Recommended Components: Fall 2016 Edition Power Amps

Power Amplifiers

Editor's Note: Because of the disparity between typical tube and solid-state "sounds," we have split Class A for separate power amplifiers into two subclasses. Nevertheless, even within each subclass, Class A amplifiers differ sufficiently in character that each will shine in an appropriate system. Careful auditioning with your own loudspeakers is therefore essential. Except where stated, output powers are not the specified powers but rather those we measured into an 8 ohm resistive load. All amplifiers are stereo models, except where designated.

A (Solid-State)

Arcam FMJ P49: $5750
Now that British company Arcam has been acquired by a Canadian pro-audio firm, they've begun manufacturing their highest-end products in the US, and the FMJ P49 is among the first of these. Specified to deliver 200Wpc into 8 ohms, the FMJ P49 operates in class-G: Depending on the demand placed on it by the input signal, the power supply switches between low- and high-voltage rails for the output transistors, thus vastly improving efficiency and reducing heat. (The transition occurs at approximately 50Wpc—about the limit one might expect from a pure class-A amp with a similar output section.) JA commended the Arcam for "meet[ing] a high standard" of clarity and transparency. The FMJ P49 exhibited excellent control of the very lowest frequencies, and retrieved subtle details sufficiently well that, with one 50-year-old track, "even some print-through" from the original tape was audible. JA declared the P49 "a well-engineered amplifier," with no problems arising from its distinctive power-supply arrangement. (Vol.38 No.11 WWW)

ATC P1: $3999
No strangers to the making of solid-state amplifiers—ATC has, for decades, specialized in building self-powered speakers for the pro and domestic markets—the British firm now sells a 150Wpc standalone power amplifier. The P1 is said to offer wide bandwidth (2Hz–400kHz) and a high damping factor (400), plus true balanced inputs alongside its unbalanced RCA jacks. (ATC recommends the former for best performance.) After spending a number of weeks with the P1, JM concluded that "the P1 did not editorialize on the music; it just delivered it." Indeed, his time with the ATC P1 led JM to wonder if perhaps another recommendable amp was, by comparison, adding a bit of "zip" to the sound, "and that perhaps the ATC P1 was telling the story straight." JM concluded: "I am unaware of any other amplifier built from discrete components with this level of build quality, and from a firm with a record of accomplishment similar to ATC's, that offers so much excellent wattage at such a comparatively low price." (Vol.37 No.10 WWW)

Ayre Acoustics MX-R Twenty monoblock: $29,500/pair
In the time since the introduction of their original MX-R monoblock, for which Wes Phillips had high praise in Stereophile's April 2007 issue, Ayre Acoustics discovered the suitability to high-performance domestic audio of the half-century-old "diamond" circuit configuration of bipolar transistors. An advanced version of that innovation, the Double Diamond output stage, along with Ayre's recently developed AyreLock voltage-regulator refinement, and a few other new refinements, have now been applied to Ayre's top-of-the-line power amplifier. The result is the MX-R Twenty, a 300Wpc flagship named in honor of Ayre's 20th anniversary. Describing the MX-R Twentys' performance in his system, JA opined that, no matter what he played, the MX-R Twentys "simply stepped out of the way of the music, letting it flow unimpeded." And bassist JA couldn't help being impressed by how well the MX-R Twentys reproduced a sound he knows so well: "[Jaco Pastorius's] detuned low F and C were so well formed and so palpable that they rolled from the speakers and across the floor to me!" Reporting from his test bench, JA described the Twenty as "significantly quieter than its predecessor," and declared the Ayre "a true high-resolution amplifier." (Vol.38 No.8 WWW)

Bel Canto Design e.One REF600M monoblock $4990/pair
See KR's review in this issue.

Benchmark AHB2: $2995 $$$
Named for the late Allen H. Burdick, the engineer whose work formed the basis for its design, Benchmark's AHB2 is a compact (11" W by 3.8" H by 9.3" D) and lightweight (12.5 lbs) solid-state amplifier. The AHB2 makes use of THX Corporation's Achromatic Audio Amplifier (AAA) technology, in which a low-power feed-forward amplifier drives a low-bias class-AB output section, the latter energized by a system of class-H power-supply rails that deliver power in response to demand—resulting in an extremely efficient amplifier capable of robust power output (100Wpc into 8 ohms, 190Wpc into 4 ohms, and a strapping 380W when strapped for mono, per Benchmark). In his listening tests, KR discovered "much more apparent low-level detail in already-familiar recordings"—a characteristic he credited to the Benchmark's evident noiselessness—and a tonal balance that "sounded more 'right' than any of [the other amps on hand]." In measuring the AHB2 and attempting to confirm its specified very high signal/noise ratio, JA observed nonlinearities in his testing equipment that "haven't affected the measured performance of other amplifiers I've tested, but they were detectable with the AHB2's very low intrinsic distortion and noise." His conclusion: "an extraordinary amplifier." KR's last word: "bargain." (Vol.38 No.11 WWW)

Bricasti Design M28 monoblock: $30,000/pair
Made entirely in Bricasti's factory in Massachusetts, the solid-state M28 is a fully balanced, dual-differential design from its XLR input to its speaker outputs. Its specified 200Wpc into 8 ohms comes courtesy of two banks of 12 bipolar transistors each, and its CNC-machined case ensures that, in Bricasti's words, "each element mates to a purpose-built location within the chassis." MF described the M28 as "a powerful, beautifully built amplifier" and praised it as "faultlessly smooth and rich in the critical midrange," adding that "[e]ven a diehard tube lover would be impressed." But he found the M28 to be "more smooth and sweet than fast and tight," and suggested that its top end was "insufficiently fast and precise for my taste." Reporting from the lab, JA said: "Its measured performance reveals Bricasti's M28 to be a worthy stablemate to the company's superb-measuring and equally superb-sounding M1 D/A processor." For his Follow-Up, JA auditioned the Bricasti amps in his own system, and described the sonic balance achieved by the combination of Bricasti amps and KEF Blade Two loudspeakers as being "a little on the polite side." But he also found that the GamuT RS7 speakers "proved a synergistic match," the M28s producing "an enormous sweep of sound at the climaxes." His conclusion: "used in an empathetic system . . . [the M28s] will produce true reference-quality sound." (Vol.38 No.5 & 8 WWW)

Constellation Centaur monoblock: $64,000/pair
The 103-lb Performance Centaur Mono is rated to deliver 500W into 8 ohms, features minimalist industrial design by Alex Rasmussen, and offers conventional balanced and unbalanced inputs as well as a Direct XLR input for use with Constellation preamps. Utilizing Constellation's proprietary Balanced Bridge topology, each Centaur Mono includes a pair of carefully matched amplifiers, both using only N-channel MOSFETs. Though they lacked ultimate bass depth and definition, the Centaurs produced a fast, open, transparent sound that was ruthlessly revealing, but never unnaturally harsh or edgy, said MF. For best results, the Centaurs' open sound will require careful matching of associated gear, and especially careful choice of cables, he cautioned. "Constellation Audio's Performance Centaur Mono is a powerhouse of an amplifier capable of delivering very high power with very low distortion into 4 and 8 ohms," JA concluded. (Vol.36 No.11 WWW)

Dan D'Agostino Momentum monoblock: $65,000/pair ★
Dan D'Agostino's statement product, the 300W (450W at actual clipping into 8 ohms) Momentum has a compact chassis (12.5" W by 5" H by 21" D) machined from a single aluminum billet. A large, round power meter dominates the front panel, while thick copper side panels act as heatsinks. The low-feedback, fully complementary, balanced design uses 1% metal-film resistors and two dozen 69MHz output transistors in a direct-coupled, discrete, bipolar output circuit with a claimed frequency response of 20Hz–20kHz, ±0.1dB. The Momentums produced a seamless overall sound, with slightly reserved highs, a tube-like midrange, and an authoritative bottom end, said MF. "With the darTZeel NHB-458, it's one of the two most satisfying power amplifiers I've ever heard," he concluded. "This is an amplifier that is as well engineered as it is beautiful to behold," said JA. (Vol.36 No.2 WWW)

darTZeel NHB-458 Monoblock Amplifiers: 170,000 CHF/pair ★
Made in Geneva, Switzerland, the 450W (530W at actual clipping) NHB-458 measures 18" H by 11" W by 20" D, weighs 154 lbs, and has a deep-gold, brushed front panel and retro-industrial, red-anodized case. Tinted glass side panels allow magnetic fields to escape the chassis and reveal the amp's enormous cylindrical transformer. The large rear-panel heatsink has a cutout for connections that include RCA and XLR inputs, as well as a Zeel BNC 50 ohm input, for use with darTZeel's NHB-18NS preamplifier and Playback Designs' SACD player and DAC. It combined outstanding speed, precise high-frequency transients, and unlimited dynamic range with powerful bass and unsurpassed transparency, said MF. "The darTZeel NHB-458 is easily the finest power amplifier I have ever heard in my listening room," he concluded. At a price! (Vol.35 No.8 WWW)

First Watt J2: $4000
See HR's review in this issue.

Krell Solo 575 monoblock: $22,500/pair
With their top-of-the-line Solo 575 and its similarly new stablemates, Krell has made a conspicuous return to class-A amplification, but with a twist: Krell's iBias signal-tracking technology is claimed to make possible an amp that runs in class-A yet takes up less space, runs cooler, and delivers significantly more power than class-A amps of yore. In MF's system, the 575W Solo 575—which offers balanced (XLR) and unbalanced (RCA) inputs as well as Krell's proprietary CAST input socket—produced not the richness, suppleness, and maxed-out sustain he associates with traditional class-A amplification, but rather a speedier attack and a "taut bottom end [that] produced always-entertaining rhythmic drive and pleasing musical flow." As Mikey says, especially if you listen mostly to rock, "you need to hear the Solo 575s." JA noted that the Krell inverted the polarity of signals appearing on both its XLR and RCA inputs—and observed power output that comfortably exceeded the manufacturer's specifications. His conclusion: "Amplifiers don't get much better." (Vol.38 No.10 WWW)

Lamm Industries M1.2 Reference monoblock: $27,390/pair ★
The 110W M1.2 with tube front end and MOSFET output stage, comprehensive short-circuit protection, and high/low impedance settings, offered "unflinching honesty in conveying the true nature of the music that passed through it," said PB. "Utterly continuous and coherent from top to bottom," the M1.2 combined resolution and transparency with harmonic completeness, timbral richness, and glow. JA concurs. Compared to the Classé CT-M600 and MBL 9007, the Lamm had a more robust, less delicate sound, but nevertheless impressed JA with its three-dimensional soundstaging and midrange richness. "This is a great amplifier," JA decided. "Highly recommended." (Vol.28 No.2, Vol.35 No.4, Vol.37 No.6 WWW)

Luxman M-700u: $9990
Unlike the discontinued Luxman M-600A, a 30Wpc class-A amplifier whose sound JM described as "sweet," Luxman's recent M-700u is a 120Wpc class-A/B design. The M-700u employs Luxman's Only Distortion Negative Feedback (ODNF) circuit, whereby negative feedback is applied only in the presence of, you guessed it, distortion. For JM, the M-700u proved to be "an amp for all seasons," and while it wasn't, in his words, "out-and-out euphonic," it did allow pianos to sound "more rounded and continuous" than the Channel Islands Audio E•200S, itself another JM favorite. (Vol.38 No.6 WWW)

mbl Corona C15: $25,000/pair
Although it employs a custom-specified version of the popular Hypex class-D amplifier module, the Corona C15 monoblock, which offers 280W into 8 ohms, 520W into 4 ohms, is, according to its designer, a "Linear Analog Switching Amplifier," the overall design concept of which entails the use of a linear rather than switch-mode power supply—itself built around a toroidal transformer with generous mu-metal shielding. (The latter is presumed to contribute to the amp's 48.5-lb weight.) Indeed, in his measurements, JA confirmed that "the C15's transfer function appears to remain relatively consistent with both frequency and output current"; also unusual for a class-D amp was the C15's admirable output-impedance behavior: JA discovered that its low-pass function into loads of 4 and 2 ohms was "very similar to its 8 ohm behavior." In his listening tests, JA found that the C15's "intrinsic character was all about control, especially the tight control of low frequencies"—a quality that served well the amp's pairing with the somewhat rich-sounding woofer alignment of the Vivid Giya G3 speaker, but less so the Joseph Audio Perspective, with which the MBL sounded clean but lean. Especially when combined with the classic Rogers LS3/5a, JA observed "superb imaging definition and stability" with the good-looking MBL amps. (Vol.37 No.6 WWW)

Moon by Simaudio Evolution 860A: $15,000
The solid-state, balanced Moon Evolution 860A, capable of delivering 200Wpc into 8 ohms, is biased to operate in pure class-A up to 5W, beyond which the dual-mono 860A slides into class-A/B. Its DC-coupled output circuits employ 12 bipolar transistors per channel. Among the 860A's many performance characteristics that caught FK's attention, "most noticeable was the bass: subterranean, articulate, complex—and musical, not just a mush of bass notes." But FK hastened to add that neither that nor other individual sonic traits were the deal-sealers: "What most impressed me . . . was my sheer pleasure of listening to music." In his measurements, JA discovered that the 860A's power output was closer to 180Wpc than the specified 200Wpc; otherwise, he wrote, the amp "lives up to Simaudio's reputation for excellent audio engineering." (Vol.38 No.8 WWW)

Moon by Simaudio Evolution 880M monoblock: $45,000/pair ★
Rated to deliver 800W (1050W at actual clipping), the flagship of Simaudio's Evolution line is a DC-coupled, fully balanced differential design. Its massive power supply is built on two 1.3kVA toroidal transformers and two banks of large capacitors. With a chassis of black-anodized aluminum and a front panel comprising elegantly curved extrusions of brushed aluminum, the 880M measures 18.75" W by 7.5" H by 16.5" D and weighs 92 lbs. Though it wasn't as tonally rich as the VTL S-400 Reference, the Simaudio was extremely well balanced, exhibiting an effortless precision and iron-fisted control that extended from top to bottom, said BD. "The 880M is an excellent design superbly executed, with a professionalism and attention to detail that promise consistently outstanding performance and long, trouble-free life," he concluded. Must be auditioned fully warmed-up, notes JA. (Vol.36 No.6 WWW)

Parasound Halo JC 1 monoblock: $8990/pair $$$ ★
MF heard exactly what this high-power—400Wpc specified, 586W at clipping!—John Curl-designed amp's specs showed: "ultra-wide bandwidth, high-current capability, low, low noise, a high S/N ratio, and a fast slew rate, among many other indicators of outstanding amplifier performance . . . .There was an honesty to the overall tonal and harmonic presentation that transcended technological stereotypes." MF found the overall sound to be powerful, refined, smooth, organized, dynamic, transparent, and rhythmically supple, if a little on the subtly warm and rich side of the sonic spectrum, but decided that this not at the expense of transient speed and resolution of detail. "Perhaps some listeners will find the JC 1 too refined and perhaps a tad polite, but I didn't." "Rocks for sure," says ST, adding that with the amp driving the Triangle Magellans, he found the "bass firmed up, the sound wasn't strained in any way, and there was an overall sense of ease. Dynamic ease. Listening ease. Just ease. Compared to the Halcros, the Parasound JC 1s brought the soundstage forward. Tonally, the Parasounds were magnificent . . . with no trace of solid-state hardness. And the amps weren't even broken in." "The Parasound JC 1 is one of the finest high-powered solid-state amps I've heard," said ST. "Think of it as a 25W class-A amp that does 400W class-A/B when pushed." Matched with the JC 2 preamp, the JC 1s presented even greater holographic detail and transparency. The Parasound Halo JC 1 traded the Moscode 402Au's snappy, vivid tonality and larger soundstage for "quiet precision," clarity, and focus, said WP. The Halo JC 1 traded the Aesthetix Atlas's creamy midrange for greater bottom-end heft and top-end extension, said WP. Compared to the Bryston 7B SST2, the Parasound had deeper bass, tighter images, faster transients, and greater low-level resolution and microdynamic delicacy, said MF. A favorite of JA's, who was equally impressed by how the JC 1 performed on the test bench: "This is excellent measured performance. The Halo JC 1 is not only the best amplifier to come from Parasound, it ranks up there with the best high-end heavyweights," though WP felt that while the Halo JC 1 exhibited grace and delicacy compared with the much more expensive Luxman B-1000f, it lacked some impact, drive, resolution, and detail. Stereophile's—and Sam Tellig's—"Joint Amplification Component" for 2003. (Vol.26 Nos.2, 6, & 12, Vol.30 No.12, Vol.31 No.3, Vol.32 No.9, Vol.33 No.1, Vol.34 No.2 WWW; see also JA's review of the YG Carmel 2 in Vol.38 No.12 WWW)

Pass Labs XA60.5 monoblock: $11,000/pair
Designed by Nelson Pass, the XA60.5 is rated to deliver 60W into 8 ohms (130W into 8 ohms at clipping) and uses Pass Labs' balanced, single-ended, class-A Supersymmetry circuit topology. Housed in the same case as the XA30.5 stereo amplifier, it has a gray-anodized aluminum front panel with a large, blue-illuminated meter that indicates the output stage's current draw. The interior is dominated by a large Plitron toroidal power transformer flanked by two circuit boards, each carrying 10 pairs of complementary power MOSFETs. Though it lacked some bottom-end authority, the XA60.5 produced a natural, transparent overall sound, with especially beautiful mids and highs, said JA. "It is the best-sounding amplifier I have ever used," he concluded. (Vol.37 No.1 WWW)

PS Audio BHK Signature 300: $14,998/pair
Named for its designer, Bascom H. King, the BHK Signature 300 is a hybrid monoblock, with a tubed input stage and a MOSFET power stage, claimed to deliver 300W into 8 ohms. In a departure from the usual practice, all of those output transistors are n-channel devices, implementation of which requires cunning—and, according to King, a bit of global feedback. Both single-ended and balanced inputs are provided on the rear panel, where there is also a removable panel for accessing the amp's two dual-triode tubes. In MF's words, "the BHK Signature 300 is a powerful, nimble-sounding amplifier that immediately drew me in with fast, punchy, tight bass; rich, liquid mids; and delicate, transparent highs—all effectively well integrated into a coherent whole." During use on JA's test bench, one of the BHKs became unstable, and while it didn't fall and break its hip, it did stop working; JA carried on with the other Signature 300. He described it as "a well-designed, well-engineered powerhouse of an amplifier, though it will perform at its best with speakers having an impedance of 4 ohms and above." (Vol.39 No.2 WWW)

SAE 2HP-D: $19,995
See MF's review in this issue.

Siltech SAGA: 3 Box System ($37,500 each) Total Package: $112,500
With their unabashedly expensive Structural Amplifier Gain Architecture (SAGA), cable specialists Siltech took a new approach to the two-box power amp: This is neither a pair of monoblocks nor a split between an amplifier and its power supply, but rather a split between a voltage amplifier and a current amplifier. The former, called V1, is a battery-powered tube amp that's switchable between triode and pentode modes, while the latter, P1, is a mains-powered solid-state amp. More unusual is the P1's Apollo Light Drive technology, in which bias current for the output transistors is produced by training high-intensity LEDs on a solar panel: Take that, orthodoxy! According to MF, in comparison with other top amps of his recent experience, "the SAGA sounded as if it had tightened the turnbuckles of tonality, space, and, especially, rhythm 'n' pace—the sound was positively exhilarating." But tightened turnbuckles have their price: "Soundstage depth was somewhat foreshortened, with images between the speakers that normally appear well behind the speaker plane presenting themselves closer to a line drawn between them." Still and all, MF concluded, "As soon as I pulled [the SAGA] from my system, I began to miss it." JA's measurements, spread over two sample sets, revealed "idiosyncratic" performance, prompting the recommendation that "this expensive amplifier must be auditioned with the prospective owner's own speakers. Stated price is for the V1 (voltage amp) plus P1 (current amp). C1 (preamp) costs $37,500. Entire system costs $112,500. (Vol.37 No.10 WWW)

Theta Digital Prometheus monoblock: $12,000/pair
Joining the growing ranks of class-D amplifiers with perfectionist aspirations, the Theta Prometheus combines the Hypex Ncore NC1200 module developed by noted class-D specialist Bruno Putzeys with a linear power supply designed by Theta's own David Reich. (The latter—or at least its enormous toroidal transformer—accounts for the amps' 54.5-lb weight.) Specs include 500Wpc, less than 0.001% THD+N at 1W, and an output impedance said to be extremely low. According to LG, "The most striking things about the Prometheus's sound were its huge dynamic range and bass impact." He also noted that "The Prometheuses projected a broad, detailed, involving, three-dimensional soundstage," and "the midrange response blossomed when my [Quad ESL-989] speakers were driven by the Thetas." LG's conclusion: "My last impression of the Prometheus was the same as my first: It's one of the best-sounding amplifiers I've heard in my listening room." RD concurs. Following the Theta's time on his test bench, JA wrote, "The measured performance of Theta Digital's Prometheus is superb, even for an amplifier with a class-D output stage." (Vol.38 No.3 WWW)

A (Tube)

Air Tight ATM-1S: $10,450
Among the audio world's artisanal power amplifiers, only a few have more impressed AD than the Air Tight ATM-1S, the earliest version of which was made by Japan's A&M Limited way back in 1987. Today's ATM-1S uses two EL34 pentode tubes (configured as triodes) per side, for 36Wpc into 8 ohms. It also features solid-state rectification, dual-channel input-level controls, Hashimoto output transformers, a distinctly easy-to-use tube-biasing system, and a high level of build quality (including point-to-point wiring). AD found the ATM-1S to sound enjoyably warm and lush in his low-powered-amp–friendly system, yet with "an appropriate sense of [musical] momentum and drive." He praised the Air Tight for sounding "forceful and present when listened to at lower volumes," while noting that it remained "poised and free from gross colorations" when pushed. In his measurements, JA noted excellent squarewave response with short risetimes—but, on the downside, "drastically higher levels of second and higher harmonics in the left channel," a problem that may have been caused by a bad tube or damage in shipping. AD summed up: "The Air Tight ATM-1S is among the few power amps I'd care to live with." (Vol.37 No.11 WWW)

Fi 421A: $5000 ★
Designed and built by Don Garber in Brooklyn, New York, the Fi 421A is a single-ended, capacitor-coupled, 4Wpc stereo amplifier with a single 421A power tube. It measures just 10" W by 8" H by 10.5" D, weighs 20 lbs, and uses high-quality parts throughout. The Fi sounded "open, clear, compelling, and lovely," and had a knack for reproducing the human voice with outstanding presence and texture, said AD. Class A in special systems only, he cautions. Price increase since review due to new output transformers. One of AD's long-term references. (Vol.35 No.1 WWW)

Lamm ML2.2 monoblock: $37,390/pair ★
Like its predecessor, the ML2.1, the 18W ML2.2 is a single-ended-triode monoblock power amplifier with a 6C33C indirectly heated power tube. Other tubes include two 6N6P, one 6AK5, one 5651, and one 12AX7. Refinements over the ML2.1 include a new input circuit, new power transformer, five power-supply filter chokes instead of two, revised printed-circuit boards, and upgrades of various parts. Measuring 16" W by 8.25" H by 20.375" D, weighing 81 lbs, and with 14 tubes total (all of which must be installed and adjusted by the user), the ML2.2s require careful setup. Though it lacked the Shindo Haut-Brion's knack for expressing musical force, the Lamm combined superb spatial and temporal performance with rich texture and tone color, said AD. "An extraordinary product," he concluded. (Vol.36 No.4 WWW)

Lamm ML-3 monoblock: $139,490/pair
Rated to deliver 32W, Lamm's flagship design is a zero-global-feedback, class-A monoblock with a single-ended-triode output stage and an outboard power supply. It uses one 12AX7, four 6N30P-DRs, and one direct-heated GM70 triode transmitter tube, and its assortment of premium internal components include: military-grade Dale metal-film resistors, Caddock power-film resistors, Cornell-Dubilier and United Chemi-Con electrolytic capacitors, and Electrotube, Elcon, and Roederstein film caps. While the ML3 sounded "lusher and bloomier than life," it produced natural attacks and generous sustain, and had an airy, extended top end, said MF. "Cost and value for money aside, the Lamm Industries ML3 Signature is among a handful of the most pleasurable-sounding amplifiers I've ever heard," he concluded. JA noted good measured performance for an amplifier with a single-ended output stage. (Vol.36 No.9 WWW)

McIntosh MC275: $5500 $$$ ★
The revived 75Wpc MC275, preserves the look of the original while adding modern innovations. Chimneys are used to cool the tubes by convection, and three circuit boards have been replaced by a single board on which are mounted all components, tube sockets, and power-supply parts. ST: "I heard all the dynamic quality, all that aliveness of the original, plus a level of transparency that brings the MC275 definitely into the 21st century." Sam bought the review sample. The fifth incarnation of the 75Wpc MC275, originally introduced in 1961, retains the first incarnation's classic appearance and its use of four KT88 power-output tubes, three 12AX7 input tubes, and four 12AT7 driver tubes. New are a stainless-steel chassis, balanced inputs, and gold-plated, five-way binding posts. While the MC275's two hefty transformers utilize the same "unity-coupled circuit" invented by McIntosh in 1947, the copper wiring is now insulated in a more durable synthetic material. Though dynamic expression was restricted and bass notes were "a bit muddy" in dense musical passages, the MC275 produced "stunning" soundstage depth and "spooky" intertransient silences, said FK. Meanwhile, the MC275's superb signal/noise ratios led JA to conclude that "Good audio engineering is timeless." Compared to its predecessor, the Limited Edition version of McIntosh's MC275 ($6500) has beefier binding posts, a more conveniently positioned power switch, and a gold-plated rather than stainless-steel chassis. In addition, a new output-transformer winding process has resulted in wider bandwidth, increased damping factor, and improved linearity. RD noted an ideal top-to-bottom tonal balance and an impressive sense of rhythmic drive, concluding, "The MC275LE is simply a wonderful-sounding amplifier, able to bring out the best from a wide range of loudspeakers." He bought the review sample. (Vol.27 No.7, Vol.33 No.10, Vol.35 No.10 WWW)

Miyajima Labs Model 2010 OTL: $10,000
Built into "some of the loveliest steel casework" AD has ever seen, the Model 2010 from Miyajima Laboratory is a stereo OTL amplifier that uses a total of eight 6080WC dual-triode tubes to produce 7Wpc. The fixed-bias 2010 also uses two 12AX7 dual-triodes, two 12AU7 dual-triodes, solid-state rectifiers, and a host of vintage and vintage-style parts, including 18 NOS Black Cat capacitors. Used as a stereo amp, the 2010 impressed AD by sounding "distinctly open and transparent" while lacking "nothing in the way of color or texture." Driving AD's DeVore Orangutan O/96 speakers, the 2010 surpassed the similarly priced and powered Shindo Cortese in top-end sparkle while giving up nothing in terms of "superb touch and force." Adding a second 2010 and strapping the amps for mono—resulting in 16Wpc—delivered what AD described as some of the best sound he has had in his home: "The monoblock experience seems to be the way the Miyajima 2010 was meant to be heard—and I loved it." Full Class A status refers to the use of two 2010s. AD suggests that, even at nearly $20,000 for a stereo pair, the Miyajima represents very good value. (Vol.37 No.7 WWW)

Music Reference RM-200T Mk.II: $7495 (comes with hand wound output transformers)
Made in the US, the 100Wpc RM-200 Mk.II has the same basic physical and electrical architecture as the original, but uses better output transformers, adds a capacitor-forming function to extend tube life, and has a revised power supply. The fully balanced design features a high-power, bipolar, solid-state input stage and tubed driver and output stages. It uses two matched pairs of KT88 (standard) or 6550 (optional) output tubes, and a pair of 6BQ7 drivers. Though it lacked the slam and bass authority of more powerful solid-state amps, the RM-200 Mk.II produced airy highs, well-defined bass, and a lush midrange. "When the RM-200 Mk.II was in my system, I wanted for nothing," said MF. JA noted "superb measured performance for a tubed design." Hand-wound output transformers, add $1000; tube bias balance control, add $800. (Vol.34 No.12 WWW)

Octave Audio RE 290: $8500 ★
Made in Germany, the beautifully built, 75Wpc RE 290 is a push-pull design with class-A/B output stage and adjustable bias for each tube. It uses KT88 or KT120 power tubes, provides a single set of binding posts optimized for a 4 ohm load, and has a switch-activated power-saving mode. The RE 290's well-balanced sound was marked by tight bass, clean mids and highs, and excellent dynamic range, said EL. JA noted impressive measured performance. Compared to the Audio Research Ref 150, the Octave had better-controlled bass but lacked soundstage size, transparency, and tonal color, said EL. The optional Black Box ($1200) and Super Black Box ($3500) hook up to the RE 290 via an umbilical cord and respectively increase the capacitance four- or tenfold. (Vol.36 No.1 WWW)

PrimaLuna DiaLogue Premium: $3199
Rated to deliver 25Wpc in Triode mode or 42Wpc in Ultralinear, the extremely versatile DiaLogue Premium is a push-pull design that uses six 12AU7 and four EL34, KT88, or KT120 power tubes. Like other PrimaLuna models, it offers: an LED-based Bad Tube Indicator system for the output tubes; a Power Transformer Protection circuit; an Output Transformer Protection circuit; an AC Offset Killer circuit intended to eliminate hum; and an Adaptive Autobias circuit. With every recording AD played, the DiaLogue Premium exhibited an open, clear, and dramatic overall sound, with good tonal balance, realistically weighty bass, and remarkable spatial depth. "A very strongly recommended amplifier and a hell of a good value," AD concluded. Due to the amp's high output impedance and its rising distortion when the load impedance drops below the nominal value of the output-transformer tap, careful matching with the user's loudspeakers is mandatory, cautioned JA. (Vol.37 No.2 WWW)

Shindo Cortese: $10,995 ★
Like a sax player who can't make himself perform the same solo twice, the late Ken Shindo brought a certain artistic restlessness to the design of his hand-made tube amplifiers; the 10Wpc Shindo Cortese—the least expensive of his single-ended amplifiers and the only one built on a stereo chassis—has now been recast, offering the same essence but with slightly different phrasing. The Cortese's input circuit now uses two 6AW8A pentode/triode tubes per channel instead of one, its bias-supply circuit is laid-out somewhat differently, and the Sprague Black Beauty coupling caps have given way to Orange Drops; Allen-Bradley carbon-comp resistors, Siemens F2a indirectly heated output tetrodes, a ginormous Denki power transformer, and Shindo-designed Lundahl output transformers, the single secondaries of which are tailored to high-impedance loads, remain. The sound is punchy and very vivid, with exceptional drive and a bit less gooshiness than its immediate predecessor, says AD, who found it a particularly good match with the DeVore O/96 loudspeaker. (Vol.30 No.7 WWW)

Shindo D'Yquem monoblock: $24,995/pair
Shindo's newest mono amp produces up to 18W from a parallel pair of Russian-made Genelex 300B directly heated triode tubes, operated in single-ended, pure class-A mode. Like all Shindo designs, the D'Yquem is made from a careful mix of modern and vintage parts and has beautiful steel casework finished on all surfaces in the company's trademark shade of green. While the D'Yquem shared with other Shindo models an excellent ability to portray music's natural color, texture, impact, and momentum, it added an especially clean and colorful low end, said Art. (Vol.37 No.2 WWW)

Shindo Haut-Brion: $10,995 ★
Like earlier models, the latest Haut-Brion uses two matched pairs of the rare 6L6GAY pentode tube to deliver 20Wpc. The output section is a fixed-bias design, with a regulated bias supply and individual adjustment pots for each of the four output tubes, while the output transformer is a C-core Lundahl model made exclusively for Shindo. Unlike earlier models, the new Haut-Brion has three 6AW8A triode/pentode tubes per channel, uses a pair of Alps 250k ohm potentiometers, and forgoes global feedback. Though it lacked some low-frequency tightness, the new Haut-Brion created an enormous soundstage and showed impressive force. "The amp was the pizzicato king," said AD. (Vol.35 No.2 WWW)

Thöress 300B monoblock: $12,995/pair
The single-ended, feedback-free, hand-wired Thöress 300B mono power amplifier, made in Aachen, Germany, delivers 8W into 16 ohms. Its unique input section is designed around a pair of new-old stock Telefunken EL803S pentode tubes used as triodes, and its fixed-bias output stage is set at the factory: Apart from its power switch, the 300B's only user control is an anti-hum pot for its DC-heated output tube. The Thöress 300B, whose build quality impressed AD as "masterful," delivered "an exceptionally good sense of touch" in his SET-friendly system. It also "distinguished itself as a 300B-tubed amplifier with a little more treble extension than usual," and earned praise as "a lively, colorful, tactile, well-textured, unambiguously musical amp." JA declared that, "Overall, the Thöress 300B monoblock measures well for a SET amp." Mr. D concluded: "Highly recommended for anyone who has both the means and a sympathetic playback system." (Vol.38 No.4 WWW)

Vandersteen M7-HPA monoblock: $52,000/pair
The M7-HPA is designed for use with Vandersteen's Model Seven loudspeaker: this High-Pass Amplifier rolls off its output below 100Hz, in deference to the onboard 400W amp that powers the Seven speaker's 12" dual-cone subwoofer. Other distinctions abound, including the M7-HPA's single-billet aluminum chassis with elastomer-suspended internals, twin-tube balanced input stage, single-ended solid-state output stage, 10-stage power supply with extensive protection circuitry, and (silent) pump-actuated liquid-cooling system in place of heatsinks. JA's very positive comments on the sound of the M7-HPA are, of course, inseparable from his comments on the Model Seven itself (see elsewhere in this issue's "Recommended Components"), but he did try using the Vandersteen amps with a pair of KEF LS50s, whose limited bass extension rendered the pairing technically—if not economically—reasonable. JA noted in particular that the amp "sounded sweet without any attenuation of the high frequencies," and concluded by wondering what a full-range M7-HPA might sound like. Note that, during the review, both M7-HPA samples shut down owing to physically broken plate-load resistors—failures linked to rough handling of JA's much-traveled demonstration pair. Writing from his test bench, JA noted that the Vandersteen monoblock not only measures well for an amp with no feedback, "it measures well, period." (Vol.39 No.5 WWW)

VTL MB-450 Series III Signature monoblock: $20,000/pair ★
Rated to deliver 425W (tetrode) or 225W (triode) into a 5 ohm load, the MB-450 III uses eight 6550 output tubes, a 12AT7 input tube, and a 12BH7 driver. Revisions to the Series II include a redesigned, fully balanced differential input stage, a lower-impedance output stage, premium Mundorf capacitors, and a shorter, faster, fully balanced negative-feedback loop. While the VTL sounded soft and "tubey" in triode mode, its tetrode performance was marked by an expansive top end, unusually fast attacks, clean decays, and well-controlled bass. "A significant evolutionary advance" over its predecessor, said MF. Because it provides lower distortion into higher impedances, the MB-450 III will sound best with higher-impedance speakers, JA advised. (Vol.34 No.4 WWW)

VTL Siegfried Series II Reference monoblock: $65,000/pair
VTL's Siegfried Series II Reference weighs an abdominal-wall-challenging 200 lbs and uses a dozen 6550 beam tetrode tubes to produce 330W in triode mode or 650W in tetrode mode. High-tech touches abound: A microprocessor delays and ramps up the output section's B+ rail on power-up and enables (reasonably) fast switching between triode and tetrode modes. And rather than use an output transformer with multiple secondaries—an approach that designer Luke Manley considers a sound-sapping compromise—the Siegfried Series II Reference has a trannie optimized for a 5-ohm load, plus a four-setting feedback control to adjust the damping factor as needed. In MF's system, where tetrode was the preferred mode (with damping factor set to Medium, and with occasional forays into triode), the VTL sounded three-dimensional, with "slam not in spades, but in dump trucks full!" MF reveled in the VTLs' midrange creaminess, while acknowledging the slightly greater transparency of the darTZeel NHB-458 monoblocks—and noted that the Siegfried II Reference was "as neutral and uncolored as any tube amp I've listened to." (Vol.37 No.5 WWW)

B

Audio Alchemy DPA-1M monoblock: $3990/pair
The resuscitation of Audio Alchemy brings with it a new line of relatively affordable electronics—including the Peter Madnick–designed DPA-1M monoblock. A class-D amp based on Hypex's UcD modules, this compact amplifier (10.4" wide by 3" high by 11.5" deep) is specced at 325W into 8 ohms and 500W into 4 ohms. When used to drive his Wilson Sabrina loudspeakers, the DPA-1Ms impressed RD with "their clear, open sound, resolution of fine detail, dynamics, and freedom from coloration," though he felt the (more expensive) Theta Digital Prometheus monoblocks reproduced music "with more body." Writing from his test bench, JA praised the Audio Alchemy for its "astonishingly high output power for such a small, lightweight amplifier," but cautioned that speakers whose impedances drop below 4 ohms "are best avoided." (Vol.39 No.9 WWW)

Channel Islands Audio E•200S: $2500 $$$
California-based Channel Islands Audio, aka CIAudio, manufactures a variety of solid-state electronics, the E•200S being at the top of their line of stereo power amplifiers. This class-D amp offers single-ended (RCA) and balanced (XLR) inputs, its differential input stage driving a set of Bruno Putzeys's well-regarded Hypex modules that produce 200Wpc into 8 ohms. JM described the sound of the E•200S as "coherent from bottom to top," adding that the CIAudio amp had "high resolution, authoritative bass control, and, yes, tonal neutrality in spades. It also projected a very large soundstage with a very quiet background." JM suggests that the E•200S deserves our $$$ rating for very high value. (Vol.38 No.6 WWW)

Lindell AMPX: $1595 $$$
Made in Sweden, the 20Wpc AMPX is a single-ended, dual-mono, class-A power amplifier with balanced XLR inputs. Designed primarily for pro-audio applications, the AMPX measures 18.8" W by 3.5" H by 17.4" D, and its faceplate, machined for rack mounting, is dominated by two large, blue power meters, calibrated to show watts into 8 ohms. Driving Opera's Callas loudspeakers, the AMPX was lively, detailed, and "unfailingly musical, sounding both powerful and revealing," said JM. "A great amp and an amazing bargain," he concluded. As long as it isn't used to drive loudspeakers with impedances that drop significantly below 4 ohms, the Lindell should perform well, concluded JA. (Vol.36 No.12, Vol.37 No.1 WWW)

NAD Masters Series M22: $2999
With an output stage based on the Hypex NC400 NCore module, the class-D M22 is rated at 300Wpc into 8 ohms, and is described by its manufacturer as being DC-coupled from end to end, without so much as an output-blocking relay. Our review sample's packaging was of notably high quality, and the compact M22 impressed KR with its solid feel—but, as with NAD's similar Masters Series M27 amplifier, he was frustrated by the lack of tactile feedback in the soft-touch standby switch recessed into the M22's top front edge. That hurdle cleared, KR set about listening, and he praised the M22 for conjuring "a big, wide soundstage populated with colorful instruments and voices." In KR's words, the M22 "is more than fair value in view of its compact size, excellent build quality, the wallop necessary for staggering volume levels, a tolerance for driving difficult loads, and, most of all, its transparent sound." From his test bench, JA reported that the M22 delivered more power than specified, and was so low in noise that he had to alter his test regimen to ensure that he was measuring actual distortion—which was itself very low. His conclusion: "It is the very model of a modern class-D amplifier!" A "slight loss of delicacy" keeps the M22 from Class A, feels KR. (Vol.39 No.3 WWW)

Raven Audio Spirit Mk.2 monoblock: $13,990/pair
Designed in Korea by S.E. Han and built in Texas by tube enthusiast Dave Thomson, the Spirit Mk.2 is a hand-wired mono amplifier that uses a push-pull pair of 300B direct-heated triode tubes to produce 26Wpc. The Spirit Mk.2 is tube-rectified, thanks to a pair of 5AR4 diode tubes; they and all six of the amp's small-signal tubes are new-old stock (NOS) items from Thomson's collection. In his own flea-watt-friendly system, AD found the Ravens comfortable with high playback levels, at which they "maintained their poise and clarity," and praised the amps' "flow and general clarity of rhythmic purpose." AD's verdict: "I believe that this Raven deserves more than a second look and listen." (Vol.38 No.5 WWW)

Rogue Atlas Magnum: $2195 ★
Magnum upgrades over the basic Atlas (reviewed by Fred Kaplan in March 2007), include larger, quieter power supplies; polypropylene bypass capacitors; Dale-Vishay resistors in critical spots; sturdier binding posts; gold tube sockets; and the option of KT90 or KT120 output tubes, to increase the specified power rating to 90 or 120Wpc, respectively. EL preferred the fuller, more extended sound of the KT120 output tubes, and appreciated the Atlas Magnum's well-balanced character: "This amplifier had enough dynamic power, enough timbral accuracy, enough soundstage illusion, enough resolution, and enough musicality to turn off the analytical part of my brain and let me simply listen to music." JA was disappointed with the Rogue's lack of high-frequency linearity. Stock Atlas models can be upgraded to Magnum status for $650. (Original, Vol.30 No.3 WWW; Magnum, Vol.35 No.4 WWW)

Sophia Electric 91-01 300B monoblock: $4999/pair
The 9W (3W at 1% THD) Sophia Electric 91-01 300B is a single-ended power amplifier designed around the 300B directly heated triode tube, operated without negative feedback. The input stage is capacitor-coupled to the signal grid of one of Sophia's own Princess Mesh Plate 300B tubes, and both the mains and output transformers are designed and made in-house. Inside, the Sophia exhibited haphazardly routed point-to-point wiring, some sloppy solder joins, and under-insulated capacitor leads. Though its overall sound was slightly dark and lacked some top-end sparkle and mid-treble openness, the Sophia provided decent color, very good texture, and acceptable senses of touch and force, said AD. JA was concerned about some idiosyncratic aspects of the design. (Vol.36 No.12, Vol.37 No.1 WWW)

Spec RPA-W7EX Real Sound: $5995
Created by a pair of Japanese audio designers with experience in both small-scale DIY tube-amp projects and large-scale consumer-audio manufacturing, the RPA-W7EX Real Sound is a class-D amplifier that swims against the class-D tide. Rather than relying on IcePower or NCore modules, the Spec uses a hybrid approach, integrating the driver and DirectFET MOSFET of International Rectifier's AUDAMP4 with a PowIRaudio module. From there, attention is focused on tuning the amp with select paper-in-oil capacitors and hardwood slabs strategically placed on its steel case. (The wooden parts also form the Spec's three support feet.) In KM's system, the RPA-W7EX provided so much gain that he couldn't turn the volume knob of his Shindo preamp past 7 o'clock; the remedy—the need for which was evidently foreseen by Spec—was the use of the company's H-VC1 hardwired external volume control ($400), a special jack for which is found on the amp's rear panel. Once the RPA-W7EX was up and running, KM reported that it "had qualities I usually associate with tube amplification: sweet 'n' saturated tonal colors and palpable instrumental textures, coupled to startling microdynamics that left me slack-jawed in wonder." The RPA-W7EX did not, however, impress on the test bench: JA reported that "the Spec RPA-W7EX emitted more RF interference than I have encountered with other class-D amplifiers," and concluded his remarks by describing the Spec as "not an amplifier that can be universally recommended, I feel." In a Follow-Up, AD praised the Spec for challenging his tubed Shindo Laboratory Haut-Brion in the areas of color, texture, and scale, while noting the RPA-W7EX's rather different tonal balance of "less bottom-end weight [and] a little more midrange sun." (Vol.39 Nos. 3 & 4 WWW)

Editor's Note: There are no amplifiers listed in Class C and D.

K

Classé Sigma Mono monoblock, Pass Labs XA60.8, Shindo Corton-Charlemagne, PrimaLuna Prologue Premium.

Deletions
Classé CA-M600 and CT-M600, mbl 9007 Noble Line, monoblocks no longer available; Ypsilon Aelius monoblock replaced by new model; Anthem Statement M1 monoblock not auditioned in a long time.

COMMENTS
germay0653's picture

For the past three years not one Pro-ject turntable has been in the recommended list but there is always some number of Music Hall models recommended. I believe they're made at the same factory, some even share the same arms. I'm not trying to take away anything from Music Hall because they're fine turntables but this just seems a little biased maybe.

jdaddabbo's picture

Having read and re-read many times over reviews for such speakers as the KEF R700, Monitor Audio Silver 8, B&W 683 S2, GoldenEar Triton One and Triton Five... I am finding it quite confusing to see the Triton Five listed under Class C. So I re-read all of them yet again, and then immediately doubled back to the R700, Silver 8, and Triton One... and still I'm expecting to see the Triton Five also listed under Class B. Can someone please help me understand what I am missing? Is it that I am not taking away strong enough some things stated about the Triton Five, or is it maybe that I am taking away to strongly comments made of all the others, which in either case is having me feel that all 5 speakers belong under Class B (or simply under the same Class). Thank you very much for any guidance you can give me! Ps. I'm currently in the market for 3 pairs of speakers for use in my new Home Theater setup and therefore both the Silver 8 and Triton 5 were looking quite good at their respective price points.

John Atkinson's picture
jdaddabbo wrote:
I am finding it quite confusing to see the Triton Five listed under Class C. . . Can someone please help me understand what I am missing?

When I polled the writers for their recommendations, the balance of opinion was that the Triton Five didn't quite reach the standard set by the other speakers. But it was a close call. If you like the sound of the Triton Five, don't worry about the rating - as it says in the introduction, we still recommend it.

John Atkinson
Editor, Stereophile

George Napalm's picture

I noticed that Music Hall MMF-7.3 is listed as Class B component. But despite being the cheapest turntable in this category it doesn't have a "$$$" mark...

User5910's picture

Re: "The SubSeries 125 (originally called SubSeries 1)"

It looks like the predecessor was the SubSeries 100 based on your 2014 Recommended Components article. The SubSeries 1 is ported, unlike the 100 and 125.

http://www.stereophile.com/content/2014-recommended-components-subwoofers

Marc210's picture

Are measurements correlated with listening experience(s) ?!

sophie1511's picture

That power amp showed in the picture looks more like over the range microwave...Lol. Jokes aside, i have been using Gemini XGA-2000 Power Amplifier and its been over a year since I purchased it.

I still have no problem or concern with it. It is highly recommended from my side.

ww85's picture

2016 was the worst. So it should have been no surprise to me that the Sonos Connect (aka ZP80/ZP90) finally fell off this list. Back in 2006, I had already been looking for years for something that seemed it should have been common sense simple. A way to take my entire cd collection and play it it all through my stereo without compression or having to leave the couch. After all, the files are digital and digital is digital… Once you get past the cost (and labor) of storing them on an external hard drive, it should just be a matter of getting the files to play on your system. What seemed like something that should be pretty straight forward turned out to be a major undertaking for the "industry"... Then along came Sonos with aspirations for a simple way to put music in every room of a house digitally. Speakers were built into amps, they marketed to people who used to love those cool looking B&O systems of the 80’s and 90’s. Fair enough... But when reading John Atkinson’s review of this new system, the proverbial lightbulb went off in my head. With regards to the ZP80, the processor that could be dropped into an existing system, it was exactly the answer I had been looking for. On top of that, it was cheap, sounded great if you used the digital out to a good Dac, (and measured well too) and once purchased, revealed a great interface from my ever present lap top that made it the most life changing component I ever owned. That is not just nostalgia talking. The Sonos ZP80 made listening to anything you wanted listen to, any song that ever popped into you or your kids head, just one click away. The music was CD quality and it was playing on my modest (but beloved) system. The queue feature let you add songs to your playlist as you thought of them. All of that for $349 in a box that is still available, and apparently, still looked down upon by high enders… When I read that review in 2006, not only did I see the interface I had always wanted, but what seemed like an apparent conundrum for the audiophile community. If you can take a cd and burn it to any hard drive, well, there goes the need for high end transports (and who knows what other components) And sure enough, after JA’s review, there seemed to be lots of backlash. The parts in the ZP80 were crap for God’s sake! Mods were out almost instantaneously. I was attracted to them of course, but in retrospect, I think everyone (me included) missed a salient point from JA’s review- “The Sonos can take the digital output from the NAS drive and convert it for you, or send it unmolested to your favorite DAC.” Unmolested! That was and is the beauty to the whole thing and what I think was and is being missed by a whole generation of audiophiles on a budget. With a simple setup, the Sonos Connect/ZP80/ZP90 can make the most modest stereo sound better than anything an mp3 weened music lover could imagine. I know, I did it in my NYC loft for family and friends for years. They always wanted to know where that music was coming from. Why was that song we were just talking about playing all of a sudden…
Of course, the system is not perfect and I’m always looking for better. Especially after visiting a local high end store and listening to them giggle when they find out what my front end is. (Not that they have any idea how I have it configured.) They hear the word Sonos and assume I’m listening to compressed files on powered speakers. “No” I protest. “I listen to lossless files…” They smirk and say ok, but the parts on that thing are a joke… I try to add that I just pass the signal digitally through it to a Bel Canto Dac, but no, he’s tuned out… He just wants me to hear that 5K music server that will blow me away. And that suggestion on his part was earnest. I did listen. I have looked. And overall, I find the same difficulty now in shopping for a new front end as I did back then. In addition to the sound, the way you access that sound, the interface, the playlists, the streaming services that work on the equipment are all major factors in how you use it on a day to day basis. Sonos has that stuff figured out to a large degree and I see nothing out there that does all that at anywhere near the price… I would say the way I use it almost constitutes a hack, because it’s not really what Sonos as a company is about. It’s also not how I’ve seen any other reviewer talk about it in ten years. Which is a shame, because it works really well and sounds better than it has a right to….

John Atkinson's picture
ww85 wrote:
2016 was the worst. So it should have been no surprise to me that the Sonos Connect (aka ZP80/ZP90) finally fell off this list.

As my original review was 10 years ago and the product has been changed since then, I didn't think appropriate to keep it on the list. But if the Sonos is still working well for you, that's what matters.

John Atkinson
Editor, Stereophile

ww85's picture

Thanks for the reply. It wasn't intended as a criticism for leaving it off the list and hope it doesn't read that way. Maybe it was more of a eulogy for an over performing old favorite and a thanks for reviewing it in the first place...

GustavoS's picture

I have been reading and reading for 100 times the Recommended Component Lists and am counting the days for the update in March. It is a tremendous help for some of us who have not the product offer available in the US or Europe. After reading extensively many, many reviews of different speakers, I have found that rock music is not always present (a site dedicated to vintage audio, fan of Tannoy Gold 15, has expressed that one the best track tests is the Anarchy in the UK single, 45 rpm, as it says that the track is very well recorded but only a very good speaker can manage the complexity of the track). Then, I would like to know what the "best" speakers below the 3 kusd line are:

- Kef R300
- ATC SMC 11 with subwoofer?
- MA Gold 50
- Polk LSim 703
- W. Jade 3
- Sonus Faber Venere 1.5 (auditioned it against the Paradigm Studio 20 vs, and I liked a litlle more the Paradigm)
- Dynaudio x14
- Dynaudio Emit M20
- Revel m106
- Others?

Your help will be very, very much appreciated.

Best regards from Argentina,
Gustavo