Solid State Power Amp Reviews

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John Atkinson Posted: Dec 30, 2013 Published: Jan 01, 2014 11 comments
Whereas the Pass Labs preamplifiers are designed by Wayne Colburn, the power amplifiers are the work of company founder and high-end audio veteran Nelson Pass, who even lays out his own circuit boards. The X-model amplifiers, beginning with the X1000 in 1998, were the first implementation of Nelson Pass's patented Supersymmetry topology (see "Nelson Pass on the Patents of Pass"). The XA series, which debuted in 2002, combined Supersymmetry with the single-ended class-A operation of the Aleph series. The XA.5 models offer detail improvements over the XAs.
Erick Lichte Posted: Apr 12, 2011 7 comments
Audio reviewers are kinda slutty. Not sexually, of course, but in the way we promiscuously go through equipment. Like the most popular girl in school, or Tiger Woods, we have our choice of any hot thing we want, whenever we want it. Heck, reviewers don't even have to pick up equipment at bars or clubs: the stuff is delivered right to our homes. We use the gear for a few months, then send it packing once the next hottie comes over to play in our room.
Wes Phillips Posted: Sep 03, 2006 Published: Apr 03, 1997 0 comments
Man, you've got to watch out for those preconceived notions—they'll kill you every time. For the last several years I've seen Plinius amplifiers at hi-fi shows and—even though I didn't know the first thing about the company or its products—figured that I knew what they were all about. Spotting their brawny façades festooned with feathery heatsinks, I smugly assured myself that they were some kind of antipodean pretender to the muscle-amp throne—Krell or Threshold wannabes.
Paul Bolin Posted: May 21, 2006 0 comments
Nowadays, when most people think of New Zealand, the first things that probably come to mind are the film trilogy The Lord of the Rings, its director, Peter Jackson, or sheep. Certainly, LOTR was a great achievement in film history and, as its auteur, Jackson reaped no small fame for his efforts, as well as multiple Academy Awards and several krillion dollars. The country is also well known as a place where sheep outnumber humans by something like 12 to 1. However, New Zealand is also the source of some very fine audio equipment; both Perreaux and Plinius are proudly headquartered in beautiful, serene, friendly Kiwiland.
Wes Phillips Posted: Sep 23, 2006 0 comments
When most of us think about the folks who populate the high-end audio industry, we tend to conjure up the designers—the names above the titles, as it were. Or, in many cases, the names that are the titles: Richard Vandersteen, Jim Thiel, Bill Conrad and Lew Johnson, Mike Creek, to name just a few.
Posted: Dec 29, 1995 Published: Dec 29, 1985 0 comments
Several issues back, I mentioned a major "new wave" of power amplifiers coming along: the Adcom 555, the New York Audio Labs transistor-tube hybrids, and the latest Krells, for example. They demonstrate that major audible improvements are still possible in something as well-explored as the power amplifier. Not only that, some of these products demonstrate that superior performance can be combined with relatively low price.
Posted: Oct 15, 2002 0 comments
I have a way of grating on people's nerves. Ask Marina, my wife. She calls it my "mean streak."
Posted: Aug 01, 1995 Published: Aug 01, 1976 0 comments
This is something we don't see too often: an entirely new approach to power amplifier design. As Quad points out in its literature for the 405, class-A operation of transistors provides the lowest distortion, but drastically limits the amount of power an output transistor can deliver without overheating. (Most transistor amps use class-AB output operation, in which each of a pair of power transistors handles part of each signal cycle and shuts down during the other part. Imperfect synchronism between the two halves causes the familiar "crossover distortion," which accounts for most solid-state sound. In class-A operation, each output transistor draws current though the entirety of each signal cycle, eliminating the crossover transition but doubling the amount of time current is drawn, and thus tending to cause the transistor to heat up more.)
Kalman Rubinson Posted: Mar 30, 2002 0 comments
What could be easier to review than a power amplifier? No features or functions aside from inputs, outputs, and a power switch. So when Jonathan Scull asked if I could help out by taking on the Rotel RB 1080, which another reviewer hadn't been able to get to, I accepted the assignment. Before I could click my heels and say "FedEx!" twice, Rotel's 200Wpc RB 1080 had appeared.
Robert Deutsch Posted: Feb 05, 2006 Published: Jan 05, 2000 0 comments
An amplifier producing nearly 400Wpc, weighing close to 100 lbs...from Rotel, of all people? Don't they know their place in the audio world? Next thing you know, Krell will start making integrated amplifiers! Oops—Krell is making integrated amplifiers...
Corey Greenberg Posted: Nov 02, 2009 Published: Oct 02, 1993 0 comments
Okay, here you are: You're a Real World music lover trying to sling together a Real World hi-fi rig. You gotcha budget-king NAD/Rotel/JVC/Pioneer CD player, your SOTA Comet/Sumiko Blue Point analog rig, and your cool-man NHT/PSB/Definitive Technology entry-level speakers. Hell, you've even gone out and bought a few pairs of Kimber PBJ interconnects to hook it all up. This ain't no dog and pony show—you want that High-End High, not just some cheap'n'cheerful, low-rez rig to stick in the rumpus room so the kids can listen to that weak-ass, faux-grunge, watered-down Hendrix-howl that modern-day wimp-boys like Pearl Jam dish out to anyone under 30 who doesn't know any better.
Robert J. Reina Posted: Mar 03, 2007 Published: Aug 03, 1999 0 comments
As a reviewer who has focused on seeking out high-quality audiophile gear for cost-constrained readers, I'm embarrassed to say that the flagship RB-991 stereo amplifier is the first Rotel product I've had in my house. (To be fair to myself, this 38-year-old family-owned company did not develop a large US market presence until this last decade.)
Fred Kaplan Posted: Jul 30, 2015 6 comments
In the May 2015 issue, I fairly raved about Simaudio's Moon Evolution 740P line-stage preamplifier, and now here I am confronting its Moon Evolution 860A power amp. The two are companion models of sorts, with prices of $9500 for the 740P, $15,000 for the 860A—and for much of the time I spent listening to the 740P it was hooked up to the 860A, so some of the descriptions of sound in this review will seem familiar. The two components are both products of the same design shop—Simaudio, Ltd., of Quebec, which has been a prominent brand in high-end audio for 35 years—and are often marketed as a pair, so it should be no surprise if they have a common sound.
Brian Damkroger Posted: Jun 14, 2013 17 comments
In the September 2005 issue (Vol.28 No.9), I reviewed Simaudio's first reference-quality power amplifier: the 1000W, 220-lb Moon Rock monoblock ($37,000/pair). At the time, the Rock was a dramatic departure for Simaudio, then primarily known as a maker of midpriced gear that was good for the money. I found a lot to like about the Rock, concluding that while it wasn't quite up to the standard of the best superamps of the time, it was very good—and, for Simaudio, an admirable first shot at the state of the art.
John Atkinson Posted: May 26, 2009 0 comments
When I reviewed the Moon Evolution P-7 preamplifier ($6900) from Canadian manufacturer Simaudio in March 2009, I was impressed by the qualities of both the audio engineering and the sound. It was a no-brainer, therefore, to follow that report with a review of the matching power amplifier, the Moon Evolution W-7. In March 2006 Kalman Rubinson reviewed Simaudio's Moon Evolution W-8, which offered at least 250Wpc into 8 ohms (I measured 310Wpc at clipping). The W-7 looks identical to the W-8, but is 10 lbs lighter, offers 150Wpc into 8 ohms, and retails for $8900 compared with the W-8's $13,500.

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