Also read Part I, Part II

I never really planned for there to be a Part III of this review; I didn’t even plan to review it in my reference system, but it came before the Wayne Picquet’s Restored Quad ESL 57 and I wanted to break the XA30.8 in before the Quads showed up. I was so impressed by the amplifier that I made the decision to write what was called Part I of this three-part review. The Pass Labs XA30.8 continued to improve with time to the point that, now, I wanted to let you know my final assessment of this incredible amplifier.

In the last ten years I have listened to and in many cases reviewed amplifiers powering the Audio Note E and/or the Teresonic XR Silver. This included amps from the following companies, in alphabetical order they were: 47 Labs 4733 Midnight Blue, Allnic T1500 300B, Atma-Sphere M-60 Mk 3.1 OTL, Art Audio Diavolo TW Ref Signature, ASR Emitter I Exclusive, Audio Note, Audio Research, Bec Canto, Bob Carver “Black Magic” VTA20S, Cary, Conrad Johnson, deHavilland Aries 845-G, Electrocompaiet ECI-5 Mk II, Electra-Fidelity A3-500 300B, First Watt SIT-1, Genesis Advanced Technologies I60, Goldmund, Kora, Kore-eda PLA-1, Joule-Electra, McIntosh, Melody, Monarchy Audio SE-250, Oracle Audio Technologies SI1000, Pass Labs both XA.5, Plinius 9200, Quad, Rogue, Shindo Cortese F2A, Swissonor AM6441, TEAC, Tektron TK 211S, Teresonic Reference 2a3, Unison Research, and Wavac EC-300B.

All together I have listened to around 50 amps in the last 10 years and I’m glad to say most of them were really good amps. To be honest though, only four of them ever made me think they might be as good as my beloved Wavac EC-300B. Here’s the big surprise: Three of the four were transistor amps. The one tube amplifier was Teresonic’s own Reference 2a3 amp; the three transistor amps were the ASR Emitter I Exclusive Amplifier, the First Watt SIT-1 monoblock power amplifiers and now, the Pass Labs XA30.8.

Of the three transistor amps, the First Watt SIT-1 sounded the most like the Wavac EC-300B and I would be the first to admit that if I were buying them new I could not justify spending three times as much for amps that sounded so much alike. The ASR Emitter I Exclusive Amplifier and the Pass Labs 30.8 sound different from each other and the single-ended amps. Of the four amps the ASR sounds the most different. That could be good or bad continuing on your speakers. All four are great amps, though.

The ASR is the fastest and most transparent amplifier I have ever heard. Its speed and transparency extends into the frequency extremes. This results in the tightest bass with the most slam I have heard in my reference system. In my review of the ASR Emitter One Exclusive, I said, “It involves me emotionally better than any solid state gear I have ever used. As incredible as its midrange is, it just doesn’t have the magical way with voices that the Wavac EC-300B does, though it betters any push-pull tube amp I have heard in this area. In the area of PRaT, it also falls a little short of Wavac/Shindo combination.”

Now along comes the Pass Labs XA30.8. I know from the name it sounds like an update to the XA30.5, but it’s not. It’s a whole new amp; there is no way you could take a XA30.5 and upgrade it to a XA30.8. For example, the XA30.8 weighs about 25 pounds more than the XA30.5, the front end uses a mixture of four complementary JFET, MOSFET, and Toshiba bipolar devices on each channel and the power supply is an all new design that has more capacitance. The output stages of the larger Point 8 amplifiers bias more deeply into the Class A operating region. It stays in Class A up to 61 watts peak power. This larger push-pull Class A operating envelope delivers lower distortion and additional loudspeaker control. Again, it’s a whole new amp that is so much better that I think they should have given it a more distinctive new name.

It took me another couple of months after I wrote Part I of this review to realize the XA30.8 is one of the two most musical amps I have heard in my system. I wonder if there is any chance that playing the difficult load of the Quad 57 did a more effective job of breaking them in than my 103dB Teresonic Ingeniums? Anyway, this is amazing considering my Wavac EC-300B cost $30,000, the ASR Emitter One $20,000, the First Watt SIT-1 monoblocks are $10,000 and the Pass Labs XA30.8 comes in at $6,500. Having reread this, I know my credibility as a reviewer who has consistently always touted the superiority of single ended amps with no feedback is in jeopardy. Still, this review is good news for anyone who can get by on the most powerful 30 watts I have heard.

I should take a moment to tell you how I came to feel this way about the Pass Labs XA30.8 amplifier and it is all about how you feel when listening to music on my system with this amp. I listened to this amp for a little over two months with the Teresonic Ingeniums XR Silvers then I put the Wavac EC-300B back in for a few days during which time I finished and turned in Part I of the review. Then I put the XA30.8 back in and hooked up the Quads 57. After about a month of listening to that combo, I put the Teresonics back in and listened to them for about a week with the XA30.8. The next step is where the learning experience came to fruition. I then put the Wavac back in and immediately noticed that incredible holographic midrange, but after a few days I begin to missed the sound of my system with the Teresonics and the XA30.8. When I put it back in I was shocked to discover that I had that feeling that makes your mind say, “Ah! that feels so right.” Over the next two weeks I made this change a couple of times, always with the same result.

So what makes it along with the Wavac EC-300B one of the two most musical amp I have heard? Well, it’s the total package. When listening to the ASR and First Watt there were times when I missed the Wavac. With the Pass Labs XA30.8 I never missed the Wavac, but when I put the Wavac back in it only took a few days until I really missed the XA30.8. I missed the Pass Labs’ power; I missed its scale; I missed its incredible harmonics, its overall tonal balance and just how wonderfully and emotionally involving my system is with it is powering the speakers. The XA30.8 does all these wonderful things with a way that seems effortless and thus very enjoyable to listen to for very long sessions.

The Pass Labs XA30.8 may not be quite as transparent as the other three amps, I’m not sure but it’s close enough I never notice until I put the Wavac EC-300B back in. Then it may only be that they sound different. What I’m saying is the Pass Labs XA30.8 is transparent enough that never once when listening to it did I wish it was as transparent as the other amps. Its bass is not as fast, tight or have the slam as the ASR, but it’s better. The bass is harmonically more correct, it’s full but not the least bit loose, it possesses the very best of the bass we get from world class tube amps and world class transistor amps.

The Pass Labs XA30.8 plays the textures, colors, tones and harmonics of music more realistically than any of the other amps I’ve mentioned. Its timbre realism with individual instruments and voices is just so satisfying. It allows my system to play music with such a enjoyable life-like flow. It has great PRaT and great fullness at the same time. This is something I have never heard an amplifier achieve to this extent. I can’t believe I’m saying all this about a transistor amp.

In Part I of this review I pointed out that, “the XA30.8 is fundamentally different from the EC-300B and the First Watt SIT-1 in how it builds the sound. Both the EC-300B, an SET tube amp, and the First Watt SIT, a single-ended class A transistor amp, build the sound from the midrange out. It’s like the midrange is the main attraction, and the bass and treble are there to finish out the sound. The Pass Labs XA30.8 builds the sound on a foundation of bass, mid-bass and power.” I can now add to that statement that it does this while having an equally wonderful midrange, especially voices.

The longer I listened to the Pass Labs XA30.8, the more convinced I became that this is one of the main things that makes this amp so special, especially in my system. I think this tonal balance works in a very synergist relationship with the rest of my system. It compliments beautifully the tonal balance of the Teresonic speakers and the Soundsmith SG-220 Strain-Gauge cartridge. It does this in the mid-bass and bass. Still, it lets you experience the midrange and treble with no trace of grain. The result is that you experience the bass, midrange and treble as one performance in the same natural way. It doesn’t highlight one area of the frequency range but lets the whole range sound so right.

When listening to the XA30.8 playing the Quad 57, I was blown away by how each and every instrument or singer seemed whole in its own space. This was especially evident with how you could hear each back-up singer. For example, when listening to Elvis and the Jordanaires it was amazing how you could hear Gordon Stoker and Hoyt Hawkins in their very own space. Not their voices hanging in space but the players occupying space in the room.

I really thought this had more to do with the Quads than the amp, but when I hooked back up my Teresonics and put on the same song, I was shocked. The Quad 57 put them in a slightly bigger space than the Teresonics, and the Teresonics gives you a clearer window on their performance. Turns out when I was trying the Quads with other amps and the Teresonics with other amps there is no question that this special way with space and placement of holistic performers in the listening space is the special work of the Pass Labs XA30.8.

Are there any negatives with the XA30.8? Well, I haven’t heard any yet, but there are some that have nothing to do with sound. First is its size and weight, they could make putting it on many racks impossible. Second, if you have inefficient speakers, then you need to move up the .8 lineup; they take up more space and the cost nearly doubles for each time you move up to the next more powerful amp. Lastly, the Pass Labs XA30.8 draws a lot of current, enough that I can see it on my smart meter when I turn it on and off. I did not find it to run nearly as hot as the SIT-1 though, and no hotter that the Wavac. I know as you go to more chassis and more power the heat will become more significant.

Conclusion

While I thought the Pass Labs XA.5 series of amps were some of the very best if not the best transistor out there, they were just slightly more veiled and a little polite for my taste. They also still had a little bit of haze in the midrange compared to my Wavac EC-300B. So did the XA30.8 until it was fully broken in, but never nearly as much as the .5 amps. The Pass Labs XA30.8 has none of these weaknesses in my reference system with the AMG turntable, the SoundStage Strain Gauge system and the Teresonic Ingenium XR. I find the XA30.8 to be a total revelation. In my system clearly it is as musical involving, and even more so in the mid bass and bass than any amp I have used. It is equally as alive sounding as the Wavac EC-300B. I admit this came as a total shock to me as I have not owned a transistor amp in my main audio system in nearly 30 years.

I do think I need to say that with another speaker I might choose the Wavac over the Pass Labs, but with my speakers it’s a match made in heaven. Anyway, the Pass Labs XA30.8 is not only the best amp I have heard with my speakers, it is an incredible bargain to boot!

Vincent SA-94 stereo preamplifier

Well it’s happened. Frankly I was not expecting it, and certainly not with a pair of solid-state monoblocks made in China and pitched at not a lot more than a bargain-bin price point. But there you go.

What’s happened was a recalibration, an overturning of prejudices, a recognition that contrary to the usual pattern in audio, the law of diminishing returns doesn’t always apply. What caused this epiphany is a combination of products that doesn’t just provide a sonic return fairly reflected its RRP, but one that delivers more than it has a right to for the money.

If I dub the Vincent SA-94 preamplifier and SP-995 monoblocks a sonic bargain, then that should accurately set expectations for what follows. I liked them very much. In fact having lived with them for the best part of a month I was sorry to see them go. It would be useful to have them stick around – rather in the manner of a strong neighbour who’s always there to help on those occasions when you need a lift with something weighty, or in the case of the Vincents drive a difficult speaker load. But there you go. We can’t buy everything and a consolation of reviewing is that at least one gets to try some interesting stuff from time to time.

Vincent is owned by German audio company Sintron GmbH. Sintron managing director Uwe Bartel has built an impressive brand by pairing German design with Chinese manufacture. Sadly, Vincent declined to answer my direct questions about the design philosophy and component choices used in the amps, but that doesn’t detract from the gosh-darn-honest, get-what-you-pay-for deal offered to buyers of these products. For all I know, others in the family may be even better. I am grateful to Kyri K. Christofi at vincentshop.co.uk, the exclusive Vincent dealer in the UK, who loaned me the review combo.

So, what do we have here? The SA-94 is a truly dual-mono active preamplifier that switches six sources. Cased in solid black anodised aluminium it has a front panel that enables selection of source, and control of volume and mute. On the back is a pair of XLR inputs and five pairs of RCAs. A remote controller additionally allows gain and channel balance to be adjusted.

47 Labs Midnight Blue system:

Lens II Speaker: $3,250 (read Review)
 Midnight Blue Integrated Amplifier Model 4736: $2,500
 Midnight Blue CD Player Model 4735: $3,250 (read Review)
 *Midnight Blue Tuner Model 4730: $1,500 (read Review)
 47 Labs OTA Cable Kit Model 4708: $800

Also read the 47 Labs Model 4733 Midnight Blue headphone amplifier/preamplifier/USB DAC Review

I’ve reviewed each component in this system except for the integrated amp, and I’ve lived with the system for a while. This review focuses on the sound of the whole system. The new Midnight Blue Series from 47 Labs has made the aesthetics a little more typical looking and don’t require outboard power supplies. Trying to appeal to a broader range of music lovers, I guess. Even if they look a little more typical of audio equipment on the outside the well known 47 Labs approach to minimalism and quality remains obvious on the inside.

Technically, the Lens II bookshelf speakers aren’t part of the Midnight Blue System, but they seem the perfect mate so I thought I would review the system with them. I chose to use the integrated instead of the power amp because by the time I got around to doing this review I had returned the preamp. Personally in a system this simple, I prefer the integrated.

The sound of the system in the all-important midrange was clear, clean, and transparent. The system did a very good job of letting music come to life. Voices were simply beautiful, and it handles male and female singers equally well. The amount of inner detail was not quite up to par with a great vinyl setup, but it was more than good enough and only sounded lacking by direct comparison. The top end was very extended and very smooth. The overall sound of the 47 Labs Midnight Blue System was simple, exceptionally musical with emotionally involving midrange and top end.

The bass of this little system was a nice surprise. I’m not saying they plunge into the depths of bass. Truth is the system doesn’t play all that deep, but the bass it has is surprisingly engaging. It had nice tone in the lower midrange and upper bass. It had a very nice sense of air in the bass area as well as the midrange and top end. I have heard several systems using a single five-inch driver that didn’t play bass as well. Still, I could get better bass by using my $6,500 Teresonic Magus speakers and I could get better bass from the Lens II using the Pass Labs XA30.8 amp. Still, I thought there was something very special about the overall sound of the system using all 47 Labs.

Voices sounded very natural on the system and that was equally true for female and male vocals. I point this out because so many small speakers add too much warmth to male voices, because of their mid-bass hump. I found the overall sound of the human voice to be very believable on this great little system. Likewise, trumpets, saxophones, and clarinets all had nice tonality and were very enjoyable. One of the things about using the Lens II speakers in this system is you get the characteristic, wonderful tonality of alnico magnet speakers. This allowed the system to play music with great tone and soul. It also contributes why the system is never bright or edgy sounding. With horns and woodwinds, they are on the side of warmth and may not have the very last word in bite. Still, the sound was nicely alive and communicated the music in a very enjoyable manner.

If you choose to set the system up with the speakers on stands then it’s ability to produce a believable soundstage is about as good as it gets. Set up right, the soundstage extends way beyond the speakers and the soundstage appears totally behind the speakers and very deep. It’s that kind of soundstage where non-audiophiles want to know where the speakers are that are playing or are the speakers firing out the back. You can also hear the air between the instruments and the space where the recording was made very well.

The good news is if you choose to set the system up on a bookshelf with the speakers also on the bookshelf, you still get a very nice soundstage and maybe the best bookshelf system I have heard.

The overall sound of the system surprised me. Just looking at the equipment and I wasn’t surprised that the sound was transparent, clear and fast. What I wasn’t ready for was how very organic and tactile it sounded. The 47 Labs Midnight Blue system had rich tonal colors and a wonderful ease to its sound.

This system has some very interesting applications. I’ve been using it in a small den upstairs with everything sitting in an entertainment center and the speakers on each corner of the same top shelve the TV sits on. I also set it up downstairs where I could put the speakers on stands and set them about 4 feet from the rear wall and well off the side walls. In both locations, the system performed superbly, but with different strengths and weaknesses. I can see many different people who would find this system addressing both their space needs at home and their musical taste.

I think if you look at the system’s individual parts the two source components are the ones that give you value well above their price tag. The little 4730 Midnight Blue Tuner is a real throw back to the world of really good analogue tuners. This only matters if you live where you can receive good FM radio.

Both source components are of medias that seem to be a dying breed. Still, you can get CDs and get them really cheap used. The 4735 Midnight Blue CD Player is an exceptionally musical digital source. If you are like me and listen to something like 98 percent vinyl this player is perfect for playing the music I can’t get on vinyl. It’s reasonably priced, takes up very little space and sounds amazing for a digital source. Also, I don’t have to put a computer in the system.

Conclusion

I have not tried to rewrite each of the reviews that have already been published. This review is more of a conclusion to all the 47 Labs Midnight Blue reviews. The closing thought I would like to leave you with is this: I have heard many systems that did not sound nearly as good as this one, where nearly every piece in the system costs more than this whole system including cables cost. Heck, most of those systems spent more on cable than the 47 Labs Midnight Blue system. Nuff said.

Wells Audio Innamorata Signature stereo amplifier

The last few years has seen a bounty of great audio components coming through for review. The Pass Labs XA200.5 mono amplifiers, Triangle Arts Signature turntable, and the D’Agostino Momentum Integrated to name a few, have made indelible and long lasting impressions. The countless hours spent pouring over these great examples of the alchemy of great industrial design and cutting edge music making has been a joy. None of them sound all that similar yet each reaches deep down into a level of resolution that reveals the heart of music.

Added to that list is the latest from Wells Audio, the Innamorata Signature stereo amplifier. The word Innamorata means Mistress or to fall in love in Italian. Great name! Rated at 150 watts per channel into 8 Ohms, 210 watts into 4 Ohms seems right based on the performance of the amplifier.

Jeff has always loved music and have been fascinated with the electronic reproduction of it since he was a small boy. Along the way he found that he had a talent for system setup and combining equipment to deliver the best possible musical results. He was urged by friends and followers to use these talents professionally so he started the Audible Arts, a high-end audio retail store located in San Jose, Ca., with a colleague 20 years ago. Along the way he always felt that equipment was missing something and should be better. In 2010, he started Wells Audio, not because he wanted to be a manufacturer, but because he felt that he could offer something different and better. The statement that he stands by is the first time he heard the Innamorata, it was different than anything in high-end and he wanted to sell it not necessarily to make a living but because he believed every audiophile needed the opportunity to hear and own what he was listening to. Life is the cosmic scorekeeper. Because the high-end equipment sales arena is so incredibly crowded if he had been deluding himself then he would have disappeared quite quickly, but if he was correct then sales would vindicate him. Wells Audio is still around and doing better than ever.

The Wells Audio Innamorata Signature arrived on the heels of the D’Agostino Momentum Integrated, a product that has had me in a spell from day one. Trust me, I was not looking to review another amplifier at that time. But reviewers’ schedules often conflict and I was asked to help out, so of course I would give the Wells Audio a listen.

First off, the amplifier is really nice looking. The gold-rimmed round meter on the front panel gives the otherwise traditional black solid-state chassis a bit of bling. The review sample also had a transparent top plate. Being able to gaze at the innards was very cool.

Using the D’Agostino as an example of a component that makes an immediate impression in the best sense of the word, so does the Innamorata Signature, but in a very different way. So different in fact I had never really heard anything like it. No, the Wells Audio Innamorata Signature did not best the D’Agostino but it did reveal a bit of dryness in comparison. What the Innamorata has is a midrange and treble that is so creamy and liquid smooth without resulting in any darkness or muting. The overall effect is hard to describe. Textures are downright juicy, they are never harsh or overly bright. Horns in particular just pour out tone and texture. And vocals? Outstanding. Violin and Piano, two of the toughest instruments to get right are handled with such liquidity and proper tone, making for an incredibly seductive presentation.

The D’Agostino Momentum has a beguiling level of neutrality and resolution, particularly in the treble, resulting in every song unfolding into vast landscape to explore. There is simply more information passing through the D’Agostino. That said, the Wells Audio Innamorata Signature’s treble is so well integrated with the mid band making for a seamless presentation on par with the best, it leaves little on the table in the upper frequencies. Very sweet in tone, this is unapologetically beautiful sound. As for the comparison I have been making with the D’Agostino, I have not mentioned that it is nearly 5 times the price of the Innamorata Signature. As for choosing anything near the Innamorata’s price point I’m all over the Innamorata for center stage in my system.

Based on what I have described so far, you would not expect super tight and dry bass and you won’t get it. The bass pretty much follows in suit of the mid band and treble. That liquidity carries down through the mid bass giving stand up bass a densely rounded purring tone. Just lovely. Electric bass like that from Geddy Lee of Rush playing “YYZ,” emphasis is on tone and color and a little less on dynamic swing. Not to say that the track lagged in any way, it is just not as whip snap as it is through either the Pass Labs XA200.5 or the D’Agostino. It is the musicality of the bass that makes the listener really sink into bass heavy tracks. Like the mid band and treble the bass carries the tune with effortless ease. Different yes, wonderful? For sure.

Overall however, the dynamic life of the Wells Audio Innamorata Signature was excellent. Capable of a wide range of dynamic shading you really feel the breath and life of music. Vocal shading was truly excellent. Groups of vocalist had their own individual singer’s vocal shading easily differentiated from one another. Very sophisticated sound here. Again, there is a liquidity and slippery ease to the dynamic swings presented by the Innamorata. Like waves on the ocean, the listener is taken for a ride on an effortless dynamic tide. All of these great traits are the result of what appears to be a seriously low noise floor. I was able to really crank up this amplifier without any shift in tone or timbre or the addition of any glare or brightness. For me, this is really something I love as I have a big space and the sound’s volume must reach a critical level to properly lock into the room.

As for staging and imaging, the Wells Audio Innamorata Signature is a tad laid back with the stage starting a few feet further behind the speakers than either the Pass Labs or the D’Agostino. Everything had its place in space, though. It was not as see-through as the D’Agostino. Elements of production such as reverb and delays and the such are there, but with less emphasis.

I really wish I had more time with the Wells Audio Innamorata Signature, I would have liked to get to know it even better. However I certainly had enough time to confidently relay my experience with this wonderful amplifier. Coming up against my reference amplifier was a tall task, and the Innamorata put on a fantastic showing. Seductive in a way no other amp I have heard is, the Innamorata will please probably 90 percent of all audiophiles out there; so musically pleasing as to make much of the competition sound a bit a-musical. At the price of $15k the Wells Audio Innamorata Signature is a no brainier.

I have reviewed and or lived with dozens of amplifiers over the last 20 years of writing. I enjoy amplifiers on a different level than some other components. I have loved them from the early days of the Krell KSA150, Rowland amps, of which I love to this day, various tube designs right through to my currant references.

The Innamorata Signature is another milestone in my reviewing days. Sounding like no other amp I have heard, it has musical magic running through its veins. This amp really took me by surprise. Very Highly recommended.

Earlier this year I was approached by the North American distributor of Harmonix, Wynn Wong of Wynn Audio, to review the Reimyo KAP-777 Stereo Power amplifier and CAT-777 Mk-II Vacuum Tube Control Amplifier. Reimyo is the name given the audiophile stereo electronics line created by the Japanese firm Combak of Harmonix fame. That fact alone made this a no-brainer for me! At that point in time, I really had neither personal experience nor listening experience with Reimyo. However, just knowing its lineage, I knew that they were going to be a very interesting pairing of electronics to get to know. That said, I heartily agreed to the review invitation.

Getting Started

In this first installment, I will be focusing on the Reimyo KAP-777 stereo power amplifier, a product designed and manufactured under a cooperative program called “High Tech Fusion”. Essentially, this program combines the in-house knowledge of resonance conditioning technologies employed in Harmonix products, with recording studio technologies. Indeed, this power amplifier’s exterior exudes strength, quality, and extreme attention to detail. Heat sinks are machined from solid aluminum block, Harmonix tuning feet are integrated as footers for the chassis, the speaker connections, RCA jacks and XLR connectors are also bespoke designs for Reimyo. Under the cover, the Reimyo KAP-777 is equally impressive with custom-made componentry throughout as well as large toroidal transformers. A dual mono design, the KAP-777 produces a prodigious 200 watts continuous per channel into 8 ohms and 400 watts continuous per channel into 4 ohms from but a single MOSFET in the amplification stage.

The Reimyo KAP-777’s prodigious footprint required some modification to the space that was already occupied by the not-so-svelte mighty Pass Labs x350.5. Flanked on either side by the humungous Melody AN-845’s, the Reimyo nonetheless looked at home in that company. Indeed, I was excited at the prospect of comparing the solid state, 200-watt KAP-777 to the 150-watt Melody Audio “ big glass”AN-845. I had been advised that this particular Reimyo KAP-777 sample had already seen quite a bit of action, so I assumed that they were pretty well broken in. With the power switch hidden and out of the way underneath the front center of the chassis, I knew that these babies were meant to be left on at all times. Something I would do with any solid state device, anyway. Combak’s Reimyo electronics are highly tuned devices thanks to their Hamonix-based lineage. It therefore came as no great surprise that the power amplifier was supplied with a power cord that is specific to this amplifier, a Harmonix X-DC15SM-350. I began my listening sessions using this cord since it seemed specifically tuned to the amplifier. There were no further thoughts on tuning or configuration at this point. I simply placed the Reimyo on my spare VTI amplifier stand, swapped the amplifier in to my existing system, and replacing my Melody MN845 vacuum tube monoblocks. The rest of the system consisted of:

Merrill-Williams REAL 101.2 / Technics EPA-501M / ZYX Yatra record playback system
Zesto Audio Andros PS1 Phono Amp
Conrad Johnson UDP1 deluxe universal player
Pass Labs XP20 Line Stage
Eficion F300 full range AMT speakers
Enklein Aeros interconnects on the analog source through to power amplifier
Enklein T-Rex power cords on the mono blocks and the line stage
Enklein Taurus interconnect for digital source
Enklein Titan speaker cables

Listening Sessions

My first session with the Reimyo came at a time when I was already mid-audition on a newly updated amplifier I had reviewed and rated highly in the past. I cannot actually say which amp it was, since it was not “production”, but having it on hand at this point in time really laid the groundwork as to where in my mind the Reimyo KAP-777 figured in sonically. During the first several listening sessions, I played a wide variety of music, mainly LP’s, that are very well known to me sonically. If you follow my writings here on Dagogo, that usually means I played a mix of LP’s from 70’s to current that are well-recorded, and as such do an excellent job at exposing the strengths and short-comings of any component; besides, this is music I personally like to listen to, perhaps to the dismay of some really anal-retentive audiophiles. You know who you are!

To that end, I found the Reimyo to possess many of the seductive qualities I look for in an amplifier. The soundfield was clean, transparent, and devoid of any obvious artifacts or noise. The amplifier exhibited a relative freedom from dynamic compression and, in fact, sounded markedly “faster” and more “alive” than my reference solid-state amplifier, Pass Labs X350.5.

On live recordings such as one of my more recent go-to recordings, Tokyo Day Trip Live by Pat Metheny with Christian McBribe on upright bass, and Antonio Sanchez on percussion, the Reimyo KAP- 777 proved to be agile, of wide bandwidth, and transparent. The superbly recorded cymbals simply sounded spot on. McBride’s upright bass was right-sized and believable, if not quite as forceful and fast as I have become used to with the big Melody AN845 mono’s. In fact, I just couldn’t help but tinker with the set-up once I heard a head-to-head comparison between the Reimyo and the Melody. In an effort to rule out any chance that power cords would account for the difference in bass, I swapped out the bespoke Harmonix power cord and replaced it with the superb Enklein T-Rex cord. This change proved to be very interesting, indeed.

The addition of the T-Rex to the mix seemed to remove a layer of haze that was kind of nagging me in the prior comparison with the Melody AN-845. Differences between the two amplifiers in terms of transparency, in fact, had narrowed quite a bit. This transparency also seemed to have been enhanced by a reduction in noise floor. This later became particularly apparent when playing the superbly recorded and recently reissued LP, Live at Massey Hall by Neil Young. In this recording, the Reimyo KAP-777-Enklein T-Rex pairing yielded, simply put, a more believable and engaging listening experience. Even as I go through my notes and write this essay, I realize that these differences might be considered a “nit” to many. However, indeed to me, the differences were striking enough to mention and to proceed with the Enklein T-Rex power cord in place for the remainder of the time I had with the unit.

With the system now set in stone, I thoroughly enjoyed the entirety of that particular Neil Young album and marveled at the fact that this amplifier was accomplishing what it was doing with but a single MOSFET per channel! Neil’s voice and acoustic guitar are beautifully rendered, enabling the Eficion F300 to perform their magical disappearing act. In fact, I dare say that I’m not sure if I had heard a more believable reproduction of this album.

Another moment during the listening sessions that enabled me to clearly understand the signature and midrange poise of the Reimyo KAP-777 was the way it handled the self-titled debut album by The Roches. Yes, this is one of the albums I was alluding to earlier, an album recorded and produced by Robert Fripp in “audio verité” ( read: stark naked acoustic). When these three sisters harmonize over a single closely miked acoustic guitar, they wreak havoc on speakers, amplifiers, as well as phono playback systems. The Reimyo held its own and rendered the three sisters’ individual voices beautifully.

In fact, the only instance where there may have been some minor sign of strain in powering my Eficion F300 was in some really dynamic electronic recordings such as Daft Punk, or the tympani strikes on Peter Gabriel’s “Rhythm of the Heat” from the live-in-the-studio LP New Blood. I also may have been playing the system a bit louder than most would like. This 200-watt per channel power amplifier was definitely making a statement and setting a high mark for a solid-state, single chassis power amplifier.

The above impressions held true throughout the rest of the time this system remained together. The Reimyo KAP-777 performed extremely well regardless of the source. In recordings where it was present, the KAP-777 created a clean, transparent and right-sized soundfield without sacrificing sizing of individual images. More importantly, I didn’t miss my Melody AN845 when paired with the Pass Labs XP20 linestage. This observation was an interesting by-product of the component matching effort I engaged in during the review process. The Reimyo KAP-777 clearly favored the Pass Labs XP20 linestage over the Melody P2688 linestage. In the case of the Melody AN845 monoblocks, the opposite was clearly true. This is just another clear indication of the importance of careful component matching and cable selection.

At this point, I should mention that along with the Reimyo KAP-777, I received the companion vacuum tube-based Reimyo CAT-777 mk-II linestage, also in for review. The original intention was to review the pair together. However, the experiences I encountered with each individually were such that a simple pairing for purposes of review would have done each of them a disservice.

Summarizing

Let me just state that the Combak by Harmonix Reimyo KAP-777 is one of the most capable and musical power amplifiers I have had the pleasure of auditioning in my system. That said, of the trio of amplifiers I had on hand, the clear winner in terms of bang for the buck were the $15,000 Melody Valve MN-845 monoblocks. Of course, tubes and their prodigious heat and re-tubing costs are not for everyone. So, too, is the prodigious amount of heat that is generated by the quad of 845 tubes per channel. The Reimyo, by contrast runs ice cold, and I left it on continuously during the time it was here. The fact that it has but a single gain stage per channel may have something to do with its level of performance. Of course, this level of marvelous sonics and sophistication come at a price. With an MSRP of $28,000, this single chassis, single-MOSFET-per-channel amplifier is not exactly affordable to many. Putting it in those terms, it is easy to see why perhaps it handily out-performed the $11,500 Pass X350.5. It was not exactly an even comparison in terms of value. Perhaps a more even comparison would have been with a Pass ‘XA’ or a new “.8” series power amplifier.

Regardless, let me reiterate that the Reimyo KAP-777 is a superb amplifier and is indeed one of the best sounding solid-state amplifiers I have run across. Clearly, it is well made and much time and effort have been expended on its design. On its sonic merits I highly recommend this amplifier as a must audition. The value proposition may be just fine for some.

Do you find yourself absolutely in love with the midrange purity and three-dimensional soundstage that are the hallmark of low power, single-ended triode designs, but wishing for more power or more extension at the frequency extremes or even a lower noise floor? If so, then you may want to consider Ed Meitner’s newest creation, the MTRX amplifiers. According to the manufacturer, they are fully balanced; feature a bandwidth of DC to 500kHz at full power; have a damping factor of 1,000; deliver 1,500 watts at 4 ohms and 3,000 watts at 2 ohms; use a MOSFET output stage; and cost $130k the pair. Just to name a few specs.

Physically, they are imposing and weigh 220 pounds each. Each amp requires a dedicated 220 volt electrical service, although they may be ordered for 110. All of this would mean absolutely nothing were these amps not so exceptional sonically.

Prior to the arrival of these amps, it was necessary to install two 220 volt electrical circuits in my listening room. While this sounds fairly straightforward, it is not necessarily the case when you live, as I do, in a fifty-year-old house. In the end, the electrician installed a new electrical sub-panel, two 50’ runs of 8 gauge wire (which required cutting into an existing wall and subsequently re-sheet rocking and painting the wall), and installation of new Furutech RTX rhodium plated outlets terminated for Schuko plugs. Much of the “break in” which I detail in the remainder of this article may well have been the new wiring and not the amps.

The amps arrive

Perhaps I am getting ahead of myself. The EMM Labs MTRX amps arrived on an overcast day in early summer. Each was cradled in an aluminum flight case, which fortunately had wheels underneath to aid in movement. Once again, my son, a Marine, and one of his friends were kind enough to move the flight cases into my music room, then lift the amps out of the crates and install them between my speakers. The only recompense which they would accept was beer and pizza. A lot of beer, as it turned out. Later that evening after reading the user instructions, I engaged the ON switch on the rear of each (main power). The amps immediately went into standby mode as indicated by a band of red light visible underneath the front of each chassis. Initially, the light flashed but within seconds changed to a continuous state when the amps stabilized. I then pressed the front panel switch and the light quickly changed from red to a soft blue, again initially pulsing until the amp stabilized. At no time was there any noise, pops or other indication that the amp was stabilizing.

I was warned that even though the amps had been broken-in at the factory, it would take about 72 hours of continuous play for them to reach their best. While they were very good after about an hour, they improved rather markedly as they approached the 72-hour mark.  Improvements were most noticeable in the form of increased air around instruments, more top end extension and delicacy, and increased three-dimensionality.

Listening – the first 72 hours/no tweaks

As is often the case, my friend Earl attended the initial listening session. We have a weekly listening session on Wednesday evenings, but occasionally meet to listen at other times. On an ECM jazz recording by Colin Vallon, Le Vent, treble detail on cymbals was exceptional. We could immediately tell the location of the cymbal, what was striking it, and where on the cymbal, meaning edge, bell, center, etc, it was being struck. There was an incredible amount of detail. As we moved into the second cut, the music became more intense and increased in tempo. Both of us became more involved emotionally than on the first cut. There are some wonderful things that this drummer does with his snare and toms to push the music along (rim shots and several delicate bass configurations were extremely nice). The EMM Labs MTRX, even at this early point, were clearly superior in resolution of musical detail and leading edge definition to my reference, the Audio Note Kegon Balanced.

Next, we played Sarah McLaughlin’s Stumbling Toward Ecstasy (Classic Records, 45 rpm re-issue). The detail was stunning! The producer of the album was clearly playing some tricks with the sound to make it a bit of a mysterious jumble. The EMM Labs’ revealed all of his tricks. In spite of that, Sarah’s voice was not quite as sensual and sexy as it can be when everything is “right.” Subsequently, on a Wayne Shorter album, upper midrange detail was amazing with startlingly clean and clear wind choirs. However, the bass drum and the edge of the electric bass guitar were not quite as visceral as they can be and the kick of the bass was less pronounced, definitely there, but not as round and whole or with the metallic clarity of attack and string tone that I would normally expect.

The plot thickens

Just when you think that you know how something sounds, you make a slight change which has a significant impact on the sound. About three weeks into my listening, I was able to get my son to help me place Finite Elemente Cerabases under each of the EMM Labs MTRX. Until that point, the amps had rested directly on the floor on their own feet. Suddenly, there was more bass, perhaps too much on some things, but more importantly, the EMM Labs’ began to exhibit some of that magic which makes them so special. Again, in a joint listening session with Earl, we played Kurt Rosenwinkel’s The Remedy, Live at the Village Vanguard, which we have played on various systems numerous times. The bass was well balanced and the illusion created was remarkably close to live. Air and placement were superb! Next came a Swedish jazz CD by Solvieg named Silver. Again the sound was stunning, particularly in the highs. My only minor criticism was that the EMM Labs MTRX were so revealing that we could tell that the mix-down engineer had played a bit with Solvieg’s voice. The listening session ended with some Hugo Wolfe. There was some occasional very slight metallic hardness with the EMM Labs’, as there has always been with this recording, but less; while this was an improvement, it is difficult to say whether it was more accurate. “Realism” was as high as it gets and the strings were lush.

As I shut the system down, I thought to myself that almost anyone listening to these amps on the Acapella Triolons would be hard pressed to imagine that the sound could get much better or more realistic. The level of detail with the EMM Labs MTRX can, at times, be a bit overwhelming, and by this I do not want to suggest that some frequency bands are over emphasized, as the level of detail is consistent throughout the frequency range. The same can be said for dynamics. Unlike almost any other solid-state amp out there, no frequency band is dynamically favored over another.

The key to the EMM Labs MTRX’s performance is their ability, better than anything else that I have heard, to separate instrument and voice from orchestra and choir, and their consistent top-to-bottom revelation of detail. The EMM Labs have marvelous detail and give a tremendous sense of “being there” in many respects. However, I am occasionally bothered when very subtle bass cues seem to be missing on the MTRX. I am very aware of bass guitar and drums. I am hearing less of the palpable thud and thump of bass drums with the EMM Labs MTRX than I am used to hearing. There is a certain enjoyment in listening to a swing band and hearing a drummer who is very solid, tempo-wise, with a strong bass drum, because the bass guitar and drums are supposed to work together to be the rhythm section and there are few things as fun as standing with the drummer and getting right down in it such that the kicks are in sync.

Read A Pass Labs Experience, Part 1

For the past five years I have used the Pass Labs XA100.5 monoblocks on various loudspeaker systems, and have come to rely on their beautiful, refined tonalities and their ability to exert dominance over all loudspeakers I put to them. Confidence in its control over various loudspeakers and operational reliability is what I had when using the monoblocks. It was my custom to leave the XA100.5 monoblocks amplifiers out of standby and on active use for speaker-burn-in for weeks and they remained stable, rising to face whatever challenges I put before them. In my regular auditioning tests, I also put the XA100.5 through extremely harsh duties beyond what their specs recommended and they remained dependable as a rock. The specs may say “100 watts per channel into 8 ohms,” but I knew it could drive anything and thus threw all kinds of speakers at them.

Pass Labs was founded in 1991 by Nelson Pass, who also founded and ran Threshold from 1974 to 1991 with his partners. Nelson’s numerous patented innovations and achievements in amplification designs garnered him a reputation as the forefront designer for high-output, high-performance and reliable, high-end audio amplifiers. His Threshold Stasis circuit, in particular, was licensed to Nakamichi for production in the 1980s. His Pass Labs’ Aleph series of amplifiers, produced in the early days of the company, remain a highly competitive product even in today’s marketplace. His latest series of amplifiers are the “XA.8” Pure Class “A” High Current Series (XA200.8, $42k/pair, XA160.8, $27.3k/pair, XA100.8, $20.3k/pair, XA60.8, $13.5k/pair, XA30.8, $6.8k stereo), and the High Voltage Series that is the “X.8” (X600.8, $27.3k/pair, X260.8, $13.5k/pair, X350.8, $14.2k stereo, X250.8, $10k stereo, X150.8, $6.75k stereo).

There is also the XP Series of preamplifiers, from the $5,250, single-chassis XP-10 with remote control to the $8,600, 2-chassis XP-20 and the $16,500, 3-chassis XP-30. This review of the XA200.8 is conducted with the Xs Preamp, the ultimate Pass Labs preamplification system with two large chassis.

In addition to the aforementioned models, there also exists the unprecedented Xs Series of products that is the result of the most colossal and indulgent engineering feats to date from Nelson and his gang. For those with means seeking the ultimate level of performance, they are the four-chassis power amplifiers of the Xs 300 ($85k/pair), the Xs 150 ($$65k/pair), the Xs Preamp ($38k) and the Xs Phono ($45k).

The Pass Labs XA200.8 are huge, measuring 19 inches wide, 27.5 inches deep and 11 inches high, thus considerably larger than any amplifier I’ve had in my system. We are talking about a pair of these. The most powerful unit in the company’s pure Class A high current series, the XA200.8 is capable of 400 watts into 4 ohms, and remains in Class A bias and peaks at 430 watts into 8 ohms! What better speaker to take advantage of the powerful Pass Labs than a pair of Magnepan 3.7i (86db/4 Ohm). My thanks to Wendell Diller of Magnepan for the special review arrangement.

In recreating conductor Claudio Abbado’s last recorded performance with the Lucerne Festival Orchestra in a reading of the Bruckner Symphony No 9 via HDtracks 24/96 download, the XA200.8 was effortless in rendering wholesome tonal details and contrasting dynamics of orchestral instruments. The speed and directness of the music were reminiscent of a live performance. Timbre purity at this level as accorded by the music provided conclusive testimonial to how far Deutsche Grammophon has come in advancing the quality of its recordings. It was a delightful listening experience, one made the more intense by the accompanying, agile dynamic transients and dynamic realism.

A good recording makes one appreciate the care and insights of the recording engineering team, and this particular musical experience put me in awe of the preceding decades of strides we have achieved in bringing such insightfully rendered works of art into our home. The unprecedented insights of the reading, the amazing resolution of the music, the purity and power of the performance coalesced in my listening space. And I didn’t even want wine to make it rosier.

Whereas the smaller XA100.5 monoblocks were instrumental in conjuring three-dimensional spatiality from the Magnepan 3.7i, the flagship XA200.8 created an unveiling act on the music with the extra transparency throughout. While it speaks volume of the value of the Magnepan, this audition also bore testament to the prowess and virtues of super amplification designs. This alone defines amplification excellence.

The key to such performance must stem from the company’s consistent track record of utilizing minimal gain stages, specifically only three in the XA200.8. For the amplifier’s first two stages, namely the input stage and voltage gain stage, Pass Labs incorporated quad sets of JFET, Mosfet and Toshiba Bipolar devices. The Toshiba devices sport considerably larger heat sinks for high bias currents, with no capacitors in the amplifier circuit so that it is fundamentally stable and quiet. In addition, the gain stages are fed by a decoupled, massive power supply with interleaved layout techniques, effecting a reduction in the amplifier’s output noise by 10dB from the previous products; the ripple effect is now measurable only in microvolts, resulting in a peak-to-peak signal-to-noise ratio of 130dB! This is the kind of amplification that makes the music listening experience more rewarding, allowing us to discover more from our music collection.

Note that all the Toshiba devices are extinct superior parts, gone from us forever, but in otherwise abundant stock at Pass Labs. You have our thanks, Nelson and the gang.

Per Nelson in the “Point 8 Owner’s Manual,” the creation of the amplifier is in keeping with his insistence in delivering qualities of the single-stage “Zen Amp” that he pioneered in 1994. On this, he offers the following:

“The formula is simple: More hardware for more power with few stages and lower distortion with less feedback.. The redesigned output stages of the X.8 series takes the lessons learned from the Xs amplifiers — bigger hardware biased more deeply into the Class A operating region.”

Nelson spilled such considerable ink into the Manual that it is a delightful, engaging and worthy piece of writing on its own.

The XA200.8 was also the first amplifier in my memory to produce such dense spatiality and spectral extensions via a pair of large-panel speakers. I own a pair of Apogee Duetta Signature and had a pair of Magnepan IIB of old. Myriad amplifiers graced these speakers’ presence and it is irrefutable that the latest MIT Cables also contributed to what I’m hearing currently, but the sound of the Magnepan 3.7i as driven by the Pass Labs XA200.8 was a revelatory, lifetime experience. Pairing a brute-force amplifier with power hungry speakers has always been a risky scenario, making me long for the singular listening experience only attainable from meticulously tuned, high-synergy systems, and hoping for no mishaps in the form of amplifier breakdown or speaker burnout from overworking, distorting amplifiers. And it had better be beautiful sound not just for a year or two.

All I’ve written about the XA200.8 up to this point are based on the use of the factory-supplied generic power cables, which I subsequently  replaced with the MIT Cables Oracle AC II ($4,499, 2m) network power cables from the one and only Bruce Brisson. The amplifiers as powered by the MIT Cables delivered such signal to the speakers that the music took on a higher level of dynamic transients, spatiality and power. This was a new experience of high fidelity that caught me completely off guard. Retrospectively, the Pass Labs XA200.8’s sounded convoluted and restrained in retrospect when they were switched back from the MIT Cables to generic.

I’ve always opined that no competent designer would readily agree to the use of aftermarket, exotic power cables in order to bring out the beauty of his design. So again, I put Desmond Harrington, president of Pass Labs to the inquisition and he, in his typical, unflinching demeanor said he would not ship his products with anything other than UL-listed cords for consumer safety reasons. I am here to tell you that anyone who can afford a $42k pair of amplifiers will not use them with anything but exotic power cables, if only to put the fear of God into his visitors. For me, MIT Cable’s Oracle AC II is the genuine article, and they’ve made a believer in me that I don’t need Pass Labs’ Xs 150 ($$65k/pair) or the Xs 300 ($85k/pair) right away.

In conclusion, the ideal reviewing tool to me is one with the highest level of amplification power in the most refined and reliable form, and the Pass Labs XA200.8 is the materialization of that ideal.

System:

MIT Cables Z Powerbar

MIT Cables Oracle AC II network power cables

MIT Cables Oracle Matrix Super HD 120 speaker cables

MIT Cables Oracle MA-X SHD XLR

Esoteric K-03 SACD player (transport)

Bricasti M1 dual-mono DAC

Pass Labs Xs Preamp

Pass Labs XA200.8 monoblocks

Magnepan 3.7i ribbon magnetic planar speakers

Copy Editor: Laurence A. Borden

Star Wars attack High End Audio

There’s a new actor in the high end audio amplification field – THX.  The company is a technology spin-off from Lucasfilm, which originated the Star Wars movie series.

THX has patented a novel amplifier design, THX AAA Technology^TM and Benchmark Media Systems has turned it into a new power amplifier – AHB2. The design is called Achromatic Audio Amplifier. Achromatic may mean colorless or neutral or without modulation. The AHB2 is an attack on current amplifier design. It’s basically an AB amp with a class H power rail arrangement. AB amplifiers are more efficient than Class A by utilizing a push-pull transition.

Class AB has two circuits to increase efficiency over A – straight amplification – and class B where ½ of the signal is used.   Class H tracking rails deliver power on demand unlike linear power supplies that must have stand-by capacity.

The Dark Side in the amplifier war is distortion and heat. To win this battle the rebel alliance, i.e., THX and Benchmark, are trusting The Force (my name – not the official designation) in the shape of a low power Class A correction amplifier. The Force runs in parallel with the regular AB amplifier attack fleet and corrects mistakes and shores up any weakness caused by non-linearity in the transition stage. In addition, there’s a 3D amplifier that boosts the input signal in 3 selectable levels.

The Force also works on the H Class power rail system. Here again the battle is between efficiency and distortion. To provide high current on demand the H rails have to shift between stages which can ripple through as distortion. Benchmark’s clever design compensates for this with the Class A amplifier.

The AHB2 has a resonant zero-voltage switching power supply. The switching is carried out at frequencies well above the audio band to reduce any audible artifacts from the power supply. Switching power supplies are much more efficient, and smaller, than linear transformer based supplies but traditional designs (or wall-warts) are noisy and can affect power demand. The AHB2 power supply is regulated and very efficient in combination with the H Class rails. Benchmark claims that there is no sagging in internal voltage during high loads or when line voltage dips.

The AHB2 is a very compact and light weight amplifier. It’s exactly the size of a standard letter page – 8.5”x11” – and weighs 12.5 lbs. The output is rated as 100 W/channel into 8 Ohms, 190 W/channel into 4 Ohms and 380 W bridged Mono into 8 Ohms. Frequency response is a wide 0.1 Hz – 200 kHz +/- 3dB. Distortion – the key feature of the amplifier – is < -118 dB N+THD in Stereo Mode, while S/N is 132 dB A-weighted.

The AHB2 has balanced inputs only. Benchmark suggests adapters for single ended RCA cables. I tried my own XLR-RCA adapters but the result was less than excellent. The amp should really be fed a balanced signal for best performance – which is not a problem if your current equipment, including high-end cables, are balanced. Otherwise you may need to revise the upstream equipment.

I used Benchmark’s XLR cables which initially sounded questionable. After three days on my Cable Cooker they were actually quite nice – especially considering the price of $38 each or $76 per pair. The AHB2 responds well to cable upgrades but Benchmarks standard cables are a good starting point.

To recapitulate, the AHB2 is actually three amplifiers: a 3 stage input amp, an AB main amp and an amp to control and compensate for distortion.

The input amp has 3 levels of gain, 22 dBu, 14.2 dBu and 8.2 dBu for low, mid and high gain. The lowest gain is for studio equipment that have high input levels. Benchmark recommends using the lowest practical gain for optimum sound. I ran the AHB2 on the lowest gain which works well with the Benchmark DAC2 and also my Oppo BDP-105 which has volume output control. Most SACD and downloaded audio files had enough output voltage to play very loud. Switching to a higher gain is easy with the toggle switch on the back in case the recording is very quiet and needs higher volume is needed. On the opposite side there is a Bridge to Mono switch which can easily be mistaken for the gain switch.  The unit puts out only one channel on both speakers in this case. Play “Girl from Ipanema” and if Gertrud is MIA you are running mono (guess how I know…).

The AHB2 can be bridged and operated as a monoblock. The power output goes from 100 W/channel to 380 W single channel. Biamping is also possible but will require NL4 4-pole cables. Benchmark’s can make cables with bananas or spades on the speaker end against a special order. However, the mono switch should also work.

Auditioning

So has The Force succeeded in beating the Amplifier Empire? Did The Force awaken new audio capability in old AB design?  Can the AHB2 do the Kessel Run in under 12 parsecs?

I tried a number of configurations:

Digital

I evaluated high resolution digital files through my Oppo BDP-105 which plays SACD, DVD-A and Blu-Ray discs, and digital files from a USB stick. The Oppo has a volume control and XLR stereo outputs so it worked well with the AHB2. I also had access to Benchmark’s DAC2 HGC for DSD and other high res files from my Dell laptop.

Naturally, a test with The Dark Side (of the Moon) was needed. The opening heartbeats of Pink Floyd’s masterpiece (Capitol 2003 SACD) nearly bounced me out of my chair. Certainly no lack of low end extension on the AHB2. “Money” spilled coins out of my speakers. There was a wonderful crispness of the attack on the electric guitar. Dire Strait’s “Brothers in Arms” (Mercury Records 2005 SACD) thundered authoritatively with the AHB2. Drums on “Money for Nothing” were well placed on the sound stage and had excellent dynamics.

Conclusion: the AHB2 will easily handle rock music. Round one to the Rebel Alliance.

The AHB2 is a class AB amp – but could easily be mistake for a class D with its very compact dimensions. The small size is made possible by the compact switching power supply. A regular switching power supply can induce noise that is easily audible, so I had concerns that this would be the case with the AHB2.

The amplifier has a spectacular frequency response of 0.4 Hz to 200 kHz. This means that the AHB2 will amplify the high frequencies present on high res digital files (after conversion to analog, of course). SACD/DSD has noise near the audible limit of 20 kHz. Even if this can’t be heard directly, I find it affects the sound field and can be irritating. If an amp has a lower frequency response it can filter out some of this noise – but it will affect the sound by limiting wanted frequencies as well.

The torture test for high frequency extension and coherence in an audio system is female voices in choral or opera pieces. It may even torture the listener depending on musical taste – but I’ll gladly take one for the team. Actually, soprano voices can be quite wonderful if your system is properly tuned and you avoid CD recordings. (I have eight different red book recordings of Beethoven’s 9^th to prove CDs are hopeless.)

The SACD Reges Terrae by Nordic Voices (Chandos Records 2007) is an a cappella recording of choral music from the sixteenth century performed by four sopranos and three male singers. It challenges any system with high frequency harmonies. It’s a good pick for the AHB2.

It is impossible to know from a name, or from how the founder of the company dresses for that matter, what a component will sound like. If one were to go by appearances only, the attire of James Bongiorno or the garish blue hue of his Ampzilla amplifier might be off-putting. James, now departed, was a vibrant individual who displayed that vibrancy in many ways. I recall seeing the Ampzilla at shows and I always wanted to review it, partly because of the sound it was making, and partly because of its looks!

It turned out the opportunity came to me when Constantine Soo, Publisher of Dagogo solicited the writers with the chance to review the components here presented. I was hesitant, though, and I will be honest about it; I noticed that Spread Spectrum Technologies, the company James Bongiorno started, was now in the hands of Wyred4Sound. I had sampled a Wyred4Sound amp previously in my room, but passed on it as a review candidate as it was not sufficiently enticing. I wondered if the mysterious Ampzilla II would capture my imagination beyond its name, so I took a chance on it.

It was a great move, as the Ampzilla II strikes my ear as radically different from the W4S amp I had used. I was pleased to see the thorough explanation contained on the “About” link at the SST homepage that EJ Sarmento, Wyred4Sound’s chief designer, is honoring the original design, retaining the larger schema but tweaking it, while toning down the blue color scheme to black. Thus far it seems the marriage of W4S and SST is working out.

Arrival and unpacking

The double boxed cartons with thick foam did the job protecting the Thoebe II and Son of Ampzilla II, and communication with Tony Holt of Wyred4Sound was timely and polite, a great customer service experience.

The components feature a flat, dull aluminum faceplate with matte gray cases. Gone is the vibrant, but somewhat off-putting garish blue color. The styling is understated, even generic along the lines of older NAD products. My first impression is of a subdued appearance, but thankfully without eyeball piercing LEDs. The stock feet are generously sized, so as to allow easy lifting, and the  weight is not prohibitive for most owners to handle alone.

These are the simple gear man’s delight, with throwback features such as BALANCE, BASS and TREBLE controls. I typically am disgruntled with contouring of the signal, but I found these controls deft and effective, liking the effect regardless of whatever potential degradation of the sound might occur from them being included.

The smallish remote looks better than most, but the nomenclature on the rear side of the components is far too small to be helpful. When a person has to peer over the side of a component at black lettering on a dark case using a flashlight, it is time to improve the experience.

Layout

The SST Thoebe II is a feature-rich preamp, having a collection of functions grouped in small touch buttons under a moderately sized display. Thankfully, bright green is used for the dimmable display, making it legible from a distance. To the left side of the display are two ¼” headphone outputs; the left one operates in conjunction with the speakers, but the right one mutes the Line function of the preamp while in use. To the far right is the VOLUME control knob. The other functions, duplicated on the adequately sized remote control, are from left to right STANDBY, INPUT UP or INPUT DOWN (Three pair unbalanced, one pair balanced), BASS, TREBLE, IR Sensor, BALANCE, PHASE, GAIN, DIM and MUTE.

The BASS and TREBLE controls adjust each from -5 to +5 in 1dB increments. Balance can be adjusted from +10L to +10R in 1dB increments. Phase is toggled between zero and 180 degrees, as is the Gain setting between High and Low.  The Phono stage requires an MM or high output MC cartridge, and it uses a new RIAA optimized topology. I only use file playback or streaming audio, so I will leave discussion of the Phono stage to others. The built-in DAC uses the ESS Sabre 9018 chip, has an Asynchronous, galvanically isolated USB input, and supports up to 32 bit 384kHz PCM and DSD4 and DSD128.

The backside of the unit is busy on the left side, with the optional Phono inputs above three sets of RCA inputs and one set of XLR. Fixed line level outputs occupy a black rectangle on the back plate alerting the owner to these potentially damaging outputs that are attenuated. A set of three RCA outputs and one set of XLR outputs follow. Above these are the Toslink, USB and Coaxial Inputs. Just off center of the back is a 12V Trigger output which when connected will turn on both the Thoebe II and Son of Ampzilla II. The 15A IEC sits off to the right with the power fuse compartment integral.

How about all those features?

In my room I have no need of balance control, as it is a perfect environment for listening. I did, however, test the Thoebe II’s BALANCE function and found it to shift the center image incrementally enough so as to allow for subtle manipulation. The indication of balance shifting is shown unusually by the display, but becomes intuitive quickly enough.

The BASS and TREBLE controls are the real stars of the user-friendly features of the Thoebe II. I found myself calling upon them whenever I set up a system with not quite enough top- or bottom-end. The value of an adjustable preamp with quality tonal controls can be enormous. If the audiophile does not wish to pursue adjustment of the system via cables, then the bass and treble controls are indispensable.

Any set of components and cables have an innate character, but when a new item is introduced into the system there is no telling precisely how and to what degree the sound quality will shift. One may be able to ball park the effect, but it may not be to full satisfaction. For instance, the Red Dragon S500 is a “cooler” sounding amplifier than the Son of Ampzilla II. If I were to construct the exact same system with the S500 I may deem the result too top-end emphasized. The Thoebe II’s treble control of only one or two steps down might bring a satisfactory lowering of the intensity on all music, not only particular tracks.

The BASS and TREBLE controls are readily available on the remote control, so I found that if a track was played with too heavy a bass footprint I could instantly lighten it; this is a very gratifying way to enjoy a piece of music at a higher level, but without the associated displeasure at the dynamic overload. Unlike tonal controls of the past, I found these to pose a very light burden on the signal, such that I did not mind the effect, and did not feel I was losing definition or detail for the sake of using it. This is one of the few tone controls I would use myself, and I did find myself taking advantage of it during the review without concerns for degradation of the sound. I like the combination of the cleanness of ESS Sabre chips in a DAC, yet having the configuration capacity of addressing any tonal issues.

I wonder how many audiophiles get caught on the “power escalator,” by which I do not mean the one at the mall, but the one in the listening room. Did you know you have an escalator in your audio room? Sure you do, if you have over time found yourself seeking an ever more powerful amp which you believe will yield better sound. I admit I have a very tall, long escalator in my room, one that extends back ten years and reaches 1,000 Watts high! I rode that escalator many times between the 200-Watt and 1,000-Watt floors, but it has been several years since I rode it down to the basement, the sub-100-Watt floor. With the review of the First Watt J2 JFET Amplifier and B1 Buffer Amp, it is time to descend.

It seems most audiophiles enter the hobby already well upward from the bottom steps of power by using either a receiver with at least 100Wpc or separates at the same, or higher, specification. It did not take me long to settle on enjoyment of big power. Among several others, I have reviewed two powerful amps from Pass Labs, the Class A XA160.5, and the Class A/B X600.5. I must admit that for all the beauty of the XA160.5 I felt drawn to the X600.5 for the vastness of the soundstage, the macrodynamic impact and utter ease at higher listening levels. I concluded I could capture the finesse the XA160.5 displayed through manipulating other aspects of the system such as the DAC or cables. However, the attributes provided by the power structure of the X600.5 seemed impossible to duplicate with the lower-powered amp.

I have spent a fair bit of time, too, with Class D amps offering from 200 to 1,000Wpc, another flavor of big sound. To date, the Red Dragon S500 is my Class D amp of choice, and it has been a particularly peachy performer with sultry sound in many systems. Given these experiences, what could possibly enthrall about a (relatively) puny “25 Watter” by First Watt? That is what I seek to explain in this article, along with my impressions of the difference between big power and relatively low power, and the practical implications for someone going the lower-power route.

First Watt B1 Buffered Preamp

The B1 Buffer Preamp is described by First Watt as a minimalist line stage for controlling listening levels without editorializing on the source signal. It is a small, lightweight but well built, pressed all-aluminum box featuring a center toggle switch on the faceplate to select between two pair of RCA inputs, and twin attenuation controls for Left and Right channels. On the backside, the unit is powered by a supplied DC power cord; the unit remains powered up when plugged in, as there is no On/Off switch.  Along with the two sets of single-ended inputs is a pair of single-ended outputs. That’s it – no muss, no fuss!

The purpose of the B1 Buffer is to address impedance mismatches between a volume control and an amp. Nelson Pass explains in the Owner’s Manual:

“Is impedance matching an issue? Passive volume controls do have to make a trade-off between input impedance and output impedance. If the input impedance is high, making the input to the volume control easy for the source to drive, then the output impedance is also high, possibly creating difficulty with the input impedance of the power amplifier. And vice versa: If your amplifier prefers low source impedance, then your signal source might have to look at low impedance in the volume control.

This suggests the possibility of using a high quality buffer in conjunction with a volume control. A buffer is still an active circuit using tubes or transistors, but it has no voltage gain – it only interposes itself to make a low impedance into a high impedance, or vice versa.

If you put a buffer in front of a volume control, the control’s low impedance looks like high impedance. If you put a buffer after a volume control, it makes the output impedance much lower. You can put buffers before and after a volume control if you want.

The goal for the First Watt B1 was to make a solid state buffer that was very neutral, with very low distortion and noise, and very wide bandwidth without using negative feedback. It has no voltage gain; its sole purpose is to either increase or lower impedance.”

With First Watt, you don’t just get a component, you get a Nelson Pass commentary and tutorial all in one. The B1 and J2 Owner’s Manuals read more like shoptalk to designers than directions for owners. Nelson attempts to make it lively by inserting analogies to explain the effect of gain in a system, such as driving a car at 55mph in a vehicle where the engine is barely working versus a car in which the engine is running at top speed. Vehicle analogies come in handy when discussing audio systems, and I can relate to this one. Having used everything from SET amps to high-power Class D, my ears have heard the sonic equivalent of what Nelson is saying. His assertion is that with the proper speakers the lower-powered amp can be every bit as stimulating to the hearer as the higher-powered.

Staying with the automotive analogy, the question I will seek to answer is; does one obtain the full driving experience with lower power? Or, similar to a four cylinder car, does one hear a “strain” or lack of torque, so to speak, with a lower-powered amp? Conversely, does a higher-powered amp always ensure more ease, or shall we say, “sound performance”? The two camps, low power and high power, often do not compare directly technically as the technologies can be quite different – consider a SET amp versus a Class D amp. Yet, assuming there is no mismatch of the amp to speaker, the listening experience is the acid test for the hobbyist, and is the focus of this article.

I have been using the Pass Labs XA30.8 as my reference amp for the last 14 months. When it came in for review, I was shocked at how good it was. After an agonizing audition period, I decided it had dethroned my $30,000 Wavac EC300B with Western Electric 300B tubes. The Wavac had held off all comers in my reference system since 2007; truth is I thought it was probably the best amp around at any price if you could get by with eight watts. So, the only question left was how would the mono-block version the XA30.8 sound?

At a quick glance, it seems that the XA60.8s are just two XA30.8s wired for mono instead of stereo. They are rated at 60 watts pure Class A into eight ohms and 120 watts pure Class A into four ohms. The XA60.8 doesn’t leave pure Class A until it reaches 122 peak watts. Then it moves into Class AB for unheard of headroom for a 60-watt amp. Since I have never been able to get the XA30.8 out of their Class A biasing range, it should be no surprise that it didn’t happen with the XA60.8s either.

Description

The look of the Pass Labs .8 series of amps has changed somewhat from the .5. The faceplate, in particular, is different. The .5 series had a two-part face plate; the front section had a circular opening framing the large round bias meter which was mounted on a second sub panel. I’ll be honest; I really thought the .5 looked very classy. The new XA.8 series also looks really nice, and I have heard several people say they like the new, cleaner look. Not me, though, I still liked the older look. The XA.8 series has a simple .75-inch front panel that is a single slab of aluminum with beveled edges and the large round bias meter centered on the front face. The meter shows the current draw of the amp. When a .8 amp is operating in Class A, the needle stays at 12 o’clock or very close to it. When the amp goes out of Class A, the pointer may move to the right. It never did this with any of the speakers I used, regardless of how loud I played them, and I like loud music.

Like the XA30.8, the XA60.8 is 19 inches wide and 21.25 inches deep. The difference is you now have two of these big and very heavy amps. One other point, be sure they have lots of room to breathe. Like all Class A amps, they run hot. A lot of the amp is taken up with heat sinks, but they still get very hot and draw enough power to cause your electric bill to go up. Be forewarned that the heat sinks are sharp, but I was prepared this time. So, unlike when setting up the XA30.8, I didn’t cut myself this time.

Setup and Break In

My reference system comprises the AMG Viella V12 turntable, DS Audio DW-1 Optical cartridge system, Emia Remote Autoformer, Teresonic Ingenium XR speakers with Lowther DX4 silver drivers, High Fidelity Cables CT-1 and CT-1 Ultimate Reference interconnects, speaker cables, and power cables plugged into an HB Cable Design PowerSlave Marble power distributor. With a shipping weight of 106 pounds each, the hardest thing about setting the Pass Labs XA60.8 up was unboxing them and getting into my listening room.

Before I put them in the system, I plugged an iPod into a linestage to use as a source and hooked them up to a pair of old speakers. I let them play in the workroom for over three weeks. I didn’t listen except in the background until they got around 400 hours on them. The reason for this was I had already discovered how much break-in was needed for the Pass .8 amps. The XA30.8 sounded great after 100 hours, but much better after 400 hours. Another thing I should mention is that they take about an hour to warm up after they have been off.

Practical Advantages and Disadvantages

There are several differences that do not relate to the sound so much as the fact that the XA60.8s are monoblocks. The advantages are that you can place them closer to the speakers, you can use shorter speaker cables, and they are an impressive sight. Disadvantages are you need two power cords. In the case of the High Fidelity CT-1 UR-Helix power cords, they up the price of the XA60.8 by almost $14,000 over the XA30.8. If you were using the really excellent Audience AU24 power cables, it would only add $2,400 to the price; but still, that is a disadvantage. Another couple of disadvantages are that they produce twice the heat and draw twice as much power compared to the single XA30.8.

Listening

This review will not be nearly as long as the review of the XA30.8 amp because you can and should read my articles of the XA30.8, and they will tell you nuch about the sound of the XA60.8. I think you would need to live with the XA30.8 and the XA60.8 for a few weeks to begin to grasp the difference in how they sound. I should also remind you, that the difference I hear in my system should not be a matter of power as my speakers are 104dB efficient and an 8-ohm load. Still, there are differences even if they are small differences.

Like the XA30.8, theses amps are powerful and really take control of the sound. The stereo and monoblocks both do this without ever sounding too controlled. In the review of the XA30.8, I said, “By control, I don’t mean a lack of dynamics. Still, even with 30 watts versus 10, the 30.8 is no more dynamic than the Wavac EC300B. The XA30.8 gets really big or really loud without losing control, but it does not have the same ability for the sound to swell and become bigger as well as louder in the same way the Wavac EC300B or the First Watt SIT-1 could.”

The reason for my sharing this quote is it mentions one of the areas where there is a difference between the two Pass Labs models. The XA30.8 comes a little closer to having the ability for the sound to swell and become bigger as well as louder like the Wavac EC300B. I have no idea why this is true. It seemed counter-intuitive to me, and I need to say again it’s a small difference. The XA30.8 and First Watt SIT-1 monoblocks are the only non-single-ended tube amps I have ever heard do this at all. For example, on Ella and Louie, Louie’s trumpet swells, comes to life and gets very loud without a hint of glare or edge. The Wavac and SIT-1 play this in an incredibly alive way. The XA30.8 comes really close to the single-ended tube amps here. The XA60.8 get really loud without losing any control, but they don’t allow the sound of his trumpet to swell spatially in quite the same way. They don’t sound quite as organic nor do they have quite the same big tone sound of the XA30.8.

Let me take another quote from the XA 30.8 review to illustrate how XA30.8 and XA60.8 sound differently. I said in the XA30.8 review, “Another way that the XA30.8 is fundamentally different from [others] is how it builds the sound. Both the EC 300B, a SET tube amp, and the First Watt SIT, a single-ended class A transistor amp, build the sound from the midrange out. It’s like the midrange is the main attraction, and the bass and treble are there to finish out the sound. The Pass Labs XA30.8 builds the sound on a foundation of bass, mid-bass, and power.”

This difference between the Pass Labs XA amps and the Wavac and First Watt single-ended amps is even more pronounced with the mono-blocks. It will be a matter of taste to which you think is better, but as a long-time SET lover, I gravitate more to the sound of the XA30.8.

There were some areas where I expected the monos to be superior. The most obvious was in soundstaging, and they were. They produced a slightly wider and deeper soundstage. The soundstage was also portrayed from a slightly quieter and slightly darker background. Overall the monos are slightly quieter. This also produces slightly more sparkle in the top-end and overall a little more detailed and transparent sound.

On macrodynamics, I couldn’t tell if the XA60.8 were more dynamic with my super-efficient Teresonic, but when using them with some less efficient speakers like the Fritz I recently reviewed, the Pass Labs seem slightly more so. However, the Teresonic produced slightly quicker microdynamics with the XA60.8 while producing bass that was faster and had more slam than the XA30.8.

Conclusion

Unless you need more power, I can’t imagine why you would need the monoblock Pass Labs over its stereo amp. Personally, I slightly prefer the XA30.8, but I know that many if not most systems and speakers will benefit from the extra power of  XA60.8 monoblocks. For this old single driver/SET lover, I’ll keep the stereo amp. I have a friend who has owned mega-buck amps from Audio Note, Burmester, and Goldmund, the other day I read a post he made on one of the forums where he said, “the 30.8 just might be the best amp on planet.” So far I agree, but there are speakers that need more power and the XA60.8 is the choice. For those of you who need even more power, there are bigger and bigger XA.8 amps.

Copy editor: Laurence A. Borden

Emotion in a Silver Jewel Box

Many months ago I was asked about reviewing the Esoteric Grandioso C1 preamp and M1 monoblocks. I had just started to remodel my home, including the listening room, so the review had to wait. I was about 3 weeks away from being done with the project when Scott Sefton of Esoteric contacted me about bringing the pre and amps over to my home. As it turned out, there were some remodel items that still needed a few more weeks to finish (and, of course, months of additional tweaking), most notably redoing the electrical outlets. Nonetheless, I determined that I was ready to start doing reviews again.

A preliminary word about this review. When I finally completed the first draft it was two and one-half times longer than it is in this final version. As you will see, I liked these components so much that I found myself stretching to find something wrong with them. I literally wrote a page on whether they sounded great because they did something “wrong” in the musical reproduction. I finally realized that the added verbiage created the misleading impression that there was something about these wonderful products that I didn’t like, so in the end I took it all out. So don’t be deceived by the shortness of this review. I and others spent many hours debating where the C1 and M1 fit in the pantheon of top-tier audio components.

Esoteric Is The Right Word

I’ve been very familiar with Esoteric’s digital products, having owned several in the past. However, I wasn’t sure what to expect from their preamps and amps, other than what I’ve heard at audio shows. I guess I expected something very detailed and nuanced, and just a shade on the analytical side. Boy was I wrong. Yes, what I received was highly detailed and nuanced, but there is no way you can apply the “analytical” label to the C1 or the M1.

The C1 and M1 are big, heavy and strikingly beautiful. Of course, beauty is in the eye of the beholder, but I suspect that 95%+ of the audiophile population will agree that these components fall into the beautiful category. You will definitely want to display them, as they absolutely beg to be shown off. In addition, their weight and construction are such that aftermarket feet/points are unnecessary. Though I positioned the C1 on a heavy and solid equipment rack and the M1’s on heavy amp stands, I suspect I could have placed them on the floor or on a lesser rack and still gotten excellent results.

Esoteric Grandioso C1 Line Stage Preamplifier

The setup was straightforward, with the only unusual aspect being the fact that the C1, which is a two-piece preamp, consists of a DC power supply and a separate control unit. The preamp’s DC power supply is a true dual-mono device, but in a single enclosure that requires two separate power cords to feed dual AC inputs that in turn translate into DC outputs that feed the C1 control unit via two multi-pin umbilical cords. For those of you interested, the C1 DC power unit uses five hefty power transformers and features high-capacity reservoir capacitors and silicon carbide (SiC) Schottky barrier diodes.

Quoting from Esoteric’s website, the control unit “consists of two monoblock preamplifier modules and a logic control module. The input and output sections of each preamplifier module are constructed on separate boards, which are arranged one above the other in order to minimize the lengths of the signal paths. These modules are mounted on a unique leaf spring suspension system that was originally developed for Esoteric’s leading lineup of SACD players. Its floating design helps achieve total left and right channel independence.”

The M1 monoblocks are the proverbial iron fist in a silk glove, with 300 watts into 8 ohms, 600 into 4 ohms, and a serious maximum power output of 1200 watts into 2 ohms. They have 28dB of gain, and accommodate both XLR and RCA connectors.

The functions and controls of the C1 are intuitive and are a pleasure to operate, so there is no reason to spend any time here explaining their operation. Suffice it to say that everything works as expected without even the hint of a hiccup.

I did have an initial glitch with the C1/M1 combo. I discovered that the M1s are sensitive to DC offset, which is a new issue I experienced after my recent home remodeling. This is not the place for a full discussion of DC offset (in my case apparently caused by the wall switches installed as part of a new LED lighting system), but it can cause transformers to develop a mechanical hum, and high-power amps generally have big transformers. Some amps are more susceptible than others, and the M1 appears to be susceptible. However, I was easily able to address this issue with a great product – the Emotiva CMX-2 Precision AC Line Restoration & Common Mode Filter System. This product is very good, not very expensive, and does exactly what it says. It probably deserves its own review, and perhaps I’ll do that in the coming months. Suffice it to say that this product completely eliminated the issue, so I was able to proceed with the review without any transformer hum.

Initial Configuration

I first tested the C1/M1 combo in the following configuration: My Qsonix Q-205 server’s digital output fed a Legacy Audio Wavelet via a Stealth Audio V14-T digital cable (see my review in September 2016). The Wavelet’s analog outputs fed the Esoteric Grandioso C1 via a balanced Stealth Sakra V12, and the C1 connected to the M1’s via balanced Wireworld Platinum Eclipse 6’s. Speaker cables were Silent Source Silver Signature, and the speakers were Vivid Audio Giya G1.

For those of you unfamiliar, the Wavelet is a custom piece developed by Legacy Audio initially for its fabulous V speakers. It is a DAC, crossover, room correction and digital preamp in a single box. A review of this amazing component will follow, but you need to know that the Wavelet can be used in various ways, and I used it here as a DAC in all cases, but also with the room correction on and off, and incorporating or bypassing the digital preamp. In my initial configuration the Wavelet was used as a DAC and room correction device, with the C1 doing the preamp duties.

Jeff Wells used to own a retail shop named Audible Arts in Campbell, CA, about fifty miles southeast of San Francisco. As brick-and-mortar audio stores withered in the onslaught of online commerce, Jeff capitalized on his retail experience and formed Wells Audio, a manufacturer of amplifiers. (See the 2015 Dagogo interview with Jeff.)

After developing the $7,000 Innamorata power amplifier six years ago, Jeff wanted to address the needs of younger, upcoming generations, and the $5,000 Akasha power amplifier (150 Wpc/8 ohms, 220 Wpc/4 ohms) was the result. Subsequently, a $15,000 flagship, the Innamorata Signature, was introduced for those customers who were demanding something better than the original Innamorata. Dagogo senior reviewer Doug Schroeder reviewed the Akasha amplifier in 2012 and the Innamorata in 2013, while Greg Petan reviewed the Innamorata Signature in 2015.

The $3,599 Majestic, the subject of this review, is the company’s first integrated amplifier and represents Jeff’s effort in further addressing the needs of the younger audiophile market. It brings Wells Audio amplification to an attractive, lower price point.

Whereas the Akasha and Innamorata upper models are both endowed with dual transformers and weigh in at 58 pounds, and the Innamorata Signature comes in at 60 pounds, the Majestic, with its one transformer only, is a comparatively light 35 pounds but still sports the same power output into 8 ohms as the Akasha and Innamorata amplifiers. The Akasha was a more modest form of the Innamorata and the Innamorata Signature employed the most superior parts of its siblings that required a magnitude of more time-consuming assemblage. For the Majestic, Jeff intended the integrated amplifier to provide a performance level close to his $5,000 Akasha for households of modest income and audio system.

The Majestic is a Class AB design that churns out Class A power up to 15 watts. On the left side of the back panel is one pair of balanced (XLR) and four pairs of single-ended (RCA) inputs, plus a fifth RCA pair with fixed output for subwoofer or headphone amplifier use. The IEC plug and the speaker five-way binding posts sit rather closely together on the right side of the back panel. The front panel of the amp is adorned with an Alps motorized Volume control on the left, a front-lit “Volumeter” at the center, which tracks the setting of the manual volume control, and an Input Selector knob on the right. The power switch is accessible under the front of the chassis. The Majestic includes a compact remote control.

Jeff told me all his power amplifiers share the same basic circuitry, with his upper–end models employing progressively higher-performance capacitors and other parts, including Bybee noise filtering technology. These products have a reputation for being among the quietest electronics in the high end. Even at the lower price points – Akasha, Majestic, Looking Glass and Milo – Jeff is proud of the quietness of the designs, which he attributes “in large part to simplicity of design and near flawless execution. Also central to my design philosophy is that every component that is used we sonically evaluate before it makes it into a product.”

The price difference of the Akasha and Majestic is not significant by high-end standards although the Majestic resides more in the white-hot zone of budget amplifiers than the Akasha. Many audiophiles are only comfortable in spending $2,000 or less in amplifiers and in this market segment the Majestic represents a significant investment. The Wells Audio Majestic is not an ultra-performing amplifier, although neither is it a product for the less initiated audiophiles in mind.

For the seasoned audiophile who continues to endure the upgrade bug of difficult purchasing and economizing decisions in his/her life, who has spent long nights comparing loaner equipment from audio stores before returning them the next day, and who is familiar with the anguish of buyer’s remorse from the realization that a better decision could’ve been made had he or she done the comparison before the purchase and not after, the Wells Audio Majestic is an easy choice. It is not adorned with complex convenience features but it adheres to one overriding priority: give the experienced listener sonic refinement when driving high-end speakers – at a comparatively modest cost.

A few “budget” amplifiers ranging from $1,500 to $2,500 passed through my system recently, but the Majestic was the only one able to drive the 86dB Quad ESL 2812 electrostatics with considerable composure. By virtue of the simple circuit design and pure tonality, the Majestic driving the Quads bore a pleasant resemblance to how the Quads sound driven by the $12,000 Pass Laboratories INT-250. Intimate jazz ensembles carried momentum with the often-illusive sense of energy attained by the INT-250. Complex orchestral passages were presented with separation and frequency extension beyond the crop of “budget” amplifiers I auditioned. Quite simply, the Wells Audio Majestic was one of the most refined and powerful class AB amplifiers I’ve heard at $3,500.

Though a budget design in the company’s offering, the Majestic possessed such competency nonetheless that it showcased the superiority of the $8,000 Bricasti M1 dual-mono DAC over the $3,100 Arche Audio Opus 5 DACT and Opus 501 Power Supply in increased three-dimensionality and spectral extension.

This is the kind of novel product I want to leisurely show our attendees at the 45-room California Audio Show (July 28-30).

Not long after, Jeff Wells brought over the Majestic Reference, a $12,000 version of the Majestic ordinaire. And that, as they say, is a whole ‘nother story.

Copy editor: Dan Rubin

True and consistent with his minimalist design philosophy of “Only the simplest can accommodate the most complex,” Junji Kimura of 47 Labs develops his products to have the highest performance possible with the fewest parts; and he does it in such a perfectionist stance that it’s often accomplished at the detriment of user conveniences. For instance, the Gaincard has only 9 parts per channel and the world’s shortest signal path of 32mm including the length of parts, but the featherweight body of the 4706 Gaincard S amplifier was problematic in my 2002 review of it.

Now, Junji coalesced the structures of two 4700-50 Power Humptys with complete mono construction and separate power supplies onto a resonance dispersing acrylic, aluminum and stainless steel platform housing an extensively streamlined Gaincard and out comes the 34-pound, 4739 Fudou. The word “Fudou” means “un-moving” and this time I completely agree. The result is a much heavier version of the Gaincard S that can withstand the heaviest of cables, at the same time increasing the impedance capability to 70 watts-per-channel at 4 ohms.

To be certain, all this is tremendous good news that all audiophiles can rejoice to, even though the Junji-sque, spade-only clamp-down speaker terminal remains. Junji fitted such a clamping rod over the speaker area with three vertical screws per channel that overhead space is an absolute necessity to access the connectors. This makes putting the 4739 onto open floor space or the top shelf a necessity.

Bearing a kindred spirit with the folks at Pass Labs, Junji is an analogphile at heart and it shows even in the world-class PiTracer CD transport, in which the laser emitting and reading mechanism is incorporated into a hovering, solid block of extruded aluminum above the upside down CD on the spinning platter. The result was an ultra-powerful CD transport that makes most others sound undernourished. Now, only if Junji could add SACD capability to it and a new SACD/USB DAC that also feeds on the Power Dumpty cylindrical power supply. Wouldn’t that be something? I can still conjure up the memory of his dual-mono, zero-oversampling, digital filterless Gemini DAC and PiTracer in my system.

Sonically, the 4739 Fudou is a marked departure from that of the Gaincard S. Devoid of any features and superfluous part counts, the Gaincard S flaunted a sound so unhinged from the world of high-end audio that were it not for its underpowered slimness in the presence of power hungry speakers these days, it would’ve been a fantastic reference of neutrality. The Fudou is not of the same vein.

If the Fudou was to be assigned a perfect loudspeaker, the 86dB/8 Ohm Quad ESL 2812 would be it. With an internally charged static transducer system, the Quad was found to be a tonally flamboyant speaker with a mild dynamic temperament. It would ultimately only go so loud even as beckoned by the likes of the Pass Laboratories XA200.8 pure class A solid-state monoblocks. The Fudou, then, never had to push itself beyond what its 45 watts at 8 ohm could deliver where the Quad was concerned. Achieving 82dB of constant sound level at the listening position, the Fudou had reached its peak performance in driving the Quad ESL.

As funneled by a complete, $75k of MIT Cables Oracle system with the Audio Reference Technology corps d’elite empowerment in the forms of two Analyst SE ($7,300 each) and two Super SE ($2,950 each) power cables and the Power Distributor, the Bricasti Design M1 dual-mono DAC and Pass Laboratories Xs Preamp put together a consummate display of uncanny beauty in moderation. For my late night listening sessions, this was perfection. But because of its pleasant midrange and delicate top-end, the Fudou gave the Quad exactly that layered spatiality and intricate tonality that allowed the speakers to showcase its advantages.

After the Quad ESL2812 came the $30k, 88dB/4 Ohm Technical Audio Devices Laboratories Evolution One, and this speaker presides at the very far edge of the Fudou’s 70 Wpc/4 ohm performance envelope. The coaxial Coherence Source Transducer (CCST) of the TAD-E1 is a marvel of the coaxial technology that I have been craving for and found fulfillment in the Tannoy Churchill Wideband of late, followed by the Westminster Royal SE. The Churchill spent five years in my system while the Westminster, three, but I have experienced the point source manifestation at its highest form in the TAD’s CCST driver technology. The Fudou compelled it to blossom.

In my 14′ x 30′ x 9′ room, via the $9k Fuuga moving-coil cartridge in the company of the $18k Spiral Groove Revolution turntable system and the Pass Labs Xs Phono, the $10k 47 Laboratory 4739 Fudou drove the TAD-E1 to 85 peak decibel in realizing the sonic splendor of the MFSL Alan Parsons Project I Robot GAIN 2 Ultra Analog Numbered Edition 45rpm 180g 2LP set. Contrasting the gentlemanly Quad ESL 2812, the TAD-E1, still in my system as of this writing, represents quite the vanguard in dynamic delivery and sheer awe.

The Fudou attained superb definition reminiscent of the Gaincard S in driving the TAD and displayed a tonal affinity towards the likes of Electrocompaniet, slightly soft and impressively spacious. Pushing the Fudou to beyond 90dB peak sound pressure twelve feet away in my listening chair induced subversive compressions. Asking the Fudou to drive the TAD-E1 into party-level ruckus will be improper.

If in another space the owner of which craves 90dB-plus sound pressure from the TAD-E1 to realize the sonic splendor of the any other MFSL swashbuckler, the $12k Pass Laboratories INT-250 should be considered. But for readers who has come to know the 47 Lab sound and method and found the Gaincard S a bit too idiosyncratic physically and transparent sonically, the Fudou is the sweeping solution, albeit at a much higher price.

The 47 Laboratory 4739 Fudou stands apart from its lineage. With its flagrant sonics, the Fudou is the beauty of the family.

I took up my position on the elliptical machine at the health club in the front row, the one that catches the morning sunlight. For twenty years I ran outdoors year-round and always enjoyed heading into the first rays of the day. Especially on cold winter days the sun’s warmth on the face was welcome. I have had people tell me that I am wrecking my eyes by facing the sun as I workout, but my prescription for eyeglasses has not changed appreciably over the past 7 years. So, I’m going to enjoy the sun as long as I can because in the winter it sure beats existing in an office until the workday is over, then emerging to… darkness.

This particular day there was a small mystery to solve as I ground out the hour of cardio: To whom did the BMW i8 supercar belong? Usually the stalls in front of the facility hold old sedans or pickup trucks, not carbon fiber 3 cylinder hybrid cars with swept-back lines capable of hitting 60 mph in 4.4 seconds! I was surprised to see a conservative looking young couple in their late 30’s whom I greet daily approach it, then pop open the gull wing doors, slide in and nonchalantly cruise away.

In this article we discuss another German made product, an amplifier that, while not having lines as bold as the i8, features very taut performance on a par with super-amps. We shall investigate the AVM Ovation SA 6.2, a pair of them in fact, which would set the owner back a cool $20K, putting one in the “driver’s seat” controlling a system anchored with ultra-fine amplifiers. Let’s talk high performance amplification.

How much better?

Every audiophile wonders the same things: Is vinyl that much better? Are tubes always warmer sounding? Do class D amps measure up? Is streaming audio fine enough for serious listening? Is the very high priced gear always better? While this article is not dedicated to answering those particular questions, it will address one particular question: Is there that much difference in performance between affordable solid-state amps and more costly ones?

AVM GmbH Audio Video Manufaktur, owned and directed by Udo Besser, makes very high quality components for, as might be surmised by the name, audio and video home use. Though the name may be new to those in North America, AVM has been building audio gear in its own facility in Germany for more than 30 years. A search for the U.S. distributor brought me to the site avm-audio.com, which suggests the company does not have a U.S. distributor currently. However, the brand has been seen at shows in the U.S., including the recently held AXPONA 2017. It appears that, for the time being, U.S. customers deal directly with AVM in Germany. During the review period I had faultless communication and assistance from Peder Beckman, Sales Manager of Americas for AVM.

I sought an Owner’s Manual for the Ovation SA 6.2, but it was not yet available in English. Having worked with several products from Asia and Europe it is not uncommon for the attending Manual to be a bit behind the curve. Thankfully, as might be expected from a long time maker of electronics in Germany, the controls of the Ovation SA 6.2 are well identified and intuitive. The “walkthrough” of the operations of the unit are as I discovered them while using the amplifier.

It would be in AVM’s best interest, however, to produce a Manual in new markets expeditiously as the potential for incompetency of less technically inclined owners leading to incorrectly wiring the unit cannot be overlooked. As it is, some features and operations of the SA 6.2 remain inscrutable without guidance. I discussed with Peder whether there was a proper location for the placement of speaker cables considering that the description of the amp’s features includes “2 pairs of loudspeaker connections, separately switchable.” My understanding of switchable speaker connections is that they are independently wired, allowing for multi-zone use. However, in discussion with Peder, he indicated I could hook up speakers to whichever appropriate black or red posts I chose, as they are internally jumpered. I saw no function for switching speakers as I worked with the amps, so I suspect the phrase “separately switchable” is an awkward description of the amplifier’s bi-wire capability.

The amplifiers arrived in style and safety ensconced in two heavy-duty flight cases. This is the right way to ship premium components. Communication throughout the review period was quick and precise.

If PS Audio’s Sprout100 has all the answers, you can just imagine the questions.

I cannot tell you the number of times aspiring audiophiles and existing ones who share my penchant for travel ask me online and in person to make recommendations for them. And, what they have all in common is their particular criteria that it be something they:

1. Can be proud of around their friends and audiophiles (I have to chuckle that the two seem to be mutually exclusive)
2. Will not break the bank
3. Can make their office/secondary solution
4. Will travel well nationally and internationally

The Sprout100 ticks all the boxes and then some. It poses a headscratcher of a question itself: What does it not do for $599? And as you can see from the specs listed below, not much is the answer. How one judges PS Audio’s latest incarnation is a matter of perspective, so I’m going to look at it as the core of 3 systems: starter, office, and travel. Normally, specifications find themselves at the end of a piece, but the Sprout100 is nothing short of extraordinary for the price.

Specifications (file this on what doesn’t the Sprout 100 do?)

• Output power 2 x 50 watts @ 8 ohms, 2 x 100 watts @ 4 ohms
• Digital ESS Sabre 9016 DAC
• Optical supports up to 24/96 PCM
• USB supports up to 24/384 PCM and DSD 128
• Remote control (controls sparse yet functional and the unit itself surprisingly magnetic)
• Volume Controls – continuous activation
• Mute
• Power On/Off
• Indicator Light (Bass Boost)
• Enabled – White
• Disabled – Blue
• Mute – Dimmed White
• Sub Out
• RIAA Phono Stage
• Universal Power Supply (for those who like to TRAVEL!)
• RCA Analog In/Out (no skimping here)

That all this comes in one box which I would liken to the size of an early model Apple Mac Mini is hard to believe, and I’m sitting right in front of the unit. So let’s get to those systems.

Starter System

‘So, you want something versatile? You want something which you can build a system around?  OK, oh there’s more. You move a lot and it has to be transportable. You’re not sure if you’re going to stick with records and want the flexibility of digital. You want to be admired and respected by your circle of friends for your gear. Is there anything else? You want it to be an investment in your future. Am taking that to mean you want for it to be relatively inexpensive and made to last?

The above is pretty much an aggregate of what those starting out on the Hi-Fi journey toss my way. And, while taken on the whole, it is a tall order, the Sprout 100, much like Jeopardy in reverse, is the answer to all the questions. In order to position it as the heart of a starter system, I first had to come to grips with the fact that it is an integrated amplifier, a DAC, and a phono stage all in one, with a SUB OUT thrown in for good measure. Like any proper sommelier it’s my duty to work out the pairings, so with respect to price, not function, and the focus being on a starter system, I paired the system with kit that I have at home costing no more than $500 per component.

Speakers:  ELAC Debut B6, KEF Q100, Q Acoustics 3020, and Pioneer SP-BS22-LR. A decent array of affordable functional speakers well under the price cap and all of them performed admirably. The extra power, the oomph of 50 watts per channel, did indeed help matters as it was not necessary to push the speakers to their extremes and if I recall, in my youth and yes even today, I do like a bit of volume. I alternated positioning of the speakers on my trusty pair of Pangea DS-400 24” stands, a pair of ISO ACOUSTICS Medium adjustable monitor stands, my IKEA end tables, kitchen stools, and Kallax storage units. In any configuration/permutation I was not let down. Nothing to sneeze at here.

Turntables:  Rega P1 fitted with stock Rega Carbon cartridge, Pro-Ject RPM1 Carbon fitted with stock Sumiko Pearl and a Parasound LT 900D fitted with a SHURE M97 XE cartridge. I included the last turntable for no other reason than sheer whimsy, and I must be one of the few to proudly proclaim ownership.

To be honest I was not expecting much from the phono stage. At best I was hoping for it not to hum too loudly and for there not to be any RF interference. Now, before any of you get any ideas, let me share this: Last year I acquired six budget phono stages ranging from $90 to $350 and all but one of them produced a nasty hum and static-laden local AM radio reception. I figured with everything else going on inside the box, surely this would be the weakest link. In a word . . . wrong.

I proceeded to spin records that someone starting out on this journey would, so up went pre-owned rock, jazz and classical recordings, all of which were dutifully cleaned in advance of being spun. The phono stage was and continues to be quiet. Given my expectations, the Sprout100’s phono stage far surpassed my wildest. That being said, it is not going to replace the phono stage in my primary system or my secondary system for that matter, nor do I expect it replace anyone’s primary, but for someone starting out this is not bad, not bad at all. Of the three turntables, I got the best results out of my Rega P1 and highly recommend it to starters as an un-fiddly piece of kit.

Digital: Apple MacBook Pro running Audirvana Plus and Roon. As my home is exclusively an Apple shop when it comes to computers, these are my two playback software solutions. The latter just squeaked under the price-cap, just barely. Using a standard USB cable, nothing fancy, and at closer examination an $11 Belkin USB A/B to connect to the Sprout100, again I was pleasantly surprised. I have listened to, analyzed and reviewed my share of DACs over the years. Is the integrated DAC here the best? Hardly. Will it put some DAC’s costing as much or more than the Sprout100 to shame? Yes. Not that it is subjectively so much better, but that it comes too close for comfort.

The computer had no issues recognizing the DAC, nor did either of the software applications. From redbook CD standard to PCM 348 and DSD 128, the Sprout100 admirably handled anything tossed its way. My digital library is vast, so after a barrage of Hi-res and Super Hi-res I settled down to playing files that someone starting out would, more than likely, have at their disposal. What’s not to like? The sound was/is enjoyable, pleasing even, and I was not fatigued in the slightest. We have to remember that DAC’s have come a long way, so now some of the most affordable ones on the market sound damn good for what they are.

This is not to say that there were no issues with the Sprout100’s operation where computers are concerned. In an attempt to reduce power consumption and lessen the overall heat of the unit, PS Audio decided that when the input selector is on anything but digital, USB is powered down, and while this is logical, computer operating systems, both Windows and Mac (OS X) will generate pop-up messages alerting the user that a USB connection is malfunctioning and has been dropped. The Windows error is even more graphic than its Mac (OS X) counterpart. Switching the selector back to Digital (USB) put all to right.

The Bass Boost function is another story. I can understand the logic behind providing Bass Boost, which PS Audio claims adds +8 dB, and given that there’s a Sub Out on the unit, I fear PS Audio is unduly concerned about bass, as if its market research has indicated that it is a make or break feature. While I can applaud the Sub Out, I am reticent to suggest plaudits for the Bass Boost option. The difference between having it enabled and not was/is negligible if at all discernible.

Lastly is the inclusion of an Analog OUT as well as Analog IN. This is where I and PS Audio maintain a strong difference of opinion. PS Audio’s thinking is that at some point the PS Audio Sprout100 owner will be in the market for more power and might be thinking of adding a PS Audio power amplifier, which they can connect via the Analog OUT. I am not convinced of the notion that Sprout100 owners would see the device as a front-end to a bigger, more powerful system. I am much more inclined to believe that the youth market, namely the Millennials, would be more inclined to attach multiple components, i.e. game-box, Blu-ray player, cassette deck, etc.…  At first glance of the unit, connecting a more powerful, high-end amp was not even on my radar, not even a consideration.

The issues, concerns and differences of opinion are not game changers. While they do detract a bit, and prevent the Sprout100 from gaining a “clean sheet” in my book, it remains a truly worthwhile product.

I love both of the new amps by Gold Note, the PA-1175 MkII and the PA-1175 MkII. Both are solid state, 200 watts per channel. Both are bridgeable to 520 watts per channel and even have the same styling. These two amps inhabit the same chassis, but they are distinct. One switch makes them both distinct and symbiotic. The Gold Note PA-1175 MkII offers the audiophile two distinct amps in one due to its unique Damping Factor function. But, let’s not rush so quickly into the mystery of this amplifier. First we must have some technical descriptions.

I know that a company’s history as well as an amp’s physical descriptions and basic operations are the most scintillating aspect of reviews, so let’s get on with it. The PA-1175 MkII is a class A/B design from a team that has been building OEM/ODM designs for more than 25 years, but six years ago become a distinct brand. It is the largest independent Italian audio company and is headed by mechanical engineer Maurizio Aterini, the founder of Gold Note. The company’s name denotes the quality of the products, the sole purpose being the achievement of the highest degree of musicality.

Maurizio’s first designs were turntables and tonearms. As he collaborated with other engineers and designers, other components were brought to market. The PA-1175 is the first Stereo/Mono power amplifier carrying the Gold Note name. It incorporates the knowledge gained through the years in development of single ended large power amplifiers.

The amp is classically understated, with a thick, brushed aluminum façade sporting two diminutive buttons on the right hand side. One button is labeled “DF” for Damping Factor and the other is the unlabeled front On/Off switch. /To the far left, where two channels in the faceplate reduce eye fatigue of the large field of metal, resides the Gold Note emblem embedded as a coin, and a pinhole blue/green LED indicating Damping Factor selection.

On the backside the classic layout involves a true balanced configuration carried through the back wall of the amp to mirror image pairings of independent fuses, single ended and balanced inputs, and L/R speaker cable posts. In the center are the Master power switch, 15 Amp IEC, and a tiny “BTL” switch inside an impossibly small cavity. BTL stands for Bridged Tied Load (in casual parlance “Mono”).

An unusual aspect of the PA-1175 is what the website calls a “unique cut spiral nucleus” toroidal transformer that rests upon Ducati silent blocks. This transformer is said to be completely stable and to cancel any mechanical vibration. The involvement of Ducati to reduce noise makes me formulate absurd phrases such as, “high speed silence.” Don’t laugh; some amp makers use products made by Bybee, which some say are metal tubes filled with dirt

Not BLT, but BTL

As has been the case historically with stereo amps having capacity for mono operation, the PA-1175 was superior as a mono amp to its being used in stereo mode for passive bi-amping. Bridging brings a wealth of sonic benefits similar to having a more fundamentally capable amp of the same design, while passive bi-amping merely improves slightly upon bi-wiring a speaker. Without the additional power that the tied load brings there is no sense of a vastly elevated performance.

One benefit of the tied load operation of the PA-1175 is an attendant improvement in low-end fortitude. This is appreciated to bring into equivalency the perceived force of the midrange and the bass. The amp in stereo operation tends to focus the mind on the midrange, which is fine because it is so appealing. But when the bass becomes as prominent as the midrange, the holistic appreciation of the amp is increased.

The situation is very like the alternative Mono mode of the Pathos Classic One MkIII Integrated Amplifier. You might say, “How are bridged PA-1175 stereo amps similar to the Pathos integrated amp?” The Classic One series of amps includes its own special feature, a Stereo/Mono switch that allows use of two units to act as mono integrated amps! It made for a wonderfully streamlined rig to run the source output directly into the “Pathi” as they are affectionately known. The Pathi were far more impressive as mono integrated amps than stereo integrated amps to be bi-wired (achieved though splitting the source analogue outputs and sending the pairs of them to the proper inputs of the Pathi). For all the finagling that went on trying alternative setups, the simplest and best sounding was the Mono operation. So also with the PA-1175. One can find an alternative wiring scheme, but it will sacrifice too much apart from Bridged Tied Load operation.

Quibbles

The few quibbles I have with the PA-1175 relate primarily to design philosophy. There are thin aluminum spires that are supposed to reside in the channels cut into the faceplate, but three of these fell off shortly after arrival of the amp. They are held on with what appears to be a two-sided adhesive and successive reinsertion was unsuccessful. A more permanent means of affixing these pieces is in order. I think I would be able to do a repair in the field, likely by using thin strips of double sided tape and reseating the spires, but I do not alter any review component on loan from a manufacturer. This is not a major problem, but a slight assembly error to be tweaked.

The BTL (Bridged Tied Load) switch is given poor access through a small cavity, and lacks indication of the setting positions on the amp’s back plate. I understand that the switch is recessed into the housing to prevent inadvertent toggling, but it is so petite and sunken that I had to physically stand the amp on its face, shine a flashlight into it and probe with a ball pen to slide it one direction or the other. The lack of a definite click or movement locking into place meant that I had to recheck after each attempt to move the switch. This aspect of the design had no bearing on operational performance, but it could stand to be improved. To be fair, the nature of the switch has zero effect on the sound and the audiophile normally does not switch between stereo and mono operation with frequency as I do. For most users the inconvenience will be short lived, perhaps as little as a single incident over the duration of ownership.

Because the setting of the BTL switch was so obscured by size and placement at one point I actually had the amp set to Stereo while I attempted to set up a Mono speaker wiring. When I turned on the system the resulting hum was quite powerful, not enough to cause damage but enough to make me react quickly to kill the power. This was an example of why I am always right at the amp, finger on the On/Off switch, ready to switch it off when firing it up after assembly of a new system. I thought at first it was a nasty ground loop hum, but after eliminating all the possibilities it occurred to me that despite my confidence the BTL switch might be set incorrectly. It was, and when it was truly switched over to the Bridged Tied Load setting there was no damage to the amp and, importantly, no hum!

One last design characteristic must be addressed, and it is important enough to mention, though not technically a design flaw. The effort to make the amp balanced through and through – remember, even to the operations of the back panel – causes a logistical connection problem for speaker cables when the amp is in BTL mode. The red/positive posts only are used to connect the + and – leads of the speaker cables when the amp operates in BTL (Mono). There is a serious shortcoming, and the word “shortcoming” is a propos to describe the frustration of discovering that not a single speaker wire I have on hand had long enough leads to reach breach the approximately 14” gap between the two red posts!

I love stereo amps that go mono, but this issue drove me crazy! For some time I could not use the amps in BTL mode because the leads of the speaker cables would not stretch a necessary 15-16”. I had, just days before, returned the last of the TEO Audio Liquid speaker cables on loan following review – it figures, as they were the ones with individual positive and negative runs for each channel.

As I was planning a review with ANTICABLES, I told Paul Speltz I needed custom length leads on the speaker cables. Another, less savory alternative, but one that eschews BTL operation, would be to run the amp in stereo but connect only one channel per speaker in order to use the entire power supply for the one channel. I have done this in the past with the lower powered First Watt J2 at 25 Watts per channel because it is a fixed stereo amp. However, it is a travesty to skip BTL operation for lack of proper speaker cables.

The issue with the BTL switch can be addressed in a running change in production. The issue with the spacing of the binding posts for BTL use is a nuisance, not a showstopper. Owners acquiring a second unit and moving to BTL mode would not be happy to learn that their beloved cable will not have long enough leads to reach the red posts. The solution is clear enough: Gold Note needs to be proactive in informing customers that longer leads are necessary.

In fairness I will add a word in defense of the wide placement of the BTL posts; it likely is a superior design in terms of performance, and likely their location was planned for that very reason. Shorter signal paths, direct locations without unnecessary runs jogging here and there, make for a discernible sonic advantage. I appreciate the care taken to ensure top performance. I would appreciate it more if there was preparation for the speaker cable needs ahead of time.

22 February, 2019: Louisville, Colorado – Boulder Amplifiers is pleased to announce the immediate release and shipment of the 2108 Phono Preamplifier. The 2108 is a part of the 2100 Series and is Boulder’s reference level phono preamplifier.

The 2100 Series is Boulder’s highest-performing product line in continuous production.

The 2108 features several substantial advancements in technology and performance over the previous generation 2000-level phono preamplifier. Vast improvements have been made in sound quality through the use of better ground paths and planes, revised circuit topology, and lowering of the static noise floor. Increased use of surface-mount PCB technology, manufactured on Boulder’s own SMD manufacturing machines and ovens has also yielded improvements in noise radiation, propagation delay, parasitic capacitance and the elimination of lead inductance in selected circuits. It also offers improvements in unit-to-unit quality and consistency with the added benefit of improved long-term reliability.

Features and improvements in the 2108 include:

• Multiple Equalization Curves. In addition to the standard RIAA EQ curve, the 2108 features three additional curves selectable via a front panel button: FFRR, Columbia, and EMI. These equalization curves enable correct and accurate playback of LP records made prior to 1954. An option on the 2008, these EQ curves are now included as standard on the 2108.

• Dual Chassis Design. All audio electronics and control functions are contained within a machined aluminum chassis and all power supply and standby circuitry is housed in separate casework to isolate noise and prevent noise or hum from the power supply from interfering with sensitive
high-gain audio circuitry.

• +10 dB Greater Gain for MC Cartridges. The reduction of the noise floor of the 2108 has allowed for an increase in gain for low output moving coil cartridges without an increase in the noise floor. The net result is substantially improved low-level resolution and dynamic or transient response.

• 995 Gain Stage. The 2108 uses Boulder’s own 995 gain stage, a modular, discretely implemented, initial gain stage for significantly reduced distortion and noise. This reduction results in substantial improvements in clarity and low-level information recovery. All 995 circuitry is potted in a proprietary epoxy resin for consistent thermal stability and increased reliability and then mounted in a precision-machined aluminum housing.

• MC Cartridge Demagnetizer Pass-through. A pair of RCA connections is included on the rear panel to allow the use of an external cartridge demagnetizer for certain MC cartridges.

• Fully Balanced, Dual Mono Construction. Inputs and outputs are high quality, full-balanced 3-pin XLR connections and all audio circuitry is executed in a dual-mono configuration for increased isolation of the left and right channels.

• Three Inputs and Two Outputs. Three inputs per channel are available for connecting multiple turntables or tonearms, each with customizable “Personality Cards” which can be tailored to meet the resistive and capacitive loading needs of specific phono cartridges. Dual outputs are included to feed both a main listening system and/or a recording system.

• Quiet Logic System for Switching and Controls. All functions and controls are actuated with a logic system to eliminate any internally radiated noise, such as that from a microprocessor.

• All Cartridge Loading and Gain Settings are Performed on Boulder’s Input Personality Cards. All cartridge loading is handled by a single high-precision resistor instead of any type of switched or remote controlled loading system. The tiny analog phono signal is never run through any sort
of switch or relay or multiple solder connections that would significantly increase loss and distortion.

• Additional Features: Other features include a selectable low cut filter with high-pass cut off points of 10 Hz, 20 Hz, or Out, selectable true mono mode for monaural recordings played on a stereo cartridge, and extensive damping and shielding for each of the main power transformers to eliminate hum pickup in the audio stages or audible chassis buzz.

Full specifications for the 2108 are as follows:
Balanced Inputs 3 x 3-pin XLR
Balanced Outputs 2 x 3-pin XLR
Input Impedance MC: maximum 1000Ω, MM: 47kΩ.
Resistive and capacitive loading adjustable on individual Personality Cards.
Output Impedance 100Ω Balanced
Phono Equalization RIAA, Columbia, EMI, FFRR (London/Decca)
Maximum Output Level 28 Vrms
Distortion, THD 0.005%
1 kHz Gain, RIAA MC: 70 or 60 dB, MM: 50 or 40 dB
Noise (EIN), MC 160 μV A-wtd, 275 μV flat, 20 Hz to 20 kHz
Frequency Response, 20 Hz to 20 kHz RIAA: ±0.10 dB
Crosstalk, L to R or R to L -100 dB or better, 20 Hz to 20 kHz
Power Requirements 90-120V / 200-240V, 50-60 Hz
Power Consumption 75W Max

Weights and Dimensions
2108 Phono Preamplifier 18” W x 15.3” D x 5.75” H (37 lbs.)
45.7 cm W x 38.9 cm D x 14.6 cm H (16.8 kg)
2100 Power Supply 18” W x 15.3” D x 5.75” H (48 lbs.)
45.7 cm W x 38.9 cm D x 14.6 cm H (21.8 kg)
2108 Shipping 24” W x 23” D x 16” H (51 lbs.)
61 cm W x 58.4 cm H x 40.6 cm H (23.2 kg)
2100 Shipping 24” W x 21” D x 12” H (69.5 lbs.)
61 cm W x 58.4 cm H x 40.6 cm H (31.6 kg)

All specifications measured at 240 VAC mains power

The suggested US retail price for the 2108 Phono Preamplifier is $52,000. Export retail pricing will vary by country due to applicable taxes and duties.

About Boulder Amplifiers, Inc.:

Boulder is the world’s premiere luxury and high-performance audio manufacturer and is based in Louisville, Colorado.

It is a member of the Consumer Technology Association and is the last remaining “high-end” electronics manufacturer in North America to engineer and produce all aspects of its products in-house. Boulder was founded in 1984 as a manufacturer of broadcast and recording studio equipment, transitioning later to fine home audio electronics.

“The Bricasti M25 delivers a power-to-size advantage for the discerning listener.”

Shirley, MA: The M25 stereo amplifier finds a special place in the Bricasti family of amplifiers through its dual mono transformer design, essentially creating a hybrid of the single transformer Bricasti M15 stereo amplifier and its larger M28 mono-block brethren.

Like the entire line of Bricasti amplifiers, the M25’s fully differential balanced design delivers a fast, low distortion, open and harmonically accurate musical experience. Paired with any of the Bricasti line of fully differential digital to analog converters, a truly balanced system can be enjoyed.

The M25 integrates seamlessly with superb current delivery in a smaller footprint for those desiring additional power but lack the needed space for hefty amplifier pairs. Rated at 150 W / 300 W / 600 W per channel into 8ohms, 4ohms and 2ohm loads respectively, the M25 is designed and handcrafted in Shirley Massachusetts, USA.

Available for immediate delivery. Price is $19,900.

Parasound maintains a relatively long history in Hi-Fi. The brand has been around for decades and while still going strong, reliably and dependably, it manages to do so without a great deal of fanfare. Workmanlike is a word that has been used to describe their products; rugged and sturdy, they soldier on. I joined the Parasound Owners Group on Facebook to learn that a good number of them are loath to part with their gear and, from the build and quality of the products, I can see why.

My decision to live/reside on both sides of the Atlantic means stocking two residences with the requisite gear. In the States, the Parasound brand is prevalent, whilst in the UK, not so much. It is making inroads, so here in Central Ohio, Columbus to be exact, I decided to make things easy at the start by setting my sights on a workhorse of an integrated amplifier, one that could do pretty-much anything, and purchased a Parasound Halo 2.1 (now superseded by their HINT 6). The Halo 2.1 covered all the bases and, fortunately for me, it sported a phono stage. I say fortunately because as I shipped over a turntable along with cartons of furnishings and clothes from the UK, I absent-mindedly forgot that voltages can make a difference and without a great deal of work and relative expensive cost, my turntable took an unnecessary transatlantic voyage.

Compared to the US, vinyl records can be expensive in the UK, especially when the goal is to fill up empty racks and shelves in my listening room(s). With that in mind I went turntable shopping. While auditioning tables at home I realized that, while the Halo 2.1’s phono stage was more than adequate, it was not terribly efficient logistically to have go to the rack and snake my arms around the back and start shifting cables blindly. Enter Parasound’s ZPhono: minus a wall-wart (YAY) and minus hum and RF interference (double YAY) for which I am truly grateful. I auditioned numerous sub-$300 phono stages and one of those, which costs half as much and whose brand name raises eyebrows would be my nemesis. I bought one, returned it for a replacement and returned that one for a refund. Shielding is ever so important, and from personal experience the absence of a wall-wart is one less item that can be blamed for audible noise from hum and interference. In contrast, the ZPhono and the ZPhono XRM are as quiet as church mice with all of the tables I auditioned.

Having finally decided on the phono stage and having fitted the Rega RP1 with the now-infamous Rega Carbon cartridge, I descended voraciously upon all the local independent records shops. As the shelves filled and I started fleshing out numerous systems at home, I began purchasing and acquiring more turntables. Let me say this right here and now: a fully automatic turntable can be a social drinker’s really good friend when one’s faculties are diminished and eyes grow heavy. A good number of these new models possess integrated phono stages, and while relegating them to hell , they’d find themselves a suitable home in purgatory.

Fast-forward nine months and my bookshelves and storage units are now to the gills with records, and I find myself with a bevy of turntables: a Pro-Ject RPM1, two Denon DP-300F’s, a vintage Denon DP-47F, a Rega RP6 and a VPI Prime Scout. As I unpacked gear from storage, I started building multiple systems in the living room, and then one in the office, and one in the guest room, as one would do. #insanity #obsession.

Through this all I had become enamored with Parasound as a brand. When I heard that they were releasing the JC3 Jr., a streamlined version of the much acclaimed JC3/JC3+, and the ZPhono XRM (an upgraded ZPhono), I got on the horn to Richard Schram, Parasound’s CEO, and inquired about the products, wanting to write about them. First the JC3 Jr. arrived and then the ZPhono XRM. Both were a breeze to set up. It really does help if you burn an image of their respective rears, the business ends, in your mind remembering to reverse the image when blindly making the connections from the front. It is a skill a lot of us don’t realize we’ve attained until we sit down and wonder what just happened.

The ZPhono XRM made a big difference if for nothing else than its features. I’m always curious about how different an MC cartridge could and would sound from an MM cartridge, but I didn’t have an easy way to switch between the two without it being tiresome. The XLR outputs are a nice touch, but I was more taken with the addition of adjustable loading and a mode switch for stereo/mono and an input switch for MM/MC, both switches being on the front of the unit. Flexibility is a good—no great—thing. If I’ve learned anything over the years in Hi-Fi it’s that matching components is everything.

Logic might dictate that coupling a higher quality, more feature laden phono stage would improve any lesser cost turntable, but then I must remind you that for all the wonders High-Definition television brought to sporting events, it did not do wonders for newscasters, whose every wrinkle and pock-mark became all the more evident. The entry-level turntables I have here at my disposal, including a Parasound LTD-900 model I picked up on eBay, which I keep around here as more of a conversation piece, did not improve appreciably with the addition of the XRM. Swapping the phono stages out at the moment made it clear to me that a basic turntable partners just fine with a basic phono stage.

It was a different story with the Pro-Ject RPM1, Denon DP-47F and VPI Prime Scout. As one would predict with the latter two, I was pleasantly surprised to hear a noticeable improvement with the Pro-Ject RPM1, a rather fancifully designed table, and the vintage Denon DP-47F. These two tables came alive, as if they were jump-started. Recordings I had played on them connected to the ZPhono now sounded richer, fuller, with much more detail played with the ZPhono XRM. Imagine you’re decanting a fine bottle of wine and having it breathe for anywhere from 30 minutes to a few hours. The result will be that you’re able to pick up more of the wine’s properties, its characteristics, and that’s what the XRM was able to accomplish with these turntables.