Solid State Power Amp Reviews

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J. Gordon Holt Various Posted: Apr 29, 1995 Published: Aug 29, 1984 0 comments
I must admit that even before I connected up this amplifier I was put off by the accompanying literature. B&K makes some persuasive points about the validity (or rather the lack thereof) of some traditional amplifier tests, but the literature was so loaded with flagrant grammaticides, syntactical ineptitudes, and outright errors that I could not help but wonder if the same lack of concern had gone into the product itself (eg, the term "infrasonic" is used throughout to mean "ultrasonic"). Good copy editors aren't that hard to find; B&K should have found one.
Michael Fremer Posted: Jun 26, 2015 4 comments
Stereophile normally doesn't review audio systems. We review individual components. We've made an exception for the Bel Canto Black system because it deserves to be evaluated as such. It consists of three dense, almost identically sized cases of black-anodized aluminum. One, the ASC1 Asynchronous Stream Controller, is what in a conventional system would be called a "preamplifier." The other two, a pair of MPS1 Mono PowerStreams, would in a conventional system be called "monoblock power amplifiers."
Kalman Rubinson Posted: Mar 04, 2001 0 comments
The word on Bel Canto's upsampling DAC was already out when I visited their room at the 2000 Consumer Electronics Show looking to get one of the first samples. But despite my protestations, all Bel Canto's Mike McCormick wanted to talk about was their company's new digital amp, the eVo 200.2. Sure, there's a future out there in which all sources will be digital and D/A conversion will occur in the speaker (or later?). But today, I see no practical advantage in a digital amplifier with only an analog input. It may be more efficient and it may be new technology, but the amplifier has got to stand on the same footing as any analog design and justify its existence by the way it sounds. The eVo did make a good case for itself at the demo, so I signed up to get one for review.
Kalman Rubinson Posted: Jul 06, 2010 Published: Mar 06, 2009 1 comments
I've been enthusiastically tracking the development of Bel Canto's class-D amplifiers, from their original TriPath-based models to their more recent designs based on Bang & Olufsen's ICEpower modules. With each step, Bel Canto has improved their amps' sound quality and reliability.
Kalman Rubinson Posted: Oct 30, 2015 13 comments
I first saw Benchmark's AHB2 stereo power amplifier at the 2013 Convention of the Audio Engineering Society, in New York City. On silent display in Benchmark's booth on the convention floor, its compact size and comprehensive features made the amp immediately attractive, and the design was described as a departure from traditional analog and digital amplifiers. It was also explained to me that the AHB2 was based on designs by Benchmark's founder, Allen H. Burdick (whose initials it bears). By the time of Burdick's retirement, in 2006, Benchmark didn't yet offer a power amplifier, but the company used a prototype based on his work to evaluate their new digital products, and that amp was soon developed as a commercial product; Burdick died just weeks before the AHB2, now named in his honor, was shown at the 2013 AES convention.
Kalman Rubinson Posted: Feb 28, 2001 0 comments
I've been attending the annual Consumer Electronics Show for years, and usually come away with the impression that there are too many "me-too" products. I see a numbing similarity of approach of manufacturers within a chosen discipline: solid-state power amps in black and silver bristling with heatsinks, single-ended triode amps with their glow reflecting from bronze or wood panels, MCPU/DSP-centered devices with sleek, flat cases and intimidating remote controls, etc.
Sam Tellig Posted: Dec 24, 2014 Published: Nov 01, 2000 4 comments
Can an $18,000 power amplifier be a bargain?

Can an $18,000 wristwatch?

Jonathan Scull Posted: Sep 02, 1998 0 comments
How much power do you really need? How much power can you actually use? What's necessary, and what's icing on the cake? And does anyone really need 1000Wpc?
Dick Olsher Posted: Oct 03, 2008 Published: Aug 03, 1986 0 comments
Yet another amp from Colorado! This is the third amp to come my way from that state (the others being the Spectrascan and the Rowland Research), and at this point, after living with it for a couple of months, I'm quite comfortable in declaring the Boulder 500 to be one helluvan amp.
J. Gordon Holt Various Posted: Apr 11, 2008 Published: Oct 11, 1991 0 comments
To high-end audiophiles, the Boulder 500 amplifier and its less expensive derivative, the 500AE (Audiophile Edition), would not seem to be "high-end" designs. They are designed around op-amps (felt by many to be generally poor-sounding), they have scads of negative feedback (which is perhaps why op-amps sound bad), and they have only a moderately hefty power supply. Why, then, is Stereophile publishing a review of an op-amp–based power amplifier? Read on...
Fred Kaplan Posted: Dec 23, 2007 0 comments
Boulder Amplifiers, named after the Colorado town where the company has resided since its founding 23 years ago, makes some of the most elegant-looking solid-state amps around. Chassis are anodized, aircraft-grade aluminum with rounded edges, machined and finished in-house. The two models reviewed here, the 810 line preamplifier and the 860 power amplifier, each have a sleek, compact build—stacked atop each other, the two stand just over a foot high—owing to extremely efficient packing of the circuitry inside. These are the company's "entry-level" electronics, but there's nothing cheap about them—the preamp retails for $6900, the amp for $8500—and for all their economical size, they look like luxury goods as well.
Michael Fremer Posted: May 01, 2015 8 comments
Google Bricasti and all that comes up are sites relating to Bricasti Design products. The name must be fanciful—it sounds Italian, but cofounders Brian Zolner and Casey Dowdell most likely are not, and the company's headquarters are not in Milan or Turin but in Massachusetts.

While its name might be whimsical, nothing else about Bricasti is. As John Marks reported in his review of Bricasti's M1 DAC in the August 2011 issue, both founders previously worked at Lexicon: Dowdell as a DSP-software engineer, Zolner as international sales manager. Bricasti develops its products in conjunction with Aeyee Labs, formed by a group of ex-employees of Madrigal Audio Laboratories and based in New Haven, Connecticut.

Larry Greenhill Posted: Nov 08, 2002 0 comments
Talking to fellow audiophiles, I sometimes hear generalizations about power-amplifier design: "High-power amplifiers don't sound as good as low-power amplifiers." "Tube amps are more musical than solid-state amps." "Class-A circuit designs always sound better than class-AB." "Bridged amplifiers don't image precisely, throw deep soundstages, or have the transparency of non-bridged output stages." Etc.
Larry Greenhill Posted: Jan 31, 2008 0 comments
It was a hot, humid, New York City evening in early August, and I was thankful to be sitting in the air-conditioned dark of Avery Fisher Hall, up in the Second Tier, for a Mostly Mozart concert. Listening to cello soloist Alisa Weilerstein in Osvaldo Golijov's hypnotic Azul, I was suddenly jolted by an explosive mix of primitive cello sonorities, accordion, and staccato riffs on ethnic percussion instruments. My thoughts turned to the importance in music of both power and delicacy, and of how Bryston Ltd.'s 28B-SST, a 1000W monoblock power amplifier, was designed to address both.
Larry Greenhill Posted: Jul 10, 2005 Published: Oct 10, 1996 1 comments
Canadian electronics manufacturer Bryston Limited has been producing consumer and professional amplifiers since 1974 [see Robert Deutsch's interview elsewhere in this issue—Ed.]. Bryston amps are engineered to be physically and electrically rugged, to meet the stringent demands of professionals, many of whom leave their studio amplifiers turned on for years. While chassis had to be light instead of the audiophile massiveness found in some high-end consumer amplifiers, studio engineers and concert pros continued to favor Bryston amps, which easily passed the "steel toe" test. The 4B, for example, became a standard amplifier for recording engineers and touring musicians.


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