Solid State Power Amp Reviews

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Michael Fremer Posted: Sep 04, 1999 0 comments
I've heard my share of Krells, Levinsons, Rowlands, and the like in other people's systems—expensive solid-state amplifiers are not my usual beat. With the exception of an inexpensive Adcom a few years back, for more than a decade I've owned and reviewed only tube amps. In fact, until the $7500 Ayre Acoustics V-1 showed up, I'd not had one in my system. Similarly, I'd had only tube preamps until I reviewed the Ayre K-3, which so impressed me that I asked to hear the more expensive K-1—and ended up buying it.
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.)
Robert J. Reina Posted: May 02, 2004 Published: Aug 01, 1999 0 comments
The story of New Acoustic Dimensions, aka NAD, begins in the late 1970s. The company was founded as a dealer distribution collective to design and market reasonably priced serious high-end gear to cost-constrained audiophiles. By eliminating needless features and focusing manufacturing in low-cost production facilities, NAD has successfully delivered audiophile-quality gear for 20 years at prices little more expensive than mass-market department-store schlock.
Jonathan Scull Posted: Jun 06, 2004 Published: Jun 01, 1999 0 comments
Pass Laboratories' X amplifier series represents the efforts of designer Nelson Pass to prove that simple linear amplifier topologies can be scaled to provide high-quality audio performance at very high power levels. The handsome X1000 monoblock under scrutiny here, the largest and most powerful amp in the Pass stable, makes 1000W into 8 ohms and a mighty 2000W into 4 ohms. The amplifier has no global negative feedback, and only two gain stages: the front-end provides all the voltage gain and feeds a high-current follower stage.
Jonathan Scull Posted: Mar 28, 1999 0 comments
What fascinates me about the High End are the electric personalities behind it. Manufacturers typically invest so much of themselves in the products they make. It's a divine madness—they do it because they have to. They're driven to it with a real sense of mission and excellence. But God forbid you criticize any of their offspring...ooo-la-la!
Kalman Rubinson Posted: Mar 07, 1999 0 comments
I first saw and heard SimAudio's Moon amp and preamp at WCES two years back, and something about their aesthetics appealed to me: Canadian ruggedness coupled with a decidedly French panache. I remember that those attributes also characterized the demo's sound, although I can't recall the speakers or the sources involved. At succeeding shows, it gradually dawned on me that the Moon components were the fixed elements in a succession of impressive demos.
Jonathan Scull Posted: Oct 10, 2004 Published: Jan 01, 1999 0 comments
Without passion man is a mere latent force and possibility, like the flint which awaits the shock of the iron before it can give forth its spark.—Henri-Frédéric Amiel
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?
Thomas J. Norton Posted: Mar 08, 1998 0 comments
Kinergetics Research was a name to be reckoned with in the early days of CD, when they produced some of the earliest well-received, audiophile-grade CD players. They've branched out since then, producing amplifiers, preamps, subwoofers, and surround-sound processors. In fact, they're so busy with such products that they no longer build CD players! The last Stereophile review of a Kinergetics CD player appeared way back in 1993.
Wes Phillips Posted: Jan 30, 1998 0 comments
Chances are you've never seen an amplifier quite like the Mark Levinson No.33H. That's because there's only one other amp that's anything like it: the Mark Levinson No.33, upon which it's based. Both amps are more tall than broad, looking almost as though they're resting on their ends; heatsinks cluster around their side-panels. In the city of the High End, the No.33 and No.33H are skyscrapers standing tall above the warehouses.
Steven Stone Posted: Apr 13, 2008 Published: Nov 13, 1997 0 comments
We all have biases. The trick is knowing your biases so they don't get in your way. Mine are pretty obvious. I don't like "fussy" gear that demands special care and feeding. I'm lazy—I want to just turn stuff on and begin listening. Perhaps that's why I have a positive bias toward Nelson Pass's designs. They're reliable, untweaky, and usually sound good.
Michael Fremer Posted: Oct 17, 1997 0 comments
Prejudice is bad—whether it's directed at people, places, or things. You know how it goes: digital is "bright," analog is "warm," solid-state is "brittle and etched," tubes are "smooth and soft" dynamic drivers are "low-resolution," electrostats and planars are "high-resolution" copper wire is "smooth," silver is "bright," etc. While putting everything that crosses your path into one box or another makes life simpler and seemingly more organized, the truth, musical or otherwise, usually gets mutilated in the process. Not that we all don't have preferences—but those are not the same as prejudices.
Muse Kastanovich Posted: Apr 29, 1997 0 comments
Everyone's going crazy for single-ended power amplifiers. What's the big deal? What is it about these relatively low-powered contraptions that could make everybody so nutso? And has Pass Labs' Nelson Pass completely lost his marbles, selling a 30Wpc amplifier for a price that can buy a high-quality 200Wpc amp? Isn't that 200W amp seven times as loud—and seven times as good—as a 30W amp?
Martin Colloms Posted: Apr 03, 1997 Published: Apr 04, 1997 0 comments
Latest and largest in Krell's current range of power amplifiers, the 600Wpc, $12,500 Full Power Balanced 600 joins the 300Wpc FPB 300 ($9000) and the 200Wpc (originally 150Wpc) FPB 200 ($5900). All are single-box stereo chassis and are specified as "Full Power Balanced"—I think to distinguish the essence of these designs from ordinary stereo amplifiers operated in balanced-bridged mode, usually with impaired performance. The FPB 600's speaker output is balanced; ie, neither "positive" or negative" terminals are connected to ground or the amplifier chassis. (Note that no speaker switches or headphone adaptors, which often have joined channel grounds, may be used, as they will short the outputs.) The output terminals are electrically at 0V, but float above the chassis ground.
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.

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