansiveness is a perfect bass control. The overall presentation is clean, Electrocompaniet EC 4.7 match for both tube and solid-state amplification. smooth, slightly laid-back, yet highly detailed, $3495 Balanced-only operation; phono optional. with an emphasis on harmonic accuracy. It can electrocompaniet.com/usa Reviewed by SK, Issue 184 certainly hold its own in elitist company. The The Electrocompaniet EC 4.7 solid-state preamp optional phonostage can also be confidently from the Land of the Vikings produces a natural $5000–$10,000 Manley Laboratories Shrimp RC recommended. Reviewed by DO, Issue 193 mix of lifelike imaging and soundstaging that Aesthetix Calypso/Calypso Signature $2300 gives large complex orchestral music about $5000/$7000 manleylabs.com Vincent Audio SA-T8 as much realism as you can achieve in a home musicalsurroundings.com Stepping up to the plate with spunk, clarity, and $2500 stereo. Clean, transparent, and exceptionally The all-tube Calypso delivers most of the wall-to-wall soundstaging, the Manley Shrimp wsdistributing.com quiet, it also has significantly more extended performance of Aesthetix’ two-box $13,000 tubed linestage is a serious contender in the This tube line preamplifier is about bass precision, bass and high-frequency response than many Callisto linestage for about a third the price. sub-$3K price range and beyond. Leaning to spacious soundstaging, speedy transients, pure competing units. A very good preamp by any What’s more, it benefits from Aesthetix’s second- the warm side of neutral, its minimalist, single- midrange textures, and rhythmic drive. The standard. Reviewed by AHC, Issue 198 generation styling, function-ality, and industrial ended-only design can be soft on top, but is lower treble is a bit coarser than the midrange. design. Sonically, the Calypso is characterized by eminently musical and inviting. An excellent value Microdynamic nuances are reproduced with $4000–$5000 extremely good dynamics and dynamic nuance. for the music lover and tube enthusiast and now commendable conviction. A rare musical Parasound Halo JC-2 Although the treble is smooth and somewhat equipped with an RF remote control. Reviewed blossom at this price point, and an absolute steal $4500 laid-back, transparency and resolution are first- by SK, Issue 178 considering its twin virtues of crystalline clarity parasound.com rate. Noise floor is highly dependent on tube and ample boogie factor. Reviewed by DO, Issue The JC-2 is that extreme rarity—a near- quality, which has been variable. Competes with ModWright SWL 9.0SE/SWL 9.0 Signature 188 reference-quality product that many of us can the megabuck preamps. Reviewed by RH, Issue Edition actually afford. Neutral and natural, transparent- 151 $2495/$2995 Cary Audio SLP-03 to-sources, quick and delicately detailed (though The Signature version improves on the modwright.com $3000 not as hard-hitting and detailed as the higher- already terrific performance with an expanded These two all-tubed linestages (the Signature caryaudio.com priced spreads), here is one solid-state preamp soundstage, richer portfolio of instrumental Edition offers a number of design upgrades) offer Like the Cary 120 S II, with which it is intended to that doesn’t trade away key parts of the baby textures, more air, longer decays, and better- particularly wide and deep soundstaging, coupled mate, this tube linestage produces a sound that (air, bloom, color, three-dimensionality) for defined bass. AT found that the Signature version with an extended bottom-end and a sweet treble. emphasizes the natural warmth of the midrange the bathwater of razor-cut imaging and iron- imparted a warmer cast to timbres. Reviewed by “Addictive, seductive, beautiful, exciting,” is how and upper bass. It sets a soundstage that slightly fisted control. The poor (or poorer) man’s ARC AT, Issue 196 SR summed up the SWL 9.0SE Signature Edition. emphasizes depth over width in comparison to Reference 5. Reviewed by JV, Issue 182

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EDITOR'S CHOICE - Preamplifiers

Edge G2 excellent musical life, and the best low-level detail heroic volume control, and meticulous attention $5898 Aesthetix Janus/Janus Signature AHC has encountered. Sound-staging is as real to detail. Its sound is hard to describe because edgeamps.com $7000/$10,000 in imaging, width, and depth as the recording it imposes so little signature on the signal Like its amps, Edge’s preamps are a different musicalsurroundings.com permits. Excellent deep bass, and clean, detailed passing through it. Putting the DMC-30SS into kind of solid-state—grain-free, open, neutral The Janus combines Aesthetix’ Calypso linestage upper midrange and treble that get the most out the system is like washing months of winter off but not cold, and not at all dark or grainy. The with a scaled-down Rhea phonostage in a single of flute, clarinet, strings, piano, and the full range a picture window. Timbres are richly saturated, sound described is with the G2 powered by its chassis. The Signature version features upgraded of male and female voice. AHC’s new reference soundstages huge and defined, and resolution internal gel batteries. When the G2 is driven by parts in the identical circuit. The units share preamp, although it was a hard choice relative to of transient detail is unmatched, provided that AC, the sound is noticeably drier, hashier, and numerous qualities: speed and detail without the Boulder 1010. Reviewed by AHC, Issue 192 these qualities exist in the recording. Reviewed less magical. But given that the batteries only etching; unimpeded highs without shrillness; by RH, Issue 190 need charging once a week, this is not a practical a low noise floor; precise, pulsating rhythms; $10,000 and above concern. Reviewed by WG, Issue 149 dynamics that are almost reference-caliber; and a Mark Levinson No. 326S Audio Research Corporation Reference 5 laid-back perspective. The quiet background and $10,000 $11,995 Lamm LL2.1 smooth highs add up to long hours of glorious, marklevinson.com audioresearch.com $5990 fatigue-free listening. Reviewed by AT, Issue 196 The No. 326 possesses greater transparency and Before the advent of the ARC Reference 40 (see lammindustries.com fidelity to the source than previous ML preamps, below), this remote-controlled, all-tube, single- This all-tube linestage preamp (with tube Cary Audio SLP-05 with less of the characteristic ML house sound. box preamp was JV’s reference. And in spite of the rectification) captures 80% of price-no-object $8000 Astonishingly focused, and detailed, yet smooth, fact that the twice-as-expensive Ref 40 outdoes preamps for a fraction of their cost, said our caryaudio.com suave, and sophisticated. Superb features and it in every respect, it is still a worthy option with reviewer DO. Never in-your-face analytical, the Sporting eight 6SN7 vacuum tubes in its ergonomics make the No. 326S a pleasure to use considerable merits of its own. An amalgam of LL2.1 frames details organically within the fabric main chassis, and a 5AR4 rectifier tube in its on a daily basis. Reviewed by RH, Issue 161 bloom, air, speed, neutrality, and clarity, the Ref of the music. Treble, bass, and transparency outboard power supply, this zero-feedback, 5 sounds (as all ARC components do) very much can be improved by using the right after-market balanced linestage ranks among the best. Highly like the real thing, plus it comes closer to the ARC tubes. Reviewed by DO, Issue 198 transparent, it transports you to the recorded goal of importing solid-state-like virtues, such as event, combining tonal naturalness, a lifelike the Ref 5’s greatly improved grip and extension BAT VK-42SE sense of instrumental body and weight, air, and at the frequency extremes, into a glass-audio $6995-$8245 (depending on options) dimensionality in a way that brings recordings to platform. Reviewed by JV, Issue 205 balanced.com startling life. It’s not the hi-fi-stuff but the added BAT designer Victor Khomeno is rightly proud of awareness of individual instruments and voices Boulder 1010 the numerous programming features on the 42SE that make the SLP-05 so special. Reviewed by $13,000 preamplifier. But that’s only the start of the story. WG, Issue 205 boulderamp.com A great value, this exemplary solid-state design Spectral DMC-30SS A preamp that complements all of the sonic virtues is most notable for its smooth, silky sound and Pass Labs Model XP20 $10,000 of the Boulder 1050 power amp, and does so with superbly low noise floor. Where it falls short of $8600 spectralaudio.com e x c e p t i o n a l r e s o l v i n g p o w e r a n d d e t a i l . A n e x c e l l e n t more elaborate designs is in resolution and passlabs.com Spectral’s DMC-30SS is a tour de force in phonostage. The ability to adjust the level of each dynamics. Reviewed by JHb, Issue 179 Very quiet, with no trace of solid-state hardness, preamplifier design, with its ultra-fast circuits, input to match. Excellent remote control features.

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EDITOR'S CHOICE - Preamplifiers

Superb Boulder construction. A true high-end has auditioned. Its noise floor is so incredibly product! Reviewed by AHC, Issues 188 and 208 low that it consistently resolves fine harmonic and dynamic details that simply aren’t audible on Simaudio Moon P-8 other great preamps. At the same time its transient $15,000 speed and authority are superbly realistic. To ice simaudio.com the cake, it has absolutely gorgeous tone color, If it weren’t for the absence of a stereo/mono the same liquidity and transparency that so switch, PS would find this two-channel, dual- distinguish MBL’s 9011 amps, excellent imaging chassis, dual-mono preamplifier literally perfect in and soundstaging, and superb ambience function and user-friendliness. Like any superior retrieval. Reviewed by JV, Issue 164 modern solid-state unit, it’s tonally neutral and pretty much characterless. Additionally, its transparency is see-through, dynamic response hair-trigger and very wide, detail amazing, with that paradoxical combination of iron grip and utter ease. Drawbacks? Well, it does cost $15,000. Reviewed by PS, Issue 165

Balanced Audio Technology Rex $20,000 Audio Research Corporation 40th balanced.com Anniversary Edition Reference This massive, two-chassis, all-tubed preamplifier $24,995 sets a reference standard in midrange liquidity, audioresearch.com palpability, and lack of electronic artifacts. The ARC has never made a better preamp than this Rex is supremely seductive and engaging, two-box linestage. What makes the Ref 40 so making the listener forget he’s listening through special is its sheer solidity of imaging: Instruments the electronics to the music. The only caveat is and vocalists, no matter how loudly or softly they that the Rex runs hot, even in standby mode. If are performing, take on a three-dimensional you can handle the cost, heat, and rack-space “rootedness” in space that is the very definition of requirements, RH knows of no sweeter-sounding stereo (which literally means “solid”). Combined preamplifier. Reviewed by RH, Issue 182 with ARC’s traditional bloom and air, a newfound richness of timbre, and lightning transient MBL 6010 D speed, the Ref 40’s stereophonic solidity makes $23,800 instruments sound more “there” than other tube mbl-usa.com preamps JV is familiar with. Reviewed by JV, One of the three best solid-state preamps JV Issue 209

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Ayon Polaris III their true colors (or their lack of same). Reviewed $28,620 by JV, Issue 194 ayonaudio.com This full-function preamplifier’s highlights include Krell Evolution Two outstanding three-dimensional imaging and $50,000 endless layering coupled with non-fatiguing, krellonline.com reference-quality transient delivery. Instruments The Krell Evolution series puts the third dimension seem to “pop up” from nowhere. The phonostage back in music by providing exceptional depth. It dazzles with liquidity and detail, plus it offers also provides exceptional reproduction of hall the ability to play low-output moving coils with sounds and musical mechanics—bowing sounds, absolutely no noise. Reviewed by PB in this score rustling, etc. This effect is enhanced by the issue imaging qualities of the Evolution Two. When the imaging on a recording is natural and detailed, Burmester 088 the Evolution preserves the size, the place, the $28,995 stability, and the layers of imaging. The result is burmester.de a more open soundstage, better reproduction of This preamp delivers musical details and lines life and air, and a greater ability to lose yourself in that are easily delineated and never trip over the music. Reviewed by AHC, Issue 158 each other. Overall, it fully lives up to its builder’s claim of achieving the ability to capture the BAlabo BC-1 MK-II power, variety, and surprise of music. Review $59,000 forthcoming balabo.com The third of JV’s “Top Three Solid-State Preamps.” Soluution 720 Like its companion power amp, the BP-1, the BC-1 $40,000 “control amp” (linestage preamplifier) is among axissaudio.com the most beautiful pieces of electronics JV has The second of the three best solid-state preamps seen or heard. A little dark in overall balance JV has heard. More dead-neutral in balance (rather like the MBL 6010 D), the BAlabo is simply (though sweet enough in the mids and treble exquisite on tone colors, turning everything into never to sound clinical) and less dark and liquid a shade of gorgeous without sacrificing any of than the MBL 6010 D, the 720, like Soulution’s the speed or low-level detail of the real thing. amplifiers, is killer-transparent to sources. It’s Wonderful grip and definition in the low bass, not more detailed than the ultra-high-resolution too. Breathtakingly lovely and extremely high in 61010 D, but it’s not less. Like the 700 and 710 resolution, it is RH’s reference preamp. Reviewed amps, this is a component that just “disappears” by JV, Issue 201 as a sound source, allowing other components ahead of and behind it to more completely show CLICK HERE TO COMMENT IN THE FORUM at avguide.com

Equipment reviews Pre/Power Amp Combinations

Aesthetix Rhea Signature phono stage, Calypso Signature line-stage preamp and Atlas Signature hybrid monoblocks Roy Gregory

Again, to précis that original review, the Calypso which you get upgrades to critical inter-stage was cool, controlled but dynamic, where the and output coupling capacitors (18 in the Rhea, Rhea positively buzzed with energy and musical 12 in the Calypso) along with adjustable, air- enthusiasm. Both were exquisitely constructed core caps elsewhere in the circuits that allow with subtle yet distinctive styling and a range of their performance to be precisely trimmed. The operational versatility and niceties that left most standard rubber feet are also replaced by a set other high-end units looking ill-considered and of the excellent (and expensive) HRS Nimbus threadbare. Their musical and sonic characteristics couplers. Hold the parts in your hand and they dovetailed perfectly, delivering a performance might not seem like much, but custom Teflon caps that stood comparison with some of the best don’t come cheap and nor do other, audiophile about, despite their (relatively) modest price varieties. Most of that cost can be seen in the and carefully tailored weaknesses. At just under parts count – although that doesn’t necessarily £7,000 the pair at that time, they represented an make it good sonic value. absolute bargain, one that carefully matched to a Fortunately, in this instance – and even given est there be any confusion, this review definitely covers the whole enchilada suitable system (a caveat that applies equally to the gulf of elapsed time – there’s no mistaking the – phono, line and mono amps – but despite that fact it seems to fall naturally the competition) were capable of delivering really fact that the Signature models have gone from Linto two halves, partly for historical reasons and partly on grounds of value; impressive musical performance. very good to great. In quantitative terms that’s not but I’ll get to those later. Way back in HiFi+ Issue 46, I got to review the original Now we have the Signature versions, necessarily a long step, but in qualitative terms (non-Signature) versions of the Aesthetix Rhea phono-stage and Calypso line-stage, outwardly identical and boasting upgraded it’s all too often an insurmountable gulf. What’s descendents of the massive (and massively expensive) Io and Callisto, six large boxes internal components, the burning question as even more important is that where the standard of all-tube extravaganza. I won’t wade through the same history all over again, save in every such case, is whether the additional versions have distinct characters that definitely to point out that Aesthetix main-man Jim White was once a mover and shaker at performance is worth the extra cost. Nowadays, dovetail, making the whole greater than the sum Theta digital, before his passion for things analogue (and the sheer excellence of its the standard Rhea and Calypso have crept of the parts and possibly placing limits on their expression) saved his soul from the dark side. The products in front of me here can up in price to £4,100 and £4,600 respectively, application in isolation, the Signatures are far reasonably be described as third generation and boast quite a bloodline, apparent in while the Signature versions run out at £6,500 closer in character and better balanced overall. their refined lines and equally refined performance. a piece. That’s a substantial hike in price, for Let’s start with the line-stage. The standard

EQUIPMENT review - Aesthetix Rhea Signature phono stage, Calypso Signature line-stage preamp and Atlas Signature hybrid monoblocks version always had a potent bass performance, new contender to my list of great line-stages – but was leaner and more restrained further seemingly the hardest of all audio needs to fulfil. up the range, whilst its transparency and lack Well, line-stages must be like buses, because of false emphasis did nothing to spare the the Calypso Signature makes that rarefied list blushes of source components or material. In too – and in some style. The standard version is contrast, the Signature version is a much more very good; the Signature is in a different league, balanced performer. Listening to the Gunther its lack of musical constriction, character or Wand Beethoven 7th Symphony (from the superb emphasis allowing it to perform just as a great Esoteric SACD set) the expected, explosive line-stage should – almost invisibly. Despite the bass dynamics are all present and correct, but relative brevity of its tenure it has already settled now there’s more detail, more shape, texture right into my system, trusted and relied upon in a and air around the notes, making the orchestral completely unquestioning way. I love the way it foundation far more convincing and purposeful. just gets on with the job: no fuss, no drama and But now those qualities extend across the rest of no drawing attention to itself. both record players could have been perfectly the balance back towards the VPI. Which brings the range, with a welcome colour and substance I could almost use the same sonic description optimised had they been carrying different us to the point; while the Rhea Signature retains to the mids in particular, that makes instruments to sum up the Rhea Signature; interesting in that in cartridges; that and the sheer clarity with the welcome musical enthusiasm and sheer more immediately identifiable and natural, their this instance the musical journey has been in the which the Rhea laid bare the contrasting sonic solidity of the standard version, it has succeeded contribution more effective. So the gentle, opposite direction. The Signature sounds more characteristics of these two ‘tables. in harnessing it to a better balanced and much almost lilting combinations of wind and upper detailed and refined than the standard version, but Listening to Karajan on the VPI after time spent more subtle framework, delivering a far more strings that characterize the first movement more importantly it also sounds calmer and more with the Wand SACD replayed on the Wadia convincing musical foundation. have a restrained poise and tension as they in control of the sheer musical energy it injects 581, came as quite a shock. The sheer power Changes in cartridge are equally apparent, the are first introduced, a natural swing and energy into proceedings with such apparent ease. Back and sweeping majesty of Karajan’s reading left benefits of Clearaudio’s da Vinci over the Dorian once the catchy melodies are established. It’s to the 7th and in this instance the Speakers Corner Wand’s previously impressive efforts sounding being clear to hear. The greater detail, refinement a progression that leads you naturally through pressing of the 1962 Karajan/BPO set on DGG (no rather polite and restrained. If the bass dynamics and transparency of the (much more expensive) the work, reflective both of the consummate EQ issues here as the 180g discs are RIAA): With from the digital disc had been impressive, the cartridge raised the game of the Rhea Signature composition and performance. It’s built on the multiple ‘tables and cartridges currently in-house impact off record was positively explosive, a yet again, underlining the fact that what we are ability to track the flow and density of the music and under review, the Beethoven presented the result of the Rhea’s combination of substance dealing with here is a phono-replay system right across the range and it is key to an involving opportunity to compare the Rhea’s transparency and enthusiastically energetic delivery. Of as a whole. The phono-stage takes what the and convincing performance. Add to that the to both the source and the performance. With course, these are qualities it shares with the record player delivers and passes it on, in this fact that these improvements in resolution, noise Lyra Dorian cartridges mounted in both the VPI Classic and in truth, as entertaining as the results case without stripping away any of the essential floor and as a result micro dynamic and harmonic Classic and the ClearAudio Innovation, the Rhea undoubtedly were, the greater poise and balance vitality generated by a decent cartridge turntable resolution, have been achieved without over- clearly demonstrated its strengths. Not only was of the ClearAudio ‘table definitely delivered a more combination. What’s more, the adjustability egging the spatial presentation and the Calypso I able to connect both ‘tables simultaneously thoughtful and balanced overall performance, means that you’ll get the best out of the cartridge, Signature delivers a musical performance that is and flick between them at the touch of a switch, I whilst still benefiting from the sense of musical whatever it is. The resulting sense of convincing both convincing and compelling. could ensure that both cartridges were operating substance and emphatic dynamics delivered musical substance is rare indeed in these days I recently reviewed the Pure Sound L300 with identical input settings. However, what is of by the phono-stage. Having said that, shifting of ever higher-definition systems with their line-stage, rejoicing that at last I could add a more interest to the domestic user is the fact that gear to Gabriel or Black Uhuru’s ‘Red’ swung tendency to the lean and mean; but what’s really

EQUIPMENT review - Aesthetix Rhea Signature phono stage, Calypso Signature line-stage preamp and Atlas Signature hybrid monoblocks impressive is the way that the Rhea Signature been tamed to the point where you could safely like neither, which is a neat trick indeed. The deliver the best of both end up delivering the lends these positive qualities to the performance, introduce it to any well-behaved turntable. It power amps attempt the same thing, but travel strengths of neither. The world is not littered whatever cartridge is delivering the signal – might lack the micro-dynamic resolution, the by a distinctly different route – the potentially with great hybrid designs and my heart generally the better the front-end the better the results. immediacy of a unit like the Connoisseur, or the poisoned chalice of hybrid design. Excuse my sinks when another hoves into view. Imagine then Indeed, the combination of the Lyra Titan and the capacious soundstage of the ARC, but it has sceptical nature but all too often, amplifiers that my relief, my surprise, my pleasure in discovering Rhea Signature is a marriage made for music, the greater energy and macro dynamics than either, combine tubes and solid-state in an attempt to that the Atlas, just like its siblings, delivers a micro-dynamic finesse of the former, the weight establishing it as a musically valid and versatile and body of the latter, adding up to a near perfect alternative to these stellar performers. In fact, balance of virtues. the one thing lacking to make it the uncontested Like the Calypso, the Signature version of the high-performance phono-stage value champ, is The sweet Spot… Rhea offers better bass textures and definition the switchable EQ available on the ARC. We’ve The Signature editions of the Aesthetix pretty much the same thing). than its standard stable-mate, but the natural got the Rhea and the Signature version; might we electronics are a sonic tour de force – and But even more interesting is the existence advantages of analogue also allow it to show see a “Reference” version in the future? compared to the competition they constitute of an Atlas stereo amplifier. Using identical off the increase in air and space, colour and Which brings us to the second half of this something of a bargain. However that’s not casework to the mono-blocs, and offering finesse that it provides right up to the highest review and the performance of the Atlas mono- the same as saying that they are affordable, exactly the same switching and operational frequencies. If the line-stage has gained weight blocs. The pre-amp components from Aesthetix, or even close to it. At close to £30K there’s options, it delivers a ‘mere’ 200 Watts into and body, the phono-stage has significantly especially when used in combination, offer a no escaping the serious cost of ownership 8 Ohms (400 into 4), more than enough for honed an already solid physique. Still leaning sense of natural balance that prevents their involved here. Which brings me to some rather many a listener’s needs. Price? £7,700 – which to the energetic side of positive, it’s unfailingly sonic categorization as either tube or solid-state. intriguing options… amounts to more than half the amp for less engaging and entertaining, whilst its more refined Instead they succeed in offering the musical and Of course, there are always the standard than half the money! Once again, there are texture means that its tearaway tendencies have operational strengths of both whilst sounding versions of the Rhea and Calypso and those some component changes between the two, should certainly not be overlooked. But for but the possibilities are enticing indeed. those who can make do with a single, still fully Now, I haven’t heard the Janus in either configurable MC input, there also exists the version – or the Atlas stereo – but they’ve Janus pre-amp. Essentially consisting of a Rhea got to be worth investigating, especially the input and gain stages added to the Calypso power amp. Including either in the equation circuit and housed in the same box, just with saves some serious money and brings these more buttons, it is available in both a standard products into the price bracket that many and Signature version. Okay, so you forego the people consider the upper reaches of personal separate chassis and dedicated power supply expenditure. Much like the (sadly defunct) that the Rhea gives you, but at £6,400 for the Hovland RADIA, the Atlas stereo might well standard version and £9,700 for the Signature, prove to be all things to all men, that magical that’s a cost/performance compromise that balance of virtues that seems to suit most could be very attractive indeed unless you are people, most systems and quite a few pockets. a really dedicated vinyl listener or you need the I might just have to hold the mono amps three inputs on the Rhea (which amounts to hostage until a stereo heaves into view…

EQUIPMENT review - Aesthetix Rhea Signature phono stage, Calypso Signature line-stage preamp and Atlas Signature hybrid monoblocks musical performance that leans not to silicon nor driving most speakers but doing so without ever to vacuum tubes, but is rooted firmly in the music sounding muscle-bound. There is a tendency SPECS & PRICING itself. Living proof then, that it’s not what you use amongst the audio community, when faced with but how you use it that matters – and, that things large, powerful amps, to reach for the smallest, Rhea Signature Phono Stage Input Impedance: 40 kOhms (s-e), 80 kOhms (balanced) aren’t quite as simple as they seem. most difficult to drive loudspeaker that they can Tube Complement: 4x 12AX7LP, 4x 12AX7, 2x 6922 Outputs: 2x single-ended RCA/phono Let’s start with the whole issue of just what find, hook them up and advance the volume. The Inputs: 3x single-ended, independently configurable 2x balanced XLR does constitute a hybrid design? Traditionally, Atlas monos are only too happy to play those Gain: Switchable, 7 values from 38dB to 75dB 1x tape – single-ended RCA or balanced XLR hybrid amps tended to use tube input and driver games, but they don’t really reveal just how Input Impedance: 47k, 10000, 5000, 2500, 1000, 500, Output Impedance: 1 kOhms (s-e), 600 Ohms (balanced) stages, coupled to solid-state (usually Mosfet) good these amps really are. Indeed, one of the 250, 125 or 75 Ohms Dimensions (WxHxD): 454 x 95.25 x 457.2mm output devices – thus dispensing with the heat, happiest combinations in which I used them was Phono Equalization: RIAA Shipping Weight: 18kg cost and bulk of multiple power tubes and the with the Focal Stella Utopias – all wide bandwidth, Outputs: 2prs single-ended, 2prs balanced output transformers that go with them. Audio 95dB sensitivity and lightning response. If ever a Output Impedance: 1 kOhms (single-ended) Atlas Signature Mono Power Amp Research turned that topology on its head, speaker was going to reveal short-comings in the 600 Ohms (balanced) Type: Hybrid (tube input) mono power amplifier coupling solid-state front-ends to tube output agility of the Atlas monos, this was it, but they Dimensions (WxHxD): 454 x 95.25 x 457.2mm Tube Complement: 2x 6SN7 stages – although the resulting amps didn’t absolutely thrived in each others’ company. The Shipping Weight: 18kg Inputs: 1x single-ended RCA, 1x balanced XLR represent their finest hour. Now, the Atlas uses bottom-end of the Aesthetix mono-blocs is just Input Impedance: 470 kOhms solid-state input circuitry, a 6SN7 gain-stage and as solid and stable as the other units in the range, Calypso Signature Line Stage Preamplifier Input Sensitivity: 60 mV (1 Watt), 3.1V (full power) bi-polar output devices. It seems that the church allowing musical dynamics and expression the Tube Complement: 2x 12AX7, 2x 6922 Rated Output: 300 Watts/8 Ohms, 600 Watts/4 Ohms of hybrid is broad indeed. firm footing they need to grow and breathe with Inputs: 5x line-level – single-ended RCA or balanced Output Connections: 1 set Cardas type binding post However, let’s consider line-stages for a natural life and presence. XLR Dimensions (WxHxD): 457 x 205 x 482.6mm second or two. A unit like the Pure Sound L300 is If pushed to it, I’d have to say that the amps 1x tape – single-ended RCA or balanced XLR Shipping Weight: 31.8kg proudly, almost obstinately, pure tube, with every lean ever so slightly to the dryer side of the possible power supply and signal function given tonal palette, although that’s through the mid over to the glowing bottles. But what of units rather than the lower frequencies, and by just U.S. U.K./E.u. that use solid-state regulation and rectification about the same degree that the line and phono- Rhea Signature Phono Stage Price: $5,000 Rhea Signature Phono Stage Price: £6,500/7000 Euro to feed their tube signal circuitry – like the Rhea stage pairing favours the romantic. Used with Calypso Signature LIne Stage Preamplifier: $5,000 Calypso Signature LIne Stage Preamplifier: and Calypso? Aren’t they, in a very real sense, the Connoisseurs up front, the Atlas monos fed Atlas Signuature Mono Power Amp: $16,000 per pair £6,500/7000Euro hybrids too? I would argue that they are, and that avidly on the textural and micro-dynamic niceties Manufacturer: Aesthetix Atlas Signuature Mono Power Amp: £15,500/16500 Euro this blurring of the boundaries signals a greater they were delivered, showing no shortcomings www.aesthetix.net per pair understanding of just what valves and solid-state when it comes to subtlety and finesse. In fact, Manufacturer: Aesthetix devices can bring to the audio party. Certainly, it’s only when you put them up against amps Distributor: Musical surroundings www.aesthetix.net if the success of these Aesthetix designs is any like the Bernings that you notice a subtle grain www.musicalsurroundings.com Distributor: Audio Reference gauge, the question of what’s inside the box is to their textures and limitations in transparency. www.audioreference.co.uk fast becoming secondary to the appreciation of There is also, in absolute terms (though not (510)-547-5009 +44 (0)1252 702705 what comes out of it. in comparison to any but the very best of the The Atlas amps are at once delicately competition) a subtle but consistent thickening responsive and effortlessly powerful, capable of of the bass frequencies. Does that contradict CLICK HERE TO COMMENT IN THE FORUM at avguide.com

EQUIPMENT review - Aesthetix Rhea Signature phono stage, Calypso Signature line-stage preamp and Atlas Signature hybrid monoblocks my earlier observation? Yes and no: on the one but they are oh so close in so many ways that hand, you’ll hear it in comparison to an amp perhaps it should be no surprise that as a system like the Quadrature Z (which knows no peer in they come so close to the hi-fi and musical ideal this regard, at least as far as I’m aware); on the of genuinely being all things to all men. After all – other, in general you won’t notice it. What you what’s not to like? will notice, and love, are the weight, substance When I reviewed the original Calypso and Rhea and musical momentum that results, and the I alluded to their clever bass voicing, the way the seamless and above all, natural way in which it subtle tailoring in the mid-bass in particular, fed underpins the musical performance. Likewise, their potent musical performance. In these three the ultimate in acoustic definition, the space in Signature designs that strength has been further which a recording is made, is achieved through refined, retaining the power but reducing and greater bass transparency and definition – but better integrating the tendency to the point where then I’m not in the habit of perching atop a mike it is all but aurally invisible – yet loses none of its tree or dangling on wires from the concert hall’s musical impact. Their musical presentation has ceiling. The Atlas amps (in common with the a substantial and holistic quality, an evenness other Signature units) deliver a just off pinpoint of energy from bottom to top, an absence of sense of image specificity which has far more to steps, dips or suck-outs that draw attention to do with the sense of orchestral spread that I hear themselves. It arrives as a whole and you hear live from my generally preferred rows (F or G). it as a whole and that’s what makes it such a Like the line-stage and phono-stage, the real convincing and immersive experience. The result ability of the Atlas monos lies in their ability to step is a range of electronics that should have the aside and stand behind the music. Listen for them more established and certainly better known – if you must – and you can identify their subtle competition looking to their laurels. influence on the music’s passage. But they make A wise woman once wrote that, “There is a it awfully easy to forget about them altogether. If world of difference between truth and facts. Facts the signal demands then they respond, but even can obscure truth.” I know just what she meant. under extreme duress (did I mention the way they Listen to these Aesthetix electronics as a set and encourage the use of “realistic” levels) their grace yes, there are undoubtedly electronics (though and unburstable enthusiasm delivers the music not many) that are more accurate to the facts of devoid of harshness or strain. Used as a set, the a performance. However you’ll travel a long way results are even more beguiling, making listening to find amplifiers that deliver a greater sense of an immersive and musically compelling, at times the music’s truth. I’ve spent many happy hours almost propulsive, experience. I’m not convinced listening to these Aesthetix Signature electronics that they excel in any single musical respect, – and mostly just for the pleasure. I would happily save their sense of musical energy and purpose, spend many more. +

EQUIPMENT review - Aesthetix Rhea Signature phono stage, Calypso Signature line-stage preamp and Atlas Signature hybrid monoblocks Counting those features that count…

I’ve already suggested that these Aesthetix Aesthetix also include a cartridge demagnetizing experience those things are rarely used in the sonic performance. That mute is a nice touch units are unusually versatile, but that versatility circuit to eliminate the build up of residual fields real world – and the Rhea takes care of gain too – especially with 300 Watts on tap. The Atlas goes way beyond simple convenience. Each of within the generator assemblies. Nice. matching the record player. amps – and the Rhea/Calypso – were shifted in the products under test incorporates an array As well as the three sets of single-ended How many facilities can you build into a power and out of the system multiple times. Never once of features that contribute directly to its sonic inputs, the Rhea offers two pairs of single-ended amp? Well, how many power amps have five front- did they complain or misbehave; never once did I performance and, just as importantly, your and two pairs of balanced outputs – which I have panel buttons? Topologically speaking, the Atlas is contrive to screw it up. chances pf actually realizing that performance in to say seems a little excessive. And if I wanted a fully differential, balanced bridge design, using From their reassuringly solid yet elegant your own system. to get really snippy then I’d ask for either more bipolar solid-state input circuitry and a single aluminium casework to their stainless steel Let’s start at the front with the Rhea. This loading steps below 500 Ohms (you get 250, 125 6SN7 tube in its gain stage, to drive 300 Watts of shrouded AC circuitry, one look at the Aesthetix gives you three, independently configurable MC and 75), or a user definable value. And finally, bipolar solid-state output. That’s into 8 Ohms; it products instils a sense of confidence. That inputs, with front panel and remote control of not given three separate inputs, for God’s sake make delivers 600 Watts into 4 Ohms) It also boasts an confidence is only bolstered by the units’ just nine different loads but also eight different the ground connection more accessible (it’s incredibly complex power supply, with no fewer substantial weight, even the line-stage being gain settings, the latter being an often-overlooked right below the IEC input) and capable of readily than three AC transformers (one dedicated to the a grunt inducing lift. That impression of solid aspect of record replay. Despite being an all-tube accepting three separate grounds; how about a high-current supply) and multiple chokes. The B+ engineering, carefully executed extends to circuit, the Rhea can deliver up to 75dB of gain, terminal strip? supply is independently regulated and fed from the range of facilities on offer. There’s nothing theoretically allowing it to accept even very low The Calypso seems almost prosaic in its out choke input. But once again, Aesthetix superfluous here – just what you need to guarantee output cartridges. In practice, noise levels at the comparison to the Rhea’s astonishing level of goes that extra mile: two sets of inputs (both the best possible performance, arranged so that highest gain settings are intrusive, but having adjustability – but then it is only a glorified source offering single-ended or balanced connection) you will actually use it. Everything is on the front- that adjustability allows you to balance the select and volume control. Even so, the slim-line allow the user to choose between a direct, full- panel – and it’s duplicated on the remote. For system gain (and as a result, musical dynamics) casework contains a fully differential and dual- bandwidth hook-up, or one that incorporates a once, here’s a range that’s inspires musical and against noise, critical in a fully optimised record mono tube circuit. There are five inputs, two sets high-pass filter. The latter allows the amp to be operational confidence in equal measure, making replay set-up. And note the term “system gain”; of main outputs and a tape output (all either used in systems incorporating separate or integral these products a joy to use. given the huge differences that exist in line-stage balanced or single-ended), with remote switching powered sub-woofers, the roll-off characteristics gain characteristics, this adjustability also allows for all functions including absolute phase and the and inputs being selected via you to trim record replay levels to match those of Theatre Bypass mode. Volume is set in 88, 1dB two of those front-panel CD. That means that real record collectors (and steps, using a discrete resistor ladder – and if you switches. The other three who else will fork out for a Rhea?) will be able are wondering where the volume control is, the offer standby, mute and to run anything up to three different tonearm/ display window is also an up/down rocker switch. display control; like all cartridge combinations, each optimised and If you want to get really picky you could point the Aesthetix units, the gain matched to the system. Talking of forgotten out the lack of a balance control or individual display on the Atlas can or overlooked aspects of phono reproduction, gain settings for the various inputs, but in my be defeated for superior

Ayon Audio Vulcan II Power Amplifier, Polaris III Preamplifier, and CD5s CD Player/DAC Peter Breuninger

successfully acquired the company, changed that puts Pavarotti, Callas, and Tormé smack-dab its name, and expanded the product lineup to there in your room. A system that (more easily) include preamplifiers, CD players/DACs, and allows you to visualize reality. What would it be? loudspeakers. Digital or analog? Solid-state or tube? Muscle or Hirt is surely gifted in the form-meets-function micro-power? school of design. Each Hirt creation has a unique Wait a minute, what if you could pick and feel and style to it that stands above today’s “me- choose, à la carte, the best attributes of each too” audio components. If Steve Jobs were an technology and create a new sound—a new way audio designer, I reckon he’d be Gerhard Hirt. of listening. Gerhard Hirt has done this and the You must see, touch, and feel these products to audio world is taking notice. His Ayon products appreciate this level of industrial art and ergonomic blur that line of real versus reproduced. Perhaps engineering. As striking as the photographs are it’s the sound we’ve all been searching for. they do not do justice to the incredible beauty What follows is an introduction to several Ayon of Ayon components. Like Jobs, Hirt is not only products: the Vulcan II amplifier, the Polaris III show—he’s go. His products break new ground preamplifier/regenerator (power supply), and the in sound reproduction. It’s this that puts Hirt at CD5s CD player/DAC. the apex of today’s modern audio designers. yon Audio joins a select group Ayon values producing objects d’art at the The kicker is Ayon products are priced Vulcan II Power Amplifier of audio companies that are same level as it values sound reproduction. We at, dare I say, realistic ultra-high-end levels. The Vulcan II is Ayon’s cost-no-object, 55Wpc Aredefining the art of sound are talking Bugatti- and Bentley-class products. Only three components are MSRP’d at over power amplifier that combines the speed and reproduction. Based in Austria, Ayon Ayon Audio was founded by Gerhard Hirt. $25,000—unheard of for this level of European verisimilitude of solid-state with the “you are designs and manufactures cutting-edge His eye for design, ergonomics, and sound is manufacturing. Without a doubt, these are world- there” holographic midrange of single-ended tube components and loudspeakers. astounding, as is his business acumen. The class, high-desire instruments that actually offer triodes. Plus, there is bandwidth extension and When you think Ayon, think…red-velvet company started out as VAIC audio in the value. (Please note: Ayon is pronounced a-ohn lighting-fast snap with zero upper-frequency roll- protective covers, black-and-chrome 1990s. VAIC was a small company best known (the “ohn” rhymes with John), not Ion, as in off. artistic sculptures, and dazzling limited for its tube manufacturing factory (triode output physics class.) The Vulcan II is a monoblock, pure tube, production tubes. tubes). Hirt was a colleague of Alesa Vaic. He Imagine the perfect audio system… a system parallel SET, Class A design. Each amplifier has

EQUIPMENT review - Ayon Audio Vulcan II Power Amplifier, Polaris III Preamplifier, and CD5s CD Player/DAC two primary output tubes and two sets of output It’s an exclusive club! The grounding of the amplifier is unique and pot with authority. There is no mistaking a volume transformers. The venerable 6BQ5 (EL84) drives Each chassis of the Vulcan II is manufactured one that I wish every amplifier would employ. change. It is a click-swish-click sound that you each output tube. The amplifier’s roots hail back from thick machined-aluminum slabs, as are It’s a dual-switchable configuration, employing will either love or hate. It’s part Rube Goldberg, to the VAIC 52b Reference, one of the first SET all Ayon products. Four shiny transformers sit star-grounding. There is a little toggle at the part fine automobile. Unlike the amplifier or CD amplifiers to provide accuracy at the frequency behind the sentinel-like tubes, as if they were back of the amp and if you hear any ground loop player/DAC, the Polaris III employs a front-face extremes. It is thus an evolutionary product and guarding some outer space missile-silo complex. or power supply noise, simply flip it up or flip it on/off switch. It is silver chrome in color and the is an outstanding example of audio Darwinism. The cool factor is off the charts. The transformers down, and it will disappear. There is an input gain diameter of a five-cent piece. When you press it, The Vulcan II utilizes the latest generation are circular and chrome and you can see yourself knob with three settings so you can match input there is a feel like putting a key in a Bugatti—a AA62b output tube. They look like two futuristic in their high-def mirror finish. source gain to amplifier output. Inputs are RCA combination of “click” and tension release as thermionic sentinels sitting atop each amplifier The front face of each Vulcan II chassis has and balanced. the button engages the power-up circuit. It’s deck. The AA62b is one of the largest single- the Ayon company name CNC-machined into the thrilling. plate DHTs (directly heated triodes) produced ½-inch aluminum. It’s an hour-long process on The shiny chrome-handled Elma/Swiss input today. It has a beautiful lattice plate (anode) the CNC machine, and it’s the finishing touch to selector is another high point. It’s a multi-stepped superstructure that makes an ordinary 6550 look this tour de force. unit with front-face notches, so you’ll have to mark like your father’s Oldsmobile. It is capable of These cutting-edge amplifiers look as serious or remember which device is on what setting. power output to 30 watts. Each tube location is as a starship though as delicate as a ballerina. It’s marked L1, L2, L3, etc. Turning it is a thing alphanumerically labeled so you can’t screw up Every person, of either gender, who laid eyes of beauty, a soft click and then it engages and tube placement—a nice touch. upon them wanted to take them home. Hirt is very switches the source—all within a millisecond. Ayon owns the actual tube manufacturing clever—he designs products for both decision- Touch points are vital in equipment at this level. facility in the Czech Republic. The AA62b tube makers. They are futuristic beauties in a world of Like many of today’s top preamps, the Polaris III is a rethinking of the venerable Western Electric grey and black boxes. utilizes the 6H30 super tube. I’m a big fan of this 300B, but with “balls.” In the early-to-mid 90s The Vulcan IIs can drive a wide range of tube. I believe that, when properly implemented, it VAIC’s quality control was spotty. The tubes were loudspeakers due to their robust 55Wpc output can equal or exceed the 12AX7 and 6DJ8. It offers so avant-garde that the manufacturing process power. They offer 4- or 8-ohm taps for the speaker Ayon Polaris III fast, fast dynamics and is not prone to microphonics had to catch up to the design. The plant, under connections with seriously large German WBT The Ayon Polaris III with the “regenerator” power like 6SN7s. the guidance and control of Hirt (and team), got multiway binding posts. There is no feedback of supply serves as the preamplifier. Machined from The Regenerator power supply is the same size the bugs out and now currently produces a full any kind employed within the amplifier. The turn- the same billet-quality, aircraft-carrier aluminum as the control unit. It provides full tube rectification. range of triode output tubes with astonishingly low on rocker switch is interestingly located (hidden) as the Vulcan II, the Polaris III sits one notch Many believe this is the best approach for amplifiers failure rates. In fact, no AA62b tube has failed since under the right front corner of the amplifier on the below the top-of-the-line Spheris linestage and as it eliminates any solid-state-device noise, which production began over three years ago. Think of chassis bottom. After a couple of turn-ons and accompanying phonostage. The Polaris III has can enter the power supply and harden the sound. that the next time your 6550 goes cherry red. turn-offs, using it becomes second nature. five line RCA inputs and one mc phono input. On a practical basis, today’s solid-state devices Hirt says he’s constantly approached to make When you fire the Vulcans up, the machined Outputs are RCA and balanced. There is a remote are so well made that this is a myth. It is interesting OEM tubes for other companies but politely “Ayon” logos start to blink with a backlit red glow, control that operates the preamp and other Ayon to note though, that some of the most respected declines. “I want to focus on making the world’s like they’re alive and starting to breathe. After a products, including the CD5s CD player/DAC I products are tube-rectified, like the Lamm LL1 I best audio components,” he says, “not the minute or so the backlight stays lit, and the depth tested. reviewed in TAS issue 208. world’s best parts.” As a result, Ayon does not of the milling of the word “Ayon” reminds you that The remote operates a servo within the Polaris The Regenerator recognizes the power-line sell its tubes to anyone but actual Ayon owners. this is one goshdarn serious amplifier. III that turns and gently clicks the big silver volume frequency and reads it out numerically in red

EQUIPMENT review - Ayon Audio Vulcan II Power Amplifier, Polaris III Preamplifier, and CD5s CD Player/DAC letters in a small window. It’s a design touch that the central theme is black-and-chrome sculpted and it is startling. It’s an IMAX panorama of three- all music. The downward cascading theme in the makes you appreciate the details of engineering modern shapes with glowing red highlights. dimensional sound. Praeludium of the Bach Suite for Cello Number 3 within the unit. The Polaris III and its Regenerator Totally Bugatti. [Starker/Mercury] not only showcases Starker’s power supply, when placed on a rack above and Ayon has a sound, and it’s unlike any you Listening to the Vulcan IIs playing and technique but also highlights the air below each other, have a look that’s modern-age have heard before. If you read that an audio The Vulcan II, as a standalone product, has the cello excites, just as in real life. You not only impressive. Perhaps it’s the large chrome knobs component has no signature, well… that is, itself, these traits in spades. Whether fronting the get lost in the performance but you also lose or maybe it’s the cooling grids/ducts on top of the signature. This is the heart of our hobby, Lamm LL1 linestage or the Wyetech Opal, the yourself in the space in which the performance each unit (also chrome) that set the units apart finding the sound signature we like. Whether it’s Vulcan II presents huge panoramic vistas. To takes place—if that makes sense. The Vulcan’s from other products. the spring water clarity of Audio Research or the best demonstrate this I encourage you to play nail this acoustic and bring you a step closer to the 3-D conrad-johnson approach, no one company Dead Can Dance’s “Son of the Stars.” This music live experience. Also, there is a greater sensation Ayon CD5s CD Player does it all. And friends, that’s the fun and the is custom made for IRS Vs, MBL X-tremes, and of rhythm and power due to the inordinate amount Cut from the same visual cloth as the Polaris frustration of it. It drives us to seek out and/or VTL Wotan amplifiers. It offers up a multitude of of air that is captured and moved by the Vulcans. III, the CD5s is a top-loading CD player with invent new products like Ayon has done. intertwining sonic landscapes with tons of out- It does not take long to realize that there is also an inputs for a digital bitstream (read music of-phase detail. Perhaps sonically, this track is increase in richness to this air density that other server) and line source. The digital inputs are Listening to the Ayons superior to any song on Into the Labyrinth. It starts amplifiers miss. The Komuro 212Es capture the life USB, AES/EBU, S/PDIF, and TosLink. So it’s What is the Ayon sound? First of all, it’s not off innocently enough: The shakers enter softly of an instrument (like the Ayon) but with less air- future proof (at least for now). The sampling rate a sterile high-resolution sound, and it’s not a from the left, trailing off to the right before they space richness. The Jadis JA-500 comes close to and resolution are sensed automatically up “golden glow” sound. It is at the same time begin a steady rhythm. The tabla drums suddenly doing this “air-capture thing,” but these guys cost to 192kHz/24-bit. Plus, it has an upsampling pure and exquisite, and it is very appealing to explode across the stage, and Brendan Perry far more, are twice the size (four chassis), and take switch to the same full conversion rate (also on the ear. It is a blossoming sound that captures begins the chant “We are the stars that sing,” a power-lifter to move. the remote control). the full harmonic envelope of the music without backed by a huge electronic sonic landscape. It can function as a two-source linestage with smoothing over its warts. You get your cake I’ll tell you: This is a guaranteed goose-bump one RCA and one AES/EBU analog input. Outputs and get to eat it too, with all the detail intact. track. are both digital and analog. It’s part of a new class This is a hallmark to the Ayon sound—the Like a switch, the Vulcans remove the walls of product that combines linestage, DAC, and knack of presenting an extraordinary amount of your room the very moment the drums and transport in one box. of detail without any edginess or sharpness. voice enter. Folks, there is nothing like it. No The top-loading transport is the widely As you listen to it, you will want more of it. It’s amplifier I’ve heard can knock down the walls available Phillips CD-Pro 2. The smoke-colored addicting. The Ayon sound will be a new reference of the listening room like this. The Lamm ML3s cover lifts off the large silver housing. The whole for many audiophiles. will more accurately portray Perry’s unique vocal thing looks like a flying saucer landing deck. To better describe the Ayon sound is to look at signature but they will not clobber you with the The small selection buttons are on top and they the “sonic” canvas upon which it paints the music. amount of acoustic space that the Ayon does. are also chrome with the same high-sensitivity It’s an endless, silky, velvet-like environment that There is so much being thrown at you that your touch-points as the Polaris III. When the unit fills your room. This is where Ayon performs its senses can actually overload. When Lisa Gerrard is powered up, they sit within the red glow of a magic with the dexterity of a surgeon. Think of finally solos, your hair will stand on end! It’s a circular backlight—similar to the look of a BMW’s it as a living, almost-breathing atmosphere. total panoramic effect and it will change the way halo headlights. Now imagine the music, instruments, and notes you listen to music. When you step back and admire these products magically popping out from within it. It is amazing Amazingly, the Vulcans achieve this effect with

EQUIPMENT review - Ayon Audio Vulcan II Power Amplifier, Polaris III Preamplifier, and CD5s CD Player/DAC

Of course, there is more to the Vulcan II than they just don’t grip the woofers quite as firmly fantastic air-capture, pace, and drive. There is that as the Krells. For that matter, neither does the unparalleled SET midrange magic. Remember, Jadis JA-500 with its extraordinary 400 watts the Vulcan is a true single-ended triode amplifier, per channel. I may ruffle some feathers here, but although purists will argue that paralleling an SET I believe that a tube amp can never reproduce design costs some of the image “exactness” that the hammer-head bass impact of a solid-state a single SET circuit provides. The trick is getting amplifier. It’s simply a limitation of tubes. the tubes, both the outputs and drivers, on both Let’s go back to the Dead Can Dance. The sides of the amp to run the same. Hirt has done amount of force from the drum whacks is both his homework here. Once you set the bias for room-shaking and enveloping. The Lamm ML3 each side, it stays put. I’ve changed individual Signatures may give you a little more tone to drivers (same brand though) and darn if the meter the drumhead hits, but not the sheer low-end doesn’t indicate the identical bias current as the envelopment that the Ayons do. Is this the As mentioned, the CD5s is a multi-purpose followed by the CD5s. However, the Polaris III prior tube did. Plus, over time I’ve had no bias difference between 35 watts per channel and 55? design. I tested it as a stand-alone linestage, outclasses the others with additional image drift on either side of either amp. Perhaps, but remember that Ayon is not going to as a stand-alone CD player, and as a separate density and solidity. Its air and space fill more Demonstrating this exacting balancing act of the sell its tubes to anyone else. I believe the Ayon DAC. of the room, and I mean every nook and cranny Vulcan’s paralleled circuit is best left to the solo AA62b output tube is in a class of its own when it The Polaris III and the CD5s’s linestage of it. It is remarkable. performer. Rita Rays singing “Autumn Leaves” on comes to low-frequency reproduction. are cut from the same sonic cloth. Both offer I tested two of the CD5’s digital inputs, the the outstanding Mercury Songbook 4 CD set will Why are these amplifiers so full of life and air the signature Ayon sound of huge sonic USB and S/PDIF coax. This was interesting. do just fine. Rays is recorded live and her voice and impact? Is it the front end? Not really. All panoramas, silky black-velvet backgrounds, There is some controversy out there about is centerstage. Her signature vibrato is captured the above sonic traits were revealed with the and gobs of natural detail. The Polaris III (as a current USB technology in regard to clocking as accurately as her initial consonants, with no Wyetech Opal and the Lamm LL1, not just the linestage) is the superior performer as should and jitter. I’m not a guru here—I’m more the smearing. Rays is standing, 3-D, right in front of Ayon Polaris III. Is it the digital? The Ayon CD5s be expected. There is more density to the amp/speaker expert. But I did hear a bit less you. The Lamm ML3 and its single circuit is also is a remarkable player, very analog-like, but the images and the sonic landscapes are larger, ambience with the USB input. It still had the adept at this. This is what SET amplifiers are workhorse EMU 1616m showed the same stuff but not by that much and certainly no night- same huge sonic vistas but with a smidgen supposed to do—it’s why you pay the big dollars through the Vulcans (but with way less three- and-day difference. If you didn’t do a series of less atmosphere and less room pressurization. per watt. dimensionality). So suffice it to say, regardless of back-to-back comparisons you would think the I admit it’s a subtle difference. The Vulcan IIs, though, then seal the deal with front end, this is one heck of an amplifier. CD5s is unbeatable as a linestage. Both units Next, I compared the transport with my hard real, honest-to-goodness, and tonally accurate give you a sweeter and a more refined top-to- drives. This offers many variables, but it’s a can bass. What? Bass wallop and accuracy in an SET Listening to the Polaris III and the CD5s bottom balance than the Wyetech Opal. of worms. Every computer sounds different amp? Yes, this is indeed unchartered territory in At first blush, these two components seemed What I’m saying here is that the Wyetech whether it’s due to the motherboard, the memory, SET land and is why you should audition this to “soften” transient attacks. There was nary a is providing a different lens on the orchestra. the operating system, or even the type of hard amplifier as soon as possible. No, it’s not Krell doubt when they were in the system. Well, this It’s a more va-va-vivid midrange view that’s drive. Different computers have different sounds. bass—not much is. I keep a pair of Krell KMA ended up being a break-in issue. Make sure several rows closer to the conductor than the Remember, my system uses a pro soundcard 400s hanging around as a reference to hear just you allow for “on time” of several hours per CD5s linestage and the Polaris III. In order of (EMU 1616M), and yours may not. No matter how what high-power solid-state bass can do. The day for a minimum of four weeks to settle and preference for the “believability factor,” I would many CDs I played and compared to the rips, I Vulcan IIs dish up all the low-frequency tones; form the capacitors and break in the boards. place the Polaris III equal to the Wyetech can honestly say I slightly preferred the rips. It’s

EQUIPMENT review - Ayon Audio Vulcan II Power Amplifier, Polaris III Preamplifier, and CD5s CD Player/DAC difficult to describe the differences, but there set has great pressings, but the piano sounds is a more relaxed gestalt with the hard-drive rips. almost toyish. It’s distracting. The Polaris III Both CD and rip have the same detail, air, and portrayed the piano as a more real and solid SPECS & PRICING staging… bits is bits, right? With the CD5s you instrument on the stage. can test this yourself with its switchable inputs. Another recorded misconception was the Vulcan II Monoblock Amplifer CD5s CD Player/DAC Alas, not everyone is able or inclined to merge John Coltrane Atlantic box set, The Heavyweight Power output: 55W Tube complement: Four 6H30, four 6Z4 his computer system with his audio system. Champion. Coltrane’s horn can be sharp and Tube complement: Two AA62B outputs, two 6BQ5, one Conversion rate: 192kHz/24 bit, upsampling switchable Let’s not forget that ripping a CD collection is digitally edged especially with the Cello, a very 12AX7, one 5U4G Transport mechanism: Phillips CD-Pro2 no easy task. It’s time-consuming and you revealing cartridge. I’m not totally sure these are Input impedance: 100k ohms Output level: Variable have to manually type in many titles and tags. pure AAA records. With the Polaris III, Coltrane’s Inputs: RCA and XLR Output impedance: 300 ohms (RCA and XLR) A transport is still a requirement for many of us; horn is more realistically “there” between the Dimensions: 14.2" x 9.8" x 22.8" Digital output: S/PDIF (RCA), I2S, AES/EBU plus, the CD5s offers marvelous flexibility. With speakers. It’s a more robust presentation and Weight: 100 lbs. Digital input: USB (up to 96kHz/24-bit), AES/EBU, S/ the CD5s, you can play a CD, and then click the far more authentic. Even the Std. Koetsu (new PDIF, TosLink (up to 192kHz/24-bit) remote and play a hi-res download, then click version) had some hardness with this set. Not Polaris III Preamplifier & Regenerator Analog input: One RCA, one XLR again and play an analog input such as a tuner anymore. Remember, I mentioned that Ayon Tube complement: Four C3m, two 6H30, four EY91 Analog output: One RCA, one XLR or phonostage. analogs the sound? Hard-sounding records are Inputs: Four RCA, one XLR line, one RCA phono, one Dimensions: 19.7" x 5.12" x 16.2" Speaking of versatility, the Polaris III is not just now far more listenable through the Polaris RCA phono loading Weight: 50 lbs. a linestage. It’s a full-function preamplifier with III, and yet, the detail sparkles through. This is Outputs: Two RCA, one XLR a high-gain moving-coil phonostage. I have to a world-class phonostage and another Ayon Dimensions (each): 20" x 4.5" x 17" warn you: I am a fan of step-up transformers home-run product. Combined weight: 86 lbs. (SUTs). I like the big dynamics that SUTs give Taken as a set, the Ayon Vulcan II, Polaris III, my low-output coils. I know it’s at the expense of and CD5s offer “game over” sonic reproduction— U.S. U.K./E.U. immediacy and air, but c’est la vie. With the Polaris the most involving I’ve ever experienced. If you Vulcan II Monoblock Amplifier Vulcan II Monoblock Amplifier III, I preferred my low-output coils straight in, value panoramic soundscapes and holographic Price: $39,500 a pair Price: £30,000/29,500 Euro a pair even the .2mV Cello Miyabi. There was more imaging with no loss of detail, you have a new Polaris III Preamplifier & Regenerator Polaris III Preamplifier & Regenerator than ample gain, no noise, and zero tube rush class of product to discover. The art and sound Price: $28,620 Price: £22,000/20,000 Euro with equally satisfying dynamics. of Ayon Audio is Pebble Beach Concours CD5s CD Player/DAC CD5s CD Player/DAC I then compared the Polaris III’s phonostage d’Elegance level. Ayon is the Bugatti of audio. Price: $11,995 Price: £9,000/7,600 Euro to my benchmark Motif MP-11. I’ve grown accustomed to its speed, snap, and almost Ayon Audio USA Ayon Audio invisible noise floor. The nod here had to go the 8390 E. Via De Ventura, F110-194 Hart 18 Polaris III. Not only is it lightning fast, it’s also Scottsdale, AZ 85258 A-8101 Gratkorn got that “tube” holography. The transient and Austria Europe trailing-edge detail is remarkable for a tube unit. +43 3124 24954 Playing a Keith Jarrett track from the historic ayonaudio.com Sun Bear concerts, without a doubt, showcased the 3-D effect of the Polaris III. This old ECM CLICK HERE TO COMMENT IN THE FORUM at avguide.com

Burmester Top Line System Alan Taffel

ost of us walk into an audio process is far from ideal. those of the speakers. dealer knowing that, with rare But a select few brands claim to offer their Before turning to this system’s sound, a few Mexceptions, we will not be able to customers complete soup-to-nuts audio. One words about its price are in order. Say “Burmester” purchase a system composed entirely of such firm is Burmester. Excepting turntables to an audiophile and the response is likely not one manufacturer’s products. If we could, and cartridges, this German outfit makes a to be a specific sonic attribute or technology; we would have the benefit of a suite highly coveted line of pretty much everything: rather, if there is one thing this company’s of components designed to work well phonostages, CD players, preamplifiers, products are known for, it is their cost. The CD together aesthetically, operationally, and amplifiers, and speakers. Indeed, so committed player, amp, and preamp in my review system run sonically. Not only would these separates is Burmester to delivering a particular set of around $30,000—each. The only remotely value- be compatible—that is, not only would sonic attributes that it also supplies power cords, priced elements are the speakers, which list for they sound good with each other—they power conditioners, cables, and even the racks a surprising $16,000 the pair. Despite that, the would also be consistent, delivering a on which the aforementioned pieces are meant complete review system, including accessories, “house sound” that, if we liked it, we to sit. toted up to $135,000. A Reference Line version of could simply buy. What, then, is the sound Burmester is so this assemblage, which would be the top of the But most high-end suppliers are specialists. intent on assuring? How would we characterize line, costs twice that amount. Many analog front-end manufacturers wouldn’t it? A whole-system review was clearly the best What, then, does Burmester deliver at these dream of making digital sources, and vice way to find out. The timing for such a project exalted levels? Part of the answer is an endearing versa. Electronics and speaker manufacturers was fortuitous, since the company has recently set of non-sonic attributes. I noticed, for example, infrequently encroach on each other’s turf, and released a slew of new products in its Top Line that the company tends to build an unusually cable-makers occupy a world unto themselves. All series (which, ironically, is not its top-of-the- high level of flexibility into its components. For of which makes buying the typical audio system line). The two pallets I received held a new 089 instance, though the 089 can be used as a pure a mix-and-match proposition. We attempt to CD player, an equally fresh 088 preamplifier, the CD player, the unit features a built-in linestage—in find either synergy or a modicum of consistency holdover 911 Mk III stereo power amplifier, and a fact, the very one contained within the standalone among a smorgasbord of distinct sounds, hoping pair of the B30 floorstanding speakers introduced 088—a volume control, plus a digital and an to achieve a pleasing and integrated whole. With at CES 2010. Burmester also supplied me with analog input. As a result, this player can serve good ears and good guidance, it can be done. all the ancillary gear I’d need: cables, cords, a as both the source and the nerve center of a The payoff of using all that specialized gear is 948 power conditioner, and an equipment rack serious audio system; just add a power amp and that it tends to sound great. Nonetheless, the whose wood and metal hues perfectly matched speakers. Similarly, the 088 can be purchased as

EQUIPMENT review - Burmester Top Line System a pure linestage, or with optional modules that of the cosmos. The 089 exquisitely rendered add a DAC or a phonostage. My 088 had the these dynamic and emotional shadings. Equally DAC. compelling was this player’s ability to provide an Aesthetically, Burmester products are on a plane uncanny sense of an “inevitable” pace, something that exceeds even the extremely high standards I have never before heard from a digital source. To of our industry. The most visible flourish is the amplify, the slow sections of this movement have polished chrome faceplates, which are striking, always sounded rhythmically amorphous. Until unique, and elegant in a way that eludes most of now, I believed this was intentional. However, the the high end. Each piece of electronics is as much 089 revealed an understated but unmistakable a work of art as an audio component. Meanwhile, pulse. I could feel—indeed I could almost the B30 speakers are stylishly proportioned, with see—the maestro’s baton silently maintaining exquisitely finished wood and metal surfaces. the musical meter. The effect was mesmerizing, Coordinating as they do with the equipment rack, lending the piece a propulsion and engagement the ensemble forms an integrated whole. that never wavered. Yet another apparent Burmester trademark is Once having tasted the Burmester sound, like intuitive operation. In contrast to the unorthodox a crack addict I wanted more. My next step was Goldmund system I reviewed several years to connect the Burmester stack—CD player, ago, which maintained the sound in the digital preamp, amp and, importantly, the 948 power domain all the way into the speakers, Burmester conditioner—to my reference speakers. I felt components all function traditionally. This makes this arrangement would provide a sense of the them a snap to set up and, in spite of their electronics’ sound through a known transducer, flexibility, immediately familiar to operate. sonic attributes. But moving a carefully tuned I felt were far more significant factors. (In any without the added variable of matching the B30 Finally, as befits their price range, Burmester and locked-in reference system out of its space case, as you will see, I was later able to eliminate speakers to the room. products positively ooze quality. Switches in order to make way for an entirely different the dark tonal color.) One thing that hit me in the I mention the importance of the power clunk authoritatively; sliding parts, such as the system is a daunting and unnerving proposition. face was the complete absence of distortion. The conditioner because at first I listened to this CD player’s drawer, do so with unimaginable I confess that I could not immediately muster 089 has the quietest background of any digital configuration without that unit in the circuit. smoothness; and speaker cables come in Anvil the requisite will. So, initially, I let the Burmester component I have heard. This lack of grunge had Again I heard the dark tonality I had observed in cases. Internally, the story is much the same. gear warm up and break in off to the side of my the effect of giving free rein to what I can only the 089. However, when I routed power for the Though simple in operation, these components listening room. Before long, though, I grew antsy describe as an intense musicality. stack through the 948, the sound immediately are sophisticated in design (e.g., DC-coupled, with curiosity. I wanted at least a taste of the A revealing example was the second movement jumped toward neutral, ending up just a shade Class A, discrete and fully balanced circuitry), Burmester sound, yet I still hadn’t come to terms of the Ralph Vaughan Williams Sea Symphony on the warm side. The 948 produced other unimpeachable in construction, and unstinting in with dismantling everything. The solution, which [Telarc]. “On the Beach at Night Alone” builds benefits as well, including a wider soundstage, parts quality. Cutting corners is simply anathema turned out to be the first in a series of baby steps from spare instrumentation and a solo voice to a tightened bass, and a generally greater sense of to this company. toward complete system substitution, was to full-on orchestra and massive chorus, then quiets openness. If I were buying a Burmester system, Now that I understood the non-sonic half of the insert the 089 CD player into my reference rig. back down. The listener takes a corresponding I would unquestionably spring for this $7995 Burmester proposition, the time had come to find Although I was initially put off by a somewhat emotional journey, from the solitude of one power conditioner. Heck, in for a penny, in for out if the system delivered similarly impressive dark tonality, I quickly became focused on what man’s innermost thoughts to the “vast similitude” eight thousand.

EQUIPMENT review - Burmester Top Line System

At last I was ready to insert the last link in unit. The two turned out to be very close indeed. the chain: the B30 speakers. They immediately The 089 gives up the last tenth of the 088’s purity impressed me with their tremendous stage and is a little (and I do mean a little) thick in the width—they actually prefer to be very widely lower midrange. But these are nits in the context spaced—and depth. However, because they of undeniably excellent sound. I have heard many are less adept at producing stage height, the dedicated linestages that would be put to shame B30s cannot conjure the grand scale that larger by this CD player. speakers achieve. (For that, Burmester makes I also tested the DAC module within both this the B50.) Ultra-wide spacing notwithstanding, 088 and the 089 by connecting my reference the B30’s imaging proved solid, precise, and G o l d m u n d t r a n s p o r t to e a c h. I eve n ex p e r i m e n te d completely convincing. Nor, despite their slim with using the 089 as a transport into the 088’s profile, were these speakers bass-limited in any DAC. Not surprisingly, none of these scenarios way. The lows I heard on Dead Can Dance’s yielded sound as good as that of the 089 by Into the Labyrinth [4ad] were deep and profuse. itself. A really great integrated CD player is tough Further, in yet another example of flexibility, bass to beat with separates. In particular, the 089 was response could be tuned to the room by inserting fuller and airier. Take, for example, “Western or removing a felt plug fitted to the rear-firing Wall” from the highly revealing Roseanne Cash port. In my room, taking the plugs out not only chestnut 10 Song Demo [Capitol]. Separate out established the optimum bass level, it opened up the DAC and the loss of air is noticeable, placing the entire presentation. poor Roseanne in a deader, less dynamic Yet perhaps the most important characteristic acoustic space. And though no one in his right of the B30 speakers is that they do nothing to mind would use the 089 as a transport, I am With the Burmester stack now in full swing, considered the Goldmund unassailable in speed compromise the Burmester experience. For bound to report that it stomped my Goldmund the sound on the Vaughan Williams track was and dynamics, the Burmester bests it in those some reason, I expected them to do just that, Mimesis 36, brandishing a far purer midrange fabulous in every dimension: hold-your-breath categories in the bass and midrange (though not given their relatively low price and the fact that and more well-behaved highs. Given that the dynamics during both the crashing climaxes and in the upper frequencies). On the other hand, the building speakers is very different from building 36 is no slouch, I think Burmester is really on the whispering reposes; biting blares from the Goldmund is ever-so-slightly better at retrieving electronics. But to my surprise, the speakers to something with the belt-drive technology brass choir; every detail of long draws of bows deeply buried information. merely extended the Burmester virtues through incorporated in this player. along thick bass strings; precise yet natural But the real business of the Burmester is the to the end of the system. They proved to be not Despite the losses of the 089/088’s DAC placement of the soloist; an unusually airy music. Here, in addition to the pace and drama I only internally “of a piece” but wholly coherent compared to the 089 as an integrated unit, the chorus; a deep soundstage; and, once again, have already described, the German electronics with the sources and electronics driving them. DAC still preserves ninety percent of what the CD that remarkable sense of inevitable pace. demonstrated a rare ability to bring out details Indeed, I was amazed at the consistency of sound player does, which makes it pretty darn good. Sonically, the Burmester stack compared and lines without letting them trip over each other. and musicality among all these components. Were it to be used as intended, with a DVD player mostly favorably to that of my comparably-priced Instead, they melded and interacted exactly as As previously mentioned, one can save a few or a cable box, this DAC would be more than up Goldmund reference gear. The Burmester is purer, the composer and musicians intended. The effect (OK, thirty thousand) bucks by using the 089 CD to the task. less congested when the going gets tough, and was, to quote a highly discriminating audiophile player as a linestage. I wondered how its internal So, does Burmester allow a would-be purchaser more relaxed overall. And though I have always friend, “So satisfying, I could use a cigarette.” module would compare to the 088 standalone to stick with one brand, gaining the benefits of an

EQUIPMENT review - Burmester Top Line System audio chain designed as a system without losing the advantages of specialization? Based on this system, the answer is manifestly yes—but getting SPECS & PRICING the best of both worlds will cost you. How, then, to describe the sound that all that money buys? 911 Mk III Stereo Power Amplifier B30 Speaker Weight: 25.4 lbs. As I discovered, the answer has less to do with Power output: 350Wpc into 4 ohms Frequency response: 35Hz–45kHz any particular sonic characteristic and more to do Inputs: Balanced stereo analog Power rating: 180 watts 948 Power Conditioner with delivering a captivating musical experience. Dimensions: 19" x 7.5" x 19" Loading: Bass-reflex Dimensions: 19" x 6.1" x 14.5" At the end of my time with this system, I asked Weight: 68 lbs. Drive units: One AMT tweeter, one Kevlar 6.3" midrange, Weight: 37 lbs. Dieter Burmester how he would describe his one 11.8" x 8.3" woofer company’s “house sound.” He unhesitatingly 088 Preamplifier Dimensions: 9.6" x 43.3" x 16.1" V5 Rack replied: “The ability to capture the power, variety, Inputs: Six balanced stereo analog, one single-ended Weight: 59.5 lbs. each Shelves: Three and surprise of music.” I couldn’t have summed it stereo ended analog, one RCA stereo phono (optional), Dimensions: 27.5" x 21.65" x 17.5" up better myself. one coax S/PDIF digital 089 CD Player Weight: 75 lbs. Outputs: One balanced stereo analog Outputs: Stereo balanced analog Dimensions: 19" x 3.75" x 13.5" Other connections: Coax digital input Weight: 27 lbs. Dimensions: 19" x 4.4" x 13.5"

US U.K./E.U. 911 Mk III Stereo Power Amplifier Cables 911 Mk III Stereo Power Amplifier Cables Price: $29,995 Speaker cables: $3995, 10' Price: 15,900 Euro Speaker cables: 1995 Euro, 3 metres 088 Preamplifier XLR interconnects: $1295, 1 meter 088 Preamplifier XLR interconnects: 699 Euro, 1 metre Price: $28,995 Power cords: $695, 1.5 meters Price: 14,900 Euro Power cords: 400 Euro, 1.5 metres B30 Speaker B30 Speaker Price: $15,995/pr. Burmester Audiosysteme GmbH Price: 8990 Euro /pr. Burmester Audiosysteme GmbH 948 Power Conditioner Wilhelm-Kabus-Straße 47 948 Power Conditioner Wilhelm-Kabus-Straße 47 Price: $7995 10829 Berlin Price: 5450 Euro 10829 Berlin V5 Rack Germany V5 Rack Germany Price: $3995 49 30 787 968 0 Price: 2150 Euro 49 30 787 968 0 burmester.de burmester.de

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43 Guide to Preamplifiers & Power Amplifiers www.theabsolutesound.com

Cary Audio SLP 05 Linestage Preamplifier and CAD 211 FE Monoblock Amplifiers Wayne Garcia

recently completed an article on the most exciting, expressive, and purest form the controversial “natural” wine possible. Imovement for Edible San Francisco magazine. I’m also using this analogy because “pure,” For the non-oenophiles in our audience, “exciting,” and “expressive” are the easiest ways this growing movement practices organic for me to describe the top-line vacuum tube or biodynamic viticulture, a relatively gear from Cary Audio. Both items under review non-interventionist style of winemaking are from Cary’s Classic Series, which, says the that, at its most extreme, eschews all company, “combines the latest cutting edge use of sulfur in both the vineyard and technology with time proven innovation.” cellar. The end result is said to be a more The SLP 05 ($8000) is a zero-feedback, exciting, expressive, and “pure” bottle of balanced design utilizing the venerable 6SN7 wine. tube—eight of them, as a matter of fact—six for I found myself reflecting on the similarities the linestage “proper,” and two for the headphone between audio design and winemaking because amp, which in turn are coupled to transformers at the end of the day most of the winemakers to deliver a half-watt of solo-listening power. The and importers I interviewed for the article were SLP 05 is rather handsome in a simple, somewhat less hung up on the process than they were with retro-looking way, with the tubes standing like a on the result. Which is exactly where I stand on tiny troop of soldiers atop a aluminum chassis electronics. In other words, although I don’t really that is beautifully finished in a Jaguar (as in the care if a preamp or amp is solid-state or tube, I automobile) Anthracite Black Clear Coat. The do care how the designer has used his chosen solid, silver-colored anodized aluminum faceplate devices to make them reproduce recordings in is cleanly arranged, but lacks one feature I like

EQUIPMENT review - Cary Audio SLP 05 and CAD-211 FE Monoblock Amps in my preamps—a mono switch (especially with 211 FE is an update of the classic 211 model that The Kharmas are a super-detailed, super- nonetheless, in my opinion—are, of course, so many fine mono jazz LP reissues lined up on Cary produced for 17 years. Few firms, outside coherent, two-way point source that manages box-free, likewise remarkably coherent, three- my shelf). Balance is achieved by separate left/ of Magnepan or perhaps Joan Rivers, can boast to be both very transparent and exceptionally way, quasi-ribbon dipoles that in my experience right input level knobs, and the motorized ALPs such longevity. The FE version is said to have beautiful sounding, almost regardless of the actually tell you more about a recording (and volume control is remote-controllable, as is the increased power output (though the actual rating recording. The Magnepans, at a small fraction therefore quite possibly, associated equipment) mute function. The remote “wand” is a delightfully remains the same), as well as a direct-coupled of the cost, are not as inherently beautiful- than the Kharmas do. Neither goes much below small thing, and, with just three buttons (volume drive system to add “more depth and slam.” The sounding—though they are beautiful-sounding, 40Hz, though the Mini Exquisites do have a lot up, volume down, and mute), a model of simplicity. amplifier’s tube array is like a trip to a tube-geek’s One slight operational annoyance is that the candy store. This all-triode monoblock features toggle switch on the chassis must be flipped one 6CA7 current-source tube, one 6SL7 at the SPECS & PRICING into the mute position for the remote’s mute to input, two 300B driver tubes, and a pair of 845 function—something I’m still getting used to. output tubes. That’s a lot of pretty glowing glass, SLP-05 Linestage Preamp CAD-211 FE Monoblock Power Amplifier The SLP 05’s power supply, driven by a 5AR4 and enough to keep your listening room comfy in Inputs: Two balanced (XLR), three single-ended (RCA), Power output: 70Wpc Class A, 110Wpc Class A/B, rectifier tube, rests in a matching—if slightly winter, and maybe a bit too toasty in the summer. one tape (RCA), one cinema bypass (RCA) 150Wpc Class B shorter—outboard chassis with four top-plate The 845s operate in a push-pull mode to deliver Outputs: One each balanced, single-ended RCA, tape Number and type of inputs: One each balanced (XLR) and indentations that coincide with the footprints of a rated 70 watts in Class A, up to 110 watts in (RCA) single-ended (RCA) the preamp’s elastomeric feet. Obviously they Class A/B, and up to 150 watts in Class B. The Tube complement: 8-6SN7 (preamp), 1 5AR4 (rectifier in Number and type of outputs: Three 5-way binding posts were meant to be stacked. But if shelf height is 211 FE sports a trio of binding posts for 4-, 8-, power supply) (4, 8, 16 ohms) an issue—the stack measures a relatively tall and 16-ohm speaker hookups, single-ended Dimensions: 17" x 6.25" x 12" (preamp), 17" x 4.25" x 12" Tube complement: One 6CA7 (current source), one 6SL7 10.5" from the power supply’s feet to the top of and balanced inputs, has a top-rear chassis- (power supply) (input), two 300B (driver), two 845 (output) the preamp’s tube set (plus you’ll need clearance mounted jack for connecting a bias-adjust meter, Weight: 16 lbs. (preamp), 19 lbs. (power supply) Dimensions: 12.25" x 10" x 24" for those)—an eight-foot, Kimber Kable-sourced and a slim, front-mounted, bias-read meter Weight: 90 lbs. umbilical allows for a wide variety of placement in place of the familiar green “cat’s eye” found options. Extending the retro-cool design vibe, the on earlier editions (I must admit that I rather power supply sports a pair of meters that display miss that nostalgic touch). Power and standby U.S. U.K./E.U. tube plate voltage and current. The units require switches are mounted up front, and, as with the SLP-05 Linestage Preamp SLP-05 Linestage Preamp a three-minute period before the ready-light SLP 05, the entire package is solidly built with an Price: $8000 Price: £8000/8000 Euro pops on, but a timed warm-up/mute circuit acts absolutely first-rate finish. CAD-211 FE Monoblock Power Amplifier CAD-211 FE Monoblock Power Amplifier as a safety device if you’ve either purposefully or When I first received the Cary pair—make that Price: $20,000 Price: £20,000/20,000 Euro accidentally already turned on your amps. trio—for evaluation, I was using the Kharma Mini Audiobility The $20,000 CAD-211 FE, short for “Founder’s Exquisite loudspeakers that Bill Parish of GTT cary audio design PO Box 988 Edition,” is a monoblock power amp of impressive Audio had left me on generous extended loan. 1020 Goodworth Drive Cheltenham, Gloucestershire, GL50 9FJ beauty, which can be had, if you will, in the same About halfway through my listening sessions Apex, North Carolina United Kingdom Jaguar black described above, as well as in other my time with the Kharmas was finally up, and (919) 355-0010 +44 (0)1242 506335 automotive paint colors (check out the luscious Magnepan stepped in with a pair of the likewise caryaudio.com audiobility.co.uk cherry-red beauty pictured on the company’s exquisite—if not so mini—MG-1.7s. Need I add that Web site). Another zero-feedback design, the these two speakers could not be more different? CLICK HERE TO COMMENT IN THE FORUM at avguide.com

EQUIPMENT review - Cary Audio SLP 05 and CAD-211 FE Monoblock Amps more punch to the bass, so while I’ll tell you what to me, is one of the pleasures of a high-end accompanying herself on acoustic guitar during I heard over both these speakers, do keep in mind syste m—fe eling a s if I’m e ave sdropping on music - the demo cut of “Me and Bobby McGee” that I never really challenged the Cary gear’s low- making that took place long ago. Of course, tonal [Columbia/Legacy CD), and hear her scratchy, frequency muscle. naturalness, a lifelike sense of instrumental body sensual, vulnerable voice with fresh insight. Also note, that while I did evaluate these items and weight, air, and spatial dimensionality are all As I wrap this, I suppose it would be great if I separately—the SLP 05 as compared with the key elements that go hand-in-glove to convey this could pick a few nits. But I really can’t, at least Artemis Labs LA-1 linestage driving Kharma feeling. The SLP 05 brings all these virtues to the for music lovers. Okay, if massive orchestral, MP-150 mono amps, and the Artemis driving the table in a way that brings to startling life, say, the operatic, or hard rock is your thing the CAD-211 CAD-211 FEs—I so liked the sound of the Cary very different sounds and playing styles of Lee FE will probably run out of juice before you want it components as a team that most of this review Morgan’s, Clifford Brown’s, or Freddie Hubbard’s to—especially with something as notoriously hard will focus on the combination. trumpets. You get the idea. It’s not the hi-fi stuff to drive as Magnepans. Once it, and the 1.7s, too, First, the SLP 05 is one of the best linestages but the added awareness of each (and more) of hit a wall, you’ll hear it immediately and will need I’ve heard—though, granted, I have not heard these musicians’ instruments and voices that, for to dial back the volume accordingly (here, the much of the super-exotica that my friend me, make the SLP 05 so special. remote was a handy item to have at hand). So Jonathan “Diamond Jim” Valin has. Nevertheless, Combining the linestage with the CAD-211 yes, during those times when I felt like snuggling excellence is excellence, and our standard is, FEs raised all of these qualities to significantly up with The White Stripes, Zeppelin, or Mahler, after all, supposed to be the sound of live music, higher levels. The music of any low-frequency I wouldn’t have minded a bit more headroom. and the components that transport us—even if instrument—be it a Paul Chambers bass run, And though this is something the Maggies, with only for a moment or two—to a place that feels an Elvin Jones drum pattern, or a bass drum a sub, could achieve, or the Cary 211 FE could like the real thing. When compared to the fine or tympani thwack—was conveyed with a rare with a more sensitive speaker hooked up, I am Artemis unit, the Cary excelled in every way. sense of dynamic limberness, as well as tonal more than willing to trade off that last bit of sheer One is transparency to the source. On disc and textural complexity. Solid-state aficionados physical oomph for other, for me, more satisfying after disc, vinyl or compact, I was simply more could rightfully argue that the Cary pair softens pleasures. aware of, and felt that much closer to, the the edges of these instruments, or lacks the As I spend more time with these Cary recorded event. Perhaps no more so than while ultimate slam of mallet or stick hitting skin—at components, and with other associated auditioning a wide swath of 45rpm LP reissues least as compared to a powerful transistor equipment, I’ll have occasion to report back with that Rudy Van Gelder originally recorded for the design. But up to the amp’s power limits I found further thoughts. Until then, I intend to fully enjoy Blue Note and Impulse labels (see “Jazzing It plenty of “slam” in Pictures at an Exhibition or in my music collection with one of the finest sets of Up” elsewhere in this issue). From a mono 1957 Elvin Jones’ many drum fusillades. electronics I’ve encountered in quite some time. Hackensack recording such as Lee Morgan, Vol. Given these strengths, it should not surprise 3 [Music Matters/Blue Note], to a pair of stereo that the Cary combination excels at vocals. First releases from Englewood Cliffs in ’64—Coltrane’s with the Kharmas and then the Maggies, magic Crescent [ORG/Impulse] and Eric Dolphy’s Out was waiting to happen. Mo-Fi’s marvelous vinyl To Lunch [Music Matters/Blue Note]—the SLP reissue of Sinatra’s Only the Lonely (another 05 effortlessly conveyed the different venues, mono LP) will leave you that much more in awe of as well as the different microphone placement the man’s (then) pure tone, unparalleled phrasing, and mixing RVG brought to these sessions. This, and emotional delivery. Or listen to Janis Joplin

David Berning ZOTL-One Preamplifier and ZH-230 Power Amplifier By Chris Thomas Photography by Simon Marsh

It was predictable that a preamplifier would for the line stage and pairs of both 12 AT7s and be required to fully realize the potential of the 12AX 7s if the optional phono stage is supplied. advanced ZOTL technology that lies at the Moving coil also requires the inclusion of two dynamic core of the Berning sound and the Pre transformers. Cartridge loading is achieved by One has fulfilled that need. It is a lightweight, changing resistors on a copper plate and can be comprehensively equipped, single-box unit easily accomplished, as no soldering is required. with retro styling hints and some unusually All rear connections are Cardas gold-plated RCA shaped knobs. It has 5 inputs, one of which phono connectors and the unit, like all recent can be equipped with a phono option. There is Berning products, are fitted with Stillpoints a processing loop selector, a switch to invert OEM Universal Resonance Dampers (3 each for phase, a mono switch and not only a 24-step the pre and power amps) for feet. This allows main output level control but also separate for the possibility of attaching them directly to attenuators for each channel. There is no remote Stillpoints 3-legged Component Stands or even control. The unit can be powered either by mains the latest, quite excellent Ultra devices, both or a 12V battery supply, selected by a front panel of which bring notable gains in performance. switch. There is also an unusual but nevertheless David Berning’s ZOTL technology is used in the ast year was unprecedented where David Berning was concerned as he released welcome rear-mounted 1/4 inch headphone PRE ONE to provide an extremely robust output two new products. * When I reviewed the QZ mono amps back in Issue 68 I was socket of notable quality making the ZOTL Pre drive that he claims goes some way towards Lstunned by their performance and it is no exaggeration to say that they changed One just about the best headphone amplifier I overcoming interconnect cable parasitics so, in my whole idea about high-end audio amplification by redefining its possibilities. They have heard. Do leave the headphones unplugged theory, the quality of the connection between were so musically intriguing that I became set on a long path towards acquiring a pair when you are listening through speakers though. pre and power should become less dependent for my own use. The tube complement consists of 4 x 12 AU7s on using high quality (and cost) leads. While a

EQUIPMENT review - David Berning ZOTL-ONE/ZH-230 modest interconnect does make a very good and definition right across the bandwidth. Dave at sound though, a really fine example still brings Blade Audio, the UK importers, can also suggest worthwhile results. and supply various makes of tube and explain The ZH-230 ZOTL power amplifier is a stereo what they bring to the sound and character of chassis 30 watt per channel design in an the amplifier. I should add at this point that the unadorned case of almost the same size as the output tubes cannot be changed for another type preamplifier. Speaker connections are 2 sets of and feel compelled to mention that, for your own Cardas gold-plated connectors accepting both safety, you should always remove the power lead spade and 4mm plugs and preamp connection before attempting to change tubes. is by RCA phono. There is no XLR/balanced Each component on every board is hand option as on the QZ. The tube complement is 4 soldered by David. There is no flow soldering or x 33JV6 for power and the unit normally comes out-sourcing any of the work and it is perhaps equipped with a 2 x12 AX7 input and 2 x 12 AT7 unique that the man who conceived the amplifier driver tubes. Tube life is suggested as 10,000 also designs and literally builds every one hours. As with the Pre One the tubes are auto from the ground up. These units are both non- biased which means that tube rolling is possible magnetic and lightweight, due to the lack of large impedance between the output tubes and the amplifier by trying to assess frequency-selective and in certain circumstances quite necessary, transformers. But the casework and chassis are speaker. What David Berning has done is to components of its character or behaviour. When as installing different configurations change the also very low mass and this is part of the design design a way that the output tubes meet the you sit and listen to Berning amplifiers, you amplifier’s feedback and output impedance. and hence the sound. If they were both shrouded varying impedance demands of the speaker by might well think that you are listening to music Berning provides a table in the manual explaining in half-inch thick aluminium plating they would allowing two-way communication between the “made” in another way and it seems almost as how to attain the various values. I swapped the sound quite different, and not as good, although two. A small transformer (hand-wound by David if it is coming from another place. With many AX 7 input tubes twice, initially for a pair of NOS their perceived value would be higher. I also like and not an audio transformer) in Berning amplifiers high-end amplifiers I have heard a rock solid and (new old stock) Telefunken 12 AT 7s (ECC 81) the way that both amplifiers and the Pre One operates at a single (radio) frequency of 500kHz very agile bass performance let down by a frosty and then a pair of Siemens 12 AT 7s to reduce in particular, run relatively cool, quite unlike the and acts, out of the signal path, as a carrier for tonal balance or a harshness at high frequencies. the feedback levels to better match the Raidho blazing cauldrons of heat I have so often found the communication between the speaker and Or a beautiful vocal presentation coupled with Eben C1, C2, Focal Diablo and Kiso HB1s I was with conventional tube amps. the output tubes. In this way it emulates an ideal a soft high-end and an unreasonably spongy using throughout the 4 month listening period. The biggest problem with most tube amplifiers output transformer but without the limitations. bass. But the notion that dissecting the sound While I would wait until after you get used to the is that great hunk of transformer sitting between His patented impedance matching design is a into segments to try and evaluate what the ZH-230 in its standard configuration first, the the large glass bottles and the speakers. It complex subject to comprehend in anything other Berning amplifiers are doing is nonsense. The result was a very different sounding amplifier. changes the high output impedance of the tubes than layman’s terms unless you are a student of music is created as one. The treble does not sit, The Telefunkens in particular are well thought to a low impedance to drive the speakers. But, advanced electronics. ** It is perhaps easier to perched atop the midband and neither does the of in tube circles and I found both these and the if it could be done away with and the speakers understand in principle rather than in detail. mid exist in a separate world to the bass or the Siemens to be preferable to the standard Chinese could be driven directly from the tubes, well, The results of this completely innovative rest of the music. There is absolutely no sense tubes supplied. Not only was the amplifier now how good would that be? This is the world of the thinking and design is the ZOTL amplification of the amplifier as a processor, manipulating and better matched to the speakers, but there was output-transformerless (OTL) amplifier. Most use system that, once optimised, allows you to stop arranging the music into pockets of finely detailed also considerably more flavour and colour to the large numbers of tubes, can be temperamental evaluating and start enjoying the music without information. This is precisely what has come to music with richer harmonics and better control and have no way of accurately matching the the need for constant analysis of the quality of the be the face of high-end amplification and I am

EQUIPMENT review - David Berning ZOTL-ONE/ZH-230

not criticising it as, over many years I have heard inbuilt sense of inertia as if the sound is being and enjoyed many designs that are supreme at driven from the speakers. Instead the amplifier portraying music in this way. The yardsticks by almost seems to breathe the music into the room which myself, and many others have assessed and they do this with a very different sense of an amplifier’s worth and desirability has been musical energy that just allows things to happen. through the personal imprint that they bring and They are equally as impressive when the musician leave on the music. The super-etched needlepoint rests between notes or chords, as the sense of information that are so much a part of the modern tranquillity followed by anticipation is palpable. high-end amplifier’s armoury has lead to a The quiet is as important as the playing and this situation where the more leading edge detail you is because of the way that the amplifier deals can squeeze out and the more separate it can with decay into silence. There is no mechanical be held from the next crystalline piece of musical or electronic artifice here and although they do detail the better. This can be hi fi at its best. But not have that hyper-real tonal bloom that attracts real advancements in musical sound quality just a lot of people to tube amplifiers, they are full of have to be about more than heavier, ever-more the most subtle colourful shading and delicacy. complex casework and better components in Around the leading edge of instruments they are the same old circuit or increased power with a wonderfully, naturally, precise and realistically tighter bass and a more holographic soundstage. dynamic and free, without snatching at the note or The amplifier, as a processor, encourages the feeling remotely over-analytical or artificially and assessment of these differentials, as within that electronically etched. They are extremely organic judgement is quite often where the differences and clean and along with the QZs, quite easily lie. Somehow, somewhere, the music is too often the most transparent designs I have heard which reduced to a supporting role when it becomes a encourages you to look with your ears hard into the tool for evaluating the quality and desirability of a music and see each instrument in a more detailed piece of audio equipment when it should be the and completely rounded way. Listen even deeper other way round. because, given an appropriate system, that The ZH-230 has very strong sonic links to resolution, dynamic shading and feeling of focus the qualities of the QZ but obviously doesn’t will not stop evolving. The complete absence of have the same driving power or musical weight, solid-state grain or compression means that the though they most certainly do possess that very individual components of the music are rich with special sense of note development, transition flavour and texture regardless how complex or and musical progression through time. It was demanding it might be. But don’t get the idea one of the main reasons I bought the bigger that these amplifiers share the relative slowness amplifiers and it has to do with the way that the of other transformer-coupled tube amps. They notes are born, exist and then decay and flow are fast, really fast and like all the best amplifiers, into whatever follows and in my experience, no they never draw attention to that fact. I found that amplifier does it better. The Bernings have no I played a lot more acoustic and female vocal

EQUIPMENT review - David Berning ZOTL-ONE/ZH-230 music during my time with them but they are very but I can detect no loss of resolution when they willing to kick out if you ask them to get to grips are employed. The first 3 clicks each reduce the with something much heavier and are not at all level by 1 dB and I often use them to take a touch SPECS & PRICING shy when doing so. If the occasion demands of gain out of the system when the recording it then the Bernings are more than capable of level is high or I want to lean the sound a touch. It ZOTL PRE ONE. ZH-230 ZOTL Power amplifier swinging big dynamics. You certainly need to does not impact the actual music but, especially Type: Single chassis preamplifier Type: Single chassis stereo power amplifier bear in mind that, at 30 watts this is no muscle- if you listen in the near field and use a pair of Power: Mains or 12v battery Power output: 30 watts per channel amp, but even so I think you would be surprised high efficiency speakers, the ability to “trim” the Phono input: Optional and configurable Output impedance: 0.6 to 2.7 ohms depending on tube at just what a useable output that is when you sound in this way is extremely useful and similar Inputs: 5- line level 4 if phono option fitted/ RCA sockets complement remove grain and leading-edge distortions. in effect to altering the position of the speakers. I (Cardas) Input sensitivity: 0.4V to 0.75V depending on tube Polyrhythmic music is no problem whatsoever. found the Pre One is a lot more versatile because Remote: No complement and load impedance Ask them as many questions as you like with of their inclusion and they could also come Tube complement: (4) 12 AU7 high-level stage, (2) 12 AX7 Tube complement: (4) 33JV6, (2) 12 AX7, (2) 12AU7 different interweaving tempos, real and implied in useful when matching sensitivities with an + (2) AT7 phono stage Rear connections: 2 x RCA inputs, 2 x gold plated and they will unravel each thread with ease and in alternative power amplifier. But these two really Headphone socket: Rear mounted ¼ inch speaker connectors (Cardas) an unflustered and relaxed way. When the music belong together if you are going to get the full Dimensions: 15x42x33cm (HxWxD) Dimensions: 17x42x30cm (HxWxD) moves through time as naturally uninhibited as benefits of David Berning’s remarkable designs. I Net weight: 6 kg (13lb) Weight: 7kg (15lb) this then questions about timing are irrelevant believe that these amplifiers are important in the Finish: Silver anodize Finish: Silver anodize because the rhythmic flow and the way the audio world because, as well as their technical amplifier realises tempo with all its associated brilliance and innovation, they remain supreme at elements, emphases and subtleties really comes playing and bringing new music into your life and U.S. U.K. only under the heading of overall resolution. This is I can pay them no higher compliment than that ZOTL PRE ONE. ZOTL PRE ONE. where the Pre One and ZH-230 are so supremely because that is precisely what it is all about. Price: $12,000 Price: £7500 confident and to the point. Their sensitivity to ZH-230 ZOTL Power amplifier ZH-230 ZOTL Power amplifier micro-dynamics leaves them unsurpassed when Price: $8900 Price: £7500 it comes to showing you pure musical expression and phrasing. It’s as though they are plugged in The David Berning Company Blade, Farnham, Surrey, UK to the playing on an emotional level and they can 12430 McCrossin Lane www.blade-audio.com change your mind and involvement with a piece Potomac, [email protected] of music in one insightful heartbeat. MD 20854 01252 737 374 Considered as a separate component, the 301-926-3371 preamplifier is full of gain, and presence partially www.davidberning.com due to the low-loss ceramic circuit board material. Put simply, it has a “big” sound and is also one of the best two line-stages I have ever heard, CLICK HERE TO COMMENT IN THE FORUM at avguide.com regardless of price. Those two individual channel attenuators I mentioned earlier are shunted to ground, out of the signal path when fully advanced

Electrocompaniet EMC 1UP, EC4.8 and Nemo system Alan Sircom

ne of the great joys of placed behind a thick piece of clear acrylic, which Electrocompaniet – right from the gives the front panel an elegant and timeless Oearliest days of the company – is – although somewhat ‘John Player Special’ – it has something of a giant-killing quality. appeal. Behind the fascia though, there lies By high-end standards, the equipment slightly resonant, powder-coated pressed panels is not that expensive, but offers the with more than their fair share of exposed bolts. many hours developing a mechanical filter Line only and a one-box design, the EC4.8 is prospect of performance far above It’s very well made, but it’s not sublime industrial arrangement in the EMC-1UP to essentially wick Electrocompaniet’s ‘missing link’ – for decades, the price of admission. It might not be design from tip to tip. Plus, unless you fork out for internal and external vibration away from the the brand had a world-class power amp, for budget equipment – that was never the the optional ECT 2 hybrid RF remote controller, laser assembly. This wouldn’t be possible without the last decade, that was joined by a very plan – but the prices are not crushingly with its fancy OLED display, you are supplied using the top-loading mechanism. highly respected CD player. But no world-class expensive either. with a handset that does not do the products The player sports 24bit, 192kHz digital preamplifier, until now. The EC4.8 is a fully dual So what we have here is the top stereo justice. Still, ultimately it’s what’s inside the box conversion and is claimed to give a 10dB mono design with two balanced and three single- products in the company’s Classic Line. That that counts. reduction in the noise floor compared to rival ended inputs (one of which is a tape input). It means the EMC 1UP top-loading CD player, Starting with the EMC-1UP, this top-loading systems. It’s fed by Electrocompaniet’s Floating includes the oddly-named SPAC connector to the EC4.8 stereo preamplifier and the mighty design has the CD sitting in a centre-mounted Transformer Technology system, which isolates power allow products connected to the network Nemo monobloc power amplifiers. These are all silo (built around the Philips Pro2 transport and feeds power to the drive, display, digital and to power up or down in sequence and it includes reference grade products from the company, but mechanism) with a heavy manual silo cover and analogue stages. These are all hallmarks of top- an RS232 slot for upgrades. The inputs are each cost a total of £15,780 – in the somewhat lofty a choice of pucks. The standard puck is a regular end players, and often the hallmarks of players given names on the left-hand ‘Navigator’ display world of high-end audio, you could easily multiply magnet, the other optional one sports a star- far more expensive than this one. panel, but these are not user assignable; if you that figure five-fold (or more) for other companies shaped outrigger to help stabilise the disc when It feeds out either AES/EBU or coaxial digital want ‘HD/AUX’ to be called ‘phono’, or if you ‘reference’ product lines. in play, but that was not supplied. Irrespective of outputs and either balanced XLR or single- decided to use a single-ended CD player and Electrocompaniet can make the products puck choice, this bestows on CD something akin ended phono analogue to the next product in wanted to rename ‘Tuner’ accordingly, forget it. relatively cheaply because it’s part of a far bigger to the ritual of LP replay, in a manner not unlike line. Which, in this case is the EC4.8. Although Both player and preamp share the company’s organisation. It also does it by clever industrial a Naim player. This is not just for show, though; this has phono inputs and outputs, this is classed distinctive four-button control diamond on the design. The gold and blue on black logos are Electrocompaniet’s engineers have spent many, as a high-performance balanced preamplifier. right hand side of the front panel. In the preamp,

EQUIPMENT review - Electrocompaniet EMC 1UP, EC4.8 and Nemo system

achieve clipping on an amplifier like the Nemo, with XLR connectors might not take balanced so you must be using it with a loudspeaker that has seriously. solid concrete drive units. I suspect this could be the root of some Part of the reason for the huge case is the failed Electrocompaniet demonstrations, and amp runs largely in class A, and there is a lot those who dismiss the equipment as ‘bland’; of heat dissipation going on inside the case. there’s some inertia in using balanced operation Strangely, for those of us used to low-power among dealers, in part due to other equipment class A designs acting as some kind of amplifier- sounding musically unexciting in that mode. shaped heating unit, the Nemo is not hot running So the default setting for the demonstrator is in regular operation. In part, that’s because most “don’t use balanced” and in so doing leaves loudspeaker loads pose no threat to the Nemo; the Electrocompaniet equipment playing at half eight of them getting to grips with a Nautilus mast. This is the ‘benefit of the doubt’ version; would likely heat up the average listening room. the ‘conspiracy theory’ version suggests that Of course, eight Nemos would also likely fill up Electrocompaniet in single-ended mode can be a fair proportion of that average listening room, used to sell expensive cables to act as filters, such is the size of the beast. where the balanced mode is entirely untroubled The preamp has the word ‘balanced’ written in by cables and the cheapest XLR will work just as this is basically all you need in most cases – north rumoured to be one of the reasons why the B&W/ gold letters across the bottom and, although it well as the most expensive. to south controls the source selection, east-west Classé link-up began, as the company’s Omega doesn’t make as big a deal of the balanced side As a complete system, the three are sets the volume. Balance would be nice, though. monoblocs were one of the few products capable of things on the panels of the other products, consummately musical, with an elegance and On the left side, a blue display shows the results of taming the Nautilus successfully. Of course, all three are most comfortable in balanced grace to the music that entices and seduces. of your choices. The CD player allows play, pause, that meant the bill for the amplifiers dwarfed operation. The Nemo, in fact, runs balanced Start with something small and acoustic – Gillian track and skip controls, but not much else. Again, the cost of an already strikingly expensive only, although Electrocompaniet does supply Welch’s Time (The Revelator) album, for example, not a problem for day-to-day operation, but loudspeaker, so Electrocompaniet took on the connectors that allow single-ended phonos to and you are drawn into the performance, not somewhat limiting if you want to delve deeper task of building a more real-world unstoppable work with the unit. Some products have balanced the recording. Time quickly passes and you find into CD control. force to meet B&W’s immovable object. connections, but are basically single-ended yourself listening to the whole album. So, you If you know your Jules Verne, you’ll know that The Nemo specs are deeply impressive. Each products with a set of XLR sockets for good move over to something more orchestral and Nemo was the captain of the Nautilus in Twenty 41kg box delivers up to 600 watts to an eight- measure. Some products are designed to run modern – John Pickard’s The Flight of Icarus – Thousand Leagues Under the Sea (and played ohm load, successfully doubling that power in both single-ended and balanced mode, but and once again, the whole album stays on the by James Mason in the 1954 Disney movie output into four and again into two ohms. It can single-ended wins out. Electrocompaniet’s finest platter. Out goes Pickard, in comes Grant Green of the same name). This is relevant because deliver 150 amps peak current, has a frequency do not fall into these camps. These are balanced and his cool, yet funky jazz geeetar noodlin’. the Nemo amplifier was designed to control response that can cope with anything high- products with a vestigial single-ended option. Once more, an album flies by, this time with the the B&W Nautilus, essentially a loudspeaker resolution sources can throw at it and has a noise This is not a function of a ‘weak link’ in the signal foot gently tapping along. Whatever you put on in search of an amplifier powerful enough to floor below -110dB. For the record, like the other chain; the player, preamp and the power amps the system, you play in its entirety. Some of this pilot it. B&W’s longstanding Nautilus flagship power amps in the Electrocompaniet range, the all benefit from being used balanced. This might is pure refinement; this isn’t the sort of system requires eight monobloc amplifiers to drive it – clipping point is set at a total harmonic distortion make you think twice about thinking outside the for collectors of albums by Pavement, Suicide or ideally 500 watt monoblocs – and that has been of 0.2%; I say ‘for the record’ because if you can Electrocompaniet box, because other brands The Fall. But, if you want your music cerebral, you

EQUIPMENT review - Electrocompaniet EMC 1UP, EC4.8 and Nemo system won’t find a better system at this money. to town, here. We used everything from a pair of what the Nemo offers, but with less weight and that often perform wonderfully, but are somewhat The whole package (and I suspect most ProAcs that cost a grand less than the preamp to less financial outlay. In some circumstances, the idiosyncratic. As you move into calmer waters, the will buy EC systems as whole packages) is a pair of Hansens that cost more than the whole smaller amp will also add some perception of air weirdness (and the ‘take a deep breath’ prices) wonderfully detailed, precise, articulate and system put together and could have gone a lot, and speed to the sound (an amp with the control fall away, but so too does the stellar performance. open-sounding. The soundstaging the system lot higher up the food chain without a struggle. of the Nemo gives such accurate and deep bass, The Electrocompaniet system offers a practical creates is particularly sublime, but it should Nothing, repeat nothing with drive units, bothers our brains take a little longer to process that info, alternative; they offer a good percentage of what be pointed out that it’s not an up-front kind this amplifier; even the most punishing load making amps with less cavernous bass delivery the extremophile demands, and yet do so without of soundstage presentation. The images are leaves the Nemo on cruise control. seem faster by comparison). But what you gain either costing as much as a small island in the beautifully presented, but don’t actively project As a consequence, there’s an authority, grip and with one speaker cable, you lose with the other; Bahamas or demanding six months of cable sounds into your lap. control to the sound that you seldom hear unless in this case, you lose that absolute confidence swapping and tube rolling to make things sound And then there’s the Nemo. This bestows upon you are used to handling really big power amps. that only this much grip can give. If you have a big better. Perhaps not the most exciting conclusion the listener the chance to put together some This doesn’t mean endless bass, although the room and big speakers, you need the Nemos. I can draw, but the Electrocompaniet system seriously ‘mullet’ systems (those that have a pair bass is certainly there when it’s needed. What this The extreme end of the audiophile world is strikes me as being one of the most sensible of extremely expensive speakers hanging off the does is tame the wayward bass of loudspeakers populated by stratospherically-priced products options open to today’s high-ender. end of less pricy electronics). You can really go that can get slightly overexcited at the prospect of lots of bottom end. This happens at both ends of the loudspeaker performance scale; cheaper speakers expecting a comparatively weedy SPECS & PRICING amp flap about to compensate and expensive speakers anticipating something more powerful U.S. U.K. can overawe weaker amps. Put the Nemo in Electrocompaniet EMC-1UP CD player Electrocompaniet EMC-1UP CD player place and all that stops; the cheaper speakers Price: $7,990 Price: £3,690/5,000 Euro are put in their place, the more expensive ones Electrocompaniet EC4.8 preamp Electrocompaniet EC4.8 preamp respond to the power. The result is tighter, tauter Price: $4,990 Price: £2,590/4,300 Euro and more accurate. Electrocompaniet Nemo monobloc power amp Electrocompaniet Nemo monobloc power amp You begin to hear this in the bass, underpinning Price: $8,950 per channel Price: £4,750 per channel/6,700 Euro per channel dub beats on the Gorillaz vs Spacemonkeyz Total System cost: Total System cost: Laika Come Home album could still be used Price: £30,980 Price: £15,780/22,700 Euro for excavation and road digging work, but the absence of ‘farty’ artefacts in the lower bass is Electrocompaniet Electrocompaniet more than welcome. Pretty soon though, you www.electrocompaniet.no www.electrocompaniet.no begin to discover that what applies down deep, (510) 291-1222 applies everywhere. Your speakers just got more EC Distribution Ltd refined, more extended top and bottom and more www.electrocompaniet.no/uk dynamic thanks to the Nemo. +44(0)20 8893 5835 There might be times when the Nemo amps CLICK HERE TO COMMENT IN THE FORUM at avguide.com are overkill. The smaller AW400 delivers much of

Lamm LL1 Signature Preamplifier and ML3 Signature Amplifier Peter Breuninger

he 32Wpc Lamm ML3 Signature harmonics and ruins the “believability” amplifier with its mate, the LL1 of true-life instrumental timbre in the TSignature preamplifier, take the upper registers. definition of the absolute sound and turn I am very enthusiastic that designers like it on its head. For 30 years, the illusion of Lamm recognize that sonic neutrality is not the live unamplified instruments in space has only key to the authentic recreation of the musical been a hallmark of this publication. Now event. There are also numerous subconscious with this Lamm attack on the state of the references that our perception systems process art we can (almost) throw away the word when we listen to music. They work behind the “illusion.” I believe this dynamic duo from scene and are, perhaps, the ultimate arbiter for Vladimir Lamm approaches what we all “Is it real?” seek in the reproduction of music—the Nowadays, amplifiers are expected to be actual sound of live instruments in space. neutral. At the state-of-the-art level, if an amplifier These statement products, I dare say, adds any coloration you should take serious do the near impossible. They reduce pause. Also, there is more to it than just getting or eliminate two of the major sonic the notes right and tapping your feet. I assert that colorations and/or signatures that we it’s the subconscious cues that allow the listener reviewers harp on. The first being the to bypass the audio system and to reach out and or warmth. There is no exaggeration of the of an instrument that draws you closer to reality. electronic haze, though ever so slight, touch and feel the instrument itself. It’s more than harmonic envelope or chewy caramel texture to The Lamms somehow rebuild the DNA of the that amplifiers unavoidably add to the 3-D; it’s a metaphysical thing, and it’s the next sink your teeth into. There is nothing at all added instrument itself. It’s uncanny. And it is this, and (image) of the instrument and the air logical step toward sonic reality. to the instrumental image. It pops right up, also their price, which set the Lamms apart from surrounding it. The second coloration, No, I haven’t flipped my lid or had a glass living and breathing—right there in front of you. other reference amplifiers. and most egregious, is the old nemesis, too many. Let’s start with the Lamm ML3/ That’s easy enough; most of today’s amplifiers Let’s get the sticker shock out of the way. The midbass overhang. It’s a coloration that LL1 duo. Objectively, it gets the neutrality part do this. But there is more; there is an additional ML3 power amplifier is priced at $139,290 and poisons the foundation of the lower correct. There is absolutely zero “tube” spatiality and unidentifiable “rightness” to the actual tone the LL1 linestage at $42,690. This is, indeed,

EQUIPMENT review - Lamm LL1 Signature Preamp and ML3 Signature Amp fantasy audio. Unfortunately, it’s also the price to for work. In 1990 he landed a position at the inside. Make no mistake; pride of ownership is modern low-impedance loudspeakers. Think of be paid to play at this level of sonic realism. Madison Fielding Co. as an audio designer. While significant, though in a tasteful and proletarian an output transformer as an interpreter at the How does Vladimir Lamm make instruments there, he developed two hybrid statement-level way. Think of it like this: Lamm is the opposite of United Nations. The expertise of the translator is sound so real? For starters, his goal is predictable amplifiers, the M1 and M2. He became a partner Jadis, both visually and sonically. paramount to the accuracy and meaning of the sonic neutrality. Lamm can predict the sound of in the business and began work on the all-tube Lamm builds three basic types of amplifiers translation. different segments of the audio spectrum and L1 linestage. The M1 received critical acclaim at to cover the loudspeaker gamut: 1) hybrid tube Single-ended-amplifier transformers are engineer his designs to sound neutral to the the Summer 1993 CES, driving Watt/Puppy IIs. types with solid-state outputs for lower-sensitivity different beasts than push-pull-amplifier ear while measuring otherwise. Many amplifiers Lamm’s vision was 100% high end; his partners’ speakers such as Maggies or Magicos, 2) push- transformers. In a push-pull amp, the input signal measure perfectly and sound neutral. Heck, we’ve goals were more down to earth. In the fall of that pull tube amps for medium-sensitivity speakers is divided into two parts and then amplified read thousands of reviews and seen all those the year, Vlad started Lamm Industries to fulfill his such as Vandersteens, and, 3) single-ended separately by two (or more) tubes. That signal ruler-flat frequency graphs. But there is more to entrepreneurial audio destiny. triodes for high-sensitivity speakers such as gets reassembled at the upper and lower end of it than that. It’s not just the “straight wire with Notwithstanding the fanfare and accolades the Wilson Alexandria II, Verity Lohengrin, or the center tap on the primary side of the output gain” cliché of neutrality that gets us closer to the Lamm products have received over the years, Coincident Pure Reference Extreme (CPRE). transformer. Of course, this electronic process absolute sound. Sometimes, inferior-measuring Vladimir Lamm is very much old school. He There are two linestage types in the Lamm has to be perfect or there will be a distortion amplifiers sound more real to our ears. prefers single-ended over balanced circuits portfolio: all-tube and hybrid. Lamm suggested added to the original signal called crossover or Lamm’s engineering system is built upon and designs without global feedback. And get the all-tube LL1 for review with the ML3 Signature notch distortion. Thus, the advantage of a single- psychoacoustic and mathematical theory that this: Lamm equipment does not include remote über amps. He said they were optimized for each ended gain strategy—no crossover distortion. allows Lamm to “rethink” circuit design based controls! Vladimir feels they degrade the sound. other, and I wasn’t going to argue. But there is a price to be paid, and it is dear. upon the human hearing mechanism. It sounds If you want to change the volume, you must do The ML3 amplifier is of the single-ended triode- In a traditional SET amp, the current of the very mumbo-jumbo, but this man’s designs so the old-fashioned way and get your butt out tube varietal. Its robust (for SET designs) 32 output tube flows continuously through a single are based upon his own science and his own of the listening chair, go over to the equipment watts offer listeners ample power to drive a broad primary winding of the transformer. The current measurements. He does not design with listening rack, reach down to the control units, and turn range of loudspeakers. Notwithstanding the cost, demand within an SET is enormous since there is tests. the two stepped attenuators. (Remember, it’s a I have to caution you that these are indeed SET no “push-pull” sharing of the work load that helps Vladimir Lamm surely knows what he’s doing. dual-mono design.) watts, not push-pull watts, and unless you have to reduce the amount of bias current being drawn In Russia, Lamm (aka Vladimir Sushurin) began All Lamm amplifiers are housed in classic black a fairly efficient loudspeaker you may not unlock through the transformer. his career with the Union of Soviet Socialist cases that serve the sole function of housing the the unadulterated magic the Lamms are able to For these simple but elegant designs to properly Republics’ military. His work on space program electronic components. If form follows function, deliver. work, they require the insertion of a gap in the projects introduced him to engineering modeling then Lamm is true to a no-nonsense design transformer core to prevent saturation by the and hypothesis. He took Soviet design theory and aesthetic that values music reproduction over SET Tube Amplifiers 101 high amounts of DC current. Adding a gap of air applied it to electrical engineering and then to pretention. The ML3 amplifiers, with their tubes There are two basic types of tube amps with decreases the primary inductance (and energy- audio. He’s a real live gosh-darn rocket scientist. exposed in all their thermionic glory, comprise output transformers; push-pull and single- transfer efficiency) and limits the bass response. Vladimir then became the Chief Designer for two power supplies and two amplification units, ended. The tubes amplify the signal, but it’s the As a result, SET amps need larger and more the Lvov Radio-Electronics Co. and was an all similarly sized. When they are lined up in output transformer that actually couples them to inductive (read expensive) output transformers, avid contributor to Radio Magazine, the Russian row, they have a neat tuxedo-like look that is, at the loudspeaker. The transformer “translates” capable of handling idiotic amounts of current. equivalent of MJ Magazine (Japan), and the old the same time, elegantly simple and extremely the high-impedance/high-voltage but low Voltages and currents are simply off the charts Sound Practices U.S. publication. He immigrated substantial. The LL1 linestage is more bit more current input signal into the lower-voltage but in SET designs. Consider this: The actual plate to the U.S. in February, 1988, and began looking nondescript because the tubes are hidden deep higher-current output signal needed to drive voltage on the GM70 output tube in a Lamm

EQUIPMENT review - Lamm LL1 Signature Preamp and ML3 Signature Amp

ML3 is over 1000 volts—enough to stop the you can bet on it. Adding insult to injury, the low balanced input circuit). There are three sets of into a single inverting gain stage. The dual- human heart from beating! Please keep your power output of many SET amplifiers demand double speaker terminals for bi-wiring of the 4, triode 6N30P low-signal tubes are nicknamed screwdrivers in the drawer. loudspeakers that are high in sensitivity. 8, or 16 ohm taps. Interestingly, Vladimir added “supertubes.” You’ve read about them. They’re So the design of the output transformer is as The choice of loudspeaker is thus of paramount a three-position, user-selectable, local-feedback used by BAT, Audio Research, conrad-johnson, important as the circuit itself (and chosen output importance in a single-ended setup. The speaker switch in the output circuit to increase the damping and many other big name high-end companies. tube) in SET designs. It is the virtual heart and forms an electrical and mechanical marriage with factor for more difficult to drive loudspeakers. Due to the single gain stage, the LL1 inverts soul of the amplifier. Lamm utilizes huge, custom- the amplifier that affects both frequency response The user can select, zero, NFB1 2.4 dB or NFB2 polarity, so you must switch your speaker cable built, hand-wound output transformers made to and listening level. ’Nuff said about the all this. 1.2dB. Adding feedback reduces the output plus(+) and minus(-) connections. exacting requirements in order to reduce core level and flattens the imaging somewhat. It also The LL1 operates in single-ended Class A, saturation and increase bass response. I asked ML3 Signature Amplifier reduces the chestiness of lower-pitched voices with no overall feedback. It employs the same him, “Who winds them for you?” And the phone The ML3 employs a single GM70, a Russian ever so slightly, with each increase in setting. It top-shelf components as the ML3 and adds the went quiet. This is t-h-e trade secret in amplifier military transmitting tube, for its 32 watts of does tighten up the bass a little but it also dries it excellent TKD stepped potentiometers for volume design. power delivery. The GM70 looks like a 6550 on out at the same time. Nonetheless, I urge you to control. Says Lamm, “The TKD pots are the best Another downfall to SET designs is that there steroids. Relatively unknown here in the USA, it’s experiment with this switch. On some recordings, available in today’s market.” is no push-pull effect to cancel out the harmonic a relative of the 845, a popular transmitting tube adding feedback gives a “pop” to vocals that is The linestage’s power supply features a full- distortion products of the output stage itself, used in many SET designs. beyond belief. Lamm added this switch for a wave vacuum rectifier. Lamm designs this circuit, resulting in higher overall THD. You’ve read about In SET speak, these tube types are the power- reason. together with a choke-containing filter, to reduce this effect: When the positive part of a sine wave hitters of the flea-amp school. They have a To adjust the output tube bias there’s a trim hum and buzz and to increase dynamic range is overlaid with its out-of-phase brother, the reputation for being vivid and big sounding. pot accessible through a small opening on top without coloration. combination mirrors and cancels out distortion Each of the four amplification units house of each amplifier chassis. It’s easy to access and The LL1 features include three RCA inputs, artifacts and sonic garbage. SET designs have none tubes and transformers. The tubes sit upon both the test points are right next to it. The user simply RCA and XLR outputs, one tape/home-theater of these electrical advantages. The bias current is chassis decks in the classic forward position adjusts the plate current of the output tube with processor loop, an attenuator (-12dB) switch, continually applied and at a very high level. That and the transformers reside behind them in neat a screwdriver by using an external voltmeter. Output 1/Output 2 switches, protection circuitry folks, is the classic definition of Class A. square black boxes. The power supply units have Lamm recommends 1.1Vdc. I never do what I am designed to enable manual muting of the output Lamm acknowledges that distortion is part of four transformers, the amplifier units, two. It’s all told, so I tried dropping it down a little to ease signal, and a built-in remote on/off for LAMM the audio game and that managing it is his calling. very traditional looking. The GM70 output tubes/ off the tube. I’ve found that reducing bias current power amplifiers. This handy-dandy feature He believes that you just don’t wipe it out with sockets are isolated on a suspension to minimize increases detail in many amps. You have to be allows you to turn on the power amps from the tons of global feedback or throw your hands up vibration. Parts at this level are, of course, careful here and do this gingerly—.95Vdc is very control panel of the linestage. Remember, there in the air and use solid-state devices from input world-class and include military-graded Dale nice. are eight total chassis, and, no doubt, you have to output. He’s a crafty man. metal-film resistors, PRC wire-wound resistors, limited shelf and floor space in your listening Back to SET basics. You not only have less Caddock power film resistors, Bourns multi- LL1 Signature Linestage room (no matter how large your mansion.) power, you have more distortion. Couple this turn potentiometers, Cornell Dubilier and United The LL1, as mentioned above, is also built upon You’ll welcome the ability to place the amps with the poor transfer efficiency (or impedance Chemi-con electrolytic capacitors, Electrocube, four separate chassis. It is a basic dual-mono close to the speakers and switch them on/off match) of the transformer to the loudspeaker, and Elcon, and Roederstein film capacitors. The linestage with separate power supplies and from the LL1 front panels. There’s no need it’s a recipe for disaster. If your loudspeaker has chokes are made by Hammond. control units. to bend over the amps and risk setting your impedance dips and valleys, some frequencies will The inputs are single-ended RCA and pseudo- Each preamplifier contains four, very linear, shirt ablaze from the heat of the GM70 while get attenuated and others will be exaggerated— XLR (an XLR for connection only—not a true low-impedance 6N30P-DR triodes paralleled you hunt for the little red switch. Isn’t Vladimir

EQUIPMENT review - Lamm LL1 Signature Preamp and ML3 Signature Amp thoughtful? [smile] computer/HD system). This is a pre-release of levels is extraordinary. It puts the Lamm ML3/ indeed, inspiring in an accurate and realistic way. I should mention that one of the three inputs is Ayon’s new tour-de-force CD player and DAC. LL1 combo at the top-of-the-class of modern These ain’t no beauty-parlor fashion-statement labeled “Direct.” This bypasses the Line 1/2 and The system was cabled up with Tara Labs RSC amplifier technology. The result is near perfect amps. In other words, the sound these amplifiers monitor switches. It reminds me of hot-rod mode and Crystal’s Piccolo. timbre, and, if the rest of the system is up to it, produce is more intellectual than flamboyant. on that venerable old soldier, the Audio Research nearly ideal imaging. There is no frequency highlighting or makeover SP-11. All serious listening was done through the Listening Back to Hamlin’s piano. It is more than of the instrument’s voice. Avid concert-goers are Direct input. To begin my first review since returning to The reproduced; it is recreated in your room between going to love these things. Absolute Sound, I selected a favorite of mine, and around the speakers, like you are there at On small combo jazz, the Lamms are beyond Listening Setup Alkan’s Symphony for Piano with pianist Marc- the recording venue. These spatial effects are reproach. The 1961 Bill Evans Complete Village The speaker selected for the evaluation sessions André Hamlin. This stellar Hyperion recording readily apparent through many amplifiers. What Vanguard Recordings aptly demonstrate the was the Coincident Pure Reference Extreme is outstanding in both performance and sound. is surprising is that you get timbre accuracy as Lamm’s uncanny ability to remove electronic (CPRE). The CPRE was set up in Listening It will test your system’s ability to accurately well. It’s a sonic bonus of great rarity. artifacts. In the forty-three-second prelude you Room # 1 and placed in the footprint of the MBL reproduce transients and timbre. How about large-scale orchestra? Well, can hear Scott LaFaro bowing his bass (in the 101Es. Speaker-to-ear and speaker-to-speaker A properly reproduced piano will have a near- it’s more of the same. You get tremendous left channel) as the announcer introduces the distances form a discreet 10-foot equilateral perfect balance between the transient of the instrumental separation and believability due to group. As the intro closes, Scott noodles the triangle on the long-wall. The advantage to a string being struck and the ensuing resonance Lamm’s extraordinary inner detail. Take Mahler’s bow across the strings, ever so slightly, as he near-field/long-wall system is the reduction of of the soundboard. The soundboard is the key Fourth, with Leonard Bernstein conducting the completes his warmup and tuning. I’m sure you primary reflections. The speakers are far enough element to the sound of the piano. Energy is Concertgebouw Orchestra (yes, the famous DG know it well. Through the Lamms the bow is from edge boundaries that by the time the primary coupled from the strings onto the soundboard by ’87/88). In movement one, Bedächtig, nicht eilen, clearly distinguished from the body of the bass. reflection has reached the listening position, the mere proximity plus physical attachment. With do you remember the sleigh bells entering with It sits in its tidy own acoustic space, adjacent to next transient attack is already upon the ear— the Lamms driving the CPREs you can actually the flute? With the Lamm, you can pick the tone the instrument, further fooling you that an upright there is diminished blurring of time and phase in experience the energy transfer. Your mind will of a real flute out from the mix in spite of DGs best bass has materialized in your room. I think this is real time. The down side is somewhat of a “giant” “see” Hamlin’s expressive fingerings, but your efforts to homogenize everything. It’s as if the another key attribute to the Lamm’s extraordinary headphone effect, as if you were sitting in the soul will “feel” that percussive transient smack musician is sitting smack dab in a chair across resolving power—the ability to recreate the conductor’s lap. It’s a tradeoff I gladly make. And into the soundboard. It is very difficult for an from you. How often does that happen with a individual pockets of acoustic space surrounding one you should try, too. amplifier to reproduce these instantaneous Deutsche Grammophon recording? Several an instrument. The CPRE loudspeaker has 94dB sensitivity mechanisms correctly. It must be lighting fast to measures later, the oboe solos, and then bang! I wonder how many other amplifiers do this? I and presents a nominal 8-ohm load (never capture the transient but also be phase coherent The strings come alive, then back to the oboe don’t have at hand the Audio Note Gaku-On and dipping below 6). It’s a perfect match for SETs. and harmonically accurate to realistically replicate with its dancing theme on top of the strings. With its 45-watts-per-channel of single-ended parallel- Plus, the CPRE is an exacting reviewing tool. It the body of the sustain as it rolls across the the Lamms you can pick out each and every feed power. Coming soon will be the world- reveals SET amplifier nuance better than any soundboard. As Yoda would say, a bridge fine, instrument because its actual tone fills your class Ayon Vulcan II. That will be an interesting speaker I’ve experienced. it must walk. listening room. The baa-pa-pa of the horns (the comparison. Source components for this evaluation The Lamm is that rare breed of amplifier that next theme) is especially convincing. They enter What I do have though, is the incomparable, include a Goldmund Studio/T3F/Cello cartridge not only does this with aplomb but does so from en masse and you can reach out with your mind’s and very limited in production, 55-watt-per- into a classic Motif MP-11 phonostage and the top to bottom in both frequency and in amplitude “ear” and touch them. No other amplifier I’ve channel $60k Komuro 212Es—a world-class pair outstanding Ayon CD5s (used as a player and (fff to ppp). Its ability to deliver speed plus sustain heard offers this uncanny ability to hear, touch, of direct-heated single-ended-triode monoblocks as a DAC for the EMU1616M/Sony Desktop at the frequency extremes and at all dynamic and feel the timbre of massed instruments. It is, with astonishing purity of tone. Couple that with

EQUIPMENT review - Lamm LL1 Signature Preamp and ML3 Signature Amp explosive dynamics, and you have a similar type $80k more? Well, you know the answer to that. of amplifier to compare and contrast with the The law of diminishing returns has no limit in this Lamm. game. I know this sounds somewhat absurd but SPECS & PRICING Now when I say the Komuro is limited, it’s I believe that Lamm (the man) has found a key not just the amplifier; it’s also the tube. The psychoacoustic design parameter that few else ML3 Signature single-ended triode amplifier LL1 Signature Linestage Preamplifier Western Electric 212E output tube has not been have discovered. Power output: 32Wpc Number and type of inputs: Three unbalanced on RCA manufactured for over 60 years. There are no Notwithstanding the reputation, and completely Tube complement (amplifier): One GM70 output, one jacks modern-day copies. Western Electric collectors ignoring the price, we have here an extraordinary 12ax7, four 6N30P-DR Outputs: Balanced on XLR jacks, unbalanced on RCA bid these rare birds into the stratosphere. On product. It does exactly what it is designed to do: Tube complement (power supply): Six 12AX3 Rectifiers jacks the second-hand market they fetch upwards of realistically reproduce music. Output impedance: 3.1 ohms, 30Hz–20kHz, 8-ohm tap Tube complement (amplifier): Four 6N30P-DR $4000 a pair. Thankfully they last a very long Mind you, the cost of entry is high, oh so very Dimensions: 16" x 8.25" x 20.375" (each chassis) Tube complement (power supply): Two 6X4 rectifiers time. Western Electric designed them to be run high, but the performance is even higher. If you Weight: 79 lbs. (amplifier), 80 lbs. (power supply) Dimensions: 19" x 4.5" x 13.875" 24/7 for four years at spec. In contrast, the ML3’s value sonic realism, the Lamm ML3 Signature Price: $139,290 Weight: 35.8 lbs. (preamplifier, each chassis), 21.2 lbs. GM70 output tube is a common peasant Russian amplifier and its trusty mate, the LL1 Signature (power supply, each chassis) transmitting tube, and there are a gazillion linestage, have no peers. They redefine the state available. Lamm purchased 2000 of them. of the audio art. They are the actual sound. Back-to-back listening sessions with the ML3 U.S. U.K./E.U. and Komuro were a virtual Clash of the Titans—32 Price: $42,690 Price: £45,000 watts vs. 55. With the giant transmitting tubes all aglow, it was Christmas in Frankenstein’s Lamm Industries, Inc. SELECT AUDIO. lab. Truth be told, the Komuro was as realistic 2621 E. 24 Street +44(0)1900 813064 in the midband as the Lamm but a little less Brooklyn, NY 11235 selectaudio.co.uk top-to-bottom coherent. We are splitting hairs (718) 368-0181 here friends, but I preferred the Lamm for its lammindustries.com more even-handed dynamic range. The Komuro had a wee bit more bass wallop with assorted CLICK HERE TO COMMENT IN THE FORUM at avguide.com electronic music such as Klaus Schulze or the late Jorge Reyes. But I wager that’s due to the additional wattage. Plus, the added sock was of the lower mid/upper bass variety. These easy to identify differences, while apparent, were not earth-shattering. With unamplified instruments, though, the Lamm was peerless. Why is that? Stepping back from the obvious, the Lamm portrays more subconscious reality and thus paints an overall more believable picture of the timbral truth than the Komuro.

Musical Fidelity M6CD, M6PRE and M6PRX Alan Sircom

All the boxes share the same clean lines of the logo – made from surgical steel, apparently the original M6i. It’s very Musical Fidelity, 21st – differentiates it from the front. No tone controls Century style. Black or silver facings with side (of course) and no headphone socket (MF makes heatsinks, dimpled brushed alloy pushbuttons its own headphone amp, so perhaps no great and other control surfaces. In other words, surprise there), but otherwise this is a pretty understated elegance. The differences – and good, pretty standard preamp. similarities – stack up pretty quickly though. The M6PRX owes more to the company’s The CD player is a fine place to start. No titanic, er, Titan power amplifier than it does to great display wonders from the front panel (it’s the M6i. A fully dual mono affair, the M6PRX a standard blue readout), the key elements are sports a dual mono bifilar choke regulated inside the player. Basically, it’s a great DAC with power supply. Those weaned on switch-mode a CD transport attached. Upsampling to 24bit, designs might have a head-scratching moment, 192kHz precision (‘true upsampling’ says MF… as but choke regulation was a big thing with valve opposed to fake upsampling?), with coax, optical amplifiers back when they could be built big. It and USB inputs, digital, analogue and balanced makes a profound difference to the performance analogue outputs, it’s possible to consider the of a design, as evidenced by the Ongaku-like M6CD as a digital hub as much as a standalone change to the Pure Sound integrated amplifier CD player. With the marked downturn in fortunes when it received a Border Patrol choke-regulated for CD, this represents a fine way of future- PSU. The downside to choke regulation is it’s big, proofing the player, although a slight confusion is heavy and needs an expert to design it. Musical there is a second USB input in the preamp. Fidelity has been making choke-regulated Fully balanced from front to back, the M6PRE power supplies for decades, so it knows what ou know how it is with Musical Fidelity. They are like buses; nothing for runs in Class A mode. This makes it warmer than it’s doing here. Which is why the ‘bifilar’ part is ages, then along come three at once. The M6i integrated amplifier was an most solid-state preamps, but is designed to give key, too. Basically, bifiliar winding allows one side Yimpressive debut for Musical Fidelity’s M6 series. A CD player, pre and power the best possible performance. There’s a built in to cancel the other’s magnetic field and noise were on the cards. The first was expected, the second two slightly feared. My worry MM/MC phono stage, a USB input and a home characteristics. It’s a quiet way of making a very was that Musical Fidelity would simply take the M6i to bits and rebuild it into two theatre by-pass circuit for home cinema fans. It powerful amplifier. If ‘power corrupts’, then the separate parts. Actually, it did nothing of the sort. looks almost identical to the M6i too, although M6PRX chucking out 260 watts per channel and

EQUIPMENT review - Musical Fidelity M6CD, M6PRE and M6PRX a peak current of 140 amps must make it a very three ever sing with ProAc Response D Twos or corrupt amplifier. Spendor S9s… wow!) rather than designs with The first potential question on a potential metal dome tweeters. That being said, many customer’s mind must be ‘which USB input do I love the combination with Monitor Audio. A little- use?’. From a sound quality perspective, the CD known but truly delightful pairing is with Sonus player has the edge, but it’s not a marked and Faber Cremona M floorstanders, as the neutrality significant improvement. The CD player is best of the electronics blends perfectly with the used as a complete digital hub, acting as platform sweetness of the speaker sound. for computer and other digital sources, but it must The MF trio throw out an interesting conundrum be tempered by making sure you don’t end up for the reviewer. They don’t seem particularly switching to the preamp USB input by mistake. stand and cable fussy. The difference between I guess true platform agnostics could use a PC a Townshend VSSS and a Quadraspire, the on one USB input and a Mac on the other, but difference between Vertex AQ Kinabalu and I recommending picking one, and whether you Ensemble Zorba platforms (why do audiophile go for convenience or quality, you don’t really platform makers come up with such left-field Perhaps one of the acid tests of an amplifier, solo listening to bass guitar; the character of a Fender sacrifice much of either in the process. names?), moving from Crystal to Audience to piano needs the electronics to be able to be both Precision bass is different from a Fender Jazz, or A far easier question is ‘balanced or single- Cardas to a set of ancient Exposure virtually well controlled (to keep the speakers in check) a MusicMan Stingray. This distinction can be lost ended?’ The answer is balanced. Every time. identikit versions of Linn’s K20 cable made and wild enough to cope with a sound that can on many systems, it just falling into the category Unless you are comparing four-figure single- little difference to the basic performance of the push an amp from idle to its limits and back in a ‘bass guitar’, but the MF trio – coupled with a ended interconnects with DJ-chummy £10 a pop Musical Fidelity. So why the conundrum part? fraction of a second. Meanwhile, it needs to cope good loudspeaker – can draw out the tonality XLRs, you will struggle to find any justification to Because it makes reviewers ask if this a good with those smaller, closer noises (the musician’s behind the notes and you can easily hear who’s stay with single-ended between CD, preamp and thing or a bad thing. Certainly from a keep costs breathing, squeaks of backside on leather, the playing what. power amplifier. That’s not just for noise rejection low aspect, the fact that the MF gear sounds pedals being used and so on). Brendel playing Once again, a lot of this comes down to dynamic over hundreds of metres of cable. It sounds better virtually the same on a sideboard as it does on the first movement of Beethoven’s ‘Appasionata’ range, and it does seem like the M6 system has a balanced through this MF combo. a state-of-the-art platform is a good thing and it sonata is a perfect example of this. Too little lot of reserves on tap. Much of this comes down Used as a threesome, the M6 package really certainly saves splashing out large amounts on control and the right and left hand blur. Too much to the M6PRX. OK, using it with an amp-crushing shines. It’s very much in the Musical Fidelity good mains, interconnect and speaker cables, and it sounds flat and drab. The Musical Fidelity loudspeaker load will see it hit its limits perhaps Power Product mode (as in, it doesn’t sound but does it mean it holds the sound back in the trio pass with flying colours. faster than the bigger power amps on the market, like the A1, more like the old A370). That means process? It certainly doesn’t seem to in reality. What doesn’t strike you at first but slowly but used in the context of the sort of speakers this neutral, crisp and dynamic to some, with a slight There’s an earthy ‘rightness’ to the sound burns into your brain in a wholly positive manner product would likely be partnered with and the graininess to the sound that people tend to ignore, produced by the Musical Fidelity package. is the coherence. Not in a Mantovani ‘cascading MF package has an effortless quality that makes or even enjoy. Yes, there will always be someone Sounds are rooted in a three-dimensional strings’ sound, but where the instrument’s you confident that no music will be a struggle. who gets stuck on this and calls it hard-edged, soundstage. Vocals are neither recessed or tonal palette is accurate across its range. This In that respect, it almost makes your speakers but realistically this is a very neutral system with forward in the mix and very articulate. But the is typically a function of the loudspeaker rather seem bigger and better than they really are. the right speakers. most immediate impression you get from the trio than the electronics, but the M6 trio show just Of the three products, the breakout device is the The system in general cries out for good is the dynamic scaling it has. This comes across how much a good set of electronics aid that power amplifier. The CD player is a fine addition speaker designs like ProAc or Spendor (do these with most music, but especially on solo piano. goal. This seems especially important when to the portfolio, but I suspect those buying it will

EQUIPMENT review - Musical Fidelity M6CD, M6PRE and M6PRX

the two together. It has the ability to grip onto your loudspeaker cones and never let go like a terrier with its blood up, but also has enough refinement SPECS & PRICING to make the deft touch of Alice Coltrane’s jazz harp and Pharoah Sanders lithe, abrasive tenor M6CD CD player Voltage 9.5Vrms 19Vrms sax playing rise up out of the drone on the DAC Specification: 24 Bit Delta-Sigma dual differential 8 26V peak to peak 52V peak to peak title track of Journey In Satchidanada, without x oversampling. Dimensions (WxHxD): 17"x5"x15.7" undermining either. Most of all, though, it does Digital Inputs: RCA Coaxial S/PDIF, Toslink optical, 1 USB Weight 25lbs what a good power amp should do, get out of type ‘B’ the way of the sound. I played with this through Analogue Outputs: Line level 1 pair RCA & 1 Pair XLR M6PRX a number of different preamps – including the Digital Outputs 1 RCA Coaxial S/PDIF 1 Toslink Optical Output Power 260 Watts per channel into 8 Ohms (24 Conrad-johnson ET3 tested last issue and the connector dBW) limited edition Siltech C1 pre coming soon – and Output Impedance 50 ohms Voltage 46 Volts RMS, 20Hz to 20 kHz; it never imposed its character on the sound. That Digital Output: 0dB level onset of clipping (130 Volts peak-to-peak) puts the M6PRX in with some very exclusive and XLR 4.4V rms, balanced Current peak-to-peak 140 Amps very expensive company and at no time did it RCA 2.2V rms, single ended Damping factor 210 show itself up. There’s a school of thought that Dimensions (WxHxD): 17"x5"x15" Output devices 4 pairs per channel suggests valve pre and solid-state power is the Weight 25lbs Connections Line level inputs 1 pair line level XLR, 2 pairs ideal set-up; the pre for ‘show’ and for ‘glow’ line level RCA and the power for ‘go’. The M6PRX adds a lot of M6PRE Line level outputs: RCA connectors be those who want a matching CD player for their weight to that argument. The fact that you can Inputs: 2x XLR balanced, 4x single-ended line (one HT Speaker outputs: 4 pairs 4mm banana plug/binding posts M6 products, rather than those wanting a CD switch between inputs makes it something of a by-pass), MM/MC phono, USB type ‘B’ Dimensions (WxHxD): 17"x5"x15.3" solution in its own right – this is a bit of a shame, perfect product for the reviewer, too. Outputs: single-ended, XLR balanced because it lives up to the Musical Fidelity name, Played as a grouping, the power chord of being both accurate and tuneful, and never puts M6CD. M6PRE and M6PRX are hard to fault. Best a foot wrong. Meanwhile the preamplifier is both used balanced from one end to the other, the trio Weight: 43.4lbs U.K./E.U. excellent and excellent value for money, but there are unobtrusive, entertaining and a satisfyingly M6CD CD player Price: £1,999/1,999 Euro are a lot of excellent preamps out there. Once potent combination of sweetness and meatiness. U.S. M6PRE Price: £1,999/1,999 Euro again, I can see this forming the centerpiece of I know that sounds horrid (like lamb cooked in M6CD CD player Price: $2,399 M6PRX Price: £2,999/1,999 Euro an expanding MF system, rather than the first MF Pepsi) but it works from a fundamentally musical M6PRE Price: $2,399 Musical Fidelity Ltd product anyone would buy from the M6 range. position. Almost any one of these components M6PRX Price: $3,499 Olympic Trading Estate, 24-26 Fulton Rd, The power amp, though… that’s a different on its own is good enough to stand alone and act Wembley, Middlesex HA9 0TF, UK proposition altogether. It’s the perfect combination as an introduction to the joys of Musical Fidelity Tempo Distribution LLC www.musicalfidelity.com of motive force and grace that is not uncommon sound, but it’s the power amp that shines out as www.tempohighfidelity.com +44(0)208 900 2866 at twice the price, but hard to find paired up a true world-class product. The whole isn’t far (617) 314 9227 at this level. You can have an earthmover or a greater than the sum of its parts, but with parts delicate flower power amp at this price, but not like these, it doesn’t need to be.+ CLICK HERE TO COMMENT IN THE FORUM at avguide.com

Mystère CA21 Line Preamplifier and PA21 Power Amplifier Alan Sircom

nvoking yet again the mystery of designs have been castigated in the past for Stonehenge and its ineffable inner their poor damping factors (pentode boom) and Icircle, Mystère has recently launched susceptibility to load interactions. So what exactly a pair of flagship products aimed is their discrete charm all about, you ask? squarely at sharing tube magic with a A pentode stage’s primary payoff is efficient wide audience. Both models use similar power delivery with minimal stressing of the power EL34 power pentodes. A switch on the left side of tubes. chassis and share the high-gloss piano- tubes, especially when used in combination the chassis sets the auto-bias-circuit calibration for Several decades ago the primary reason for black cosmetics of the line. As I said in with fixed bias. Power output is approximately either KT88 or EL34 use. purchasing a preamplifier was for vinyl playback. my review of the Mystère IA21 integrated proportional to plate voltage. A pentode or beam The Mystère design team continues to The phonostage was the focus of attention. amp, the massive tube cage is best left power tetrode allows large plate voltage swings embrace the 6SN7 dual triode—two thumbs up There were of course line-level inputs for tuner off during play to improve air flow and with only small variation in plate current. A triode’s for that. Nine-pin miniatures need not apply! and tape deck, etc., but they were of secondary heat dissipation. plate current, on the other hand, increases One 6SN7 is configured as an SRRP voltage sonic importance. That pecking order has been The PA21, rated honestly (55Wpc at 1% THD), rapidly with increasing plate voltage, which gain stage, which is direct-coupled to the phase drastically altered over the course of the past continues Mystère’s “heretical” motif of output- limits maximum plate voltage. This is the reason splitter—another 6SN7 connected as a long- decade due to (in my opinion) an overreliance on stage pentode connection. Ever since Keroes triodes can’t source as much power as pentodes tailed pair. Global feedback is applied from the CD program material. Most preamps today are and Hafler popularized the ultra-linear (UL) or tetrodes. For example, a KT88 push-pull pair 8 ohm output tap to the input stage. Feedback is merely line preamps, and at best may offer an connection of the push-pull output stage in the with a plate voltage of 400Vdc and fixed bias can good in this context. It is an essential ingredient optional phono board, or you may be forced to early 1950s, pure pentode designs seem to have generate 50Wpc. In triode connection, this same in linearizing the operation of beam power purchase a separate phonostage. Functionality fallen off the map. Some of the most popular and pair can safely manage only about 20 watts. and pentode output stages, and as an added has also diminished. Gone are tone controls, highly respected power amps of all time used the The PA21’s stock KT88s are operated at a plate benefit, reduces the amp’s source impedance. A tape-dubbing facilities, subsonic filters, and UL connection. Classics such as Marantz 8B, voltage of only 422Vdc while the screens are held large power transformer with multiple windings headphone jacks. I have to wonder out loud if Citation II, and several Dynaco models, including at a fixed voltage of 405Vdc. An adaptive auto- provides all the necessary AC voltages. Solid- audiophiles today are much more simplistic than the ubiquitous ST-70 all fall in that camp. Even bias circuit continuously monitors bias current and state rectification is followed by RCR smoothing they were back then. The CA21 is a fine example the McIntosh unity-coupled output stage can be adjust the output tubes to their optimal operating filters for the output tube plate and bias voltage. of the minimalist approach. It’s a line preamp considered a variation on the UL theme. Pentode point. There is also the flexibility of easily rolling in DC filament supplies are used for the front-end with an input selector (four line inputs) and a

EQUIPMENT review - Mystère CA21 Line Preamp and PA21 Power Amp volume control. It can’t get any simpler than that. versions. Sonically, the Chinese trump the favorite preamps is tube rectification. The iconic tube rectifiers are still the exception (e.g., Air Old-timers (like me) will certainly squawk at the Russian, but even so, they’re a bit grainy and bright marques of audio’s golden age—McIntosh, Tight and deHavilland) rather than the norm. omission of a balance control. through the upper octaves. Fortunately, there are Marantz, and Harman Kardon—gave up on tube Low cost and engineering specifications argue However, I’m most pleased with the circuitry plenty of reasonably priced NOS 7N7 Loktal types rectification in the 60s. Audio Research wasn’t a in favor of solid-state rectifiers. But it was never and design execution. First of all, you’re bound to out there, which I have come to prefer over most fan either in the 70s. Conrad-johnson’s Premier just about specifications, as, otherwise, tube notice the first time you try to move this guy just vintage 6SN7 types. Being internally electrically Two, quite a preamp by the way, was introduced audio would be as extinct as the dinosaur. While I how heavy it is. At 44 pounds it outweighs many identical to a 6SN7 but with a different pin-out, in 1981 outfitted with a 12X4 rectifier tube. But can’t prove cause and effect, there appears to be small tube amps. The important point, though, means that with a 7N7 to 6SN7 adapter, they may that was pretty much it for c-j, as well. Today strong correlation between tube rectification and is that the CA21 is built much like a power amp be substituted for any 6SN7. Then there’s the featuring a massive power supply. I’m glad to 7AF7 Loktal, a slightly lower-gain version of the report that he CA21 has been “sprayed” with 7N7 and the absolute champ when it comes to solid-state repellant. With the exception of rectifier rendering palpable spatial outlines. It didn’t take SPECS & PRICING bridges for the filament supplies and a handful of me long to replace all of the CA21’s 6SN7s with zener diodes, this preamp is pure tube. All plate 7AF7s, but actually much longer before giving the PA21 Power Amplifier CA21 voltages are rectified by a 5AR4 followed by a pi PA21 the 7N7 treatment. Power output: 55Wpc into 8 ohms at 1% THD Bandwidth: 8Hz–200kHz at 47k ohm load filter. In keeping with its minimalist philosophy, Even right out of the box my first impression Bandwidth: 4Hz–80kHz, +/-0.3dB at 1 watt; 9Hz–52kHz, Noise: -104dB A-weighted ref 1V the signal path consists of a single voltage gain was that the CA21 was no ordinary preamp. +/-1dB at 40 watts Gain: 19dB (9x) stage followed by a buffer. As a consequence, Of course, the 7AF7 substitution catapulted it Noise: <-90dB A-weighted THD: 0.03% at 1V output the output is polarity-inverting, and there’s only to even a higher level in clarity, upper-octave Gain: 26dB (20x) Nominal input impedance: 150k ohm a single coupling cap. One 6SN7 dual triode is smoothness, soundstage transparency, and low- THD: 0.09% at 1 watt; 0.2% at 10 watts; 1% at 55 watts Output impedance: 592 ohms, maximum configured as an SRRP and is direct-coupled to level resolution. It was able to reveal a venue’s Weight: 59.4 lbs. Weight 44 lbs. another 6SN7 connected as a buffer stage said to reverberant signature with excellent fidelity. Its Dimensions: 16.5" x 7.9" x 17" Dimensions: 16.5" x 7.9" x 17" be a modified White cathode follower. The volume relaxed, totally edgeless presentation was devoid control is a 24-step attenuator resistor ladder. of gratuitous tube brightness or upper-midrange Not all the step sizes are identical and some grain. Yet, unlike so many vintage preamps, it did U.S. U.K./E.U. thought obviously must have gone into selecting not gloss over detail with a broad brush. A slightly PA21 Power Amplifier PA21 Power Amplifier individual resistor values, presumably to optimize closed-in treble range highlighted the midrange. Price: $2995 Price: £2995/2.995 Euro performance with a moderate sensitivity amp and Tonally, the center of gravity was centered in the CA21M6PRX CA21M6PRX speaker. However, with a high-sensitivity speaker lower midrange, enabling a big-tone portrayal of Price: $2195 Price: £2195/2195 Euro I did experience some difficulty in nailing down a cello and upright bass. desired volume level as I was forced to operate Harmonic textures were rich, luxuriant, with Mystere USA Mystere Durob Audio BV near the bottom of the ladder. a textural density approaching the real thing. 2504 Spring Terrace P.O. Box 109, 5250 AC Vlijmen All 6SN7 tubes are tightly selected new So many other preamps, solid-state and tube Upland, CA 91784 The Netherlands production from the Chinese Shuguang factory. alike, dilute textures much like watered down [email protected] [email protected] I’ve been on record before about my dislike of wine. Of course, threadbare textures are not mystere-usa.com mystere-eu.com modern 6SN7 tube brands, having developed my cup of tea, nor I suspect are they yours. It an allergic reaction to both Russian and Chinese seems that a common denominator of all of my CLICK HERE TO COMMENT IN THE FORUM at avguide.com

EQUIPMENT review - Mystère CA21 Line Preamp and PA21 Power Amp authentic textural density. enhanced sense of speed. It seems to me that recall wondering about how naturally voiced this electrostatics beam and sound too bright at the Another specific area in which tube preamps the vanquishing of tetrodes, in the context of the recording sounded, and that the bass range was listening seat, some treble roll-off is a good thing excel in is image palpability. But wait—you PA21, by true pentode power tubes is a case of pretty darn good even under show conditions. in this context. But -5dB at 10kHz and -10dB at probably haven’t experienced image palpability poetic justice. RCA most likely developed the Given more time to investigate this system in 20kHz is probably a bit too much. to this extent. I’m talking flesh and bones, a beam power tube in the 1930s to get around the comfort of my own listening room, the rest The real winner here is the Mystère CA21. reach-out-and-touch-someone gestalt that is Philips’ pentode patent, which was being fiercely of the story became clear. It’s one of severe load It’s a genuine giant killer—able to boogie in the very rare even in the confines of high-end audio. guarded. Philips introduced the EL34 in 1954 as a interaction. The Summit being a capacitive load company of far more expensive line preamps. If For the illusion to come off optimally requires full cheaper and higher-power alternative in an effort above several hundred Hertz has a decreasing you can accommodate its austere functionality cooperation from the power amp and speakers. to compete with the popular beam power tube impedance magnitude with increasing frequency. and are willing to invest in a set of 7N7 (or, better But I can safely state that time and again the and its British equivalent—the kinkless tetrode. At 20kHz its impedance is a mere 0.8 ohms. In yet, 7AF7) tubes, then you shall be rewarded with CA21 facilitated some of the best sound I’ve The 800-pound gorilla in the room is bass concert with other low-damping-factor amps, a healthy dose of tube magic. I can’t think of ever experienced. You normally don’t associate performance, since Mystère persists in marketing the PA21 rolls off the treble range while driving another line preamp under $8k that I’d rather live bass authority with tube preamps. Yet the CA21 amplifiers with a high source impedance and capacitive loads. The effect starts around 5kHz with—it’s that good! managed just that—bass definition and drive— consequently poor damping factors. Although and reaches a -10dB level at 20kHz. Since most again with careful attention to the associated subjectively a bit better than the previously power amp. reviewed IA21, bass definition continues to The PA-21 very much sounded like a tube be a significant issue. A comparison with the amp. Harmonic textures were slightly soft, liquid, recently reviewed Audio by Van Alstine Ultravalve and plush. Transient speed was slightly blunted. power amp proved to be most telling. While the The soundstage was populated by robust Ultravalve’s textures weren’t as plush or liquid, image outlines and depth perspective was well and it couldn’t reproduce the depth perspective delineated. Partnered with the CA21, the PA21 and palpable image outlines of the PA21, its bass produced a warm vibrant midrange with excellent definition and bass impact were light years better. microdynamic expressiveness. However, the In the long run, the bane of flabby midbass was a upper mids and lower treble lacked the ultimate real downer for me. in purity, sounding a bit hard, grainy, and at times In view of the PA21’s chronic lack of bass bright. The magnitude of the problem was not control, a possible solution suggested itself; only load-dependent but was also exacerbated namely, a pairing with the MartinLogan Summit by the stock KT88 output tubes, which tend to X electrostatics. Since the Summit features run a bit strident through the upper mids. I took powered woofers, the internal bass amp would advantage of the PA21’s flexibility to roll in a take care of frequencies below about 270Hz, quad of New Sensor’s Mullard reissue EL34s, relieving the PA21 of any bass duties. After all, and I was surprised at the degree of sonic that’s how I auditioned the Mystère gear during relief they provided. Upper-midrange grain and the 2010 CES. In my show report I enthused about treble harshness disappeared almost totally. this coupling being “a marriage made in heaven” Textures assumed a sweeter disposition, and at on the basis of a single CD (Lorin Rowan’s My least with the DALI Helicon Mk.II there was an Father’s Son), which is a fairly bright recording. I

Octave Jubilee Mono Monoblock Power Amplifier and Preamplifier Anthony H. Cordesman

he Octave Jubilee Mono monoblocks, and there are times when even the manufacturer claim that “the technical monoblock power amplifiers are a metaphor this mixed does seem justified. breakthroughs that set the first Octave amplifiers Tan assault on the state of the art The Octaves really do remind me of the sheer apart were the optimized input gain section by a German firm and its lead designer, effortlessness you feel in a Porsche. For one and the power supply, which itself was a totally Andreas Hoffman. They are tall, superbly thing, they have that same feeling of power: 280 new power supply design featuring double styled tube amplifiers that that can watts really do sound better! star-grounding and supply-voltage isolation. easily put out some 280 watts a channel As for the rest, much will depend on whether The optimization of the input stages provided at less than 2% THD, and they sell for you have ever had the opportunity of driving a absolute immunity from influences such as the $67,500 a pair. top-level Porsche. If you have, you will recognize loudspeaker load, together with excellent phase I’ve listened to too many great tube amplifiers the same “form follows function “ luxury, coupled stability for highly accurate push-pull operation, using different circuit topologies to believe there to a few endearing quirks. You’ll recognize the and an extension of the usable frequency range is any one “right” approach to amplifier design, feeling of German craftsmanship you get the up to 80kHz. From a sound-quality point of but the Octaves do have some unique design moment you sit in the driver seat. But, more view, these enhancements delivered consistent features that help explain their sound, as well as than that, you’ll recognize the lack of limits, and tonal performance and independence from some of their cost. They also explain why a circuit the temptation to turn every moment into an the impedance response and efficiency of the that may seem “conventional” really isn’t. experience. speakers.” The Octaves are not high on doo-dads, but they At the risk of pushing the Porsche analogy too I can say from practical experience that do have excellent bias-checking and adjustment far, in a Porsche you feel the road far more than Jubilees seem to be able to drive just about any features, outstanding warm-up and protection the car. With Octave Jubilee Mono monoblock speaker load around. The Octaves did a superb circuits, a muting button, and the kind of looks power amplifiers, you hear the recording, the job of driving the Venture Grand Ultimates, that will make you want to display them as well front end, the speaker, and the room—and, if you Vandersteen 5As, and Quad 2905s to their as listen to them. are into “wires,” the sound of interconnects and limits—and sometimes beyond—at every point It may seem strange to compare a power speaker cables—far more than the amplifier. The in the frequency spectrum. At the same time, amplifier to a Porsche, but I’ve spent a couple Octaves are remarkably transparent. they never lost control, and dealt with low-level of months with the Octave Jubilee Mono I can’t testify to the technical accuracy of signals perfectly. They provided some of the

EQUIPMENT review - Octave Jubilee Mono Monoblock Power Amplifier and Preamplifier most detailed soundstaging I’ve yet heard, and some fascinating moments and some very dull of a Thousand” (No. 8), and Saint Saën’s Third permitted. Soundstage detail was excellent. did particularly well with depth. half hours. I had the opportunity, however, to use Symphony, which can either be described as an Percussion and piano were detailed, and the age I should also note that while the Octaves do the Octaves to listen to both digital and analog organ showpiece or as an “organasm.” These are and character of different instruments was as not have the 2-4-8-16-ohm output taps of many recordings of parts of the cycle in recordings by massive, complex pieces of music that do not lend clear with the Octaves as with any amplifier I’ve tube amplifiers, this in no way seemed to limit Böhm, Solti, and Von Karajan. themselves to reproduction in a listening room; heard. Bass drum and bass guitar were equally their performance. The designer provided an I’ll still stick with Verdi and Puccini (and some even live, they don’t suit a moderate concert hall. good, and my sons assure me that the Octaves interesting response to my question as to why Mozart), but Octave Jubilee’s did as much as They are, however, some of the most demanding do just as well with the deep-bass synthesizer the Octaves only had a single set of outputs any amplifiers I’ve ever heard to make Wagner tests of what a high-fidelity system can do at music they insist on playing at audiophile- (duplicated for bi-wiring)—one that should be musically, dramatically, and personally involving. its limits, and the Octave Jubilee’s performed expelling levels. interesting to any fan of tube amplifiers. He The Octaves provided an immense amount of superbly. In short, the Octaves are one of those few contends that an output transformer can be detail whenever the recording permitted. They did From a more practical listening perspective, amplifiers that I would regard as being truly the optimized for only one impedance, and that taps not favor a single aspect of voice or instruments the Octave Jubilees also had the kind of natural state of the art. Of course, at $67,500 a pair they compromise the design. The transformer will at any level of loudness or dynamic contrast, and detail, life, air, low-level information, and accurate damn well should be, and this is one comparison behave differently depending on which taps are they gave the quieter, more reflective passages musical dynamics that make solo voice, solo to a Porsche that I wish I did not have to make. used. Moreover, the greater stability afforded by of Wagner as much meaning as I have ever instruments, smaller jazz groups, and chamber I have no objection to “cost-no-object design,” a transformer with a single tap allows for less heard from a set of recordings. These may not music come as alive as the recording, the rest of except that I can’t afford to keep all the best feedback. be audiophile recordings, but they are about as the system, and the room permit. equipment I review. These points about loading and tube design demanding a “road test” of a power amplifier as There was no additional edge to the hardest I also should note that, at $67,500 a pair, these are not casual issues for the audiophile. Good as you can get. female voice and violin recordings I use for amps should be judged by different and far more tube sound can be, many tube amplifiers have Moreover, I had the same experience listening reference purposes. Imaging was as precise demanding standards. I’ve struggled to find trouble controlling speaker drivers and change to various recordings of Mahler’s “Symphony and properly sized as the system and recording something to criticize, and I did feel the Octave significantly in frequency response if they have Jubilee Mono monoblock power amplifiers were to cope with the wrong load. I did not hear this slightly lean. I would have liked just a touch more with the Octaves with any of the speakers I used warmth. Admittedly, this is a matter of taste and I for serious auditioning or with some classically seem to prefer a slightly warmer sound that puts difficult loads like a pair of early Spendors. more emphasis on balanced timbre and accurate Getting back to the nuances of sound quality, I lower midrange and upper bass than some other was relistening to different recordings of Wagner’s reviewers and audiophiles who prefer the added Ring Cycle during much of my auditioning of the detail you get with the Octave Jubilee power Octave Jubilees. (I just had to work in the “Ride of amplifiers. This was, however, the one area other Valkyries” as a subtle supplement to my Porsche listeners also noted in their comments, and is the comparisons.) one area I’d advise you to listen to if you have the I should stress that Wagner normally is not my opportunity to audition these amps or are lucky favorite music. I side with the reviewer—be it Mark enough to be able to afford them. Twain or Edgar Nye—who said that, “Wagner’s These very mild reservations about the power music is better than it sounds.” And, with the amp also allow me to segue to what is going reviewer who said that Wagner’s music had to be a very brief review of the Octave Jubilee

EQUIPMENT review - Octave Jubilee Mono Monoblock Power Amplifier and Preamplifier preamplifier. The Octave Jubilee preamplifier has “lean.” control features I want at a considerably lower two or three best power amplifiers I’ve heard. all of the excellent build-quality, detail, life, and Again, this criticism should be kept in price. So, for that matter, did a friend’s much The Octave Jubilee Preamplifier may have great unique design features of the power amplifier. It is perspective and the Octave Jubilee preamplifier’s cheaper Parasound JC-2. potential, but—to me—the sound is not of equal well equipped for use in any high-end system and price means criticism must be as demanding The Octave Jubilee Mono monoblock power class. for recording purposes. But, even after months as possible. Moreover, tastes differ and no one amplifier is a superb product and one of the of use, I found the Octave Jubilee preamplifier reviewer can ever be authoritative. Other listeners to be consistently too lean. This did not prevent did, however, have much the same reaction. They it from being a very good preamplifier by some too found the preamp did not have the upper- standards, but it sells for $35,000 and this means bass and lower-midrange energy it needed, and SPECS & PRICING it should be a consistently superb preamplifier. the resulting impression of additional “detail” was Moreover, one does not turn to tube-hybrids for more than offset by the lack of the natural warmth Octave Jubilee Mono Power Amplifier Jubilee Preamplifier that gives music much of its emotional impact. Inputs: One RCA, one XLR IInputs: Six RCA, two XLR, home-theater bypass function Moreover, I was annoyed by the lack of key Outputs: Two loudspeaker on request features—remote and balance controls—in the Power output: 250W into 4 ohms Outputs: Two RCA, two XLR, two tape record (RCA) review sample. Both these features are optional. Frequency response: 10Hz–80kHz +/- 0.5dB Frequency response: 3Hz–500kHz +/-1.5dB To go back to Wagner, I feel that music always has Total harmonic distortion: <0.1% at 10W into 4 ohms Total harmonic distortion: 0.001% @ 3V/7.5k ohm a natural level in a high-end system and adjusting Signal-to-noise ratio: >103 dB Signal-to-noise ratio (unweighted): 90dB (gain high)/98dB volume to the most realistic point is critical. I Minimum load impedance: 2 ohms (gain low) found in listening to various operas that I often Gain/input sensitivity: +30dB/1.5V Maximum output voltage: 8V needed to make slight volume adjustments to get Dimensions: 27.83" x 11.02" x 19.06" Dimensions: the listening level just right, and popping up and Weight: 143 lbs. each Weight: Preamplifier, 37.8 lbs.; power supply, 25.3 lbs. down is not my preferred way of doing this. As for the balance control, I realize that some designers feel purity is more importance than a U.S. E.U. only balance control. The challenge should be to solve Octave Jubilee Mono Power Amplifier Octave Jubilee Mono Power Amplifier that problem, however, and not export it to the Price: $67,500 per pair Price: 52,500 Euro per pair audiophile. I find with a wide range of music that Jubilee Preamplifier Jubilee Preamplifier I need to make minor balance adjustments to get Price: $35,000 Price: 26,000 Euro the soundstage and imaging dialed in. I also find that this is critical to getting the best listening North American Distributor OCTAVE audio experience out of many recordings and in Dynaudio North America Industriestr. 13 changing sources (getting the same soundstage 1140 Tower Lane 76307 Karlsbad, Germany quality going from phono to digital, etc.). Bensenville, IL 60106 +49(0) 72 48/32 78 To me, the designer has an obligation to (630) 238-4200 octave.de provide these features in a preamp rather than dynaudiousa.com offer them as options. My reference Pass Labs XP-20 provided a more realistic timbre and all the CLICK HERE TO COMMENT IN THE FORUM at avguide.com

Quad 99 Series Preamplifier and 909 Stereo Power Amplifier Paul Seydor

It’s easy to understand why digital products are long time. Even during that difficult period in the replaced so quickly: The technology advances nineties when the company was sold and bounced so rapidly that this year’s top-of-the-line is soon through a couple of owners before settling down bested by next year’s or the following year’s with the current Chinese, there wasn’t that much entry-level. But when it comes to amplifiers model replacement, and its core electronics, the and preamplifiers, once you set aside Class D subject of this review, have remained unchanged switching amps, not much has changed in the since their introduction in 1995 (the 99 preamp) way of fundamental technology in tubes or solid- and 1999 (the 909 power amp). state for the better part of two decades, which Although the 99 Series was largely the work of means that model replacement is mostly market- Stan Curtis and the 909 of Jan Ertner, both are driven. based on Peter Walker’s designs and are thus A happy exception has always been Quad of very much in the Walker tradition, which is to England. When the company was owned by its say superb performance (the 909 especially) at a founder Peter Walker, products were changed reasonable price, intelligently chosen features that maybe once every couple decades. The Quad answer to the needs of real world music playback II tube amplifier was in production for 18 years, in the home, user-friendly design and ergonomics, the original ESL for 28, the ESL 63 for at least 15 novel styling of understated elegance, and a m I alone in being puzzled or amused by what has long seemed a curious (much longer in actuality when you consider that compact footprint approaching that of mini- contradiction in high-end audio? On the one hand, components are made for the 988 and 2805 are the same basic speaker components (I’ve often wondered if the small size Along use, the prominent buzzword when it comes to parts being “mil spec,” only with improved housing and cosmetics). of Walker’s electronics was compensation for his meaning to military standards of longevity and reliability under difficult and demanding The 33 preamp, 303 power amp, and FM3 tuner space-hungry ESLs). conditions of use. On the other, many audio manufacturers replace “old” (i.e., two enjoyed life spans of more than a decade and a Until recently available only in a silver grey years and younger) models with something resembling the regularity of automobile half; and the first current dumping amp, the basis finish with blue accent buttons, the 99 Series manufacturers, while hardcore audiophiles change components about as often as of the 909, was introduced in 1976. Walker built can now be purchased in black or, for a small James Bond his bed partners. So who, I sometimes ask myself, is actually benefitting products that worked and worked for a long time, up-charge, two-toned champagne gold, called from all those mil spec parts? Second hand buyers, parts manufacturers? and his customers really did keep them for a “Classic” to coordinate with the drop dead-

EQUIPMENT review - Quad 99 Series Preamplifier and 909 Stereo Power Amp gorgeous “Classic” finish option in the 2805/2905 same involving musicality and naturalness that ESLs. The new choices in finish seemed to sweep all before it. offer a suitable occasion to revisit these fine Despite the presence of electronics much Features components and see if the current samples are costlier than these, I often reinstate the Quads Despite its diminutive size, the 99 Series the preamp, which is made worse by the top representative of the performance I raved about just because they are so pleasing to listen to. preamp is a true full-featured control unit that of the chassis protruding beyond the back eight years ago in TAS 128. There was no reason However, as I noted in my original review, it is not will accept four line level inputs (including panel to provide a kind of canopy. But this why they shouldn’t be, but it would be rare indeed uncommon to hear Quad electronics described tape recording with monitoring), each with arrangement does make for an exceptionally if any component with a long market life had parts as sounding “different” from other electronics. separately adjustable sensitivity, plus Quad’s neat appearance once all the connections identical in every particular to those when it was This is true. The Quads are very much against proprietary Quadlink bus for Quad CD have been made. When the 909, rated at introduced. The bane of manufacturers’ existence, the grain (sorry about that) of prevailing tastes players and FM tuner (appropriate cables are 140Wpc, is connected to the 99 preamp suppliers will often change a part or discontinue in reproduction these last twenty years, by supplied); it has an excellent built in mm/mc via the Quadlink bus, it is a true balanced it without warning or even notification; and which I mean that the top end is not in the least phonostage, superb tone controls and filtering connection. Single ended RCA jacks are also sometimes they just go out of business entirely, prominent. It’s not zippy, not pacey, not sparkling, (all defeatable), and Quad’s unique (and provided. A fuller description of both the leaving the manufacturer to scramble about for not crystalline, not airy, not tingly, not bright, not uniquely effective) tilt circuit (which shifts features and design aspects of these products replacements. zingy, not sizzling—choose your own adjective or the 20Hz–20kHz response from +/- 1, 2, or is available in my earlier review (TAS 128). Still, I was not too worried. In the years since euphemism. The probable reason for this is their 3dB about an axis centered at 1kHz) (likewise The pricing? Believe it or not, these my review I’ve recommended the 99 preamp/909 bandwidth-limiting. defeatable); the handset duplicates all the components are even better values now than amp combination to well over a dozen friends Those against bandwidth-limiting charge that controls on the chassis including volume, when they were introduced. At $1100, the 99 and acquaintances, all of whom remain happily while the limiting takes place well outside the balance, and all tone, tilt, and filter functions. preamp costs $250 less than it did in 2001; at satisfied with their performance. And I’ve heard audible frequency spectrum, its phase shifting My only real complaint is that the jacks are $1550, the 909 amp is $400 less. Man, you just from at least as many TAS readers who did the effects are evident within it. Those who favor it spaced a little close together on the back of can’t do no better than that. PS same, while any number of on-line chat groups argue that relieving the system of the stresses of seem to corroborate my early evaluation. I always ultra-wide response makes for a more natural and keep this combination on hand, both as a price/ relaxed presentation. (One reason I believe tube further, then go back to whatever the comparative there is no musical content down that far to performance reference and also because, well, amplification remains so popular is that tubes for component is. You may be shocked how bright it speak of and little of anything else. But if you have I just enjoy using and listening to them, about most part are intrinsically bandwidth-limited.) suddenly sounds. Saying which, let me emphasize speakers that really do respond flat to below, say, which more anon. Without pretending to settle a longstanding that the 99/909 in no way sounds dim or dark. 40Hz, you will find the sound is a little warmer Both new units, supplied in the black finish, debate here, let me just admit that I am often On the contrary, the combo has a very clean, than what you’ll hear on an amp that’s flat to DC. were auditioned right out of their boxes with no attracted to bandwidth-limited electronics for exceptionally low-distortion presentation with a I don’t find this a problem with most program warm up, sounding as you would expect from the reasons just cited: They do tend to make for wonderfully open and vivid (HP’s word) midrange sources or speakers, including my own Quad brand new components: a little bright, a little edgy a more natural sounding presentation, one that’s that I’d put up against any amplifiers I’ve heard 57s and 2805s. Still, if you’re a real bass freak, and congested, characteristics that lessened easier to listen to over the long haul. I grant that or used. you’ll probably want or already have an amp flat considerably throughout the first listening session, in an immediate spot comparison, especially But bandwidth-limiting at the top is not where to DC. And yes, even with speakers of a more which lasted a couple of hours. Come the next if you’re listening to music with a lot of high- potential inaccuracies generally intrude; it’s at the normal bass response—say, flat to 50Hz—you day the old familiar sound was back: the same frequency content, your initial reaction may be bottom, and here the 909 has an Achilles’ heel for may want a tad more articulation from the bass. tonal neutrality; the same complete absence that the Quads are a little laid-back, rolled off some listeners. According to the specifications, To which I must add that the 909’s bass is in of edginess, glassiness, hardness, or grain; the even. But try to resist the snap judgment and listen the amp begins its limiting around 13Hz. Now no way soggy, cloudy, or ill-defined—quite the

EQUIPMENT review - Quad 99 Series Preamplifier and 909 Stereo Power Amp contrary, on acoustic instruments it sounds very typical audiophile categories, no longer thinking natural, that is, warm, rounded, and true to the real about powerful lows, extended highs, liquid thing. Nor should it be inferred from this low-end midranges, awesome dynamics, get-a-load- SPECS & PRICING limiting or its small size that the 909 is in any way of-that-depth images, and the rest of it. There dynamically challenged: This is a very muscular is about these components a total, all-involving Quad 99 Series Preamplifier Quad 909 Stereo Amplifier amplifier, capable of generating 11 amps peak musicality that makes me forget I’m an audiophile Inputs: Three aux, one tape, one phono (mm/mc Frequency response: 13Hz–40kHz +0dB/ 1dB current of truly outstanding stability. Playing the and become a music lover all over again.” Or, selectable), plus Quadlink bus for Quad CD players and Power: 140 watts/channel 8ohms, 225 watts/channel 4 still-ultra-demanding Sheffield Drum Record, the as Harry “Sweets” Edison once said of a take FM tuner ohms 909 acquits itself handily in all departments. during a particularly difficult session with Frank Frequency response: 10Hz–20kHz +0dB/-0.03dB Dimensions: 5.51" x 12.63" x 9.45" However, I shouldn’t want to paper over the Sinatra, “Man, it just don’t get no better than Dimensions: 2.75" x 12.63" 12.2" bass issue or in any way suggest that progress that.” in amplifier design hasn’t been both real and worth the while, so allow me to present a differing U.S. U.K./E.U. opinion from my colleague Robert Greene: “Quad Quad 99 Series Preamplifier Quad 99 Series Preamplifier amps were band-limited in the old days because Price: $1100 silver or black, $1200 Classic Price: £795 silver or black, replaced by £849 Elite of technical limitations of the time together with the Quad 909 Stereo Amplifier preamp (1100 Euros) apparent fact that Peter Walker did not really worr y Price: $1550 silver or black, $1700 Classic Quad 909 Stereo Amplifier much about bass. Since music is concentrated Price: £995 silver or black, replaced by £650 each Elite in the midrange, his stuff even so sounds quite Taiga LLC mono power amplifiers (850 Euro each) good. But it is an established fact that an amplifier [email protected] flat to DC changes its input signal less in audible (888) 838-2442 Quad electroacoustics ltd terms than does one that is not. And the higher quad-hifi.co.uk the frequency where the cutoff begins, the more +44(0)1480 452561 audible its effects.” It needs only to be pointed out that from time to time REG still very much enjoys CLICK HERE TO COMMENT IN THE FORUM at avguide.com listening to his own Quad 306 amplifier, which he has owned for many years. As for myself, the 99/909 partnership will always be among my reference electronics; if I were to stop reviewing tomorrow I would still keep them. Nor does anybody I know who owns them plan on replacing them any time soon. Why? Indulge me an observation—purely subjective, I grant, but still, I think, valid—from my first review: “Every time I return these components to my system, separately or in tandem, I find that in about 30 seconds I’m no longer listening according to

Vincent Audio SA-31MK Hybrid Linestage Preamplifier and SP-331MK Hybrid Power Amplifier Wayne Garcia

udiophilia is a strange, often afford the latest and greatest, these rare birds— frustrating, yet occasionally the Walkers, Wilsons, Magicos, and Soulutions, Aeuphoric state that, as was to name but a few—not only define what’s determined many years ago by an achievable at the leading edge of our hobby; they eminent Freudian (a fan, if I’m not also, like the Maltese Falcon, are the stuff that mistaken, of 845-based vacuum tube dreams are made of. amplifiers), almost always affects the To be sure, there are many fine examples of male population. value-oriented gear out there. Components that But as with collecting Swiss watches or rare deliver a lot of musical pleasure at a price the wines, driving a fine automobile, or tracking average schlub can afford. For guys like that, down genuine Cuban cigars, this hobby ain’t like me, my suggestion is to stop chasing the exactly cheap. It can also lead to a state known Holy Grail, pour a shot of single malt (a relatively as Audiopihila Nervosa, which can wreak havoc affordable indulgence), sit back, and enjoy the on both one’s psyche and paycheck. (To gauge music. your status, take The Audiophilia Nervosa Test at Which is something, I can report, that the audiophilia.com/features/aptest.htm.) newest gear from Vincent Audio allows for quite As certain pages of this magazine can attest, handily. for the true audiophile, the type of guy who The SA-31MK linestage preamp and SP- burns through gear faster than Tiger Woods can 331MK power amplifier are both hybrid designs, shout, “Fore!,” there is plenty of state-of-the-art aiming to marry the reliability, speed, and power equipment to buy (and sell) while questing for the of solid-state with the warmth, air, and harmonic Holy Grail. And even for those of us who can’t richness of tubes. Both are upgraded editions of

EQUIPMENT review - Vincent Audio SA-31MK Hybrid Linestage Preamplifier and SP-331MK Hybrid Power Amplifier the SA-31 and SP-331 that Chris Martens was true enough in theory, but my experience driving orchestra’s full muscle—sometimes for relatively On Bernstein’s reading of the Symphony No. so high on back in Issue 173. And while those a notoriously power-hungry speaker like the extended periods, but just as often with the 4 [Columbia], the SP-331MK was impressively models remain in Vincent’s lineup—at $649 and Magnepan 1.7 leads me to think of the SP-331MK kind of extreme speed described above. The spacious at the start of the first movement, $1299 respectively—the new MK versions aim to as a slightly dual-natured beast (more on this demands on an amplifier—not to mention the opening up a convincingly lifelike and well- build on the sonic qualities of their predecessors shortly). musicians—are highly taxing. And not all amps defined soundstage, with a satisfying sense of while still offering strong value-for-dollar. Other differences between the two amplifiers retain the same sonic signature when driven to air between the players. The musical ebb and reside in the MK-edition’s new 12AU7 “tube such extremes. flow were likewise very good, with a fine feeling At $1399, the SA-31MK linestage features a stabilized” power supply, which is coupled to new output circuit with shorter signal paths, and a large toroidal transformer. Its 80,0000µF per adds a second set of 6N16 vacuum tubes to the channel of storage capacitance helps the amp to original pair found in the SA-31. The new model is double its output power from eight- to four-ohm SPECS & PRICING also said to incorporate higher-grade, European- loads. sourced resistors and capacitors, electronic Finally, the MK model offers two sets of five- SA 31MK Hybrid Linestage Preamp SP 331MK Hybrid Amplifier volume and input controls, two more sets of line way binding posts, allowing for the addition of Inputs: Six pairs RCA Power output: 150Wpc into 8 ohms; 300Wpc into 4 ohms inputs, plus a brushed-aluminum remote control a second pair of speakers. Front-panel Speaker Outputs: Two pairs RCA, one tape out (RCA) (10Wpc into 8 ohms Class A) (a feature Chris lamented the lack of when he A and Speaker B switches allow one to select Tube complement: Four 6N16 Number and type of inputs: reviewed the SA-31). either or both pairs. This again seems a nod to Dimensions: 17" x 3.75" x 14.5" One pair RCA Like its predecessor, the SA-31MK offers a few listeners who may not quite be prepared for the Weight: 18 lbs. Number and type of outputs: somewhat retro features that seem aimed at the lack of such flexibility found on most higher-end Two pairs of 5-way binding posts buyer who may be stepping up to his first set of separates. Tube complement: Two 6N16, one 12AU7 separates from an integrated amplifier or receiver. The Vincent pair is quite similarly voiced, but Dimensions: 17" x 7.75" x 15.75" One is bass and treble controls that can be I’ll start by describing the sound of the amplifier, Weight: 48.5 lbs. activated or deactivated via a front-panel button; which, as I’ve already hinted, does change the other is a Loud(ness) switch to goose up the character as it morphs from its moderately sound at lower listening levels. (Both remained powerful Class A mode into full-on-powerhouse U.S. U.K./E.U. unused during my evaluation sessions.) Class AB operation. SA 31MK Hybrid Linestage Preamp SA 31MK Hybrid Linestage Preamp At $2199, the SP-331MK specs out with the A Mahler symphony is a classic example of Price: $1399 Price: £1060/1099 Euro same power rating as its MK-less brother— music where the often—and frequently abrupt— SP 331MK Hybrid Amplifier SP 331MK Hybrid Amplifier 150Wpc into 8 ohms, and 300Wpc into 4 ohms— swings of dynamic scaling will demand that an Price: $2199 Price: £1660/1800 Euro but unlike that unit it is designed to operate in a amplifier shift from one power extreme to another pure Class A mode for up to 10 watts of output in the blink of an eye. If the amplifier were a car, VINCENT AUDIO/WS DISTRIBUTING VINCENT AUDIO power. The Vincent team’s reasoning is, “When this would be like meandering along in first gear 3427 Kraft Street South East www.vincent-tac.de listening to music at moderate sound levels, the at ten miles per hour before jamming directly Grand Rapids, Michigan 49512 power reaching the loudspeakers is typically less into fifth gear at 120 mph. Mahler being Mahler, (616) 885.9809 than 1 watt, and for serious audiophiles seeking to he usually begins gently and ramps up to near wsdistributing.com parse the finest details of a musical performance peaks after shifting through most musical gears a pure Class A amplifier is preferred.” This is several times, before eventually unleashing the CLICK HERE TO COMMENT IN THE FORUM at avguide.com

EQUIPMENT review - Vincent Audio SA-31MK Hybrid Linestage Preamplifier and SP-331MK Hybrid Power Amplifier of lilt and pace. Tonally the amp is well balanced, did with the solidly well-defined rhythm section is made possible by Chinese manufacturing. And leaning to the darker side of the scale, and it and the burly tenor playing of Sonny Rollins. The affordability was exactly what Vincent founder, delivers a nice feeling of instrumental texture— SP-331MK was clearly in “cruise” mode, and it an electronics engineer named Uwe Bartel, had silky strings, jangling sleigh bells, skeletal harps, made for a very involving listening experience (as in mind when he started the company in 1995. full-throated brass—as well as decent body and well as a bittersweet one, since I’d just heard the So, no, Vincent’s SA-31Mk and SP-331MK bloom (the impression of air expanding and news of Lincoln’s death). are not perfect (surprise—and what is?) and are contracting with instrumental volume). On Berg’s Lyric Suite, played by the Ramor therefore unlikely to cure Audiophilia Nervosa. But during later passages, when Mahler’s Quartet on the Turnabout label, the SP-331MK Of course, nothing will, least of all reading about orchestration takes flight, the SP-331MK starts to effortlessly allowed individual instrumental gear in reviews such as this one. What might pinch a bit. Its tonality grows noticeably grayer, threads to speak on their own as well as with is our acceptance of the facts that audiophilia strings become a bit ragged, bloom is reduced, the ensemble. Micro-dynamic shading was is a hobby that’s supposed to be fun, and that and the amp sounds less comfortable, not quite also good; the amp delivered fine clarity during there is always going to be a guy out there with a as solid of footing. Well aware that Maggie 1.7s almost whisper-soft, muted moments, as well as system that’s “better” than ours. But as much as can also become uncomfortable sounding when during energetic pizzicato passages. The quartet I advocate a music-first approach, I’m not above pushed too far, I was careful to cross-reference evinced both top-end sweetness as well as an my own lust for new toys. It’s nice to find ones what I heard with other music, as well as with angularity of attack throughout Berg’s tightly like these that deliver so much pleasure for such the (admittedly much more costly) Cary SLP 05 woven masterwork. a relatively modest price. linestage preamplifier CAD 211 FE amplifiers As noted, the sonic nature of SA-31MK is quite reviewed in our September issue. similar to that of the SP-331MK. It too leans a bit to Let me also be clear about this: While I’m the mellow side of the tonal spectrum, and adds describing a character change I believe this amp a consistent if fine layer of texture to the sound. undergoes as a result, I am guessing, of its switch This isn’t necessarily a bad thing, depending on from Class A to AB operation, I also think this is the music. It can bring an extra bit of texture to a an otherwise pretty terrific design that, despite its violin or cello, or, with a record such as Lightnin’ high power rating, may simply be happier when Hopkins’ Goin’ Away [Analogue Productions/ not pushed all the way to its power limit. Bluesville], add a bit of grizzled warmth and sassy For instance, Harmonia Mundi’s superb presence to a tune such as “Wake Up Old Lady.” Gershwin By Grofé CD gave similar results when Staging and focus are both strengths of these driven too hard. But when kept to more reasonable Vincent designs. With small ensembles or large, volumes, this beautifully recorded disc, with a the amp and preamp convincingly recreate the rich color palette, wonderful spaciousness, and atmosphere of the venue, with a tightly locked a walloping bottom end, allowed the SP-331 to focus on all instruments. In this regard I believe shine. the amp is a bit superior to the preamp, as in my And when Abbey Lincoln sings “Strong experience the SA-31MK doesn’t have quite the Man,” from That’s Him! [Riverside/OJC], the air or bloom the amp has. Vincent delivered her warm, beautifully breathy Like all Vincent gear, these units are available in performance with great expressiveness, as it also either silver or black finishes, and their affordability

Equipment reviews Preamplifiers

74 Guide to Preamplifiers & Power Amplifiers www.theabsolutesound.com

up to the 19” rack limits. The standard, gold front based on the reference TEA-1, which is has with black crackle cover has been unchanged for enough gain and low enough noise to be good decades and the big central display/IR receiver for moving coil cartridges of 1mV and below. has become a standard feature for some time. The resistance loading of the phono module The overall fit and finish is very good, and the is adjustable thanks to two small covered DIP whole device sits on four thick hard-rubber feet. switch arrays. Factory set of 47kOhms, the ET3 While not the cutting edge of footer technology, board can cope with 9.6k Ohm, 1.9k Ohm, 200 this more than suffices. and 500 Ohm loads. The addition of this section The GAT and ET3 preamps do differ – given adds to the component count on the circuit ’ll be honest, here. The conrad- the GAT’s circuit. Once again like the GAT, the low one costs more than eight times the other, so board, and adds three more tubes – Mullard johnson ET3 preamplifier is a impedance means you can use the preamp with they should – they share more than you might 12AX7’s – to the roll call. It’s worth pointing out Iremarkable preamp, but I had long cables between it and the power amplifier. expect. Things like the separate power supply for that modern Mullard is also made in Russia, but trepidation about the way it’s being Functionally, the two are similar. There are six the filaments of the valve, a microphony-reducing – like the 6922EH – tube rolling isn’t mandatory, promoted. It’s down to the ‘baby GAT’ line inputs, a tape and a home cinema loop – all suspension system and a parts list that reads like because these standard tubes are pretty damn thing – the ET3 is being touted as an single-ended – all of which are selected through a Who’s Who of the best in audio components good in their own rights. affordable version of the company’s GAT relay switching. The relays are all placed on a are all missing from the ET3. That being said, My initial dread about the ET3 was entirely flagship pre. That, I feared, is setting stand-alone board to limit their switching clicks the audio-chain caps are all polypropylene and unfounded. I did receive a sample with more the ET3 up for a fall; the GAT is so damn from reaching the tubes. The volume control is a all the resistors are high-quality metal-film types, than 50 hours on the clock, so I have to take the good, it’s like calling someone the ‘mini discrete, relay-driven design once again similar but the special Teflon by-pass caps and the early break-in sound as hearsay, but that hearsay Mozart’. Trouble is, the ET3 is a baby to the GAT, although lacking balance adjustment field full of Vishay resistors seen in the GAT are suggests there’s a magic point at around the 40 GAT. (even though the LED read-out has separate left/ what help keep the ET3 price in check. Like all hour mark when the ET3 goes from lightweight to The ET3 uses a single Russian-made Electro right levels). This can’t be altered even on the c-j preamps, you need to phase invert the signal wonder-pre. I just got the wonder-pre point. Harmonix 6922 double triode voltage gain with remote handset, even though there are buttons at the speaker terminals if you want to keep the There are two schools of thought in good MOSFET follower circuit acting as a buffer – marked out for the task. The remote this time is a sound in absolute phase. preamp design. Both follow the path of ‘first, designed to give the preamp a strikingly low slim black plastic unit instead of the thick metal The review sample came fully loaded. Along do no harm’, like some electronic version of the output impedance – and a similar solid-state DC one supplied with the GAT. with the IR remote handset, it also included the Hippocratic Oath. Where they differ is whether voltage regulator. This is very much in line with Like the GAT, it’s a physically big preamp, right built-in and retrofittable high gain phono stage, they strive to do no harm to the recording, or the

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EQUIPMENT review - conrad-johnson ET3 preamp music. The two should be alike, but there seems to. You’d naturally expect this to shine playing struggle with the compromise, and instead enjoy price. No, it’s not so good at being a ‘baby GAT’ to be a difference. The ET3, like the GAT before it, smooth jazz combos and string quartets – the sort one of the most harmonically rich and sweet that it will undermine GAT sales, but it does manages to make the music come to life whatever of music that benefits most from a touch of sonic sounding preamps you can buy for the money. bring rediscovered elegance, sophistication and the recording. Others are faithful to the recording ‘beautification’. And yet, strangely the album that This is no small achievement. The GAT was one refinement back to preamplifiers at this price. but the entertainment suffers in the process. This became the standard bearer for what the ET3 does of the very best preamplifiers I’ve heard, ranking Balance control aside, the ET3’s ‘baby GAT’ is the big bonus of the GAT, of course, in that it best was the least likely of all – Californication by up there with the best of the best. Expensive, description is far closer to the truth than the price manages to make everything sound right without the Red Hot Chili Peppers. This is considered the yes, but justifiably so in performance terms. differential suggests.+ being sweet, where the ET3 makes everything worst casualty of the Loudness War, with horribly And the ET3 gets a good way toward achieving sound right without being too sweet. clipped and compressed ‘peaks’ (it’s actually all the same performance, but at a fraction of the Where the ET3 scores highly is in its peaks). The ET3 doesn’t reconstruct or repair the soundstaging. The preamp – like the GAT before album and it doesn’t soften those clipped drum it – presents the listener with an enveloping sense beats and power chords. But it does make them of dimensionality that draws you deeper into the more listenable than most systems. SPECS & PRICING music. This will invariably bring up that hoary old A word about the phono stage too, and that “yes, but is it accurate?” canard from those who word is ‘fantastic’. You are really going to have Line preamplifier with optional phono stage Optional high-gain phono stage will never hear or want to hear the ET3. Those who to fork out some serious coinage to replicate – Five RCA line inputs (four with phono stage) Gain: 54dB have and do just don’t care… they love the sound let alone eclipse – the performance of the ET3’s Processor and Theatre RCA inputs and outputs Hum and noise: 80dB below 10mV input of the preamp, and would do so regardless. turntable section. Line Stage RIAA equalization: within ± 0.25dB of RIAA specification In some respects, this is a return to conrad- The nearest thing to a fly in the ointment is the Gain: 25dB Dimensions: (HxWxD): 3.3"x19"x13.1" johnson’s heyday, like a PV12, rather than a need to be careful in choosing a good power Maximum Output: 20Vrms Weight: 13lb more recent PV15. There was a time when a c-j amp to go with the ET3. Mix this in with a very Bandpass: 2Hz-100kHz preamp drew you into the music in a way that no warm and soft sounding tube power amp and Hum and Noise: 98dB below 2.5v output other preamp could. That was c-j’s strength, but the result could be too much of a good thing. Distortion at 1.0V output: less than 0.15% THD or IMD somewhere down the line, that got pushed to The old classic combination of valve preamp Output Impedance: 100ohms one-side to make products more in line with the and solid-state power amp works wonders here, clean, detailed – and some would say bloodless and an Edge power amplifier (to be reviewed in – sound of the early 21st Century. It must be said, an upcoming issue) made an absolutely perfect U.S. U.K./E.U. the top line of c-j preamps never quite lost the partnership. Price: $2,500 line-only, optional phono stage $850 Price: £2,450 line-only, optional phono stage £795 way, but somewhere the romance went out of Looking back over my notes for the GAT, there 2,500 Euro/850 Euro optional phono stage the relationship at the lower and middle end. A was one album that surprised me because of conrad-johnson Design Inc move back began with the ET2 and the Classic how good it sounds – Lateralus by Tool. The GAT www.conrad-johnson.com Audiofreaks Ltd: preamps, but it’s here that the return to romance managed to deliver the drive and energy of the (703)-698-8581 www.audiofreaks.co.uk really kicks off again. band (and it is an excellent recording, just not +44(0)208 948 4153 If there’s one word that sums up the ET3 it’s for everyone) with an uncanny dynamic freedom. ‘sumptuous’. Sound is full-bodied and natural The ET3 approaches that dynamism, but just falls sounding, enveloping the listener in the musical short of nailing it. Hardly surprising really, given event in the way the c-j preamps always used the price differential. I suspect most would not CLICK HERE TO COMMENT IN THE FORUM at avguide.com

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Holm Acoustics DSPre1 Digital Preamp and Room/Speaker Correction Device Robert E. Greene

igital signal processing offers to being a do-it-yourself crossover designer, amazing possibilities for improving enabling you to make DSP crossovers for any Dthe sound of an audio system. bi-ampable (or tri-ampable) speaker. In addition, And the Holm DSPre1 really delivers the the Holm’s intrinsic digital sound quality is of the goods. It offers the ease of an automatic highest level. The DSPre1 is superb simply as a system together with the superior results way to play digital sources, leaving the correction that detailed user control allow. Purely systems aside. And it allows corrections to be automatic systems, for all their ease of made that will take the sound of your system to operation, often leave one frustrated by almost unimagined perfection. It is truly a DSP the impossibility of fine adjustments. system for all, from the novice to the professional Enter the Holm. Its operation and and everyone in between, and a sonic wonder. programming are so straightforward There are important features of the DSPre1 that and so easily comprehended at first distinguish it from previous DSP units. For one encounter that a novice with DSP will thing, it verifies before your very eyes (by before- easily and immediately obtain gratifying and-after measurements) that it did what it was results. It is as simple to set up as the supposed to do. DSP is, in effect, mathematics, purely automatic systems. But the and mathematics can be taken on faith—it always control offered to the user, again in an works. But hardware has limitations, and it is easily approachable form, means one can useful and important to be able to check that an do really fine adjustments by ear—and implementation of mathematics in hardware form much for the better. A quick look at the actually did what it was supposed to. An even instruction videos on the Holm Web site, more important distinctive feature of the DSPre1 and you will feel like an expert—and you is that it does what many people including me will get expert results, as well. have long considered to be the right thing to do— For those who want to go deeper, there are it corrects the speaker first and then corrects its many further options, reaching all the way interaction with the room afterwards. Why this is

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EQUIPMENT review - Holm Acoustics DSPre1 Digital Preamp and Room/Speaker Correction Device a good idea I shall go into later. But it definitely play music from your computer. measurement of the speaker from around 300Hz drivers. If you put the mike in a position where is a good idea, and it works out extremely well The DSPre1 functions as a digital line-level on up. The unit then corrects the speaker in there is a dip caused by interference between the here. preamp; it includes a volume control so that its the sense of designing a signal alteration that drivers, the correction system will insert a peak Another important feature of the DSPre1 is that analog output can be connected directly to an will make the correction-plus-speaker have flat to compensate—and you won’t like the results it operates on digital directly. Some otherwise amplifier. The DSPre1 accepts external digital response. in listening. Holm suggests experimenting with admirable DSP-correction systems offer only sources of a wide variety of sampling rates as This works in the usual way on amplitude positioning the mike when doing the speaker Analog In and Out to do the DSP. With these, you inputs (see specs at the end of the article). It response: If there is, say, too much output at corrections. Good advice! Run the measurement have to convert a digital source to analog, then can also accept analog inputs (line-level), which 3kHz, then the correction pulls down 3kHz and several times with the mike at different vertical have the correction device convert the analog are A-to-D converted internally so that DSP can so on. But in addition to correcting frequency positions near the tweeter axis until you find the back to digital, and then, after the DSP, convert be done on them, and these also admit volume response, the DSPre1 corrects phase response. one that has the fewest dips. Then use that one— digital back to analog. While the DSPre1 will adjustment. A separate analog preamp is not So now your corrected speaker is flat and also but, of course, make the same choice for both accept analog inputs and handle them very well, needed. Alternatively, one could run the output phase linear—even though it was likely not speakers! it also accepts digital inputs and operates on the into an analog preamp line-level input, if one phase linear before the correction. (Speakers This is really important. If you do this wrong, digital signal directly. No extra conversions are wanted, for example, to have a phono setup that with analog crossovers of a higher order than things are not going to sound good later on. involved. was not run through the digital processing— the first are never phase linear—the crossover Next, with your speakers all fixed up, you take though once you have heard the improvement generates phase nonlinearities in the total output the mike back to your listening vicinity, further How It Operates the DSP makes, I doubt you will want to give it of the speaker. When people say that the popular from the speakers. Now the system measures Like all DSP correction devices, the Holm DSPre1 up. Linkwitz-Riley fourth-order crossovers are “in for room effects. This measurement is done over performs measurements of your audio system Measurement for room and speaker correction phase at the crossover,” this does not mean that several positions successively: the main listening first—to determine what corrections to do later, is a two-stage process. And here we get to the output is phase linear, it just means that the position, to the left of that, to the right of that, above when you play music. The Holm‘s initial measuring something distinctively Holm: the separate drivers are in phase right at the crossover. There it and in front of it. The point of this measurement and programming of DSP corrections is computer- measurement of the speakers themselves. First, is in fact a 360 degree phase rotation over the over space is that one does not want to correct controlled (USB-connected) by a Windows point- one puts the microphone supplied—which has whole range with such a crossover). highly localized effects but to get something that and-click program. The instructional videos from a precision calibration curve that the unit uses The unit then re-measures the left speaker. works over a “sound cube” around the listening the Holm Web site get you up and running, though to make the corrections correct—near the left With the mike left where it was to start with, the position. The DSPre1-plus-your-computer then the screens presented by the device itself are so speaker, on the listening axis but closer than the unit does its log sweep once more and shows develops a correction algorithm automatically clearly laid out that you could probably dispense listening position. The unit checks volume levels you how flat and phase linear the speaker is now. and quickly and stores it in the unit to use when with the videos if you wanted to. and then runs a “log-sweep” frequency-response And, of course, flat and phase linear make the music is being played. A calibrated microphone is supplied. Attach measurement of the left speaker. (Watch out! impulse response really good. The unit shows Now you have a basically flat system. But in the unit to a line-level preamp input or, better, Loud high frequencies here! So acoustic isolation you that, too. What you see is definitely what you addition, you have choices with the final result, directly to an amplifier, attach the mike to the unit, headphones or earplugs are recommended. ) Log- get here. choices for the sound you will actually hear. First, attach your computer with the program installed sweep measurements seem all the rage in Europe Then you move on to the right speaker, putting there are some standard curves that differ slightly to the unit by a USB cord, and you are ready to for some reason, rather than the chirps or max- the mike close and on-axis with it, and do the from flat but that give pleasing sonic results, go. When the measuring is done and the system length sequence signals that have been popular same thing again. reminiscent of things like the BBC dip and so on. optimization is over, you can disconnect your in the U.S. for some time. But, mathematically, it About this impressive process there is one In the brighter of my two rooms, I liked the one computer. But you can also leave the computer all comes out the same. The idea here is that one caution: You have to have the microphone on the called Deep Tilt II, which pulls the bass up slightly connected to change EQ curves on the fly—or to can get something essentially like the anechoic axis that has the least cancellation between the and does some relaxation in the treble, but in my

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EQUIPMENT review - Holm Acoustics DSPre1 Digital Preamp and Room/Speaker Correction Device softer room I also liked the unvarnished truth of of your listening room choose for you. of filters is just another filter. Why not do it all at response of a loudspeaker that is the same over flat EQ on some material. EQ is easy to change. One of the things you will learn fast, if you do once by just measuring from where you are going an area will be detected in a way that a tiny peak You can, in fact, change it while the music plays, not know it already, is that even small changes to be listening? that occurs on account of a room reflection and if you leave the computer attached. in frequency response make big changes in the The reason for treating the speaker itself that varies a lot with head movements is not You can also construct a custom curve and sound heard. Those graphs you see in magazines first is psychoacoustic. When one listens to a detected. Floyd Toole once summarized this by modify the balance of the sound in any way you sometimes that make things look flat by using a sound source, in a room or not, the ear/brain is saying: Average over space, not over frequency. like! This is easy to do, too. A simple point, click, compressed vertical scale, with 5dB being an constantly interpreting the changes that occur If one uses a short time window with a and drag system on screen enable you to draw eighth of an inch or the like, turn out to be really with head movements. In effect, you are trying, microphone at the listening position, short any curve you like, starting with the flat curve (or deceptive. With the threshold for audibility of without knowing you are trying, to hear what the enough to get direct arrival only, this, in effect, one of the alternatives explicitly offered). Want a broadband shifts of response being on the order source sounds like as a source unto itself. You does frequency-domain smoothing whether you CD to sound like a moving coil cartridge playing of 0.1 and 0.5 dB, you can see that being flat are trying to separate out room effects. want it to or not! This is an aspect of Heisenberg’s a record? Put in a little bass bump, a presence in, say, +/-3dB terms does not really cut much You can see that this works. It is why when you Uncertainty Principle, actually. A short time range dip, and a flip up of the top end. Want to ice towards really determining the sound heard. listen to someone walking around a room and window does not allow high resolution of one tame a bright recording? Drag down 8kHz and [The psychoacoustic literature suggests that the talking—say, a lecturer walking back and forth frequency from another. Of course, mathematics get relief. Want to rock out? You can drag the threshold of audibility of frequency response in front of a blackboard—the sound of the voice applies to the ear, too! But the difference is that midbass up in a few moments. (Watch out for the shifts is 0.1dB over an octave of bandwidth —RH.] does not change even though the literal physical the ear/brain can and does average over head possibility of woofer overload, though!) And so it Being able to move response curves around sound you are hearing changes quite a lot. But the movements, which a microphone cannot do. goes. You are in charge in a big way. And it is all easily and on the fly, with just a few seconds of ear/brain edits that out completely. Well, almost (One could, in principle, simulate the ear/brain very easy to do, right on the spot as the music reloading filters to go from one to another, really completely. Actually if you listen hard, you will, spatial averaging, but it would be complicated to plays if you wish, in “real time.” brings this home. Exactly which response curve in fact, hear the voice get more bass-oriented if do and the model of exactly what happens is not Maybe this will make some people nervous—to you like the best may depend on the material and the speaker gets close to a boundary and, even really known all that precisely.) have so much control and be an active participant on room acoustics and speaker radiation pattern. more, close to the corner of the room. What all this psychoacoustic information (call it in what you are hearing, not a passive victim. But But for sure, you will find that small changes in This illustrates the whole thing, actually. The babble if you wish, but it is really true) amounts to audio is like existentialism: You always are making the curves you choose really matter. The idea ear/brain tries to and largely succeeds in editing is that one can do better in figuring out what the a choice of equalization, no matter what you do. that it was all taken care of already, that your out room effects in the high frequencies, but in ear/brain will actually hear if you know what the You cannot escape the existential responsibility. system already was neutral in a definitive way, the lower frequencies the room and the source speaker is doing anechoically. Letting the system you bought do what it does won’t survive long. are mixed together. And of course in the middle But, you might say, are speakers not smooth is still choosing. It is just a choice you cannot frequencies there is a transition. Roughly, the and flat by design? You wish! You can see modify unless you buy some other equipment, Why Correct the Speakers Separately? good model is that there is a time window which visually that speakers have spatially persistent which you again accept passively. But here you One of the important aspects of the Holm is longer at low frequencies and shorter at high irregularities, almost all of them, by looking at the can change your mind—even from one recording DSPre1 is the correcting of the speaker itself, frequencies and what happens in this window is NRC measurements of a great many speakers. to another. Or you can find a setting you like and independently of room effects, before undertaking what the ear/brain hears as the “real” sound. Those little blips up and down—and virtually all just live with it. the room correction. It is worth a close look at But there is that additional dimension that speakers have quite audible ones—that persist In any case, remember: You have an EQ’d why this is a good idea because the reason is the ear/brain keeps track of things using head over a variety of off-axis measurements are system. The only question is whether you not obvious. After all, EQ is EQ. As far as gain movements. What this means is that the ear/brain important. And most of the little on-axis blips, in are choosing the EQ yourself or letting the is concerned, and phase, too, there is one final has access to information that depends on spatial fact, do persist over space quite a bit. Designers manufacturers of your equipment and the nature curve, in effect. The mathematical concatenation variation. For example, a tiny peak in frequency are a lot better at getting rid of early reflections

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EQUIPMENT review - Holm Acoustics DSPre1 Digital Preamp and Room/Speaker Correction Device off the speaker itself and diffraction effects, the But it is the correction processes that make the “transparency.” Not here!) the way down. With the Holm, nothing stands out things that make blips that vary in space, than Holm the item of fascination that it is. Now a typical Second, the corrected systems have a excessively or is suppressed unduly. One hears they are in making the speaker actually smooth audio review usually involves a lot of description remarkable smoothness of sound all the way something that sounds like the smoothness of and flat in the spatially invariant sense. Most of of frequency-response variations, albeit often up. Again on the Dvorák Legends, the soaring real music. To say this is neutral is to understate the errors on axis also appear in the near off-axis. small ones that are heard as something else, as first violin parts had the beauty and liquidity of the case, given how people tend to throw the word So you can get a long way by correcting the on- likely as not. Since you can make the frequency reality, and balance continued to be perfect all “neutral” around nowadays. This is real neutrality axis response. Maybe it would be better still to response of the Holm into anything you like, this average a bit over small variations of position, but type of review by frequency response is irrelevant in practice if there is a blip at a certain frequency here. The device is neither dull nor bright, bass in the on-axis anechoic response, it is likely to be heavy nor bass light, midrange forward nor SPECS & PRICING there just off-axis, too. midrange recessed. Such things and anything in Hence, putting it all together (if eyes have not between are at the disposal of the user! Holm Acoustics DSPre1 Digital Preamp/Room/Speaker Outputs: Stereo analog, volume attenuation 0 to -32dB glazed over by now!), it is a good plan to fix the Still, there is a characteristic sound to the Correction Device by analog internal current adjustment, -33dB to -70dB on-axis response as measured anechoically. The corrected systems. First of all, the sound is Digital preamplification and room/speaker-correction by digital multiplier DSPre1 cannot make your room an anechoic extremely well behaved in the bass. Uncorrected device with two-way or three-way DSP crossover options Dimensions: 2.2" x 17" x 12" chamber, but it can and does let you measure up systems, effectively all uncorrected systems, Jitter: Below 10 picoseconds Weight: 11.5lbs pretty close. If you are really fanatic (and most of sound loose and muddy in the bass if one Inputs: USB1.1 (control and 44.1/16, 48/16 digital inputs); us are, I suppose), you might want to take your compares to the same systems corrected. This TosLink 11k-192k 24-bit; four S/PDIF 11-192k, 24-bit; two speakers out of doors. But it turns out that the is not a question of lean sound, of definition analog, 88.2/24 A-to-D differences are small in the higher frequencies obtained by bass deficiency. Rather the bass, between on-axis up close and on-axis out of even when it is augmented by one of the presets doors. So the Holm method of up close in-room or by a (reasonable) custom target curve, has a U.S. U.K./E.U. measurement works well. firmness, smoothness, and solidity that escape Price: $8500 (optional Holm CD1 transport, $7300) Price: 8500 Euro (optional Holm CD1 transport, 7500 uncorrected room/speaker setups. Things like Euro). No UK price set at this time. The Sound tympani parts and other bottom-end transients KELLY AUDIO TECHNOLOGIES After all these preliminaries of an operational and in orchestral music acquire a precision that is 4613 Mount Putman Avenue Holm acoustics theoretical nature, curiosity must have arisen surprising, but without losing their impact. The San Diego, CA 92117 ApSWillemoesgade about the actual sound. First of all, the intrinsic effect on the bottom end of the well-recorded (858) 342-1863 51DK-2100 Copenhagen sound of the digital here is absolutely top drawer. Dvorák Legends [Philips], with Fischer conducting www.kellyaudiotech.com (+45) 32134000 Holm has a jitter-suppression method that seems the Budapest Festival Orchestra, for example, www.holmacoustics.com to work superbly, and the overall sound of the was spectacular. Bass pizzicato notes acquired Holm acoustics Holm stack (DSPre1 and transport) is right at the the pitch and definition of real life with real-life ApSWillemoesgade top of the sonic heap in my view. In this sense, warmth intact. (In most non-DSP situations, bass 51DK-2100 Copenhagen the Holm stack would justify its price versus the definition is a code word for bass deficiency—the (+45) 32134000 other high-end digital competition on its intrinsic perceived definition comes from lack of real bass www.holmacoustics.com sound alone, without even considering or using power and extension and consequent cancelling the correction processes. of masking effects—cf., any mini-monitor and its CLICK HERE TO COMMENT IN THE FORUM at avguide.com

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EQUIPMENT review - Holm Acoustics DSPre1 Digital Preamp and Room/Speaker Correction Device in a sense that effectively no uncorrected system recorded Tonalities of Emotion on Performance of course the Harbeth M40s themselves are very behavior as a linear system. offers. This in turn vastly diminishes the sense Recordings sounded uncannily realistic, even in flat indeed on their own and also are designed People have known for some time that, as that one is listening to speakers. A speaker made direct comparison to the real thing. Not that the to integrate well into rooms. But even this room/ speakers have improved through improvements perfect is a speaker that no longer sounds like a two concert pianos involved literally matched speaker setup that works about as well as a in drivers, distortion has gone down a great speaker. You just hear music. my own smaller grand as such, but the generic system can on its own and works far better than deal. And the BBC found out long ago how to Third, stereo focus is startling. Even a typical essential “piano-ness” was preserved in a way many or even most, even this system sounded push cabinet sound out of the range of audibility. set-up CD with a mono signal in polarity and then that seldom happens. And the bottom ends of substantially better post-Holm. In particular, the This has not stopped high-enders from trying to out of polarity will already show the surprisingly the big piano were absolutely convincing, too. lower frequencies were smoother and better push it even further down. But systematic tests exact focus of the in-polarity two channels and The composite effect of all these improvements defined, without any loss of warmth and fullness. have largely shown that the sound of a speaker the total lack of focus (as it should be) of the out- is remarkable. There have been over the years of The Holm really works—it will improve any system. is dominated by frequency response, radiation of-polarity situation. You have to hear it to believe high end so many audio reviews describing small And the better what you start with is, the further pattern, and phase response, by the behavior of it. And of course this carries over to music. changes (cables, say) as revelations that it has you will get towards perfection. the speaker and the room around it as a linear Instruments are really “there” in a way that they become hard to summon up rhetoric to cover system. seldom are in reproduced music. something that really is a major change. But the Learning What Happens There is nothing one can do by DSP of a speaker Finally, the phase correction makes a subtle effect of the Holm DSPre1 really does live up to Isaiah Berlin used to separate the great thinkers to change its radiation pattern (unless one goes for but definite improvement in the realism of those traditional and over-used descriptions: of the world into two camps, the Hedgehogs and the active, bi-, or multi-amped speaker with DSP transients and attacks and in the definition of “revelatory,” “unprecedented realism,” “top-to- the Foxes. The Foxes know many small things and crossovers different from what the speaker had complex music. I have tried this often enough bottom transparency,” whatever your favorite see the world as made up of a great collection to begin with). Dipoles are different from forward before, the comparison of phase-linear with buzzwords are for the sense of hearing the of small pieces. The Hedgehogs see the world radiators and sound different; wide dispersion not-phase-linear, cf. my review of the Arion/ recordings in their entire truth. as dominated by a single great principle and sounds different from narrow; wide front baffles Essex phase-and-amplitude correction system, In stereo performance and in intrinsic sound, in interpret experience in the light of that one over- put the baffle-step at a different frequency than reprinted on www.regonaudio.com. But as years timbre and correctly perceived dynamics (which arching idea. narrow fronts. (The wide front is better, in spite of have passed, I have come to feel that this is even are closely related to frequency response on Audiophiles tend to be Foxes: Having observed current fashion: cf. http://www.regonaudio.com/ more significant than noted in that review from account of Fletcher-Munson), in the overall sense that small changes are audible, they tend to feel Audio%20in%20Modern%20Times.pdf.) more than a decade ago. Phase linearity is not of hearing not reproduced music but real music, that perfecting an audio system is a matter of Equally, only crossover revision and multi- as obvious as frequency-response (amplitude the DSPre1 is a completely convincing illustration optimizing almost infinitely many small things. amping will change distortion levels. EQ as such response) effects, but it does count and make for of DSP done right. And the wonders available are (Sometimes this can lead to really odd ideas. I does not. These active speaker options are offered enhanced naturalness. really only possible with DSP: No speaker is as have had audiophiles suggest to me that they are, in the Holm unit (as additional price options)—I The piano, for example, sounds to me flat and phase linear and in-room correct on its say, going to try to correct a 10dB bass boom in shall get to those in a Part II, to appear. But even considerably more like an actual piano when the own as it will be after Holm correction. their systems by getting different cables and the sticking to just correction of the speaker as is, shape of the initial transient is actually correct. People who know in-room measurements like.) But experience with a device like the Holm which leaves one stuck with its radiation pattern Listening to something like the remarkable often express amazement at the in-room DSPre1 tends to make one a Hedgehog. While and its distortion behavior, a startling level of recording of Janne Mortensen playing Chopin measured results for the Harbeth M40s in my the Holm unit itself is perfected in detail (e.g., in improvement is possible using the Holm unit. (a demo disc from Gradient Loudspeakers) gave listening room. Part of this is from a lot of work extreme minimization of jitter), the possibility of The Hedgehog viewpoint in the Berlin sense an absolutely minimized sense of discontinuity on careful placement and room treatment, and controlling phase and frequency response tends would have it that with enough judicious from the literal piano sound of the Steinway in part of it is luck—the (pre-existing, not purpose- to demonstrate to an extreme the fact that a adjustment, one can make speakers sound my living room. And James Boyk’s superlatively built) room just turned out to work really well. And speaker’s behavior is largely determined by its remarkably close to correct simply by adjusting

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EQUIPMENT review - Holm Acoustics DSPre1 Digital Preamp and Room/Speaker Correction Device them as linear systems, that is, by phase- The Foxes, the believers in the importance of linearizing them and carefully adjusting the every detail of a system, may find it hard to accept frequency response. And I think that this is true to how well this process of correction by EQ can a surprising extent. This idea is for me primarily work, how close to ideal speakers can be made a matter of practical experience—I have tried it to sound by this one thing only. But experience on a lot of speaker/room combinations. The idea is the great teacher. Try before you decide! To is also consistent with the “standard model” as I get nearly perfect, you need a good radiation call it for the perceived timbre of speaker sound in pattern, low distortion, and a room that is soft rooms, to steal a phrase from elementary particle enough. But there are speakers that have those physics. (In this model—as developed by Sigtech or close enough, and arranging this in your room in the 1990s, for example—the timbre one hears is likely not too difficult (curtains, soft furniture). is dominated by energy content as a function of The speaker/room combination will then come frequency, the content being measured in a time up with proper EQ (including phase linearization) window that shrinks as frequency rises. The size into a state of near perfection that will stun you of the window is to be taken as determined.) if you have a vivid recollection of actual music. This model is of course not quite total—other The precision of the bass, the smoothness of things have acoustic effects, and these effects everything, the perfection of initial transients, the can be important, especially in a live room. over-all naturalness of the sound, are extremely Power response and radiation pattern do count, satisfying. and in a live room, they can count a great deal. If you listen often to real music, to the absolute One needs to start with a speaker that has a sound in the original meaning of the phrase, the good radiation pattern that varies in a sensible Holm DSPre1 will be a thrill at first listen and a way with frequency and also to start with a room source of deepening regard and pleasure as time that is “soft” acoustically. But within those limits, passes. The Holm DSPre1 is not inexpensive, one can make the timbre of the speaker/room but it will do much more to alter the sound you combination remarkably correct via equalization, hear than is usually the case with changing to provided that one has enough control over what expensive electronics, and it will give you levels EQ is used. The control is needed because of control over the sound of your system that no the secondary effects arising from reflections straight-wire-with-gain device even tries to equal. and room sound mean that slight deviations There is nothing like the feeling that you have got and compensations from any standardized things right, and the Holm DSPre1 will provide measurement and correction system are likely to access to this sensation to a truly remarkable be needed. The situation is so complex that an extent. With the DSPre1, you can get it really right automatic system will likely need some tweaking at last. by listening to sound its best.

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Marantz SC-7S2 Reference Control Amplifier Alan Taffel

The SC-7S2’s exterior hints that this component Another trait of overly warm gear is bass so won’t exactly sound cold and analytical. Indeed, plump that low-frequency instruments become “warm” is a term that applies equally to the hard to differentiate. Again, the Marantz sidesteps Marantz’s visual and musical aesthetics. Yet this potential pitfall. Listen, for example, to Stevie this descriptor, too, requires qualification. Is the Ray Vaughn’s “Tin Pan Alley,” a bonus track on Marantz warm in any overt, unnatural, or unmusical the remastered Texas Flood CD and one that was way? It is not. Rather, this linestage conveys the justly inescapable at this year’s CES. Here, what burnished warmth of real instruments heard live. could easily have been generic electric bass is Furthermore, the SC-7S2 possesses none of the instead a very specific instrument, played with a vices associated with more euphonically warm particular combination of fretwork and strings, components—which seems as good a way as yielding an individualistic sound. Moreover, any to go about describing its sound. this wealth of timbral information applies to the The most obvious attribute of euphonic gear midrange as well. Listening to my always-revealing is a rolled-off top end. In contrast, the SC-7S2’s recording of Dvorák’s Serenades from Bohemia highs are fully present and extended. Quite a few [Praga] through the Marantz, I was struck by just t’s pink!” squealed my ten-year-old daughter in delight. She had just been components create the illusion of extension by how distinct each chamber instrument sounded. introduced to the uniquely hued Marantz SC-7S2 Reference linestage. delivering an excess of energy near the top. In One final contrast I would note between the SC- “IAlthough its chassis does boast the impressively thick brushed aluminum of time, though, what once passed as excitement is 7S2’s natural warmth and that of euphonic gear the finest high-end gear, the Reference eschews traditional black or silver finishes. revealed as a form of distortion, which inevitably is that the latter is typically slow as a slug. Such Instead, it’s pink. “Pink,” however, is a descriptor that requires qualification. The proves fatiguing. However, the Marantz comes lethargy can be counted on to blunt transients, Marantz is neither the deep pink found on Hello Kitty telephones nor the hot pink of by its extension honestly, without a trace of slur timing, and damp dynamics. Yet the Marantz Lady Gaga’s lip gloss. Instead, the company has imbued its $7999 flagship linestage distortion or “tizz.” As a result, listeners reap the is exemplary in every one of these areas. This is with an exquisite and subtle shade that recalls a fine rose champagne. The effect is air and detail of extended highs without having to one nimble linestage, capable of tracing every striking yet soothing, different yet immediately welcome. sacrifice a relaxed presentation. transient, inflection, and dynamic jump (with the

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EQUIPMENT review - Marantz SC-7S2 Reference Control Amplifier

though, that this phenomenon never showed up do not, as in some components, call attention on more neutral recordings. to themselves. Rather, they come together in Functionally, I quite enjoyed the Marantz’s a sound that is wholly organic. The result is a front-panel display, silky smooth controls, ample complete and coherent portrayal of the music, ins and outs, and thoughtful remote control. But and that’s a sound I’ll take in any color of the despite its overall competence, I did log a few rainbow. minor functional complaints. That remote may be handsome, but it lacks the heft and gilded finish of the main unit. Meanwhile, its plastic buttons seem out of place at this price point. And while SPECS & PRICING I welcomed the SC-7S2’s balanced input, I soon wished for more of them, so good did it sound. Inputs: Four RCA stereo analog, one XLR balanced Finally, Marantz makes a big deal about this stereo analog unit’s multi-layered copper feet, but I discovered Outputs: Two RCA stereo analog, one XLR balanced that bypassing them with a set of good cones stereo analog

resulted in significantly tighter bass and crisper Dimensions: 18 1/16" x 7 3/8" x 17 3/8" transients. Weight: 48 lbs. Operating the Marantz is intuitive, but should playfulness, and this too comes through with you need the owner’s manual you may find yourself unusual alacrity. seeing not pink but red. The document features U.S. Are there any downsides to this warm-yet-fleet, Marantz’s now-trademark mix of laughably Price: $7999 extended, and timbrally revealing linestage? Well, redundant descriptions of some features one. You might be guessing soundstaging or combined with radio silence on others. Here for Marantz America, Inc. imaging, since I haven’t yet mentioned them, but your entertainment is a verbatim portion of the 100 Corporate Drive right feet—see below). Here again “Tin Pan Alley” you would be wrong; the Marantz proved adept manual’s description of a very useful feature—a Mahwah, NJ 07430-2041 is a perfect illustration. On this track, Stevie in both those categories. (Just listen to the wide, bus system that enables interconnection of (201) 762-6500 Ray’s guitar is a coiled animal lying in wait. When deep, and appropriately thick ambient cloud multiple units for multichannel applications: marantz.com it lashes out, it does so with startling power that engulfs “Tin Pan Alley.”) Instead, I found “When only 1 unit is used, the ID No. will be set and speed. The SC-7S2 brilliantly, effortlessly instances when the Marantz’s sunny disposition to 1. Initial setting is 1. When using only 1, the ID U.K. captures these musical strikes. could cause trouble. Specifically, if a recording switch is set to 1. Factory setting is 1.” Got it? Price: £7999/7999 Euro As might already be inferred, musical timing is is on the hairy edge of bloat to begin with, the Quibbles aside, the Marantz SC-7S2 is perhaps Marantz EUROPE BV. another of this linestage’s great strengths. The SC-7S2 will drive it over the cliff. Consider Nils the best example extant of the old audio adage PO Box 8744 walking bass line on “2AM,” from the Michael Lofgren’s Acoustic Live, on which the acoustic that a component’s sound is telegraphed by the 5605 LS Eindhoven, NL Wolff Trio’s album of the same name, is simply guitar is recorded with a very close mike in order color of its faceplate. The Reference’s look and Contact local sales office thru website unstoppable. That track is an example of rock- to emphasize the instrument’s rich tonality. Heard sound both emanate warmth; each is as far as marantz.eu steady rhythm, but on “The Conversation,” pianist through the SC-7S2, however, what was rich can be from silvery bright or forebodingly dark. Wolff engages in some very subtle rhythmic becomes lard-laden. I must emphasize again, Moreover, the many qualities I’ve catalogued CLICK HERE TO COMMENT IN THE FORUM at avguide.com

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Siltech C1 preamplifier Alan Sircom

eviewers can wax lyrical and build essentially a very traditional minimal hard- of fuzz boxes for guitars… so perhaps they had spent the last few years buying up remaining philosophical. Sometimes, as a wired valve line preamp inside a very advanced a point). So, the car industry commissioned a stocks of the Telefunken ECC86, so the 50 C1 Rmethod of padding out a review. logic controlled and battery powered chassis. It new valve specifically for purpose, needing to be users will have spares for a long, long time. Let’s Sometimes though the navel gazing is uses new old stock of a little-known valve that low distortion, low powered with attendant long face it, the chances of a new batch of ECC86 a vital part of defining the nature of was only manufactured for a few years at the end lifespan and very low microphony. The ECC86 appearing are slim. the product. That’s the thing about the of the golden age of tubes, point-to-point wired was born, but was sadly short-lived, because The preamp within a preamp part is that the Siltech C1 preamp. with monocrystal cables, and there is the absolute solid-state devices quickly caught up and by the power and logic control circuitry are all entirely Hang on a second… Siltech making a minimum of components in the signal path. time The Beatles hit the charts, car radios were separated from the ultra-minimalist audio signal preamplifier? Isn’t that like Nordost making a CD The four valves are all ECC86 double triodes. all transistorised. path. Given the audio circuit is the sort of thing player, or Transparent making a record deck? The story behind these tubes is fascinating in its Nevertheless, the ECC86 is perhaps the that could be understood by an amp engineer Knowing the guy behind Siltech goes some way own right. The ECC86 was only manufactured ideal preamp valve. It’s got a 10,000 hour life of half a century or more ago, the control and to explaining the appearance of a preamplifier between 1959 and 1962 and designed for a very expectancy, there’s that low distortion and very power chains are state of the art. Things like a among the well-respected cables. Edwin van der specific purpose. Back in the mid 1950s, car low microphony, and the fact it was designed counter on under the rightmost vent, that shows Kley could be an engineer straight out of central manufacturers were keen on fitting in-car radios to work within the confines of a 6V or 12V car you elapsed valve life, and things like battery casting; when you speak to him, you expect him to the latest chrome fantasy machines. The car system means it doesn’t come with crazy rail power. The C1 has two big blue power switches, to pull out a slide rule, even if to calculate the industry wanted to fit the then-new transistors to voltages. But somehow, it never got picked the left one is the conventional power button, correct angle of French fry placement. Like any these in-car systems, but those early solid-state up; no-one makes them now, and every other the right one is marked ‘forced charge’ and good engineer, he’s going to have an engineering devices weren’t necessarily as reliable or as good preamp uses devices like the ECC82 or ECC83 switches the preamp between running off mains solution on absolutely everything, and the place sounding as their hollow-state equivalents (most instead. This has built legends around the valves while charging the 25v batteries and running on where engineers in audio feel there’s a gap in commercially available transistors in the 1950s – such as which brand of valve sounds best (as batteries alone. The good thing is these are off- the market is in the production of a really good used pure germanium instead of silicon, alloys or they were all built to the same spec off the same the-shelf batteries, with a five-year plus lifespan; preamp. In fact, the C1 is merely the first in the compounds as their semiconductor material; in production line, variations are practically non- finding replacements should not be difficult, even SAGA line of audio electronics from the brand. pro audio circles, one of the most visible uses for existent, but when did reality get in the way of if for some reason you chose not to send the Edwin’s take on the really good preamp is to germanium transistors was in the manufacture a good story?). But the fact remains Siltech has preamp back to Siltech. Battery power in tube

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EQUIPMENT review - Siltech C1 Preamplifier preamps is not unheard of, but the 6.3v heater preamp, it sounds more like the best of solid- sound of a capacitive cable. But when the system is the easiest part to make and the easiest part voltage of the ECC86 makes battery life easier to state. Now’s the time for that philosophical aside. works properly, the C1 simply vanishes. It’s like a to make wrong. There are a lot of mediocre contemplate. Does it matter? Will people buy a valve preamp passive preamplifier with gain. preamps, which either add to or subtract from the The logic circuit drives the five single- that doesn’t sound ‘valvey’? And will someone And when the system works like that, it’s sound of the source. This is different; it’s almost ended and one balanced line inputs (all using wanting the best in solid-state preamps buy a uncanny. You hear into the mix, the compression the traditional goal of ‘straight wire with gain’, Siltech connectors and using monocrystal valve preamp? I would hope that in reality that the (musical, signal and data) and the layering even though it uses valves at its heart. Just 50 of wire throughout, naturally) and single-ended physical devices used in a preamp are immaterial and panning of the musical components in these pieces will be made and those 50 users will and balanced outputs. It also drives the rotary and that the sound is all, but I suspect that some the mix are on display. A true window on the be getting the unvarnished truth. Can you handle volume controller. The preamp’s medium-to- people in the market for a top-end preamp have recording; play two different recordings and the truth? high input impedance and medium-to-low a pre-conceived set of notions of either tube or you’ll immediately hear the different mixes, output impedance makes it good for highlighting solid-state preamp sound, and the C1 challenges even to the point of playing a round of Spot the differences between cables, but not so divorced them to the very quick. Producer. So, it’s not just getting you closer to from convention that the preamp threw up That’s the thing about the C1. It’s not valve-like. the music, it’s placing you closer to the mastering SPECS & PRICING problems for other connected products. I would It’s remarkably quiet in use (you could whack the and mixdown. And only absolute honesty can do put a practical limit of about 5m from preamp to gain up and put your ear to the speakers and hear that. It also exposes the idea that many attributes Line inputs: 5x RCA phono, 1x XLR power amp (presuming single-ended connection almost no noise at all) and really, really accurate. attributed to good systems (most notably timing) Outputs: 1x phono, 1x XLR and high input impedance on the part of the Don’t expect an easy ride for less than perfect should be a function of the recording and not the Valve complement: 4x Telefunken ECC86 (new old preamp… guaranteed in most cases). Naturally sources or low-fi recordings, don’t go hoping the electronics; when a recording has good timing, stock) Siltech’s own monocrystal cables seem an C1 acts as a Band-Aid to help improve a system it comes through well here, and when it doesn’t, 25v battery power, with forced operation obvious match for the C1, although I couldn’t help that shuts in imagery or lacks depth or coherence. it doesn’t. No imposed beat or compromised Limited to 50 units worldwide thinking I prefer Crystal Cable’s Piccolo Diamond The C1 gives or expects no quarter. timing. It just does what it’s supposed to, nothing cables, despite being considerably cheaper. Still, This makes it a very difficult preamp to judge, more, nothing less. What’s surprising is how rare given the connection (Crystal Cable is run by because it is a chimera. You find yourself drawing this seems by comparison. U.S. Edwin’s wife, Gabi) we really aren’t falling far from attention to aspects of the sound that you then find I guess all of this could sound like it leaves Price: $30,000 the tree. A Logitech remote is provided. attribute to other parts of the chain; the thinness the music cold and exposed. Stripped of any The preamp doesn’t sound like a valve of a source, the toppy power amp, even the puffy attractive artifice, the music played could be left audio plus services on the slab. That doesn’t happen here, although www.audioplusservices.com I would imagine those who run the valve preamp 1-800-663-9352 (dealer locator line) gamut from Conrad to Johnson might find this more intellectually stimulating than musically U.K./E.U. impassioned. But I suspect more will praise it Price: £25,000/28,000 Euro for its integrity than dismiss it for lack of artificial tonal colour. Oddly, if you need a bit more tonal Siltech BV colour, use the C1 with the batteries on charge, www.siltechcables.com rather than battery powered, which can sound a +31 (0) 26 353 9040 trifle undynamic in the wrong setting. Perhaps of all audio electronics, the preamp CLICK HERE TO COMMENT IN THE FORUM at avguide.com

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Almarro A340A mono power amplifier Alan Sircom

lthough there’s currently a lot of sound. Almarro takes a different route though; it exciting valve products coming creates an alternate history where transistors and Aout of China at the moment, chips always played second fiddle to tubes and this has given rise to something of a imagines what today’s modern power amplifier renaissance in tube products around would look like under those circumstances. the world. American and European A 40 watt push-pull class A design, the negative feedback and damping factor control. Why ‘almost’? Each chassis has a blue-red valve-amp makers have all raised their Almarro A340A sports a relatively simple (there’s These are controlled by two knobs on the top LED arrangement that shows the amplifier’s respective games and their profiles to barely four-score parts to the whole thing), yet panel of the amp, flanking the double-triodes; status and auto-bias. When first powered up, cope with the increased competition, innovative design. Each chassis features a 5687 if you turn the left knob clockwise, you increase the A340A gives you a 90 second red-blue light but arguably it’s Japan where the really double triode at the input stage, a 6DJ8 double the amp’s damping factor (it alters the cathode show as the amplifier comes to life. If that goes fine valve equipment is coming from triode as phase splitter and a pair of 6C33C-B feedback on the power tubes) and if you turn the blue, everything is good in Almarro-world and it’s these days. And the Almarro A340A power triodes at the beefy end. The output right hand knob, you increase the amount of global time to play; if it stays red, the idle current of the typifies this new wave of Japanese transformer has taps for four, eight and sixteen negative feedback. With both knobs offering a left 6C33C-B has risen too high, if it flashes red, tubliciousness. ohm loudspeakers, accepts a single-ended phono 0-5 scale, the two combine to afford the user 36 the right tube has too high an idle current. If this The Japanese valve amp market seems to plug and has a rear-mounted power switch. The different ways to fine-tune the amplifier to suit a happens, Almarro recommends turning the amp fall into two distinct camps – time machines tubes are caged; a good idea because those the loudspeaker (108 different permutations in total off, waiting 20 minutes or so for the thing to cool or alternate history machines. The first – best glass of those 6C33C-B tubes hits anything from if you include the three transformer tappings). down and swapping left and right power triodes. expressed by the likes of Leben – turn back the 250-350°C within a few minutes of power up. The 30-detent volume knobs at the front of the If the problem persists, it’s retubing time. clock to the late 1950s or even earlier and produce Even so, the cage gets very, very hot. The sound amplifier are useful for doing the same matching There’s one other issue. The fan. Each amp recreations of past glories. Nothing wrong with is slightly freer sounding with the cages out of the process to a preamp, although you could use has a case fan at the back of the amp, in the this – there were some glorious valve products way, though, but the trade-off between sound this as the ultimate one-source set-up. The front transformer box. This helps keep things cool and of that Golden Age of audio and attempts to and safety makes me think cages are best. That panel, with its maple and cherry front plate is dust free, but does mean there’s a constant low relive those point-to-point circuits and retro- being said, they really look the part exposed. almost the sole concession to colour and décor; background whirr that will never go away. Inner chic cabinets are backed up with a wonderful Almarro has been very clever in its use of the rest of the amp is a purposeful matt black. city dwellers might never notice this and it’s not

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EQUIPMENT review - Almarro A340A mono power amplifier

to 2 or if you like your music with added flub (or There’s a naturalness here. The sound doesn’t want to try and patch up a bass-light sound) set draw attention to itself, in all the good ways. It’s it to zero. dynamic, but not unduly so, fast and responsive, SPECS & PRICING For the record, with a pair of original ProAc but not excessively, focused, precise, articulate Studio 140s, I liked the NFB at around 1 and the and detailed, yet not the sort of thing that makes Connections: 1 RCA/phono input, 4/8/16-ohm DF at 3. This gave a slightly dry bass, but with a you think ‘wow, isn’t that detailed?’ In other words, outputs good trade-off between excitement and analysis. the Almarro is everything those great Quad and Output power: 40wpc Your Mileage, as they say on t’internet, May Vary, Leak valve amps of the 1950s and 1960s were Operational mode: Class A depending on speakers and taste. good for, but brought up to date. So, if you want Tube complement: 1x5687, 1x6DJ8, 2x6C33C-B More or less irrespective of where you fireworks, it will bring you fireworks, but only if Frequency response: 10Hz - 40kHz position those dials, though, the basic sound there are fireworks on the record. Which is what Available finishes: black with Maple/Cherry of the amplifier is one that’s very airy and most people should want from their musical faceplate natural sounding, not rich or warm or colored replay system. Dimensions (WxHxD): 9"x7.5"x15.2" (per channel) as valve amps are suggested to be. It has good I’m beginning to think there’s something of a Weight: 30lbs (per channel) soundstaging, wide and deep, but not the sort of sweet spot in hi-fi; below it, you get ‘audio’, above thing that draws attention to itself. Similarly, the it you get ‘audiophile’. In between… ‘music’. The detail levels are very high – this is not the sort A340As are definitely in that Goldilocks position, of amplifier that will dull down the differences and they never put a foot wrong from a musical U.S. between discs or players – but the crystal clear or audio perspective. In fact, the biggest problem Price: $5,500 per pair as annoying as the whine of a dimmer switch. performance isn’t the sort of thing you’ll remark with this amplifier is it causes something called But it’s there, and if you live somewhere quiet about. Why? Because you’ll be too busy listening Almarro’s Syndrome in listeners. Regular A340A 11 select dealers in US and demand silence from your electronics, this to music. users report atrophy of the lower extremities, almarro.com/distribution will annoy. Shame really, because the amplifier Bass here can be a trade-off depending on caused by too many hours sitting listening to chassis is otherwise remarkably quiet for a valve the DF setting. But it’s always good and deep. music. There is no cure. U.K. design, with barely a hiss through the tweeter, It can be deep and dry or deep and bloomy, but Keith Cheal, the proprietor of Almarro’s Price: £5,995 per pair/6,750 Euro per pair even at full volume. the word ‘deep’ always creeps into the equation. distributors Angelsound Audio was insistent on This is an almost impossible amp to pin down Coming directly after a flea-power chip amp, the using the power amps with a brace of Vertex AQ Almarro in a sonic way, because it’s not one amp… it’s Almarro sound was perceptibly slower due to that mains leads. He needn’t have worried, because www.almarro.com 36. You can use those NFB and DF knobs to dial deep bass, but it gave a sense of rightness to the the A340A’s sound good irrespective of whether in your sound and let it stay there, or they can sound. It really didn’t matter what was played; they hang off the end of thousands of pounds Angelsound Audio provide constant tweaking jollies. If you prefer Booker T and the MGs Green Onions album, worth of mains lead or a pair of grim old no-name www.angelsoundaudio.co.uk your sound more alive, set the NFB dial to 0 or 1; the Eroica Trio playing Brahms piano trios, a kettle cables. These are wonderful sounding +44(0)1923 352470 if you are prepared to trade vitality for detail and Japanese import of Led Zep III, Bonny ‘Prince’ amps, in that sort of effortlessly musical way cleanliness, wick the same dial up to 5. Most will Billy, Big Beat classic Prodigy or no beat classic LS3/5a loudspeakers (and their progeny) are go somewhere in between. Similarly, if you want speech. In other words, whether audiophile wonderful sounding loudspeakers. Spend time CLICK HERE TO COMMENT IN THE FORUM at avguide.com taut, precise bass, turn the DF dial up to the max, noodling or lo-fi graunch, the Almarro did it all with these mono amps and you’ll never look at if you don’t want your bass softer, knock it down and did it all well. another transistor again.

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Audio by Van Alstine Ultravalve Power Amplifier and Salk Sound SongTower QWT Loudspeaker Dick Olsher

his turned out to be a twofer case was cost. It would only make sense review—two for the price of to evaluate a budget amp with speakers Tone—shortly after I accepted the that were not too far apart cost-wise, Ultravalve assignment and considered as that would represent the most likely compatible loudspeakers. Speakers real-world scenario. The ideal solution, it are a critical decision that can make or appeared, was to duplicate the coupling break an amplifier review. It seems to that our esteemed Editor-in-Chief, me that many reviewers simply drop an Robert Harley, was mightily impressed amp into their existing system and allow with during the 2009 Rocky Mountain it to sink or swim. That’s equivalent Audio Fest. And that’s how Salk’s to playing Russian roulette with the SongTower entered the picture. I’m glad outcome. A more elegant approach is to it did, as this turned out to be a hugely investigate load compatibility by using synergistic coupling, a marriage made in several loudspeakers, giving the amp audio heaven. under test several chances to shine. In According to Frank Van Alstine, the Ultravalve’s fact, the DALI Helicon 400 Mk2 ($7000/ lineage is traceable to the Dynaco Stereo 70, pr.) and the JAS Audio Oscar ($3450/ which he denotes as its “great grandmother.” The pr.) turned out to be perfectly happy with ST-70 has got to be the most successful basic the Ultravalve. However, a secondary power amplifier of all time with estimated sales criterion for speaker selection in this in excess of 300,000 units. This is the amp that

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EQUIPMENT review - Audio by Van Alstine Ultravalve Power Amplifier in the 70s steered me clear of solid-state designs triode is deployed as a cathodyne phase-inverter. measure a tad better. The tweeter is the Danish box and will, in fact, sing as intended right out and cemented my lifelong love affair with tube The power supply is tube-rectified via a single Hiquphon OWII ¾" soft dome, which features of the box. amplification. In fact, I still own a beautiful Will 5AR4. The push-pull output stage uses a pair of multiple coatings, excellent frequency linearity, On balance, I found the SongTower to be an Vincent ST-70 rebuild. Frank started taking a close 6CA7/EL34s in ultralinear connection. My sample and exponential horn loading to improve phase inspired design in driver selection and integration. engineering look at the ST-70 in the late 70s, the was outfitted with Electro Harmonix 6CA7EH response. By the way, the O and W in the tweeter So many multiway designs appear to sound like result being an upgrade kit that achieved reduced beam power tetrodes. Of course, EL34 power model name are the initials of Hiquphon’s owner: an ill-fitting sonic jigsaw puzzle. By contrast, distortion and improved stability. Power-supply pentodes may be used as well. The whole thing, Oskar Wroending who is personally responsible the SongTower sings with one voice, both on design improvements followed later, including a says Frank, except for some active and passive for all research and development. and off axis—almost as cohesively as a full- separate high-voltage regulated power supply for electronic parts, is made in the U.S.A. The drivers are arranged in a D’Appolitto MTM range driver. As a consequence, this speaker is each plate of each small-signal tube, and these Individual bias pots are provided for each configuration to improve vertical dispersion. Jim capable of performing a convincing disappearing were incorporated into a new board design. The channel to set the bias. You’ll need an inexpensive Salk points out that the woofer was specifically act. The resultant soundstage is exceptionally end result was the Ultimate 70 amp-rebuild kit, digital multimeter in order to measure and tweak chosen for its extended response, which permits wide and stable when the speakers are toed- which is said to be the “mother” of the Ultravalve the voltage to the specified 1.6VDC, which the implementation of fourth-order acoustic in so as to intersect the tweeter axes just in amplifier. corresponds to a combined 100mA quiescent slopes at a crossover frequency of about 2.4kHz front of the listening seat. Bass response in my In essence, the Ultravalve represents the current flow for each pair of tubes. The amp is with a minimum of passive parts. The point being listening room was extended to below 40Hz, distillation of over 30 years of design experience. plug ’n’ play right out of the box; tubes are already that the combination of steep acoustic slopes and but don’t expect the punch of a 12-inch woofer It is intended as a thoroughly modern and installed and the bias is preset at the factory. The a relatively low crossover frequency are desirable from a pair of 5-inch woofers. The midbass was rationally priced vacuum tube amplifier. A bias was right on after a few minutes of warmup. attributes in an MTM vertical array since they well delineated and adequately damped by the new polished-steel chassis is sourced from However, the bias does drift a bit after about 20 minimize off-axis interference effects between Ultravalve amplifier. I could have used a bit more Dynakitparts, while the double-anodized, bead- hours of break-in and should be rechecked at the woofers. The OWII tweeter is perfectly happy upper bass, but otherwise tonal character was blast-finished gold faceplate is sourced from a that time. being crossed over at this frequency due to its pretty neutral. Midrange textures were quite local vendor. The basic Dyna internal layout has The SongTower is advertised as a mass-loaded well-damped low-frequency resonance. Plinths, revealing of the associated power’s amp’s quality. been maintained, as it was felt that it works very quarter-wave transmission line. I will concede spiked feet, and grilles are all included. However, I’m typically allergic to dome tweeters, but the well. However, all active electronics are located that the internal cabinet volume is stretched to it is highly recommended that the grilles be upper mids and treble range were well behaved, internally. Coupling and feedback circuitry use a form a tall column, but its length is not nearly removed for critical listening. which speaks highly of the OWII tweeter’s natural new double-sided ground plane PC board. The sufficient to approach that required by a classic The fit and finish are quite remarkable at this voicing. Consequently, fidelity of instrumental power bandwidth is said to have been widened to transmission line, possessing a lowest quarter- price point. I should add that the SongTower is timbres was excellent, and in particular, female -3dB at 50kHz and 5Hz while still maintaining the wave pipe-resonance of only 80Hz. Its bass not stocked; each order is finished to meet the voice was fleshed out with believable harmonic goal of no feedback-related overload under any performance appears to be equivalent to that of customer’s preferences. Just as remarkable is colors. condition of use. The basic signal path and tube a conventional bass-reflex design with a nominal the inclusion of frequency-response plots for The question I’m sure everyone is dying to choices remain unchanged from the original. A box-tuning frequency of about 37Hz. Current both channels. Now, these speakers measure ask about now is: Just how does the Ultravalve single 6GH8A pentode-triode tube is used per production uses a pair of SEAS ER-15RLY five- very well, and the factory plots closely matched perform compared to the original ST-70? Well, for channel. It is similar in performance (but not as inch cone mid/woofers featuring edge-coated- my own in-room measurements, so there’s no those of you clinging to your vintage gear, I have far as pinout) to the 7199 used by Dynaco prior to reed/paper-pulp cones, a large magnet system, reason to hide them. But how many speaker to say that it’s not even close. The Ultravalve’s the ST-70 Series II. The switch was necessitated and a long copper-clad aluminum voice coil. manufacturers take the time and energy to do perspective is not as romantic, but it is far better when the supply of 7199s dried up. The pentode These woofers recently replaced the CA-15RLY this? This is your assurance that the speaker focused, clearly more dynamic, and in general section provides plenty of voltage gain while the and are a bit more expensive, but are said to meets basic specifications when it goes in the higher resolution. The metaphor that comes to

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EQUIPMENT review - Audio by Van Alstine Ultravalve Power Amplifier mind is a confrontation between Fuzzy Wuzzy from soft to loud with conviction, being far more Bear and a big bad tiger. Really, no contest. assured macrodynamically than the vintage ST- With the stock output tube complement, 70 ever was. SPECS & PRICING midrange textures were not as smooth as those Music lovers rejoice! In my estimation, the of the Audio Space 3.1 Reference (300B). But Salk Sound SongTower and Ultravalve combo Ultravalve Amplifier Salk Sound SongTower QWT Loudspeaker then it’s hard to match the civilized suave sound represent the most musical audio dollars Power output: 35Wpc into 8 ohm at less than 1% THD, Frequency response: 42Hz–20kHz (+/- 3dB) of a good 300B-based amp with either beam you’re ever likely to spend during a lifetime of 20Hz–20kHz Sensitivity: 88dB (2.83 V/1 meter) tetrode or pentode power tubes. However, I did consumption. Pricewise, at under $2k each, Input impedance: 470k Ohm Nominal Impedance: 4 ohm try a set of Mullard reissue EL34s, purchased this coupling represents but a fraction of some Dimensions: 13.125" x 5.75" x 10.75" Recommended Amplification: 30–150Wpc, tube; from the Tube Store, and manufactured at New of the amps and speakers that pass through Weight: 26 lbs. 80–250Wpc, solid-state Sensor’s Russian tube factory in Saratov. These my listening room. Yet, it proved to be one of Weight: 49 lbs. each (not including plinths and spikes) good-looking tubes imbued the midrange with the most enjoyable in some 30 years of audio Dimensions: 8" x 44.5" x 12" (not including plinths and quite a bit more warmth, smoother textures, and reviewing, and enjoying the music is what this spikes) further enhanced delineation of image outlines to passion of ours should be all about. A four-star the point that they appeared etched in space. On recommendation! the flip side, there was a slight loss of immediacy. U.S. U.K./E.U. So it’s not entirely a clear call. In addition, the Ultravalve Amplifier Not available outside of US/Canada. Electro Harmonix 6CA7 sounds more bluesy, and Price: $1699 (plus $40 shipping in US) Please contact Audio by Van Alstine Inc directly for may be preferred for this reason as well. price, payment and shipping methods The Ultravalve consistently sounded more Salk Sound SongTower QWT Loudspeaker powerful than its nominal 35Wpc. It handled Price: $1795/pr. in black satin finish; bass lines with superb control and good impact. $1895/pr. in standard veneer finish This was quite a surprise as I was fully prepared to have to render the obligatory faint praise of Audio by Van Alstine, Inc. “pretty good for a tube amp.” Well, no wonder 2665 Brittany Lane Frank named this guy Ultravalve—it is ultra- Woodbury, MN 55125 special in the bass. But be sure to respect its (651) 330-9871 need for a speaker with a sensitivity of at least avahifi.com 88dB, and please don’t venture below a 4-ohm impedance. Within these constraints, which are Salk Sound of course met by the SongTower, I can safely 2700 Long Winter Lane state that the Ultravalve is capable of dishing Oakland, MI 48363 out plenty of boogie factor. Its ability to retrieve (248) 342-7109 microdynamic nuances allowed the full scope salksound.com of the music’s dynamic intensity and of the interaction between musicians to shine through. And it didn’t shy away from driving the music CLICK HERE TO COMMENT IN THE FORUM at avguide.com

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Classé Audio CA-M600 Monoblock Power Amplifier Jacob Heilbrunn

s a plethora of new products hit a radical change in technology for Classé Audio. the stereo market each year, it Classé has garnered respect over the years but Acan become easy to get jaded never been viewed as a cutting-edge company. about the extravagant claims often made That may be about to change. In this case, the by manufacturers about their respective move to incorporating new technology has not accomplishments. How much more really compromised, but significantly enhanced the constant temperature. It has oodles of tiny heat This is instantly and most pleasurably apparent. can be extracted from an amplifier, short sound of Classé products. Classé has now fins running along the tunnel. The result is that No amplifier that I have used has reached as of paying Mt. Everest-like prices? Well, as completely revamped its Delta series of amplifiers, the amplifier possesses, so Classé maintains, deeply into the soundstage as the Classé. TAS the Classé CA-M600 suggests, a lot. offering a variety of new products. What’s more, an optimal working environment for its internal editor Robert Harley has in the past written about This is a product that I inserted into my system Alan Clark, who designed the Linn CD12, now circuitry. I can testify that the amplifier never the increased verisimilitude that tiny musical cues out of sheer curiosity and, within minutes, works for Classé. He oversaw the design of the became hot, no matter how hard I ran it or what can provide and the CA-M600, it must be said, is regarded with a mixture of reverence and CA-M600, and it shows. The CA-M600 has the loudspeaker it drove. Classé doesn’t make a big a champion at extracting such low-level detail. incredulity. And at no point have those feelings virtues of a switching amplifier—which fellow deal about it, but this has to ensure increased In playing back Schubert lieder, for example, the abated. With some pieces of equipment you audiophiles assumed it was when they heard longevity for the amplifier’s capacitors and other CA-M600 seemed to provide an extra cushion of may be initially impressed, then sort of sink into how much power it boasts and how coolly it heat-sensitive parts. The fan is virtually noiseless air simply by projecting the sound of the recording a psychic easy chair of bland approval. With the runs—with none of the sonic drawbacks. and so I could never hear it become intrusive or studio walls more fully into my listening space. Classé CA-M600, however, nothing of the kind Indeed, any apprehensions that I might have audible while playing music. Run in balanced At the same time, musical cues were also has occurred. Instead, its tremendous grip, rock- harbored about deploying the most modern mode—it is a balanced amplifier—the CA-M600 enhanced by the rapidity of the CA-M600’s solid pacing, gorgeous tonal colors, and above all, technology in this amplifier were misplaced. The didn’t seem to produce any hiss or hum, either. In dynamic swings. Perhaps because of its utter transparency have never failed to impress. two most distinctive features of the CA-M600 all, the CA-M600 drove the Verity Lohengrin, the extremely impressive signal-to-noise ratio, it This is a superb amplifier, one that can compete are 1) the entire amplification takes place on Magnepan 20.1, and the Wilson Alexandria X-2, seemed to operate at a lightning-fast pace. This with any model up to $30,000, and then some. To one board before it hits the output stage, so that Series 2 loudspeakers. amplifier offers a wealth of micro-gradations paraphrase Samuel Johnson, the audiophile who signal loss is kept to an absolute minimum; and If the amplifier always remained cool to in dynamics—not simply one big bang, but a gets tired of this amplifier is tired of life. 2) a convection tunnel, based on laser technology the touch, its sound was not. One of the most series of escalating sonic thrills on the way to the The reason that I regarded the $14,000-per-pair derived from the medical industry, that uses a impressive aspects of the CA-M600 is its ultimate volcanic eruption. CA-M600 with initial caution was that it represents passive fan to ensure that the amplifier runs at a extremely high signal-to-noise ratio of 120dB. On a recording of Fritz Reiner conducting the

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EQUIPMENT review - Classé Audio CA-M600 Monoblock Power Amplifiers

Chicago Symphony playing the Nutcracker Suite, Singers are firmly planted, trumpets precisely Miley’s solos. Perhaps the spookiest part was I was thus mesmerized by the sheer velocity located, and so on. There is simply less of that listening to the singer Adelaide Hall, who doesn’t with which the various sections of the orchestra sense of haze and uncertainty when it comes to so much sing as moan and wail on cuts like SPECS & PRICING almost seemed to hurl themselves against each where the instrumentalists are actually located. “Creole Love Call”—one of my favorite Ellington other. It was almost breathtaking, for example, to Some audiophiles like to scoff at soundstaging, numbers, by the way. It wouldn’t be right to call Frequency response: 1Hz–100kHz, –3dB hear the vast sonic space from which the harp but for me, at least, it helps lend some credibility Hall a sophisticated lady on these numbers, but Output power: 600W RMS into 8Ω (27.8 DBW); emerged out of the orchestra, almost iridescent to the affair. an impassioned one. Regardless, the CA-M600 1200W RMS into 4Ω (27.8 dBW) in its tonal colors, unfurled like a peacock’s tail. For all its finesse, the CA-M600 also proved shone on these cuts, which, in some ways, are Input impedance: 50k ohms balanced / single- This was the closest that I have ever heard an a champ at belting it out on the big numbers, the most difficult to reproduce of all. ended orchestra rendered with the proper lustrous whether it was rock or rhythm and blues. On It shone in the sense that it simply seemed to Signal-to-noise ratio: 120dB at peak output into 8 sheen to the sound. One of the first things that Pink Martini’s CD “Hang on Little Tomato” [Heinz get out of the way of the signal path. If you want ohms I notice when listening to a live orchestra is the Records], the percussion section emerged with to pick nits with this amplifier you can. It does not Output impedance: 0.03 ohms @ 1kHz sheer sumptuousness of the sound, something concussive force. On a number of jazz recordings, have as refulgent sound in the midrange as tube Dimensions: 17.5" x 17.5" x 8.7" that stereo systems often sacrifice in the pursuit the percussion really opened up on top as well. amplifiers and doesn’t add any artificial bloom Weight: 88 lbs. of fidelity, in its most banal form, which is to say The amount of ambient air that the CA-M600 to recordings. It’s pretty much the naked truth the mere reproduction of detail for its own sake. delivers is really quite exceptional. with this amplifier. But having listened to this Similarly, on a prized Deutsche Grammophon Much of the magic of the CA-M600 is amplifier for several months, I could endlessly U.S. recording of Herbert von Karajan conducting attributable to its cutting edge technology. But extol its performance. I can only urge anyone Price: $7000 each Mendelssohn’s lovely Italian Symphony, it was ironically enough, the virtues of that technology contemplating the purchase of a solid-state riveting to hear the interchange, in the first came most home to me in listening to an old amplifier to audition the CA-M600. To some Classé Audio, Inc. movement, between the woodwind sections format—vinyl—on what now almost seems like extent, I am simply mystified by the CA-M600’s 5070 François Cusson and the strings. Everything was so precisely a prehistoric recording. To wit, I pulled off the performance. It almost doesn’t seem fair to Lachine, Québec delineated that it almost gave the feeling as shelf a 10" RCA pressing called “X” with the title get this much performance at its price. But the H8T 1B3, Canada though the orchestra was laid out in front of you. “vault originals.” It was Duke Ellington recordings benefits of new technology are patently apparent (514) 636-6384 It was simplicity itself to detect the differences in from 1927-28, featuring his early band—James in the CA-M600. classeaudio.com pitch and timbre between the oboe and clarinet. “Bubber” Miley, “Tricky Sam” Nanton, Harry Obviously, at $14,000 for a pair of these Then swooshing in with brio come the strings. All Carney, and Barney Bigard, not to mention the babies, it would be laughable to call the Classé U.K./E.U. the while each section of the orchestra can be Duke himself. One of the most intriguing aspects an inexpensive amplifier. At $35,000 the Classé Price: £5950 each/6500 Euro each perfectly located in its own space. Ditto for piano, of this LP is the so-called “jungle sound” it Omega monoblocks, which I have previously one of the toughest instruments to reproduce. features, which was prized in Harlem clubs of the reviewed in TAS, remain the company’s flagship. BOWERS & WILKINS LTD On Angela Hewitt’s performance of Couperin’s day. Now, it’s all well and good for a stereo system The Omega boasts a thunderous power that even bowers-wilkins.co.uk Keyboard Music [Hyperion], each line can be using the latest pressings or CDs to capture the the CA-M600 cannot match. But it would be quite 0800 232 1513 (UK only) heard distinctly, the felt of the hammers almost growls and wah-wah mutes of trumpets. But on surprising to hear another amplifier in its price audible as they strike the strings. a recording from 1927? I’d say that’s pretty nifty. and weight class that would offer even remotely Which brings me to another notable feature of And it was. similar performance. Classé Audio has set a new CLICK HERE TO COMMENT IN THE FORUM at avguide.com the CA-M600. Right from the outset, its stability The superlatively low noise floor of the Classé bar with the CA-M600. in reproducing the soundstage was evident. amplifier meant that it was a snap to follow Bubber

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DarTZeel NHB-458 monoblocks Alan Sircom

ometimes a product just Except it weighs as much as a truck load – and at such a high price – is it immediately demands a large gasp. The of Apple Macs and is made out of solid side-steps all the normal limitations and SNHB-458 is once such aluminium billets that take 150 hours to considerations about context. Someone product, the weight, the physical machine before sent for some of the richest spending the equivalent of the price of size, the finish, the power on anodizing around. The distinctive gold and an entry-level Cessna on a pair of power tap… and the price tag are all red colour scheme used in other DarTZeel amplifiers is not going to be limited in their gaspworthy. products gets its full expression here, and choice of source component, preamp, In a way, the NHB-458 is a sign of just it looks more elegant in the flesh than it loudspeakers, room, room acoustic how good the first DarTZeel product – the might first appear. Two smoked glass side treatment, stands, tables and cables. This is NHB-108 stereo power amp – really is. panels show off what’s going on inside the always going to be partnered with the very This 100 watt stereo chassis is one of the amp. best, so discussions of compatibility seem best amplifiers you can buy. To improve In fact, like the NHB-108, what’s going at best pointless. Nevertheless, there’s a upon it is not easy. Simply making bridged on inside the amp is deceptively simple. natural partner in the DarTZeel NHB-18NS mono versions of the NHB-108 doesn’t cut No contacts, no switches and just a single preamplifier and Zeel connections. The it – it would potentially improve upon the gas-filled relay per side. No negative rest is expected to be of a similarly high stereo chassis, but not provide the same feedback in either input or output stages calibre. jump in performance the 108 has above and only three junctions in the signal path Suitably partnered, the experience is a its peers. To make an amplifier that was from input to input. As you might expect remarkable one. Although its capable of demonstrably better than the NHB-108 from so expensive an amplifier, it involves a playing the sort of nice, safe music usually without losing something in the process lot of astoundingly expensive components heard at hi-fi shows, it’s hardly a test for an was the motivation behind the NHB-458 and incredible amounts of power reserve, amplifier this capable; the NHB-458 is the monos. And it goes some way to explain and a custom-made toroidal transformer kind of amplifier that’s wasted on simple just why these things cost so much; it’s about the size of a car tyre. Which is why music and can take anything you throw at not two NHB-108s, it’s more like the the amplifier weighs so much, and why a it. exponential of the power amp. notionally 450 watt per channel amplifier That being said, at first you should The first thing you notice about the tops out at something closer to 1.4kW at handle with care; not because it’s fragile, NHB-458 is their sheer physicality. The full tilt. but because this kind of dynamic range chassis itself is not much larger than an The exciting thing about a pair of power is not usually found in audio equipment Apple Mac Pro or similar tower computer. amplifiers built to such a high specification and you might suffer because of it. This

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EQUIPMENT review - DarTZeel NHB-458 monoblocks is the audio equivalent of a classic Lamborghini amps around. And for all that, it’s not the sort of that price; can any power amplifier, no matter Countach. Hit the throttle (or in this case, the psychotic sound that tries to be all things to all how good, be worth more than a top Porsche ‘pleasure control’) and remember to buckle up. people, and ends being nothing for anyone. Panamera Turbo with all the trimmings? In some SPECS & PRICING Waaaaarrrrrroaaaaaarrrrrrrggggghhhhh! This What the DarTZeel goes for is the musical respects, the question is an invalid one – you isn’t just a dynamic-sounding amp, it’s a dynamic enjoyment and entertainment first and foremost, aren’t going to splash out six figures on an amp Power Output: 450 watts into 8 ohms; 600 watts amplifier with a supercharger, nitrous oxide and it does that through the dynamic freedom of without having a heck of a lot of wealth behind on peak program music injection, twin warp engines and it’s own particle having almost instant, almost total power. Playing you. If you want the most majestic sounding, 720 watts under 4 ohms; 1,200 watts on peak accelerator. All those years with CERN being built ‘Goodbye Pork Pie Hat’ on Mingus Ah Um, you most romantic, most musically beguiling sound program music under the Alps patently rubbed off on the Swiss, get to hear this in the way the sax is there, living yet produced, but with lightning quick reflexes Inputs: phono (single-ended), XLR, Zeel and this is the sort of amp that can go from a and breathing in front of you. It will bring out the and the sort of dynamic range that will leave most No global negative feedback fraction of a watt to picking loudspeaker drivers majesty in music, even if that majesty is not easy speakers feeling like they went ten rounds with No feedback at input out of the wall in an eyeblink. to find. a before-the-griller George Foreman, this is the Full open loop output stage And like an old Lambo, this unlimited power There’s a lot of the sound of the original place. And if you have the folding to make the Constant propagation time from 2 Hz to 200 kHz at your fingertips comes with responsibility DarTZeel stereo power amp here, just with price question irrelevant, you’ll buy it. And I envy Phase rotation less than 1 degree from 20Hz to demands upon the listener. As it warms up, it’s seemingly endless power. The speed, the you, for owning something that passed fleeting 20kHz twitchy before it is responsive. But even when harmonic richness, the sound of an amp getting through my fingers (except weighing as much Dimensions (WxHxD): 25.5" x 32.3" x 12.2" cm it’s at full throat, you need to handle with care; out of the way were all functions of the original as the amps do, they wouldn’t pass through Weight: 150lb each there’s no single happy place volume level, you stereo. They are just here in full effect; where the fingers, they’d tear a few off in the plummet to need to fine-tune each record or you’ll overload. stereo chassis hits its functional limits of dynamic the ground). That’s not the speaker or the room overloading, headroom, sheer driving power for big speakers In all bar my wildest fantasies (OK, not those U.S. and it’s certainly not the amp, but you. You can’t and big rooms and stereo separation, is where fantasies; the printable ones), there’s no way I Price: $150,000 per pair take the information overload. the monos begin to let their hair down. could ever dream of even thinking about affording Blue Light audio This is perhaps an example of how audio should We are all children of the soundbyte today. this product, even if I could sprinkle the most (503) 221 0465 be. Each recording has its own level and if you Everything needs to be pinned down in a pithy special reviewer magic keen-pricing dust over www.bluelightaudio.com like to play these at something approaching real- sentence, no matter how much that trivializes the NHB-458. But if I could, I would. The rare world levels in the listening room, you have to act matters. The DarTZeel soundbyte works, though handful of incredibly well-heeled audiophiles who U.K./E.U. like a bit of a safecracker at the controls. Yet, for – it’s a flea-powered amplifier that brought a can afford this masterpiece will be buying a true Price: £135,000/135,000 Euro per pair all that endless dynamic range and ability to go really big friend along. This has all the romance, audio legend. I’m jealous. I really am.+ DarTZeel from mild to wild and back again as fast as the dynamic freedom and sparkle of a three-watt www.dartzeel.com music played, it’s not just about dynamic range. triode design coupled with the sort of effortless It’s a surprisingly subtle amplifier for something power delivery you might expect from a kilowatt Absolute Sounds that vast. design. From a sonic perspective alone, this +44(0)20 8971 3909 Vast, and fast. It’s virtually psychic. Transients is the Bruce Lee of amps; light on its feet, but www.absolutesounds.com like rim-shots appear with a directness and capable of kicking you through a door. You don’t impact that makes almost everything else sound just listen, you hang on. It’s a rush, it’s a hell of CLICK HERE TO COMMENT IN THE FORUM at avguide.com like it’s got a ‘thing’ against drum kits. Yet the a ride! amps are some of the most sweet and relaxing Let’s ‘man up’. There’s no getting away from

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Edge G6 power amplifier Alan Sircom

dge electronics make what – to This standard sized two-channel power amp or ‘unreliable’. aggressive because of this sense of balance, my mind, at least – must be the still manages to deliver a healthy 135 watts per Edge makes a claim – admittedly a claim more but it does serve to show just how slow a lot of Emost ugly amplifier known to man; channel into eight ohms. It features a conventional for the laser biased amps – that its amplifiers designs can sound in comparison. the NL Reference. These two hip-high bias circuit (as opposed to Edge’s signature laser finally realise the potential of solid-state as the This speed of delivery is matched by a sound bollard-pyramids of gently s-curved bias, which fires a 630nm laser at the silicon of replacement to valves, as they deliver a speed that is best summed up as both ‘clean’ and heatsinks might deliver 800 watts the output devices to act as a servo feedback of transient attack that only silicon can manage, ‘sweet’, and it’s here that I concur with Edge’s and sport laser-guided bipolar output system), a single 600VA transformer and a large with the harmonic richness of tubes, and this is a own assessment of its performance. The ‘clean’ devices. They may well sound amazing 40.000µF of power supply filtration. claim I can mostly agree with. The G6 also offers part channels the best of solid-state sound, while (and from the limited exposure I’ve had The amplifier itself is as simple as it comes; a the promise of greater things as you move up the the ‘sweet’ conjures up images of very good to these six-figure power amps at shows pair of RCA sockets in an grooved panel, a good line. valve power. Once again, these two elements are in the US, they certainly live up to the pair of speaker terminals, an IEC socket and a There is a distinct and satisfying urgency to in dynamic balance; the ‘clean’ sound balanced hype). But the looks… sorry, way too power switch at the back. And a blue LED at the the sound of music on the G6. There’s a speed by the ‘sweet’ and vice versa, so the overall Luxor for my tastes. front. The amp is finished in a choice of silver or to transient attack and leading edges that gives performance doesn’t pitch into that etched Edge doesn’t only make statement pieces. silver and the rounded sandwich design stands a sense of realism to percussive and rhythmic sound that can plague detailed solid-state The G6 stereo chassis offers a sweet taste of out from the pack. The whole package is built instruments (and that includes piano and guitar equipment, but also doesn’t over compensate what the best of the brand can do, at a price that with a reassuringly solid feel, like this isn’t the shredders). This is not an emphasis on leading and deliver something soft, warm and romantic, doesn’t need to come with an asthma inhaler. sort of amp that anyone’s going to call ‘twitchy’ edges, and the amp doesn’t sound fake or but completely free from drama.

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EQUIPMENT review - Edge G6 power amplifier

it’s easy to overlook just how competent the preamps are perfect partnerships though; as is amplifier is across the board. But go deeper and the Siltech C1 tested in this issue. Although not spend some time with the amp and you discover the sort of match people would make normally, I SPECS & PRICING its suppressed strengths. Suppressed isn’t the can foresee not much in the way of good things right word here, because the detail and dynamics coming from the marriage of, say, Naim and Edge Input: 1x pair RCA single-ended phono plugs are on show from the first track you play, but you or Exposure and Edge. Not that the preamps are Output: five way binding posts are psychologically drawn to major strengths of wrong, not that the Edge is wrong, just that the Power output: 135 watts per channel/eight ohms the Edge. Most power amps are less forthcoming two will likely go together like halibut cooked in Constant current capability: 14 amps in the long term. There’s an analogy with literature cocoa powder and Marmite. Output impedance: 0.07 ohms here; the Edge is a classic next to the pot boilers The Edge G6 leaves me wanting more. If the Output impedance: 33k ohms of commonplace amps, it deserves revisiting to base model is this good, do they get better as Conventional bias unwrap its true depths. they go up the range? Is laser biasing really a 1x 600VA transformer There’s a contemporary bonus too. This is great leap forward? Are Edge’s preamps and 40,000µF power supply filtration per channel the shallow end of a pool that goes all the way source components as good as this power amp? Dimensions (WxHxD): 16.7"x4.7"x15" to DarTZeel as well as Edge’s own NL series. Is there something more to the big pyramids than Weight: 50lbs That characteristic speed of attack and clean- a tall tower of heatsinks? One thing’s clear, this sweet sound is common to both the Swiss and isn’t the last you’ll hear of Edge.+ the American amp makers. Given the DarTZeel U.S. designs are some of the most well-received and Price: $5,188 ‘now’ sounding audio designs, that the little G6 Edge Electronics gets you a long way down that DarTZeel path for www.edgeamps.com a lot less than half the price of admission to the 1-815 522 6200 DarTZeel club, you can perhaps see why this is [email protected] not just another power amp. The one tempering force is this… choose your preamp wisely. It’s easy to make ‘fast’, U.K. ‘clean’ and ‘sweet’ turn into ‘forward’, ‘hard’ Price: £4,900 and ‘brash’ with the wrong preamp in front of These three elements – ‘fast’, ‘clean’ and it. This is perhaps where Edge power amplifiers Epicurean Audio ‘sweet’ – are the prevailing first impressions. You get a reputation for sounding very solid-state +44(0)780 556 7630 could easily stop here and be satisfied. Longer (or perhaps it’s as simple as people reading the term listening though unveiled the aspects of the name ‘Edge’ and assuming they are ‘edgy’). How performance that are almost masked by these you can tell whether you have the right preamp big three. Such as the G6’s outstanding levels stuff is whether your music tastes are altered; the of detail and clarity, wide, precise soundstage G6 is genre-agnostic with the good matches, but CLICK HERE TO COMMENT IN THE FORUM at avguide.com and effortless dynamic range. Because the fast, will pitch you toward certain styles if the preamp clean, sweet sound acts as a signature writ large, isn’t a perfect partner. ARC and conrad-johnson

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Krell S-150m Monoblock Power Amplifier Steven Stone

hen I began writing for TAS in would offer an energy-efficient amplifier, or one sink system. It was originally developed for the my room-based systems. Installation was simple, 1983, if you wanted a state-of- that didn’t require a Fabio-physique to carry, Showcase multichannel amplifier, where it had and except for making sure the balanced/single- Wthe-art solid-state amplifier that not drag, around solo. But Krell’s new under-30- to cool seven channels. It is extremely efficient. ended toggle switch on the back of the amplifier could drive any speaker you purchased pounds S-150m monoblock claims to be exactly Couple that with only having to do one channel was in the correct position, unremarkable. Once either a Krell or a Levinson. Period. that—a Krell for those of us who don’t live in the and you have a cool-running amplifier.” the power switch on the back of the amplifier Flash forward to 2010. Both Levinson gym. So how Krell-like can the S-150m possibly Throughout my phone interview with Todd is turned on the circular light which surrounds and Krell are still around, although under be? Let’s find out. he stressed that the S-150 isn’t about new the front-panel on/off switch glows bright red. new proprietorships. But unlike 1983, When I asked Krell’s director of engineering, technology as much as it is about refining and Turning on the amplifier changes the bright red audiophiles now have far more choices Todd Eichenbaum, about the S-150m’s overall simplifying existing Krell designs. Technology that circle to bright blue. And I do mean bright blue. in amplification, including some options design he said, “The S-150m is basically a scaled Krell first developed and used in 1996 can still be If you’re not into vibrantly colored lights, you can that make both Krell and Levinson seem down Evolution Series amplifier. It has fewer found in the S-150m. Although this contemporary turn this one off via an internal jumper switch. A modestly priced in comparison. output transistors, a simpler power supply, and incarnation is simpler, it still embraces the same second internal jumper can disable the front on/ Krell’s least expensive amplifier nowadays is the circuit itself is simpler. But the design goal design philosophy as, and circuit topologies off switch completely. You turn on the amplifier the S-150m, priced at just $5000 per pair. It’s was to retain as much of the performance of a similar to, other “classic” Krell designs, in addition by plugging it in. This feature is designed for in a compact (by Krell standards) cabinet that full-blown E Series as possible.” to drawing on Krell’s newer technologies. integration into 12V-triggered AV systems. remains cool enough for a cat to sleep on. Back When I asked Todd Eichenbaum why the I asked Krell to send me three S-150m amps During the review period all three of the S-150m in 1983 no one would have dreamed that Krell S-150m ran so cool he replied, “It’s the heat- so I could power all the front channels in both of monoblocks performed without a glitch or problem

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EQUIPMENT review - Krell S-150m Monoblock Power Amplifier

Krell amplifiers have always had a reputation for tight yet musically convincing bass. The S-150m Under the Hood maintains Krell’s rep. The bass lines on Was Not SPECS & PRICING The S-150m has two unity gain input buffers, with three pairs of high-speed high-current Was’ cover of “Papa Was a Rollin’ Stone” pulse one for each signal phase (inverting and non- complementary bi-polar transistors driven with enough mirror-ball disco thump to make all Krell S-150m Monoblock Power Amplifier inverting). They drive the balanced input of by a single pair of transistors. This single your stuff go bump. Acoustic basses, such as Inputs: One balanced via XLR connector, one single- the voltage gain stage while isolating it from pair is, in turn, driven by four pairs of smaller on Angela Easterling’s “One Microphone” from ended via RCA connector the source components. Although the S-150m bi-polar devices optimized for high-frequency her Blacktop Road CD, should pop in their initial Outputs: One pair via WBT binding posts is called a fully balanced circuit, the output of operation. attack. The S-150m preserved the opening pop Input impedance: 20k Ohms (balanced or single- the voltage gain stage is single-ended as is Requiring no additional filtering, the S-150m as well as the subsequent rumble. ended) the output of the amplifier. All the circuitry is is designed to be stable no matter what the In several of The Absolute Sound’s reviews Frequency response: 20Hz–20kHz +0, -0.12dB; discrete, allowing each section of the S-150m to impedance load. It doesn’t even need output of Class D amplifiers their lack of extreme- 0.3Hz to 120kHz +0, -3dB be designed and optimized for the task at hand. inductors or a Zobel R-C network to maintain upper-frequency air and extension has been Signal-to-noise ratio: >109dB unweighted The amplifier uses its own internal ground unconditional load stability. A Class A/B mentioned when they’ve been compared to the Gain: 26.2dB reference rather than an external balanced line. amplifier, the S-150m operates in Class A for its best conventional solid-state power amplifiers. Input sensitivity: 1.70V RMS (single-ended or It then uses this new balanced signal for the first couple of watts. The input buffers, voltage The first notes of Sharon Gilchrist’s shimmering balanced) current mode gain stage. gain stage, and drive stages all operate in Class mandolin on Peter Rowan and Tony Rice Quartet Output power: 150Wpc into 8 ohms, 300Wpc into The output uses a triple Darlington stage A mode. SS had more air and greater upper-frequency 4 ohms harmonics that I had been hearing through my Damping factor: >115 at 20Hz Bel Canto REF 1000 Mk II amplifiers. This “extra” Dimensions: 3.40" x 5.66" x 21.90" of any kind. It’s now thunderstorm season in the manual and automatic system set-up procedures treble openness surprised me, but after multiple Weight: 17 lbs. Rockies, so the S-150m’s were subjected to the prior settings I used with the Bel Cantos were months of listening I’m convinced the Krell’s several power outages, thunderstorms, and other also perfect for the Krells. upper-frequency presentation isn’t an additive power vagaries. Again, no signs that these sorts From the first notes several unmistakably Krell- effect—it’s the way high frequencies should U.S. of real-world AC phenomena had any effects on like characteristics emanated from the S-150m sound. Price: $2500 each the amplifiers. The amplifiers were all connected amplifiers. Whether they were connected to The S-150M’s treble presentation is on a par www.krellonline.com to AC through PS Audio Quintet and Quartet Dunlavy SC-VI, Genesis 6.1, or AV 123 Skiing with the best amplifiers I’ve heard regardless of AC conditioners most of the time, especially Ninja-modified X-Statik speakers, the S-150m their circuit. It deftly walks that fine line between U.K./E.U. when I was away from home. For some listening amps exhibited a level of dynamic control and dark and light, delivering both upper-frequency Price: £2,898 each/3,000 Euro each sessions I plugged the amplifiers directly into the ease that made me sit up and take notice. From sweetness and airy extension. This treble Absolute Sounds wall without additional power devices. Abra Moore to Yoel Levi and the Atlanta Symphony presentation also affects the amplifier’s overall 58 Durham Road I typically run stereo subwoofers with the Orchestra (the first and last artists in my iTunes resolution. Glenn Gould’s Goldberg Variations on London SW20 0TW crossover point anywhere between 55Hz and library) the S-150m displayed a dynamic liveliness SACD still ranks as my number one commercial www.absolutesounds.com 80Hz. The S-150m proved itself practically “plug- and dexterity that at times verged on the uncanny. recording for listening into a live mix. The S-150m +44(0)208 971 3909 compatible” with the last basic power amplifier On the Punch Brothers’ Punch! the background does an impressive job of separating Gould’s I had in my system, the Bel Canto Ref 1000 Mk singers’ subtle micro-dynamic shadings came verbalizations, thumps, and peddling noises from II, which also produces 26dB gain. During both through with mesmerizing clarity. the sound of the piano itself. CLICK HERE TO COMMENT IN THE FORUM at avguide.com

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EQUIPMENT review - Krell S-150m Monoblock Power Amplifier

Having extra high-frequency cues also sensitivity speakers in a medium-sized room and translates into additional spatial information. don’t specialize in listening to Wagner or Black On Malcolm Sargent’s rendition of the H.M.S. Sabbath at concert-hall levels, the S-150m will Pinafore overture with the Pro Arte Orchestra, scratch your Krell itch. the acoustics of that big ol’ empty stage and hall Compared to the best amplifiers I’ve heard in are more obvious. On my own recordings the my own systems the S-150m acquits itself well. overall soundstage size is ever so slightly larger The Pass X-150 is slightly more three-dimensional than it is through the Bel Canto amps. Depth and and juicier harmonically. In the race to be green dimensionality were identical with the two amps, the ICE-powered Bel Canto REF 1000 Mk II still but I was able to pinpoint instruments’ physical operates far more efficiently and uses less power, location quicker with the S-150m. but the S-150m only draws 30 watts when idling. As any audio dweeb will tell you, the midrange is Back in the good/bad old days, if you owned where most of the music is. The S-150’s midrange a pair of Apogee Scintillas you had two amplifier is as grainless and glare-free as any solid-state options, either a Krell or a Levinson. From their amp I’ve ever heard. Its performance easily keeps very first offerings Krell earned a reputation for pace with the Pass X-150 power amplifier in this being bulletproof, reliable, good sounding, and respect. Both have glare-free upper midranges, really really heavy. but the Krell is dynamically more nimble. The It’s nice to discover that Krell’s newest, Krell nails a string’s pizzicato, from the beginning smallest, and lightest amplifier has retained all attack to the quick muffled fade, with a sense of the attributes (except for the heavy part) that of ease and control that sounds slightly more the company’s reputation was founded on. Want dynamic than the Pass X-150. Maybe it’s just to own a Krell that will break neither your back that the Krell has more headroom, but whatever nor your pocketbook? Give the S-150m a serious the reason, I’ve never heard the Dunlavy SC-VI listen. Look out Earth, the Krell are still here. speakers sound more harmonically balanced or dynamically alive than when they were connected to the Krell S-150m amplifiers. So do the S-150m amplifiers have any weaknesses? Or to put it another way, do these little dynamos make buying a bigger Krell folly? Well, the S-150m is only 150 watts into 8 ohms or 300 watts into 4 ohms. In some systems, that may not be enough juice. On the other hand, if you’re a single-full-range-driver-in-an-open-baffle sort of person, then the Krell’s 150 watts will be about ten times more than you need. But for most of us great unwashed, who employ medium-

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Mark Levinson Nº53 Monoblock Power Amplifier Robert Harley

mplifiers with switching in the company’s long history—and it uses a output stages have not switching output stage. However, the flagship Aenjoyed much success in the Nº53 reviewed here isn’t just another switching high end. Although these so-called amplifier; it’s based on an entirely new and Class D amplifiers are revolutionizing patented topology that reportedly elmininates the mainstream audio because of their sonic shortcomings of previous Class D designs. small size, cool operation, light weight, Is the Nº53 one more questionable attempt to and high efficiency, audiophiles have bring Class D technology to high-quality music had reservations about Class D’s reproduction, or is it a breakthrough product that sound quality. The vast majority of could usher in a new era in audio amplification? “audiophile-grade” amplifiers sold You’d never guess that the $50,000-per-pair today are conventional linear amplifiers, Nº53 is a switching amplifier from measuring despite switching amplifiers’ manifold its substantial dimensions, lifting its 135-pound operational merits. (each) chassis, or feeling the heat emanating But now Mark Levinson, as venerable a high- from the massive heat sinks that dominate both end company as you’ll find, has introduced sides of the amplifier. The Nº53 looks, runs, and what it claims is the best-sounding amplifier feels more like a Class A amplifier. But no Class A

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EQUIPMENT review - Mark Levinson Nº53 Monoblock Power Amplifier amplifier of this size can deliver the Nº53’s 500W communicate with other Mark Levinson products ease that were stunning. Correctly reproducing instruments were sharply defined, precisely of output power into 8 ohms (1000W into 4 ohms). through the Link2 ports, although you won’t the percussive nature of the piano—the steep located in space, and clearly separated from I suspect that the huge amount of heatsink area is have access to diagnostic information. The rear transient information—is a prerequisite to realism, other images. This isn’t something I had to listen overkill. Although the heatsinks ran much warmer panel also holds balanced XLR and unbalanced and the Nº53 exhibited this quality in spades. carefully for, or compare with other amplifiers; than I expected from a switching amplifier, they RCA inputs, two pairs of binding posts, and an Aside from the effortless dynamics and the spatial accuracy was immediately obvious. never approached the temperature of nearly IEC AC jack for connecting a detachable power seemingly unlimited power reserves, the Nº53’s Listen, for example, to tom-tom fills, either pan- every Class A amplifier I’ve had in my home. cord. (See the sidebar for technical details of the most salient characteristic was an immediacy, potted or naturally recorded with a coincident The Nº53’s styling is clearly based on the Nº53’s design and construction.) incisiveness, and vividness in the upper midrange pair of microphones above the drummer (as “skyscraper” form factor pioneered in the Mark and lower treble. This region was upfront and in my recording of the CD Confirmation by the Levinson Nº33 from the mid-1990s. The Nº33 was The Sound centerstage, bringing high-frequency detail Chiz Harris Quartet). The location of each drum quite an amplifier in its day, weighing in at 435 The Nº53 had a distinctive sonic character to the fore and infusing timbres with palpable was perfectly defined as a point in space, even pounds per monoblock side and delivering 300W that was different from every other amplifier I’d presence. Throughout the listening, I consistently with huge kits and closely spaced toms. This into 8 ohms. By contrast, the Nº53 is about two- heard, and one that will greatly appeal to some heard a change in musical emphasis that favored spatial presentation created a vividness and thirds the size of the Nº33 and a third the weight, listeners more than others. This was true on all low-level instruments and lines, and not just palpability to the music that was unlike anything yet delivers nearly twice the output power. three loudspeakers I drove with the Nº53—the those rich in high frequencies. I’ll give you two I’ve heard before. A consequence of the Nº53’s The tower chassis sports the Mark Levinson Vandersteen 7s, B&W 802Ds, and Rockport examples. I’ve been using “Hey Nineteen” from extraordinary resolution and spatial delineation logo, illuminated in red when the amplifier is Altairs. First, the Nº53’s tonal balance was Steely Dan’s Gaucho as an evaluation tool for was the ability to hear, with ease, the musical powered on via a front-panel button. A second characterized by tremendous extension and grip decades, but have never been quite as aware contribution of every instrument. It was as though power switch on the rear panel completely in the deep bass, a very slightly lean (and highly of the hi-hat as I was when listening through the tapestry were unwound and presented as shuts off the amplifier, taking it out of standby articulate) midbass, and an upper midrange and the Nº53. The instrument came forward in the its constituent parts. This isn’t to say that the mode. Four operational modes are possible: on, treble that were immediate, vivid, and full of air mix, and I could hear precisely the mechanism sound lacked musical coherence, but rather that off, standby, and “power save,” which turns off and life. by which the sound was made. It was also this sonic quality allowed me to easily focus on all amplifier circuits but maintains power to the The amplifier conveyed a sense of effortless separated spatially from other instruments to any instrument or section. Dense, large-scale communication functions. The standby mode dynamics and control in the low bass, imparting an unprecidented degree. The other example is orchestrations, in particular, benfitted from this actually keeps the amplifier fully powered up, a powerful rhythmic drive, particularly on music Anthony Wilson’s delicate and spare guitar work delineation of individual musical lines. Although it but mutes its output. The communication ports with a strong kickdrum line. On the track “Blues on “Temptation” from Diana Krall’s The Girl in the might sound like this type of dissection might work include Ethernet, Mark Levinson’s own Link2 Be Out” from Wishful Thinking’s only album, Other Room SACD. He weaves some tasteful, against musical involvement, it actually allowed input and output jacks, and a 12V trigger input drummer David Garabaldi’s rock-solid funk subtle lines around Krall’s vocal phrasing that me to hear more of the composer’s intention and and output. The Ethernet port allows connection groove never had more body-moving pulse than took on a more prominent musical role through deepen my appreciation for the work. to a network. Put a computer on that network through the Nº53. In fact, the Nº53’s dynamics the Nº53. I was aware of this quality of bringing There were times when I put the Nº53 and it displays the Nº53 own Web page, which were outstanding across the spectrum; transients low-level information to the fore with just about amplifiers back into the system and thought that allows you to set the display brightness or check such as snare drum pops fairly leaped from the every piece of music I listened to through the they set a new standard in clarity and resolution. for operational errors. This feature also allows soundstage with an immediacy, impact, and high Nº53. (By resolution I don’t mean in the presentation the Nº53 to be part of the “ML Net” network “jump factor.” I appreciated the Nº53’s dynamics The Nº53’s spatial presentation was remarkable; of low-level information, but in a macro sense for synchonizing operation with other ML Net- when listening to the great Nojima Plays Liszt it had the most precise image focus and image of separating instruments and sections and compatible Mark Levinson products. If you don’t album on Reference Recordings, which the outlines I’ve heard from any power amplifier. The portraying them as separate and distinct from use this networking capability, the Nº53 can still Nº53 reproduced with an effortlessness and soundstage had a “sculpted” quality within which one another.) There were other times, however,

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EQUIPMENT review - Mark Levinson Nº53 Monoblock Power Amplifier when I thought the Nº53 was preternaturally In comparison with the BAlabo, the Nº53 was The Nº53 is a pivitol product for Mark Levinson, vivid and resolved, and felt a sense of relief when not quite as pure of timbre. The upper mids had and one that says much about the brand and the switching to the BAlabo BP-1 Mk.II and its utter a trace of glare and “clangy” sound to upper- company’s direction. The fact that it uses such a SPECS & PRICING ease, grace, and subtle refinement. If I can draw register piano transients. The midrange and treble radically different topology is a daring move. a parallel between these two amplifiers, the Nº53 didn’t have the textural liquidity and natural ease But it’s a move that has paid off, in my view. Output power: 500W into 8 ohms, 1000W into 4 was Oscar Peterson, the BAlabo Bill Evans. that I’ve heard from other world-class amplifiers. The Nº53 has some remarkable—even stunning— ohms Another parallel with pianists comes to mind; Strings, either massed or solo, were overlaid sonic qualities. These include dynamics, bass Connections: Balanced on XLR jacks, unbalanced the Nº53 is the sonic equivalent of the musical with a trace of grain. The combination of the grip, midbass articulation and expression, and the on RCA; Ethernet; trigger input and trigger output, performance of Minoro Nojima on Nojima Plays grain and forward treble presentation combined ability to present music as separate instruments Link2 port input, Link2 port output Liszt—an almost super-human precision and to emphasize vocal sibilance. Conversely, the rather than as slightly homoginized. In these Frequency response: 10Hz–100kHz +/-0.1dB technical perfection. Nº53 had absolutely stunning bass articulation, areas, the Nº53 was world-class. Input impedance: 100k ohms balanced, 50k ohms If you think of a continuum of sonic signatures, with precise pitch articulation, superb rendering The Nº53’s somewhat forward spatial unbalanced with a single-ended triode amplifier anchoring of dynamic detail, and an exquisitely detailed perspective, slight emphasis on the upper- Signal-to-noise ratio: 85dB referenced to 1W into 8 one end, the Nº53 would surely represent presentation of bass timbres. Ray Brown’s bass midrange and treble, and vivid soundstaging ohms the opposite end-point of the spectrum. This on the 45-rpm reissue of Bill Evans’ Quintessence will suit some listeners more than others. If you Dimensions: 8.5" x 20.5" x 20.5" character is a distinct departure from the Mark never sounded so real, so tangible, as through the lean toward the warm, forgiving, and rounded Weight: 135 lbs. each (net) Levinson “house sound” that for decades favored Nº53. The Levinson amplifier combined weight presentation of a single-ended triode amplifier, ease and relaxation over a “ruthlessly revealing” and power and clarity in the bass, which I found the Nº53 will likely not be your cup of tea. For presentation (which led some wags to call the greatly rewarding. those listeners who want to hear, with great U.S. brand “Dark Levinson”). This vividness will likely Discerning the Nº53’s sonic signature was quite precision and vivid clarity, every last detail on a Price: $50,000/pair polarize listeners either for or against the Nº53. simple; making an aesthetic judgment as to that recording, the Mark Levinson Nº53 will likely be www.marklevinson.com Indeed, I found myself polarized by the Nº53’s signature’s musical value was significantly more a revelation. unique musical interpretation, depending on the challenging. When going back and forth between U.K./E.U. music. these mega-amplifiers, there were times when Price: £40,852/pair The Nº53’s overall spatial presentation was dropping the Nº53 in the system resulted in an 50,000 Euro/pair more immediate than that of the BAlabo BP-1 immediate sense of hearing greater clarity and Mk.II, tending to project images slightly in front resolution. At other times switching to the Nº53 Karma-AV of the loudspeaker plane. The Nº53 was also caused me to yearn for the BAlabo’s timbral +44(0)1423 358846, somewhat drier sounding, with less resolution richness, warmth, and sense of ease. [email protected] of the lush reverberation surrounding the piano on Nojima Plays Liszt. Similarly, orchestral Conclusion performances sounded as though the hall were The Mark Levinson Nº53 is an intriguing product slightly smaller through the Nº53 than through that represents a new direction for this venerable the BP-1 Mk.II. The Nº53’s greater immediacy company. As the company’s first switching and slight reduction of depth and width fostered amplifier and current flagship at $50k per pair, the impression of sitting in the first few rows, in the Nº53 shatters the stereotype of the switching contrast with the Balabo’s mid-hall perspetive. amplifier as the technology of sonic compromise. CLICK HERE TO COMMENT IN THE FORUM at avguide.com

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EQUIPMENT review - Mark Levinson Nº53 Monoblock Power Amplifier Under the Hood

The Nº53 is based on a new output-stage topology developed which the first runner can’t quite reach the second runner to pass a core technology for Harman that will find its way over the years inside parent company Harman International. To understand the the baton. into a wide range of products, particularly with the onset of Nº53, you need to know the basics of how a switching output stage Keeping each transistor turned on a little longer to avoid these the new European regulations regarding power consumption of works and its shortcomings. dead bands is not an option; if both transitors in the pair are on electronic products. A switching amplifier gets its name from the fact that the output at the same time, even for microseconds, the amplifier will be In addition to this technical innovation, the Nº53 has easily transistors are switched fully on or fully off. This is contrasted with instantly destroyed. The timing precision in turning the transistors the most ambitious implementation of any switching amplifier a conventional linear amplifier in which the output transistors are on and off is crucial to both sound quality and reliability. Leave the I’ve encountered. The massive power power supply, for example, in a continuously variable state of conduction—the current flow transistors on too long and you risk catastrophic failure; leave a would be at home in a linear amplifier. It features a 2.8kVA power through the output transistors is a replica of the musical waveform. margin for error and sound quality suffers. transformer with nearly 200,000uF of filter capacitance. The But in a switching amplifier, the amount of time the transistors The Nº53 solves the dead-band problem through a patented and power supply is isolated at the bottom of the chassis within its are fully turned on determines the waveform’s amplitude. The proprietary technology called “Interleaved Power Technology” own shielded sub-enclosure. And then there are those massive transistors’ output is a series of high-frequency pulses that are (IPT). The Nº53 contains four separate switching amplifiers that slabs of heatsinks that cover the side panels. The large heatsinks smoothed by a filter into a continuous analog waveform. The filter are time-interleaved so that the dead bands resulting from one will maintain a nearly constant operating temperature regardless also removes the large amount of switching noise at the switching stage are “filled in” by the other amplifiers that are conducting of the output power of loudspeaker load. I suspect that this new frequency. Switching amplifiers require a carefully designed output current at the moment the other amplifier is experiencing a dead switching output stage doesn’t require anywhere near the chassis filter to completely remove this switching noise. In addition, the band. There’s never a time in which a transistor in one of the size or heatsink area of the Nº53, but Harman likely wanted to power supply design is crucial, because the DC that supplies the amplifiers isn’t conducting. The problem of transistors destroying introduce this new and potentially important switching technology output transistors is switched directly to the loudspeaker load; any themselves if both transistors in a complementary pair are turned by showcasing it in a cost-no-object implementation. RH noise or ripple on the DC rails appears on the signal driving the on at the same time is obviated because the transistors that are loudspeaker. turned on simultaneously are in entirely separate amplifiers. But a more challenging problem with a switching output stage Each of these four amplifiers operates at a switching frequency is the fact that the transistors that handle the positive-going half (the speed at which the transistors are turned on and off) of 1MHz, of the waveform and the transistors that handle the negative- which, when combined through the time-interleaving technique, going half of the waveform can never be perfectly synchronized. results in an effective switching frequency of a whopping 4MHz. Transitors take a finite amount of time to turn on and off. As A side benefit of this interleaving trick is that the high switching one transistor turns off at the zero-crossing point in the analog frequency shifts the switching noise to a higher frequency which waveform to “hand off” the signal to its complementary transistor, can be filtered more benignly. Indeed, the Nº53 has a bandwidth there’s a time lag before its complement in the pair turns on. of 100kHz, which is remarkable for a switching amplifier. In most This creates “dead bands” at the zero-crossing points where no switching amplifiers the analog output filter’s cut-off frequency is transistor is amplifying the signal. Every cycle of the waveform has an octave or so above the audioband. two dead bands where there is no output. It’s like a relay race in This time-interleaved switching output stage will likely become

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NuForce Reference 18 V3 Monoblock Amplifier Chris Martens

have been following the gradual evolution of NuForce’s Class D Reference 9 Series monoblock amplifiers for years and Ihave been impressed with the progress the NuForce team has made with the design over time. From the outset, I felt the NuForce amps had much to offer in terms of detail, transient speed, expressive dynamics, and rock-solid bass, though I recognize that their sound is also considered controversial by some critics who felt the amps sounded overly analytical, mechanical, or even bright—as if delivering what one writer termed, “highs under glass.” Taking these criticisms to heart, the NuForce team labored, successfully in my view, to give successive versions of the Reference 9 a smoother and more mellifluous sound intended to deliver “sweeter highs” and “a more natural and relaxed presentation.” Each new iteration of the amplifier offered small but worthwhile incremental improvements, which is all to the good. Still, over the past year or so, NuForce decided to develop a new amplifier that would be capable of taking much bigger sonic steps forward—an amplifier meant to compete directly with statement-class amplifiers regardless of price. The result of that design effort is the new Reference 18 monoblock amplifier ($7600/pair), which is the subject of this review.

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EQUIPMENT review - NuForce Reference 18 V3 Monoblock Amplifier

Thus far NuForce’s monoblock amps have audible “parasitic resonances” of all kinds and traditionally been extremely compact, featuring thus to offer a “no-compromise route to the deep but narrow enclosures roughly one-half ultimate in performance.” NuForce’s Web site rack space wide. The Reference 18, however, provides the following description of the CMA uses a considerably larger, 17-inch wide chassis capacitor bank: that gives the amp the appearance of a wide, The Ref 18 CMA employs the highest-quality flat, metal slab finished in satin black, with the capacitors of various values arrayed in a quasi- NuForce logo set in recessed letters on its top random pattern in order to spread resonances plate. At the front of the amplifier is a sharply over a wide range of low-amplitude frequencies. beveled faceplate whose sharp angles remind In order to minimize stray magnetic fields, and me of the shape of Lockheed’s F-117 Nighthawk hence, to reduce parasitic inductance, the “stealth fighter.” The only oddity is that the amp capacitors are positioned so that their polarities are appears, at first glance, not to have a front panel reversed with respect to each other. By lowering on/off switch of any kind. If you look closely at the inductance, any remaining resonance is elevated amplifier’s “stealth” faceplate, though, you’ll see to frequencies where its elimination becomes an what appears to be a slim gloss black trim strip easier task. Finally, low-value resistors combine that in actuality turns out to be a touch-sensitive with capacitors in strategic locations in order to power switch. If you swipe your finger across the dampen residual resonances. trim strip from left to right, the amp will power up Interestingly, the purpose of the CMA array powered-up the Reference 18s they immediately hard, not even in the midst of taxing or highly as denoted by a red NuForce logo that illuminates is not to increase the amp’s power output per produced a more detailed, three-dimensional, complicated dynamic passages, so that at every from within; reverse the finger-swipe process se (both the Reference 18 and the Reference 9 and dynamically expressive sound than any point the Reference 18 seemed ready, willing, (moving from right to left) and the amp shuts down. produce an identical 175 watts at 8 Ohms or 335 of the NuForce amps I’ve reviewed in the past. and able to do the musical signal’s bidding—no It’s a cool and clever design touch that’s fun to watts at either 4 or 2 Ohms), but rather to improve What is more, those sonic differences became matter how sudden or severe the demands on use. At the rear, the Reference 18 provides a pair qualitative aspects of power delivery. NuForce even more fully fleshed out and refined after the its power reserves happened to be. In fact, this of WBT speaker terminals and switch-selectable says the array enhances the amp’s ability to amps were allowed to warm up for several hours. agile, “energy-on-demand” quality is one of the single-ended (RCA) or balanced (XLR) inputs. resolve subtle, low-level textural and transient In short, the Reference 18 left behind the world Reference 18’s signature characteristics—one Why did NuForce go with a larger chassis details and to handle both small and large-scale of small, incremental improvements and instead that makes other amps sound, by comparison, as for its new amp? The short answer is that the firm dynamic shifts with grace, speed, and finesse. offered a substantial sonic leap forward. if they are struggling to keep pace with the music wanted to equip the Reference 18 with a bigger Are these claimed sonic benefits borne out in One of the first things I noticed was that (or to overcome internal dynamic constraints). I and better power supply than the one used in real-world listening? Indeed they are, and with the Reference 18, despite having the same found the Reference 18s dynamic agility not only the Reference 9. The planned high performance results that are far more dramatic than you might rated power output as the Reference 9, seems benefited large-scale orchestral works and the power supply in turn features an extremely at first expect. significantly more powerful and expressive. like, but also gave quieter, more contemplative elaborate array of capacitors that would never Let me begin by noting that the Reference 18, When dynamic shifts in the music occurred, material greater impact and realism. have fit within the tight confines of the small like all NuForce amplifiers, benefits from a good whether large or small in scale, the forceful Ref To appreciate the Reference 18’s benefits on Ref 9 enclosure. NuForce calls its special bank bit of run-in time (our samples were trade show 18s instantly responded with an almost startling large-scale material, try listening to the second of capacitors a “Cross-Matrix Array” (or CMA, demo units that had received plenty of burn- degree of speed, power, and control. There was (Scherzo: Allegro molto) movement of the Copland for short)—an array said to minimize potentially in in advance). I found that from the moment I never any sense that the amplifier was working Organ Symphony with Tilson Thomas and the

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EQUIPMENT review - NuForce Reference 18 V3 Monoblock Amplifier

San Francisco Orchestra [SFS Media, SACD], sonic transformation, so that its sound—while an unnatural and almost mathematical precision theme on solo piano, only to be joined several where you will hear relatively quiet passages still exhibiting tons of resolving power—becomes (as in, “Attention listeners: this sound just measures later by Bela Fleck offering soaring, unfold to become full-fledged crescendos of noticeably more liquid, easygoing, and relaxed. originated from a point defined by coordinates lilting, and almost ethereal lines on his banjo. thundering proportions. What I found particularly As a direct consequence, musical details are X, Y, and Z), but rather arrive from believable Then, as the song unfolds, Meyer switches from interesting about the Reference 18’s handling of allowed simply to happen, unfolding effortlessly locations within equally believable soundstages piano to his primary instrument—an acoustic the movement was not just its ability to navigate and naturally without the amplifier imparting (as in, “the conch player just stood up to play a bass that, on this track, is played arco rather the crescendo sections with muscular grace, any excess edge enhancement or unnatural few solo notes before sitting down, back on the than pizzicato-style. It is a delicious study in but also—and perhaps even more importantly— brightness that isn’t part of the recording itself. far left side of the stage just behind the conga contrast to hear the Reference 18 delineate the its ability to highlight the dynamic contrasts As this transformation occurs, several beneficial player”). The fascinating result is that both lateral very different and yet equally evocative voices between crescendos and the quieter passages things happen at once. and front-to-back imaging becomes at once more of these three instruments, and one fascinating that preceded them. Dynamic contrasts are one First, the amplifier does an increasingly good focused and specific, yet also exhibits a more aspect of the performance—as rendered by of the things the Reference 18 does best, so that job of capturing the sense of air surrounding natural and organic sound (or at least that’s what the NuForce amps—is that the sound of each at times the amp creates the illusion that it has, in instruments or reverberating within the confines happens on good recordings). Finally, timbres instrument remains perfectly stable, full, and a subtle and entirely appropriate way, unlocked of recording spaces. Second, previously veiled and tonal colors become purer, better defined, complete whether the other instrument is playing and expanded the dynamic range of familiar nuances not only become easier to hear, but also and truer to themselves. at the same moment or not. This might seem records. become more smoothly and fluidly integrated For a good example of all these qualities in an obvious point, yet it is not. With many amps But there is more to the Reference 18s than within the musical whole (this is the “liquid” action try listening to the track “Palmyra” from one has the sense of there being a painfully finite dynamic expression, because these amps quality I mentioned above). Third, imaging and Bela Fleck and Edgar Meyer’s Music for Two reservoir of clarity to draw upon, so that as more also offer two more vital and interconnected soundstaging cues sound more whole, complete, [Sony Classical] through the Ref 18s. The track instruments join the mix the amount of resolution characteristics that help to enhance realism: and realistic, so that sounds no longer arrive with opens with Meyer stating an elegantly simple that can be devoted to any one of them gradually namely, terrific transient speed and excellent decreases. But not so with the Reference 18; it resolution of very fine, low-level details—areas seems able to provide clarity-on-demand to fit where the Reference 18 comfortably exceeds the requirements of the record. the performance of the already good Reference In “Palmyra,” for instance, it is easy to get lost 9 V3 SE. When first powered up, the Reference in the distinctive, plaintive textures and timbres 18 sounded detailed with a capital “D,” so that of Fleck’s banjo, whose sounds begin with a I couldn’t help but notice how much sheer fast-rising attack as the instrument’s strings are sonic information the amplifier was conveying. first plucked, with the fuller envelope of the note Long experience has taught me, however, to be unfolding an infinitesimal split-second later as cautious when details draw too much attention the banjo’s signature head and resonator begin to themselves, even in seemingly good or to release energy. By comparison, Meyer’s bass pleasant ways, since this can be an indication has a radically different way of delivering sound that there are elements of artificial “highlighting” (not to mention its typically lower-pitched voice), or “spotlighting” present (qualities that can be so that you first hear the bow start to move, exciting at first, but that foster listening fatigue over then hear the bow gain traction on the string, the long haul). However, given adequate warm-up and finally hear the bow generate a mounting time, the amp undergoes a subtle yet significant wave of acoustic energy as the string and the

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EQUIPMENT review - NuForce Reference 18 V3 Monoblock Amplifier large wooden body of the instrument begin to depth, power, nuance, and, above all, control. rendering them powerfully, yet with consistent vibrate. The Reference 18s give you an up-close No other amplifier I can think of does a better or nuance and precision. view of the collaboration between Fleck and more consistent job of getting woofers to behave Well, as with many great audio components, SPECS & PRICING Meyer, where Fleck’s fast, fluid banjo lines have themselves and to follow the music, rather than the Reference 18 has some of the qualities of the quick, dancing quality of leaves caught in a allowing them to wander off on uncontrolled low- a double-edged sword. The good news is that Frequency response: 20Hz (-0.3 dB)–120kHz (-3dB) gust of wind, while Meyer’s bass lines supply an frequency excursions on their own. In short, you it will tell you exactly what’s going on in your Power output: 175 watts at 8 Ohms, 335 watts at 4 almost hypnotic surge, much like the ebb and can trust the NuForce to get the foundational recordings. The not-so-good news is that it will or 2 Ohms flow of waves on a seashore. The sonic effect elements of bass right. tell you exactly how your recordings really sound. Inputs (switch selectable): One unbalanced analog is both riveting and realistic, creating the illusion To hear what I mean by these comments, try This is perhaps a roundabout way of saying audio (RCA jack), one balanced analog audio (XLR) that the listener is seated just a few rows back playing “Temple Caves” from Mickey Hart’s Planet that the Reference 18 has a certain tenaciously Dimensions: 2.95" x 17" x 15" from the front of the performance stage. Music Drum [Rykodisc] and listen for the ultra low- revealing quality that just won’t quit, and in this Weight: 16 lbs. for Two is an extremely well made live recording, pitched “Earth drum” to sound. The instrument is respect the NuForce amps do invite what might be and the NuForce amps let you hear the voices exceedingly low-pitched and powerful—qualities considered an analytical or perhaps “diagnostic” of the instruments unfold within the natural that, with some amplifiers, would be a recipe for style of listening. After you live with this amp for U.S. acoustics of the performance venue, making the sonic mush. But the Reference 18 wades right in, a while, you may find you instinctively become a Price: $7600/pair spatial relationship between the players clear grabs hold of the sound of the drum, and simply connoisseur of fine mixing and mastering efforts, and explicit. nails it, so that you not only hear the attack and since the amp renders well-made records with NuForce, Inc. Finally, let me come right out and tell you that gradual decay of the drum, but also experience stunning and at times breathtaking beauty, but 385 South Abbott Ave., the Reference 18 offers some of the best—if not the full depth and weight of its presence. Yet also exposes any flaws that may be present for Milpitas, CA 95035 the best—bass reproduction I’ve ever heard from even when caught up in the sheer power of the exactly what they are—flaws. The amp doesn’t (408) 890-6840 any amplifier at any price. This is an area where drum’s notes, the NuForce preserves a sense of browbeat you with defects in recordings, but it www.nuforce.com NuForce amps have traditionally been very good, proportion and detail, so that you also hear very makes no effort to conceal them. For my part, I’d but where the 18 takes things to an even higher subtle modulations within the envelope of the rather have the Reference 18’s pure, unvarnished level. What is so satisfying, here, is the amplifier’s notes. The Reference 18 adds dramatic impact, honesty, but you might make a different choice. U.K./E.U. nearly unbeatable combination of extension, not by overstating low frequencies, but rather by But remember this: When your recordings are Price: £6,995 up to the task, the Reference 18 will make them sound mind-blowingly good. ROBYTONE The Reference 18 is hands down the finest Gerard Bilderstraat 41 amplifier NuForce has made, and I think it is 5753 DE Deume good enough that it deserves to be included in The Netherlands most any discussion of top-tier amplifiers. Even +31(0)493 744 020 if you have heard (and perhaps disliked) Class www.robytone.com D amplifiers in the past, this is one I think you will find worthy of your time and consideration. Above all, the Reference 18 keeps faith with the truth of the recording itself, which is all anyone might ask of a fine power amplifier. CLICK HERE TO COMMENT IN THE FORUM at avguide.com

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