Located in New Zealand, Plinius has been making great components for years, and the brand has a loyal customer base that sings the Plinius praises on most of the audio forums. And with good reason. Every Plinius product we’ve had the privilege to audition at TONEAudio has always exceeded expectation.

The company’s top-of-the-line power amplifier, the SA-Reference, is no different. Plinius has always stood for great value and high performance, but this amplifier is in an entirely different league. Tipping the scale at 125 pounds and costing $20,900—both reasonable figures compared to some of its competitors—this is truly a destination product. Every SA-Ref is hand built and tested in the New Zealand factory. These massive amplifiers are available in a finish that Plinius refers to as “linishing,” and is offered in a black or silver anodized color as the one you see here. With large and conveniently placed handles on both the front and rear of the amp make it easy enough for those who aren’t Olympic deadlifters to move the amp into place.

Flanked with distinctive heat sinks on both sides, this Class-A masterpiece lives up to its nature by producing a lot of heat. But, in comparison to my reference Pass Xs 300 monoblocks, the heat is manageable. For those feeling a bit greener, there is a switch on the front panel that allows the amplifier to be run in Class-AB mode, which drops the idle power consumption down from 1,100 watts to 184 watts. During the course of this review, I leave the amplifier on in AB mode all the time, switching to Class A at the beginning of the day. This shortens the time to thermal stabilization and dramatically cuts power consumption. Operated thusly, the SA-Ref takes about 30 minutes to come out of the fog and do its thing.

At first blush, the difference in sound quality going from A to AB doesn’t seem as great, but extended listening validates burning the extra electricity. Again drawing the comparison to the Pass amplifiers, the SA-Ref goes from great to sublime in Class-A mode. I say drive a few less miles or keep the lights low if you’re feeling guilty about the power consumption. Your ears will thank you.

Major Microdynamics

Even with a musical selection that is relatively lacking in dynamics, like the Zombies’ “Tell Her No,” the wealth of texture that the SA-Ref provides will have you immediately under its spell. A similar effect is achieved with Neil Young’s classic bootleg Time Fades Away. This recording has lackluster quality at best, yet when delivered via an amplifier that can extract so much musical detail, the music feels closer than ever without sounding etched. On the title track, the piano in the background is usually almost indecipherable, but the combination of the SA-Ref and the $85,000-per-pair Dynaudio Evidence Platinum speakers gives this flat recording some depth, helping those small, fun details rise to the surface.

Let’s face it—we all have records in our collection that we love, even though they might live up to audiophile standards. The SA-Ref goes a long way towards making a wider range of your music collection more enjoyable—and that’s a great thing.

Going upscale with source material reaps even bigger rewards. Tracking through a 24-bit/192-kHz version of Neil Young’s Harvest reveals precious levels of detail and ambience, which bring new life and renewed clarity to this brilliant recording. The grungy, distorted guitar at the beginning of “Alabama” blasts off the walls of my listening room. I can almost hear the grill cloth on Young’s guitar amplifier move—fantastic. It’s this wealth of nuance that makes the SA-Ref a world-class component.

Admittedly, this reviewer is a huge fan of Class-A solid-state amplifiers; the additional tonal warmth (over most Class-AB amps), combined with the tremendous bass grip of properly designed amps, makes you wonder if the glass bottles are really necessary. The SA-Ref is one of these rare amplifiers indeed.

Plenty of Punch

The SACD of the Art of Noise’s Daft features a lot of trippy, spatial effects, with organic and synthesizer sounds floating around all three axis of the soundstage via the dCS Vivaldi digital player. The track “Who’s Afraid (of the Art of Noise)” is perhaps the biggest sounding of the bunch, with playful female vocals thrown in the mix far left and far right, with plenty of giggling and heavy breathing punctuated by the occasional “boo, boo” added for good measure. No, this amp won’t necessarily reveal the tonality of a Stradivarius violin, but it is big fun—and through an amplifier that can’t throw a massive soundstage, this recording sounds incredibly dead. The SA-Ref passes this test easily, with the big Dynaudios disappearing in the listening room like a pair of minimonitors.

On Elvis Costello’s duet with Burt Bacharach, “What’s Her Name Today?” the piano floats slightly in front of the imaginary line between the tweeters, with the strings just behind Costello’s voice, which takes on a height that makes it feel like he’s standing in the room singing. Every breath of his delicate falsetto, which grows to a major bellow at the end, is reproduced with just the right amount of dynamics and effort, again suggesting the real thing.
When I switch the program to heavy rock, the SA-Ref delivers the goods. And what better way to prove it than with the Audio Fidelity 24 Karat Gold CD of Judas Priest’s Hell Bent For Leather? Cranking the ARC REF 5SE preamplifier up to 70 (forget about 11) drives the KEF Blades, which are now back in the system at bone-crushing levels. While I find myself looking for a lighter to hold up, the SA-Ref motors through.

After about an hour of listening at levels well beyond reasonable and prudent, sifting through Black Sabbath, the Black Keys and Black Country Communion, I turn down the volume to reflect. My ears have given up, but the SA-Ref simply cannot be pushed to clipping when driving a pair of speakers with 88 dB or 90 dB sensitivity ratings. And so—while they are unsuitable matches for an amplifier of this quality—I bring out the power-hungry Magnepan 1.7s, just to probe how far the SA-Ref can be pushed.

Should you manage to push this amplifier to clipping, it does so softly and gently, with only a slight reduction in the overall soundfield. Fortunately, if you require this much power, the SA-Ref can be converted to mono operation with the flip of a switch on the rear panel. It is now capable of delivering 1,000 watts into an 8-ohm load and 1,800 watts into 4 ohms. The SA-Ref is a model of simplicity, allowing balanced XLR or standard RCA inputs, and it proves compatible with all of the preamplifiers at my disposal, from Audio Research, Burmester, Conrad-Johnson, Nagra, Robert Koda and Simaudio.

The Art of Relaxation

As days roll by with the SA-Ref in the system, it is clear that this is one of the few solid-state amplifiers that combines a freedom from distortion with effortless dynamics, and that it can just get out of the way of the music and quickly get you into the relaxation zone. And isn’t that the ultimate pleasure a premium hi-fi system should provide?

Pressurizing the sound room can be captivating for many listeners, but those subscribing to the “first watt” philosophy of sound will not be disappointed either. Even at low volume, the SA-Ref has plenty of finesse and acquits itself like a low-parts-count, low-power amplifier, providing a richness of tonal contrast that will make you want to pop the top to see if there really aren’t some tubes lurking inside. I briefly return to the Black Keys and discover that the guitar on the gentle intro of “Lies” just floats between the speakers while dripping with echo and decay.

Easing back into the couch with Arnold Bax’s Symphony No. 4 is even more soothing. That extra power on tap, combined with a very neutral tonality, makes this amplifier a delight when delivering large-scale orchestral pieces. It paints a big soundscape with both width and depth, and it is able to keep the smallest details rendered while easily and adequately capturing the scale of even the loudest passages.

A Little Comparison Shopping

How does the SA-Ref stack up to some of its similarily priced competitors? Quite well, in fact. The Pass Xs300s are a bit unfair, as they break the bank at $84,000—and, in all honesty, when I switch back and forth, the Pass amps take the lead in terms of resolution and a more dreamy, more realistic presentation. The SA-Ref sounds slightly etched and small in this unfair comparison.

However, when I go back to a couple of comparably priced competitors—the Burmester 911 MK3 ($29,900), the D’Agostino Momentum Stereo ($29,000) and the Audio Research REF 250s ($25,000 per pair)—the SA-Ref holds its own to the point of simply differing from these other amps. It would be like comparing the Audi S4, BMW M3 and Mercedez AMG C Class, which are all high-performance machines, to be sure, but each has its own take on how said performance should be delivered.

When paired with all the speakers at my disposal—KEF Blade, GamuT S9, Dynaudio Platinum and Focal Maestro Utopia, which are all reference speakers in their own right—the SA-Ref provides a sound slightly warmer than the tubed ARC monos can, yet not quite as warm as that of the Burmester. The D’Agostino is probably the most neutral of the four, but these are very, very fine hairs we are splitting here. Considering that the SA-Ref will set you back a comparatively less expansive $22,000, it really is a bargain for the sticker price.

In the End…

…We’re all dead, but while you’re still living and possessing decent hearing and cash flow, I highly suggest considering the Plinius SA-Ref amplifier. If you want a destination amplifier that can convert to monoblock (should you need more power at some point) and if you love the concept of a Class-A solid-state amplifier that will never need tubes replaced, this just might be your baby.

SA-Reference Power Amplifier

MSRP: $20,900

www.pliniusaudio.com

Peripherals

For audio fans who believe sonic reproduction should be heard but not seen, a large-scale component system just isn’t practical.  Many component systems require significant space and can be obtrusive in a main living area or in a small room. For those individuals, Bel Canto’s e.One series just may be your entrance ticket. The e.One series makes available components of substantial capability but petite form factor.

We had the opportunity to test the C7R. It’s a bit challenging to categorize this unit given its versatile combination of features and functionality. While Bel Canto’s website labels it a “DAC Integrated Amplifier,” the nomenclature proves understated since the unit offers quite a bit more functionality than the name summarizes. If “under-promise and over-deliver” represents the goal of the product name, Bel Canto has set itself up well to exceed user expectations.

Under the big top?

Well, perhaps a better descriptor for the C7R is the “small top.” Unboxing, examining, and reading the manual for this Bel Canto leaves a user with a degree of amazement. Like a multitude of circus clowns cascading forth from a Volkswagen Beetle, the capabilities of the C7R just keep emerging. How could such a small box host such an array of functionality?

The C7R measures a placement-friendly 8.5” (216mm) wide, 12” (305mm) deep, and 3.5” (88mm) high. The entire package weighs in at a mere 13 lbs (6.5 kg).  Inside, the Bel Canto’s amplifier offers 60 watts at 8 ohms, and double that into 4 ohms.

The C7R’s back panel is a marvel of space usage and planning, enabling a generous number of input options. For the digital realm, this Bel Canto packs five digital inputs into the back panel including two SPDIF and two TOSLINK connections supporting 24/192 resolution. Complementing those is a USB input enabling 24/96. All of these signals are converted with its built-in DAC.  An AES/EBU digital input option would be a welcome addition, but it’s not available on the C7R. Perhaps there just wasn’t space for it!

Analog fans will also appreciate how the Bel Canto delivers. The expected RCA input is flanked by an MM phono input. While an MC input is not included as part of the package, it’s still hard to fault the C7R too much considering all the versatility it does offer.  On top of this, somehow, the team at Bel Canto managed to squeeze in an FM tuner with 10 user-chosen presets.

In addition to the rear panel speaker outputs, the Bel Canto features an RCA line output which can be configured to enable home theater bypass capability. As a really nice bonus, C7R includes a quarter-inch headphone output on the front panel.

Three rings? No, just one!

Controls on the unit body are minimalistic. After power is connected, a short boot-up process leaves the C7R ready for action. A single wheel on the right side of the front panel, with a handy indentation for one-finger speed-spinning ease, controls both volume and input selection. An inward push on the wheel center brightens the left-side input selection display, and the subsequent wheel movement glides through the input options making selection a breeze. Another push of the wheel switches to the volume control, and that transition is acknowledged with a brightening of the digital volume readout. For such a small unit I applaud Bel Canto for making the display large enough to read from across the room.

The digital display assigns each input a default abbreviation for easy identification as a user toggles among them, but the C7R does allow the user to create personalized four-letter words – well, perhaps I should say ”abbreviations.”

The need for a large display becomes clear once the user examines and uses the remote control. Like the back panel of the C7R the remote has a well-executed layout which makes many options adjustable from a favorite listening chair. In addition to volume, mute, input selection, phase selection, and digital source controls, there’s an option of FM station scanning and a few extra buttons enabling balance adjustment.

Taming those lions

With so much functionality to choose from, it’s easy to assume the setup process for such an animal bears some sharp claws and pointy teeth. Therein lies the irony of the C7R.  The experience is mostly plug-and-play with intuitive labeling on the back panel.

Connecting a USB computer music server, a digital coax input from a CD player, a line-in from a Light Harmonic DaVinci DAC, and a Marantz TT-15 turntable with a Clearaudio Virtuoso MM cartridge, the back gets mighty crowded. With the addition of large, braided Jena Labs Twin 15 speaker cables, the C7R‘s rear panel transforms in appearance from a few-vined garden to something resembling wild shrubbery.

Impressively, unlike many DACs I’ve experienced, the Bel Canto’s DAC requires no special drivers to install. Once the USB connection is made from the computer to the C7R, Windows 7 and JRiver Media Center recognize it immediately. Once the C7R is selected in JRiver’s playback, music starts without delay.

It took some assistance from the user manual to become familiar with all the setup features and to get everything working. All things considered, though, the learning curve never feels steep. The trickiest elements are saving FM radio presets and custom labeling inputs. Once completed, though, the user isn’t likely to make too many changes. Consider it a tiny amount of pain resulting in a lot of pleasure.

The flying trapeze

Once hooked up and configured the Bel Canto is ready to swing. Starting with the analog output of Light Harmonic DAC connected to the C7R, in my initial impressions of the Bel Canto I noted its smooth, non-fatiguing and refined sonic signature. It would be a mistake to classify it as laid-back, though. The sonic portrayal is one of energy and drive when the music dictates. Even when pushed to maximum volume, C7R shows little strain or stridency.

Pink Martini’s song “Una Notte a Napoli” begins minimally with piano and spoken vocals, later exploding in crescendo adding more vocals, harp, horns, guitar and percussion. The Bel Canto allows all instruments to sing out from the mix, while keeping vocals very present and out front. China Forbes’s vocals render beautifully, preserving the recording’s detail and delicacy.  Compared with my reference, the soundstage width and depth truncated somewhat, and some detail like cymbal decay, or the subtle sound imparted by the recording space, are reduced. But then again the C7R is one-fifth the cost of my amp and preamp combination, demonstrating Bel Canto’s extremely good price–performance ratio.

My Piega P-10s are normally fed 500 watts into 4 ohms, so I reduced my expectations of bass punch, heft, and control with the C7R’s 120 watts swapped in. Even in this system’s context the Bel Canto performs admirably with deep, tuneful, and defined bass. With less power-hungry speakers like NHT Super One bookshelf model on hand the C7R offers quite a bit of punch. Albeit in this case, the Bel Canto reveals all the NHT speakers’ shortcomings. Clearly, the C7R can encourage and enable great sound from high quality loudspeakers and deserves to be paired with them.

Using the Bel Canto’s built-in DAC, the sound remains quite impressive. While 16/44.1 material piped in from a CD player’s coax output portrays some digital glare, better quality digital sources reward the listener. USB sound though the C7R emerges detailed, with a rich and pronounced presence.

When I listen to radio stations at home, it’s usually a digital stream from the computer and not a native FM broadcast. So it’s a lot of fun to fire up the Bel Canto’s tuner and listen to Portland’s KGON and KNRK as a radio station was first intended to be heard. With the included antenna, the C7R has no problems getting a solid lock on FM signals and filling the living room with opulent sound.

As Queen’s “We Will Rock You” started pouring forth from the radio, I ran for the Sennheiser HD-650s to give the C7R headphone output a test drive. The Bel Canto’s sound is very engaging and one I could listen to for many hours with minimal ear fatigue. It’s a fantastic bonus to the C7R’s great all-around package.

Spinning plates

The MM phono stage is another welcome surprise.  Listening to Eric Clapton Unplugged, or Beck’s Sea Change MoFi pressing, the Bel Canto demonstrates its ability to expand the soundstage beyond the speakers. Music retains a non-fatiguing quality with the preservation of detail. The C7R’s sonic rendering provides very good bass and highs, and a very satisfying overall musical experience. Green Day’s “Holiday” shows that the C7R can get up and go when pushed, transmitting the energy of the performers.

In absolute terms, compared with my reference phono stage, the Bel Canto has a few limitations. The overall sound is slightly veiled, and instruments are not separated as well across the soundstage. It just doesn’t sound as close to a live music experience. I need to keep reminding myself that the Bel Canto – of which the phono stage is just one facet – costs $2,995 in total. Especially if you listen to digital sources primarily, the included phono stage is a big bonus for those with a vinyl collection or those about to start one.

You pay for the whole seat, but need only the edge.

Mated with the right set of speakers and a good source, the Bel Canto is a stellar performer, especially from a price–performance point of view. For $2,995 the C7R gets you a high quality amp, linestage, DAC, FM tuner, MM phonostage, and a headphone amp. It’s a phenomenal value. The task of finding all those components, near this quality, for under that price tag would prove exceedingly difficult – if not impossible. On top of that, the C7R wraps everything in an attractive, compact, and user-friendly package. Given all its versatility and fantastic sound, for the price the Bel Canto C7R is easy to recommend.

Bel Canto C7R DAC Integrated Amplifier

MSRP: $2,995

www.belcantodesign.com

Peripherals

Part of the mission here at TONEAudio has always been to remain on the lookout for magnificent hi-fi gear that not only performs well but is also a piece of visual art able to blend into any décor. Gato’s amplifiers caught my eye at this year’s Munich show, where I met importer Michael Kelly (of Aerial Acoustics), who was very proud of Gato’s latest creations. And lovely they are.

Hailing from Denmark, the DIA-250 features a small form that is remarkably able to contain a 250-watt-per-channel Class D amplifier and a 24-bit/192-kHz DAC, doing so at a very reasonable price of $4,500. Those requiring more power can step up to the DIA-400, which offers 400 wpc and has an MSRP of $6,000.

With ease and precision, the DIA-250 implements Class D amplification and upsampling signal conversion—two technologies that are big personal preferences of mine. It also provides major input and output flexibility to allow your system to grow, should the need arise. With a pair of balanced and XLR analog inputs to go along with USB, TOSLINK and S/PDIF digital inputs, the DIA-250 is a fantastic system hub. It also includes balanced and RCA variable outputs for those requiring an additional power amplifier or amplified subwoofer. HT bypass is also included for those needing to make the DIA-250 part of a multichannel setup, a feature sometimes overlooked.

Its gentle, curved shape—which combines brushed aluminum extrusions and a highly polished wooden top panel—is stunning, with one main control in the center to adjust volume level and two tastefully small buttons to select inputs and switch the amplifier into standby mode. The slightly blue-tinted display is easy to read from across the room, and it can be dimmed via an adjustment on the rear panel, or set to switch off completely after a few seconds. For those unhappy with the font choice, I submit (perhaps from a 50-something’s perspective, guilty as charged) that this feature is handy beyond belief, especially when living with a component for a long time. Those tiny readouts on other components might look a bit more stylish at first, but if you can’t read them, then what’s the point?

Setup, Sources, Speakers

I utilize a plethora of digital sources to evaluate the DIA-250, from a modest OPPO BDP-103, all the way up to the $36,000 dCS Vivaldi transport, with a few music servers and a MacBook Pro thrown in for good measure. All sources perform flawlessly, regardless of the chosen input.

With all of the digital sources being upsampled to 24/192 and then decoded by the DIA-250’s Burr-Brown PCM1794 converters, the sound is decidedly old school—and, for these ears, it is highly musical. My former digital reference, the Naim CD555, uses this setup brilliantly, proving that it’s all about implementation when it comes to the digital world.

Along with a variety of digital sources, the latest vacuum-tube phonostage from Van Alstine ($1,295), combined with a Rega RP3 turntable and Exact MM cartridge, proves an excellent match, giving analog and digital sources an equal voice during playback. The smooth character of the DIA-250 proves a perfect fit when spinning the latest releases from Music Matters Jazz, which I find enthralling. Lee Morgan’s trumpet on The Gigolo solidifies the fact that analog remains king, even on a journeyman rig like this. As much as I enjoy the digital section of the DIA-250 and its convenience, I would still highly suggest adding an analog front end to a system built around it.

The only area that the DIA-250 falls slightly short of its higher priced, Class-A or vacuum-tube competitors is in the area of image depth, but this is still endemic of the breed to some extent. And the DIA-250 is delivering music to the $85,000 Dynaudio Evidence Platinum speakers, which are not likely what this amp would be paired with—though you could with good result. For its $4,500 price tag, this is indeed a rocking little amplifier with integral DAC. Pair it up with your favorite speakers in the $3,000-to-$10,000 range and your music server of choice and you’ve got all the ingredients of an incredible system on a relatively reasonable budget.

Moving a bit downstream with the $8,500-per-pair Paradigm Signature S8 speakers also proves highly synergistic. The DIA-250 controls these tower speakers with aplomb, providing a rock-solid bass response and smooth highs. Combined with the S8s 92-dB sensitivity, the DIA-250 never feels the least bit strained, even at concert-hall levels.

Those using a sat/sub system will appreciate the additional flexibility of the variable outputs. The DIA-250 handles the JL Audio Fathom in-wall subwoofer mated to a pair of KEF LS50s with ease, so any powered subwoofer on your wish list should match equally well. And those of you using a REL subwoofer will have no problems connecting through the speaker outputs.

Getting Better All the Time

Class D continues to not only get more natural in its ability to reproduce sound but also in its ability to drive complex speaker loads. Just a few years ago, many Class D amplifiers were as finicky as any SET amp, but they have since come a long way. Full-range ESL and Magnepans are equally easy to drive with the DIA-250, though if you really like to push your Maggies, I suggest spending a few extra bucks and going for the DIA-400 to have the extra headroom at your disposal.

Regardless of which Gato amplifier you choose, Magnepan owners will be impressed at the amount of grip and drive these amplifiers provide. All too often the Class D/Magnepan combination comes across with a lack of timbral engagement, sounding somewhat flat—but that is not the case here.

Spinning the Volume Control

When I crank Metallica’s classic self-titled black album in a 24/96 format, it becomes instantly apparent that the Paradigm/Gato combination can satisfy those craving high sound-pressure levels. The first drum thwacks in “Wherever I May Roam” are highly convincing, pushing me back in my listening chair like the Maxell man. Bowie’s Scary Monsters keeps the classic-rock groove rolling and exposes yet another facet of the DIA-250: its ability to effortlessly uncloak inner detail. Robert Fripp’s guitar work on “Teenage Wildlife” is reproduced brilliantly, easily occupying its own space in the far left of the soundstage, while Bowie is anchored dead center in the mix.

Leaning heavily on an old audiophile classic, Dave Grusin’s “Sun Song,” from the recently remastered XRCD, reveals just how smooth this Class D amplifier and DAC combination can be. The opening triangle clangs float in the air, gently filling the room with sound. It’s amazing how far this amplifier technology has come in the last few years—saying Class D and DAC in the same sentence is no longer an audiophile faux pas. The delicate brushwork on Dave Holland’s “Overtime” is equally enthralling, and the extremely low noise floor of the DIA-250 enhances this effect.

The Bottom Line

The Gato Audio DIA-250 ticks all the boxes: It’s compact and gorgeous, and it sounds great—and, best of all, it’s priced right. With a comparison review in process between the DIA-250 and its companion, the higher-powered DIA-400, we look forward to hearing more of what Gato Audio has to offer. Whatever your power needs, both of these amps are highly recommended.

DIA-250 Integrated Amp/DAC

MSRP:  $4,500

www.gato-audio.com (factory)

www.aerialacoustics.com (US Importer)

Peripherals

The First Watt J2 is an absolute honey of an amp. Hooked up to my Zu Essence speakers, the sound isn’t merely spectacular; it regularly keeps me up long after I should have gone to bed. The J2 is sublime, but I don’t think this point can be made often enough: when a reviewer says an amp is “great,” what he’s really saying is that it’s great with the speaker (or speakers) he’s auditioned it with. The same logic could be applied to speaker reviews because you can’t listen to speakers without listening through an amp. So it’s really the combination of the two – speaker and amp – that we hear. Sure, the rest of the system, namely the preamp, sources and cables, all play their parts. But the interactions between amp and speakers can make or break the sound – and with the high efficiency Zu’s it’s a winner.

The First Watt J2 and Zu Essence are both made in the United States. Zu is a new wave, youthful audiophile company. First Watt is a Nelson Pass enterprise, and he’s the founder and CEO of Pass Laboratories. In the 1970s, his first venture, Threshold, broke new ground in solid-state designs, and he’s still advancing the state-of-the-art. First Watt exists because Pass wants to explore a variety of amplifier-design strategies in what he thinks of as “neglected areas:” amplifiers that might not fit into the mainstream and are probably not appropriate for Pass Labs.

The J2 is a stereo power amplifier rated at 25 watts per channel into 8 ohms, and 13 watts into 4 ohms. The clean, compact design measures 17 by 5.5 by 16 inches, and it weighs about 25 pounds. It has a two-stage circuit and operates in pure single-ended Class A mode, with signal JFET devices forming the input stage and power JFET devices for the output stage. What’s that, a JFET output stage? That’s special. Every solid-state amp you or I have ever heard used bipolar or MOSFET transistors in the output stage. The J2 sports JFETs, and that’s way cool.

Yes, I recall that Sony and Yamaha made JFET amps ages ago, but then power JFETs were MIA. Now they’re back. Pass heard that SemiSouth Corporation of Missouri had started making new power JFET transistors with high voltage, current and power capabilities – as high as 1,200 volts, 30 amps, and 273 watts. These new JFETs were designed for very fast switching in solar-power and electric-car applications. Pass bought a few of these JFETs and found they had a very low distortion characteristic. Compared with MOSFET-type power transistors, JFETs can achieve 10 to 20 dB improvements in distortion performance. So a JFET doesn’t need as much feedback to keep distortion low. It’s low from the get go.

Pass aims to design what he calls “simple circuits” because, as he once so eloquently put it, “Complexity tends to be the nemesis of musicality…” As he refines a design, he listens to how individual parts – capacitors, resistors, semiconductors, etc – change not only what he can measure but how they put their “signatures” on the sound.

Low-power, singled-ended tube amps have been popular with some audiophiles, especially those with highly efficient speakers, so you might assume Pass was trying to build a solid-state amp that would appeal to that crowd. But that’s not the J2’s mission. It doesn’t sound like tubes; it’s not warm, mellow, romantic or lush.

The J2 is all about purity and exceptional transparency. It’s a colorless device. Low-level resolution of recording-room sound or added reverberation are reproduced with startling fidelity. If you want romance, look elsewhere. Play a nasty-sounding recording, such as  Arcade Fire’s recent The Suburbs CD, and it will sound hard, grainy  and ferociously compressed. Gorgeous recordings, such as Ella Fitzgerald & Joe Pass’ Sophisticated Lady CD, will be a feast for the ears. Ella’s voice, from a whisper to a full-on wail, takes center stage, and Pass’ fleet-fingered fretwork is not too shabby! The feel of the sound is tangibly live, and the anything-can-happen excitement of the 1983 Tokyo concert was perfectly resurrected by the amp and speaker. Sophisticated is my favorite Fitzgerald album, precisely because it gets me closer to the live event than anything else.

The J2/Essence combination is dynamically consistent from bass to treble, so the sound feels right. There is a definite tunefullness, a toe-tapping, engaging quality that brings music to life. Bass is quick and nimble, but it won’t bowl you over with room-shaking, pants-flapping low-end. If you want that, get a subwoofer.

After an hour or so, the J2’s heat sinks and the entire chassis get pretty warm, so you wouldn’t want to rest your hand on it for more than a few seconds. The power switch is on the amp’s rear panel, which might be a tad inconvenient if you want to put the J2 in a rack or cabinet. Then again, considering how much heat this amp generates, proper ventilation is a must. I put the J2 out on the floor between the Essences, so it was easy to reach around to the power switch. The warranty runs three years, but Pass claims that in more than eleven years, he’s never had a single First Watt product returned for a warranty claim.

Comparing the J2 with my Pass Labs XA100.5 100-watt monoblocks was a study in contrast. The big amps’ power advantage was obvious, and that manifested itself in sheer gravitas and a richer, fleshier tonal balance. The XA100.5 soundstage was deeper and broader, but the J2 was just as transparent. Low-level resolution and transient speed were on par the XA100.5. And the big amp is four times as expensive as the J2.

The little amp’s 25 watts uncorked the full measure of Booker T & the MGs prodigious funk. Healthy doses of the band’s Time Is Tight three-box CD set proved the amp has what it takes. Duck Dunn’s supple bass lines made all the right moves, and Steve Cropper’s tasty guitar tricks were finger-lickin’ good. Then again, Booker T’s Hammond-organ grooves are the music’s bedrock, and he was always adding just the right flavor to the mix.

The live tracks from Cream’s Goodbye LP may not have had the same sort of unstoppable mojo as the Booker T sides, but played at a satisfyingly loud level, Jack Bruce’s fat bass riffing off Eric Clapton’s stinging guitar leads were beautifully rendered. Ginger Baker’s heavyweight drumming had tremendous impact, so any concern that the little amp’s 25 watts per would inhibit my style were soon forgotten.

The Cream record isn’t by any stretch an audiophile recording, but I loved the way the J2 decoded the texture of Bruce’s bass and Baker’s drum kit. They were more dimensionally present than I ever recall hearing from the Mobile Fidelity Goodbye gold CD. Same could be said about Still Life, a live Rolling Stones LP from their 1981 tour. I’ve never really liked this LP, but it clicked over the J2, and it made me think about how much better the Stones were when bassist Bill Wyman was still in the band. “Start Me Up” was a highlight; the band still had a bit of their youthful power, but that was almost 30 years ago!

I also put the J2 through its paces with Anthony Gallo Acoustics’ new and improved Reference 3.5 speakers. It’s not a super-efficient design (only a moderate 88 dB/1 watt), but the impedance stays around 8 ohms before it drops like a stone around 20 kHz. I really love this new Gallo for its remarkably open quality and its transient speed. Soundstage depth and low-level resolution are superb, and the J2 handily exploited all of those strengths. But power was an issue, so if you like to listen loud, the J2/Reference 3.5 combo won’t float your boat.

The Hifiman HE-6 planar-magnetic headphones (similar operating principal as Magnepan speakers) can be hooked directly to any power amp, so I couldn’t help but try the headphones with the J2. Wow, the sound was oh-so transparent, definitely on par with Stax electrostatic headphones. But the J2/HE-6 combination was vastly more dynamic and the bass kicked harder than any ‘stat phones I’ve ever tried. The HE-6 is one of the most open-sounding headphones around, and the J2 only seemed to enhance that quality. Soundstage width and depth on Brian Eno’s Small Craft on a Milk Sea CD were truly expansive. My only reservation was the bass. Other amps generated gutsier drive and more low-end oomph than the J2 did with the HE-6.

The J2 doesn’t sound like a tube amp, but its musicality with my Essence speakers was spectacular. So if you have a Zu, horn or any high-efficiency speaker, the J2 could do the same for you.

Additional Listening:

More Power!

By Jeff Dorgay

Should the J2 not be quite enough juice for your speakers, consider the First Watt M2.  Rated at an equivalent 25 watts per channel, the

M2 is a push-pull design whereas the J2 is single-ended Class A. The M2 produces 40 watts per channel into a 4 ohm load, where the J2 produces only 13 watts per channel.

Bottom line, the M2 amplifier should be able to drive most speakers to adequate sound-pressure levels.  I’ve been a fan of Nelson’s Class A designs all the way back to the Threshold 4000A, but everything that Steve has described in the J2 is available with slightly more power in the M2 model. The M2 is slightly less expensive, at $3,600.

Removing the $60,000 pair of Burmester 911 mk. 3 monoblocks in my reference system, the M2 held its own, with even slightly more inner detail than the German monster amps.  This amplifier was able to take hold of the GamuT S9’s with enough control that a few casual visitors didn’t even know the Burmester amplifiers were no longer in the system!

Watch for a full review shortly when I have time to peel the smile off of my face.  Nelson Pass has done it again.

First Watt J2 Power Amplifier

MSRP: $4,000

www.firstwatt.com

Peripherals

With some prognosticators saying 2012 will be the end of the world, do you want to chance spending the last year of your life unable to really crank up your stereo? Musical Fidelity is known for making “super integrated” amplifiers; its the new M6 500i represents another benchmark in this field.

The British company’s M6 500i is tough to resist. Especially when I don a Darth Vader mask and convince you the force is strong in this dark, monolithic machine. Can you feel it? You’ve had the urge to upgrade your current little integrated. Now focus. Forget about those telling you power isn’t important. It is, and the M6 500i delivers 500 glorious, window-rattling, tweeter-melting watts per channel that will take you from the back of the arena to the front row. Sense your desire for more power getting stronger? Let anger consume you as you contemplate ditching your current amplifier. Good.

With the M6 5001, listeners equipped with inefficient speakers will no longer be doomed to experience Metallica or Shostakovich at inferior volume levels. Remember, lifelike dynamic swings are just as important to musical accuracy as tonal accuracy. Even Shania Twain sounds better with oodles of power behind her. And the M6 500i’s tremendous bass control keeps speaker woofers pulsating.

Power and Connectivity

The M6 500i features four RCA line-level inputs (one of which is switchable between AUX or HT pass-through) and one balanced XLR input. Compatibility with most systems should be simple. I’d love to see another balanced input, but for $6,995, you can’t have everything. The M6 500i also includes tape out jacks and a variable level (RCA jack) output for those who might want to add a powered subwoofer or two.

This unit isn’t merely a high-powered brute. You won’t mistake it for that of a Burmester, but the metalwork is top-shelf. Finish quality is highly uniform, the front panel convincingly massive, and the volume control substantial. Buttons are tastefully small, and a nice remote is included. Fonts are stylish and understated. No giant logos, either—another mark that bridges the gap between a top-line component and a budget sibling.

Repeat after me: Exceptional Value Award. The M6 500i comes in silver, too, but as the late-night spy Archer would say, “Why would you?” Black suits its powerful nature just right.

Forewarning

Once you drive a Dodge Challenger with a Hemi under the hood, the wimpy six-cylinder model at the National rental counter always sucks—no matter how much Patrick Stewart tries to convince you otherwise. And so it goes with a well-designed, high-power amplifier. Adding the 3,000-watt JL Audio Gotham subwoofer to the system and spinning Iggy and the Stooges’ Raw Power Live: In The Hands Of The Fans, the M6 500i becomes both Death Star and time machine. Giving the volume control a forceful spin and closing my eyes puts me right back at that legendary September 2010 show, where editor Bob Gendron and I saw Pop passed right through the crowd. That’s realism.

But remember, power corrupts. If you aren’t careful, you might damage your hearing—or speakers—with the M6 500i. Case in point: A few bottles of Maudite placed TONEAudio contributor Jerold O’Brien and I in full-on Beavis and Butthead mode as we proceeded to liquefy a pair of AR3a speakers just like we did when we were younger. And while a small amplifier driven to clipping handily destroys a tweeter, a big amplifier driven to clipping scorches woofers, and usually involves minor pyrotechnics. That’s exactly what happened.

Feeling like the wise old owl in the Tootsie Pop commercial, we wanted to see how many minutes of Sepultura it would take to completely destroy the AR3as. The answer? Two minutes and fifteen seconds of “Stronger Than Hate” from Beneath the Remains, and the speakers were lifeless carcasses. We ended the festivities, as the M6 500i ‘s force kept growing stronger. We momentarily considered vaporizing O’Brien’s Vandersteen 1Cs.

The next morning, as we headed out to Denny’s for a Grand Slam breakfast (don’t let friends drive home drunk, especially when they are hopped up with the thrill of destruction), we pondered if it was all just a dream. Nope. The smell of burned electric components still filled the listening room. Heavenly.

Playing Nice

Mixing synergies with the Verity Audio Amadis, Magnepan 1.7s, Peak Consult Kepheus, and a handful of other speakers proves highly enjoyable, regardless of program material.  The M6 500i makes for a great system anchor as it opens the door to whatever speakers you have or might want in the future. Even the Magnepans, which need power in the manner a neurotic girlfriend needs attention, lit up with the M6 500i.

Lest you think we are all headbanging maniacs at TONEAudio, rest assured the M6 500i features a high level of refinement and tonal finesse that suits all types of music.  While this high-powered solid-state amplifier won’t fool you into thinking you are listening to a pair of tubed monoblocks, it is never harsh or strident.

Evaluating current Audio Wave XRCDs illustrates such traits. Walter Bishop’s piano on Jackie McLean’s Swing, Swang, Swingin’ just glides through the background of the tune, never dropping off the beat. Cymbals are crisp, awash with lingering decay.  When McLean enters, his sax is chock full of texture, bouncing from simmer to boil, and then overflows outside the speaker boundaries as the tempo increases.

Is there anything the M6 5001 cannot do? Not really. Sure, a couple of the higher-priced integrateds possess more midrange sweetness, and more resolution, but they cost two-to-four times as much. You get what you pay for with the megabuck amps, yet you get tremendous performance and value with the M6 500i. Separates aren’t the answer, either. You’ll be hard pressed to find a 500-watt-per-channel power amplifier that delivers the goods for $7k—and you’ll still need a preamp and pair of interconnects. And Darth Vader’s got no use for such extra troubles when galaxy-conquering power can be had from one box.

Musical Fidelity M6 500i Integrated Amplifier

MSRP: $6,995

www.musicalfidelity.com (Factory – UK)

www.temposales.com    US Distributor

Peripherals

With the burgeoning number of adults working from home, the office-audio category has become an industry bright spot.  Filling this space is Blue Aura’s $549 v30 Blackline music system, which satisfies the craving for vacuum tubes and matching speakers, and does so in a space-conscious package.

The handsome, three-piece system looks sharp wherever I place it in my office—I tried both my bookshelf and credenza—but the system’s striking aesthetics never dominate the décor.  Los Angeles–based Blue Aura wraps the speakers and the body of the amp in black faux-leather, and accents the amp with chrome trimmings.

The amp is 10 inches wide, 7.5 inches deep and 5.5 inches tall, and the plated handles on either side of it double nicely as bookends.  Adorning the front panel is a pair of matching chrome knobs—one for adjusting the volume and one for selecting from the three inputs (USB, LINE, and AUX).  Two 6N1 tubes flank the taller 6e2 tube, with its decorative but unnecessary green glowing light filter.  A four-post tube guard with a plexiglass-and-chrome top shelf protects the tubes from inadvertent fingers or the common office mishap.  On the back panel, from left to right, are three inputs (RCA, mini-headphone, and mini-USB B), followed by a mini-headphone output jack, four brass speaker jacks, the power-cord socket and power switch.

The 5.5-inch tall speakers look similar to the Audioengine A2s, with forward-facing slits towards the bottom of each speaker serving as bass ports.  The 3/4-inch tweeter and 3.5-inch paper driver surprised me from the outset with some obvious low-frequency grunt and detail.  With the speakers set on their over-sized-hockey-puck stands and with the bookcase as an additional cabinet, the sexy, sultry vocals of Sade fill my 11-by-10-foot office.  Changing out the included 18-gauge speaker wire for some 12-gauge wire further defineds the speaker’s impressive resolution.

Dishing It Out

Forget the typical tinny computer sound and irritating fake subwoofer output—the v30 avoids that pitfall.  This is a setup I find enjoyable listening to for several hours, which helps me grade papers without becoming restless.  When playing rounded sharp-edged recordings, such as Donald Fagan’s Kamakiriad, the v30 settles down nicely.  I then play some lossless recordings, with my laptop and Audioengine D2 wireless DAC system on my desk and the v30 on the bookcase, and intoxicating sound fills the office.  Even with the speakers just 30 inches apart, the system offers impressive instrument placement.

It’s obvious that the Blue Aura engineers understood that the typical home-office setup limits how far apart speakers can be placed.  The result is a nice, expansive soundstage and subsequent enjoyable listening experience.  Even stepping down to my MacBook’s analog output and running a wire to the v30 yields worthwhile results.

The system excels at reproducing jazz music, and quickly makes Vince Guaraldi’s classic Charlie Brown Christmas a playlist favorite.  The v30’s ability to recreate the individual bass notes in “O Tannenbaum” bests the budget bookshelf speakers that normally occupy my office—and those are more than three times the size of the v30’s speakers.  Guaraldi’s piano matches the glow that the three tubes adds to the keystrokes.  The slight loss in absolute detail is easily made up by the system’s warmth and rich decay.

As the days pass, the v30 becomes the reason to listen to music, the goal being to see what it can handle musically.  While blasting Slayer at house-party levels isn’t realistic, the unit has no problem getting into the 90-plus-dB range before hitting its sonic wall.  It delivers more complex rock with ease.  John Mellencamp’s Lonesome Jubilee, with its multitude of instruments, sounds open and uncongested—a neat trick for such a diminutive setup.

As expected, the v30’s three glowing tubes make the midrange beguiling.  Female vocals and instruments are lush and warm, and void of the syrupy slow quality that creeps into many budget tube systems.  In this price range, the v30 is downright first-rate, especially in the level of clarity it brings to Pink Martini’s “Mar Desconocido,” with its tempo-leading bongos, and to the plucked guitar and xylophone in the next track, “Taya Tan.”

Just For Fun

One Sunday afternoon, I pair the 20-wpc integrated amplifier with the 92-dB-efficient Verity Audio Finns.  The v30 does itself proud here, powering the Finns with confidence.  Though the amplifier section won’t make one forget PrimaLuna’s resolution, particularly in the higher register, it does move some serious air, representing the basics of tone and balance remarkably well.

Even in larger spaces, such as my 13-by-19-foot family room, the v30 delivers open sound.  With the amp and speakers on the rock fireplace hearth with the angled puck speaker stands tilted upward, the room fills with warm holiday sounds.  Even with the sliding door to the kitchen closed, I was still able to enjoy the details emanating from the system.

For those that desire tunes but need focus on work in their office, the musicality of the v30 Blackline make it a top-tier choice for the home office.  Looking to add a source wirelessly? Just add Blue Aura’s WSTxR wireless transmitter/receiver kit for $149.

www.blueaura-audio.com

So what exactly makes this a premium PrimaLuna product?  Like all products from the Dutch brand, the ProLogue Premium Premium Stereo Power Amplifier has a certain aesthetic appeal: a gunmetal-colored finish, which wouldn’t be out of place on an AMG Mercedes, set off by an anodized-aluminum faceplate (available in silver or black).  Also like the rest of the company’s lineup, the ProLogue Premium stereo amp offers serious levels of performance—this is where the amp’s premium designate becomes apparent.

Popping off the bottom cover reveals ceramic tube sockets and Nichicon and Solen capacitors flanked by premium resistors, along with newly designed output and power transformers.  Wiring is all point-to point and meticulously done by hand, which is one of the reasons PrimaLuna amps have earned such a high reputation for their reliability.  All this precision comes wrapped in a somewhat compact package that weighs nearly 50 pounds, and has an MSRP of $2,299.

Hassle-Free Tube Power

PrimaLuna amplifiers have long been known for their Adaptive AutoBias circuitry, a PrimaLuna trademark that makes traditional tube biasing a thing of the past.  This design allows a wide range of tubes to be used in the output sockets:  KT88 or EL34 tubes work equally well—every ProLogue Premium Series amplifier comes with either set of tubes installed.  (The KT88s produce 36 watts per channel; the EL34s produce 35 watts per channel.)  The new premium version of the amp adds a switch on the side of the chassis, allowing you to optimize the amplifier to your choice of tubes, in order to achieve the lowest possible levels of noise and distortion.

I’m immediately struck by the lively sonic response that the ProLogue provides, with a quick, organic and natural sound that spans all frequency ranges.  This amplifier always feels ready and able to take on whatever you can throw at it—which is exactly what I did.  The ProLogue Premium eliminates the hassle of owning a vacuum-tube-powered amplifier.  It even has a PTP circuit (for Power Transformer Protection) that will protect the amp’s output transformers, should you have an accidental, catastrophic tube failure, which can happen with today’s tubes.

PrimaLuna has updated the front-end circuitry for this amp, which now uses 12AU7 tubes instead of the 12AX7s in the company’s earlier amplifiers.  The inveterate tweak-geek in me could not resist fooling with those 12AU7s, even though the amp sounds great with stock tubes.  New old stock GE tubes render a smoother top-end response, but offer a different listening perspective, as if I had moved back about five rows in the orchestra.  Next, a set of RCA clear tops (with side getters, for the tubeophiles in the audience) provides a big jump in frequency extension, as well as more transparency and a more palpable midrange.  Best of all, Kevin Deal, the owner of Upscale Audio (and the PrimaLuna importer) has a massive cache of these tubes in stock, so you can experiment at will; the 12AU7s aren’t nearly the cost of the 12AX7s. When asked, Deal said that he has “over 10,000 rare and NOS 12AU7s.”

Be aware, I achieved these results with my system; so don’t take them as an absolute, as results will vary on other systems.  But that’s the fun of an amplifier like this:  You can experiment as much or as little as you want—and we haven’t even talked about swapping output tubes.  Don’t forget to save those stock tubes just in case you find yourself lost in the vacuum-tube jungle.

Love at First Listen

Brian Bromberg’s closely miked contrabass in “The Saga of Harrison Crabfeathers,” from his Wood album, instantly confirms the level of full-bodied bass definition the ProLogue Premium provides.  In addition to the solid low-end response, you can clearly hear the creaking and groaning of the instrument, as well as the strings being plucked and slapped on the fretboard.  I’ve never heard this kind of resolution from a vintage Dynaco Stereo 70 (or modded variation on the theme).

Muddy Waters’ album Folk Singer proves a perfect midrange showcase for this amp, which places Waters’ voice firmly at center stage, while simultaneously revealing the ambience in the recording studio present on this intimate performance.  Perhaps the best showcase of any tube amplifier is its ability to convey the sultriness of the female voice, which is another test that the ProLogue Premium passes handily.  I listen to the entire disc of Renée Fleming’s Haunted Heart without pause.  The track “When Did You Leave Heaven?” gives Fleming and the accompanying guitar, courtesy of Bill Frisell, plenty of space without missing a lick of subtlety.

And Secondly

It’s usually a given that vacuum-tube amplifiers excel at revealing low-level detail and vocal tonality, but the ProLogue Premium performs equally well with larger-scale music.  Nelson Riddle’s Nice ‘n’ Easy: The Music of Nelson Riddle is a classic big-band record full of massed horns, which the ProLogue Premium sails through, keeping the horns sorted without becoming harsh or buried in the mix—impressive.

The acid test comes via the Minutemen’s “One Reporter’s Opinion,” from the Double Nickels on the Dime disc.  D. Boon’s AK-47-style guitar playing is present in all its force, Mike Watt’s fluid bass is easy to follow and drummer George Hurley’s seems to punch a hole in my forehead—the PrimaLuna delivers all of this while giving the track the precision and grit on the scale it deserves.  No matter how complex the musical selections, this amplifier does an excellent job keeping pace.

I’m a Fan!

I’m taken with this little but heavy amplifier, and can see why our publisher has been an advocate of PrimaLuna since day one.  This amp takes everything I throw at it in stride—always musical, always eager and always evenly balanced in overall presentation.  As with the other PrimaLuna products, the Premium stereo amp represents good value.  This is the perfect power amp for a music lover wanting to assemble a high performance system on a tight budget.  The ProLogue Premium is worth every penny.

I will say that one must be realistic when pairing the Premium with his or her speakers and listening environment.  Although the volume levels I’m able to achieve with this amp in my largish room are quite satisfying, 35 watts only go so far—even great watts such as these.  The amp does clip slightly when I get lead-footed with the volume.  To its credit, when the amp does clip, it does so with gentle compression instead of just falling apart.  To this point, speakers that are in the 90-plus-dB category will make for optimum system synergy in most rooms.

Additional Listening

By Jeff Dorgay

As Jerold mentioned, I’ve been listening to PrimaLuna amplifiers since the company introduced the original ProLogue One almost 10 years ago.  It’s almost like TONEAudio and PrimaLuna have grown up together.  That original amplifier is still in my family and, with a replacement set of power tubes, it keeps playing music on a daily basis without bother.

It’s been fun watching the PrimaLuna products evolve over the years into a more fleshed out line, with each model revealing more music than the one before.  Putting the ProLogue Premium stereo power amp through its paces is a joy, with the matching preamplifier and a few other examples I have on hand.  If you don’t need a built-in phonostage (and like your garanimals to match), the $2,199 ProLogue Premium Preamplifier makes for killer a setup with the Premium power amp.  The preamp is perfectly matched to the power amp electrically and stylistically, and pairing the two together will easily fool you and your friends into thinking you spent a lot more scratch on your system.  Many of my old-school buddies were having visions of vintage McIntosh in their heads, when I had this PrimaLuna combo connected to a mint pair of JBL L100 speakers.

Cranking up Judas Priest’s Screaming for Vengeance (on the matching PrimaLuna CD player we reviewed a few months ago) is a little slice of heavy-metal heaven—for a minute I was worried I might just blow up those JBLs, like I did back in the day.  The smooth sound of this PrimaLuna front-end package does not disappoint.
Another, more modern speaker that is a spectacular match with 35 watts per channel of tube power is Vienna Acoustics’ Mozart Grand.  The speakers have a 90-dB-sensitivity rating and a very gentle first-order crossover, but the ProLogue never runs out of gas when powering them.  And at about $3,500 a pair, the Mozart speakers won’t put you in the poorhouse.  Those on a tighter budget, consider a pair of Vandersteen 1Cs, which have the same high sensitivity, but are only $1,200 a pair.

Back when Kevin Deal and I sold mid-fi gear in stereo shops reminiscent of the one in the movie Ruthless People (1986), we used to describe gear as being more suited to rock or classical, etc., etc.  But the PrimaLuna electronics are a little bit of magic:  They play everything well, yet they inject just enough of that tubey warmth to make the bulk of your music collection sound much better than you’d expect it to.  This is a godsend for those having a mostly digital music collection, MP3s or CDs.

For this amp, I took the time to swap output tubes.  A set of super high zoot NOS 6550s or a new set of EAT KT88s, both of which will set you back about $1,500, but fear not, there are tons of great new EL-34 tubes in the $25-$50 range that sound fantastic. The extra midrange warmth and liquidity they provide will have you wondering if you ever need another amp.  And should a tube fail at an inopportune moment, the Adaptive AutoBias will even keep the amp purring along with a mixed set of output tubes. You’d be surprised at how many hardcore audiophiles have gone full circle back to the simplicity of an EL-34 amplifier paired with moderately efficient speakers.  This is an amplifier you can either start your tube journey with, or live with happily ever after.

With vintage Luxman, Marantz and McIntosh tube amplifiers fetching crazy money on the used market these days (not to mention their questionable reliability), make your life easy:  Put a PrimaLuna Prologue Premium between your speakers and just dig it.  You’ll be glad you did.

PrimaLuna ProLogue Premium Stereo Power Amplifier

MSRP:  $2,299

www.primaluna-usa.com

Peripherals

Norwegian manufacturer Electrocompaniet has produced highly regarded electronics going on four decades now.  My first vivid audio memory from childhood is of my father reading a glowing review of an Electrocompaniet amplifier in the The Audio Critic.  As I recall, he mentioned that the reviewer loved the way the amplifier sounded with the Rogers LS3/5A, which he also owned.  Why my father was telling me this I don’t quite know, but I’ve always maintained a curiosity about this seemingly exotic Nordic brand.  The company currently offers a full line of products, including speakers, amplifiers and cutting-edge digital sources, like wireless and USB DACs.

The 70-watt-per-channel ECI 3 integrated amplifier, priced at $3,400, is the entry-level integrated amp in Electrocompaniet’s Classic line.  And it’s a stunner, with copper-tinged buttons adorning a heavy-duty acrylic faceplate against black casing—the signature look for the entire line—plus ice-blue LED lights, which lend the amp a futuristic feel when the lights in the listening are dimmed.  Its connector and speaker terminals are high quality, and its 26.5-pound weight inspires confidence in its build quality.

The ECI 3 is fully balanced, with six inputs, and it offers two tape outputs.  There is also a balanced output, an Electrocompaniet trademark, for driving an external balanced amp.  Electrocompaniet touts its motorized volume control as being virtually transparent.  The company also claims that its proprietary Floating Transformer Technology is unique, allowing greater current reserve than other conventional power supplies, and that the amp can drive virtually any loudspeaker.

All of its functions are accessible via the supplied remote, which has the ability to control multiple Electrocompaniet components.  Setup is simple and straightforward, which makes it easy for me to use the ECI 3 in two separate systems with three different pairs of loudspeakers, including the MartinLogan Ethos, the Thiel CS2.4, and the Harbeth Compact 7ES-3.  My sources include various CD transports, as well as Logitech’s Squeezebox Touch decoded by Bryston and PS Audio DAC units.

The ECI 3 is an excellent match with the MartinLogan and Harbeth speakers, but not so much with the Thiels, which just sound too dry and lifeless when paired with this amp.  As superb as the Logans sound with this amplifier, the Harbeths prove to be the proverbial match made in heaven, with an incredibly wide soundstage and a tonal beauty that makes walking away from listening sessions difficult.  This combination displays an almost tube-like quality in terms of harmonic richness.  But don’t get me wrong:  This is not a soft-sounding amplifier obscuring musical detail in a haze of warmth.  There is plenty of energy and presence, which the amp delivers in the most musical way.

Specifically, I truly enjoy the superb delicacy in the treble and the wonderfully clean and smooth midrange, with plenty of bass weight and articulation.  These qualities are found across the board, regardless of musical genre.  I call up a slew of Ben Harper albums, which are always a great test for gear, since he bounces between earnest acoustic stuff and blazing Zeppelin-influenced rock, as well as soul, punk and alternative.  His sublime Diamonds On the Inside, from 2003, even throws in some hardcore ’70s-style Bob Marley jams and ballads.  I am very impressed with the ECI 3’s ability to navigate these winding musical waters with absolutely no effort, and its ability to render the music with zero mechanical artifacts.  This is not a mechanical sounding solid-state amplifier by any means.

Digging deeper into my music collection leads me to Gábor Szabó, the hugely influential Hungarian jazz guitarist.  His ’60s and ’70s albums are littered with pop tunes of the day and standards in mind-bending psychedelic arrangements.  His album 1969 sounds exactly as the title suggests, with quaint embellishments in the fashion of the time, like sitars, tablas and Eastern modalities.  The ECI 3 keeps Szabó’s tone creamy and fluid, yet it maintains a high level of resolution all the while.

I decide to pull a joker from the deck, cueing up Shine a Light, the soundtrack to the 2008 documentary on the Rolling Stones.  Mick and the gang are unusually energetic in this show, but the CD mix tends to come off as a bit messy.  This is not the case when listening to it through the ECI 3.  I hear Bob Clearmountain’s mix in a whole new light, so to speak:  The guitars bite, the drums crack with authority and there is plenty of bottom end.  Jagger’s vocals are dead center in the mix, with the horns and backup singers positioned well across the soundstage.  The ECI 3 rocks out, and does so with class.

Operationally, the ECI 3 is plug-and-play all the way and a pleasure to use.  Careful listening reveals the balanced input has a slight edge on the single-ended inputs in terms of clarity, but this of course will depend on the source component. As the PS Audio NuWave DAC is truly balanced, it showcases the ECI 3’s balanced design.  Furthermore, the ECI renders amazingly quiet backgrounds and excellent dynamics—it easily handles the most dynamic of orchestral crescendos, which supports Electrocompaniet’s claim that the company uses top-quality parts and execution for this piece of gear.

As a self-admitted remote-control junkie, my only complaint is the plastic remote, but this is a minor issue.  I’m sure most users would prefer that Electrocompaniet instead allocate its resources to the parts affecting sound quality.

With a crowded field of integrated amplifiers in the $3,500 range, it is difficult to stand out.  The example does stand out, combining elegant sound and aesthetics, with the support of Electrocompaniet’s long and respected pedigree.  We are so highly impressed with ECI 3 that it will be an in-house reference component for the TONEAudio reviewing team going forward, because it offers such high value and flexibility.  With plenty of power on tap, more than enough inputs to satisfy, a fully balanced design, superb build quality and cool Scandinavian aesthetics, the Electrocompaniet ECI 3 is a product that we highly recommend.

Electrocompaniet ECI 3 Integrated Amplifier

MSRP: $3,400

www.electrocompaniet.com

To say Bob Carver is a legendary amplifier designer would be a major understatement.  Without going into historical detail, suffice it to say he has produced a few gems in his day.  And now it’s back to the future, with Carver again producing amps under his own name.  The Cherry 180 (reviewed HERE) and the Black Beauty 305 monoblock amplifiers have both received universal praise from reviewers and happy customers alike, for their build-quality, stylish good looks and plenty of power on tap.  But with the $2,100 Black Magic, Carver takes a different direction.

This small amplifier, model designation VTA20S, is finished in black with a “silver-fleck” chassis and brushed-silver trim.  It is outfitted with 12AX7B tubes for the input stage, and a quartet of EL84Ms for the output stage.  According to Carver, the “M” variant of the EL84 was selected because it has a higher plate-voltage rating, allowing for maximum power output within safe operating conditions.

Setting up the Black Magic is amazingly simple.  There is no need to bias the tubes, which is done automatically with one set of speaker binding posts, optimized for a 4-ohm load.  There is, quite interestingly, a volume pot at the top-front area of the chassis.  (More on that a bit later.)  I drive the Black Magic with a Rogue Ninety-Nine preamplifier for the bulk of my listening sessions, and in turn drive my Thiel CS2.4 speakers.

After giving the Black Magic ample warm-up time, I’m rewarded with startling clarity, a liquid-smooth midrange and, most impressively, floor-shaking bass.  Carver says that the amp is “conservatively” rated at 20 watts per channel—it definitely sounds more powerful than its published rating suggests.  For my review, I go directly from my Audio Research VS55 amplifier (rated at 50 watts per channel) to the Carver with no immediately discernible decline in dynamic performance, power output or bass quality.

The Black Magic’s imaging specificity is impressive, with little of the “tube haze” surrounding the vintage sound of the EL84 tubes.  The Black Magic easily handles music of any scale, including orchestral crescendos.  The Direct-Stream Digital SACD of Semyon Bychkov conducting Rachmaninoff’s Symphonic Dances is simply ravishing in the tone colors of the strings and woodwinds, and the full impact of the orchestra’s power is there in all its glory.  I am continually stunned at just how much of a wide dynamic swing this little amplifier can muster.

The sublime SACD pressing of the Moody Blues classic album, In Search of the Lost Chord, plays to all the strengths of the Black Magic.  The melancholy melodies and vintage arrangements on such tracks as “The Actor,” “Visions Of Paradise” and the album’s centerpiece, “Legend Of A Mind,” are breathtaking in their majesty.  Lead vocalist Justin Hayward’s voice is a holographic presence in my listening room, and the amp delivers more than enough resolution to hear long-buried recorded details—just the thing you call on a tube amplifier to perform.

Staying with the vintage vibe, the Carver brings sparkle and life to the iconic ’60s recordings by Smokey Robinson & the Miracles, from the well-mastered compilation, The Definitive Collection.  The Black Magic commands attention on such classic tracks as “Going To A Go-Go,” “The Tears Of A Clown” and “Mickey’s Monkey.”  The rhythmic incisiveness is top notch, with a keen ability to get a track moving.  This inner detail and delicacy is always a key factor with an amplifier based on the EL84 tubes, and the Carver has the best balance of new- and old- school sound that I’ve experienced in this genre.

Moving on to modern times, U2’s “Electrical Storm,” from The Best of 1980–2000 collection, simply rocks when playing through the Carver, which highlights the shimmering acoustic guitars, jagged electric lead lines, throbbing bass line and, of course, Bono’s passionate lead vocals.  On this track, all of the separate elements of the recording are made into an organic whole, providing some rare goose-bump moments.  The remix of “Gone,” from U2’s Pop album, is another standout track providing such moments.

An now, more about the amp’s volume pot I mentioned earlier:  Connecting the Marantz SA-11S3 SACD player/DAC directly to the Black Magic and adjusting the volume level directly from the amp provides additional transparency to the source and bass articulation.  The volume control has an excellent range of attenuation, never going past the 12 o’clock position.  Most modern line sources, like a CD player or DAC, output 2 volts, which is more than enough to power an amplifier with sufficient gain.  For those only utilizing a DAC and multiple digital sources, I suggest eliminating the linestage altogether—the Carver is that good.  However, for those using a linestage/preamplifier, I would leave the volume control at full, effectively taking it out of the circuit.

With the Black Magic, Bob Carver has done it again.  In addition to all of its positive sonic attributes, the Black Magic ships with a seven-year warranty on parts and labor, along with a generous one-year warranty on the tubes.  (Most manufacturers only offer 90 days.)  It is made entirely with point-to-point wiring in Carver’s Kentucky facility.  You can read more about Carver’s manufacturing process HERE.

While 20 watts per channel isn’t the solution for every system, a modestly sized room matched with sensitive speakers will deliver a rocking performance using this modern EL84 marvel.

Additional Listening

By Jeff Dorgay

Blowing the dust off of my Dynaco SCA-35 integrated amp reveals just how far Bob Carver’s classic design has come.  The vintage Dynaco is a pleasant listen, but switching to the Black Magic, even with vintage speakers like the JBL L26s, is a revelation.  Where the vintage amplifier has loose, flappable bass, the Carver is taut.  An equal paradigm shift is experienced in the upper registers—the HF roll-off that I’ve almost come to expect with this tube doesn’t happen, which is a testament to the quality Carver’s circuit and transformer design.

The only speakers in my arsenal that prove a challenge for this amp with heavier music are the Dynaudios, which have a somewhat low 84-dB sensitivity rating.  Thanks to a single-order 6-dB/octave crossover network, the speakers work well with the Black Magic, as long as not asked to play extremely loud—you can always pick up a second one, if need be.

Much like when listening to a top-notch mini-monitor, the Carver Black Magic excels at throwing a three-dimensional sound space that feels almost like wearing a gigantic pair of headphones.  It also delivers a tonal balance, falling more on the romantic side of the scale.  The Carver is certainly not vintage, but it does embellish slightly—for those using primarily digital source material, this should be a very good thing.

Lastly, to probe the absolute limit of the Black Magic, I insert it in my main reference system while finishing the review of the $120,000 Sonus faber Aida speakers (92-dB sensitivity).  This makes for a great showing, as the little amp is able to control these gigantic speakers incredibly well.

Andre and I agree:  If you’ve been wanting to try tubes, this is the perfect place to start your journey!

Bob Carver Black Magic 20 (VTA20S) stereo amplifier

MSRP: $2,100

www.bobcarver.com

Peripherals

Analog source,”Rega RP6 turntable    Exact cartridge    Lehmannaudio Black Cube phonostage”

Preamplifiers,”Rogue Audio Ninety-Nine    Conrad-Johnson PV-12″

Digital sources,” Marantz SA-11S3 SACD player/DAC    Logitech Squeezebox Touch    Meridian Sooloos Media Core 200/Rega DAC”

Speakers,”Thiel CS2.4    Dynaudio Confidence C1 II     Definitive Technology SM65    JBL L26    Sonus faber Aida”

Cables,”Darwin Cables Silver interconnects    Transparent Audio Super MM2 interconnects    Transparent Audio Plus MM2 speaker cable”

Power cords/conditioners,”Acoustic Zen Tsunami II power cables    Audience Adept Response power conditioner    Running Springs Audio Haley”

[/table]

The Maestro-50 digital amplifier from AVA Media is about the size of a hefty paperback novel and is aimed at the computer- and desktop-audio worlds.  This diminutive amplifier takes the approach of keeping the audio signal in the digital domain until the last possible step before it crosses over into analog.

The simple configuration of the $359 Maestro-50 begs the user to power it up first and examine it later.  I begin by connecting the amp to my MacBook using the TOSLINK cable, with a Shunyata Venom 3 power cord delivering the juice and Cardas speaker cables connecting it to a pair of Harbeth Compact 7ES-3s.  The solo piano of a live version of Jamie Cullum’s “Wheels” pops forth with all the quickness one would expect from ICE-powered amplification.  Having listened to live music in the lounge where this recording was made, I’m impressed by how the Maestro-50 gets the basics of the room’s tonal quality correct right out of the box.

Revisiting this track after a week of burn-in reveals less edginess and a more open high end.  The rolling keystrokes accompanying this catchy tune rapidly move from calm to intense, with Cullum’s slightly hoarse vocals now more clearly dominating the track—a definite improvement.

Simple, but Not Too Simple

The Maestro-50 is a basic-looking but handsome piece of equipment, with an enclosure sculpted from aluminum and anodized in a brushed black finish.  The CNC millwork is hand-finished with rounded edges.  The box measures 7 inches wide, 4.6 inches deep and 1.75 inches tall, with the front panel showing only an off-white LED and a small push-button volume knob—the ultimate in simplicity.  The back panel is just the opposite.  AVA was able to maximize this tiny bit of real estate to include a horizontal power-toggle switch, three-prong power-cord receptacle, S/PDIF, TOSLINK, subwoofer RCA out inputs and left and right female banana connections for the speaker outputs.  A USB-to-S/PDIF convertor can be ordered for an additional $62.

The Maestro-50 produces 25 watts per channel into 8 ohms, doubling into 4 ohms, which is plenty of juice to give impressions via the relatively inefficient Harbeths.  I incorporate a pair of ACI Emerald XL speakers (86 dB/watt) for the remaining listening sessions via my desktop system, also with excellent results.

The Maestro-50 is designed and manufactured in the United Kingdom by AVA, which is careful to point out that there is no built-in DAC in the amp’s conversion process.  The company use a process similar to that used by Steinway Lyngdorf, NAD and a few others, demodulating the signal right before it goes to the speaker outputs.  A full technical explanation is available at the website of Pure Audio Stream, a division of AVA Media that provides direct supply of AVA Media’s digital amps: www.pureaudiostream.com/technology.

The Maestro-50 is all about conveniently accessing music in a manner consistent with 21st-century convenience.  Users with an Apple AirPort Express can merely set up the Maestro-50 as a zone to be accessed with his or her iDevice, or even a Windows machine.  As with all digital amplifiers, electricity usage is minimal, so leaving it powered 24/7 will barely impact your electricity bill.

Further Listening

Sampling some Blue Note favorites, I find John Coltrane’s epic album Blue Train highly satisfying.  Coltrane’s signature sax sound is open, albeit slightly dry, but not enough to be a deal-breaker.  The Maestro-50’s quick transient response allows me to appreciate

Coltrane’s masterful finger work in the title track.  Lee Morgan’s trumpet is deliciously clear, making for foot-tapping fun.

The vocal harmonies of Lady Antebellum’s “American Honey” come through smooth and clear, with plenty of country twang.  The only place the Maestro falls short is with rich, resonant and more robust male vocalists like Johnny Cash.  The test speakers at my disposal all had a somewhat thin presentation here.

The amp’s lower bass output is respectable, with some punch, but those desiring a more robust bass response would do well to take advantage of the subwoofer output, adding the powered sub of their choice to the mix.  Our publisher reveals that the Maestro-50 does perform well with a more sensitive pair of speakers, like those from Zu Audio or Klipsch, so consider that as another option, should you really like to rock.

Final Score

The Maestro-50’s fresh design makes it an intriguing amplifier for the desktop and convenience-driven crowds.  By staying in the digital domain for inputs, it targets users who crave computer-based audio, and its sound quality makes for enjoyable all-day listening.

AVA Media Maestro-50 Digital Amplifier

MSRP: $359

www.ava-media.com

www.pureaudiostream.com

Just as mega sports cars all offer different approaches to performance, giving the Aston Martin driver a completely different experience than the Ferrari, Porsche or Corvette driver, so do mega power amplifiers.  I’ve spent a lot of time these last few months with some of the world’s top amplifiers and it’s amazing how different from one another they sound.  But each amp, in its own way, defines state-of-the-art audio performance.

Burmester’s smaller 911 MK3 has been a reference amplifier here for almost four years.  Surviving a fall from the FedEx truck in the middle of a busy intersection, the 911 has played nonstop for the duration, rarely being powered down, always providing fantastic performance.

But even considering the 911’s prowess as an amplifier, more power changes the game.  Beyond the obvious ability of bigger amplifiers to achieve higher sound-pressure levels, they also offer more control at all power levels.  Most, if not all, speakers present a treacherous load to an amplifier’s output terminals, changing impedance with frequency and generating back EMF—some speakers are even highly capacitive to boot.  The dynamic load a speaker presents does not adversely affect a massive amplifier like the 909 MK5, with substantial power reserves and a high-damping factor, in the same way it does a small amplifier.  The end result?  A spacious sound, free of fatigue.

Big Power, Big Price Tag

Merely swapping out the 911 for the 909 provides an immediately noticeable and revelatory improvement—which it should for $73,495.  The German Physiks speakers I’ve been auditioning for the last month appear to grow in stature, feeling like someone snuck in overnight and moved them about 4 feet farther apart; the effect is not at all subtle.  And that’s starting with the amazing Burmester 911 as a baseline!  The instant Alex Van Halen’s drum stick hits the opening cymbal in “You’re No Good,” there’s more decay, more weight and more meat on the bone.  Right from the first power cord, the guitar has a much fatter sound, feeling more like a wall of amplifiers at a live performance, with a feeling of unlimited power.

The bass line underneath Radiohead’s “In Limbo” not only has more texture, but there’s also more space between everything—said bass line, the ethereal guitars, keyboards and dreamy, over-processed vocals.  This tune can sound compressed, as if the musicians are too close together and crowded, but the 909 opens it right up, giving the music room to breathe and keeping the pace of the rhythm section solidly anchored while everything else floats around the room.

Burmester’s 911 MK3 produces 350 watts per channel into 4 ohms; the 909 MK5 pumps out 600 watts per channel.  With 20 precision-matched outputs per channel and an enormous 3.5-kV power transformer, the 909 doesn’t have much empty space inside its mammoth enclosure, which measures 19 by 19 by 20 inches and weighs in at 170 pounds.  Fortunately, it comes in a padded road case with wheels—another sign of the care that goes into its production.  It’s worth noting that all Burmester power amplifiers are burned in at full power for seven days continuously before they are released to customers.  Though Burmester suggests that the 909 sounds its best after 200 hours, it’s damn good straight out of the (aluminum) box.  Those with tough to drive speakers take note: the 909 mk.5 will produce 1250 watts per channel into a 1 ohm load – indefinitely.  I needed one of these back when I had Apogee Scintillas!

The Loud and Quiet of it All

Playing Rachel Macfarlane’s Hayley Sings through the 909 MK5 provides a perfect example of the silky smoothness that the amp presents.  It’s not all about brute force.  Backed by a Sinatra-esque big band, her lead vocals deliver a strong timbre that the 909 effortlessly renders.  As her voice goes quickly from loud to soft, it never gets lost in the blaze of horns accompanying her.  Equally delicate is the opening bass line in Rage Against the Machine’s “Calm Like a Bomb.”  The 909 captures every bit of texture, until the song goes full tilt, with distorted guitars bombarding the listener from every angle. Again, this monster amplifier handles it all in perfect stride.

Switching speakers to the GamuT S9s and giving the volume control a twist towards the maximum, on Fear’s “New York’s Alright if You Like Saxophones,” sheds new light on this classic punk cut.  The 909 provides an otherworldly, out-of-body experience, transporting me right back to when I followed the band in 1981.  It’s as if the 909 reproduces the sound and the sweat.  There’s an extra dimension at work here.

With the volume up to brain-damage levels, it just wouldn’t be a proper Burmester review without a few Scorpions tracks, so out comes the 45-rpm maxi singles.  Tracking through “Rock You Like a Hurricane” has those present for the audition reaching for lighters and brings the police to our front door—the ultimate testament to the 909’s brute force.

Those of you in the audience who are more proper audiophiles will be pleased to know that the 909 MK5 does a smashing job on your favorite acoustic tracks, female vocal pieces and, of course, large-scale orchestral recordings.  The cannon shots at the end of 1812 Overture really come to life with this much power on tap, and if that’s not enough, you can bridge the 909 to produce a monoblock capable of 1,930 watts per channel.  You’ll probably need an electrical-supply upgrade to a pair of 20-amp dedicated lines; Burmester makes note that your power must be up to the task in order to achieve this high output.  Bridging can be done via external adaptors, as with the 911, or your 909s can be ordered directly from the factory this way.

Unshakable

While it’s just so much fun to explore an amplifier that has no real dynamic limits (at least in the context of my room and system), the true magic of Burmester’s power amplifier is twofold:  It has an almost silky sonic texture that is unique, nestled right between the “just-the-facts” sonic signature of the Boulder 3050 or the Simaudio MOON 880M, as well as the slightly warm and inviting, almost tube-like sound of the Pass XA200.5.  Heavily biased, but not fully Class A, the 909 generates precious little heat, even after a long listening session.

Anyone attending Burmester’s after-hours party at last year’s New York Hi-Fi Show witnessed a pair of these mighty amplifiers playing to a crowded room that was easily the size of a small club with a 30-foot ceiling.  By the end of the night, the 909s remained barely warm to the touch, and were not damaged by the DJ plugging and unplugging things with the volume turned up, making a hateful sound through the enormous Burmester speakers in the process.

Exquisite Build

This brute force is packaged in a stunning box.  From the extrusions on its heat sinks, to its subtle bits of chrome plating, to the Burmester logo machined in script on its top cover, the 909 goes to show that no one produces better casework than Burmester.  I spend a lot of time removing the last few dust specs in post-production and can’t help but be blown away with the quality work of Burmester’s machine shop.  Even with the images blown up 1000 percent on screen, there are no machining, engraving or plating flaws to be seen anywhere.

This is truly a luxury product that delivers the goods sonically and is also a joy to look at, even when turned off.  The 909 MK5 is built to a standard that should allow you to leave it for the next generation—a true value in a society where so many products are easily discarded.

The back panel has two large carrying handles, and the speaker binding posts have large winged knobs, making it easy to attach any type of speaker cable you might be considering.  Even though there are banana plugs in these gigantic twist terminals, Dieter Burmester himself suggests spade-lug termination on your speaker cables for the best connection and transference of such high power.

The only problem with the Burmester 909 MK5 is that once you have the experience, it’s tough to go back.  As we spend more time with this remarkable amplifier, we will do a proper head-to-head comparison between it and the 911 MK3 with a wide range of program material, and will report back in the Comparo section of our website, so please check back shortly.

For now, suffice it to say the Burmester 909 MK5 will handle any challenge.

The Burmester 909 MK5 power amplifier

MSRP:  $73,495

www.burmester.de (factory)

www.rutherfordaudio.com (North American Distributor)

Peripherals

As I tear through some of my favorite reference tracks, I’m not only taken by the Viola Bravo stereo power amplifier, which I’ve heard sound fantastic at a number of recent hi-fi shows, but I’m also amazed at how much it shares with the best solid-state amplifiers I’ve heard, particularly the big Boulders.  We have here a new contender for the top of the mountain, complete with glowing green power indicators.

Rather than opt for a monoblock design, Viola takes a different tack by going with a dual-chassis configuration.  One of the boxes holds the majority of the power supply, including a 2-kV power transformer, and the other contains the amplification circuitry, with strategically placed 80,000-uF capacitors located near the output-stage nodes to keep power close at hand.  This setup works brilliantly; the Bravo produces a fast, clean sound, without sounding harsh or grainy.

This approach also makes for a sound not unlike that provided by a pair of monoblocks: a huge soundstage combined with amazing stereo imaging and precise placement.  As Prince walks between the channels on “Shy,” the speakers momentarily melt as the volume of the guitars gently increases and the other instruments join in.  This is a special amplifier indeed.

Viola Labs’ principals Paul Jayson and Tom Colangelo spent part of their early careers at Levinson, and the Bravo definitely has the trademark solid bass response of the best Levinson designs of yore, but with a much more palpable midrange and even more natural highs.  The bass line in the title track of George Michael’s Older goes straight to the gut, controlling my KEF Blades as few amplifiers in recent memory have.  Only the massive Pass monos have more grip in my system, but it’s really a close call.  Viola claims that the Bravo needs a 25-amp line to deliver the absolute maximum power, but we only have dedicated 20-amp circuits here, so we’ll take them on faith.  It is worth noting that the Bravo never feels strained in the least, even on a dedicated 20-amp line.

Put On Your Kidney Belt

With the power supply weighing in at about 125 pounds and the amplifier weighing about 90 pounds, you’ll need a friend to help you unpack and place these fairly large enclosures (17 inches wide by 9.6 inched high by 26 inches deep).  The duo also tips the price scale at $58,000, so if you are paying in small coins, you’ll need strong biceps there, as well.

These tidy enclosures eschew exposed heat sinks in favor of fan-cooled operation, with a massive umbilical cord joining the two boxes.  These two elements are the only shortcomings of the design.  The umbilical cord, which is connected via spade links on each box, can present a problem, especially if you’re among the 8 percent of people with some form of color blindness.  Either way, attach the umbilical carefully, one wire at a time, to avoid a loud (and costly) boom at turn on.  As far as the fan goes, it’s not completely silent.  Those living on a steady diet of rock, jazz and hip-hop (like yours truly) will never notice it, but if your taste turns more towards string quartets at low volume, the fan will be invasive.  The Bravo’s fan is not as quiet as the one in my ARC REF 150, so I’d say it could use some improvement.

The Bravo delivers 350 watts per channel into 8 ohms.  If that’s not enough juice for you, the power easily doubles as the load is halved, thanks to the Bravo’s true-voltage-source design.  Taking things a step further, the amp’s fully balanced design allows it to be configured in bridged or parallel mode for higher power.  The bridged mode is better for situations requiring higher voltage output (i.e. higher impedance speakers), while the parallel mode is better for speakers with higher current demands.  You can even link four pairs of amplifiers together to get 3,600 watts per channel into one ohm!  Viola certainly gets big points for being infinitely flexible with this amp’s configuration options.

Because it is a fully balanced amplifier, the Bravo offers only XLR inputs, which do not present a problem for the reference preamplifiers at my disposal from Simaudio, Nagra, Burmester, Robert Koda and Audio Research.  Whether running through a short length of Cardas Clear cables or a 20-foot pair, the Bravo works flawlessly.

The manual could use some photos to better describe the differences in operation, but it is well written.  One would think that paying almost 60 large for the amp would warrant a little more thought in this area (à la Sonus faber), but Viola is no more guilty on this front than most.  However, a well-written and well-illustrated manual is an essential part of the ownership experience at this level.

Nits Aside

You’ll forget about these minor points the minute you begin listening.  And while you’ll forget about the 40 matched output devices, you won’t be able to lose track of the control this amplifier brings to bear on your favorite music.  From the first track, you can tell this one is very special.  Where my Pass Xs amplifiers take on an almost tubey sound, the Bravo is extremely neutral, with no detectable sonic signature.  It is part of a miniscule subset of solid-state power amplifiers having no character, no grain and no coloration whatsoever.

All of the large speakers at my disposal (GamuT S9, Dynaudio Evidence Platinum, KEF Blade, and Sonus faber Aida) are phenomenal matches for the Bravo, and thanks to its highly resolving nature, it easily showcases the differences in character between said speakers—making it a true reference-quality component.  The S9s and the Aidas in particular both have potent low-frequency reach and they both play to the Bravo’s strong points of extension and control.

A quick trip down memory lane to Pink Floyd’s Dark Side of the Moon and Wish You Were Here proves highly illuminating.  The heartbeat at the beginning of DSOM bores into my soul at high volume; the elevator at the beginning of “Wish You Were Here” is equally overwhelming as it blasts across the soundstage, reminding me just how great these recordings still sound, even after all these years.  I had an equally fun experience listening to the Bravo in January at the Consumer Electronics Show, when Genesis speaker designer Gary Koh was playing Infected Mushroom at discotheque levels.  Awesome!

We can go on and on about the complete lack of background noise present with the Bravo, but that’s selling it short.  What you really notice instantly is the tremendous dynamic swing that it is capable of producing.  Several major Music Matters Blue Note listening sessions keep me coming back for more.  The explosive nature of these records, not held back in the least by the Bravo, makes drums, percussion and horn blasts all the more exciting and all the more real.  I’ll even go as far as to say that it sounds better than when I was listening to a few of these albums via the master tape at Kevin Gray’s studio.

This astonishing level of dynamic clarity is even more persuasive with music that is limited in this area.  Records that you thought were somewhat limited (like the recent Slayer box set) still are, but with this much range at your disposal, they do come more alive than ever before.  And thanks to the Bravo’s effortless delivery of high power, you can really blast these tracks without fatigue.

Of course, lovers of big orchestral music will be in heaven playing their favorite large-scale masterpieces through the Bravo.  Make sure your speakers are capable, though!  While it is not an audiophile classic by any means, the Chicago Symphony Orchestra’s rendition of Pictures at an Exhibition on DG is still a fun test track, with the end of the first movement coming to a major crescendo that almost always has the extreme dynamic peaks compromised.  Here, the Bravo sails through effortlessly.

All About Power

Again, thanks to the amp’s complete lack of grain, the level of timbral accuracy that the Bravo provides is incredible; yet, its ability to resolve the minutest details gives the last bit of realism to recorded music, doing so in a way that few amplifiers can match.  I firmly believe that this is what allows your brain to stop thinking about the gear, the system and the presentation, and just get further into the music and the performance.

Whether listening to Van Halen or Vivaldi through the Bravo, I never find myself entering the analytical reviewer mode.  This is something only the world’s finest components can do, and it is a rare treat.

Having spent a lot of time with great amplifiers large and small, I still prefer large—just as I’d rather drive a car with massive horsepower than one without.  Big power done right tends to eliminate many of the shortcomings of various speakers, because of the control it provides.

It’s also worth mentioning that the Bravo is one of very few amplifiers we’ve tested that does not respond to any kind of power-line conditioning whatsoever.  Its massive choke-based supply has a power-factor correction of .96 (very close to the ideal PF of 1), providing plenty of current on musical peaks.  Connecting the amp to a dedicated 20-amp line is more than sufficient, and adding the Running Springs Maxim line conditioner or IsoTek Super Titan offers no improvement—a major testament to the Bravo’s power-supply design.

Top of the Heap

The Viola Labs Bravo power amplifier is, in every way, one of the finest we’ve had the opportunity to audition; it is definitely a destination product.  If your mindset is in sync with the Viola design ethos of the amplification being dead neutral, neither adding nor subtracting anything, this is a droid you should audition.  Build quality is equally superb and the amp carries a prestigious design pedigree, brought to life by two of high-end audios most respected men.  Just get a good workout in before you unbox it!

Viola Labs Bravo Power Amplifier

MSRP:  $58,000

www.violalabs.com

Peripherals

It’s easy to build a tube amplifier, relatively speaking.  I did it in high school electronics class.  It played music and buzzed like hell, but it sounded fairly good compared to the JVC receiver my parents owned.  There was just something unmistakably yummy about the way acoustic instruments and vocals sounded through my old-school AR speakers that hooked me on tubes forever.

It’s not so easy to build a great tube amplifier, though.  I’ve got no skills in that arena.  Many of today’s tube-amplifier manufacturers follow one of two paths: rebuild a classic from the vintage era (1940s and 1950s) with good success, or embrace more modern technology and tubes to produce an amplifier with the best characteristics of legacy and current thinking.  Put the EHF-200 MK2 from Rogers High Fidelity squarely in the latter camp.

This amplifier takes full advantage of company principle Roger Gibboni’s years of engineering expertise in the world of communications and radar technologies.  The amp combines solid circuit design and meticulous point-to-point wiring with high-quality current parts, like a massive 1100VA toroidal power transformer and beefy output transformers, to create an instant classic.  Gibboni says on the Rogers website that one of the company’s goals was “to create an amplifier that your kids will fight over when you’re gone.”  And with a lifetime warranty, the EHF 200 MK2 should outlive you.

He has succeeded brilliantly, and if the beautiful casework doesn’t convince you, then remove the bottom cover and gaze at the workmanship.  It’s instantly obvious that this amplifier is built with a lot of TLC—and built to last more than one lifetime.  Only the highest-quality, tightest-tolerance parts lurk under the hood.  MSRP for the MK2 model, which includes preamplifier inputs and a variable-level output, is $14,000 even.  (The standard EHF-200 model does not have this flexibility and so it is priced slightly less at $11,500.)  The MK2 features three single-ended RCA inputs on the rear panel, along with another set on the front panel.

Spacey Indeed

The Radiohead classic “High and Dry” instantly reveals the spatial abilities of this amplifier.  Lead singer Thom Yorke is firmly anchored in the mix, with some strong guitar bits and a few layers of synthesizers perforating the mix in a highly obtuse but effective and three-dimensional way.

Springsteen’s “4th of July, Asbury Park (Sandy)” comes through my vintage Acoustat 2+2s with a fervor that I’ve never experienced since having the speakers expertly rebuilt.  There’s an unmistakable magic that has always existed between tubes and electrostatic panels that always seems to make the world stop for a while as you drink it in.  Thanks to the drive this amplifier possesses, triode mode rules the day, and so young Springsteen’s voice is buoyant between the 8-foot-tall panels.  And thanks to the subwoofer outputs, driving a pair of powered subs is a cakewalk—a valuable feature often overlooked on many integrated amps.

Major Style Points

The EHF-200 oozes style, from the deep red color of the chassis to the cool blue power meter on the front panel.  And, of course, glowing vacuum tubes are always a hit with music lovers and audiophiles alike.  The amp comes with a billet remote that is a piece of sculpture, and Rogers also includes a microfiber towel with the company on it logo to keep your amplifier free of fingerprints and scratches.

From the amp’s carbon fiber and rhodium speaker binding posts to the finely machined controls, it’s clear that the amount of thought that went into this product is indeed high.  Its built-in headphone amplifier works symbiotically with the usual suspects in my headphone arsenal, which includes Grado, Sennheiser and Audeze phones.  Each Rogers amplifier even comes with a handwritten note from the person who assembled it, telling you to enjoy your purchase—a nice personal touch.

It’s worth noting that there is a pair of RCA input jacks on the front panel, a reviewer’s dream if there ever was one!  No more fishing behind the equipment rack to find the remaining input.  Active audio hobbyists who switch and compare gear on a regular basis will really appreciate this feature.

Every aspect of the EHF-200 operates with extreme silence, from the subtle clicking of the volume attenuator to the switching back and forth between triode and ultralinear modes.  Some amplifiers we’ve auditioned clunk fairly dramatically when changing modes, requiring the amplifier to be turned off every time, but the EHF has no such problem.  You will immediately notice more gain in ultralinear mode, but this reviewer finds the extra sweetness of triode operation to be worth the small increase in gain required for full output.  My reference dCS Vivaldi has 6 volts of output, so this was no problem at all.

Major Performance, Too

Style without substance is meaningless—and when the pedal goes down, the EHF-200 MK2 fires up.  With a quartet of KT120 tubes, (two per channel), the EHF produces 117 watts per channel into 4 ohms in ultralinear mode and 80 per channel in triode mode; just flip a switch on the top panel to change modes.  The power tubes are all biased automatically, so there is no need to worry about adjustments or scouring the earth for matched quartets.  This should make the EHF as trouble free as a tube amplifier can get.

The applause in Cheap Trick’s “Day Tripper” hints at the EHF’s ability to reproduce a large soundstage.  This amplifier paints a musically accurate picture that still renders a hint of tubeyness.  The EHF’s overall tonality reminds me of the much more expensive Octave Jubilee monoblocks that we recently reviewed.  The EHF is not as warm as a Conrad-Johnson amplifier, but it’s not quite as reserved as my Audio Research REF 150.  And though the REF 150 has a bit more power (150 wpc versus 117 wpc), the EHF is a thousand bucks less for a full integrated.

Though the Acoustats have a sensitivity rating of only 82 dB per watt, the EHF has no trouble driving them to more than adequate levels, even in triode mode, which again is absolutely dreamy.  The rest of the speakers at my disposal are all considerably more efficient, so the EHF never runs out of steam, unless I play music so much louder than is reasonable and prudent.  And even then, it clips so gently that there is only a slight compression of the soundstage to warn you that you’ve gone too far—that is, if you aren’t paying attention to the little blue meter on the front panel.

Wendy Lewis’ lead vocal on the Bad Plus’ For All I Care is positively goose-bump inducing, especially her detached rendition of the Bee Gees classic “How Deep is Your Love.”  The EHF is a tonemeister, always straddling the line of perfection, never embellishing too much, yet it is always musical and engaging.  The subtle harmonics on both ends of the frequency spectrum from Charlie Hunter’s eight-string guitar on his Bing, Bing, Bing! album bounce around the room in a spectacular manner, with decay that seems to go on forever—another hallmark of a great tube amplifier.

I move the EHF to room one and pair it with the 90-dB-per-watt KEF Blades, and it continues to dazzle with it’s ability to generate serious low-end grunt.  Cranking the latest effort from Kanye West illustrates how well this amplifier not only generates serious LF information, but how much control it also exhibits.  Keeping the party rolling with Genghis Tron’s Board Up the House disc adds layer after layer of highly distorted guitars to the driving beats, neither of which cause any difficulty for the EHF.

Tonality is beyond reproach, as hours of listening to audiophile classics will verify.  Those living on a steady diet of female vocalists and plucky acoustic guitar records will surely wet themselves over the EHF’s presentation.  And those who like to rock (I salute you) will dig the dynamics that the EHF brings to the table.  Its robust power supply allows it to play louder than its size and specs would suggest.  Cranking up the live version of the Tubes’ “I Was a Punk Before You” is exhilarating, as is Jeff Beck’s album, Live at Ronnie Scott’s.  There’s just something about tube amplification that lends itself to raucous rock—and the EHF delivers in spades.

Tube Choices

Some will argue about the sonics of the KT120; yet, after living with this tube in a number of other amplifiers, I am in the love it camp.  The EHF works well with the KT120, offering more than enough delicacy to make the most devout tubeophile happy.  It offers better dynamic contrast and impact than the KT88/6550 is able to muster.  And we’re only talking four power tubes here, so when it is time to re-tube, it won’t cost a fortune.

With the 12AX7 in good supply, the sky is the limit for those feeling the need to tube roll.  The EF86 tube is NOS with no major substitutions, so if your taste doesn’t go to the exotic, re-tubing the EHF will be painless.  After trying a handful of different 12AX7s at my disposal, sticking with the stock JJs proved a great place to hang my hat.  Stick with the stock tubes and enjoy, I say.  And stick with the packaged Quiet Cable power cord too – this would easily set you back a thousand bucks, for something equivalent from one of the majors.  I tried my favorites from Shunyata, Cardas and Audience with no improvement whatsoever, so use the one in the box with confidence.

An Elegant Solution

With so many people trying to simplify their lives, the Rogers EHF-200 MK2 is a refreshing solution.  Of course, $14K isn’t exactly play money, but the sound quality delivered by this amp easily equals or betters most amp/preamp combinations that are similarly priced.  And remember, going with a combo solution will require at least one premium interconnect and a pair of power cords, so if you’re playing at this level, plan on dropping at least a few extra thousand on wire just to be on par.

With the EHF-200 MK2, Rogers offers a world-class solution in one box.  Add your favorite digital and analog sources (should you be so inclined) and you’ve got a super system that fits on a single rack.

This is an amplifier we thoroughly enjoy.  If you’ve been looking for something a bit out of the ordinary and a bit more bespoke that offers the full-on tube experience, look no further.   The EHF-200 MK2 is fantastic.

Rogers EHF-200 MK2 Integrated Amplifier

MSRP:  $14,000

rogershighfidelity.com

Peripherals

The finger snaps on Thomas Dolby’s “The Ability to Swing” hang in midair between the speakers, as Dolby’s highly processed yet ethereal vocal enters the mix.  “It isn’t worth a bean, if you haven’t got the ability to swing,” he declares.

Indeed, the six-figure system assembled in room two is in full swing right now, but the amplifier powering the Sonus faber Guarneri Evolution speakers is the humble AVA Ultravalve, not the $65,000 Octave Jubilee monoblocks I’ve been using for some time.  This is truly an amazing amplifier.  If I powder-coated the chassis a certain shade of blue-green, slapped an Air Tight badge on the front panel and told you I paid five figures for this little jewel, you’d believe me—it’s that good.

With so much excitement about the vinyl resurgence of the last few years, some of you have forgotten how popular vacuum tubes have also become lately.  Yet, in the midst of these newer products sprouting up, it’s easy to forget some of the players that have been around for quite a while.  Audio by Van Alstine (AVA) is that “other” amplifier company in Minnesota—Audio Research is located nearby—and it is a perfect example of a manufacturer that has quietly gone about its business making great products without a ton of fanfare.  And you rarely see products from AVA for sale on the secondary market.  The company obviously has a legion of loyal customers,

No matter how much time I spend with mega-dollar power amplifiers, I always love a variation on the Dynaco Stereo 70 theme.  While I’ve never heard one that I didn’t like, there are big differences between them.  Some have a softer, warmer presentation and definitely embellish more than others; the original ST 70 is the prime example of that voicing.  With these types of amps, your best recordings don’t sound much better than your worst, but everything sounds somewhat liquid and dreamy—not a bad place to hang your hat if you have a modest system, or a lot of MP3s.

Tube Through and Through

Frank Van Alstine has been at this game for a long time.  He started out modding and repairing Dynaco electronics 30-plus years ago, and revamped the ST 70 circuit so much over the years that it is now truly his own design now.  The Ultravalve is still based on a pair of 6CA7 output tubes (EL34 or KT77 tubes can be used as well), but it does not have a switch for triode mode, fancy power output meters or anything that distracts from the amplifier’s performance.  And its price is right: $1,999 puts one in your hot little hands.

Like the original ST 70, the Ultravalve uses a 5AR4 rectifier tube and a pair of more readily available 6GH8A small-signal tubes in place of the now long-obsolete 7199 tubes in the ST 70, which is fetching premium prices online.  The Ultravalve is one of the first power amplifiers I’ve listened to with which I just don’t feel the need to roll tubes.  It sounds just fine as is, and a little bit of research shows that there aren’t a lot of variations on the 6GH8A tube anyway.  Perusing Mr. Van Alstine’s board on the AudioCircle forum shows him to be a practical man, so I just enjoyed the amp’s stock tubes.

I do upgrade the power cord to a Cardas Clear cord for my review, only because that’s what I use with everything else and we value consistency here.  The Ultravalve does benefit slightly from the upgraded power cord and from being plugged into a Running Springs Dmitri power conditioner.  But keep in mind that none of this is necessary to enjoy the Ultravalve.

Removing the bottom panel of the highly polished stainless steel chassis reveals tidy workmanship throughout, again showing that AVA sticks to the basic layout of a ST 70: driver circuitry on a well-thought-out PC board and the rest of the amplifier wired point to point.  There is a switch on the rear panel to float the ground, as well as three binding posts for 4-, 8- and 16-ohm speakers; this is my only gripe with the Ultravalve.  It really could use some beefier binding posts for those of us with bigger speaker cables.  My solution is just to re-terminate with bananas plugs.

Ace of Bass and Dynamics

Bass control is a big part of the equation here.  The original ST 70 has a puny power supply and it shows up in the playback, with the bass response lacking dynamics and sounding wild and wooly.  An original Conrad-Johnson MV50 isn’t much better.  An original Marantz 8B has a more liquid midrange but still falls short down under.

As brilliant as the Sonus faber Guareri Evolution speakers are, like any high-performance Italian product, they are a bit picky about what you feed them.  Just like my Fiat Abarth getting grumpy when filled with anything less than premium gas, the Evos need current and control to give a stellar performance and sound as big as they should.

And when delivering Nine Inch Nails’ “Help Me I Am in Hell,” the Ultravalve sounds big. I move the amp out into room one, with the KEF Blades (with their 90-dB-per-watt sensitivity), and it sounds damn big, with guitars floating around the soundstage and the heartbeat at the end of the track filling the listening room.  Upping the game with a much more densely recorded track, “Mr. Self Destruct” from NIN’s album The Downward Spiral, I find that the Ultravalve not only keeps the groove of the driving synth bass well intact, but it also does not lose the focus.  The amp starts and stops on a dime as Trent Reznor brings the music to barely a whisper, only to audibly assault us again and again with a huge ball of sound and dynamics.

It’s still hard to believe I’m listening to a $2,000 amplifier.  For those of you in the audience thinking that it’s sheer insanity to put an amplifier like this in a system like this, I submit that it’s the only way to see what its performance envelope truly is.  Daft Punk’s Homework lights up the Blades and I can turn the volume up to the point where I feel like I’m back in New York at Fashion Week.  All that’s missing is the catwalk.

The Ultravalve carefully follows Stanley Clarke as he rips up the fretboard on “Bass Folk Song No. 7,” clearly demonstrating its ability to keep the Blade’s 9-inch woofers in control.  The amp reveals Clarke’s delicate touch on the fretless bass, and it never gets sloppy, slow or wooly.

It’s also Got Top

The Ultravalve is ultra quick, even when playing a less-than-superb recording, like The Stooges self-titled album, on which the amp keeps its composure, provided you don’t turn the volume past the point of soft clipping.  Rather than getting harsh, like many other low-powered tube amplifiers we’ve auditioned, the Ultravalve begins to suffer from a collapsed soundstage.  This degradation is slow at first, but the amp then quickly slides into the same flat, brick-walled sound that plagues many of today’s digital recordings.  But if you keep the Ultravalve within its comfort zone, you’ll be handsomely rewarded.

Miles Davis’ “Diane,” from Steamin’ with The Miles Davis Quintet, proves open and spacious, with Philly Joe Jones’ brushwork on the drums exquisitely rendered, as Davis floats through the soundstage.  This amplifier becomes more convincing the longer you listen; about an hour is required for it to open up completely, but it is still damn good two minutes after initial turn on.

Perhaps the only stretch for the Ultravalve while paired with less than highly efficient speakers comes when asking it to reproduce large-scale orchestral pieces or electronica at club levels.  Prokofiev’s suite from The Love for Three Oranges taxes the Ultravalve as the large kettle drums reach full throttle, requiring listening at less than what might be considered a live level—but how often do you do that?

Back to Earth

Using the Ultravalve with similarly priced components is highly rewarding.  It is fully capable of anchoring a modestly priced but high-performance system.  Mating the amp to a Conrad-Johnson PV-12 preamplifier (with CJ’s recent capacitor updates), an Oppo BDP-105 universal player and the Rega RP6 turntable, with a pair of KEF LS50 speakers, proves breathtaking—especially for a relatively inexpensive system like this one.  But you’ll be surprised just how damn good the Ultravavle sounds as part of a no-holds-barred system.

While the 35 watts per channel of the Ultravalve may not be enough juice for everyone, if that much wattage will work for you, I cannot recommend this amp highly enough.  The level of resolution, tonality and bass control this amplifier offers for $1,999 is unmatched by anything I’ve ever experienced at this price point.  I am very proud to award the Ultravalve one of our Exceptional Value Awards for 2013.  I’m keeping this one!

AVA Ultravalve Vacuum Tube Amplifier

MSRP: $1,999

Audio by Van Alstine (AVA)

www.avahifi.com

Peripherals

I’ve probably listened to a thousand amplifiers in the past 25 years and have easily owned at least 75-100 in search for the perfect balance of tonality, dynamics and reliability.  Proponents of every different amplifier topology have their reasons why their pet choice is “the best,” forsaking all others in the process. But the main argument usually comes down to the tube camp vs.  the solid-state camp.

While I’ve always loved vacuum tubes, I have different requirements than the average listener who may only turn on his or her system for a few hours a week.  With a reference system that is usually playing at least 12 hours a day, the tube game can get tiring in a hurry, especially when you’ve chased down some unobtanium tubes for your pride and joy.

If you’ve fallen under the spell of a great vacuum-tube power amplifier, it’s hard to wipe the experience out of your memory bank; that tonal delicacy and three-dimensional, airy presentation is indeed seductive.  It’s the same for the best examples of the solid-state camp with bottomless dynamics, weight and bass grip that you can’t get on the other side of the fence.

I’m happy to report that you can have it all in one box: the Burmester 911 mk.3.  It’s not inexpensive.  Current MSRP on a 911 mk.3 is $29,995.  If you’re anything like me, you’ve already thrown half of that price tag away over the past 10 years, swapping amplifiers in and out of your system.  A couple of thousand here, another thousand there, and pretty soon you’ve flushed a year’s worth of your kids’ college tuition down the drain. And you’re still not quite happy.  I know that feeling all too well, and I’m right there with you.

Sixty seconds to music

The 911 mk.3 couldn’t be easier to set up.  This 90-pound amplifier is covered with heatsinks on all four sides, so don’t play catch with it.  The powder-coated silver aluminum case has a pair of handles on the rear panel that makes it easy to move into place on your rack of choice.

There is a pair of balanced XLR inputs, a 15-amp IEC socket for the power cord of your choice and binding posts with gigantic plastic wing nuts that make it a snap to attach the beefiest speaker cables you can imagine.  A pair of 12-volt trigger outlets is provided to allow the 911 mk.3 to be turned on from your preamp, if it is so equipped.  I’ve never shut off the 911 mk.3 since it’s been here, so while handy, it’s not been necessary.  The front panel has a single power switch with power-on and standby LED’s.  Plug it in, turn it on and enjoy.

Built to take it

Much like the black Porsche 911 turbo in Bad Boys, the Burmester 911 mk. 3 crashed into my life.  While awaiting the delivery of the 911 and the companion Burmester 011 preamplifier, I received a phone call.  “Is this TONEAudio Magazine?”  “Yes…” “Great, I have a damaged palette that I found in the middle of the street with your companies’ name on what’s left of the label.  Give me your address and I’ll be right over.”

At this moment I was horrified that the 911mk.3 and the 011 were destroyed and my relationship with Burmester was not getting off to a great start.  Twenty minutes later, a very nice man from Northwest Gas arrived with a palette in the back of his pickup truck that looked as if it had been dropped out of an airplane.

Upon inspection, the 011 was without a scratch and the 911 mk.3 only had a slight dent in the left corner of the top faceplate.  Nothing sounded loose internally, and upon plugging them both in, they worked perfectly!  When I told Burmester’s Robb Neiman about my experience, he said “Oh yeah, we had a pair of our speakers get dropped out of the cargo plane at CEDIA this year.  They fell 30 feet and only had a tiny scratch.  They played fine.”  If this doesn’t speak volumes about the rock-solid build quality of Burmester, take a peek inside the chassis where everything is massively built and tidily tucked in place.

The essence of musicality

During the past six months, I’ve had the opportunity to use the 911 mk.3 with about 20 different pairs of speakers, all with excellent results. But the bulk of the review listening was done with the Verity Audio Sarastro II, the MartinLogan CLX, the GamuT S-7 and recently the YG Acoustics Anat II Studio.  All world-class speakers in their own right and all of them have given their best performance with the 911 mk.3.

I’ve also had about 20 amplifiers come through my listening room, either for review by me or on their way to someone else on the TONEAudio staff.  All great amplifiers to be sure, but every time I put the 911 mk.3 back in the system, I always felt like I was back home.

The best way to describe the 911 mk.3 (and for that matter all the Burmester electronics I’ve heard) is complete neutrality and complete lack of grain.  As I’ve mentioned in the 082 integrated review, everyone who has heard the 911 mk.3 always makes the comment that it does not sound like solid-state amplification, nor does it sound like tubes.  I’ve never heard an amplifier that does a better job of getting out of the way of the music than the 911 mk.3.

The bass is powerful and articulate, the mids seamless and smooth, and the highs are extended, not harsh, grainy nor forced in any way.  When working on a review of the vintage Mark Levinson no.23, it reminded me of how that amplifier had a midrange that was pushed slightly forward.  A few other solid-state amplifiers exhibited an artificial quality to the midrange or high frequencies that always left me thinking “pretty good for solid-state.”  This thought never went through my head while listening to the Burmester amplifier.

Three of my favorite large solid-state power amplifiers – the CJ Premier 350 (my previous reference for almost five years), the McIntosh MC1.2KW monoblocks and the SimAudio Moon W-7 monoblocks – each have more power than the 911 mk.3. But at the end of the day, none had the complete neutrality, lack of grain and smoothness that the Burmester has.

When playing my MartinLogan CLX’s at insane levels, I found my self wishing for a touch more power, but that was really pushing it.  Should you find yourself at that point, you can use the 911mk.3 as a mono amplifier and just add a second one.  I experienced a very similar CLX-based system that used a pair of 911’s, and that was the ticket for those who need the ultimate push over the cliff. Or perhaps the top-of-the-line 909 power amplifier …

Richly detailed

Dynamics are big fun, and so is bass grip and slam; that’s what large solid-state power amplifiers are famous for.  What continues to hold my interest so strongly after six months with the 911 mk.3 is the way this amplifier continues to unravel records I’ve been listening to my whole life on a countless variety of systems.

Even with records that aren’t known for killer sonics.  One day while stuck in an early 70’s groove, I was listening to Three Dog Night’s Seven Separate Fools CD and noticed a few layers of violins and mellotron that I’ve never heard on “Pieces of April.”  Sure, that’s a crazy music choice, but the point is that while the 911 mk.3 is an extremely high-resolution component, it is not one that sacrifices musicality for ultra detail, it blends both.  My favorite aspect of the Burmester gear is that it does not transform your system into something that you can only listen to a limited number of “audiophile approved” pressings. It brings more enjoyment to your entire music collection.

Same thing with DEVO’s Q: Are We Not Men?, A: We Are DEVO? While evaluating the original to the current remaster, this record took on a whole new dimension, with the soundstage expanding in all three dimensions.  Fast forward to current releases, “Adrien” on Peter Kruder’s (of Kruder and Dorfmeister fame) new disc, Private Collection, starts with chimes that just float slightly to the left of the soundstage, but the echoes travel all the way right and sound as if they trail off behind the listening chair.  Indeed, very trippy.

Another favorite disc that features very densely packed music is The Word is Out, by Jaco Pastorius and his Big Band.  This is a killer fusion album that has a great mix of acoustic and electronic instruments with a lot going on simultaneously.  Even at high volume, Pastorius maintains his space just slightly left of center without his bass line becoming flabby, with the drums miked somewhat behind the plane of the speakers, while the horns float in front of the mix, going all the way from left to right.

While at times almost impossible to describe, the 911 mk.3 is very linear in its performance, regardless of where you have the volume control set, until you push it so far that the soundstage flattens out, ever so slightly.  Even at this point, I wasn’t hearing any harshness or clipping.  Though the 911 mk. 3 is claimed to be heavily biased into class-A operation, it didn’t get overly warm during normal listening, and no matter how hard I pushed it, would not shut down.

I continue to draw the same conclusion with the 911 mk. 3. It has a huge, three-dimensional soundstage that I would normally associate with tubes, with the pace and drive I would normally associate with solid state, yet the weaknesses of neither.

As good as it gets

After six months of listening day in and day out, I can find no fault with the Burmester 911 mk.3 and am happy to say that this will become my new reference amplifier.  It was dropped off of a truck on its way to me and I’ve often played it continuously for 24 hours day after day when breaking in new speakers, and it’s never let me down in any way.

The 911 mk. 3 offers perfect balance in my book; it is highly detailed and articulate, yet not harsh, and it is tremendously musical without being dark or rolled off in any way.  This is truly the best power amplifier I have ever experienced.  I can’t recommend it highly enough.

The Burmester 911 mk. 3 Power Amplifier

MSRP:  $29,995

www.burmester.de

Peripherals

Just in case you are wondering, PSA stands for Pyramid Stereo Amplifier.  If you were like me and were drooling over those cool pyramid-shaped monoblocks from Nagra a couple of years ago, this is the next step in their product line.  The PSA delivers 100 watts per channel, as opposed to the 200 watt per channel PMA monoblock amplifiers and is priced at $6595.

If you want an amplifier that not only sounds great but is a show stopper, along the lines of a Ferrari Enzo, the PSA is the ticket.  I guarantee anyone that sees this in your home and has even a passing interest in aesthetics will be intrigued by this amplifier that can easily pose as a piece of modern artwork.  Everyone that saw it in my studio was fascinated by its stunning good looks.

I first saw the PSA at the Rocky Mountain Audio Fest in October, where the head of U.S. Sales for Nagra, John Quick was showing it off with Nagra’s new CD player and a new pair of Verity Audio (another favorite of mine) Rienzi speakers in a huge room.  The PSA had no problem driving these speakers as loud as I needed to hear them.  I made it a point to drag each one of the TONE staffers in attendance down to the Nagra/Verity room to hear this system!

As someone who grew up with giant amplifiers from ARC, Krell and a few others, I definitely went through massive amplifier phase of my audiophile life.  Granted, I worship great sound above all else, but when I can get great sound in a beautiful package it’s a huge bonus.

Setup

The PSA is not a terribly large pyramid, with a base of 15” x 15” and about 10” high.  It weighs 35 pounds, so you can actually think of it as your personal pyramid.  All kidding aside, this is a serious amplifier and though it possesses a switching power supply, it is a traditional audio amplifier, not Class D.

It will run comfortably on a 15 amp circuit, as it only draws 500 watts at full output. It features a pair of WBT binding posts on the rear panel along with a pair of XLR input connectors.  Nagra is kind enough to supply a pair of RCA adaptors, so if your system does not have a balanced input you are covered.  Please note, in the interest of keeping a compact rear panel, there is only the single pair of balanced inputs.

As our vintage columnist Kurt Doslu likes to say, “Don’t play catch with this one!”  However, I liked the shape so much; I actually put the PSA up on a pedestal.  I had an old concrete pedestal that looked like a column from the porch of one of the houses in Gone With the Wind, but this was not the optimum setup for the ultimate sound quality.

I had great luck using the PSA on a large Symposium Ultra platform that I often use as an amplifier stand.  Once connected to my Aesthetix Callisto Signature, we were ready to begin listening. My test unit had already had some hours put on it at the RMAF, so I can not accurately tell you how long one takes to break in; this one sounded great after two days of continuous play.  The rest of my system was rounded out with the Penaudio Serenades, Wadia 581 and the AVID Volvere turntable with a Sumiko Celebration cartridge installed.  I used a pair of Cardas Golden Reference interconnects with XLR termination and left the PSA balanced from the Callisto with excellent results for the majority of the review period.  I tried it both ways, but with the Callisto, could not hear a difference between the two.

Due to the close proximity of the speaker binding posts, I would suggest having the ends that go to your amplifier terminate with banana plugs.  I did manage to get some spade lugs in the terminals, but if you are looking for the most aesthetically pleasing setup, go for the bananas, it looks much tidier.

Lurking underneath the cool pyramid top panel is a set of jumpers to adjust the input sensitivity for the PSA.  You have a choice of 1V or 2V sensitivity.  My Callisto has a lot of gain, so I chose the 2V setting and that was perfect, keeping maximum volume right around the 12:00 position on the volume controls, just how I like it.

Does the sound live up to the fashion forward design?

Definitely.  I was very impressed with what I had heard at the RMAF, so I figured if they could get sound that good at a show, it would be considerably better in my more reasonably sized room and I have not been disappointed.  If I were to sum up the PSA in only one word, I would call it precise.  Ah, but it comes from Switzerland, so why would you expect anything else but precision from the Swiss?

To expand this definition a bit more closely, what I noticed immediately about the PSA is that it has a very dynamic sound, but never out of control.  The highs are extended without being exaggerated or grainy.  The bass has weight and texture, but you will never mistake this one for a Krell amplifier, either.  It’s just right.

If you are an audiophile that wants an amplifier that is very tonally accurate and has the punch of a solid state amplifier over tubes, this is one to put on your short list. (especially if you are a person that is design conscious)

Some people will make fun of this amplifier for having a tiny blue LED for power output and a tiny red LED to indicate clipping in the lower right corner of the front panel.  I say it’s a lot of fun and a very useful device.  But fear not, there is a switch beneath the amplifier under a small cap to turn the blue level LED off of you prefer. If you had to judge clipping by ear, you would be melting tweeters by the bucketload, because on the rare occasion that I did see that red LED light up, I was listening to music WAY TOO LOUD and it sure didn’t sound like the amp was going into clipping at all.  I also found the gently pulsing blue light coming from the base of the pyramid to be very soothing.

As I was in the middle of the Charlie Hunter interview while working on this review, I listened to the PSA with a lot of jazz in addition to the whole Charlie Hunter catalog. The PSA always did a fantastic job with revealing the most minute details and the trailing edges of percussion instruments.  Cymbals had great air as well as attack on Charlie’s first album Bing, Bing, Bing!  Not to worry though, when things got a little bit beefier on his current release, Copperopolis (especially the first cut) this amplifier did not flatten out.  Taking this groove to its ultimate conclusion, I went for broke, put Joe Satriani’s The Extremist (back in the day, Charlie used to take guitar lessons from Joe…) in the player and really cranked it up.

Even with very dense rock guitar music, the PSA held its poise and did an outstanding job of preserving that precious space between the notes.  Exceptional quality from a solid state amplifier indeed.  Then I sharpened all my razor blades.  Just kidding.

Very neutral…  just like Switzerland

The really handy thing about a power amplifier that has this neutral of a sound is that you can do your system tuning elsewhere.  Because my Callisto is a bit on the slightly warm and slightly wet side of the presentation, for me it was the perfect match to the PSA.  I did try it with a number of different preamplifiers, but I kept coming back to the Callisto with this one.  I haven’t had a chance to sample the excellent Nagra PL-L or PL-P linestages yet (which are both tube units), but again I really enjoyed what I heard at the RMAF, so watch for a future review.

Some of you may have the burning question as to whether 100 watts per channel is enough.  Always a tough call, but I think that in most cases it should be more than adequate. It depends on the side of the room and what speakers you are pairing it with.  The 87db Rienzi speakers were playing in a room that was 22’ x 26’ (with an 11’ drop ceiling) and the sound was very big and involving, so I would think in a moderate sized room with speakers in the 87-90db range, you should have more than enough power to spare.

My main listening room is 16’ x 24’ and I never ran out of power with the PSA with my 87db Penaudio Serenades, or the 84 db ACI Sapphire XL’s.  The only speakers that did give it some grief were my Apogees, but they give almost every amplifier grief due to their 82db sensitivity and 3 ohm load.

A very interesting alternative to the box

In my book, the Nagra PSA’s performance justifies its price.  Add their legendary build quality and outstanding mechanical aesthetics and you have a pretty interesting little amplifier.  If your listening requirements demand good sound, high quality and intriguing looks, this is the amplifier for you!

Nagra PSA amplifier

MSRP: $6595

www.nagraaudio.com

Peripherals

In the world of hi-fi audio, some equipment just begs to be stared at, like gear with the big blue McIntosh power meters, or a brightly glowing 845 output tube.  Others, like classic 1970s Pioneer receivers, welcome being pushed, touched and turned.  In the case of Peachtree Audio’s nova125, this little integrated amplifier inspires anyone within arm’s reach to caress its real-wood casing.  The appeal is instantaneous.

Classic curves aside, the nova125 is a 21st-century integrated amplifier designed for the digital-audio enthusiast.  With USB, Toslink, and two coaxial inputs, the nova125 has one’s preference for music-server output covered.  Just a single analog input joins the digital quartet, leaving room for those needing a vinyl fix, with the help of an external phono preamp.  A set of RCA preamp output jacks are included if you desire to move up to separates, or want to add a powered subwoofer (or two) to your system.

My nova125 review unit arrives with a dark rosewood veneer case—cherry wood and high-gloss black are also options.  The amp measures 14.8 inches wide, 11.5 inches deep and 4.4 inches tall.  It weighs in at just under 15 pounds.  While diminutive compared to my reference Simaudio Moon i-7 integrated, the nova125 is solid in stature.  Its elegant yet understated front face, with rounded buttons outlined in blue light when engaged, accentuates its curvy look.  Even the tube window has rounded edges.  The smooth, damped action of the volume control, should you choose not to use the remote, has the feel of an amp twice the price of the nova125, which has an MSRP of $1,499.

What’s in a Name?

True to its model designate, the nova125 delivers 125 watts per channel into 8 ohms (or 220 watts into 4 ohms).  This integrated begs to be pushed to the limit, easily pressurizing my 13-foot-by-18-foot listening space through my reference Harbeth Compact 7ES-3 speakers.

The thundering bass lines on Led Zeppelin’s “Immigrant Song” pulsate through the room, with the nova125 keeping the woofers well controlled—the Harbeths are speakers that need major current drive to sound their best, and the nova125 delivers.  Keeping in the Zep groove, I turn to “Since I’ve Been Loving You,” the bluesy fourth track on Led Zeppelin III.  The nova125 reproduces John Bonham’s legendary drumming with incredible finesse at the beginning of the track, while Jimmy Page’s guitar eases in slowly and later screams with authority.  The Hammond B3 shines through very convincingly and with plenty of weight.

I then challenge this little amp with a pair of Magnepan 1.6s, which are notorious for easily absorbing the output of most amplifiers, driving them into fits of clipping.  The nova125 is up to the challenge, and proves its mettle.

Next up are various orchestral works, which the nova125 reproduces honorably.  Filling the room with “Jupiter,” from Gustav Holst’s The Planets, which I play at high volume, the nova125 stays with the musical score, and the soundstage never collapses—my ears give up first.  Surviving this torture test proves that the amp has a robust power supply and the ability to drive a wide range of speakers, something that, until recently, was a problem for many Class-D amplifiers.

ICE amplifiers are known for their solid bass response and drive, and the Nova 125 does not disappoint.  The deep, sinister bass beats on Kanye West’s “Hold My Liquor,” from his recently released Yeezus, rattle everything in my listening room that isn’t nailed down.  A few classic tracks from Pink Floyd prove equally compelling.  The quality of the bass response that the nova125 delivers is as impressive as the quantity, with more texture than I would normally expect from an integrated amp at this price.

The 6N1P vacuum tube that lurks behind the nova125’s front panel can be used as a buffer stage, and it can be easily switched in or out of the circuit via the supplied remote.  Offering a bit more smoothness, the tube really adds some warmth to MP3-based selections, and it is also nice to have on hand for a bit of system tuning.  This isn’t necessary with the already forgiving Harbeths (though still enjoyable for this listener), but it makes a huge difference taming the edges on budget speakers.

The critical midrange region is perhaps the only area where the nova125 can’t really escape its price point and topology; though, to be fair, this is the downfall of all ICE designs.  Mumford & Sons’ “Hopeless Wanderer,” for example, is full of powerful acoustic guitar work, and it feels a little congested coming through the nova125 in comparison to my reference Simaudio i-7 (which, to again be fair, is priced new at $6,000, making it four times the cost of the nova125).  Luckily, the Peachtree amp’s tube buffer goes a long way to mitigate this.

I borrow one of Peachtree’s original Decco integrated amps from a friend for comparison, which reveals the tremendous progress that the company has made in a just few years.  The design of the nova125 is miles ahead in every respect.

Doing Digital

Connecting an Apple MacBook via the amp’s USB input allows me to compare how the nova125’s built-in ESS Sabre 9023 DAC chip handles 16-bit/44-kHz files versus 24-bit/192-kHz files.  S/PDIF and Toslink inputs are also available, so the nova125 should accommodate whatever source you have at your disposal.  Using iTunes with the Amarra upgrade works perfectly, and you can save $100 on a copy of Amarra when you register your nova125.

Dialing back from the hard rock of Led Zeppelin, I go with the Indigo Girls, whose stunning harmonies reveal that the nova125 is a cut above other ICE amplifiers.  The buttery smooth vocals on “Watershed” illustrate the openness and lack of glare that the nova125 provides when powering the Magnepans.  It’s a perfect example of clarity without the edge.  This amplifier is a non-fatiguing delight.

Just Add Analog

A well-rounded integrated amp, the nova125 offers a single analog input, making it easy to add a turntable.  Pairing the amp with the $200 Lounge Audio phonostage we reviewed in issue 55 and the $400 Pro-Ject Debut Carbon turntable (with Ortofon 2M Red cartridge) makes for a synergistic low-cost, high-performance system.  For those craving a richer analog experience, the nova125 is not out of its league paired with the Rega RP6 turntable with Exact cartridge (though this duo has a higher price tag than the nova125), easily illustrating the increased resolution that the Rega combination has to offer.  As great as the nova125’s DAC is, the recent Mobile Fidelity 45-rpm remaster of The Freewheelin’ Bob Dylan underscores the palpability that this amp is capable of, capturing a lot of the space and decay in Dylan’s voice, along with the texture of his harp.

For the headphone crowd, the nova125 comes with 1/4-inch jack on the front panel.  The amp’s headphone section is far from an afterthought, delivering a sonic signature through a pair of Sennheiser HD800s that stays true to that of the speaker output.  The sharp percussion hits on R.E.M.’s “Shiny Happy People” stay quite even, with no edgy boost to break the smoothness.  Vocals lack the last bit of resonance that a dedicated headphone amplifier provides, but as a part of a multipurpose unit, the nova125’s headphone offers worthwhile private listening when speakers aren’t a viable option.

The Final Score

Aristotle said, “The whole is greater than the sum of its parts,” a phrase that suits the Peachtree nova125 perfectly.  Great sound, contemporary industrial design and incredible flexibility make this amp a tough one to beat.  We are pleased to award the Peachtree nova125 one of our Exceptional Value Awards for 2013.

And it really appeals to this Portlandia resident that Peachtree has taken a major green initiative with its products.  The California Air Resources Board has certified the MDF used for Peachtree cabinets, its packing materials are recycled and the company’s veneers are sourced from Forest Stewardship Council–approved suppliers.  Well done, Peachtree!

Peachtree Audio nova125 Integrated Amplifier

MSRP: $1,499

www.peachtreeaudio.com

As you look at the gorgeous French polished aluminum box that isn’t much larger in size than a medium Dominos pizza container (and probably not much heavier if you order your pizza with extra meat and cheese), forget everything you know about high-end audio. The Devialet D-Premier is anything but cheesy. It belongs in the Louvre—with a great pair of speakers connected, of course. But it will look equally stylish in your listening room. While it appears to be a square box at first glance, when you place it on a countertop or other flat surface, you detect the slight curve of the casework, which adds to the visual complexity.

Much more often than not, associating the word “lifestyle” with an audio component is the kiss of death, as the term usually means “mediocre performance wrapped in a shiny box.” What makes the D-Premier so exciting is that it offers world-class performance in an elegant, compact enclosure. If you happen to be someone who has always loved music, but avoided a high-end system because you didn’t want all the boxes and cables overwhelming your living space, the D-Premier is the perfect solution.

Peruse the company’s website (www.devialet.com), and you might be under the impression that the D-Premier is merely an integrated amplifier. Yet it’s quite a bit more. This compact sculpture houses a complete audio system: There’s a 240-watt-per-channel power amplifier, full-function preamplifier, 24 bit/192khz DAC, phono preamplifier, and a wireless bridge all tidily packed inside. As of this review, the wireless function and HDMI input were not yet enabled, but when they are ready in the fall, it will only take a quick firmware update via an SD card slot located on the rear panel to gain the additional functionality. You’ll be able to painlessly download the software via the Devialet website and make the upgrade just as you would on a camera or laptop, insert the card, reboot, and voila, a new component.

One of my biggest challenges in writing this review was figuring out exactly what to call the D-Premier. With such a wide range of capabilities, for now, let’s think of it as an integrated amplifier with benefits. The D-Premier features an analog input that can be configured for MM or MC phono use, and an additional line-level analog input, both via RCA jacks. In addition, four RCA S/PDIF inputs, a pair of TOSLINK optical digital inputs, an XLR AES/EBU digital input, and an HDMI 1.3 input are onboard, so you can connect anything but a balanced line-level source via XLR connectors. One set of speaker outputs is provided, as is a line level RCA output for a subwoofer. Bass level can also be controlled via the remote.

Far Beyond Class D

Devialet takes a different approach to amplifier design with its patented ADH (Analog/Digital Hybrid) technology, which utilizes a pure Class A driver directly connected to the speaker outputs, with the Class D output section doing all the “heavy lifting” as a current provider connected in parallel. More technical information is available on the Devialet website, but to simplify, the Class A section sets the distortion-free sonic signature of the amplifier and the Class D provides high-power output with low heat, allowing for the compact form factor.

The D-Premier utilizes a pair of Class D output modules, yet it is driven by a pair of Class A amplifiers in a unique hybrid module configuration that provides the advantages of both designs and the limitation of neither. First and foremost, the D-Premier does not sound like any Class D amplifier I’ve ever heard. I admit a slight personal bias against Class D amplifiers even though I keep auditioning every one I can get my hands on. But shortcomings remain. They typically offer a degree of sterility in their presentation, and in my experience, have been highly speaker-dependent, much like an SET or OTL amplifier. Hence, an optimum match yields decent sound, but a less than optimum one makes for a mediocre musical performance. Even the best examples have sounded somewhat flat. That said, it is clear that Devialet’s technology represents a quantum leap forward in tonal purity.

Pairing the D-Premier with a wide range of speakers (GamuT S9, B&W 805D, Magnepan 1.6) along with several models I had in-house for review and photography (Zu Soul Superfly, Martin Logan Aerius i, PMC DB2i, Totem Forest) all provided synergistic combinations and a consistency I’ve never experienced with traditional Class D amplifiers.

While Class D amplifiers often exhibit an impedance mismatch with some speaker/speaker cable combinations, resulting in a sound that is brittle and lifeless at best or seriously rolled off at the HF portion of the frequency spectrum, the Premier-D did not change its character. But remember, it is not a pure Class D amplifier. I did all of my testing with the factory standard settings, yet the amplifier characteristics can be optimized to your speakers to allow for the most advantageous combination. Again, custom tuning is as easy as upgrading the firmware, and makes the D-Premier obsolete-proof.

The most interesting result of my speaker swapping related to how well the D-Premier performed when driving the Magnepan 1.6s, which are notoriously power-hungry. 240 watts-per-channel is usually the place that gets the party started with these speakers, yet the D-Premier not only effortlessly drove them to realistic sound levels, the sound quality was fantastic, offering a three-dimensional soundstage with excellent bass extension and texture. The Magnepan 1.6 speakers remain in my arsenal if for no other reason to torture amplifiers. There are precious few under-400 watts-per-channel amplifiers that I’ve heard that can really grab hold of the Magnepans and offer the control and sheer current delivery that the speakers really need.

Should the need for even more power arise, the D-Premier can be configured to be part of a multiple amplifier system. So, you could easily multi-amp your Magnepans or any other speaker in such a manner. Multiple D-Premier units can be configured for bi-ampflication or as bridged mono amplifiers. The amplifier section is stable into 2-ohm loads and is rated at 240 watts per channel into a 2-6 ohm load and 190 watts per channel into an 8-ohm load.  Devialet allows two adjustable parameters for the power amplifier section: maximum power and the impedance of the speaker used. According to Devialet’s Mathias Moronvalle, “When tuning the amplifier to anticipate high current for a given voltage due to low speaker impedance, the amplifier can deliver more peak current and thus, operate more linearly.”

My GamuT S9 speakers, while highly resolving, are ever so slightly on the warm side of neutral, so the D-Premier turned in a brilliant performance here. It’s also worth noting that this amplifier was not terribly affected by differences in cable. Switching between Cardas Clear, AudioQuest SKY, and Shunyata’s Aurora showed a difference between the three, but not as much as it did with my reference Burmester gear.

A Balance of Resolution and Musicality

The measured specifications of the D-Premier indicate an amplifier that seems to be completely free of any distortions with a noise floor of over -130db. Even with the volume control at maximum, not a hint of background noise emanates from the speakers.  If I had to describe the D-Premier’s presentation in one word, it would indeed be “clean.”

D-Premier is one of a small group of components that is highly resolving without being harsh. It will, however, reveal every bit of nuances in the connected source hardware as well as your software, so if your source material is not up to snuff, prepare to be outed. If you want forgiving sound, buy a vintage vacuum tube amplifier with EL-34 tubes.

The depth of the soundstage that the D-Premier presented continually impressed. Devialet’s unique method of blending Class A into the mix gives this amplifier its magic. No matter what music I listened to, I experienced a tremendous amount of image depth that resulted in a highly realistic musical experience. On the intro track from the Beatles’ LOVE, that mosquito felt as it was buzzing directly in front of my nose.  I had a similar experience with “Equinoxe 1-4” from Jean-Michel Jarre’s Equinoxe; I found myself surrounded in synthesizer sounds seemingly coming from all around the room. Zoolook was equally enchanting.

Bass was tight and well controlled, and the highs were extended albeit smooth.  The D-Premier diverged from its standard solid-state and vacuum-tube competitors at the very end of frequency extremes. When I listened to one of my favorite acoustic bass recordings, Charlie Haden’s The Private Collection, every bit of Haden’s playing came through with the required amount of texture, conveying convincing realism, especially on the 24/96 version. And when I mixed it up with Sly and the Family Stone’s “Don’t Call Me Nigger, Whitey” the electric bass line had plenty of speed and snap. My reference Burmester 911 mk. 3 monoblocks had a richer presentation, but these amplifiers (and the accompanying preamplifier) have a price tag that’s about six times that of the D-Premier. Hence, the performance is way beyond what you would expect at this level.

The D-Premier has an upper register that has to be heard to be believed; it is devoid of a signature sound. I listened to quite a few acoustic recordings to try and define one, but it had none. At least in terms of sound quality, Ginger Baker’s drumming on Cream at Royal Albert Hall is sublime, especially when he hits his favorite ride cymbals with the small bolts affixed to them. Once again, no signature was added or subtracted.

It’s important to keep in mind that, for $15,999, you are getting essentially four components and really, five if you take into account the music streaming capabilities. Break down the price, and it’s impossible to find an amplifier, preamplifier, DAC, and phonostage of this caliber for $16k, not to mention the requisite three additional sets of interconnects, three power cords, and additional rack space needed to accommodate all the gear. If you are going to use all of these features, the D-Premier is an incredible bargain. But even if you just use it as an amplifier, preamplifier, and DAC, it’s nearly unthinkable to get such high performance for this price. I certainly haven’t heard anything that compares.

Too Cool

For those who love to argue about the validity of Apple’s hardware versus everyone else’s hardware, a simple swipe of the mouse will tell you the difference. The action of Apple’s mouse eclipses anything in PC world; you both notice and appreciate it, or the care spent on the mousing algorithm has gone to waste.

By comparison, the D-Premier’s volume control is not only visually compelling but possesses the best control action I’ve ever felt. In the day of stepped attenuators via remote, the D-Premier’s square control module’s action is silky smooth. It feels like the throttle in a Bentley Continental R; the sound builds gently and evenly, just like the thrust of the Bentley’s V12. Once you experience it, you will be spoiled for anything else. And unlike most components that use an IR sensor—limiting the remote control to a line of sight ranging from about 10 to 15 feet—the D-Premier remote is controlled via RF, so you should be able to control the volume from anywhere in the house.

Another huge plus? The ability to hang the D-Premier on the wall and completely bypass the equipment rack—whether in a design-conscious environment, one where space is at a premium, or both. Thanks to a removable panel that hides the cables and the highly polished surface, the D-Premier all but disappears into the room. A pale blue light that indicates the volume level and input source is the only way you’d ever suspect it’s an electronic component. Everything is controlled from the remote. Just like Apple, the packaging is as artfully done and the instruction manual easy to understand—no detail is ignored.

Oh, the smooth, exquisite, polished finish of the D-Premier begs to be caressed. But resist the urge, because you’ll mar its perfection with your fingertips. However, if you and your friends can’t resist, a microfiber cloth and a gentle cleaner will keep it in top shape. (Use the same cleaner that you use to keep a flat-panel display screen clean. Do not use Windex, 409, or any heavy duty cleaner as it will probably stain and streak the polished aluminum casework.)

DAC

The DAC section has 24/192 capabilities through the S/PDIF and Optical inputs, but there is no USB input. I used the dCS Paganini transport via S/PDIF and balanced connections, and concur with Devialet that even better performance was achieved with the balanced connection. The low noise floor again made such a conclusion apparent, especially when listening to classical recordings recorded digitally. The silence with this combination proved to be uncanny.

When comparing the D-Premier’s DAC to a number of standalone DACs in the $2,500 to $5,500 range, the Devialet was the clear champion in terms of dynamics and tonality. Some of this must be attributed to the simple signal path that’s involved. Again, much like the phonostage, this DAC should be more than capable for 95% of the most demanding audiophiles. Those wanting more performance will have to spend five figures on a DAC alone, which means more boxes, cables, etc., defeating the purpose of this savvy component.

The D-Premier upsamples everything to 192khz/24-bit resolution from a fixed-frequency, low-phase noise clock source. Devialet feels that this architecture provides extremely low jitter and contributes greatly to the DAC’s highly transparent sound. After extended listening to digital files, one walks away from the D-Premier is unfatigued, especially when listening to acoustic instruments. It’s one of the rare DACs that I’ve heard at any price that makes you forget you are listening to digital and allows you to just concentrate on the program material.

A Fresh Phonostage

Like most other phonostages, impedance and capacitance loading is controlled in the analog domain, with a network of resistors and capacitors switched in and out (but controlled again, by the SD card configuration). That’s where any similarity to standard phonostages ends. The default setting of the D-Premier’s phonostage is a standard moving magnet arrangement with 47k loading. I began listening with the Grado Statement 1 mounted on the Spiral Groove SG-2/Triplanar combination. While the aforementioned cartridge is a moving iron design, it uses a standard 47k loading and is fairly impervious to capacitance loading. Thanks to the D-Premier’s high gain and ultra low noise floor, its lower output of .5mv was no problem. This proved an excellent match for the rest of my system, offering up an eerily silent background.

I’ve never heard a phono preamp with a -130 db noise specification, which alone makes this configuration interesting on a number of levels. I spent a fair amount of time searching my record collection to find the quietest pressings. After listening to the last year’s worth of Music Matters Blue Note releases, I moved on to Speakers Corner’s pressing of Santana’s Caravanserai. The mellowest Santana album, it features involved percussion that punctuates Santana’s guitar tracks. The intro to “Song of the Wind” is particularly quiet. With the D-Premier’s ultra-low noise, the track seems to build out of nowhere. The component blends the silence of a digital recording with the warmth of analog: A perfect combination.

How does it happen? The phono signal is sent through a set of Burr Brown analog-to-digital converters (again at 24/192 resolution), and the RIAA equalization is applied in the digital domain. Again, Devialet feels that this approach offers greater linearity and more accurate translation of the RIAA curve than performing the task in the analog domain.  While analog purists may wretch at the idea of taking their beloved analog signal, digitizing it, and processing it digitally, the D-Premier flawlessly functions. Devialet provided a custom profile for the Shelter 501II MC cartridge; it worked perfectly when I made the change. In the future, Devialet will supply “cartridge profiles” for most of the major cartridges in use, and again, it will only require rebooting the D-Premier and uploading the settings.

Again and again, the D-Premier defies comparison. Because the phonostage is so quiet, it offers a different perspective with its low-level detail retrieval. However, when moving to my reference Audio Research REF 2 Phono, the latter still had a more inviting analog presentation. Such a last bit of analog magic comes with a pricetag that’s almost twice that of the D-Premier. Those with perfectly clean records, and especially classical music lovers, will really appreciate this phonostage. At the risk of repeating myself, but remaining entirely honest, the onboard phonostage easily meets or exceeds most of the phonostages I’ve experienced in the $5,000 range. With performance at this level, 99% of D-Premier users will probably be thrilled. It’s certainly much better than any other onboard stage I’ve heard in an integrated, save the one in the darTZeel CTH-8550, another very, very expensive amplifier.

More on the Horizon

As they say on late-night television infomercials, “Wait, there’s more.” In the future, the D-Premier will have a functioning HDMI 1.3 input, so you will be able to use the amplifier along with your video system or as a high-quality DAC for playing back Blu-ray music discs. There will also be a wireless adaptor, which means you will be able to stream from your favorite computer source, just like you would with a Squeezebox.  Only an extension board needs to be installed at your dealer, the antenna is already in place. (When these additional features become available, the D-Premier will return to TONE this summer for a follow-up review when these additional features are available.)

In the interim, there’s no reason not to make the D-Premier the hub of your audio system. The only thing missing is a USB port for the DAC. But considering the number of high-quality USB>S/PDIF converters on the market, I wouldn’t consider its absence a deal-breaker. There isn’t a wasted square millimeter of space inside the enclosure, so I don’t know how Devialet engineers could have squeezed another board under the hood!

Conclusion

The Devialet D-Premier is a top-shelf audio component in every way; it’s even better when considered as a complete audio system in one box. Revolutionary engineering combined with short signal paths and minimal need for external cables all adds up to incredible sound that will have very broad appeal. Clichés aside, the D-Premier is more than the sum of its parts, in concept, performance, and value. If you take advantage of all the functions it offers, I don’t know how you could possibly acquire an amplifier, preamplifier, DAC, phono preamplifier, and music streamer for the cost of the D-Premier. Of all the components to which we have awarded our Exceptional Value Award, I can’t think of one more deserving than the D-Premier.

If all that weren’t enough, the component’s elegant design makes it blend into any decor with ease, forever banishing the idea of not having a high-performance audio system only because of the ensuing clutter that comes along with a rack and cables.

Whether you are downsizing from a rack full of gear or starting fresh, the Devialet D-Premier offers world-class sound, meticulous attention to detail in both style and construction, and a virtually unlimited upgrade path. What’s not to love?

The Devialet D-Premier

MSRP:  $15,999

www.devialet.com

(North America)  www.audioplusservices.com

Peripherals

Swiss hi-fi manufacturer Nagra built its reputation on the ability to produce high-quality audio components in very compact casework. The company has continually honed its engineering and design skills, making every speck of space in pro audio gear count. Such expertise has resulted in consumer gear that looks very similar to pro gear.  Indeed, when I visited Nagra’s factory last summer, the MSA amplifier was in its final design stage. Prototypes sat on the table, along with another new amplifier that uses 300B vacuum tubes.

Unfortunately, with its “bigger is better” philosophy, the U.S. market has been a bit reluctant to embrace Nagra. Nothing could be more shortsighted: Nagra gear often outperforms the stuff in the large boxes. We’ve used quite a bit of its gear as reference components over the years, and the sound quality has always been first rate. The MSA power amplifier is yet another example of the firm’s engineering prowess.

The current MSA amplifier utilizes a single pair of power MOSFET output transistors and is completely symmetrical from input to output, featuring only a pair of XLR input connectors. Should you need single-ended RCA inputs to accommodate your preamplifier, Nagra supplies a pair of Neutrik adaptors in the boxs. The amplifier also has a pair of switches that adjust input sensitivity to 1V or 2V for maximum output. It’s a handy feature, especially if you have an older preamplifier that doesn’t have a lot of gain, or if you’d just like to optimize the volume control range of your preamplifier. The MSA is also designed to be used as a bridged monoblock, so listeners requiring more power can easily add a second amplifier and double the power output.

Requiring the same amount of rack space as the Nagra PL-L preamplifier (11 x 9 x 4.6 inches), VPS phonostage, or CDP CD player, the $11,750 MSA takes advantage of Nagra’s VFS Vibration Free Support platform to further improve sonics. Unlike the pyramid-shaped PSA amplifier, rated at 100 watts per channel and outfitted with an LED display to indicate power and clipping, the MSA adds the familiar Nagra modulometer power indicator along with a red LED to indicate clipping. These touches prove very useful, especially when playing heavier music, as the MSA does not sound harsh when driven to modest levels of clipping.  An optional cover is available to hide the heat sinks, but they are such a functional piece of modern art, it’s a mystery as to why anyone would want to cover them up. A familiar rotary switch used for on, off, mute, and “auto” functions rounds out the styling cues.

Initial Impressions

At just 21 pounds, the MSA is easy to unpack and set up. Thanks to the gigantic heat sink located on top of the amplifier, it runs cucumber cool. Even when pushed hard with heavy metal favorites, it barely got warm to the touch. The MSA does not require much space to keep it within operating limits.

My review sample already had some hours on the clock, but my experience with past Nagra gear has been that it only requires 50-100 hours of break-in time. Much like any solid-state amplifier, the MSA opens up and sounds its best after being powered up for a few hours, and can be left in the “on” mode all the time, or the “auto” mode where it will slip into standby mode after a few hours. In the interest of being green, the MSA draws only one watt of power in standby mode.

Top, Bottom, and In Between

Having lived with the Nagra PSA power amplifier for a few years, it’s fair to describe its “sound” as extremely neutral. The PSA adds or subtracts little, if anything, from the presentation. This characteristic may be good for some. But for anyone looking for a bit of tonal embellishment, it may not serve as a proper fit. I’ve always preferred the sound of the PSA with the PL-L tube preamplifier, as the latter claims an ever so slight warmth to its presentation, making the two a highly enjoyable and musical combination.

While the MSA stays true to the Nagra philosophy of signal purity, there is an additional dose of signal purity and delicacy to the presentation. It might be due to the single pair of output transistors. Currently under review, the First Watt M2 also uses a single pair of MOSFET output transistors and has a sonic signature that’s not unlike the best vacuum tube SET amplifiers I’ve experienced. The difference with the MSA? It possesses the low-level detail of the world’s finest SETs, yet also maintains the grip and control associated with a great solid-state amplifier. An outstanding combination, it underscores my philosophy that, with solid state, you can have it all.

Granted, some users will need the extra bit of power that the PSA brings to the table. My reference GamuT S9 speakers have an 89db sensitivity rating, and unless I played fairly compressed rock music (for example, Def Leppard’s Pyromania) I rarely pushed the MSA to its limits. Even when cranking the band’s “Rock, Rock (Till You Drop),” I remained impressed at the ease the MSA exhibited, even with its little red LED almost solid in appearance. The Nagra owner’s manual does not list the latter as a “clipping indicator,” per se, but as a warning that the output stage is passing more than 9 amps of current. I can push the PSA harder, but it was not as composed at the limit as the MSA. For those with more refined musical taste, the MSA should provide more than enough juice.

Balanced in all aspects of performance, the MSA excelled with pace and reproduction of inner detail. When listening to DEVO’s “Blockhead” from Duty Now For the Future, the underlying synth riff never got buried in the mix, as it’s wont to do with lesser amplifiers—especially during the chorus, when the band members yell “Blockhead!” Should classic DEVO not be your liking, Keith Jarrett basically achieves the same effect as he sings along in a trademark disjointed manner while playing piano.  During one of his improvisational bursts in “No Moon At All” from the 2010 duo album Jasmine, Jarrett’s voice floats right above the keys as it does when you hear him live. Since he uses a standard Steinway on the performance, it was easy to compare the tonality between the recorded instrument and my Steinway. The MSA displayed perfect tonal realism with acoustic instruments.

Furthermore, Charlie Haden plays bass on Jasmine, underscoring the MSA’s quick transient attack and delicacy. You can hear every move of Haden’s fingers sliding up and down the neck of the bass. And while the MSA was long on texture, it did not run out of steam when asked to produce prodigious bass, either. Playing deejay and spinning club-music favorites from Kruder and Dorfmeister, as well as the recent Hotel Costes 14, featuring some great tracks by Tosca, I was stunned at how well the diminutive amplifier controlled the woofers on my reference speakers.

But what takes the MSA into another realm is its ability to resolve subtle spatial cues. No matter what my choice of program material, I always managed to hear those little sonic treats that only come to life on the world’s finest amplifiers. An extra layer of guitar here, one more overdub there: These are the things you either forget about when using a lesser amplifier or, your brain attempts to fill in the gap. But when you hear them through your speakers, you know you are indeed listening to something special.

As it did with the other Nagra components with which I’ve paired it, the VFS platform ($1,925) added more clarity to the MSA’s overall presentation, most notably on low-level acoustic passages. Admittedly, the VFS did not make as dramatic of a difference with the MSA as it did with my VPS phono preamplifier, no doubt due to the vacuum tubes in the VPS being more sensitive to outside vibration. I highly recommend first getting intimately familiar with the MSA and auditioning the VFS at a later date.

Style and Performance

If you are looking for a high-performance music system that needs to fit in a compact space, I can’t suggest the MSA highly enough. This one is a precious jewel, offering a level of refinement only heard from some of the world’s best (and most expensive) solid-state power amplifiers. Adding the PL-L preamplifier makes for a genuinely formidable combination. And while 60 watts per channel isn’t everything to every audiophile, if you have a pair of speakers with the efficiency to optimally operate with this level of power, you will likely find the MSA an enchanting wonder.

Nagra MSA Power Amplifier

MSRP: $11,750  (VFS Platform, $1,925)

www.nagraaudio.com

Peripherals

Sometimes, there’s no substitute for tradition or heritage. Consider: The original Luxman SQ-38 integrated amplifier debuted in 1963 and followed by the SQ-38D in 1965. The SQ-38u is, in fact, the eleventh incarnation of the design, and the new model looks every bit like vintage hi-fi even as its insides reflect modern thinking.

History aside, I was relieved to hear that the SQ-38u sounds like what it is: A vacuum tube integrated amplifier. A lot of contemporary tube gear sounds more or less like solid-state. Not the SQ-38u. And while it’s certainly not the least bit dated or slow sounding, you’d never mistake it for a transistor amp. It’s too holographic, tonally sweet, and pure. But if solid-state sound is what you’re looking for, Luxman offers a tasty selection of SS integrated models from which to choose. The company also offers a matching PD-171 turntable ($6,000) and D-38u CD player ($4,000) for buyers interested in maintaining the retro look.

You Can Look—And Touch

Of course, the appeal of the SQ-38u’s machined front panel—and its cluster of metal knobs and switches—is more than skin deep. Just like the good old days, the controls have a perfect feel. There are eight knobs in all: An A/B speaker selector; Separates On/Off (controls the rear panel preamp output jacks); Input Selector; and a silky-smooth Volume Control; Bass and Treble; Phono Cartridge Gain; and left/right Balance. Three switches—Low Cut (rumble filter), Mono/Stereo, Tape Monitor—are flanked by a headphone jack and mute button. The metal chassis is sheathed in a handsome wood case, and the little remote control simply handles volume and mute.

Connectivity isn’t generous but it’s certainly adequate, and the connectors are comprised of high-quality materials. You get five pairs of RCA inputs: Rec Out/Monitor; Pre-Out/Main-In jacks; and two sets (A & B) of speaker binding posts. The tube complement runs to four EL 34 power tubes, four 12AX7s, and three 12AU7s planted within the 15.7″ wide by 7.7″ high by 12.2″ deep chassis. The SQ-38u weighs a very solid 44 pounds. It’s built!

The all-tube phono section handles moving magnet as well as low- and high-output moving coil cartridges, the latter two options via step-up transformers. Built-in phono preamps are rare on today’s integrated amps, especially tube models, so I was eager to test out the SQ-38u’s vinyl playback abilities. The sound was yummy, and brought out the best on Blondie’s debut LP. I forgot how perfect a fit singer Debbie Harry was in the band, and the record contains the sort of music that’s best enjoyed turned up loud. Everything I love about analog sound was just that much more delicious with the SQ-38u in the system. Tube noise? Commendably low.

Unlike those on most integrated amps, the headphone amp isn’t based on a little op amp. Rather, this bad boy uses the tube output stage that drives your speakers, albeit padded down with just one resistor to play headphones! That’s right: You get the same sound from your headphones as the speakers. Extremely dynamic and very transparent, the SQ-38u’s headphone sound is far and away the best I’ve heard from an integrated amp. The Luxman had no trouble driving difficult models like the Hifiman HE-6 planar magnetic headphones. Suffice it to say that the SQ-38u is completely on par with my $1,050 Woo Audio WA-6SE tube headphone amp.

Tone controls? Wow, it’s been a long time since I last used a high-end product with bass and treble controls, and those on the SQ038u are the same as those on the original 1963 design. Subtle gradations of bass and treble shifts can make less-than-stellar-sounding recordings, like Bruce Springsteen’s Darkness on the Edge of Town CD, more listenable. I dipped the treble down to eleven o’clock, and the bass up to 1:30. Much better. Once I really got into the music, I realized what I’ve missed from the Boss’ more recent albums: The band doesn’t sound like a band anymore. On Darkness, Springsteen is playing with a band of brothers. The SQ-38u brought out the best of them without highlighting the recording’s harshness.

Better still, when I played an audiophile recording with real spatial depth—as opposed to digital reverberation—the SQ-38u unleashed a fully three-dimensional soundstage. Puente Celeste’s Nama, a CD from MA Recordings, is recorded “live” with no overdubs and on a pair of custom microphones; the sound was palpably alive. The disc ideally captures the sound of musicians playing in real time, listening, and reacting to each other. A pure thrill, as the sound went beyond mere hi-fi.

Moving and Grooving

I initially listened to the SQ-38u with a pair of Zu Soul Superfly speakers (reviewed in Issue 35), which proved a match made in heaven, but later used my Zu Essence speakers. Duke Ellington’s Blues In Orbit SACD bounded out of the Essence models with rare gusto. The music may have been recorded a half century ago, but it was alive and kicking as if made yesterday.

Inspired, I dug out Rhino Records’ Beg Scream & Shout box set: Six CDs loaded with the very best Motown, Stax, and indie soul, from gems like Jackie Wilson’s “Baby Work Out” to one of my all-time favorite party tunes of the 1960s, the Bar-Kays’ “Soul Finger.” This music is all about energy and drive. Could the SQ-38u deliver? In a word, abso-funk-en-lutely! I couldn’t stop jumping around, just like I did when I was a teenager hearing these tunes for the first time. Never once did I think about transparency or palpable imaging.

For the last great live Stones album, 1995’s Stripped, I switched over to Dynaudio’s C1, a more precise-sounding speaker than the Essence. Soundstage focus is also superior, and the SQ-38u surprised me with its weight and gravitas. Quieter, acoustic-based tunes like “Wild Horses,” “Angie,” and “Love in Vain” were reach-out-and-touch vivid, and claimed to-die-for intimacy. Harder-rocking tunes such as “Street Fighting Man” and “Like a Rolling Stone” felt, to a certain degree, reigned-in. Power wasn’t the issue. The SQ-38u played loud enough, but dynamics were perceptively scaled down and blunted the Stones’ full-frontal assault.

Shifting gears, on Brian Eno’s Ambient 4: On Land, ever-shifting soundscapes and churning atmospheres glide over squeaking, fluttery accents. There’s a lot going on, and the depth of the stage mesmerizes. Solid-state amps produce the textures but suppress the space. The Luxman made the album come alive, offering up an immersive experience, which is how this recording should be experienced.

From tubes, I want romance, and the SQ-38u delivers. I’m not a fan of tube amps that try to go toe-to-toe with solid-state amps in regards of control and razor-flat response. Hence, when I compared the SQ-38u with my Parasound JC-2 preamp and First Watt J-2 (25 watt x 2) amp while listening to Nusrat Fateh Ali Khan and Michael Brook’s Night Song, the solid-state versus tube sound contest didn’t produce a clear winner.

The JC-2/J2 unfurled a more precisely focused soundstage, with more taut bass, but the SQ-38u gave me more of Ali Khan’s 300-pound heft. Pardon the cliché, but the tube sound possessed more palpable body and roundness. To be sure, the CD sounded great with both components. It’s just that the SQ-38u shaved off a tiny bit of the CD’s edge. The Luxman sounds less like a hi-fi component, and more like live music; the JC-2/J2 is more tuneful and rhythmically agile.

Gimme Some Truth

Some otherwise fine amps can’t supply the essence of music. They may be transparent, image well, and uncork many a recordings’ full dynamic range, but the sound still misses the mark. Musical truth separates this Luxman from the pack. The SQ-38u zeroes in on the music and satisfies the soul.

Additional Listening:

Regardless of whether you choose its solid-state or vacuum tube models, Luxman seems to have captured the market in terms of providing a warm, somewhat romantic sound. Akin to the company’s L-590A II integrated (reviewed in Issue 13), the SQ-38u is a modern classic, with vintage styling cues and tone controls. There’s even a cool, tiny yellow LED in the volume control that blinks while the amplifier warms up.

While I also had a pleasant experience with the Zu speakers, my little slice of heaven came courtesy of B&W’s 805D speakers. Their highly resolving nature, smoothed ever so slightly by those EL-34 output tubes, made for a delicious presentation. My recently restored JBL-L100s also made for an intriguing albeit more vintage-sounding system.

Caveat: If you are looking for the last word in vacuum tube resolution, look elsewhere. But if you’d like to stop stressing out over what vinyl pressing you need to locate, the SQ-38u is what you want. Its phono stage is killer. All three positions (MM, MC-low, MC-high) work equally well, but the combination of a Rega P9 with Shelter 501 proved irresistible. The Denon 103 comes in a close second.

Granted, a 30-watt-per-channel tube amplifier can’t be everything to everyone; it won’t play heavy rock or major orchestral works at anywhere near realistic volume levels with most speakers. But if you’d like to get off the audiophile roller coaster and just enjoy the majority of your music collection without hassle, I can’t think of a better choice than the SQ-38u. It’s a magic amplifier that offers the perfect blend of tube romance without the layer of murkiness that plagues vintage tube designs. I can see why it has been such a popular model for so many years. Highly recommended.  –Jeff Dorgay

Manufacturer Information

Luxman SQ-38u

MSRP: $6,000

www.onahighernote.com (U.S. importer)

Peripherals

Too bad the folks at Rega aren’t in charge of balancing the trade deficit. While a substantial amount of modestly priced hi-fi is now produced in China, Rega continues to make solid designs built by hand by skilled craftspeople in its UK factory. That the company produces a 50wpc integrated amplifier with an excellent phonostage is quite admirable; that the firm does it at this level without going to the Far East is nothing less than incredible. Rega’s main man, Roy Gandy, is fond of saying that Rega likes to build products that offer top performance in their respective class. But this time, Rega hit the ball way out of the park.

Longtime Rega enthusiasts might be surprised that the price of the Brio-R is $300 more than that of the previous model, which has been around for about 12 years. However, the new version offers substantial gains even as it occupies a much smaller footprint. Think of the $895 Rega Brio-R as the Lotus Elise of integrated amplifiers; it’s not quite what you’d expect until you get behind the wheel. And yes, the “R” stands for remote.

Make sure to use both hands when unpacking the Brio-R. The compact box is fairly heavy, weighing in at about 20 pounds. Peaking inside shows that Rega didn’t allow a square millimeter of space to go to waste. The Brio-R features the same enclosure as the Rega DAC we reviewed earlier this year, the shared approach keeping costs low and quality high. No detail is left to chance; the remote-control circuitry is even given its own separate power supply to ensure signal purity. Poking around inside reveals one pair of output transistors per channel, high-quality film caps, and a very short signal path.

Small Yet Strong

Despite its smaller box, the new Brio packs a bigger wallop than its predecessor. And there’s never been a more perfect example of specs not telling the whole story. While the previous Brio 3 is rated at 49 watts per channel and the new model at only 50 watts per channel (73 watts per channel into 4 ohms), Rega claims the new output stage can reasonably drive outputs “as low as 1.7 ohms.”

Indeed, while the last Brio struggled with low-impedance speakers, the Brio-R effortlessly sailed through. Driving a pair of Magnepans usually translates into the kiss of death for most small integrated amplifiers (and a few larger ones, as well), but the Brio-R did a very respectable job of powering the notoriously power-hungry MMGs reviewed in this issue. It’s also worth noting that my Cambridge Audio 740C (rated at 100 watts per channel) was not up to this task. Moreover, the Rega had no problems driving my vintage MartinLogan Aerius. A reasonably priced integrated that can tackle Magnepans and MartinLogans without problem? High marks are in order.

Like the prior Brio, the Brio-R features an onboard MM phonostage, also improved in sound quality and sensitivity. In the past, users that didn’t utilize a Rega phono cartridge complained about a lack of gain in the phonostage, an issue that required serious twisting the volume control to achieve reasonable listening levels. With a sensitivity of 2.1mv, the Brio-R had no troubles reaching full volume at the 12:00 level when outfitted with a Sumiko Blackbird cartridge, which boasts an output of 2.5mv. Thanks to its quietness, I was even able to use a Grado Master1, which has an output of only .5mv (47k loading). Doing so necessitated setting the volume at almost 2:00 for the maximum level, but the Brio-R remained up to the task.

Setup and Controls

The Brio-R will have you listening to music in a jiff. The spartan front panel shares the same design brief as the Rega DAC, with a power button on the left, volume control on the right, and a button that requires a touch to toggle between inputs. The mute control is only accessed via the remote, which also allows for volume level and input switching.  And the Brio-R can only be turned on and off from the front panel.

Around back, five inputs and a fixed level output made for an excellent match with my recently restored Nakamichi 550 cassette deck, which incidentally is almost the same size as the Brio-R. For the tapeheads, the output has a level of 210mv.

The only caveat? Input one is the phono input and not marked as such. Plugging in a line-level source here will cause a hateful noise at best and blown tweeter at worst, so proceed with caution. If you’re not a vinyl enthusiast, get a pair of Cardas RCA caps, if for no other reason than to prevent a mishap. Rega turntables do not have ground wires. But if you’re using a ‘table that has one, the ground screw is underneath the amplifier’s rear face.

The Brio-R uses a standard IEC AC socket, so those that enjoy swapping power cords can geek out all they want. However, the RCA jacks and speaker binding posts are so close together that some cables will not be compatible. And while the average consumer that purchases a Brio-R may not step too far into the world of premium cables, the amplifier is good enough to warrant doing so. Given the restricted space, speaker cables with spades are almost out of the question; grab bananas or banana adaptors.

Sounds Like Separates

Resolution often sets separate components apart from integrated amplifiers. The Brio-R has an overall clarity that I have never experienced at this price—and I’ve heard my share of much more expensive pieces that struggle to sound this good. After all, only a handful of sub-$3k amplifiers provide true high-end sound; the Brio-R belongs at the top of that short list. It truly sounds like separate components.

At the beginning of John Mellencamp’s “Sweet Evening Breeze” from Human Wheels, a Hammond organ faintly enters from the far back of the soundstage, barely registering a whisper. Other inexpensive integrateds I’ve sampled (except for the PrimaLuna ProLogue1) don’t resolve this. Or, what does come through is flat and on the same plane as the rest of the music—a blurry rendition. Oingo Boingo’s “Nothing Bad Ever Happens” from Good For Your Soul has similar textures, with multiple layers of guitars and keyboards that, via substandard gear, blend together and smear. By yielding genuine dimensionality, the Brio-R is a budget component that you can listen to for hours on end, fully engaged in the presentation.

The amp claims a fair share of headroom as well. Whether listening to KISS, with or without a symphony orchestra, the Rega didn’t run out of steam until played at very high volumes. Switching to the 99db sensitivity Klipsch Heresy IIIs (also reviewed this issue) resulted in a completely different situation. This combination achieved near rave-level SPLs with Nine Inch Nails’ The Downward Spiral. The opening drumbeats to “Big Man With a Gun” were big and powerful, yet the little Rega didn’t seem to break a sweat.

Your favorite speaker with a sensitivity rating of between 87–91db should prove a more than acceptable match for the Brio-R’s power amplifier section.

Vinyl Adventure

The phonostage in the Brio-R should prove a perfect match for anything in the $100-$600 range and when used with the Rega RP1 and its Performance Pack, an upgrade that includes the Bias 2 MM cartridge. The latter features a tonal balance slightly tipped toward the warm side of neutral, helping less-than-stellar LP pressings sound their best.

For example, a friend that brought over budget treasures purchased for fewer than $3/each couldn’t believe the performance wrought by the RP1/Brio-R combination. Again, the Brio-R’s phonostage offers excellent resolution and a very smooth upper register. And while the RP1/Bias combination turned in a great show, switching to the P3-24 and Blackbird offered a substantial helping of “what the analog fuss is all about.”

Good Things Do Come in Small Packages

The Rega Brio-R sets the benchmark for an $1000 integrated amplifier and then some.  While it’s easy for those that regularly hear the world’s best (and often most expensive) gear to get excited about great sound, it’s truly thrilling to hear this level of sound quality from an amplifier with an $895 price tag. Music lovers on a budget no longer have to sacrifice quality. This one could make a crazed audiophile out of you where you least expect it.

The Rega Brio-R

MSRP:  $895

www.soundorg.com (US)

www.rega.co.uk (UK)

Peripherals

No matter your drug of choice—chemical, horsepower, audio—with prolonged use, you always reach a plateau at which you believe you just can’t get any higher. But sooner or later, something else enters your reality that restarts the cycle, and you’re off and running again. Such is my experience with the Pass Labs XA160.5 monoblocks.

If you are new to the world of high-end audio, you can get the condensed history of Pass Labs here: http://www.passlabs.com/about.htm. The shorter version is simple: Nelson Pass is a genius. He’s probably got more patents for amplifier design than almost everyone else combined. And he’s got a great sense of humor, too. The owner’s manual describes the new amplifier as “tending to run heavy and hot, but elicit high performance and reliability from simple circuits.”

Weighing in at about 130 pounds each and $24,000 per pair, the XA160.5s are not for the light of wallet—or bicep. Or, for that matter, air-conditioning capacity. The power draw isn’t huge, but each unit sucks 600 watts from the power line, whether idling or at full power. Because they only produce 160 watts per channel into 8 ohms, doubling into a 4-ohm load, they get very warm to the touch. Yes, this behavior is normal for a class A design. The extra heat was welcome in March when the amplifiers arrived, as it kept our studio toasty. Yet, as days got longer, the amps forced us to run the A/C well before we normally would.

Super Yet Simple

Pass has always advocated keeping things as simple as possible. While squarely looking at the enormous monoblocks might cause you to question whether he still believes in this basics-minded philosophy, thanks to Pass’ patented SuperSymmetry design, the amplifier has only two gain stages. At the risk of oversimplifying, the SuperSymmetry approach achieves low distortion (and tonal purity) by making each half of the balanced amplifier as close to identical as possible so that the resulting distortion from each half of the amplifier circuit cancels out in balanced mode.

To achieve maximum performance, the amplifier must be run in balanced operation. Fortunately, the ARC REF 5 offers balanced and single-ended outputs, which makes comparisons a snap. And Pass is right again: Utilizing the XA160.5 in single-ended mode proved very good, but it featured a layer of grain not present in balanced mode. Whether you use a Pass Labs preamplifier or a model from another manufacturer, make sure to take the balanced route.

Coming Full Circle

My first experience with Pass’ class A amplifiers came in 1979. I combined a Threshold 400A with a Conrad Johnson PV-2 preamplifier driving a pair of Acoustats, making both an incredibly natural combination and excellent case for pairing a solid-state power amplifier with a tube preamplifier. While many combinations have since passed through my room, the tube pre/solid-state power amplifier is always the one to which I’m drawn, especially when it involves a class A amplifier.

The XA160.5s symbiotically works with all of the preamplifiers at my disposal, but the match with the Audio Research REF 5 linestage and REF Phono 2 preamplifier is heaven-sent. Pass Labs president Desmond Harrington tells me that many customers use the company’s amplifiers with tube preamplifiers. “It’s a popular combination, but when it comes to power, we like to see our amplifiers offering the tube sound without the tears.” Truer words haven’t been spoken.

As someone who’s purchased more than a fair share of power tubes, I am relieved to know that the sound of the XA160.5’s will never change. And, you won’t have to buy new power tubes every year. Continuous operation cuts down on tube life. If only Costco sold tubes by the palette.

Like Luke, I Ignored Yoda Just Once

Pass’ instruction manual cautions against using the XA160.5s with a power conditioner. Nonetheless, I plugged them directly into the wall and then into my Running Springs Maxim power conditioner, with the latter providing an even cleaner presentation. The soundstage opened up significantly, and I didn’t experience any loss of dynamics. Yes, the stock power cords that come with the XA160.5s are very good, but aftermarket power cords (Shunyata and Running Springs models yielded excellent results) offered up a slightly clearer window to the music.

In all fairness, think of superior power cords as being able to take an amplifier that goes to 11 up to 11.2. Besides, you wouldn’t put regular gas in your Porsche, would you?

Super and Scrumptious

Unlike a non-class A solid-state amplifier, the XA160.5s shouldn’t be powered on for 24 hours a day. They generate too much heat. Still, just like a tube amplifier, the XA160.5s need an hour to warm up and stabilize. At first turn on, they still sound great, but once you get used to them, you’ll notice a slight haziness that softly dissipates as the clock ticks. Coincidentally, the ARC REF 5 and REF Phono 2 need an hour to sound their best, too, so if you are using a tube front end, everything will warm up at the same pace.

I initially listened to familiar digital tracks from the Sooloos music server/dCS Paganini combination. I was immediately taken aback by the additional weight and depth, even more so with high-resolution digital files. All of the class A amplifiers with which I’ve lived share a tonal richness that other solid-state amplifiers do not possess. Some might refer to this quality as warmth, but I prefer to call it tonal richness. I associate warmth with slowness, lack of pace, and rounded-off treble; the XA160.5s exhibited none of these characteristics. The Pass monoblocks sport the equivalent of a great guitar’s ability to sustain a note. On a choice Gibson Les Paul, for example, music just seems to hang in the air a little longer.

Switching back and forth between amplifiers at my disposal revealed that the XA160.5s are indeed very special. It was as if the particular characteristics from my favorite amplifiers have somehow taken up residency in one model. Thanks to their monoblock design and huge power supplies (the 160.5 is claimed to have a significantly larger power supply than the 160 it replaces), these amplifiers throw a soundstage that is prodigious in all three dimensions. Image width really stands out.

I noticed such traits on all program material, but they became more obvious when listening to classical. Conveying the size of a symphony orchestra—much wider than most listening rooms—is one of the toughest feats to ask a system to accomplish. When listening to Sir Arnold Bax’s sixth symphony, it felt as if the sidewalls in my listening room had been each moved out about six feet. Not realistic, of course, but much more convincing than without the XA160.5s.

Recorded live and flush with ambience, Hugh Masekela’s “Stimela (The Coal Train)” from Analogue Productions’ 45RPM 2LP version of Hope provides an excellent test. Having just heard Masekela perform the song at the Montreal International Jazz Festival in June, the recorded version via the Pass amps colored me impressed. While the live version claimed a slightly different arrangement, the XA160.5s pushed my GamuT S9s to a realistic sound level and conveyed such nuance and tonal contrast, I felt like I was back in Montreal’s Club Soda venue. Even at the high volume level, the front panel’s deep-blue backlit oval meter barely flinched from its center position, indicating that the amplifier never left class A mode.

Of course, man cannot live on jazz alone. At prime operating temperature, the XA160.5s did not miss a beat on a Japanese vinyl pressing of Michael Schenker’s Built to Destroy. No matter how hard I pushed, I could not destroy the amps or my speakers. And yes, that’s a very good thing. Staying in Japanese LP mode, Bruce Springsteen’s The Wild, The Innocent, and the E-Street Shuffle proved tough to resist, as did David Bowie’s Aladdin Sane. These old favorites never sounded better, and when I quickly switched back to the gear I’ve lived with for some time, across-the-range performance boosts became manifest.

Staggering Pace and Tonality

While classical music plays to one group of the XA160.5s strengths, revisiting the recently remastered Beatles catalog plays to another: These amplifiers offer rock-solid pace. Violins in the mono version of “Eleanor Rigby” (from Revolver) were strongly anchored, and Lennon and McCartney’s voices unwavering. There was so much depth, it almost sounded like a stereo recording! Speaking of the latter, the stereo version of “Penny Lane” from Magical Mystery Tour turned out to be just as exciting. Ringo Starr’s drumming and McCartney’s bass held true throughout the psychedelic soundscape.

I am easily swayed by the big sound of these amplifiers, yet that characteristic only scratches the surface of their capabilities. Concerning tonal accuracy and texture? Spot on. Acoustic instruments sound correct, whether listening to wind, string, or percussion instruments. Dynamic contrasts equate to the best I’ve experienced. A few TONE writers whose tastes skew towards classical remain astonished at the lifelike piano reproduction.

Music fans that crave vocal performances will benefit from the XA160.5’s picture-perfect tonality and resolution. Again, the extra tonal body almost feels as if one is listening to an SET—albeit an SET with nearly unlimited power that you can use with real-world speakers. The extra low-level resolution goes a long way, especially when spinning marginal discs. An ideal example comes courtesy of Keith Richards’ Talk is Cheap. Richards is not known for possessing a terribly strong lead vocal. Yet, when put through the XA160.5s, it actually has some depth. Such is the XA160.5s’ allure. They hover at the optimum point of boasting maximum resolution without being harsh, sounding full bodied and musically natural without introducing tonal distortion— a difficult balancing act.

Bass response keeps in line with the exceptional performance found elsewhere in the frequency range. While the XA160.5s have more than ample weight and slam, the bass reveals a level of texture and detail that I’ve only experienced with a small handful of amplifiers. Remember: It’s easy to confuse “audiophile bass” (usually over-damped and distinguishable from the real thing that has life, texture, and resonance); the XA160.5’s are the genuine article. A cursory listen to your favorite acoustic bassist reveals the way these amplifiers allow the instrument to breath, and brings you that much closer to the actual performance.

Top Contenders

Two years ago, I proclaimed the Burmester 911 Mk.3’s the best amplifiers I’ve heard. And over the course of hundreds of product reviews, I’ve used that dreaded “B” word just once in the absolute sense. After conveying my enthusiasm for these amplifiers to Harrington, he responded, “The 160’s are amazing, but you need to hear the 200s.” So just when I thought I couldn’t get any higher, the quest begins again.

It’s always tough to make comparisons, yet the XA160.5 combines the virtues of my three favorite amplifiers into one (actually two) boxes:  the delicacy of the Wavac EC300B, the texture and dimensionality of the ARC REF 150, and the power, control, and composure of the Burmester 911s.

Independent of the “B” word, the Pass Labs XA160.5 monoblocks orbit the top stratosphere of amplifier design at any price. If you would like that je ne sais quoi that you thought required a vacuum-tube amplifier, these are a consummate alternative. There is nothing that the XA160.5s do not do.

The Pass Labs XA160.5 monoblocks

MSRP:  $24,000/pr.

www.passlabs.com

Peripherals

Many of my non-audiophile friends would love to have a great music system, but often ask the same question: “Do I really need that rack full of components?” With the Bel Canto C5i DAC Integrated Amplifier  you don’t. For those who want a serious hi-fi system with a diminutive footprint, the C5i is the perfect place to begin. Add speakers, a source, and you are ready to rock.

At $1,895 the C5i includes a 60-watt-per-channel class-D power amplifier, 24/192 DAC, MM phonostage, and a respectable headphone amplifier.  Bel Canto skips the preamplifier stage, driving the amp directly from  the DAC section, utilizing their 24-bit digital level control.  Designer John Stronczer likes to point out that their approach leaves “no stinky pots to wear out.”  The MM and line level inputs go through a 24/192 ADC into the DAC section, eliminating the traditional line level preamplifier function entirely. And it’s all neatly tucked into a box the size of a Stephen King novel. Thanks to the class -D amplifier, the C5i only draws about 13 watts from the outlet, so your carbon footprint won’t be taxed.

Fortunately 60wpc is also enough juice to entertain a wide range of speaker possibilities  Most of my listening sessions took place with the new Dali F5 speakers with 88db sensitivity. Yet the C5i had no trouble when mated with the 83db Harbeth P3ESRs – perhaps due to the fact that it doubles its rated power into 4 ohms and can deliver up to 30 amps of peak current.

A Plethora of Inputs

Along with losing the stack of gear and pile of cables required by a more traditional setup, you need just one interconnect pair to operate a system based on the C5i—another plus. With the C5i, your computer or laptop is only a USB cable away from becoming a first-class digital front end. In addition to the USB port, the unit boasts a pair of RCA SPDIF inputs as well as a pair of TOSLINK optical inputs. You can connect a cable TV box, game console, or whatever other digital device suits your fancy, turning the C5i into a media hub. The USB port offers digital playback up to 24/96, while the SPDIF and Toslink ports take full advantage of the DAC’s 24/192 capabilities.

In addition to the MM phono input with standard 47k ohm loading, a high-level analog input is available should you add another phonostage or perhaps, a tuner – like Bel Canto’s FM1. Using the phonostage with a handful of MM cartridges delivered excellent results. The Shure V15mvxr, Rega Exact, and Clearaudio Maestro Wood all worked well with the on-board phono, and I was also happy with the sound of my recent LP-12/V15 combo. Quiet, dynamic and musical, the on-board phonostage is equal to if not better than any of the sub-$300 external phonostages I’ve experienced.

The Rega RP1/Ortofon OM5e also effortlessly pairs with the C5i. Listening to a handful of budget 70s rock records revealed enough midrange warmth and depth to feel the analog love. Bottom line: If you don’t already have a turntable, the C5i makes adding analog to your system a painless process. True analog fanatics will want more performance, but they aren’t the model’s target audience.

Love digital? So does the C5i. High-resolution and 16/44.1 files via a Mac Mini, Sooloos Control 15, and MSB Universal Transport transmitted without a hiccup. When you push play and the music begins, the sampling rate blinks on the C5i’s main display.  Since most of my high-res collection is at 24/96 I didn’t audition any 24/192 material.

The C5i’s DAC performance also impressed by holding its own with a number of competitors in the $500-$1,000 category. Listening to my fair share of the BBC’s Bax: The Symphonies box set, I couldn’t help but notice the DAC’s level of tonal purity and separation, even on 16/44.1 recordings. Should these options seem like too much work, the C5i works great with an iPod. Plugging in a little 4GB iPod Nano yields fab results, especially with Apple lossless files.

Serious Authority

A prominent sonic wallop is likely the first thing you’ll notice when firing up the C5i. Bass is particularly well controlled, as is transient attack. The California Guitar Trio’s “Led Foot” demonstrates the C5i’s ability to maintain pace while simultaneously keeping separate and clean the three distinct guitar voices. California Guitar Trio records contain a wealth of musical information in a small space, an acoustic that most moderately priced integrated models fail at recreating.

Bill Bruford’s Earthworks lies at the opposite end of the sound spectrum. A skilled drummer that never hesitates to maximize his kit, Bruford provides a great torture test. The C5i has no problem keeping the cymbals in their own distinct space as the percussionist takes flight on several rapidly paced solos.

Comparing the C5i to the much larger REF500M monoblocks reveals a close resemblance at less-than-earthquake levels, and for good reason: The C5i uses the same power modules, albeit in stereo rather than in a bridged mono configuration. Again, Bel Canto doesn’t sacrifice sound quality at a lower power level, making the C5i an even more attractive proposition regardless of where you sit in the audiophile pecking order. And diversity abounds.

The high-level outputs give it even more versatility for listeners that desire a satellite/subwoofer system. Users that either don’t want or can’t get speakers right now should think of the C5i as a wonderful headphone amp that happens to have a great DAC and phonostage. It adequately drove the new Grado PS500, Audeze LCD2, AKG 701, and Sennheiser 650 headphones. Yes, you can drop another $500-$1,000 on an outboard headphone amp, but this one works well and is miles beyond any pod or tablet.

New Balance

As much fun as it is to listen to the C5i, its seamless integration into any environment means there’s no reason not to have a great hi-fi in your house. You don’t need a pile of gear, massive loom of cables, or gaggle of remote controls. If you’d like to build a system a few marks above the budget level, the C5i awaits your discovery. It combines both functionality and performance in a compact package, underscoring the fact that you don’t need to spend a small fortune to get good sound. More, please.

www.belcantodesign.com

The NAD 3020 integrated amplifier was a marvel in its day. While rated at only 20 watts per channel, it boasted a beefy power supply and fair amount of headroom, giving it the ability to drive a wide range of speakers. It also included a bevy of features, not the least of which was a high-quality MM phono preamplifier and “soft clipping” circuit that prevented more than a few tweeters from ruin. All this audio goodness came wrapped in a stark, olive green-tinted black case for just $219.

The C316 BEE power is rated at twice that of the 3020 and claims NAD’s latest PowerDrive circuitry from the company’s flagship amplifiers. Tone controls now offer the option to be entirely switched out of the circuit, and an 1/8” jack on the front panel accommodates the high-level output of a portable music player.

As one of many audiophiles with fond memories of the NAD 3020 (an original, not the later A or B version), I had tons of fun bringing one back into the studio for a serious listening session. Mark Stone and the folks at NAD North America gave the 3020 seen in this issue’s Old School section a complete checkup, verifying that it still more than meets its original design specs. Our test sample exceeded the stated 20wpc at 8 ohms rating by a healthy margin, producing 29 wpc at rated distortion. (Steve Guttenberg lends further insights on page 19.)

Still, while the 3020 is a stout amplifier on the bench and in the listening room, time has come to move on to the entry-level NAD integrated. The new model’s form factor remains similar, albeit slightly slimmer. The LEDs follow modern fashion and are blue instead of the red popular in the late 70s. A remote is included in the box. And, adjusted for inflation, the $329 C316 BEE makes for an even monetary better value than the 3020 in the early 80s.

Better Than I Remember

It’s always easy to wax poetic about the past, deluding oneself into thinking that things were better back in the old days. While the 3020’s power meter was constantly pegged driving my Acoustat 2+2’s during the early 80s, it barely broke a sweat powering my current Verity Audio Rienzes, which present a much more benign load. At modest listening levels, neither amplifier caved, but the difference in sound between the two units proved dramatic—and in favor of the old.

Teamed with the Rienze floorstanding speakers and a dCS Paganini stack, and cabled with a full complement of Cardas Clear, the demonstration epitomized what I’ll call audio-foolery. Who in their right mind would mate a couple of $300 integrated amplifiers with $100k worth of ancillaries? Guilty as charged, but the results were telling.

Differences between old and new models are unmistakable. The current amplifier possesses more extension at the upper end of the spectrum, but the vintage unit wins in every other category. The 3020 enjoys a more vivid, almost tube-like midrange, and takes control of the Rienze’s woofers with more authority.

While the C316 BEE is a great little amplifier, the 3020 is a serious piece of audiophile kit.  When listening to Thomas Dolby’s “My Brain is Like a Sieve” from Aliens Ate My Buick, the electronic effects have an almost buoyant feel, wafting back and forth across the soundstage. Yet they stay in a single plain when experienced via the C316 BEE. The wet and expansive echo in Tim Curry’s voice on the title track of Simplicity has depth on the 3020, but none on the new amplifier. The most explicit revelation occurred during the intro of Keith Emerson’s “Ignition” from his recent Keith Emerson Band. Where the 3020 reproduces the low organ notes, all is silence when played through the C316 BEE.

A similar verdict is reached listening to Tone Loc’s “Funky Cold Medina.” The C316 BEE just doesn’t have the grunt. The final nail in the coffin came courtesy of the acoustic guitar intro to Tracy Chapman’s “Fast Car.” A tonal richness exists with the 3020 that fools you into thinking a much more expensive amplifier is behind the scenes. No wonder the audiophile press labeled this amplifier a “giant killer.” At modest volume, it more than held its own with the industry’s best when introduced in the early 80s.

When swapping my aforementioned setup for an iPad, Aperion Intimus 5 bookshelf speakers ($599/pair), and Radio Shack capable, the differences between the two amps practically disappeared. But that’s what makes the 3020 so cool: You can hook it up to a pair of $11,000 speakers and be impressed. While the C316 BEE may not ultimately appeal to audiophile sensibilities (and let’s face it, what $329 integrated amplifier does today?), it makes for a great graduation present for a music-loving teenager about to head off to college.

Progress Worth the Price

Don’t get me wrong: The NAD C316 BEE represents very good value and performance for the price. Like its predecessor, it serves as a great cornerstone for a budget hi-fi system. If mated with a decent pair of $250-$600 speakers, it’s sure to impress the uninitiated. And if you’ve never experienced a 3020 in great shape, you’ll probably be bowled over by the C316 BEE.

The idea of a brand-spanking new amplifier with no scratches or fingerprints, as well as a warranty, will likely appeal to 99.9% of listeners that would rather not take the chance of getting an abused relic. 3020s usually got passed on from friend to friend, creating a lot of audiophile goodwill. But more often than not, they gathered numerous abrasions in the process. However, if you do happen to stumble across a mint 3020, buy it.

Removing the cover of the C316 BEE reveals a tidy layout that’s a model of simplicity, with a large toroidal transformer and beefy heat sink for the power amplifier’s output stage. By comparison, the 3020 looks like someone emptied a colander of pasta on the circuit board. And the C316 BEE does have a remote, so progress isn’t all bad.

Besides, the NAD C316 BEE offers everything you need around which to build a great budget hi-fi system. It sounds good, fits nearly anywhere, and offers much better sound than what local big-box bandits sell for the same amount of money. Will it shift millions of units like its predecessor, and end up in dorm rooms everywhere? We can only hope.

www.nadelectronics.com

Hyundai covers its engines for 100,000 miles. Bryston guarantees its amplifiers for 30 years. Decware guarantees its amplifiers for life. Any way you look at it, offering long warranties takes guts. It also means you better make a damn good product, or you’re going to go broke servicing warranty repairs.

The Decware Zen Torii Mk.3 is a damn good amplifier.

While I hate to use the “b” word (best), the Torii is my favorite power amplifier based on the EL-34 tube, and that’s saying a lot. I’ve always had a major affection for such amplifiers, which possess many characteristics of great single-ended triode amplifiers and yet, have more power and control than an SET can muster.

Think of the Torii as an SET with benefits—namely, increased bass control and dynamics. Unless you have extraordinarily efficient speakers, a few watts per channel just won’t rock your world. But 25 watts per channel dramatically changes the game, and is more than enough to power the Verity Audio Amadis speakers (93db/1-watt sensitivity) to a sufficiently high level on music of any kind. The Mk.2 does a fine job with the Verity Rienzis (87db/1 watt) and B&W 802 Diamonds (90db/1 watt). Still, the Amadis’ added sensitivity is just what’s needed to push the envelope.

Decware owner and chief engineer Steve Deckert claims his amplifier is “the last one you’ll ever want” and should only be used with a preamplifier if you happen to have a world-class unit at your disposal. Fortunately, I have two: An ARC REF 5 (vacuum tubes) and Burmester 011 (solid-state), each reference components, and both excellent matches for the Torii. At the end of the day, with the Verity speakers, I was willing to relinquish the last bit of the ARC preamp’s front-to-back-image depth for the additional bass grip and slam the Burmester provides. With the GamuT S9s, the ARC has the edge.

An optional $150 stepped attenuator on the Torii makes it easy to keep the preamplifiers used within their respective sweet spot, balancing dynamics and the lowest noise floor in the presentation.  While the sound remains excellent when using the dCS Paganini straight into the Torii, via the Paganini’s digital volume control, I feel that a killer linestage brings maximum dynamics to the table.

Deckert warned me that the Torii would require a long break-in period. Yet it sounded good right out of its supplied Pelican Case—another nice option, and one that certainly beats a cheesy cardboard box. Moreover, it keeps improving over time and, if I had to guess even after 700 hours of listening time, still sounds as if it is advancing. Where many amplifiers sound grainy and two-dimensional after only a few hours on the clock, the Torii’s tonal character just keeps ameliorating as the hours rack up.

My review sample has the optional V-Cap upgrade, which adds $500 to the window sticker. It’s well worth the price. A custom wood base is also available, meaning that a completely tweaked-out version fetches about $3,600. Each Torii is hand-built by one person and given plenty of attention from start to finish, not unlike a master engine constructed at Ferrari or Aston Martin. Such care becomes obvious the minute you take your Torii out of the carton; it’s truly a product to cherish. (Decware products are all built to order and only available factory-direct.)

Rolling, Rolling, Rolling

The only aspect that might drive you nuts with the Torii? The amount of customization you can bring to its sound by swapping various tubes. This amplifier is what a tennis ball is to a Jack Russell terrier; you can chase it forever and you’ll collapse in exhaustion by the time you’re done. If that’s your idea of fun, you’ll never get bored with the Torii. While every tube makes a difference, the output tubes seemingly make the least amount of difference. I tried several combinations, but the input tubes and voltage regulators provide more sonic variance than swapping output tubes.

Deckert attributes this characteristic to his “Hazen grid modification” that involves substituting a non-polarized film capacitor for the piece of wire that normally connects between the suppressor grid and cathode in the output stage. Deckert also touts another benefit of his modification: The basic push-pull output stage makes it less sensitive to tube type. I must concur. This is great news—especially considering that the price of vintage NOS EL-34 tubes can soar as high as $300 each.

The Torii comes with the most informative owners manual I’ve ever seen. Rather than bore you with paragraphs of tube rolling escapades, click here for the manual: http://www.decware.com/newsite/TORIIMK3Manual.pdf

And the adjustments don’t stop with the tubes. You can choose one of two bias settings, and there is a bass and treble control. Not traditional tone controls, mind you, but two more ways to optimize the speaker/amplifier interface. The treble control rolls off the high-frequency response of the amplifier, but simply shunts to ground so it is not in the signal path. Deckert says the “bass control” actually impacts how the amplifier interacts with the speakers, and that there is no fixed “flat” position for these controls. Hence, they must be adjusted with each speaker. Finally, a 4/8-ohm impedance switch is present and, as with any tube amplifier with multiple output taps, should also be sampled, as often times the best match is not what you might think.

Those who stay focused and have the Zen-like patience to settle on a combination (or two) will be rewarded with a presentation that transports them to a special place. Even if you stick with the supplied tubes, the bass, treble, bias, and impedance controls are worth five minutes of your time. Consider: the Torii might actually save you money if you’ve got a pair of speakers that are too forward or a touch boomy. There’s a good chance that making small adjustments will dial in a speaker you may have considered selling. More money for concert tickets never came easier.

Unlike Any Other EL-34 Amplifier

Whereas a Shindo or vintage Marantz amplifier embellishes the sound in a way in which the music tends to sound warm, romantic, and even a bit slow regarding pace and timing (not that this is always a bad thing for many digital and other less-than-stellar recordings), ultimately laying resolution on a sacrificial altar, the Torii strikes a perfect balance of rendering additional tonal richness without altering the music’s fundamental character.

Via the Torii, Moraine’s “Uncle Tang’s Cabinet of Dr. Caligari” from Metamorphic Rock is an absolute prog freak-out, with layer upon layer of maniacal synthesizers and overdubbed guitars all kept in order with larger-than-life drums. Whatever your taste in complex tunes—be it prog, metal, or full-scale orchestral music—you will find intoxicating the Torii’s ability to maintain musical pace.

Without fail, the Torii consistently digs deep into recordings, uncovering morsels of information you may have never heard before. Montrose’s “Rock Candy” is a classic example of a slightly flat recording that comes alive with this amplifier. Usually devoid of any soundstage depth, drums and guitar became invigorated, assuming their own space while lead singer Sam Hagar’s voice remains front and center. And a phenomenal recording like The Band’s Music From Big Pink takes on a life of its own, feeling as if it’s mixed in surround.

The trick the Torii plays better than most vacuum-tube amplifiers stems from its ability to achieve an astonishing balance between tonal richness and tonal purity. And it does so without sliding down the slippery slope of coloration and euphonic distortion. Acoustic instruments retain correct timbre, complete with a fine-grained decay that seems to fade out forever.

Moreover, while most pure tube amplifiers exhibit tube rush when no signal is present, the Torii has none. Chalk it up to the unique utilization of the voltage regulator tubes. The Torii uses them in series, working as active filters rather than in parallel to regulate voltage. This approach also puts almost no stress on the tubes. Unsurprisingly, Deckert claims the latter should practically last the life of the amplifier. While I still notice modest improvements when plugging in to my Running Springs Maxim power line conditioner, the Torii exhibits less improvement than any other vacuum-tube amplifier I’ve plugged into the Maxim. It’s another test that further confirms Deckert’s claims.

Sure. Watts are watts. But thanks to its robust power supply and proprietary output transformers, the Torii has an abundance of headroom and very gently extends past its peak power output, with barely a hint of clipping. Even when playing the heaviest metal, the amplifier always feels bigger than its modest power rating suggests.

All of this adds up to sound reproduction that is rare with most amplifiers, no matter the price, and a practical miracle at $3,600. Granted, 25 watts per channel won’t be optimum for every speaker and room combination. But within this realm, I can’t think of a more enjoyable amplifier than the Decware Zen Torii Mk.2. I bought the review sample and plan on keeping it long enough to see if it will ever break.

One last word to the wise: Those wanting to put a Torii under a Christmas tree should get on the phone now. Orders are currently subject to a 10 week wait. Deckert told me that they have a backlog of 90 to build right now, and hopefully by spring they will be back to the standard 4-6 week wait.

Decware Zen Torii Mk. 3

MSRP: $2,945-$3,700 (depending on options)

www.decware.com

Peripherals

Audiophiles have a habit of prematurely discarding things. In the 70s, a proliferation of low-efficiency box speakers and transistors convinced many enthusiasts to abandon vacuum tubes for high-powered solid-state amplifiers. Listeners were on a quest for “perfect measurements,” only to wonder if they’d made the wrong choice after the fact.

History repeated itself again in the 80s with the compact disc, as many of the same devotees ditched vinyl in favor of “perfect sound forever” and the digital medium’s superior measurements. Fortunately, technology always seems to come full circle and often reaches its development pinnacle years after introduction. The ARC REF 150 power amplifier exemplifies this trend.

Tradition

The $12,995 REF 150 builds on the success of the previous $10,995 REF 110, the consummate one-box solution for audiophiles that don’t require the power of the larger REF 250 and 750 monoblocks. ARC executive Dave Gordon notes: “The REF 110 is a great amplifier. Yet the extra output of the REF 150 is perfect for our customers wanting the REF sound, but don’t want to commit to the space a pair of monoblocks required.” One chassis also has an advantage in that the REF 150 only requires replacing eight power tubes (approximately every 5000 hours) and, subsequently, produces less heat. Tubes are cooled by a pair of back-panel fans that only make themselves faintly known when the music is off. And even then, one must listen intently to hear them.

Looking virtually identical to its predecessor, the REF 150 sports major internal changes. There’s a much bigger power supply, with double the storage capacity of the REF 110, and redesigned output transformers to maximize the capacity of the KT120 output tubes. Past ARC power amplifiers use the 6550. However, the increased dissipation of the new KT120 tube allows for a substantial power increase. Proprietary capacitor technology utilized in the 40^th Anniversary Reference Preamplifier significantly contributes to the new amplifier’s improved transparency. Currently, there’s no upgrade option for REF 110 owners. Still, Gordon mentions that the KT120 tube can be a drop-in replacement for the 6550 in the REF 110 and “provides a bump in power output, close to 20 watts per channel.” Not a bad upgrade for about $600.

Having owned numerous ARC power amplifiers during the past 30 years, I love that the company prefers a path of measured evolution rather than ricochet from one design to the next. This approach keeps high both demand and resale value for vintage ARC gear. Some older models are now worth more used than they were when new. The current hybrid design, featuring low noise JFETs in the first input stage, began back in the late 80s with the Classic 120 and Classic 150 monoblocks. The latter models ran eight 6550 tubes in each channel in triode mode. By comparison, the REF150 utilizes ARC’s patented “cross cathode coupled” output stage, delivering more power from half as many tubes—and providing better overall sound.

Listeners that find the last generation REF 110 amplifier slightly forward in tonal balance and requiring more juice to push will likely feel that the improvements made to the REF 150 a welcome change. ARC diehards, take note: The change in overall sound is almost identical to the improvement between the REF 3 preamplifier and REF 5.  Audio Research achieves a delicate balance of delivering extra, almost-indefinable tonal tube richness while avoiding the common trap of masking resolution with warmth—or speed with an overblown soundstage. In other words, the REF 110 goes to 9.3 and the REF 150 goes to 11.

Compatibility

The REF 150 features a single pair of balanced XLR connections for the input and three output taps (4, 8, and 16 ohm) for speaker outputs. Thankfully, ARC employs quality copper binding posts instead of the awful, plastic-coated connectors used on too many of today’s power amplifiers. Solid connections are important, and these do the job. A 20-amp IEC socket is used for power transfer, as is a heavy-duty power cord.

Integrating the REF 150 into both of my reference systems—one featuring ARC’s REF Phono 2 phonostage and REF 5 preamplifier,  the other comprised of the Burmester 011 preamplifier and Vitus Audio MP-P201 phonostage—proves seamless. Note: the design of the REF series power amplifiers is such that they will not work with single ended (RCA outputs only) preamplifiers.  A balanced preamplifier must be used, or distortion will rise dramatically, accompanied by a substantial decrease in power.  This is due to the omission of the phase inverter stage – a small price to pay for signal purity.  Excellent synergy is also achieved running it direct from the dCS Paganini stack, in effect making the ARC an all-digital control center. No matter your front end, the REF 150 will deliver.

The REF 150 is equally versatile with a wide range of loudspeakers. While it can’t push my power-hungry Magnepan 1.7s to ear-busting levels, it plays them at coherent levels with all but heavy-rock tracks—a major feat for most amplifiers, and an incredible achievement for a tube amplifier. The new MartinLogan Montis speakers make for a fabulous combination with the REF 150, a match previously problematic due to the speakers’ low impedance (.56 ohms at 20kHz), The Montis’ slightly higher impedance combines with the REF 150’s superior drive to play extreme music at any level desired, with no loss of high-frequency information. It all reminds me of the synergy achieved years ago with ARC’s legendary D-79 power amplifier and MartinLogan’s CLS speakers.

Outstanding Impressions

I’m instantly struck by two characteristics: The REF 150 sounds more lifelike right out of the box than recent ARC components, and it possesses colossal bass grip. Those of the opinion that vacuum tube amplifiers can’t produce prodigious amounts of bass weight or control are in for a major paradigm shift. In these respects, the REF 150 amazes.

The Chemical Brothers “Galvanize,” from Push The Button, reveals wet and loose beats that challenge amplifiers to capture their gravitas. The REF 150 aces the test. Sampling everything from Pink Floyd to Stanley Clark shows the amplifier claims immense power and control over lower registers. Regardless of the speakers, the REF 150 goes deep, and yet, stops on a dime with bass transients. No, I don’t believe “tube watts” sound more powerful than “transistor watts.” But there’s no substitute for a well-designed power supply with ample reserve capacity. The REF 150 sounds much bigger and more dynamic than its power rating suggests.

Texture is treated in equal measure, leading me to an old audiophile favorite, The Three, a JVC direct-to-disc LP featuring Shelly Manne on drums, Joe Sample on piano, and Ray Brown on bass. Listening to Brown’s playing on “Satin Doll” is sublime, with every up-and-down movement of his fingers smartly distinguishable.

But man cannot live by bass alone, and the REF 150 excels with practically every other aspect of music reproduction. The amplifier’s ability to hold its poise when pushed very, very hard leaves me stunned. Warner Bros.’ analog remaster of Van Halen’s Van Halen II is no audiophile masterpiece, and the third track, “Somebody Get Me a Doctor,” often collapses into a one-dimensional experience. Yet, even at close-to-concert decibel levels, Eddie Van Halen and Michael Anthony’s background vocals retain distinct separation rather than just sounding like a single vocal.

Imagined or not, electric guitars reproduced through tube amplification represent the proverbial equivalent of an extra push over the cliff. The REF 150’s resolution is particularly tasty when listening to bands featuring multiple lead guitar players; think Judas Priest, Slayer, or Metallica. The title cut to Judas Priest’s Ram it Down personifies the increased power such tracks exert when you can easily discern multiple guitarists in the mix.

For those preferring to twirl rather than bang their head, look no further than Mobile Fidelity’s recent remaster of the Grateful Dead’s Live Dead. Filled with layer upon layer of guitar and keyboard tracks, the LP takes on new life via the ARC, revealing previously obscured tidbits. Consider: Jerry Garcia’s guitar begins as a whisper on “Saint Stephen,” yet when he ramps up the volume, the organ way off in the background doesn’t lose its integrity.

Power and Delicacy

The REF 150 never stumbles, handling the power of a guitar solo or delicacy of a flute passage with ease. Without question, this amplifier roars when required. But thanks to its wide dynamic range and bandwidth, it retains a full-bodied sound at low playback levels. Those subscribing to the “first watt” theory (i.e., if the first watt isn’t great, the rest won’t be either) can rest assured the REF 150 is up to the task.

Rounding out my evaluation with wide range of vocal standards confirms initial impressions. The REF 150 is a very natural-sounding amplifier—never forward, bright, or harsh. Bob Dylan’s Bootleg Series Volume 8 comes off with the depth of a stereo record.

At first listen with any component, dynamics usually woo you into further listening sessions. However, tonal accuracy and overall natural sound are the sonic sauces that keep you on the couch for hours, seeking out “just one more record.” Sure, many Internet pundits complain that recorded music sounds nothing like the real thing. Pish. If your speakers and source components are up to task, the REF 150 will produce such sensations with the best recordings—and amply seduce you the rest of the time. Cream’s “Sleepy Time, Time” from its 1995 performance at Royal Albert Hall splendidly reproduces the venue’s ambience. I feel as if I’m sitting in the center of the 15^th row in this famous concert hall—no surround speakers needed!

If you’re seeking classic tube-amplifier sound that is larger than life and full of romance, the REF 150 isn’t your bag. However, if you desire a modern amplifier possessing musical integrity, timbral accuracy, and wideband frequency response—yet still boasting the three-dimensionality, air, and tonal saturation hallmarks of mighty vacuum tubes—the REF 150 offers emotional engagement few amplifiers at any price can match.

Audio Research REF 150 Power Amplifier

MSRP:  $12,995

www.audioresearch.com

Peripherals

Space-conscious listeners love integrated amplifiers because they can route and amplify sound signals from a single box. And while audio purists often devoutly believe that separate preamps and power amps constitute the one true path to great sound, the distance between separates and integrateds has audibly narrowed.

Founded by Herman van den Dungen, a CEO with an extensive audio pedigree, PrimaLuna (“First Moon” for non-Italian speakers) entered the tube-gear scene in 2003. It currently merges sophisticated Netherlands design with cost-conscious Chinese production. Now, before you “Chinese audio products suck,” know that van den Dungen and company marketing executive Dominique Chenet demand quality.

Prima la Luna, Poi la Musica

The $2,299 ProLogue Premium integrated amplifier falls between ProLogue and  Dialogue integrateds. The “heft means quality” principle is operative, as witnessed by the 45-pound snatch-and-grab needed to lift the unit out of the triple box carton. Fit and finish are superb. From the silver facade (black is also available) to the attractive cage keeping the hot tubes safely away from curious fingers to the automotive-grade paint job on the transformer covers, this baby exudes class.

The front panel sports a volume control, source selector, and operation lights. A power switch resides on the left-side panel. On the right sits a tube selector switch for EL-34s, allowing 35 watts per channel (per the review sample) or 40 watts per channel with KT-88 tubes. The rear panel hosts speaker terminals for 4- or 8-ohm operation, four line inputs, one home-theater pass-thru, and a power receptacle/fuse holder. A slender but solid remote handles volume, source selection, muting, and playback for a PrimaLuna CD player.

Considerable coolness resides beneath the warm tube sockets housing four EL-34s and four 12AU7s. The Adaptive AutoBias, or AAB, circuit keeps tubes from misbehaving and protects the output stages. Additionally, there’s the BTI, or “bad tube indicator,” that detects tube malfunction, flags the offender, and powers the unit down until said tube gets replaced. A PTP, or “power transformer protection,” stops the party if the output power transformer overheats. This device is coupled with an OTP, an output transformer protection circuit. Given the wing-and-a-prayer security offered by some audiophile equipment, the ProLogue Premium is a component you could surely take into a hurt locker. Plus, for vinyl heads, PL offers an optional easy-to-install moving-magnet phonostage for $199.

Low-Frequency Slam, Dynamics, and More

Plug-and-play equipment is great in concept. Unfortunately, many such high-end adventures resemble trips down the Amazon after the local guide falls overboard and drowns. In this regard, the ProLogue Premium marks a refreshing return to civilization.

After removing the foam surrounds from the tubes, I hooked up my peripherals and speakers, and plugged everything in. Wait. Is that the sound of silence? Not to worry. PrimaLuna subscribes to an aptly named SoftStart feature that powers everything up very safely, but very slowly. Red panel lights give way to green panel lights and, in less than two minutes, it’s ready to go.

For the purposes of this review, the ProLogue Premium drove Totem Mani-2 Signatures, fortified with Nordost Frey bi-wire speaker cable. Sound sources included a PS Audio PerfectWave Transport and Mk II DAC, a Logitech Squeezebox Touch with USB drive, and an Oppo BDP-95 universal player. In my 15’ x 10’ x 8’ room, I settled back in an easy chair about eight feet away from the Totems, which rested on lead-filled Target stands.

After a week of break-in, I popped Mark Levinson’s demo Live Recording from Red Rose SACD into the Oppo. Enter “In a Sentimental Mood” flowing from Chico Freeman’s mellow sax and George Cable’s funky piano. Having sat in the same Red Rose show room where these performances were recorded, I assure you that the ProLogue Premium faithfully renders the music’s immediacy, right down to the reed movement on Freeman’s mouthpiece.

A high-res 96 kHz/24-bit download of Cat Stevens’s Tea for the Tillerman places the visceral guitar from “Wild World” right in my face and exposes the slightly veiled character of Stevens’ distinctive voice. Speaking of vocals, Diana Krall’s well-recorded Live in Paris contains a very, very good rendition of “A Case of You.” Krall’s sensual huskiness comes across convincingly, thanks again to the ProLogue Premium.

Larger-scale music arrived courtesy of a 176.4k/24-bit Reference Recording of Rachmaninoff’s Symphonic Dances, performed by Eiji Oue and the Minnesota Orchestra. The ProLogue Premium conveys the first movement’s low-frequency slam without running out of gas. Moreover, Bach’s Gigue Fugue, from the ultra-demanding Pipes Rhode Island, more than amply fills my modest-sized room with the dynamic sounds of the English Renaissance organ in St. Paul’s Church in Wickford, RI.

Is it Moon Glow or Memorex?

When comparing the ProLogue Premium with my reference unit, the Class A Pass INT-30A, the worlds of tubes and transistors seemingly converge. The Pass sounds non-solid-state and the Prologue Premium non-tube-like. The evaluation also shows how power ratings can be misleading, especially given the nominal five-watt output difference between the two amps. In recordings with heavier bass passages, like the Rachmaninoff disc, the Pass brings out more low-end oomph and overall space. In voice reproduction, a critical issue for testing audio gear, the ProLogue Premium behaves well, yielding little, if any, ground in warmth to the Pass.

The ProLogue Premium performs well beyond its real-word price tag. A hale and hearty pentode pumper, it’s well up to the task of keeping content my Mani-2 Signature speakers. Of course, before opting for such an amplifier rated on the lower side of the power curve, careful consideration must be given to room size, speaker sensitivity, and listening habits. Remember, 35 watts per channel can’t do everything.

Still, compared with other similarly priced products, the ProLogue Premium is considerably overbuilt. The onboard protection circuitry gives considerable ease to my concerns about tube equipment. Better yet, none of the proprietary protection circuits entered the picture during my evaluation, which should reassure any prospective owner that the integrated claims the reliability of most solid-state gear. Further reassurance against field failures comes via PrimaLuna’s tube selection. On average, the company rejects 40% of manufactured tubes—not due to defects but because they don’t meet the company’s high standards. The ProLogue Premium definitely meets mine.

Additional Comments

By Jeff Dorgay

Attention vacuum-tube amplification newbies and all other concerned parties: My first PrimaLuna Product, the ProLogue One integrated amplifier, is still going strong after almost nine years of constant play. It’s had an interesting trip, going from TONEAudio’s headquarters to our first music editor’s office (where it was rarely turned off) to my niece’s living room, where it still plays eight-to-ten hours a day. Other than a new set of EL-34 output tubes installed in 2010, it has run faithfully without as much as a hiccup.

Where the original ProLogue has a warmer overall sound overall, the Premium features more extension at both ends of the frequency range and more immediacy—thanks to the updated circuit and larger transformers. Having exchanged the EL-34s for KT88s and 6L6s, I prefer the tonality of the EL-34. In a modest-sized room with a great pair of mini monitors (I used the outstanding Penaudio Cenyas for my listening), this amp is all you need to rock the house.  Should your tastes veer more towards Van Halen than Vivaldi, the ProLogue Premium will please you.

Based on my 2004 review for the magazine, the original ProLogue received a Product of the Year Award from The Absolute Sound. The new Premium version costs more, but still offers an audio experience unmatched for the price. I’m happy to grant this integrated an Exceptional Value Award for 2012. Like the legendary tube amplifiers from McIntosh and Marantz, it’s an amplifier you can hand down to your family members through the years.

PrimaLuna Prologue Premium Integrated Amplifier

MSRP: $2299 (USD)

PrimaLuna USA

www.primaluna-usa.com

PERIPHERALS

No pair of speakers, no matter how good, can perform up to its level without an equal level of amplification. Exposure has been designing and building amplifiers in the UK for nearly 40 years, drawing from its in-studio experience with Pink Floyd and David Bowie to help voice its products. A pair of the 3010S2 mono power amplifiers puts 100 watts per channel into any system for just $2,895.

A standard class AB design, these 30-pound (12kg) monoblocks won’t break your back or bank account. Designed and built in the UK with all-discrete components and robust power transformers, the 3010S2s run cool to the touch under most conditions. A full-power, hour-long heavy metal test will warm them up, but even maximum punishment does not cause a thermal shutdown, indicating solid power-supply design.

Outfitted with black front panels holding just a power button and single red LED indicator, these Exposure models are the essence of simplicity. An unbalanced RCA is the only available input, but the outputs include the less-common BFA jacks with the ability to bi-wire. Bananas, spades, and bare wire need not apply here, so make sure to have speaker wire with BFA adaptors or acquire adapters for your existing cables.

Out of The Box, Running

Listening tests began with my reference Marantz AV7005 preamplifier and Oppo BDP-83SE disc player to get a feel for the amplifiers. While the latter don’t require a ton of break-in, they do need to be left powered on for about 48 hours before they come out of the solid-state fog—just like most any other solid-state amplifier.

Starting with Mobile Fidelity’s CD of Natalie Merchant’s Tigerlily, Merchant’s voice comes across strong and solidly anchored in the center of the room. Just as importantly, it’s free from shrillness and harshness when Merchant reaches to hit a deep note. The vocal top-end is slightly pulled back, just as you might find with a tube amplifier.

A quick swap from the Marantz to the matching Exposure 3012S2 preamp reveals the advantages of an all-Exposure system. Akin to other famous British brands like Naim, Rega, and Linn, Exposure amplifiers deliver the best experience when used along with namesake preamps.

With a full complement of Exposure electronics, the 3010S2s springs to life with tighter, deeper bass and a much more balanced soundstage. Exposure’s touted tube quality manifests itself on female vocals, and lower-octave guitars retain their steely tone.

Revisiting the same tracks I played on the Marantz signifies a complete change of character between the systems. On the CD layer of Bob Dylan’s Blood on the Tracks SACD, music bursts from the speakers rather than settling down behind them. Whereas “Tangled Up In Blue” has too relaxed of a pace and flow via the Marantz, there’s now a raw energy, and the song pulls me in instead of keeping me at a distance.

Sigur Ros’ Með suð í eyrum við spilum endalaust further shows the system’s synergy. Pounding rhythms during “Inní mér syngur vitleysingur” explode from the speakers. Before, they didn’t have the right preamp to flesh out their character.  Overlapping vocals and instruments bear distinct character and separation, and the soundstage moves from a small recessed area to the whole front of my room.

On Mobile Fidelity CD version of Beck’s Sea Change, the guitars’ metallic sound translates with verve. The soundstage on “Lost Cause” extends to my room’s walls, with Beck and his band locked into place. Bass is strong and tight, with guitar notes feeling full and solid, and yet, never obscuring the sound of Beck’s hand moving over the strings during chord changes. Pace and timing at their finest.

REM’s Automatic for the People shifts effortlessly between arena-filling rock and more peaceful orchestral tracks, which allow one the opportunity to crank up the volume on larger-scale fare.  On “Find the River” and “Nightswimming,” orchestral strings are clear and detailed, and notes linger in the air. “Drive” mixes formal elements with guitars, and the 3010S2s places the strings in the rear while the guitars push forward, confirming its ability to keep the aural elements properly sorted in a complex recording.

The Amplifier Does Make a Difference

Additional listening at the TONEAudio studio via Conrad Johnson, McIntosh, and Simaudio preamplifiers validates the Exposure’s merit. There’s no compromise in tonality or dynamics. Should you not choose the all-Exposure path, try and audition several possibilities in your system—another reason to work with a good dealer.

Playing mix and match with speakers, the 3010S2s’ 100 watts per channel throw enough power to drive everything on-hand save the power-hungry Magnepan 1.7s. All else is fair game. Even the somewhat inefficient Dynaudio Confidence C1 (85db/1 watt) and Harbeth Compact 7ES-3 (86db/1watt) pose no difficulty, and possess plenty of dynamic oomph and control.

Switching to my $399 Epos ELS-3 bookshelf speakers confirms how much more they deliver when powered by high-quality amplification. With the Exposure gear, they throw a much larger soundstage then I’ve ever experienced in my budget system.

The Full Monty

The Exposure 3010S2 mono power amplifiers offer a warm albeit detailed top end and tight, controlled bass, along with an expansive soundstage. One caveat: If improperly mated with other gear, they lack bite and spaciousness. Make sure to evaluate them with your existing preamp to find out how they interact with your system. Once that hurdle is cleared, break out the plastic and get ready to rock.

Exposure 3010S2 Monoblock Power Amplifiers

MSRP:  $2,895

www.exposurehifi.com  (factory)

www.bluebirdmusic.com  (North American Distributor)

Incorporating a DAC inside an integrated amplifier has been going on for some time now, with mixed results, and the Primare I22 is a product arguably aimed more at the music lover who likes to keep things simple.

The I22 pictured here includes the $799 DAC board (with 24/96 USB and 24/192 Toslink and SPDIF inputs) for $2,498.  Those of you already in possession of a good DAC can order your I22 without DAC for $1,799 and those on the fence can add the board later for $799, without a huge financial penalty.

While aimed at a consumer who will probably spend $1,000 – $4,000 on a pair of speakers to round out a system, the I22 is well at home driving the $35,000 KEF Blades.  Its 80 watts per channel prove more than adequate to really rock the orange KEF flagship speakers.

Taking advantage of Primare’s UFPD (Ultra Fast Power Device) technology, which combines the Class D amplification stage and output filters into a single device, the claimed sonic improvements are readily apparent:  This is a thoroughly modern Class D design, which suffers from none of the sonic artifacts that characterize (and often plague) this configuration.

Listening to the multi-layered vocals of 10cc’s “Marriage Bureau” is a treat – all of the late ’70s multitrack wizardry is in full effect, including the great Moog synthesizer tracks, with everything well sorted and keeping its own distinct sonic space.

The ins and outs

The front panel is the essence of understatement, with a single volume control, flanked by a pale white LED indicator panel, displaying the input in use along with the volume level.  Just to the right is a pair of small, machined buttons to select input, and one more to switch between standby and power-on mode.  Incidentally, this might be counterintuitive to some, as the LED glows when the I22 is in standby mode, extinguishing when the amplifier is on.

Inputs 1-5 are standard line level inputs with RCA jacks and inputs 6–8 are digital inputs (if you’ve had the DAC board installed), with a Toslink, USB and SPDIF.  For the duration of the review, we used the Meridian Control 15 server via SPDIF and the Aurender A10 server via USB.  The majority of the files used were 16 bit/44.1, with a bit of dallying into the world of high res.  Hardcore audiophiles might squeal about the lack of 24/192 USB capability (or DSD for that matter, but I’m not the least bit concerned); however, for those streaming files from a laptop or other digital source, primarily of CD and MP3 quality, the I22 will be just fine as it is.  Should the highest resolution digital files be your priority, order the I22 without the DAC board, or just use an SPDIF converter with your laptop.  Pairing a Mac Book Pro with the M-Tech USB converter recently reviewed worked perfectly, requiring only a minimal investment of $179.

Setup takes but a second to unbox; connect speakers and source and you’re rocking – it couldn’t be easier.  Though it might not be important to some, the I22 is lusciously understated and feels considerably more expensive than its modest price tag might suggest.

Like every other Class D amplifier we’ve tested, the I22 does respond incredibly well to an upgraded power cord and line conditioning.  Adding a power cord and the EVO 3 line conditioner from ISO TEK removes a layer of glare and cloudiness that you might mistake for the sonic signature of the amplifier, giving the I22 an even smoother, more natural sound.

Resolution without regret

Both Carole King’s Tapestry and Daft Punk’s Random Access Memories, downloaded via HD Tracks easily illustrate the onboard DACs ability to resolve the difference between standard and high-resolution files.  An even better demo was evident with Roberta Flack and Donny Hathaway’s self-titled album, also in 24/192.  Both vocalists occupied their own space, delicately layered upon each other, with a delightful smoothness – again offering higher than expected for the price asked.

The deep low-frequency content in the Daft Punk album focuses on a primary strength of Class D amplifiers – bass response, providing equally solid heft and control.  This is very impressive with the KEF Blades, but even more so with the $1,499/pair LS-50s which really come alive via the I22, exhibiting tremendous LF response.

Equally compelling is the rendition of analog tracks, captured to 24/96, via my Nagra LB studio recorder, using the AVID Acutus Reference SP/Lyra Atlas/Indigo Qualia analog front end.  Again, resolution takes a big jump for the better, i.e. more natural, underscoring the overall sonic performance of the onboard DAC.  Sifting through a series of recent digital captures from the Music Matters Jazz Blue Note catalog makes it even easier to listen to the amount of texture the I22 is capable of rendering when the source material is up to the task.

Finally, combining a Rega RP6 turntable and Exact cartridge via the latest tube phonostage from Monk Audio (12AX7 powered, $1,195 MSRP) rounds the system out nicely for those wanting to make the foray into analog without breaking the bank.  Spinning Daniel Lanois’s Black Dub album, chock full of acoustic and electronic texture, proves how smooth this amplifier is capable of sounding.  While you wouldn’t mistake it for a valve amplifier, it is in no way harsh; in fact, a number of audiophile buddies didn’t know it was a Class D design until it was revealed.

The second track on the Lanois album, “I Believe In You,” features some great drum sounds, that are all captured with excellent depth, texture, speed and delicacy – especially with the brush work via drummer Brian Blades.  Many Class D designs have a tendency to sound somewhat thin in the sense of a two dimensional soundstage, yet here the Primare does very well.  Lead vocalist Trixie Whitley has always stood out in front of the soundstage, as she does on my reference system.  Comparing this to a somewhat similarly priced PrimaLuna tubed integrated, the tubes definitely throw a more three dimensional soundfield, but in comparison to similarly priced solid state kit, the I22 more than holds its own.  And you don’t have to screw around with vacuum tubes, either.

Simple, stylish, sonic excellence

Those wanting bells and whistles should look elsewhere.  However, if you want great sound wrapped in an understated enclosure that will not call much attention to itself, I can’t think of a better choice than the Primare I22.  Now, the only thing you need decide is if you want it in silver or black, and whether you’d like the DAC board or simply use the matching (and equally enticing) C22 CD player.   We are very happy to award this amplifier one of our Exceptional Value Awards for 2013 – even more so, with the DAC installed.

The Primare I22 Integrated Amplifier

MSRP:  $1,799

$2,498 (with DAC)

www.primare.net (factory)

www.vanaltd.com (US Distributor)

Peripherals

Digital Sources               Meridian Control 15, Aurender S10, MacBook Pro

Analog Source                Rega RP6/Exact Cartridge, Monk Audio Phonostage

Speakers                       KEF LS50, KEF Blade, Harbeth Compact 7

Cable                            Cardas Clear Light

Accessories                   IsoTek Evo 3 power conditioner, power cord.

In case Plinius is a company that has slipped under your radar, they hail from New Zealand, and have been making incredible products for years now.

However, those that do know about the brand are doggedly loyal.  It’s a brand that I don’t think I’ve ever heard anyone slag out on the various internet forums, so they are doing something right.

Something indeed.  Having built their reputation on big, class-A power amplifiers, the Hautonga you see here is an integrated amplifier (with phono stage, no less) that features a 200-watt per channel class AB power amplifier.  Yet, much like the Burmester 911 mk. 3 and the new D’Agostino Momentum, the Plinius comes up with a remarkably grain free sound, that just might fool you that this understated beauty has a class-A amplifier under it’s cover.  Yet the MSRP is only $5,750.

It’s a very understated box, with gently rounded corners and an asymmetrical top plate, yet the rear panel is bright blue, similar to the French racing blue you’ve seen on factory Renault race cars.  It makes for a nice accent stripe where the top panel meets the casework.  The Hautonga is beautifully machined and is available in black or silver.  The control layout is the ultimate of simplicity; a large volume control and gently rounded push buttons to control the inputs.  Oddly, a balance control is absent – no big whoop for digital music enthusiasts, but this might be somewhat inconvenient for analog lovers.  Even if it were implemented from the remote – and the Hautonga has a sleek, stylish, yet commanding remote.

A complete integrated

In the tradition of the best integrateds, the Hautonga features an on board phono stage – handy for those wanting to keep rack clutter to a minimum. It does feature adjustable gain with two settings via on board jumpers, however loading is fixed at 47k ohms.  Though I’m not a fan of running most MC cartridges at this setting, there are still some great alternatives.

The cartridges in my arsenal that mate particularly well with the 47k/high gain combination are the Sumiko Blackbird, a moderately high output (2.5mv) that works fine with 47k loading, and the Grado Statement 1 moving iron cartridge.  With a .5mv output and 47k loading, this is a perfect, if slightly overpriced match (the Statement 1 is $3,500) for the Hautonga.  Keep in mind that Grado does make a series of wood bodied moving iron cartridges, all having a .5mv output, from $500 on up.  I’m guessing one of these on your favorite table will prove equally enticing.

Tracking through a handful of recent favorites from MoFi and Music Matters Jazz, I submit that the onboard phono is probably equivalent to something you might purchase as an outboard phonostage in the $750 – $1,000 range.  Not bad, considering the Hautonga is an awesome deal without the phono stage.  Highs are smooth and well sorted, the overall tonal balance neutral and background noise very low.  And then there’s the necessity for another set of interconnects and power cord; another reason a built in phono is such an awesome idea.

Entry level and Journeyman vinyl enthusiasts will probably never need more analog capability than the Hautonga’s on board stage provides.

Maybe on the next version of the Hautonga, they will open this up to adjustment, or offer a $5,000 version with no phono stage.  Bypassing the onboard stage, utilizing the Aesthetix Rhea phonostage, paired with the SME 10 turntable and Sumiko Palo Santos cartridge, (an analog front end worth about $20k) the Hautonga easily resolves the difference in analog front ends – again showing off what a great amplifier this is.

Further listening

After a few days of being powered up, the Hautonga opens up to a full-bodied sound.  Ever so slightly on the warm side of neutral, the more you listen to this amplifier, you’ll psyche yourself out thinking that it is class-A after all.  It’s also on the warm side when in operation as well, suggesting relatively high bias current.  The Hautonga actually sounds more like my Burmester 011/911 combination than the Simaudio 850P/880M electronics.

Whether paired with their own Tiki streaming audio player (review in process) or any of the digital players at my disposal, the Hautonga is a pleasure to listen to, regardless of source.  While lacking the last bit of resolution available with cost no object gear, dynamics and tonality have not taken a back seat in the design process.  Listening to the title track from Gary Numan’s latest album, Dead Sun Rising, the Hautonga powers the Sonus faber Guarneri Evolution speakers in room two with conviction. This record is full of deep, deep, synth bass lines and the Hautonga sails through effortlessly, even at high volume.

These are speakers that require a lot of current and control to deliver maximum performance and this proves to be a great combination.  Going for the ultimate torture test, swapping in a pair of Acoustat 1+1 speakers, which are usually tough to drive because of their wacky impedance curve and the highly capacitive load they present, was another easy task for the Hautonga.

Thomas Dolby’s The Flat Earth proves spacious, controlled and full of punch.  The rapid-fire bass riffs on the opening track, “Dissidents,” is tough to nail on a pair of Acoustats if the amplifier lacks current drive.  Yet cranking this up, the Hautonga handles it in stride, which leads to some more bass laden tracks from Peter Gabriel and Genesis. Again, this amplifier’s ability to provide controlled bass, full of texture on a set of speakers known for “”one note bass” is highly impressive.

Moving the amplifier out to room one and the KEF Blades is a ton of fun – and again reveals this amplifiers ability to provide a high quality musical experience with ancillaries much more expensive than you might pair it up with.  The Blades 90db sensitivity proves an easy load for this amplifier to drive allowing for plenty of dynamic range and showing off the bass control and drive. While fairly efficient, the Blades also need a fair amount of current to reproduce bass well.  This prompted a long playlist of Deadmau5, Skrillex, Daft Punk and Infected Mushroom, pushing the amplifier to its limits.  Even after hours of this treatment, the Hautonga stayed slightly warm to the touch but no more.

Subtlety beyond its pricetag

While the Hautonga can really rock out when required, what makes it a top performer is the level of resolution and inner detail it provides.  Tracking through the MoFi gold CD of Todd Rundgren’s Something/Anything, a number of small details come up in the mix that normally require more expensive electronics to extract – again convincing this writer that the integrated is one of the best ways to achieve high performance without breaking the bank.   With so many choices to damage the synergy between amplifier and preamplifier, having it all on one chassis saves the day for all but the most geeky – and patient end user.  An integrated is the fast track to great sound.

Vocals and solo acoustic instruments feel right played through the Hautonga.  Revisiting some early Windham Hill recordings from Alex DeGrassi and Liz Story illustrate subtlety, tonal nuance and a wonderful sense of decay.  The old audiophile classic, Solid Colors paints a great picture of Ms. Story and her Steinway, awash in detail rendered perfectly by the Hautonga/Blade combination.

The Jung Trio’s rendition of Dvorak’s Piano Trio in F Minor, Op.65, is another treat showcasing the fantastic tonal contrast and neutrality that the Hautonga has to offer.  Perhaps two of the toughest instruments to reproduce cleanly, the amplifier sails through, with the interplay between the sisters well intact.

Rounding out the picture

The Hautonga also features the other common niceties to round out the package, with four additional RCA line inputs in addition to the Phono and CD player inputs, along with a single XLR input.  A ground lift switch is also provided, which came in handy using a vintage tape deck that had a bit of a hum problem.

Preamplifier in and outputs, 12v trigger, and a HT Bypass assure that you can integrate the Hautonga into any possible system configuration.  They even provide a pair of speaker outputs for those wishing a fully biwired speaker connection.  So no stone really goes unturned.

Nits to pick:  very few, and well under what we’d expect at this price point.  All staff members that used the Hautonga, young and old complained about two things – while very stylish, the remote was fairly hard to read in black and when using the volume control button, it has too much torque, making fine volume adjustments via remote nearly impossible at worst and frustrating at best.  And last, the phono stage loading.  It’s a shame that a phono stage that sounds this good is limited to a handful of cartridges.

Neither of these are a deal breaker, and the Plinius Hautonga is such a stellar performer in so many ways, we are all in agreement that it is highly deserving of one of our Exceptional Value Awards for 2013.

The Plinius Hautonga Integrated Amplifier

MSRP:  $5,750

www.pliniusaudio.nzld.com

And you can peruse their Facebook page here:

Peripherals

Analog Source                        Rega RP8/Sumiko Blackbird,  SME 10/Sumiko Palo Santos

Digital Source                                    Plinius Tiki, dCS Vivaldi, OPPO BDP-105

Speakers                                Dynaudio Confidence C1 II, Sonus faber Guarneri Evolution, KEF Blade, KEF LS-50

Cable                                      Cardas Clear

Central California’s Wyred4Sound has taken the high end by storm with their extensive line of Class D based amplifiers, DAC’s, and music servers.

The Wyred4Sound mINT, short for Mini Integrated Amplifier ($1,499), is indeed a half sized component that interestingly, looks at once both retro and modern. The mINT boasts 100 wpc, and is a custom Class D design based on the ICE power modules. Wyred4Sound goes out of their way to stress the refinements found in the mINT that are usually regulated to much more expensive components. One aspect of the design they are especially proud of is the volume control. According to W4S, it is “a true-resistive ladder which results in linear control, excellent channel matching, and impressive sonic quality.”

But wait, there is more. A lot more.  Along with two analog inputs, the mINT is also a three input DAC, with TosLink and Coaxial inputs that handle 24 bit, 192 Khz data. There is also an asynchronous USB input that handles up to 96 Khz. Rounding off the list of features is a fixed output for a recording device, a variable output, an HT bypass, and a very nice, full function attractive remote control. And, the mINT is fully designed and built in California.

Down to business

The mINT was paired with Harbeth Compact 7 ES3 and the Opera Mezza speakers, proving a wonderful match for both, with more than enough power to drive both speakers to their limits. To put it another way, my listening rooms suffered from overload well before the mINT could even break a sweat.

The mINT is equally capable when fed analog sources, like a CD player or a file streamer, offering a spacious, precise, and untarnished presentation that I find wonderfully balanced. If anything, the tonal presentation of this amplifier is slightly tilted to the warm side, unlike the Class D amplifiers of a few years ago, that offered great bass performance at the expense of a smooth top end.  That bleached feeling is no longer a line item with Class D, and certainly not the mINT.  It proves very nimble on top, balancing dynamic contrast with brass instruments, staying delicate and finessed on strings and vocals.

The three digital inputs work equally well, and performance is on par with many outboard DAC’s that are similarly priced.  Eliminating some of the extra buffers and gain stages required with separate components pays big dividends here, giving the mINT high performance at a very reasonable cost.  You could easily spend $1,499 on power cords and interconnects between a separate power amplifier, preamplifier and DAC, making this little marvel a major bargain. In addition, the mINT offers a headphone jack on the front panel, upping the fun and the value factor even further.

The relaxed tonality the mINT provides, makes it highly enjoyable across a wide range of musical genres.  The opening track of Imelda May’s Love Tattoo album, “Johnny Got a Boom Boom,” combines a fast, dynamic slap bass line, snare drum and cymbal crashes, combined with May’s sultry, often screaming vocals.  Legendary salsa singer Hector Lavoe’s La Vos provides more of the same.  Percolating with layers of bass, percussion, brass and heavily syncopated rhythms, the mINT never loses its cool, throwing a large soundstage.  The mINT does an excellent job keeping these densely packed, explosive recordings well sorted and three dimensional – a perfect torture test for any amplifier.

Digital functionality

Windows users will need to install the proper USB drivers form the Wyred4Sound Website, and Mac users can just plug and play, selecting the the mINT in their sound control panel. All in all, an easy task, no matter what platform you choose.

The internal DAC proves equally balanced and on par with the amplifier section of the mINT.  Tunes from my Windows 7 laptop using Jriver’s Media Center 18 and FLAC files were spacious and engaging. Emmylou Harris’ Hard Bargain for a wide range of bluesy folk tunes and instrumental dexterity again reveals the mINTs ability to unravel delicate tracks without getting overly grainy or “digital” sounding.

The only area that left me wanting was the USB input being limited to 24/96.  The S/PDIF and optical inputs claim full 24/192 resolution, so those purchasing tracks in this format will have to search for a good USB converter to take full advantage of the mINTs digital performance.

However, this type of digital input flexibility offers a world of convenience to those who have ripped their CD collections to a hard drive or purchase high resolution downloads.

The mINT is a clever package, and if this is an indication of the rest of their line, I look forward to hearing more from this company.  It offers enough resolution to show what a higher quality power cord can do as well as better interconnect and speaker cables – a great sign.  But more refinement will cost quite a bit more money, perhaps twice as much, making the mINT an excellent bargain.
Additional listening

The Wyred4Sound mINT is the perfect solution for music lovers wanting great sound that have a reasonable budget and want to maximize space, i.e. not have a giant rack full of audio gear. Its ability to work with analog and digital sources means you can keep your turntable in the mix, or add one if you’re curious.  Thanks to its tiny form factor, the mINT, a turntable and a compact phonostage can fit on a shelf or tabletop nicely. The Rega RP3, Exact cartridge and Naim StageLine phonostage make a perfect match for the mINT, combining to make a system any analog lover will enjoy.

Its 100-watt per channel power rating opens the door to a much wider range of speaker choices that many of the small, desktop integrateds from Naim, Rega and others don’t drive as easily with 25-50 watts per channel.  The mINT was even able to drive the Magnepan MMG to adequate volume, and thanks to the variable output can take advantage of a small powered subwoofer – again increasing versatility.

Having tried it with a number of great speakers at my disposal, my favorite, hands down was the pairing with the Sonus faber Venere 3.0 speakers reviewed in issue #54 of TONEAudio.  Their 90db sensitivity makes for house party volume when you need it and great dynamics the rest of the time.

Equally intriguing is the built in headphone amplifier.  Starting with the ultimate torture test, the HiFi Man HE-6, the mINT falls down a bit, but to its credit, so does just about everything else, no black marks here.  Moving to a suite of much easier phones to drive (Grado, Sennheiser and Denon) proves enlightening.  Decent control and tonal balance overall makes the mINT a great way to get into the headphone game. Rocking some headphone favorites, it throws a wide and deep soundstage with Pink Floyd’s Wish You Were Here, and Low’s The Invisible Way.

The Wyred4Sound mINT is easier to set up and listen to than it is to spell correctly.  For many, this will be a destination product, offering flexibility and performance unheard of five years ago.  We are happy to give the mINT one of our Exceptional Value Awards for 2013.  – Jeff Dorgay

The Wyred 4Sound mINT amplifier

MSRP: $1,495

www.wyred4sound.com

Associated Equipment:

Opera Mezza Loudspeakers

Harbeth Compact 7 ES3

Musical Fidelity CDT transport

Marantz NA7004 streamer/DAC

Darwin Cables silver interconnects

QED Genesis Silver Spiral speaker cables

QED digital cables