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    Quicksilver Audio KT Monoblock Tube Amplifier Preview

    The Quicksilver KT Mono amplifiers are designed to fit the amplification needs of audiophiles with high or low efficiency speakers, while remaining neutral, quiet, dynamic, musical, yet very affordable. Quicksilver Audio has been building tube amplifiers, and only tube amplifiers, for over 40 years. The New KT Mono amp retains the high damping factor and low distortion of the (now discontinued) Horn Mono amp, but with enough power to handle inefficient and difficult-to-drive speakers. The amplifier accepts KT66, KT77, KT88, KT120, KT150, and KT170 power tubes. When ordered with KT 150 tubes, 100 watts are produced. It also exhibits low distortion all the way up to full power, and while at reduced power, it offers the efficiency and delicacy of a low- power amplifier. The Quicksilver KT Mono amplifiers are for those wanting a high-power tube amplifier that only utilizes two output tubes (KT88 or KT 150 tubes are a couple of options), which can be used for low or high-efficiency speakers. The amplifiers are very low-noise designs, so they will work with a large diversity of speakers. The KT Mono tube amplifier was designed for neutrality and transparency. For those shunning tubes for the overly warm and soft presentation, the KT Mono attempts not to abandon the tube heritage and provide the organic sound of tubes, yet tries to balance that with the neutral, “live music” sound many audiophiles and music lovers crave. Quicksilver Audio KT Monoblock Tube Amplifier Specifications Power Output: 80 wpc into 4 or 8 ohms (KT88 tubes), 100 wpc into 4 or 8 ohms (KT 150 tubes) Input Sensitivity: 1.2 volts Power Bandwidth: 14 Hz to 70 kHz Input Impedance: 100 Kohm Damping Factor: 20 IM Distortion: less than 0.5% at 80 watts Dimensions: 6′′H, 14.5′′L, 9.25′′W Net Weight: 40 lbs. each Product Name: Quicksilver Audio KT Mono Amplifier Product Type: Hand-wired Tube Monoblock power amplifier that can use either KT88, KT77, KT150, or KT170 output tubes. MSRP: $3995.00/pair with KT88 tubes or $4675.00/pair with KT 150 tubes Website: https://quicksilveraudio.com/ Company: Quicksilver Audio I did a past article, “Quicksilver Audio…The First 40+ Years….”. In the September 6, 2023, Editorial/OPED section featuring some tube-based companies of the past 30 years, including Quicksilver Audio, as they represent a shrinking segment of audio manufacturers. Companies owned by a single, small-business owner are very rare now. Formal reviews of Quicksilver Audio equipment are even more rare as Quicksilver Audio does not loan equipment out for review, and rarely attends Audio Shows, or displays products to be offered. To have review equipment, reviewers must buy the equipment and hope it works well with their other equipment. We shall find that out with my system as a “Full Review” of the Quicksilver KT Mono Amplifiers will be coming soon, with measurements, courtesy of John Johnson. John will run the amplifiers through “Audio Boot Camp” and give them a real workout. Let us be clear, John Johnson has been known to “Blow a Fuse” (The amplifiers fuse, or two) during the testing as he pushes them to full power, from 20 Hz to 20 kHz. These tests will not be a marketing- friendly test of a mere 1 watt at 1 kHz; these tests will push the amps to the edge. Making good distortion numbers at 1 watt and 1 kHz is easy, but what about at full power and full frequency response? Stay tuned and see if the amplifiers survive their tests, or if they “tap out” early, well below their claimed power output. This will be a tube amplifier “Ironman” test. The post Quicksilver Audio KT Monoblock Tube Amplifier Preview appeared first on HomeTheaterHifi.com.

    Musical Fidelity Nu-Vista 600.2 Integrated Stereo Amplifier Preview

    Built on the same platform as its bigger sibling, the Nu-Vista 800.2, the slightly paired down Nu-Vista 600.2 offers a Class A tube stage consisting of highly famed Nuvistor tubes. The Nuvistor tubes were mass produced in the late 50s and early 60s and are known for their robustness and low noise and distortion. They were used in many applications due to their small size and durability. This Musical Fidelity integrated amplifier is analog only, which fits into the company’s philosophy that the best sound in audio is analog, and the best analog reproduction is with Class A amplification. The Nu-Visa 600.2 boasts 200 watts per channel at 8 Ohms, it’s designed to give the performance of its bigger sibling, while being more suitable for smaller rooms. The Nu-Vista 600.2 has the same casework as the 800.2 which is massively built. It is heavy with solid metal face plate and heat-sinks. It lacks a few more watts per channel and shaves off a few pounds, but it is still a beast at almost 80 pounds. I needed help getting it up 19 steps to my media room (thanks, wife). It exudes luxury in both looks and feel. The front panel display can show input source and volume, or be used to display live time VU meters that can be clearly seen from across the room. I live in an almost entirely digital world, but I was able to use the high-performance DACs in my Onkyo to feed the Nu-Vista 600.2 a clean analog signal from my streamer. The better your DAC, the better your analog output and the better the analog feed to the 600.2 will be. In my early impressions so far, I don’t wax into hyperbole often, but the difference in sound coming from my GoldenEar T66s has never been this good. Incredible sense of space between instruments and vocals, 3D soundstage, dynamics… it was all there. I literally got up a few times to make sure my surround speakers were not on by mistake, that is how 3D the sound was! Musical Fidelity Nu-Vista 600.2 Integrated Stereo Amplifier Specifications Power Output: 160W into 8 ohms, 300W into 4 ohms, 500W peaks into 2 ohms Frequency Response: + 0, –0.1dB, 10Hz to 30 kHz THD+N: 107dB ‘A’-weighted Input impedance: 100 k Ohms Dimensions (WxHxD): 483 x 187 x 510 mm Weight: 36 kg net / 44.3 kg boxed Product Name: Nu-Vista 600.2 Integrated Stereo Amplifier Product Type: Integrated Class A Amplifier MSRP: $9,999 Website: Musical Fidelity Nu-Vista 600.2 Company: Musical Fidelity I am excited to get into my media room and listen to music as soon as I am done with this preview! The early auditioning of the Musical Fidelity Nu-Vista 600.2 has already surprised me in regard to how well my T66s can sound. I really wasn’t expecting a vast change in the sonic soundscape, so color me surprised. My full review will be forthcoming in the next few weeks. I had never heard of Nuvistor tubes before and if you would like an interesting read on them, I provide this link: Nuvistor tubes The post Musical Fidelity Nu-Vista 600.2 Integrated Stereo Amplifier Preview appeared first on HomeTheaterHifi.com.

    Lyngdorf Audio launches new digital streaming amplifier TDAI-2210

    May 19, 2025 – Lyngdorf Audio launches the latest addition to the company’s streaming amplifier range, the Lyngdorf TDAI-2210. It marks the middle of three TDAI models and features a new color touchscreen, the company’s unique digital amplification, and the renown RoomPerfect room calibration. Lyngdorf Audio’s newest streaming amplifier The TDAI-2210 is the newest integrated streaming amplifier by the company. With various digital inputs including USB-C, HDMI 2.1, analog inputs, optional modular upgrades, an integrated music streaming player and the unique RoomPerfectTM calibration, the TDAI-2210 is ready for any kind of audio system. The amplifier delivers 2 x 210 watts @ 4 Ohms to drive even the most demanding loudspeakers effortlessly. New color touchscreen with smooth glass surface The touchscreen and user interface makes it easier than ever to control a Lyngdorf amplifier. It guides first-time setup, helps to explore all features, allows customization, and makes music streaming more convenient. Lyngdorf engineers took particular care to select the screen: a silky-smooth real glass surface for the best fingertip feel, less visible fingerprints, and a vivid picture. Digital amplifier technology and best-in-class volume control TDAI stands for True Digital Amplifier Integrated. The amplification is 100% digital, with no analog conversion right until the speaker outputs. The digital signal powers the speakers directly, while the volume wheel adjusts the gain in the output stage. This unique Lyngdorf solution eliminates several analog components and signal paths, which are a source of noise, hiss, crosstalk, and distortion. It ensures the best sound quality at all volume levels and the most uncolored sound. Better sound at home with RoomPerfect RoomPerfect is one of the most sophisticated solutions for adapting speakers to the room. The calibration addresses room acoustic issues like exaggerated bass, lack of bass, uneven bass, diffuse imaging and sound staging. RoomPerfect addresses these issues in the digital domain and allows speakers to perform at their best, without linearizing the sound. It is also very easy to use with the Lyngdorf app – no computer, software, or calibration knowledge required. Designed, assembled and 24h-tested at Lyngdorf Audio, Denmark The TDAI-2210 will be assembled to the highest quality standards at Lyngdorf Audio in Denmark. Each unit must pass a 24-hour test with all inputs and outputs used, and both amp channels driven under load, measured to meet all specifications. This ensures highest performance, quality, and reliability. The TDAI-2210 worldwide launch is at the HIGH END 2025, May 15-18. Production will start in the coming months at Lyngdorf Audio in Skive, Denmark, with the first products available in September 2025. The post Lyngdorf Audio launches new digital streaming amplifier TDAI-2210 appeared first on The Absolute Sound.

    2024 Golden Ear: Soulution 727 Linestage/Full-Function Preamplifier

    $74,975 (optional mm/mc phono card $11,975) With 20MHz bandwidth and immeasurably low distortion, this completely new, greatly advanced Swiss linestage preamplifier (it can also be had with a superb built-in phono section, making it a full-function unit) is the most “complete,” the most lifelike preamp I’ve heard, fully living up to the sonic claims of its designer Cyril Hammer. The 727’s ability to unearth musical and performance detail, correct “parallax”-like blur, smoothly though not aggressively extend bandwidth, and better delineate sonic images without upsetting the timbral applecart or sacrificing a jot of the three-dimensional body that Soulution has always been so good at preserving is quite an engineering feat. In fact, adding this much lifelike musical detail without steering, even slightly, toward the shoals of the analytical is a unique accomplishment in my experience. Naturally, the 727 got my highest recommendation in TAS and was named Solid-State Preamplifier of the Year in 2024. It is a landmark design. (345) The post 2024 Golden Ear: Soulution 727 Linestage/Full-Function Preamplifier appeared first on The Absolute Sound.

    L-Acoustics Launches New 16-Channel Amplified Controller

    Marcoussis, France (May 13, 2025)—L-Acoustics has launched the LA1.16i, an ultra-compact, 16-channel amplified controller specifically engineered for the installation market. Purpose-built for near-field and short-throw applications where higher sound pressure levels aren’t the priority, the LA1.16i is ideal for hospitality venues, retail environments, cultural spaces and residential installations. Its high channel count enables the deployment of large quantities of speakers—for example, up to 48 x4i compact enclosures—while its space-efficient, 1U design maximizes rackspace utilization and cuts costs. The LA1.16i is described as ideal for front-fill and delay systems in theaters and performing arts centers, distributed background music systems in restaurants, hotels, and retail spaces, L-ISA spatial audio and Ambiance active acoustics installations, and home cinema and yacht entertainment systems. “Following the success of our LA7.16i amplified controller, we identified a clear need for a complementary solution for small to medium installations,” says Genio Kronauer, executive director of R&D, Technologies and Platforms at L-Acoustics. “The LA1.16i applies the same innovative approach to these applications, significantly reducing the cost-per-channel of amplification while maintaining the sonic signature and reliability that L-Acoustics is known for.” Like its predecessor, the LA1.16i incorporates L-SMART, L-Acoustics’ patented power management technology that intelligently matches real-time power delivery to the needs of the loudspeaker system. This innovation optimizes efficiency and is said to ensure reliable performance while reducing energy consumption compared to traditional amplifier designs. For network integration, the Milan-certified LA1.16i supports Milan-AVB and AES67 audio network protocols with seamless redundancy, alongside AES/EBU and analog inputs. Installation-friendly features include terminal block connectors for all audio outputs, GPIOs for third-party control system integration, and a 24V DC backup power input for the DSP card. The LA1.16i is remotely configurable, monitored using L-Acoustics LA Network Manager software, and offers integration with popular media control systems through Q-SYS plugins, Crestron modules, and HTTP API. The L-Acoustics LA1.16i will ship in summer 2025.

    Advance Paris X-P700 Preamplifier and X-A160 EVO Amplifier Preview

    The Advance Paris X-P700 preamplifier and X-A160 EVO amplifier are an attractive pair of hi-fi components that promise great sound without breaking the bank. Advance Paris is a French audio equipment manufacturer that has been in operation since 1995. Starting out as Advance Audio, the company began its journey by producing speakers. Over the years, it expanded its product line to include various electronic components. The company went international in 2005 and rebranded itself as Advance Paris in 2013. Throughout its journey, the company’s mission has been to deliver uncompromising sound quality at affordable prices. Moreover, the company strives to create audio experiences out of a harmonious blend of technology and art. Figure Preview 1 – Advance Paris X-P700 and X-A160 EVO pair The Advance Paris X-P700 is a modern preamplifier that handles the switching of analog and digital signals. It features a dual-mono topology and offers two output modes: Class A and Discrete (Class AB), a feature that is rarely found even on more expensive preamplifiers. The DAC onboard the X-P700 is a Burr Brown PCM 1796 DAC capable of 24-bit/192 kHz conversion. The X-P700 offers comprehensive connectivity consisting of nine analog inputs (including one balanced), an MM/MC phono input, and multiple digital inputs (two optical, one coaxial, one USB-B, and one USB-A). The X-A160 EVO is a stereo power amplifier that can deliver 160 W/channel into 8-ohm loads or 240 W/channel into 4-ohm loads. It can accept balanced (XLR) or unbalanced (RCA) inputs. The amplifier features an ultra-rigid compartmentalized chassis that provides effective shielding against interference between circuits. While it is a class AB amplifier, it can operate in Class A mode for the initial watts when Hi-Bias is selected. If you are a fan of VU meters, rejoice! The X-A160 EVO features two large VU meters on its front panel. The light on the VU meters can be dimmed or turned off completely. In our upcoming review, we will be looking into more detail at the features and performance that this pair offers. Advance Paris X-P700 Preamplifier Specifications Analog inputs: 1 Balanced XLR, 7 Unbalanced RCA, 1 Phono MC / MM Digital inputs: 1 USB Type-B, 1 SPDIF Coaxial RCA, 2 Toslink optical Analog outputs: 1 stereo L / R balanced XLR, 1 stereo L / R unbalanced RCA, 1 stereo L / R Pre-Out Hi-Pass RCA, 2 Sub Out RCA Double trigger out port Black finish with a 10 mm-thick methacrylate panel Remote control included Dimensions (L x H x D): 43 x 12 x 28 cm Weight: 6.7 kg Advance Paris X-A160 EVO Power Amplifier Specifications Power output: 2 x 160W RMS (8 Ω), 2 x 240W RMS (4 Ω) Frequency Response: 10 Hz – 80 kHz Distortion: 120 dB Channel Separation: > 80 dB Standby Power Consumption:

    “The A-D performance is the best I’ve ever measured” | RME ADI-2/4 Pro review by Sound On Sound

    Sound On Sound reviews the RME ADI-2/4 Pro SE. Read the full review. The RME ADI-2/4 Pro SE is RME’s flagship 2 In / 4 Out mastering-grade AD/DA converter and high-performance headphone amplifier. Featuring ultra-low noise and distortion values, the ADI-2/4 includes a host of additional features – physical and software remote controls; built-in RIAA equalisation for vinyl playback and recording; onboard real-time frequency analyser; a highly flexible parametric EQ and more! The Rolls-Royce of converters (or should that be Maybach), the ADI-2/4 Pro SE is a premium AD/DA that’s right at home in the setups of top mastering engineers and recording studios, as well as a luxury option for audiophiles who want the finest sound quality for their home listening setup. Sound On Sound’s reviewer Hugh Robjohns was particularly impressed with the A-D conversion, which he says is quite simply the best he’s ever measured. “To put these figures in context, the A-D performance is the best I’ve ever measured, outperforming the previous leader (RME’s ADI-2 Pro) by 0.3dB.” “a megabeast” — Hugh Robjohns (Sound On Sound) The D/A side provides equally high-end conversion, with Hugh noting it sits comfortably in the same bracket as other certified ‘mastering-grade converters’ such as the Lynx Hilo II: “The ADI-2/4 Pro SE is currently RME’s best-performing converter in my personally measured league table, sitting very comfortably on the top-table of true mastering-grade converters.” “I described the original ADI-2 Pro as “a beast of a converter” — which I stick by, making the ADI-2/4 Pro SE something of a ‘megabeast’ given its improved technical performance and enhanced features and facilities!” Big thanks to Hugh Robjohns and Sound On Sound for another top review for RME! Read the full RME ADI-2/4 Pro SE review The RME ADI-2/4 Pro SE is available in the UK exclusively from Scan Pro Audio. See the full range of RME ADI-2 Series devices RME ADI-2/4 Pro SE – Software Remote (Mac/Windows) Controlling your RME’s ADI-2 Series just got a whole lot easier thanks to the release of RME’s software control app. Available as a free download for all ADI-2 Series users, the software remote allows you to control every aspect of the device straight from your PC, Mac or iPad when connected via USB. To download the RME remote for yourself, head over to the downloads section of the RME Audio website, or watch our video below for a run-through of this fantastic way to control RME’s range of high-end AD and DA converters. RME ADI-2 Remote Software Video Tutorial See more videos at Synthax TV RME DPS-2 | “Super-Low-Noise” Linear Audio Power Supply The new DPS-2 is an exceptional linear power supply that boasts not only impressive technical data but also a wide range of unique and highly useful features. For instance, this compact device features two differently filtered outputs – Linear and μFilter, which further processes the pre-filtered linear output through highly efficient active filters, to achieve exceptionally clean DC output. Designed to perfectly complement RME’s ADI-2 series, the DPS-2 features a housing and front panel inspired by the same aesthetic and form factor, packing RME’s innovative circuitry into a sleek half-rack width design. The DPS-2 (left) is a linear power supply designed for RME Audio devices such as the ADI-2 Series and ADI-2/4 Pro SE (right). RME LNI-2 DC | Active DC Filter with Galvanic Isolation The RME LNI-2 DC is an active DC filter / inline power conditioner in a compact and portable design. The LNI-2 DC provides isolation, regulation and filtering of output signals from any 12 volt DC power source, enabling a remarkable improvement in DC voltage stability while providing an ultra-clean 12V power source. The result is an enhanced audio signal thanks to the removal of unwanted noise such as humming or buzzing, which can be introduced by power supplies, ‘dirty’ mains power or ground loops. See the full range of RME ADI-2 Series devices Want to know more about RME audio interfaces and sound cards? Give us a call on 01727 821 870 to speak to one of our team, or contact us here. The post “The A-D performance is the best I’ve ever measured” | RME ADI-2/4 Pro review by Sound On Sound appeared first on Synthax Audio UK.

    Soulution 350 Phonostage, 326 Preamplifier, and 312 Stereo Amplifier

    In March 2024, the Swiss manufacturer Soulution introduced its second-generation 3 Series product lineup. Soulution says the new entry-level second-gen 3s incorporate technologies and design elements derived from the company’s upper-end 5 and 7 Series products. The 350 phono- stage, 326 preamplifier, and 312 stereo power amplifier are the subjects of this equipment review. Given the number of products being evaluated, let’s get started with an overview of each component. 312 Stereo Amplifier The 312 stereo amplifier ($28,975) is spec’d at 120Wpc into 8 ohms, which doubles to 240Wpc into 4 ohms and doubles again to 480Wpc into 2 ohms (albeit the latter sustained for five seconds). Input impedance is a low 2k ohms; to realize wide and flat frequency response, be cautious if matching with a high output impedance tube preamp. Gain is 26dB, and the amplifier has a damping factor greater than 5000. Equipped with three stages of current amplification plus a voltage amplification stage linearized to function up to 80MHz internally, the external input/output of the amplifier is limited to a frequency response of DC to 800kHz, which is still impressive. The 312 has four switch-mode power supplies that feed its amplification circuits (low-wattage Class A and high-wattage Class AB) mentioned above. The power supplies are physically separated from the signal circuitry via distance and effective shielding. The amplifier also incorporates constrained-layer damping to limit vibrations from external sources. The 312’s front panel features a 5″ x 2.25″ display (left of center) with incorporated IR receiver and a small power button just to the right of the display. On the rear of the unit are a left/right pair of speaker binding posts and balanced XLR inputs, with a switch to lift the input ground if necessary. In the center rear of the amplifier is an IEC power inlet connecter toward the bottom and a link-com plus firmware update connectors near the center-top. 326 Preamplifier The 326 ($21,975) is a four input (two balanced XLR and two unbalanced RCA) preamp with two additional dedicated custom slots that can house an optional internal 60dB-gain phonostage (moving-coil only), and a D/A converter for the other slot. The optional D/A converter supports Network, USB, SPDIF, and AES/EBU inputs. Data rates up to 192kHz are available for PCM formats, with up to 24-bit/384kHz for USB and network playback, and DSD 1x or 2x are accepted. All input data is converted to DXD via an onboard DSP. The 326 preamp under review did not include either optional internal input (phono or DAC). The 326 also uses switch-mode power supplies feeding DC-DC converters coupled to low-noise linear regulators. Like the 312, the same attention to separation of power supplies from audio signal boards and shielding is implemented in the 326. The volume control uses individual relay-switched resistor networks for each channel. Additionally, when adjusting output level, the 326 uses a chip-based programmable gain array (PGA) to ensure click-free volume adjustments. A second or two after volume adjustment, the precision relayed resistor network is activated, and the chip-based PGA is disabled. With very low 5-ohm (unbalanced) and 10-ohm (balanced) output impedance, the output stage of the 326 can deliver up to 200mA max current when called for. This ensures the preamp can drive long cables and/or lower impedance amplifier inputs, like those of Soulution’s own 312 amplifier, without concern. The front panel of the 326 mirrors the front panel of the 312 amplifier with an additional pair of buttons horizontally in-line with the power button. Those two buttons are a mute button and a program button. The mute button is self-explanatory. The program button is used to enter program mode. Center-right on the front panel is an optically controlled rotary knob used for volume control and push-button input selection under normal operation, and option-navigation/selection in program mode. The rear of the 326 contains the two XLR and two RCA inputs mentioned above, plus a set of balanced XLR and unbalanced RCA outputs at the outer left and right edges. The left of center location has provisions for the optional internal DAC with the inputs mentioned above and the right of center area has a similar location reserved for the optional phonostage with unbalanced RCA input and phono cable/turntable ground terminal. The IEC input connector and link-com and firmware update ports are located in the center. 350 Phonostage The 350 ($22,975) is a dedicated moving-coil phonostage with a single unbalanced input. The gain is fixed at 60dB with loading options of 20 ohms up to 1260 ohms in 20-ohm increments. Soulution says the phonostage has tight-tolerance passive components, wide bandwidth, and low noise two-stage amplification with ideal frequency and phase response. The 350 follows the design feature of the 326 preamp mentioned above with switch-mode power supplies feeding DC-DC converters coupled to low-noise linear regulators. It also implements the same separation of power supplies from audio signal boards and added shielding as used in the 312/326. There is no volume-level control on the 350 phonostage. However, the output stage of the 350 also delivers 200mA max output current that ensures its ability to provide a robust signal to the connected preamplifier. The 350 front-panel display, three-button control, and rotary knob are visually identical to that of the 326 preamp. The rear of the 350 phonostage has the L/R RCA input connectors on the upper left side with the arm/table ground terminal centered between. Directly below those inputs are the balanced XLR and unbalanced RCA outputs. The IEC input connector and link-com and firmware update ports are on the left rear of the 350. Setup Setup of each individual 3 Series component was straightforward and uneventful thanks to the comprehensive user manuals, which outline how to use the program modes, features, front-panel controls, and supplied remote control for each device. Once setup was completed, menu navigation and day-to-day use were a pleasant experience. The 350 phonostage was fed music transcribed by the Lyra Atlas Lambda SL and the newly introduced, overachieving Hana SL MK II. Both cartridges were installed on a Graham Phantom 3 tonearm mounted to a TW Acoustic Raven Two turntable taking power from a Raven AC power supply. The 326 preamp’s four analog inputs were fully loaded up with one digital source and three analog sources (two vinyl including the 350 and Soulution’s flagship 757 deemphasis unit along with one additional 15/30ips reel-to-reel tape deck). The 312 amplifier was fed from the 326 or my reference preamp. The 3 Series products were evaluated individually to help better gauge each of their characters and in combination. The final 3 Series configuration consisted of the full trio connected and feeding my reference main speakers or the DALI Epikore 11 that I reviewed in the previous issue. The Sound of the 350 Phonostage The 350 phonostage’s sound is enticing. The unit projects noticeable soundstage and soundscape width while maintaining realistic instrumental and vocal separation. Imaging is flawless, with realistic size and shape on instruments and voices. The bass and midrange are both nicely proportioned, providing first-rate bass and midband musical timbre. The 350 also maintains smooth upper-midrange and treble delivery without any hint of a tipped-up sound signature. The overall presentation was enjoyably resolute with a hint of fleshiness that brings out tone color and ensures the 350 is not a thin sounding phonostage. The 350 showed its enticing attributes with all the system configurations used in this evaluation. On J.S. Bach’s Partita No. 2 for solo violin, BWV 1004, performed by Nathan Milstein on the DG label, the violin had an almost-visible musical unity of instrument and venue, assisted by the reflected energy bouncing off the venue walls. On something less high-fidelity-like, Maze featuring Frankie Beverly’s “Happy Feelin’s” from the group’s debut album, the 350 had no hint of the harshness or congestion often associated with mid-to-late 70s pop/soul/rock vinyl LPs. Both the Hana SL MK II and the Lyra Atlas Lambda SL met their excellent performance expectations when connected to the 350 phonostage under all conditions. The Sound of the 326 Preamplifier The 326 preamp was admirably transparent to the connected upstream components, whether it was receiving a digitally converted analog signal from a DAC/disc player or an analog-sourced signal from vinyl/tape. The preamp preserved a high percentage of the character (be it warm, neutral, or bright) of the source component in conjunction with the elements of the music as they were recorded. In short, the 326 was not a tone control, overlaying a sonic signature on the music. It was more of a clear conduit for musical and source-component character. In my system, in any configuration, I was instantly aware of the level of transparency the 326 revealed. On digital, vinyl, and/or tape-sourced compilations of the same music, the 326 gave me an instant view of the differences between the source components and the music mastering. An example of this transparency was observable on the LP of Jerome Sabbagh’s Heart album, recorded directly to 2-track tape and mastered by Bernie Grundman, vis-à-vis the same album on R2R tape. The 326 clearly showed that the music was well recorded and mixed in real time. Both the vinyl and tape versions effortlessly revealed the musicianship of Sabbagh on sax, Joe Martin on bass, and the legendary Al Foster on drums, particularly his exceptional cymbal work. Where the 326 allowed the differences between LP and tape to be observed were in continuousness and micro- and macro-dynamics. The 326 showed that the tape breathed a bit more life into the music, even though the LP was very convincing sounding itself. The Sound of the 312 Amplifier The 312 amplifier is somewhat like an extension of the 326 preamp in terms of transparency and resolution. It gives the listener a stable soundscape with ample detail (if on the recording) and maintains the timing of music without ever sounding rhythmically sluggish or mushy. The amp sounded quick on its feet with the requisite speed of transient precision, clearly identifiable sustain, and enough (not embellished) decay. Within its operating envelope, which is more than sufficient for most applications, the 312 provides excellent control over the speakers to which it sends musical signals. The words that come to mind are speed and grip. With both my reference main speakers and the DALI Epikore 11, the 312’s control over the loudspeakers was quickly realized. Everything was lively sounding, with a soundstage that moved elements previously heard as being deeper in the soundstage closer to the listener. The results gave a new clarity to those elements of the music, in addition to a clearer portrayal of closer-to-the-microphone or mix elements of the performance. For example: On the Sabbagh album, Joe Martin’s bass gives the perception of moving a few steps forward in the mix and gains a little more clarity as a result; on the Maze track, the background instruments stepped up to fill the soundstage more fully with the same level of clarity; on the Bach Partita, the space of the venue sounded closer, which was akin to moving from row ten to row two in the hall. Using the Soulution trio together combined all the previously mentioned traits of each device to provide a complete 3 Series experience. The 350’s slight hint of fleshiness that veers away from any phonostage brightness, along with its stage width, imaging, instrumental/vocal timbre, balanced bass/midrange, and smooth mid/treble delivery mated well with the 326’s unmistakable transparency to sources (material and component). The 312 amplifier transferred that combo’s delivery to the speakers in a convincing manner that brought background information closer to the forefront, giving the impression of sitting closer to the event and hearing background detail more clearly. A large-scale classical work such as Liszt’s Hungarian Rhapsody No. 2 showed the grand scale of a vinyl LP with a wide soundstage and rear instruments so clearly audible it was as if you were seated in the first few rows of the hall. Control of the loudspeakers was evident during the massive dynamic swings, in the midrange and bass as well as throughout the delicate wind, string, and brass passages. The trio of 350, 326, and 312 combined to give an uplifting and energetic Rhapsody the conduit it needs to thrill, impress, and, in the end, satisfy. Conclusion There is little doubt Soulution’s DNA is embedded in these 3 Series components. All one needs is to hear the devices installed in a capable system setup. If a listener wants the taste of the sound Soulution provides in its 7 Series flagship products or its mid-level 5 Series in a more affordable form or wants this level of sound quality in a smaller package because of space constraints, the 3 Series 350, 326, and 312 unquestionably fit the bill. Specs & Pricing 350 Phonostage Type: MC phonostage Analog inputs: One unbalanced moving coil Analog outputs: One balanced (XLR); one unbalanced (RCA) Input impedance: 20–1260 ohms Gain: 60dB Output impedance: 10 ohms balanced; 5 ohms unbalanced Frequency response: DC–2MHz Dimensions: 430mm x 142mm x 350mm Weight: Approx. 10kg/22 lbs. Price: $22,975 326 Preamplifier Type: Preamplifier Analog inputs: 2x XLR, 2x RCA, one phono mc (optional), one DAC (optional) Digital inputs (DAC option): USB-B, SPDIF, AES/EBU, Network/LAN Phono (optional): Impedance, 20–1260 ohms; gain, 60dB Analog outputs: One balanced XLR, one unbalanced RCA Output impedance: 10 ohms balanced; 5 ohms unbalanced Frequency response: DC–2MHz Dimensions: 430mm x 142mm x 350mm Weight: approx. 10kg/22 lbs. Price: $21,975 (optional mc phono module $4475, optional DAC module $7475) 312 Stereo Amplifier Type: Power amplifier Output power: 120Wpc into 8 ohms, 240Wpc into 4 ohms, 480Wpc into 2 ohms (5 seconds) Analog inputs: One balanced XLR Outputs: One set of loudspeaker binding posts per channel Frequency response: DC–800kHz Damping Factor: >5000 Dimensions: 430mm x 142mm x 490mm Weight: Approx. 17kg/37.5 lbs. Price: $28,975 AXISS AUDIO USA (U.S. Importer) 2190 Nolensville Pike, Suite C Nashville, TN 37211 (866) 295-4133 axissaudio.com sa***@ax********.com Reference System Analog tape: Otari MTR-10 Studio Mastering (¼” 2-track) tape deck with custom Flux Magnetic Mastering Series repro head and secondary custom tube output stage, Studer A820 Studio Mastering (¼” 2-track) tape deck (x2), Studer A80VU MKII Studio Mastering (¼” 2-track) tape deck, ReVox A700 (¼” 2-track and ¼” 4-track heads) tape deck (x2), Stellavox SP7 (¼” 2-track) tape deck with ABR large reel adapter, Nagra IV-S tape deck with custom large reel adapter, ReVox G-36 (¼” 4-track) tape deck, 1950 Ampex 400A tape repro electronics, Soulution 757 Deemphasis unit Analog vinyl: Basis Audio Debut Vacuum with Synchro-Wave Power Supply, Basis Audio 2800 Vacuum, TW Acustic Raven 2 tables; Basis Audio SuperArm 9, Basis Audio Vector IV (x2), Graham Phantom III, Graham 2.2 tonearms; Lyra Atlas Lambda, Lyra Atlas Lambda SL, Lyra Etna Lambda SL, Lyra Titan-i, van den Hul Colibri XGP, Hana SL, Hana SL Mk II, Hana Umami Red, Hana Umami Blue Analog phonostage: The Raptor (Custom), Ayre P-5xe, Musical Surroundings Phonomena II+ w/Linear Power Supply, Solution 350 Digital source: Intel i7 10th generation processor-based music server hosting JRiver Media Center, Roon, and Qobuz Preamplification: Dual Placette Audio Active linestage, Soulution 326 Amplification: Custom/Modified solid-state monoblocks, Soulution 312 Loudspeakers: Vandersteen Model 3a Signature with dual 2Wq subwoofers and dual SUB THREE subwoofers using M5-HPB high-pass filter, DALI Epikore 11 Cables: Assortment of AudioQuest, Shunyata, Tara Labs, Acoustic Research, Cardas, and custom cables Support: Minus-K BM-1, Neuance shelf, maplewood shelf, Symposium Ultra Acoustics: Walker Audio Accessories: Aurios Pro, Pneuance Audio, Walker Audio, Klaudio KD-CLN-LP200, VPI 16.5, Clearaudio Double Matrix Professional Sonic. Room: 18′ (W), 8′ (H), 43′ (L) The post Soulution 350 Phonostage, 326 Preamplifier, and 312 Stereo Amplifier appeared first on The Absolute Sound.

    2024 Golden Ear: Berning/Hi-Fi One Reference SET Monoblock Power Amplifiers

    $230,000/pr. A nearly quarter-million-dollar price tag for a 20W amplifier may seem like the height of audiophile excess—until you listen to how this extraordinary amplifier transcends mere “hi-fi” to bring music to vivid life. Conceptualized as the ultimate realization of David Berning’s output-transformerless “ZOTL” circuit, the four-chassis Reference SET is the culmination of six years of development between Berning, Rick Brown of Hi-Fi One, audio legend Steve McCormack, and an array of global partners. It is an extremely esoteric design built without regard to cost—each outboard choke is wound with 14 pounds of pure silver wire, for example. The result is an amplifier that delivers the glorious midrange of an SET without sacrificing bass extension, weight, dynamic impact, and authority. But more than that, the Reference SET is simply transcendental in its stunningly natural rendering of timbre and density of tone color, ability to make the speakers disappear with its imaging vividness and expansive soundstage, and perhaps best of all, its sense of relaxed ease that fosters an intimate connection with the music. When driving a loudspeaker of appropriate sensitivity and impedance—an important caveat—the Reference SET is without peer. For an oblique take on the Reference SET, see Paul Seydor’s Golden Ear Award in this issue for the Avantgarde Trio loudspeaker; the Trio he heard was driven by the Reference SET. (352) The post 2024 Golden Ear: Berning/Hi-Fi One Reference SET Monoblock Power Amplifiers appeared first on The Absolute Sound.

    Aesthetix Pallene Preamplifier and Dione Power Amplifier

    I am a wine merchant by day, and there are many descriptors and concepts we enophiles use in an attempt to communicate sensations—color, smell, taste, texture—in words that describe as clearly as possible not only our objective reactions to a wine’s qualities but also how those reactions translate into our subjective opinion on whether a wine is not simply good or great, mediocre or bad, but how these sensations affect us emotionally. Interestingly, a good many of these words (and their attendant communicative challenges) may also be found in the audio reviewer’s lexicon. A short list of the most obvious might include full-bodied, warm, rich; or cool, lean, and airy; or focused, precise, forward, and transparent. Being a European wine specialist, the quality I especially prize is that last concept. Transparency. For me this means not simply that a wine clearly shows varietal typicity—cabernet, Sangiovese, chardonnay, and so on—but critically that the wine speaks of the place it came from, say, sticking to Europe: Bordeaux, Tuscany, or Burgundy. Beyond that, is the Bordeaux from the left or right bank and from which appellation? Is the Sangiovese from Chianti Classico or Montalcino? And Burgundy? That’s a challenge unto itself. A region that captures the minds, hearts, and pocketbooks of the geekiest of wine geeks. Here is where identifying the nuances that define the region’s distinct communes earns you street cred. But the next level up is distinguishing among the finest vineyards within a commune. What makes a Chambolle Bonnes Mares different from, say, neighboring Les Amoureuses or Musigny? Put another way, what makes it a wine of place and soul as opposed to just another tasty pinot noir? How exactly this relates to the latest gear from the hands of Jim White and his team at Aesthetix is something I’ll get to shortly, but I suspect you have already sensed where this might be headed. The pair under review today are the latest additions to Aesthetix’s Saturn series. As such they naturally sport names adopted from one of that planet’s 146 moons. Both the Pallene preamplifier and Dione power amp ($6500 and $7500, respectively) are hybrid designs that one could say were birthed by Aesthetix’s first integrated amplifier, the Mimas (wonderfully reviewed by Neil Gader in our May/June 2019 issue). As White emphasized in an email: “At Aesthetix, our product design is an ongoing process in which we continually build on our previously released work. Our latest products, Pallene and Dione, are no exceptions. To fully understand their technology, we must first unpack the challenges and breakthroughs that created Mimas. “Mimas was released in 2019 and is an amalgamation of our award-winning Calypso pure tube linestage and Atlas hybrid power amplifier (tube input, solid-state output). Developing this integrated amplifier presented numerous technical challenges, as we wanted the highest performance possible while including a headphone output, an optional phono module, and an optional DAC module.” With a “wink” in his voice White also observed that at Aesthetix “One of the things that make us unique is our willingness to do things the hard way.” For example, and quite rare in the audio field, Aesthetix manufactures all its transformers in-house. And though it may not seem particularly obvious, White told me how making transformers is so completely different an undertaking from audio manufacturing that it’s like having a whole other company. This reminds me of how A.J. Conti of Basis decided to grind his own drive belts in-house and developed the tools to do so, because no one could make them to his demanding spec. Similarly, with no prior experience, Aesthetix started making its transformers eight years ago because White wanted complete control over the process. “Most audio companies will provide voltage and current specs but leave the details to the [transformer] maker,” he told me. Meaning while there are myriad approaches to creating the same transformer specifications, not every approach is ideal for audio applications. Another thing Jim underlined is how fundamentally important creating his own transformers has been to his growth as an audio designer. Now it was Jim’s turn for a wine analogy: “It’s as if a producer is buying grapes versus growing grapes; the latter has more control. My designs before and after making our transformers are night and day.” Both units are housed in beautifully constructed, minimalist-looking brushed aluminum housings. Let’s first unpack the Pallene. Design Pallene Here is a supremely functional modern-era preamp engineered to cover pretty much any contemporary music lover’s needs. The circuitry is identical to that found in the Mimas integrated, which in turn was derived from work White did designing the Saturn series Calypso all-tube linestage preamplifier. “The volume control, the vacuum-tube gain stage, and input switching are all taken from our work developing Calypso. The volume control is a unique multi-stage switched-resistor network employing individual metal-film resistors in a balanced configuration. The gain stage is also fully balanced in a differential amplifier configuration, using one 6DJ8/6922 per channel.” The Pallene employs 100% zero-feedback fully balanced differential circuitry, while incorporating a solid-state balanced output buffer capable of driving long cable runs. Pallene also accepts the same phono and DAC modules as the Mimas and comes standard with a headphone output. Getting into the technical nitty-gritty, White also points to the Pallene’s unique technologies—multiple regulated power supply sections, including separate transformer winding and discrete regulation for the vacuum-tube high-voltage section; separate winding and discrete regulation for low-voltage sections; separate winding and regulated heater supplies; separate winding and regulation for the optional DAC module, as well as a separate transformer and regulated power supply for the display and control sections, in order to fully isolate any clocks and noise from sensitive audio circuits. Not to forget those low-flux custom-wound made-in-house transformers. The front panel is a model of elegant simplicity. The center display window is flanked by a pair of triangular buttons (whose shapes echo the company logo): DISPLAY (right, to illuminate or extinguish the LED panel) and MUTE (left). No VOLUME control is visible. Instead, pressing the left side of the display lowers the volume, pressing the right side raises it. Beneath the display window sit a trio of additional buttons—INPUT (selection), STANDBY (brings the tubes to life, otherwise the solid-state circuitry is always on), and SETUP (accesses all setup menus). The rear panel offers a plethora of options: Five balanced and single-ended inputs and a single set each for preamp out, plus IR extender jack, DB9 RS232 connector, and a remote trigger jack. When fully loaded, the optional phono module offers two sets of RCA inputs that can store unique settings for different cartridges. All are set via the front panel SETUP button. For moving-coils resistive load options are 47k, 20k, 10k, 5k, 2.5k, 1k, 750, 500, 375, 250, 200, 150, 100, 75, and 50 ohms (I used 500 for my My Sonic Lab Signature Gold), and gain settings are 60, 64, 68, and 72dB. For moving-magnet cartridges resistive load options are 47k, 20k, 10k, and 5kK ohms; capacitive load options are 100pF, 220pF, 330Pf, and 470pF, while gain values are 44, 48, 52, and 58dB. White seems especially proud of the phono module’s flexibility and quality, citing as one of his biggest accomplishments achieving such high levels of gain in spite of the challenges of various electromagnetic fields within the housing. “To me, that’s a $3000 phonostage for $1250 (if this were a separate unit), because it uses the same FETs you’d find in a $20k or $30k stage.” The DAC module sports five digital inputs: one USB, and two each TosLink and coax RCA. Each can store a unique setting, and the USB input is capable of reading a 24bit/352k DSD and DSD2 signal, while utilizing Wavelength Technologies’ asynchronous implementation. One may also deactivate any unused inputs. Pallene also comes with an exceptionally nice-to-use backlit remote, reflecting White’s thoughtfulness about the smallest details. Design Dione Rated at a healthy 160Wpc into 8 ohms and 320Wpc into 4 ohms, Dione, too, is a direct descendant of the Mimas integrated amp. I’ll again quote Jim White (with minor edits), as his explanations, like his design thinking, are crystal clear. “The core of developing Mimas was designing a new power output stage, which is based on the [Saturn series] Atlas but has slightly different requirements. Solving these new requirements led to numerous breakthroughs, resulting in a revolutionary new output stage incorporating an FET input/gain stage, bipolar driver, and bipolar output stage in a balanced bridge configuration. “To achieve the performance, we wanted from this output stage we chose to use the much-coveted out-of-manufacture Toshiba 2SK246/2SJ103 (don’t worry, we have lots!) that we match to very tight tolerances. They are the only devices we’ve found that can deliver the level of performance we demand for the FET input section of the output stage and are usually found only in extremely expensive audio equipment.” In conversation, White explained how sensitive these devices are, saying that even touching them with our fingertips changes their measurements, which means that careful matching requires plenty of extra patience and attention to detail. “But it’s the only way you can get away with no DC servo,” Jim told me. “You can add a DC servo, and it will be fine, but if you take it away, it is life changing—bringing a sense of life and naturalness to the sound that otherwise would not exist.” Zero feedback is another part of what makes Dione special. While noting that feedback is found in amps at all price levels and that there’s nothing fundamentally wrong with it, White believes that, all other things being equal, getting rid of feedback makes for better sound (if worse measurements), and speaker sensitivity goes up. Lastly, White added that he and his team don’t design around one system or one speaker. Instead, he brings newly designed gear to friends with different systems to make sure they work well in a wide variety of applications. Let’s Listen Before I describe the sound of the Pallene and Dione I want to circle back to my concept of “transparency” vis-a-vis wine. When I discussed this with Jim White, he immediately got my point. Let’s briefly discuss two highly admired producers of white Burgundy. One is known for wines that have a distinctive style. They’re rich, powerful, high in acid, and made in a reductive fashion (meaning with little oxygen exchange and a moderate dose of sulfur to ensure anti-oxidation). While each of his wines can be readily discerned as his style, interestingly they still express the different communes and vineyards where the fruit was grown. The other vigneron’s techniques aren’t radically different, but his lighter touch results in wines that are relatively dialed back, less “flashy” if you will, with a less obvious style. They too are quite transparent to the places they’re from. Both are damn tasty wines that any one of us would be happy to have poured for us. But they’re distinctly different. I’ll now revisit my take on a product I reviewed earlier this year, the Zesto Audio Eros 500 Select monaural power amplifiers. The Zestos are highly sexy beasts—offering 250 watts a side of pure Class A tube-driven power. I loved the sound of these amps. They brought me massively high levels of musical enjoyment and hedonistic pleasure over the time I had with them and are among the best pieces of gear I’ve heard during my lengthy journey into the high end. If I could have afforded to, I would probably have purchased them, but they also take up lots of space in our small house and run hotter than the flames of Hades. Like that first producer’s Burgundies, the Zestos have a strong personality, while also readily showing differences among recordings. The Aesthetix gear is more akin to the wine of the second maker. The Pallene and Dione lack such a strong signature—which, in a way, makes their sound that much harder to describe. They’re very pure, not as overtly seductive, but nevertheless quite convincing, musically. I’ll start by describing my impressions of one recording that nicely illustrates much of what I found so appealing in this Aesthetix duo. Yarlung Records’ marvelously natural live recording of Petteri Iivonen playing Bach’s Violin Partita No. 2, one of the finest renderings I know of a solo acoustic instrument in real space. When played through the Zestos (along with VTL’s likewise tube-driven TL6.5 Series II Signature linestage), this record was pure liquidity. As I wrote in my review, “Iivonen plays a marvelous sweetly toned 1767 Gagliano fiddle. The upper register is honey-kissed, light and limpid as dew drops; the mid-to-lower registers are sweet, too, but with just the right edge of sandpapery grit. Heard through the Zesto 500, the entire presentation is exquisitely coherent, seamless from top-to-bottom.” By comparison, the Aesthetix pair is not as liquidly honey-toned but is still marvelously of a piece from bottom-to-top, still conveying that Gagliano’s rosiny sweetness, warmth, and texture, along with a lovely expression of the subtlest dynamic shifts and musical curlicues. I also like that it seems just right in terms of instrumental scale, making the impression of the fiddle’s body size, as I expect from this LP, into a highly convincing replica of a solo violin performed in a real venue. It’s a slightly drier but by no means cold presentation. Radically switching musical gears, listening to the classic Maazel Decca recording of Gershwin’s Porgy and Bess led me to Janis Joplin’s cover of “Summertime” on Big Brother & The Holding Company’s Cheap Thrills (MoFi 45). I’d forgotten the clarity MoFi’s mastering brings to this LP, digital steps or no. It’s appropriately raw, upfront, and viscerally thrilling as Janis and this band were. “Ball and Chain” also benefited from the Dione’s hefty 280 watts of output power into the 4-ohm loads of each of the speakers used during the review process. The music is so totally there in all its funky, unrefined glory, with plenty of air in the reverberant space, in-your-face dynamics, incendiary fuzz-soaked guitar solos, and Janis’ impassioned vocals slicing through the air like a celestial buzz saw. As analog is my preferred playback medium, I don’t play many CDs these days, and streaming is something I do mostly in the car, at the gym, or at work. Hence, I use the good if not state-of-the-art Bluesound Node 2 at home for more causal listening. But feeding the Pallene’s excellent DAC module via the Bluesound’s coax out has brought the sound of higher-res sources to a whole other level for me. Right before deadline I learned of Phil Lesh’s passing and had the urge to play Live Dead. But not being able to locate my vinyl copy I streamed it through Pallene’s DAC to impressive results in definition, clarity, and tonal naturalness, as was immediately apparent during the subtle, jazz-like “Dark Star,” as Lesh’s brilliantly nimble bass work sets the theme, weaving hypnotic magic with his bandmates throughout the tune’s myriad pathways. Moving to a full-throttled orchestral workout, the legendary Mercury recording of Stravinsky’s Firebird with Dorati and the London Symphony offers a marvelous open-aired window on the performance. With the Pallene and Dione the presentation was notably neutral—straddling the line between super-revealing and detailed and tonally as close to dead-center as can be—neither overtly warm nor cool sounding. Which is tricky with this recording, as Mercury’s are famously on the brighter side of the tonal spectrum (though this Classic Records reissue is less so). And Stravinsky’s score covers the range, from the rumble of the opening double basses to the upper reaches of violins, winds, and percussion. The solo violin parts sing sweetly, the bases purr and growl as written. Flutes and piccolos flutter, horns announce transitions with their distant hollow brassiness. Spatially this recording is about as good a test as one can conjure. And the Aesthetix gear does a mighty fine job of stepping aside and letting this great recording strut its considerably impressive stuff. The stage is very large, while seemingly just right proportionally—front to back, top to bottom—a damn fine rendering of a large orchestra. Dynamics are likewise on excellent display here. From the quietest chamber-like passages to the full-on brass and percussive assaults, with those famous shake-the-rafters bass drum thwacks. There’s no tonal fat, to be sure, but, at the same time, the sound isn’t lean and never edgy. More like a svelte, muscular athlete. Thrilling stuff. End Point White ended our conversation with an interesting point that I found refreshing and one that nicely sums up the value I find in Pallene and Dione, a value I find that much more impressive given the obvious care that Jim and his team put into all things Aesthetix. “Even though I enjoy designing equipment at the bleeding edge, I also derive great satisfaction out of creating products that break price/performance barriers.” Specs & Pricing Pallene Type: Hybrid preamplifier Tube complement: 1 6DJ8/6922 per channel Number and types of inputs: 5 pairs balanced XLR, 5 pairs single-ended RCA Input options: Phono (2 pairs RCA), DAC (2 coax RCA, 2 TosLink, 1 USB 24 bit/352K Number and types of outputs: 1 pair Balanced XLR, 1 pair single-ended RCA, ¼” headphone Dimensions: 17.9″ x 5.5″ x 17.7″ Weight: 35 lbs. Price: $6500 (phono module: $1250; DAC module: $1250) Dione Type: Hybrid power amplifier Power output: 180Wpc into 8 ohms, 280Wpc into 4 ohms Tube complement: 1 6DJ8/6922 per channel Number and types of inputs: 1 pair balanced XLR, 1 pair single-ended RCA; optional high-pass crossover: 1 pair XLR, one pair RCA Dimensions: 17.9″ x 5.5″ x 17.7″ Weight: 44 lbs. Price: $7500 Aesthetix Audio corporation 5220 Gabbert Road Suite A Moorpark, California 93021 (805) 529-9901 aesthetix.net ASSOCIATED EQUIPMENT Loudspeakers: Magnepan 1.7i, 1.7x, and Piega Coax Gen2 611 Headphones: Audeze LCD-X Analog sources: Basis 2200 Turntable, Basis SuperArm, My Sonic Lab Signature Gold moving-coil cartridge Digital Source: Bluesound Node 2 Preamp: Sutherland N1 Cables: Nordost Tyr 2 AC Power: Nordost Tyr 2 power cables; Nordost Qx4 power conditioner and Qb8 AC distribution center The post Aesthetix Pallene Preamplifier and Dione Power Amplifier appeared first on The Absolute Sound.

    Best Power Amps Under $5000 Series: NAD C298 Stereo Power Amplifier Review

    The NAD C 298 strikes me as the amplifier a lot of audiophiles would want. But it is somewhat unusual, which may mean it flies under your radar. It shouldn’t, but let me tell you why so you can decide. The NAD C298 is a stereo power amp, rated at 185 watts per channel into 8 ohms and 340 watts per channel into 4 ohms. It can be bridged to create a mono amp with 620 watts into 8 ohms (you will of course need a second amp for this dual mono scenario). Price is $2399 in the US. Now let’s get to the unusual part. The C298 sounds somewhat like a tube amp in the upper frequencies and a transistor amp at lower frequencies. My impression is that such a combination is a sort of ‘dream amp’ in the minds of more than a few audiophiles. We’ll come back to this. The really unusual thing about the C298 is that it sounds like a marriage of tube and transistor, but it is a class D amp. If you haven’t heard class D amps, that won’t mean much to you. But if you have, you will probably have an opinion, and it won’t be entirely positive. Bruno Putzeys the designer of the core PuriFi Eigentakt modules used for this class D circuit, set out to change that. Product Overview Putzeys has been involved with class D amplification for a long time (incidentally Class D amplifiers are not digital, the Eigentakt module can be described as “fully analog”). So, the Eigentakt module represents the application of his learnings from past designs. This has led to a series of patents on solutions to previously unsolved problems. Examples of the progress made here: Extremely low intermodulation distortion, a good measure of the ability of the amp to handle complex signals Load-invariant frequency response, so that 2 ohm and 8 ohm loads have the same behavior Minimization of magnetic hysteresis distortion in the output filters As with many Class D designs, output impedance is very low, meaning damping factor is in the thousands. The C298 has balanced and single-end inputs. It is modestly sized, emits relatively little heat and weighs 25 lb. Sound Quality As we remind readers, I can’t reason well and most of you probably can’t reason well, from technical details to sound quality. So, we listen. The first thing I noticed about the C298 was the excellence of the imaging. That may seem like an odd starting point, but I have found significant differences in amplifier imaging with speakers that image well (I mainly used the Perlisten S7t for this review). The soundstage of the C298 is more fine-grained in left to right placement of performers than many good amps. This aids the amp in getting the image off the speakers and more into the virtual performance space than is usual. The other outstanding imaging attribute is the depth of the image. There is more layering of performers front to back than is normal. I also thought the instrumental separation was very good. What I mean is that the C298 delineates each instrument from others so that you can follow musical lines with ease. This attribute and imaging seem to be related in ear/brain research, so perhaps this isn’t surprising given what I said about imaging. And of course, the recording has to allow this, which many do. However, I tried the new Lilly Hiatt album, which recalls the heyday of ‘90s power pop and apparently is intentionally mixed to sound rather “wall of sound” congealed on the loud parts (of which there are many). But the Shostakovich 6th Symphony, with the BSO and Nelsons, is more complex than Lilly Hiatt and the instruments are superbly delineated. The point? Components that perform well often don’t work miracles. And hey, Lilly Hiatt probably sounds like this live. Next up, the C298 has a low-grain presentation. You might think this the so-called black background, but I think there are blacker backgrounds. Instead, the believable thing about the C298 is that instruments and voices just sound believably smooth and continuous. Some class D amps seem to overlay a slight roughness to sounds that you don’t hear as roughness per se, but as a sense that the music has been processed. The C298 doesn’t do this. The frequency balance from bass to upper midrange is also commendably flat. The low output impedance, which leads to very good woofer control and highly defined bass, is there but some class D amps seem to roll off the bass a bit. This one doesn’t. Voicing Now, for those of you who have been waiting, we come to the “tube” part of the story. The upper frequencies of the C298 seem ever so slightly soft or smoothed. On extended listening, I conclude that this might be the sound of lower distortion (after all, the amp does not roll off in the so-called audible range, or even up to 50 kHz). As I’ve noted before, some distortions at high frequencies draw attention to the treble range and you register the sound as “bright”. But it isn’t bright in level, it is bright in distortion. It may be that there is a similar story with some of the excellent tube amps we know and love. Now to be clear about the magnitude of this, I should add that this sweetening or softening or distortion reduction of treble isn’t enough to fix the difficult problems of either DACs or recordings in this region. These are hard problems. DAC (and streamer) distortion really isn’t a frequency balance issue and I think is best addressed at the DAC (and in creating the Master File). But it may help to see that there appears to be another issue. Some data suggests that the frequency balance that you hear in a concert hall is quite different from the balance that is recorded. The purple line shows measured levels in a concert hall and the green line shows recorded frequency balance. The level falls by 10 db over the spectrum in the hall and the recorded level rises 1-2 db. This is at least partially made intuitive when you realize that you sit perhaps 30 or 50 feet from the stage and high frequencies don’t project as well as lower frequencies. The recording mics are near the performers, so more high frequency level is picked up. This is why audio science suggests a roughly 1 db per octave tilt to speaker output. Many speakers do not quite provide this. And there is the pesky issue, assuming the data is correct, of that treble rise. Even if our stereo matched the -1 db per octave tilt of the hall, we’d theoretically have overbright sound. So, you can understand why some listeners might want to “manage” treble output. But 2 or 3 or 4 db of “management” generally doesn’t happen in traditional electronics. Add to that the problem of different balances on different recordings (see our list of the 6 major problems of audio) and you may not want a fixed device to solve the problem because you’ll just keep getting it wrong. I offer this to put into context what the C298 does in the treble region. It has a sound that I think lovers of vividness and engagement will enjoy – clear and open. It also has a sound that is very slightly tilted in the direction that lovers of tonal beauty will appreciate – low treble distortion. It may not go as far as some of the latter would like, but I am not clear that any linear amplifier would go that far. Now to close out this section on the tube-like nature of the C298, I think the character of the sound is more transparent than most tube amps. While that sounds good, and personally I think it is, this isn’t what everyone wants. At the same time, there are transistor amps with even more transparency. But at higher, often much higher, prices. Summary The NAD C298 offers the power, voicing, imaging and naturalness to make the audiophile’s wish list blush. That the price is so reasonable makes it an unquestionable value. Add in the upgrade path to even more power in mono form and you have an amplifier that could be the basis of building a wonderful system. Heck, it would fit in a really good $50,000 system. Sometimes it pays to know what’s under the radar. The post Best Power Amps Under $5000 Series: NAD C298 Stereo Power Amplifier Review appeared first on The Absolute Sound.

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