Solid State Power Amp Reviews

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Michael Fremer Posted: Mar 19, 2012 3 comments
As large as a small file cabinet and weighing 223 lbs, MBL's most powerful amplifier, the Reference 9011, is a tour de force of electronics design and implementation that will set you back $53,000 if you're a single-ended stereo enthusiast, or $106,000 if you like pure balanced mono.
Kalman Rubinson Posted: Nov 01, 2000 0 comments
Back in 1992, Robert Harley's Stereophile review of the McCormack DNA-1 and Parasound HCA-2200 amplifiers (April 1992, Vol.15 No.4) and the accompanying technical measurements piqued my interest. So, with great curiosity, I arranged to borrow a DNA-1 to audition, along with competitive amps from Aragon, Bryston, and PS Audio. They were all a leap ahead of my Adcom GFA-555, but it took an act of great courage to accept that, despite its less-than-stellar measured performance, the DNA-1 was my favorite. The bottom line was that the DNA-1 excelled at driving my Apogee Duettas to make lively and harmonically pure sounds. I bought my McCormack DNA-1 amplifier before I began reviewing equipment for Stereophile, and it still occupies an honored place in my system.
Robert Harley Posted: Apr 24, 1995 Published: Apr 24, 1992 0 comments
For many audiophiles, choosing a power amplifier is a vexing problem. Just how much must one spend to get true high-end sound and a solid build quality? How much power is really needed? And what amplifiers are suitable for driving low-impedance loudspeakers?
Jonathan Scull Posted: Mar 14, 2001 0 comments
While walking home from the office the other day I passed a gleaming, perfectly detailed Harley-Davidson, lightly customized, as many are these days. I didn't stop and drool, but I couldn't unsnap my eyes from it. As I drew parallel to that hawg, a Ricky Martin look-alike threw his leg over the saddle and thumbed the starter. No, you don't have to be a tattooed, beer-gutted redneck anymore to rear up and slam down on a kick-starter of one of those beasts. These days, it's all done with the push of a button. Dude.
Paul Bolin Posted: Aug 15, 2004 Published: Aug 01, 2004 0 comments
It's true—you never forget your first love. And no, I'm not talking about little Jackie Lynn Neeck in my second-grade class when I was seven years old. I still remember her, almost as vividly as I remember my first encounter with a fantastic stereo system, and therein hangs a tale.
Paul Bolin Posted: Aug 15, 2004 Published: Aug 01, 2004 0 comments
It's true—you never forget your first love. And no, I'm not talking about little Jackie Lynn Neeck in my second-grade class when I was seven years old. I still remember her, almost as vividly as I remember my first encounter with a fantastic stereo system, and therein hangs a tale.
Wes Phillips Posted: Jun 26, 2006 0 comments
Where does one start with the Moscode 401HR? With its design, which marries a tube driver stage to a MOSFET power output? Or perhaps with its designer, George Kaye, who refined Julius Futterman's OTL amplifier circuits before creating New York Audio Labs' original hybrid amplifier, the Moscode 300, in 1984?
Wes Phillips Posted: Sep 14, 2009 1 comments
It seems as if I came of audiophile age in the George Kaye era. The first truly high-end system I ever heard contained a pair of Julius Futterman OTL monoblocks that Kaye had "finished" after Futterman's death in 1979 (footnote 1). In the mid-1980s, I owned both an New York Audio Labs (NYAL) Superit phono section and a Moscode 300 amplifier—two lovely examples of high-value high-end. Both components were far from perfect, but they were fun—and, unlike most of the other components that were then highly regarded by magazines and listeners, I could afford them.
Robert Harley Posted: May 03, 2011 Published: Jan 01, 1990 0 comments
The name Muse Electronics is probably unfamiliar to most audiophiles, requiring some background on the company. Muse is the hi-fi offshoot of a company called Sound Code Systems, a manufacturer of professional sound-reinforcement speaker cabinets and power amplifiers. Founded in 1980, SCS enjoyed some success with its line of MOSFET professional power amplifiers. In 1988, SCS's Michael Goddard and Kevin Halverson, both audiophiles and tube aficionados, redesigned their amplifier for the high-end hi-fi market.

The results are the Model One Hundred (a 100Wpc stereo power amplifier) and the Model One Hundred Fifty ($1900/pair), the 125W monoblock reviewed here. According to Michael Goddard, the primary design goal was to achieve a tube sound with the reliability and ruggedness of transistors. MartinLogan CLS speakers were used extensively during the design/listen/design cycle. As a result of their listening auditions and redesign, many of the changes have now been incorporated into their professional products.

Corey Greenberg Posted: Apr 08, 2007 Published: Apr 08, 1991 0 comments
"I've know I've seen this amp before," I thought to myself when I lifted the $1200 Muse Model One Hundred out of the box, and I wasn't thinking of Robert Harley's review of the identical-looking Muse Model One Hundred Fifty reviewed in January 1990, either. No, I'd seen this amp before, somewhere else, in some other magazine, but with a different manufacturer's name.
Kalman Rubinson Posted: Sep 21, 2003 0 comments
It doesn't take much to read between the lines of Sony's discontinuation of the TA-P9000ES analog preamplifier and their introduction of the SCD-XA9000ES SACD player with IEEE1394 digital output at Home Entertainment 2003. (A similar feature from the DVD-Audio camp has been promised.) Surely, we will at long last be able to have external digital processing and DACs in our preamp or control units. In addition to the freedom to mix and match components, this opens the door to having a single digital component manage bass and channel balance for all sources, and room/speaker correction without redundant redigitization.
Kalman Rubinson Posted: Nov 26, 2006 0 comments
I've been tweaking my weekend multichannel system for years, but with my city system I've kinda faked it. I now realize that I listen more actively to the weekend system, and not only because that's when I have the time for it—the sound of that system is simply more engaging and psychologically immersive. So, with the growth of my library of SACD and DVD-Audio recordings to almost half the size of my CD collection, I told my wife that it was time to transform of "our" city stereo rig into a full-blown multichannel system.
Kalman Rubinson Posted: May 27, 2007 0 comments
Good things come in threes, they say. Well, three-channel power amps suit me just fine. My main component rack is at the back of the room, so I split power duties between a two-channel amp under the rack to drive my rear-channel B&W 804S speakers and, way at the front, either three monoblocks or a three-channel amp for the front three B&W 802Ds. I do this to ensure that the timbre of the front three channels is consistent. The outstanding performance of the Simaudio Moon W-8 dual-mono power amp (Stereophile, March 2006) almost tempted me to go with a stereo amp and a monoblock, but voicing and balancing a multichannel system with equanimity makes me want as much simplicity as possible. I guess manufacturers and users see it the same way; many new three-channel amps are coming on the market.
Kalman Rubinson Posted: Mar 30, 2009 Published: Mar 01, 2009 0 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: May 29, 2009 0 comments
The first time I ever heard stereo sound, it was in a shop on Manhattan's Radio Row. In addition to the Studer staggered-head tape deck, the system consisted of pairs of McIntosh C8 preamps, MC60 power amps, and monster Bozak B-310 speakers. I can still picture the room and almost hear the sound. I was then an impecunious high-schooler, and while I always strived to buy the best equipment I could afford, I unfortunately was never able to own any of these iconic products. However, when I saw McIntosh's new MC303 three-channel power amp glowing brightly on silent display at the 2008 CEDIA Expo, a light bulb went on over my head: I'd been assessing a series of three-channel and monoblock amps, and the MC303 would fit nicely into my New York City system.


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