Tube Power Amp Reviews

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Michael Fremer Posted: Apr 23, 2006 0 comments
In this hobby, nothing's for nothing. To get that gorgeous midrange, with its harmonic depth and inner detail, tube-amp enthusiasts are willing to give up some things in the bass. Tube folks put up with heat and occasional maintenance—routine or otherwise. To get the ideal middle, fans of single-ended triodes are even willing to shave off considerable dynamic range and settle for ultra-efficient speakers that often have limited response at the frequency extremes. Those who say nothing is lost by preferring tubes are in denial.
Art Dudley Posted: Mar 17, 2006 0 comments
My stepfather wore only second-hand clothes as a child and never understood why anyone would deliberately wash the color out of his new dungarees. By the same token, the senior members of our hobby, many of whom recall with fondness the transistor's advent, don't understand why anyone would now wish to throw away their newfound power. Some people deserve to be blessed for their point of view, even as the world moves away from it.
Jonathan Scull Posted: Mar 05, 2006 Published: Nov 05, 1997 0 comments
Just who does Bruce Rozenblit think he is? And why is he saying those things about the late Julius Futterman? Rozenblit, relying heavily for guidance on his Electrical Engineering degree, has crafted an OTL (output-transformerless) amplifier that flies in the face of contemporary design dogma. To hear Bruce tell it, he's tamed the breed—this is how OTLs should have been done to start with, Futterman notwithstanding.
Brian Damkroger Posted: Dec 24, 2005 0 comments
When I reviewed VTL's MB-750 monoblock amplifier in the December 1997 Stereophile (Vol.20 No.12), it was a transitional time for the company. Luke Manley had recently taken it over, and he and his wife and partner, Bea Lam, were aggressively retooling. They introduced new business systems, including rigorous inventory and quality control; rebuilt VTL's dealer network around top-rank dealers; and systematically upgraded the products themselves to improve their consistency, reliability, manufacturability, and performance. VTL's goal, Luke explained to me at the time, was to build amplifiers that competed with the very best, and to "make the tubes invisible to the customer."
Martin Colloms Posted: Dec 04, 2005 Published: May 04, 1998 0 comments
Although I retain a firm hold on the established audio world, and recognize and value all that it has achieved, I feel inexorably driven to make some space in my life for single-ended amplifiers—more especially, those that eschew negative feedback (footnote 1). A classic if costly example of the art is the Cary CAD-805C, which, to my ears, has earned the right to teach audiophiles what negative feedback really sounds like, and what damage it can do to the musical message when poorly handled. This shouldn't be taken as an out-of-hand dismissal of those many great pieces of electronics and amplification that use negative feedback—it is simply an acknowledgment, or even an assertion that negative feedback generates a sound of its own.
Robert J. Reina Posted: Dec 04, 2005 Published: May 04, 1997 0 comments
I was attacked by Chris Johnson of Sonic Frontiers at HI-FI '96.
Robert Deutsch Posted: Nov 26, 2005 0 comments
It's been 10 years since Balanced Audio Technology (BAT) introduced their first products: the VK-5 line-stage preamplifier and the VK-60 power amplifier. (I reviewed both in the December 1995 Stereophile, Vol.18 No.12.) The success of these and other BAT products has allowed designer Victor Khomenko (the "VK" of the model designations) and partner Steve Bednarski to quit their day jobs at Hewlett-Packard; they were joined by Geoff Poor as a partner to handle the sales end of the enterprise. BAT's current lineup includes several preamps, phono stages, a CD player, and tube as well as solid-state amplifiers. The top of BAT's preamp range is the VK-51SE, which costs $9000; their top tube power amp is the VK-150SE monoblock ($17,000/pair); if you want their best phono stage, the VK-P10 will set you back $8000.
Art Dudley Posted: Aug 21, 2005 0 comments
"The realistic reproduction of orchestral music in an average room requires peak power capabilities of the order of 15 to 20W when the electro-acoustic transducer is a baffle-loaded moving-coil loudspeaker of normal efficiency." —Peter Walker and D.T.N. Williamson, writing in the Journal of the Audio Engineering Society in 1954
Jonathan Scull Posted: Jul 31, 2005 Published: Dec 31, 2000 0 comments
At the last few audio shows, whenever I heard a pair of the big Cary CAD-1610-SEs, I fair licked my chops. The two-tiered monoblock looked positively stunning in black and polished aluminum, exotic tubes bristling from the top "floor" of its two-story edifice. The Cary always induced pelvic tilt in me—you know, when your lizard brain takes over and tube lust is in the air.
Jonathan Scull Posted: Jun 05, 2005 Published: Sep 05, 1997 0 comments
I'm always eager to fulfill my prime Stereophile directive: "To go where no audiophile has gone before," as JA often quips. As it happens, I've long suffered an itch to audition OTL (output-transformer–less) amplifiers, wondering how eliminating the output transformer might affect the sound. Enter the Graaf GM 200, with nothing but wire between its power tubes and the crossover.
Chip Stern Posted: Apr 10, 2005 Published: Jan 10, 1997 0 comments
Some audiophiles tend to get a mite sniffy around those of us who have expensive tastes and limited budgets. I've always been willing to spend the price of a new car on a set of speakers, but I never had the cash or credit. The sonic virtues of hefty, high-powered Krells and wondrous, single-ended tube designs always enchanted me, but when you're raising a family you make do. Through my experiences in a high-end audio establishment I learned the metaphysics of mixing and matching as befits my lowly caste, and I gradually developed sophisticated reference points, so that as the years swept by I managed to inch my way up the aural food chain.
Wes Phillips Posted: Apr 03, 2005 Published: Nov 03, 1998 0 comments
They say you never forget your first time. For me, it was an Audio Research SP-6B that had been heavily modified by Analogique in NYC—which meant, among other things, that yellow capacitors shunted other yellow capacitors all the way up to the top plate. That first taste of the High End—prior to that, you might say my face had been pressed against the window—was definitely love at first listen. That SP-6B was warm yet detailed, and I ended up building a system around it that at least one friend described as a huge musical wet kiss.
Michael Fremer Posted: Apr 03, 2005 Published: Jan 03, 2001 0 comments
The VTM200 is the first Audio Research power amplifier I've reviewed. It took me 13 years, and ultimately I'm glad I'd put that much mileage on my reviewing odometer before tackling what turned out to be a most difficult assignment.
Martin Colloms Posted: Mar 05, 2005 Published: Aug 05, 1999 0 comments
Many tube aficionados hold that amplifiers built with the venerable 300B tube hold the aces when it comes to sonic purity and beauty of harmonic line. Cary Audio Design's Dennis Had succeeded in producing what many believe is the definitive moderately sized single-ended triode (SET) amplifier: the CAD 300SE. This monoblock, powered by classic 300B Western Electric or derivative tubes, could provide 8–10Wpc, requiring the adoption of relatively moderate volume settings and/or sensitive, easy-to-drive loudspeakers. Cary also produced a lower-priced "integrated" stereo chassis, the CAD 300SEI.
Art Dudley Posted: Oct 23, 2004 Published: Oct 01, 2004 0 comments
One of my best friends is a serious jazz collector with a side interest in good replay gear. The last time we got together over a meal, he asked, "What do you think is really the most important component in an audio system?" He might have added "these days": It's a subject we come back to from time to time.

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