Tag Archives: tubed
This AXPONA was simply essentially the most upbeat, finest organized, and nicely attended present outdoors Munich. But what actually made this 12 months’s occasion so heartening was the range of the attendees. The halls and exhibit rooms had been filled with younger individuals and {couples} in search of new methods to discover music. Fortunately, this present had loads of inexpensive merchandise for them to see and listen to, and with options and capabilities focusing on how they wish to entry music.
Here are my picks of essentially the most attention-grabbing new electronics on the present.
5 Most Significant New Products
PrimaLuna EVO 100 Phonostage
PrimaLuna, the corporate identified for delivering superb worth and excessive build-quality, has launched a “swing-for-the-fences,” all-tube phonostage with the EVO 100. Nearly all tube phonostages make use of a step-up transformer or transistor achieve stage on the enter earlier than the tube stage to maintain noise ranges low. Realizing 65dB or extra of achieve with simply tubes can lead to a poor signal-to-noise ratio. PrimaLuna has addressed this problem with a large all-tube energy provide that makes use of a pair of EL34s, a tube normally present in a power-amplifier output stage. The EVO 100’s tube complement contains 4 12AX7s within the entrance finish, a 6922 for extra moving-coil achieve, and a pair of 5AR4 tubes as rectifiers. The EVO 100 presents three achieve settings (52dB, 56dB, 60dB). The first manufacturing items simply began transport from distributor/retailer Upscale Audio. Price: $3695.
Aesthetix Pallena Preamplifier and Dione Power Amplifier
Aesthetix has a protracted historical past of constructing exceptionally musical merchandise, a practice continued within the new Pallena preamp and Dione energy amp. The Pallena is a totally balanced tube preamp with a switched-resistor quantity management primarily based on that of the Calypso preamp. An ideal characteristic is the flexibility to customise the Pallena to your wants or add functionality later. Specifically, you possibly can add an elective phono module with achieve and loading changes. These changes could be constructed from the entrance panel or distant management. A second module provides digital-to-analog conversion that helps as much as 384kHz/24-bit PCM and DSD64 and DSD128. The Pallena comes normal with a headphone amplifier, or you possibly can go for a totally discrete differential-input headphone amp. The modules are $1250 every.
The matching Dione energy amplifier is a hybrid design with a tube achieve stage and solid-stage output stage. The amplifier options zero suggestions and has differential balanced-bridged circuitry by means of the output stage. All inputs are supplied on each unbalanced and balanced jacks. The energy transformers are, unusually, wound in-house. Power output is rated at 160Wpc into 8 ohms and 320Wpc into 4 ohms.
The Pallena and Dione are priced at $6500 every and are a step up from the spectacularly nice Aesthetix Mimas built-in amplifier that’s Neil Gader’s reference.
Cabasse Abyss Amplifier
One of essentially the most outstanding demos at this AXPONA wasn’t with one of many present’s greatest methods, however with one in every of its smallest. French speaker maker Cabasse confirmed its Abyss “High-Resolution Connected Active Amplifier,” a 120Wpc built-in amplifier with built-in streaming. What’s particular concerning the Abyss is the DSP processing inside that may enormously enhance the sound of any speaker, most dramatically with fashions from Cabasse. The DSP means that you can inform the system the place your loudspeakers are positioned relative to room boundaries and the DSP will regulate the frequency response for smoother bass. You also can regulate the tonal stability with the integral tilt controls. But right here’s the most effective half: When used with a passive Cabasse speaker, the amplifier will interact a DSP program particular to that speaker to easy out response. The frequency profiles of a variety of Cabasse audio system are programmed into the Abyss; you simply choose which one to interact. The DSP filter has 30 bands, permitting for very exact adjustment. Non-Cabasse audio system profit from a generic DSP algorithm. In addition, the Abyss has a patented processing algorithm referred to as Dynamic Fidelity Enhancer (DFE) that analyzes the sign’s dynamics and degree in actual time and modifies the sign to revive the music’s dynamics and bass extension at low listening ranges. Price: $1795.
Naim NSC 222 Streaming Preamplifier, NAP 250 Power Amplifier, and NPX 300 Power Supply
Naim confirmed the brand new 200-Series, comprising the NSC 222 streaming preamplifier, NAP 250 energy amplifier, and NPX 300 energy provide. The NSC 222 options Naim’s personal streaming engine that helps each streaming platform, Internet Radio, UPnP servers, and can be Roon Ready. A front-panel show exhibits the album artwork. The new preamp is managed by the Naim App, which additionally supplies multi-room management over all of the Naim parts on the community. A high-quality headphone amplifier, inherited from the superb Uniti Atom Headphone Edition, is included. Price: $8999.
The NAP 250 energy amplifier carries the mannequin designation of an iconic Naim amplifier launched in 1975. This new sixth-generation mannequin is, after all, considerably up to date with the newest expertise and design. It advantages from some circuitry developed for Naim’s quarter-million-dollar Statement energy amplifier, together with discrete power-supply regulation and the similar transistors within the output stage. The NAP 250 outputs 100Wpc. Price: $8999.
Finally, the NPX 300 energy provide continues a long-held Naim custom of offering an improve path by means of a really high-quality energy provide in a separate chassis. The NPX is designed to enhance the efficiency of the NPX 222 by delivering exceptionally clear DC energy to the streaming preamplifier. Price: $8999. I’ve heard a number of demonstrations of Naim’s outboard energy provides, and the development in sound high quality was important every time. The three items within the 200-Series share similar styling for a unified look. They are additionally housed in superbly machined aluminum chassis with distinctive build-quality.
Balanced Audio Technology VK-80t
MoFi Distribution confirmed the brand new all-tube BAT VK-80t energy amplifier to rejoice BAT’s 25th anniversary. The VK-80t outputs 60Wpc from the high-current 6C33C-B output tube, the identical tube present in BAT’s flagship REX 3 energy amplifier. This tube has a better present capability that the 6550 discovered in lots of amplifiers. The enter stage is constructed round a 6H30 “SuperTube.” This new BAT could be operated as a stereo amplifier or a 120W monoblock. An auto-bias circuit simplifies possession. Available in black or silver. Deliveries of the $9995 unit start in Q2.
Auspicious Debuts
Air Tight ATC-7 Line Control Amplifier
The venerable Japanese artisanal producer debuted its reference linestage, the ATC-7 Line Control Amplifier. In growth since 2018, the ATC-7 is Air Tight’s assertion in linestages. The all-tube unit options three unbalanced and two balanced inputs, two pairs of 12AX7s, two pairs of 12AU7s, and a extremely superior new quantity management together with an modern energy provide. The styling harkens again to basic merchandise of the previous, with giant front-panel knobs slightly than a digital show. Much consideration was paid to the look and tactile really feel of the knobs; Air Tight wished to convey again the enjoyment of hands-on involvement in working an audio system on this age of touchscreens. In that spirit, the ATC-7 contains 4 separate changes for tonal stability, two for “Presence” and two marked “Bass Compensator.” These mean you can dial within the sound to your significantly loudspeakers, room, and style. The stability management is a pair of knobs (one for every channel) marked “Gain Trim.” As with all Air Tight merchandise, the ATC-7 is constructed by hand to the best normal.
Technics SU-GX70X Streaming Integrated Amplifier
Technics’ new SU-GX70X streaming amplifier is filled with a bunch of superior options. The amplifier is digital, which means it retains digital enter alerts within the digital area during the amplifier. Digital-to-analog conversion happens as a part of the switching output stage. The unit outputs 40Wpc into 8 ohms and 80Wpc into 4. It options Technics’ LAPC processing that “appears to be like” on the traits of the speaker the amplifier is driving and processes the sign to higher match the amplifier to the loudspeaker load. The SU-GX70X has two line inputs, mm phono, networking, Internet Radio, FM radio, Bluetooth, and each streaming service you possibly can think about. It additionally does DSD as much as 5.6MHz. An HDMI enter is included with Audio Return Channel (ARC) for straightforward integration with a TV. You can management the unit through the entrance panel, distant management, or app. Price: $1999, with availability starting in late July.
AVM CS 5.3 and CS 30.3 All-in-One, and PAS Preamplifier
Udo Besser of Germany’s AVM was available to indicate me the corporate’s new CS 5.3 all-in-one unit. The CS 5.3 is a community streaming amplifier with each streaming perform possible, HDMI enter for integrating with a TV, a phonostage with adjustable loading and achieve, and a whopping 330Wpc of Class D output energy. The CS 5.3 could be ordered as a hybrid unit with a tube enter stage at $12,800, or with a solid-state enter at $10,000.
If you don’t want that a lot energy, take into account the brand new CS 30.3 all-in-one, a part of the brand new 30.3 line that brings AVM’s expertise and build-quality to a cheaper price tier. The $5000 CS 30.3 is totally loaded functionally however presents 125Wpc of output energy. The 30.3 sequence comes with the identical superbly machined aluminum distant management as AVM’s high fashions.
If you have already got an influence amplifier and wish to add extra options to your system, AVM confirmed the PAS preamplifier, which is actually a CS 5.3 with out the facility amplification stage. Price: $8000 with tube enter stage.
All the AVM merchandise are supplied in black, silver, and chrome finishes, the latter carrying a small upcharge. Commendably, AVM has written its personal streaming engine software program and invested significantly in making a management app. I noticed a demo of the app and was enormously impressed by its energy, visible magnificence, and ease of use. The app has an ingenious graphic show for multi-room management of an AVM system with a number of parts all through the house.
Rotel Michi Series 2 Integrated Amplifiers and Preamplifier
After a protracted quiet spell, Rotel launched three formidable merchandise within the upscale Michi Series. The first of two built-in amplifiers is the Michi X3 Series 2. The X3 options greater than 90 element upgrades, ESS ES9028PRO DACs, and reengineered energy provides. This powerhouse delivers 350Wpc into 4 ohms and features a full complement of analog and digital inputs, in addition to an mm phonostage.
If you need much more energy, the Michi X5 Series 2 will present 600Wpc into 4 ohms thanks partially to twin, in-house-manufactured, shielded, low-noise toroidal transformers. The X5 additionally advantages from element upgrades and contains selectable mm or mc phono enter.
Finally, the Michi P5 Series 2 preamplifier options the ESS SABRE DAC tailored to “mono” mode for enhanced efficiency. It presents a full suite of analog and digital inputs together with MQA decoding, DSD as much as 4x, and mm and mc phono inputs. The X3 Series 2 is priced at $5799; the X5 is $7999; and the P5 is $4599. Availability begins in April.
WestminsterLab REI Class A Monoblock Amplifier and Quest Preamplifier
I noticed and heard an formidable new energy amplifier and preamplifier from an organization new to me, Hong Kong-based WestminsterLab. The compact amplifier, referred to as the REI, operates in Class A to ship 100W; but, the amplifier ran cool to the contact because of the VARI-BIAS expertise and heatsink design. The amplifier can double its output energy because the impedance is halved, all the way in which all the way down to 2 ohms. The direct-coupled, no-global-feedback circuitry is totally discrete and realized with hand-matched parts. The REI could be bridged for 400W. The minimalist industrial design is uncommon and delightful, realized with CNC-machined aluminum and carbon fiber. The matching Quest preamplifier is equally tweaky, with a dual-mono totally balanced design and a discrete stepped attenuator. Prices: $32,900 per pair for the REI, and $25,100 for the Quest preamplifier. WestminsterLabs merchandise are distributed by HearThis in Newport Beach, California.
SoTM sPQ-100 Phonostage
Korea’s SoTM, maker of dozens of high-tech digital parts for community streaming, launched its first phonostage, the sPQ-100. Housed in SoTM’s acquainted wedge-shaped chassis, the sPQ-100 presents banks of DIP switches for high-quality changes of the equalization curve. One place on every change is marked “RIAA” for setting the unit to accurately equalize for the worldwide normal. No pricing was introduced, however the sPQ-100 is predicted to promote for about $800 plus the price of one of many outboard energy provides supplied by SoTM.
Mola Mola Lupe Phonostage and Perca Stereo Amplifier
The acclaimed phonostage constructed into Mola Mola’s Makua preamplifier has now been become a stand-alone unit with its personal energy provide. The new Lupe options three single-ended inputs and one balanced enter, balanced and single-ended output, and a subsonic filter, all housed in a half-sized chassis. Unusually, the mm and mc levels are utterly separate; in most phonostages the mc sign merely goes by means of a further achieve stage. Any of the 4 inputs could be routed to the output to accommodate turntables with a number of tonearms. Price: $9850.
Mola Mola additionally confirmed a brand new stereo energy amplifier, the Perca. It delivers 150Wpc into 8 ohms and may double that score into 4 ohms. Price: $9850.
Leak Stereo 230 Integrated Amplifier
Talk a few legendary title from the previous. Leak confirmed, by means of its U.S. distributor MoFi Distribution, the brand new Stereo 230 built-in amp. The unit options mid-century-modern styling together with a brand new DAC part that gives full MQA decoding, DSD512, and decoding of any PCM sign. An HDMI enter with Audio Return Channel (ARC) permits the 230 to breed tv sound. An mm phonostage and devoted headphone amplifier are included. The 230 is Roon examined, however certification is pending. Power output is 75Wpc into 8 ohms, and 110Wpc into 4 ohms. Price: $1695
Robert Harley’s Best of Show
Best Sound (value no object)
I’ll title three methods, in no specific order.
Axiss Audio’s demo of the Gauder Akustik DARC 200 loudspeaker pushed by Soulution electronics with a Transrotor turntable and Air Tight Opus One cartridge. Spectacular dynamics, hard-hitting bass, fast, clear, non-fatiguing, and simply plain musical.
The Acora Acoustics VRC loudspeaker ($218,000) pushed by VAC Statement electronics sourced by an Oracle Delphi Reference turntable and cabled with Cardas all through. The sense of presence and immediacy was beautiful, as was the large three-dimensional soundstage.
MBL’s lately upgraded 101 Mk.II loudspeaker pushed by all-MBL entrance finish and electronics delivered the standard dose of MBL virtues—a shocking sense of lifelike presence, top-to-bottom coherence, enormous soundstage, and great bass extension and impression. Because of the 101’s omnidirectional nature each seat in the home was within the candy spot.
Best Sound (for the cash)
The Cabasse Rialto energetic loudspeaker. This small dice combines a concentric forward-facing driver with a rear-firing woofer, integral amplification, streaming, and even DSP room correction. You’ve heard the expression, “Just add audio system.” The Realto is, “Just add music.” The sound was stunningly nice for $4000 a pair. As a showgoer stated, “It’s scary good.” I couldn’t agree extra.
Most Significant Product Introduction
Magico S3. This new $45k speaker brings the sonic qualities of Magico’s flagship merchandise to its less expensive fashions. I’d have thought I used to be listening to one in every of Magico’s M-Series audio system.
Most Significant Trend
Great enhancements in app-based consumer interfaces. Once crude and clumsy, the most effective interfaces are quickly turning into slick and highly effective. Examples: Server-maker Innuos’ spectacular customized music-management system and AVM’s app management of its all-in-one methods with multiroom functionality. That form of software program growth is extraordinarily costly however delivers a superior buyer expertise.
Most Coveted Product
The Hill Plasmatronics plasma tweeter. Dr. Alan Hill, the physicist who invented the plasma tweeter 40 years in the past, was available to witness the primary public show of his driver in 4 a long time. The plasma driver, which has no diaphragm and thus no shifting mass, was paired with an Eminent Technology LFT-8c, crossed over at 1kHz. The sound was extremely lifelike and easy—essentially the most pure and sensible replica of upper-midrange and treble I’ve ever heard. Thanks to Tony Salsich, Joe Galanti, and Ron Hoering for spending the time, effort, and expense to showcase this outstanding expertise and landmark piece of high-end historical past.
The submit The 2023 AXPONA Show: Robert Harley on Electronics appeared first on The Absolute Sound.
Icon Audio’s David Shaw tells me that the Stereo 40, Icon’s very first amplifier introduction in 2001, was impressed by the Leak Point One amplifiers, in addition to varied U.S. and Mullard designs. Being comparatively cheap and profitable sufficient, it gave Icon Audio the impetus to develop many different fashions. Yet, as David explains, the Stereo 40 at all times remained on the core of what the corporate does: Offer good worth for the cash and attempt to be higher than the competitors.
The Stereo 40 follows the tried-and-true strategy of an Ultralinear (UL) push-pull output stage with the output transformer tapped at 40%. Both KT88 and EL34 variations can be found, however the KT88 model seems to be extra widespread. The amp is switchable to triode mode by way of a toggle change on the entrance panel, although as a security precaution it is strongly recommended that the amp be switched to standby mode earlier than doing so. A tape-monitor loop is included, as is a motorized quantity pot with a fundamental distant management. The 40 additionally incorporates a headphone enter that’s related on to a low-power winding of the output transformer.
Much of the preliminary meeting is carried out in China, after which the amplifier is shipped to Leicester, England, and undergoes about 20 operations and mods earlier than being valved and examined. Critically, the output transformer is wound in-house. Every amp and preamp ever constructed by Icon Audio undergoes a listening take a look at previous to being shipped out, one thing David Shaw is sort of happy with.
Under evaluation is the Signature model of the amp, which is upgraded in a number of important methods. It features a quartet of the Gold Lion KT88 Russian reissue tetrodes, a quartet of the David Shaw white-base CV181 twin triodes, and a complete of six Mundorf MCap EVO Silver/Gold in-oil coupling caps. Note that I haven’t auditioned the usual model, however actually, after dwelling with and having fun with the Signature version for a number of weeks, I think that it considerably exceeds the sonic efficiency of the usual model.
A considerable design effort was geared toward reaching common enchantment—that’s, making certain compatibility with as huge a variety of loudspeakers and playback programs as potential. Both 4- and 8-ohm faucets are supplied, and the client is inspired to attempt each within the context of his or her system. That’s as a result of a loudspeaker’s nominal score will be deceptive, as impedance magnitude variations with frequency of a couple of issue of 10 are widespread for many field audio system. Icon Audio’s buyer suggestions signifies that almost all do choose the 8-ohm faucets.
The triode/UL change gives further flexibility in tuning a system. According to David, the design is centered round triode operation, and the lowered output of 25Wpc in triode mode ought to be sufficient for many home purposes. His buyer suggestions signifies that most individuals run in triode mode on a regular basis, although a minority do choose UL. Ironically, as David places it, many purchasers wouldn’t purchase a 25W amplifier by itself.
There are, after all, sonic variations between the 2 modes of operation, however these attributes are very a lot affected by the selection of sensitivity setting by way of a back-panel toggle change. In actuality, it is a unfavourable suggestions (NFB) selector change. The high-sensitivity setting equates to 6dB of NFB, whereas the low-sensitivity setting (122mV) equates to 12dB of suggestions. The center place offers zero NFB. Icon Audio’s buyer suggestions means that most individuals choose the low-NFB/high-sensitivity setting, and even no NFB. This is an intriguing discovering, as no NFB interprets to a poorer damping issue and objectively greater distortion ranges.
Experimenting with the NFB settings made for some instructive findings within the context of my very own system. My least favourite settings turned out to be low sensitivity (max NFB) in UL mode. While the bandwidth window expanded with enhanced treble readability and bass definition, picture focus and soundstage transparency suffered. The general presentation sounded a tad recessed and missing in immediacy. The change to excessive sensitivity did enhance immediacy, however probably the most intense musical expertise was available within the no-NFB place. The spatial impression improved dramatically. Soundstage depth perspective blossomed, and picture focus turned way more strong. The draw back turned apparent, although, as bass strains loosened up a bit.
In triode mode, alternative of NFB setting was additionally apparent however a bit much less vital. Bass response was higher outlined relative to UL on the no-NFB setting. And with none suggestions the star attraction was a beautiful, heat, and candy tonality and brown-sugar-flavored textures that compensated properly for dry recordings. In common, no suggestions manifested itself in diminished treble extension, and a hotter much less detailed presentation. The highlight shifted to the decrease midrange the place the tonal gravitas of the CV181 shone by. Even the low-NFB setting was fairly able to delivering good sound with an outstanding boogie issue.
There was nevertheless one fly within the ointment. On wide-scale orchestral music, UL mode sounded way more dynamic with superior decrease midrange weight and bass definition. Even on a high-sensitivity speaker just like the Basszilla Platinum Edition, triode mode couldn’t generate as plausible an impression of orchestral energy. My favourite settings on this context ended up being UL mode/excessive sensitivity, the place I used to be reminded of the textural sweetness of a superb EL84-based amp however with the lower-midrange authority that’s the hallmark of the 6SN7.
The tonal flexibility of the Stereo 40 turned evident but once more after I switched to the Fleetwood DeVille loudspeaker. With its livelier steadiness, it benefitted from the no-feedback setting, chopping down the perceived treble extension a bit and leading to a barely softer presentation, however with billowing picture outlines. However, there was extra to it than simply imaging. It resolved layers of orchestration exceptionally nicely, and low-level element floated to the floor naturally with out the assistance of any gratuitous upper-midrange brightness. It was way more revealing than that nice and beloved basic UL amplifier, the Dynaco ST-70, which virtually sounded fuzzy by comparability. One of the vital elements I search for in any energy amp is a low annoyance issue. By annoyance I imply a brilliant disposition, apparent textural grain, or lack of transient pace and rhythmic conviction. The Stereo 40 excelled when it got here to the music’s boogie issue, in addition to refined grain-free-textures and constancy to tonal colours. This was most evident on feminine voice, which was able to floating in house with emotional expressiveness. Brahms’ orchestral works outline beefy musical textures, and the Stereo 40 gave the impression to be the proper companion, facilitating a most pleasing supply of the Double Concerto.
The Stereo 40 satisfies my urge for food for wonderful tube sound. Its confluence of musical attributes makes it sonically very engaging. In addition, it’s elegantly styled and straightforward to bias. I prefer it. I prefer it loads. In reality, I’ll go even additional and rank it among the many elite of built-in tube amps I’ve reviewed no matter worth.
Specs & Pricing
Power output: 55Wpc Ultralinear mode at clipping; 30Wpc triode mode at clipping
Frequency response: 20Hz–20kHz at 8 watts (medium suggestions, –0dB/–0.2dB; low suggestions, –0.25dB/–0.5dB; no suggestions, –2dB/–3dB
Input sensitivity: 122/280/825mV medium/low/zero suggestions
THD: 0.15% typical at 8Wpc (low suggestions)
S/N ratio: 85dB
Dimensions: 390 x 210 x 410mm
Weight: 22 kg
Price: $5295 (Signature); $4500 (Standard)
ICON AUDIO (UK) LTD
351 Aylestone Road
Leicester LE2 8TA UK
gross [email protected]
iconaudio.com
AUDIOARCAN (Authorized Distributor)
gross [email protected]
audioarcan.com
Associated Equipment
Speakers: Fleetwood Sound Company DeVille, Basszilla Platinum Edition MK II
Phono entrance finish: Kuzma Reference turntable, Kuzma Stogi Reference 313 VTA tonearm, Clearaudio daVinci V2 MC Phono Cartridge; Wright Sound WPP200C phono stage; Sound Tradition MC-10 step-up transformer
Digital entrance finish: MacBook Pro laptop computer working Audirvana 3.5 software program; Qobuz streaming; Denafrips IRIS USB digital-to-digital converter, Soekris dac1421 DAC
Cable & interconnects: Acrotec, Mogami & Kimber KCAG interconnects; Wireworld Music Ribbon, Acrotec 6N and Kimber KCAG speaker cable
Accessories: Sound Application CF-X & TT-7 energy line conditioners
The submit Icon Audio Stereo 40 MkIV Signature Integrated Amplifier appeared first on The Absolute Sound.
Audible Illusions L3B
$5295
A purist design based mostly on a single Russian 6H23n-EB triode per channel, the L3A distills one of the best attributes of recent tube sound: exact transients, an in depth presentation, and pure but non-euphonic textures. It is its insistence on the sonic reality that defines it as a real reference line preamp. The L3A’s potential to retrieve the music’s rhythmic drive and drama makes it probably the most sonically persuasive line preamps in the marketplace. Audible Illusions’ greatest effort thus far and top-of-the-line line preamps DO has auditioned over time at any value: audible illusions on a grand scale! DO, 259
PrimaLuna EVO 400
$5295
The EVO 400 just isn’t solely PrimaLuna’s greatest line preamp providing ever, but it surely additionally holds its personal in opposition to ultra-high-end competitors. It’s laborious to flee the impression that it was designed from the bottom up on an influence amplifier chassis. It options huge and complicated energy provides, high-voltage regulation, unique passive components, and tube rectification through a pair of 5AR4s. Miraculously, it manages to mix the virtues of recent tube sound with the tonal heft and timbral realism afforded by classic tube preamps. If purity of expression and tonal realism are sonic priorities, get able to embrace the EVO 400. DO, 305
Atma-Sphere MP-3
$5590 ($6500 with LOMC phono)
This no-frills tubed preamp from Atma-Sphere is a must-hear for the purist music lover. Offering a crystal-clear, clean, and concise window on the music, the MP-3’s expansiveness is an ideal match for each tube and solid-state amplification. Balanced-only operation, phono non-obligatory. SK, 184
Aesthetix Calypso/Calypso Signature
$6000/$8500
The all-tube Calypso delivers many of the efficiency of Aesthetix’ two-box $13,000 Callisto linestage for a couple of third the worth. Sonically, the Calypso is characterised by extraordinarily good dynamics and dynamic nuance. Although the treble is clean and considerably laid-back, transparency and backbone are first-rate. Noise flooring is very depending on tube high quality, which has been variable. Competes with the megabuck preamps. The Signature model improves on the Calypso’s already terrific efficiency with an expanded soundstage, richer portfolio of instrumental textures, extra air, longer decays, and better-defined bass. AT discovered that the Signature model imparted a hotter forged to timbres. RH, 151; AT, 196
Pass Labs XP-12
$6100
The XP-12 line-level preamp forgoes dual-chassis extravagance however sonically you wouldn’t understand it. Music abounds with gorgeous orchestral layering and complicated three-dimensional soundspace vistas. There’s a stage of harmonic bloom throughout the spectrum, most notably within the infusion of resonance and decay cues round strings and winds. Anchored by the precision of Wayne Colburn’s single-stage digital quantity management from the Xs line, the XP-12 produced an nearly eerie sense of music spontaneously bursting forth within the right here and now. An outright discount. NG, 286
Lamm Industries LL2.1
$8490 ($8790, deluxe model)
This all-tube linestage preamp (with tube rectification) captures 80% of the sound of price-no-object preamps for a fraction of their price. Never in-your-face analytical, the LL2.1 frames particulars organically throughout the cloth of the music. Treble, bass, and transparency may be improved by utilizing the appropriate after-market tubes. DO, 198
McIntosh C53
$8500
McIntosh’s C53 preamplifier replaces an entire shelf-full of elements, rolling a state-of-the-art linestage, phono- stage, DAC, equalizer, and headphone amp right into a single elegant, albeit massive field, with no compromises in efficiency. With 16 inputs and three outputs, the C53’s connectivity is unequalled, its DAC supporting each widespread digital format, plus an ARC HDMI enter that appropriately decodes and mixes down film and TV sources for individuals who demand first-class AV copy by way of their two-channel setups. Its two phonostages are ok to obviate the necessity for separates. In addition to all this, the C53 gives battleship building and appears that simply radiate class, style, and elegance. One of PS’ reference preamplifiers. PS, 315
Aesthetix Janus/Janus Signature
$9000/$13,500
The Janus combines Aesthetix’ Calypso linestage with a scaled-down Rhea phonostage in a single chassis. The Signature model options upgraded components within the similar circuit. The models share quite a few qualities: velocity and element; a low noise flooring; exact rhythms; dynamics which are nearly reference-caliber; and a laid-back perspective. The quiet background and clean highs add as much as lengthy hours of wonderful, fatigue-free listening. AT, 196
MBL Cadenza C11
$9200
With civilized sonics, each ethereal and open, dynamics which are vigorous, and dimensionality and imaging which are distinctive, the C11 is a pleasure to make use of in live performance with different Cadenza gear, the place management and communication through Ethernet hyperlink is glitch-free. It can also be outfitted with probably the most sonically clear analog quantity controls (through a motorized potentiometer) that we’ve come throughout. NG, 228
Mark Levinson No5206
$9900
Part of the extra inexpensive (for Mark Levinson) 5000 Series, the No5206 sports activities a number of superior circuits and options. The dual-monaural sign path is direct coupled and pure Class A in operation. The audio path contains a single achieve stage mated to a digitally managed resistor-ladder quantity management. The No5206 is fitted with an integral DAC with MQA decoding and rendering and Bluetooth connectivity; the unit can deal with PCM as much as 384kHz/24-bit in addition to DSD as much as 11.2MHz. The No5206 even features a headphone jack with sufficient present drive to energy any ’telephones. The icing on the cake is an excellent mm/mc phonostage that includes a hybrid achieve expertise with an infrasonic filter and unusually complete cartridge-loading adjustment. The preamp is excellent with low-level passages, with decision restricted solely by the supply, not the preamplifier itself. AHC, 322
Pass Labs XP-22
$9975
The XP-22 is a big improve from the earlier mannequin on this slot. Based on new semiconductors and a brand new quantity management, the two-chassis XP-22 vaults the efficiency into one other league. The dual-mono energy provides function double-shielded toroidal transformers for even decrease noise. The output stage is extra sturdy, with the power to drive lengthy cable runs. The XP-22 is so clear that it improves upon the sound of operating a supply part instantly into an influence amplifier—not one thing each linestage can declare. Musically significant element and backbone are wonderful. If the recording possesses the knowledge, the rendering of area may be dramatic and dynamics startling. AQ, 316
Yamaha C-5000
$9999
Yamaha put some coronary heart and soul into its return to the audio deep finish. While the NS-5000 audio system and GT-5000 turntable are more likely to entice many of the 5000 Series consideration, the C-5000 preamplifier deserves its personal highlight. This totally balanced, solid-state preamp incorporates an exquisite, totally discrete phonostage with a large 80dB of potential achieve. There’s a sense of a sign unimpeded. The C-5000 doesn’t require a sonic counterbalance elsewhere within the system. It additionally occurs to be probably the most rewarding elements to simply put your palms on and use. An fascinating and distinctive possibility in high-end preamplifiers, particularly if a turntable is a vital a part of your system. AM, 308
The publish 2023 Editors’ Choice: Preamplifiers $5,000 – $10,000 appeared first on The Absolute Sound.
Audio by Van Alstine DVA M225
$3398/pr.
These high-power (225Wpc into 8 ohms), reasonably priced monoblocks hint their origin to the Nineteen Eighties and Frank Van Alstine’s remodeling of the Dynaco ST-120. That elementary circuit—realized with many refinements—kinds the center of the M225. Within its energy limits, the M225 is likely one of the finest, most impartial, and most revealing energy amplifiers round at any value. It could not have the dynamic power of much more highly effective amplifiers within the lowest frequencies at extraordinarily excessive volumes, however management of bass dynamics and element are superb. The M225’s soundstaging additionally will get excessive marks for its pure depth, width, and detailed placement of voices and devices. AHC, 327
Wyred 4 Sound SX-1000R
$3599
While many amplifiers use Bang & Olufsen’s ICE switch-mode output module, the SX-1000R combines it with its personal direct-coupled, balanced, dual-FET enter stage, designed by Bascom King. The SX-1000R’s 625W of energy (1225W into 4 ohms) can effortlessly ship copious dynamics and particulars. Imaging by way of the SX-1000R is laterally exact. If you require an influence amplifier that may generate oodles of easy output, runs cool, produces a really exact lateral soundstage, gives substantial bass extension and management, has a impartial harmonic steadiness, and is exceedingly quiet, the Wyred 4 Sound SX-1000R needs to be in your brief checklist. SS, 273
Rogue Audio Dragon
$3995
The Dragon is a complicated, hybrid tube/Class D design that stands atop the Rogue Audio lineup. Boasting 300Wpc into 8 ohms, the Dragon gives a near-granular stage of finesse and readability. Speed and transient element are naturalistic and vigorous; tonal steadiness is predominately impartial, with glimmers of midrange heat and a well-defined presence vary. Strings are significantly well-rendered and distinct. Bass response and backbone are excellent. The Dragon can reproduce an organ pedal level or the left hand of a pianist on the underside octaves of a live performance grand with lifelike authority. Not simply one other high-powered beast, the Rogue Dragon is a very splendid piece of electronics. NG, 311
Cambridge Edge W
$4000
Reviewed alongside Cambridge Audio’s Edge NQ community participant/preamp, the 100Wpc EdgeW energy amplifier delivers on this London-based producer’s definition of Great British Sound. Opposing-symmetry twin transformers (which cancel electromagnetic interference) contribute to a considerable bodily presence, however the efficiency is something however heavy. Instead, search for sonic clues in a sign path of simply 14 parts. It’s this less-is-more strategy (additionally splendidly realized within the minimalist aesthetic) that has resulted in an influence amplifier with shocking transparency and composure. Neither imposing nor well mannered, the W is a becoming fiftieth Anniversary celebration from an organization recognized to offer innovation with worth. AM, 301
Audio Mirror SET
$4995
This 45-watt monoblock expands the attain of SET designs to incorporate even reasonably delicate 88-to-90dB loudspeakers. Each amp has a pair of Russian 6C33C-B triodes in parallel, thereby considerably extending energy supply. The bass vary is effectively outlined, which serves as a basis for a barely heat and highly effective presentation with satisfying tonal gravitas and a way of ease on dynamic peaks that’s unusual for a typical SET. The Audio Mirror makes one helluva musical assertion and would have earned an enthusiastic suggestion even with a $10k price ticket. DO, 289
NuPrime Evolution STA
$4995
Class D amplifiers preserve getting higher and higher, and the NuPrime STA is a main instance. The power-stage topology is full bridge, offering push-pull differential operation with NuPrime’s proprietary MOSFET drive design. Power output is a beneficiant 230Wpc into 8 ohms and 310Wpc into 4 ohms. The entrance finish is absolutely analog. Both the preamp stage and Class D pulse-modulation circuit use the NJR MUSES8820 op-amp. The STA’s sonic persona is very like that of distilled water, missing intrinsic taste. It merely displays the character of upstream parts, making it a superb match for a tube preamp, should you’re after a candy and heat system persona. Its robust fits are tonal purity, soundstage transparency, an expansive depth perspective, and glorious bass management. It’s laborious to consider that any amp at this value level, not to mention a Class D amplifier, is able to such beautiful musicality. DO, 330
Atma-Sphere S-30 Mk 3.3
$5100
The Mk 3.3 model of this 30Wpc Circlotron OTL amplifier nudges efficiency greater in dynamics and soundstage transparency. Although responsible of slight timbre alterations and a considerably darkish tonal steadiness, these acts of fee, possible attributable to load interactions, level out the necessity for a suitable loudspeaker and front-end electronics. The S-30 strikes an clever steadiness between high quality and amount, focusing because it does on delivering a robust first watt. Its asking value is a small value to pay for a beneficiant slice of musical heaven. DO, 261
Pass Labs XA25
$5150
The XA25 amp is amongst Pass Labs’ most humble efforts thus far—at the least outwardly. And customers will admittedly have to be slightly respectful about speaker choice, since this solid-stater is rated at a mere 25Wpc into 8 ohms. But that wattage is delivered courtesy of Pass’ single-ended Class A design. So, buckle up and put together to luxuriate in pure liquid musicality. Pass gear typically suggests sweetness and heat, however the XA25 takes these qualities a luminous step additional. Beyond the extraordinary decision engraved within the XA25’s persona is a capability to rework a listening area right into a three-dimensional tableau of photos and atmosphere. A magical amp. NG, 286
T+A A 200
$5450
This small however mighty (125/250 watts per channel into 8/4 ohms) energy amp is a part of T+A’s Series 200, a part stack that takes a novel—however undeniably legitimate—strategy to constructing a reference-level system with a small footprint. Since the absolutely discrete, thermally protected Class D A200 will get its personal chassis, it’s not topic to the digital and different noises that pollute modular built-in amps. The sound is straight out of the Swiss faculty: wide-open, pure, quick, and dynamic, however with an additional dollop of low-end richness. For these looking for reference-class efficiency in a compact, fairly priced amp, the A 200 is tough to beat. AT, 335
Bel Canto e.One REF601M
$5590/pr.
To Steven Stone’s ears, Bel Canto’s 15.4-pound, 300W (600W into 4 ohms) e.One Ref601M Class D monoblock is sweet sufficient to qualify as one of the best all-around energy amplifier he’s heard thus far, no matter expertise or circuit topology. Its mixture of extraordinarily low noise that makes it appropriate to drive even extremely environment friendly loudspeakers, precision three-dimensional imaging, relaxed and pure harmonic steadiness, and energy functionality, makes for a potent bundle. Couple all its sonic achievements with its comparatively modest value and you’ve got an influence amplifier that might effectively be a benchmark reference for a lot of audiophiles for years to return. SS, 269
Audio by Van Alstine DVA M750
$5598/pr.
This large hybrid monoblock with a 12AT7 enter stage and a transistor output part delivers a whopping 850W into 8 ohms. Industry veteran Frank Van Alstine pulled out all of the stops for the DVA M750, together with a circuit primarily based on the patented Fet Valve amplifier and weird lateral MOSFET output transistors. The amp gives a remarkably jaunty and silky sound—with a number of headroom—that all the time errs on the sound of musical bliss. Despite its excessive energy, the DVA M750’s presentation is elegant and refined. A discount in powerhouse amplifiers. JHb, 273
The submit 2023 Editors’ Choice: Power Amplifiers $3,000 – $6,000 appeared first on The Absolute Sound.
Spoiler alert—I love this amp!
By starting with such a bold statement, I don’t mean to suggest that the latest iteration of Rogue Audio’s Cronus Magnum is without flaws. (What is?) I’ll get to that later, but for now let me begin with this: Here we have a terrific-sounding, all-tube integrated amp that is so musically engaging, such a joy to use, and such a superb value that it’s completely won me over.
Actually, it’s won me over for a second time, as a decade ago I was likewise highly enthusiastic about Rogue’s original Cronus Magnum. But as good as that version was the latest iteration punches several levels above, thanks to a slew of tasty upgrades.
Designed by Rogue Audio’s owner Mark O’Brien, the all-tube Cronus Magnum III ($3495) features an upgraded triode preamp circuit coupled with Rogue’s Atlas Magnum power amp (which goes for $2995 as a stand-alone unit). The III version also incorporates improved component parts throughout, a beefier power supply, as well as refashioned low-voltage supplies for the MOSFET, buffered, discrete headphone circuit and the phono section. I’m also pleased to report that the latter now handles both mm and mc cartridges, with five user-adjustable load settings, as well as 45dB and 60dB gain options.
(One thing to note: If you live near a radio transmission tower—as I do, about a five-mile straight shot across the hills from my house in San Francisco—the Magnum III’s phonostage is sensitive to RF. So, take extra care with placement as well as cable dressing to minimize this extraneous noise. It’s not particularly noticeable with most music but can be during quiet or between-track passages.)
The design’s tube complement (two 12AX7, three 12AU7, and four KT120 output tubes) now allows users to switch “on the fly” between triode or “ultralinear” (pentode) output modes, and power output has increased from 90 to 100Wpc (half of that when operating in the triode mode). The gold-plated binding posts can be rewired to optimize speaker matching for 4- or 8-ohms loads but note that, as with the original design, users will need to remove the amp’s top plate to rejigger the wiring at the posts (as well as to change the phono settings). The process takes a few minutes but is otherwise pretty straightforward.
Also, as with the original edition, a handy, removable, small rectangular top plate allows easy access to the bias adjustments for the output tubes—the supplied plastic screwdriver even has a convenient resting nook tucked behind the tube array. Biasing is a snap to accomplish and something owners will want to check every few months, as well as down the road when a new tube set is installed.
Finally, a machined aluminum remote allows for volume control as well as muting, but you’ll need to get your bum off the couch to switch inputs.
I should also note that everything about the design, build, and fit and finish is first-rate, reflecting the company’s dedication to quality.
Sonically, the Cronus Magnum III is really quite remarkable, especially when compared to the far pricier gear I’m used to in my reference system. No, it doesn’t provide the same degrees of resolution, staging, detail, and dynamics as my references. But then that’s like expecting a village Burgundy to compete with a grand cru. That’s hardly the point of the design. Because the thing is: This amp is musical; it rocks; it’s fun; and lo and behold, it isn’t tweaky. It’s warm sounding but not fat; it’s airy; its resolution is plenty satisfying. It is simply very, very good. The Magnum III’s is not a “wow” kind of sound but rather a let’s pull you into the music kind of sound.
For example, on Analogue Productions’ stunning-sounding UHQR of Are Your Experienced? Mitch Mitchell’s drums on “Waterfall” are tuneful and natural, rollicking along with Hendrix’s dreamy guitar work; Noel Redding’s bass at once anchors things, while floating with the musical tide.
On “Fire,” you really hear and feel the distorted crunch of Hendrix’s Strat/Marshall combo, as well as key in on the album’s mic placement and mixing, which you’ll notice changes from track to track, bringing Hendrix’s potent debut to life.
One caveat for owners of power-hungry speakers like my Maggie 1.7i’s shouldn’t surprise: A bit more additional punch and power would be a welcome thing. But then again, most speakers aren’t as demanding as Magnepans are. And when it does top-out, the Magnum III doesn’t go into distortion mode but comfortably cruises along at its maximum volume setting.
Another caveat. As with the original Magnum, the III does overlay a fine granular texture on the sound. It’s noticeable but not a major distraction. In some ways it’s actually a kind of cool additive. On “Two of Us,” from the Beatles’ 50th anniversary edition of Let it Be, one really senses the sound of the vintage analog gear; Lennon and Harrison’s Epiphone and Gibson guitars plugged into Fender amps, the thick strings and warm tonality of Paul’s signature Hofner bass, and the skin-and-wood tonality of Ringo’s Ludwig kit.
Moving on to Bill Evans’ Complete Sunday at the Village Vanguard shows the amp’s way with a great-sounding live acoustic set. Right away you’ll notice the acoustic ambience and three-dimensionality of this famed venue’s space, the natural feeling of air surrounding the instruments, the tonal and textural resolution of the piano, bass, and drums.
Finally, turning to my well-loved DG LP of Evgeny Kissin’s live recital of Beethoven’s Piano Sonata No 32; while the Magnum III may be missing the nth degree of focus, tonal purity, dynamic nuance, and lower octave drive of the far pricier Sutherland and VTL gear of my reference system, the hypnotic second movement, with its ragtime-like bridge, really shines, drawing one into the emotional and intellectual power of this piece, with its lovely harmonic richness leading to the final and breathtaking denouement.
Circling back to my initial points about imperfections, and that all designs possess them—why else keep pushing the envelope?—it’s interesting to think about how, throughout audio history, certain memorable designs have identifiable shortcomings that don’t greatly detract from their overall excellence. I’ll cite the original Quad electrostatic speaker, the Rogers L3/5A mini-monitor, and the Audio Research SP6 preamp as examples of designs that so wonderfully capture the gestalt of the music that we’re able to live with and listen past their imperfections, because they are so very good at drawing us into and conveying the music.
Each of those designs is, of course, considered a classic. I can’t say if Rogue’s Cronus Magnum III will stand that test of time. But I will say that, in its own way, it is just as deserving.
Specs & Pricing
Power output: 100Wpc
Tube complement: 3x 12AU7, 2x 12AX7, 4x KT120
Inputs: Phono, Line 1, 2, 3
Dimensions: 17.5″ x 6.75″ x 18″
Weight: 55 lbs.
Price: $3495
Rogue Audio, Inc.
545 Jenna Drive
Brodheadsville, PA 18322
(570) 992-9901
rogueaudio.com
The post Rogue Audio Cronus Magnum III Integrated Amplifier appeared first on The Absolute Sound.
They say that good things come in small packages. Not so with the Triangle Art (TA) P-200. It was quite a surprise to find a large 90-pound wood crate parked on my doorstep. I’ve become accustomed to diminutive phonostages that can be carried in one hand; the P-200 is obviously an exception. The main reason for the bulk is a massive chassis that is totally CNC milled from aluminum stock. The chassis top, bottom, and rear panels are 3/8″ thick, while the front and the two side panels are a remarkable 1″ thick. Gorgeously finished in satin black, its looks combine a bit of brawn and finesse to make for an elegant impression. Clearly, industrial art plays a significant role in TA’s overall design philosophy. Turntables came first in 1999 with the introduction of the Reference and Signature models, and the line expanded over the years to include tonearms, phono cartridges, and electronics. Tom Vu, TA’s CEO, prides himself in offering music lovers analog playback components that aim to kindle the music’s passion and thus nudge the art of music reproduction forward; the P-200 tube phonostage is a case in point.
It’s fair to say that the P-200 incorporates some classic design touches. Passive inverse RIAA EQ became popular in the 1980s and is implemented here using high-quality caps, resistors, and silver wire in the signal path. The RIAA network is said to be accurate to better than 0.5dB, and unlike active EQ using feedback loops, the passive approach maintains stability of operation even as tubes age. In addition, the mm input overload margin is excellent at 85mV. The inverse RIAA circuit is sandwiched between two 12AX7-based gain stages. A cathode follower provides low-impedance drive. This is also a classic approach, practiced religiously over the years by Conrad-Johnson. I was informed that the cathode follower used is a 12AT7 twin triode. After I removed the top plate (you’ll need a 9/64″ hex key) for a peek at the large PC board that’s mounted at the bottom of the chassis, I not only noticed some premium parts such as Mundorf silver-gold caps and AMRG resistors, but also discovered that the cathode follower tube was actually a 12AU7. According to Tom Vu, the P-200 can accommodate both tube types in this position, and he encouraged me to pop in a 12AT7 for a listen.
The stock tube complement is gold-pin Russian reissue Genalex Gold Lion. But it seems that TA expects most end users to undertake tube rolling—almost obligatory, really, when it comes to 9-pin miniature triodes. That’s partly the rationale for having all three twin triodes shared across left and right channels. The intent is to permit greater flexibility in tube rolling for personal sonic preferences. Let’s say, for example, that you are lucky enough to score a single super vintage tube; you can then just drop it into the preferred circuit position without the need for a matched pair of tubes.
Both mm and mc cartridges are accommodated. There are two mc inputs that differ only in connector type, female XLR or standard RCA jacks. Similarly, the output signal is also accessible via RCA or XLR connectors. Moving-coil loading is fixed at approximately 100 ohms, which is probably an optimal choice for most cartridges, and certainly worked well for my Clearaudio daVinci II MC. Changes in mc loading can be made at the secondary of the step-up transformers, but since it involves a PC-board-level modification, it should ideally be performed at the factory.
The power transformer is housed in an external chassis that connects to the main unit via an umbilical cord to minimize the potential for hum and noise induction. The tube filaments are heated by regulated DC voltage for lower noise. The high-voltage power supply is heavily filtered and separated for left and right channels after initial rectification. Voltage limiting is used during startup to protect the tubes from excessive voltage until they start conducting.
The total gain for the mm section is 45dB, which is supplemented by an additional 26dB of gain provided by a pair of high-quality Lundahl LL9226XL step-up transformers, which come encapsulated in double thickness mu-metal housings. In total, the 71dB of gain is sufficient to amplify even a 0.1mV mc to line-level voltage. This strikes me as a sensible approach as there is no active gain stage that can compete with a good step-up transformer when it comes to pure, low-distortion gain.
Tubes do what tubes do. A tube’s sonic DNA is quite unique and nowhere does it make for a more obvious difference than a phonostage. I’ve yet to audition a solid-state design that comes as close as a tube unit to the textural and tonal conviction of the real thing. It is no accident that all the coveted classic designs from Audio Research and Conrad-Johnson are tube based. My latest tube phono- stage purchase was a Wright Sound WPP200, hand-built by the late George Wright. It was obviously intended as a budget unit but featured a tube-rectified and -regulated external power supply and a circuit topology similar to that of the P-200. I was curious to find out how it would fare against a much more expensive unit. Well, it turned out that sometimes you do have to pay more, a lot more, for reference-quality sound.
First to make the leap onto the platter from my top of the pile was the Chesky reissue of the original RCA Living Stereo LP of Gershwin’s An American in Paris/Rhapsody in Blue (Chesky Records RC8), Arthur Fiedler conducting the Boston Pops Orchestra, Earl Wild on piano. This superb recording is quite revealing of any dynamic bottlenecks in any given system. Most of my listening was conducted in the context of an exceptionally capable setup: the Analysis Audio Omega planar loudspeakers powered by the SMc Audio DNA-1/GT-21 Ultra Plus. This Class AB amplifier represents a complete overhaul of the venerable McCormack DNA-1 and incorporates Steve McCormack’s latest circuit refinements and tweaks. The GT-21 Ultra Plus is capable of stupendous bass slam and volcano-like macrodynamic reach and is the best match for the Omega loudspeaker I’ve found to date. If there’s anything amiss as far as dynamic range (or anything else for that matter), this is the system to reveal it. To its credit, the P-200 did not disappoint. It showcased this recording’s exceptional dynamics and realistic transient speed. There was no doubt about it, this phonostage was just killing it.
Spatial resolution was another strong sonic attribute. Combined with excellent soundstage transparency and a considerable depth perspective, it offered convincing elucidation of massed voices. Complex polyphonic passages were readily resolved, one fine example being Handel’s Messiah choruses, King’s College Choir, Cambridge (EMI CSD 3778). There seemed to be no loss of information at the frequency extremes. In particular, bass lines were well defined with no reduction of impact.
Of course, ultimate performance is a function of the quality of the analog front-end. I tried running my linear-tracking B&O 8000 turntable into the mm input, and compared with my Kuzma Reference table, there were losses at the frequency extremes, dynamic range took a hit, and soundstage transparency suffered, as well. There was no reason to shoot the messenger, the P-200 was simply telling the truth without adding any euphonic colorations.
That brings me to reproduction of the upper midrange. My personal preference is for some textural sweetness coupled with fully saturated tonal colors. Instead, I perceived a somewhat assertive demeanor and a slight bleaching out of harmonic colors. I wondered if the culprit was the stock tube complement or possibly the Lundahl step-up transformers. It was easy enough to bypass the stock transformers by connecting my Sound Tradition MC-10 step-up to the mm inputs of the P-200. The MC-10 features the famous Hashimoto HM-3 transformers, which for over a decade I’ve considered “best of breed.” There is something very special about its upper mids—a pure tone that I’ve come to know and love. It improved depth perspective and image palpability and yielded a sweeter midrange tonality, sounding more tube-like. The Lundahl transformers simply lacked the beguiling, almost lyrical upper mids of the Hashimoto HM-3. Alas, the Lundahls are fixed in place, and so, it was on to Plan B: some basic tube rolling with the idea of nudging textures toward a vintage tone. I rolled in a pair of Siemens ECC83 that I pulled out of my Wright Sound WPP200. That proved to be a step in the right direction, which encouraged me to replace the 12AU7 cathode follower tube with a Brimar 6060 Yellow T premium 12AT7 type. Without much effort, the combined sonic effect was to deliver more refined textures with increased “fat on the bones.” Not only did midrange gravitas benefit, but for some reason transient speed seemed to improve as well. Needless to say, I was a most happy camper at this point.
The P-200 distances itself from the competition by virtue of its superb spatial resolution, transient speed, and resolution of low-level detail. Expect a compelling dynamic range, capable of fleshing out subtle microdynamic nuances as well scaling orchestral peaks with composure. The P-200 simply gets out of the way and allows the music to ebb and flow without dynamic constraints or tube colorations. My guess is that most of you will be perfectly happy with the stock tube complement, which squeezes out a fair amount of tube magic, but know that the unit responds well to tube rolling should you get the urge to experiment with your favorite preamp tube types. The P-200 affirmed my belief in the virtues of a tube phono- stage. It is as good or better than any phonostage I’ve had in the house. It has supercharged my analog playback enjoyment and is deserving of a strong recommendation.
Specs & Pricing
Gain: 45dB (mm) 71dB (mc) @ 1kHz
Input impedance: 47k ohm/150pF (mm), 100 ohm (mc; adjustable)
Output impedance: <500 ohms; lowest recommended load impedance >10k ohm
Distortion (THD+N): 0.01% typical, 1kHz @ 0dBV (1V rms out)
IMD: 0.01% typical, 60Hz and 7kHz 4:1 @ –3dBV (0.7V rms out)
Maximum output: 18dBV (8.5V rms) into lowest recommended load of 10k ohm @ 1% THD+N
Maximum mm input: >–21.4dBV (85mV rms) @ 1 % THD
Crosstalk: <–60dB @ 1kHz
Noise: < –70dB 20Hz to 20kHz relative to 0dBV out; < –85dB A-weighted relative to 0dBV out
Dimensions: 18″ x 7″ x 14″
Weight: 60 lbs.
Price: $15,000
TRIANGLE ART
Anaheim, CA 92808
(714) 553-6474
triangleart.net
Associated Equipment
Speakers: Analysis Audio Omega, Fleetwood Sound Company DeVille
Line Preamplifier: AudioPrism Mantissa brought up to Red Rose Model 3a specs
Power amplifier: SMc Audio DNA-1/GT-21 Ultra+
Phono front end: Kuzma Reference turntable, Kuzma Stogi Reference 313 VTA tonearm, Clearaudio daVinci V2 MC Phono Cartridge
Cable & interconnects: Acrotec, Mogami & Kimber KCAG interconnects; Acrotec 6N; Kimber KCAG, ChromaLeaf Canare 4S11, Analysis Plus Oval 12, & Take Five Audio Cryo treated Mogami 3103 speaker cable
Accessories: Sound Application CF-X & TT-7 power line conditioners, Herbie’s Audio Lab UltraSonic SS-9 and HAL-O III tube dampers
The post Triangle Art P-200 Phonostage appeared first on The Absolute Sound.
darTZeel NHB-468 Monoblock Amplifier
$235,000/pr.
These glamorous, gold-and-crimson Swiss amplifiers offer a level of performance that is truly bedazzling. One moment they are belting out an orchestral or piano crescendo with absolute authority, the next they are plunging into a quiet abyss of sound with impressive control and transparency. With up to 2000 watts on tap, the darTZeel is a powerhouse of an amp that effortlessly traverses the summits of musical reproduction. For one thing, the amp is a real toe-tapper. It commands an alacrity and dynamic liveliness that few, if any, of its brethren possess, allowing it to reproduce transients with an explosive power that is pretty darn close to the real thing. Add in a tonal accuracy throughout the frequency spectrum that ensures the proper weight in the bass region and endows the treble with a delightful mellifluity, banishing any lingering sense of electronic artifacts that can render prolonged listening a chore, particularly on digital recordings. Throughout, it simply seems imperturbable, no matter the musical demands. When matched with the elegant custom stands crafted by Thixar’s CEO Dirk Ruedell, the results are heavenly, indeed. Oh, the places you’ll go! The bottom line: In designing these magnificent amplifiers, Herve Deletraz has outdone himself.
The post 2022 Golden Ear: darTZeel NHB-468 Monoblock Amplifier appeared first on The Absolute Sound.
My original review of VTL’s S-200 Signature stereo amplifier appeared back in early 2019 (Issue 290), and the amp’s been in my reference system ever since. In that article I spent some time discussing how the amplifier’s two easily switchable (via a front panel button) playback modes—tetrode and triode—differed sonically.
Although the triode mode has plenty to recommend it—an impressively deep soundstage, as well as a seductively warm tonal beauty, which can soften and indeed make far more palatable some less than great recordings—I decided to stick with the tetrode setting for what I ultimately perceived as its greater tonal accuracy, wider dynamics and frequency range, more robust bottom end, and livelier musical energy.
Moreover, my power-sucking Maggie 1.7s were far happier with the tetrode mode’s 200Wpc output versus half-power triode operation.
I happily lived with the S-200 in this configuration until—in what turned out to be a happy coincidence—VTL’s Luke Manley visited one day to install the company’s 6.5 Series II phono preamp, and we encountered a rare failure with one of the S-200’s 6550 output tubes. Neither Luke nor I had a replacement tube on hand, but as luck would have it, Luke did have a full complement of eight Russian-made Genalex Gold Lion KT88s stashed in his car.
“Let’s try them,” Luke said, “you may even prefer them to the 6550s, because the Europeans and Japanese love the KT88s for their naturalness in the midrange.”
Intrigued by Luke’s words, I thought to myself, “Why haven’t we tried this before?”
Because the S-200 has an auto-bias circuit and swapping out tubes is easy via screw-off side hatches, we were up and running in no time.
Luke’s prediction about my possible reaction proved accurate.
From the first bars of Prokofiev’s Violin Sonata No. 1 (the glorious MusicMasters recording featuring Nadja Salerno-Sonnenberg on violin and Sandra Rivers on piano), it was evident that the S-200 had, to these ears, hit another level of musical expressiveness and sonic refinement. From the piano’s brooding, half-awake opening statement to the violin’s tentative, scratchy reply to the off-kilter waltz-like section and on, the instruments simply sounded more true-to-life, dynamics gained nuance, the air of the recorded space as well as around each instrument bloomed more, and the presentation was notably more immersive.
Bass response, too, if not perhaps ultimately as punchy, was more nuanced both tonally and texturally with the KT88s on, say, Paul Chambers’ upright in Analogue Productions’ stunning UHQR pressing of Kind of Blue, or on Roy Haynes’ rollicking drum break from the same company’s 45rpm-set of Monk’s Thelonious in Action, where one simply hears/feels more of the skin, sticks, and volume of individual drum parts.
Rather than unspool a further list of musical illustrations, let me state that I can’t think of a record—from a Beethoven piano sonata to a Mahler symphony to the vocal genius of Cécile McLorin Salvant—that I didn’t prefer with the KT88 tube set.
That said, there’s a slight price to pay for this extra musicality. Although the KT88s are capable of cranking more volume than the 6550s in triode mode, they don’t quite match that tube complement’s tetrode muscle. So, one will, on occasion—especially if in a mood to crank some heavier rock—cause a tube to draw excess current, which activates the fault-sensing system to protect the amplifier by shutting down. A deck-mounted LED next to each of the output tubes indicates which one is having a problem, and rebooting takes about a minute. Now and then a tube may completely fail, requiring replacement, but that’s rare and, in any case, is something all tubes are prone to.
Regardless of which tube set or mode one selects, these past few years with the S-200 have only increased my appreciation for what Luke Manley and his team have accomplished here.
Specs & Pricing
Power output: 200Wpc into 5 ohms (tetrode); 100Wpc into 5 ohms (triode)
Number and type of inputs: 1 pair single-ended RCA; 1 pair balanced XLR
Tube complement: 8 x 6550 or KT-88, 2 x 12AT7, 2 x 12BH7
Dimensions: 18.5″ x 9″ x 18″
Weight: 105 lbs.
Price: $12,500
VTL
4774 Murrieta Street, Unit 10
Chino, California 91710
(909) 627-5944
vtl.com
The post VTL S-200 Signature Stereo Amplifier appeared first on The Absolute Sound.
- 1
- 2