It’s my turn to get in on all the GamuT fun. Our publisher has been using GamuT speakers for years now and managing editor Rob Johnson is smitten with the D3i preamplifier.

Of the few manufacturers that build a full complement of electronics and speakers, they voice things differently. Burmester, for example, produces speakers that are somewhat forward, punchy and a little tipped up on the bottom and the top, yet the electronics are very warm sounding, almost tube-like, though fully solid-state.

GamuT however, is somewhat different. The speakers have an incredibly natural voice, and the electronics even more so. Even though their electronics and speakers produce perfect synergy, as you might expect because their components are much more neutral, tonally speaking, you do not have to have an all-GamuT system to achieve great results. Though you just might want to for simplicity’s sake.

Like the average Dane, the M250i is slim. 84 pounds (38kg) is substantial, but not what you’d expect a 250-watt per channel (into an 8 ohm load) that doubles into 4 ohms and still produces 900 watts into 2 ohms. Lifting the cover with the GamuT logo, it’s easy to see why; the power supply is huge! Unlike some solid-state amplifiers that require a huge bank of output devices to produce high power, GamuT uses two really big MOSFET transistors per channel, capable of passing 400 peak amperes of current each. Naim also takes this approach with their 500 series amplifier and the result is very special. Two transistors means no device matching is necessary, with none of the associated problems. Less is more.

While on that subject, the M250i has an interesting bit of simplicity or complexity, depending on how you look at it. On the rear panel, there are two sets of speaker outputs that you might mistake to use to bi-wire a pair of speakers. Don’t do it. One has a traditional resistor and coil output filter, as many solid state amplifiers do, more suited to ESL speakers and those with more difficult impedance loads, while the other outputs (the ones closer to the heatsinks) are direct coupled outputs. GamuT claims that either way, you can’t hurt these amplifiers, but I did follow their lead when using my pair of Quad 63s.

Inputs are via RCA or balanced XLR, and this is a fully balanced amplifier, so that mode will provide the best results. It’s worth mentioning that it is tough to tell the difference in sound using the ARC REF5 preamplifier, which sounds equally good through it’s balanced, and RCA outputs––and I have equally impressive results with my CJ Act Two preamplifier, which is RCA only.

Danes are usually somewhat reserved, but the GamuT manual is not only well written but also pretty amusing to read. They make great points about setup, cables and gain, mentioning that “at 4 ohms, full output power is more than 151,000,000,000,000,000 times larger than the input noise power.” A cursory listen confirms that these monoblocks are indeed quiet.

Not only does this provide a fatigue-free sound, but I’m sure this simple design contributes to another wonderful aspect of the M250i: it sounds incredible at low volume. Amplifier genius and mad scientist Nelson Pass likes to say that if the first watt isn’t great, the rest don’t matter. The M250i exemplifies this philosophy. Make no mistake, when you want to crank AC/DC or Skrillex, the M250i is fully capable. The cannon shots at the end of “For Those About to Rock” are awesome and have the necessary “crack” upon ignition without blur.

Mated to my Vandersteen 5A speakers, which are just slightly warm tonally, the M250i proves a perfect match for the rest of my system, utilizing an Audio Research REF 5 preamplifier. For decades I’ve been a fan of a great tube preamplifier mated to a powerful solid-state power amplifier to reap the rewards of both. The M250i does not disappoint in any way.

Never edgy or strident, the M250i’s feel a little foggy when powered up from ice cold. They only draw 50 watts in standby mode, so unless your energy habits have you immersed in guilt, I say leave them plugged in all the time. Otherwise, expect about 30 minutes before they reach full capability.

Unless you have the world’s most inefficient speakers, your ears will run out of headroom before the M250is will. Even listening at brain damage levels, these amplifiers do not run overly hot, so you will not be able to heat your listening room with them. Even after exhausting my record collection, I find it impossible to overdrive or overheat the GamuT amplifiers. I am most impressed at how they fail to draw any attention to themselves – they merely let the music flow.

What I do notice is the way these amplifiers render the finest of detail without ever sounding harsh, strident, or particularly solid-state in character. Well-worn recordings feel brand new again. A TONE favorite, the Crash Test Dummies’ Give Yourself a Hand, is full of sonic surprises. With extra overdubs and little vocal anomalies floating all around my listening area, it is almost like consuming something illegal. The only thing I didn’t really get to explore was the depth of the M250i’s bass response, as my Vandersteens only need the main power amplifier to go down to 80hz. But our publisher put them to the full test.

Spending way too much time with the entire Neu! catalog offers up the same results with jangly guitars and driving rythym in full force. Not happy to stop there, a couple of evening’s worth of Eno’s Ambient series, finishing up with the classic Ambient 1: Music For Airports is marvelous. Eno’s gentle touch on the keyboard is even more delicate than I remember, with decay that seems to go on forever. Even this vacuum tube lover finds plenty to love here, and it really has me considering a pair for myself, especially in light of just having bought 16 KT120 tubes!

The GamuT amplifiers are a statement product, and for all but the most insane audiophile, should easily be the last power amplifiers you’ll need to buy. They offer musical delight with no negatives whatsoever. Enthusiastically recommended.

Additional listening – Going all GamuT

After discussing the performance of the GamuT M250i amplifiers with Rob and Jerold, we all agree that they stand on their own as world-class power amplifiers. In the context of tube and solid-state systems, they integrate easily into whatever components you happen to be using. Thanks to their high current capability, they drive any speaker with ease. Though class AB in design, their lack of grain reminds me of a class-A amplifier, or the Burmester 911.

The M250is join a very elite group of solid-state amplifiers that just reveal music, not really sounding like transistor amplifiers or vacuum tubes. As one of the few manufacturers that can successfully build electronics and speakers with equal prowess, a complete GamuT system is wonderful. And for someone wanting an incredibly high performance audio system without the anxiety of trying to choose the right amp, preamp, speakers and digital player, I suggest an all-GamuT system. Complete the system with a set of their power cords, interconnects and speaker cables – one stop shopping!

Mated with their preamplifier and the recently reviewed RS5 speakers provides a highly compelling and dynamic system that can play anything you can throw at it with ease. Mixing it up with different amplification proves more different than better or worse. The Audio Research GSPre and GS150 offer up a bit more holographic, three dimensional presentation, while the mighty Pass Xs Pre and Xs300 monoblocks present a slightly warmer tonal balance and a little more slam. Keep in mind that these are hairsplitting differences; you won’t go wrong either way.

Of course the M250is sound lovely with my reference GamuT RS5 and S9 speakers. I’ve heard the M250is at a number of trade shows, and the match with GamuT speakers is as close to perfection as it gets. Just as these monoblocks work well in tandem with other preamplifiers and source components, they should be able to drive anything. Torturing them with Quad, MartinLogan and Acoustat ESLs is a breeze, and they work equally well with the Epicon 8s from Dali we recently had in for review as well as the Dynaudio Evidence Platinum speakers. I even lugged them to a friend’s house with a pair of old Apogee Divas! Nothing presents a problem to these high current powerhouses.

Because Mr. O’Brien’s Vandersteen 5A’s are passively crossed over at 80Hz, I spent quite a bit of time examining the bass character of the M250is. Whether I was enjoying “Dark Side of the Moon” or “Bitch Better Have My Money,” these amplifiers provide weight, control and fine detail. A perfect balance is struck in texture, never under nor overdamped, something that is easy to notice with speakers like the GamuTs, which reproduce ultra low bass with ease, and often a hallmark of massive solid-state amplifiers.

Great as the M250is are with GamuT speakers, they are particularly good with the current Quad 2815s too. These speakers are mercilessly revealing and finicky to get good sound from, yet the GamuT amplifiers deliver a presentation that is smooth and dynamic, along with being controlled and forceful in the lower register––something not easy to achieve with the Quads. The thundering bass line in Bowie’s classic “Fashion” was wonderful to experience, yet in the middle of the dissonant piano solo in “Aladdin Sane,” the bass line is well articulated, holding its own space brilliantly between the keyboard and Bowie’s vocal. These are indeed special amplifiers, no matter what speakers you own and whatever your musical choices might be.

-Jeff Dorgay

The GamuT M250i Monoblock Amplifiers

$28,995/pair

www.gamutaudio.com

Peripherals

Analog Source             SME20 turntable/SMEV Tonearm, Sumiko Palo Santos cartridge

Digital Source Simaudio MOON 750D

Phonostage                  Audio Research REF Phono 2

Preamplifier                Audio Research REF 5

Cable                           Nordost Frey

Speakers                      Vandersteen 5A

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)

Based in Bernardsville, NJ, Merrill Audio was formed in 2010 by Merrill Wettasinghe, a lifelong audiophile and former HP executive with a background in R&D.

The current product line consists of the Veritas line of amplifiers and the Lucia preamplifiers.  Merrill Audio has a clear vision for the products they offer, which are designed and built with an attention to detail rarely encountered. In for review are the Veritas Power Amp Mono Blocks, priced at $12,000 a pair.

The Veritas monoblock amplifier is a Class D design that uses the Hypex Ncore NC1200 power modules.  Each  chassis is machined from a solid block of aluminum with one-inch thick outer walls.  The internal electronic components are laid out in various chambers to maximize isolation.  Further examination leads one to conclude that very few, if any, compromises are apparent in the construction and layout.

According to Merrill, wiring is point to point, and Cardas ultra pure copper litz wire is used throughout the amps. Around back are Cardas speaker binding posts that utilize solid copper  and a rhodium plate; however, they will only accept spade terminated speaker cable.  The inputs are fully balanced and feature only top-shelf Cardas XLR connectors, so balanced cables are mandatory.  For an interesting touch, the units are supplied with power cords that Merrill has had custom-designed for them by Triode Wire Labs.  The IEC inlet is gold-plated Furutech. The monoblocks also ship stock with either synergistic or Stillpoints support feet.

The Veritas are not for those with weak backs, as they weigh in at 33 pounds each. According to Merrill Audio, their build process is as follows: “Start with a 66-pound solid aluminum block.  Delicately machine the chassis from this solid block with isolation chambers and frames to limit any sonic interference and minimize vibrations. Keep the walls one-inch thick, to limit and absorb vibration. The signal paths are designed to be the shortest possible, giving you the cleanest audio signal possible. Longer cables typically use shielding. Excessive shielding introduces capacitances that slow the dynamics of the system, especially power amps, bloating the bass and reducing the high frequencies. Keeping wires short removes the requirement for shielding…”

Setup is straightforward: a MyTek Stereo 192 DAC, Musical Fidelity M1 CDT transport, Bogdan Audio Creations Art Deco and Thiel CS2.4 loudspeakers, Audience power conditioning, along with Kimber cabling make up the review system. One interesting note is there is no power switch – the amps are turned on or off by detaching the Triode Wire Labs power cords, which results in a faint, harmless pop through the speakers. The Veritas monos also run warm to the touch, and have been left on continuously for optimum performance.

Listening:

The Veritas are given a few days of casual use to allow them to settle in, and then a steady diet of reference tracks for serious listening.  It is apparent from the very first listening session that the Veritas are very serious contenders for one of the biggest sounding amps to enter the listening room.  All the engineering, careful selection of parts, and attention to detail pay off.  The listener is rewarded with an enormous soundstage; feel-it-in-the-gut, super-controlled bass; and a wonderfully transparent midrange.

The topology of this amplifier never enters the mind during extended, fatigue-free, and highly engaging listening sessions. It is clear that many audiophiles have preconceived notions about certain amplifier types and, unfortunately, prejudge certain technologies without actually listening.  But with the Veritas, listening is believing.

The Veritas are nimble performers – aside from the excellent bass performance, the high frequencies are supple and delicate. Complex musical passages are rendered with a sense of effortless ease.  Listening with anything but full attention proves a difficult task.  All musical genres are rewarded equally with sublime transparency and appropriate scale.

The new album from Tom Jones, Spirit In The Room, is an amazing mélange of classic folk, blues, and rock. Jones and producer Ethan Johns call upon material from Richard Thompson, Leonard Cohen, Paul McCartney, and more. It is well recorded, and through the Veritas monos, the gravitas of Jones’s voice is remarkable.  Jones’s take on Leonard Cohen’s “Tower of Song” comes through with the necessary emotional impact.

Switching gears, the remastered  Collectors’ Edition of Joy Division’s seminal 1980 release Closer simply dazzles rhythmically and texturally. The Veritas shines a glorious light on the recording, which laid a foundation for the alternative movement of the 1980s, with stripped-down arrangements, melodic bass lines, and minimalist production.

The Veritas is also spot-on with acoustic music, especially classic jazz. Listening to various high resolution downloads of historic Blue Note recordings from John Coltrane, Joe Henderson, Wayne Shorter,  Herbie Hancock, and Freddie Hubbard is a gas. Drums, horns, piano, and bass all sound natural in timbre and free from grain. Wayne Shorter’s Speak No Evil is a particular favorite with the drive and soul that the Veritas provided this classic recording.

The Veritas are so resolving, it is easy to hear the changes in upstream components, cables, and tweaks. The amps are remarkable in this regard, making it easy to detect something as simple as switching a power cord or two in the system. As revealing as the Veritas are, they never seem analytical or soulless. Quite the opposite, actually. They paint a holographic picture of the performers when the recording allows, without being the least bit mechanical.

On an ergonomic note, the Veritas runs slightly warm to the touch and responds positively to quality amplifier bases and speaker cables. It is utterly noiseless and offers some of the quietest operation experienced in this reviewer’s system. This manifests itself in a pristine soundstage and the ability of the listener to distinguish even the most subtle aspects of a recording.

Conclusion:

At $12,000 per pair, the Merrill Audio Veritas Mono Block amps are certainly not entry level components; they provide a sonic picture virtually without flaw across the musical spectrum. Mind you, the Veritas for this review are installed in a system normally built around tube amplification.  The fact that tubes have not been missed in the least during the review period speaks volumes about the vision of Merrill Audio.

The Merrill Audio Veritas Mono Block amplifiers may very well be a breakthrough in Class D amplifier design.  The fact that the amplifiers are equipped with such performance enhancers such as high-end vibration control, top-shelf wiring, and connectors that many far more expensive amps cannot claim is impressive and makes these amps plug ‘n’ play.  The build quality of the Veritas is beyond reproach, and the footprint of each amp is relatively small, which means easy installation.

The time spent with the Merrill Audio Veritas Power Amp Mono Blocks was nothing less than enjoyable with long, satisfying listening sessions. They have the ability to drive virtually any pair of speakers without a hint of strain, and with a clarity and precision most often seen at the very upper echelon – highly recommended for those seeking a transparent amplifier with power to spare.

The Merrill Audio Veritas Mono Blocks

MSRP:  $12,000/pair

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Associated Equipment:

Transport: Musical Fidelity M1 CDT, Squeezebox Touch w/CIA power supply

DAC: MyTek Stereo 192 DSD DAC

Speakers: Bogdan Audio Creations Art Deco, Thiel CS2.4

Cables: Kimber, Stager, DH Labs, Transparent

Accessories: Audience aDeptResponse

Mono & Stereo’s Matej Isak has been very excited about the entire LessLoss line of cable products, but here
he focuses his energy on their digital cable.

You can follow his observations here…
http://www.monoandstereo.com/2013/05/lessloss-digital-cable-review-test.html#more