Solid State Power Amp Reviews

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Solid State Power Amp Reviews

Simaudio Moon Evolution W-8 power amplifier

Kalman Rubinson First Published: Mar 17, 2006

The W-8 ($10,200) is the first of Simaudio's Moon series to incorporate the new Evolution cosmetics and new circuitry. I loved its predecessor, the Moon">http://www.stereophile.com/solidpoweramps/167">Moon W-5, which was one of the first power amplifiers I reviewed for Stereophile (March 1999, Vol.22 No.3). I also loved the "new and improved" W-5 when I wrote about in the May 2001 issue. In the September 2005 issue, Brian Damkroger praised Simaudio's monstrous Moon">http://www.stereophile.com/solidpoweramps/905sim">Moon Rock monoblock, a contemporary of the Moon Evolution W-8 stereo amp.

Solid State Power Amp Reviews

Chord SPM 14000 Ultimate monoblock power amplifier

Paul Bolin First Published: Mar 11, 2006

Lord Acton said, famously, that power corrupts and absolute power corrupts absolutely. If there ever were an amplifier to test that maxim's applicability to audiophiles, it is surely the Chord SPM 14000 Ultimate Monoblock. Priced no less than $75,000/pair, the SPM 14000 is rated to produce power as do very few other amplifiers on the planet: it is very conservatively rated at 1kW into an 8 ohm load, 2kW into 4 ohms, and "will easily exceed" 2800W (give or take a few watts) into 2 ohms.

Solid State Power Amp Reviews

Parasound HCA-3500 power amplifier

Robert Deutsch First Published: Jan 05, 2000

Just in case you didn't know this when you bought the Parasound HCA-3500, it says on the cover of the owner's manual: "Designed in California, USA by John Curl." Described as an "audio design legend," an appellation with which he seems quite uncomfortable, John Curl has certainly been around the audio business longer than most. He's been employed by or has consulted for some of the biggest names in consumer and professional audio—including Harman/Kardon, Ampex, and Mark Levinson—and was the designer of at least two classic products: the Mark Levinson JC-2 preamplifier and his own Vendetta">http://www.stereophile.com/phonopreamps/640">Vendetta Research phono stage, still considered by many people to be the best phono stage ever built.

Solid State Power Amp Reviews Tube Preamp Reviews

Musical Fidelity kW Hybrid line preamplifier & kW750 power amplifier

Michael Fremer First Published: Dec 18, 2005

Not every audiophile needs an amplifier powerful enough to tax a small town's power grid while simultaneously draining his or her bank account. So, having quickly sold out of its ultra-limited-edition, extravagantly powered and priced combo of kWp preamplifier ($14,995) and kW power amp ($27,995) that I reviewed">http://www.stereophile.com/tubepoweramps/104mf">reviewed in January 2004, Musical Fidelity (footnote 1) set about capitalizing on the enthusiastic reviews earned by those giants with less expensive, less powerful, "real-world" replacements.

Solid State Power Amp Reviews

Simaudio Moon Rock monoblock power amplifier

Brian Damkroger First Published: Sep 01, 2005

For years, I thought of Simaudio gear as good-sounding, attractive, and modestly priced, often describing it to friends as "really good for the money." The $5500 Moon">http://www.stereophile.com/cdplayers/343">Moon Eclipse CD player, which I reviewed in our April 2001 and April 2003 issues, stretched the "modestly priced" descriptor a bit, but its sound was still, I thought, really good for what it cost, and I adopted it as a reference. Simaudio expanded the Moon series and eventually discontinued its older, less expensive Celeste brand, but, I thought, its products could still be described as "really good for the money."

Solid State Power Amp Reviews

Bryston 3B-ST power amplifier

Larry Greenhill First Published: Oct 10, 1996
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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