Solid State Power Amp Reviews

Like an immense night bird aloft in the gold'n sky.
I should like to sail off towards islands of flow'rs
While list'ning to the perverse sea singing
In its old and bewitching rhythm.

It took some time to figure out why, in the middle of auditioning Rotel's Michi S5 stereo power amplifier ($7499.99) with the room-shaking opening of Richard Strauss's Also Sprach Zarathustra, Ravel's far subtler and perfumed setting of Tristan Klingsor's lyrics from Shéhérazade came to mind.

Like the proverbial pot of gold, darTZeel's golden equipment beckons. That, at least, is how it felt in January 2010, when John Atkinson and I ended our coverage of T.H.E. Show Las Vegas in the room shared by darTZeel, Evolution Acoustics, and Playback Designs. Listening to darTZeel's discontinued NHB-458 monoblocks (footnote 1) and NHB-18NS reference preamplifier (now updated), I was transfixed by the fullness of the system's midrange and overall beauty of the sound. "It was as though the system was opening its heart and welcoming us in," I wrote. "That's how warm and nurturing the sound was."

We audiophiles so frequently get caught up in the pursuit of perfection that some have attempted to rebrand high-end audio as "perfectionist audio." But is it even possible for a single piece of audio gear, let alone an entire audio system, to attain perfection when there's no common agreement as to what "perfection" means? It's easier to cue up a Nirvana track than to find the way to audio nirvana.

Power amplifiers should be boring. They have a single, well-defined function: Make the input signal large enough to run a loudspeaker so that it makes sound at levels suitable for listening to music. Generally, controls and features are few or none. Peter Walker of Quad famously defined the ideal amplifier as a "straight wire with gain." That's just one feature: gain.

Big changes are afoot at Mytek. First up: The Mytek Brooklyn AMP+, the newest version of the compact, class-D Brooklyn AMP. The AMP+ is already in production.

In my 2018 review of the original Brooklyn AMP, I wrote that the class-D amplifier exuded "a consistent sense of truthfulness, striking resolution that was never analytical, spacious soundstages, superb dynamics, and some of the 'blackest' backgrounds I've ever heard...with the right recordings." I continued, "The AMP let me revel in its reproduction of the low end, with zero overhang or bloat, and profoundly impressive retrieval of micro- and macrodetail—but in doing all this, its touch was always light and never surgical."

Talk about a Scarlet Letter. The term class-D amplification, which describes PS Audio's new M1200 monoblocks, exists only because another amplifier innovation had already parked in the "C" space. Soon after appearing in high-performance audio gear, class-D became synonymous with "digital amplification" in part because, like early CDs, many listeners found the sound glary, hard, and unpleasant. Besides, class-D is related to "pulse width modulation" and requires a low-pass filter to block high-frequency pulses—that sure sounds digital. But they're not (see Bruno Putzeys sidebar).