2016 Recommended Components Power Amps

Power Amplifiers

Editor's Note: Because of the disparity between typical tube and solid-state "sounds," we have split Class A for separate power amplifiers into two subclasses. Nevertheless, even within each subclass, Class A amplifiers differ sufficiently in character that each will shine in an appropriate system. Careful auditioning with your own loudspeakers is therefore essential. Except where stated, output powers are not the specified powers but rather those we measured into an 8 ohm resistive load. All amplifiers are stereo models, except where designated.

A (Solid-State)

Arcam FMJ P49: $4999
Now that British company Arcam has been acquired by a Canadian pro-audio firm, they've begun manufacturing their highest-end products in the US, and the FMJ P49 is among the first of these. Specified to deliver 200Wpc into 8 ohms, the FMJ P49 operates in class-G: Depending on the demand placed on it by the input signal, the power supply switches between low- and high-voltage rails for the output transistors, thus vastly improving efficiency and reducing heat. (The transition occurs at approximately 50Wpc—about the limit one might expect from a pure class-A amp with a similar output section.) JA commended the Arcam for "meet[ing] a high standard" of clarity and transparency. The FMJ P49 exhibited excellent control of the very lowest frequencies, and retrieved subtle details sufficiently well that, with one 50-year-old track, "even some print-through" from the original tape was audible. JA declared the P49 "a well-engineered amplifier," with no problems arising from its distinctive power-supply arrangement. (Vol.38 No.11 WWW)

ATC P1: $3999
No strangers to the making of solid-state amplifiers—ATC has, for decades, specialized in building self-powered speakers for the pro and domestic markets—the British firm now sells a 150Wpc standalone power amplifier. The P1 is said to offer wide bandwidth (2Hz–400kHz) and a high damping factor (400), plus true balanced inputs alongside its unbalanced RCA jacks. (ATC recommends the former for best performance.) After spending a number of weeks with the P1, JM concluded that "the P1 did not editorialize on the music; it just delivered it." Indeed, his time with the ATC P1 led JM to wonder if perhaps another recommendable amp was, by comparison, adding a bit of "zip" to the sound, "and that perhaps the ATC P1 was telling the story straight." JM concluded: "I am unaware of any other amplifier built from discrete components with this level of build quality, and from a firm with a record of accomplishment similar to ATC's, that offers so much excellent wattage at such a comparatively low price." (Vol.37 No.10 WWW)

Ayre Acoustics MX-R Twenty monoblock: $29,500/pair
In the time since the introduction of their original MX-R monoblock, for which Wes Phillips had high praise in Stereophile's April 2007 issue, Ayre Acoustics discovered the suitability to high-performance domestic audio of the half-century-old "diamond" circuit configuration of bipolar transistors. An advanced version of that innovation, the Double Diamond output stage, along with Ayre's recently developed AyreLock voltage-regulator refinement, and a few other new refinements, have now been applied to Ayre's top-of-the-line power amplifier. The result is the MX-R Twenty, a 300Wpc flagship named in honor of Ayre's 20th anniversary. Describing the MX-R Twentys' performance in his system, JA opined that, no matter what he played, the MX-R Twentys "simply stepped out of the way of the music, letting it flow unimpeded." And bassist JA couldn't help being impressed by how well the MX-R Twentys reproduced a sound he knows so well: "[Jaco Pastorius's] detuned low F and C were so well formed and so palpable that they rolled from the speakers and across the floor to me!" Reporting from his test bench, JA described the Twenty as "significantly quieter than its predecessor," and declared the Ayre "a true high-resolution amplifier." (Vol.38 No.8 WWW)

Benchmark AHB2: $2995
Named for the late Allen H. Burdick, the engineer whose work formed the basis for its design, Benchmark's AHB2 is a compact (11" W by 3.8" H by 9.3" D) and lightweight (12.5 lbs) solid-state amplifier. The AHB2 makes use of THX Corporation's Achromatic Audio Amplifier (AAA) technology, in which a low-power feed-forward amplifier drives a low-bias class-AB output section, the latter energized by a system of class-H power-supply rails that deliver power in response to demand—resulting in an extremely efficient amplifier capable of robust power output (100Wpc into 8 ohms, 190Wpc into 4 ohms, and a strapping 380W when strapped for mono, per Benchmark). In his listening tests, KR discovered "much more apparent low-level detail in already-familiar recordings"—a characteristic he credited to the Benchmark's evident noiselessness—and a tonal balance that "sounded more 'right' than any of [the other amps on hand]." In measuring the AHB2 and attempting to confirm its specified very high signal/noise ratio, JA observed nonlinearities in his testing equipment that "haven't affected the measured performance of other amplifiers I've tested, but they were detectable with the AHB2's very low intrinsic distortion and noise." His conclusion: "an extraordinary amplifier." KR's last word: "bargain." (Vol.38 No.11 WWW)

Bricasti Design M28 monoblock: $30,000/pair
Made entirely in Bricasti's factory in Massachusetts, the solid-state M28 is a fully balanced, dual-differential design from its XLR input to its speaker outputs. Its specified 200Wpc into 8 ohms comes courtesy of two banks of 12 bipolar transistors each, and its CNC-machined case ensures that, in Bricasti's words, "each element mates to a purpose-built location within the chassis." MF described the M28 as "a powerful, beautifully built amplifier" and praised it as "faultlessly smooth and rich in the critical midrange," adding that "[e]ven a diehard tube lover would be impressed." But he found the M28 to be "more smooth and sweet than fast and tight," and suggested that its top end was "insufficiently fast and precise for my taste." Reporting from the lab, JA said: "Its measured performance reveals Bricasti's M28 to be a worthy stablemate to the company's superb-measuring and equally superb-sounding M1 D/A processor." For his Follow-Up, JA auditioned the Bricasti amps in his own system, and described the sonic balance achieved by the combination of Bricasti amps and KEF Blade Two loudspeakers as being "a little on the polite side." But he also found that the GamuT RS7 speakers "proved a synergistic match," the M28s producing "an enormous sweep of sound at the climaxes." His conclusion: "used in an empathetic system . . . [the M28s] will produce true reference-quality sound." (Vol.38 No.5 & 8 WWW)

Classé CA-M600 monoblock: $14,000/pair
Classé CT-M600 monoblock: $13,000/pair ★

In a mundane-looking black box with a detachable rack-mount front panel that matches the styling of Classé's CT-SSP preamplifier-processor, the CT-M600 is rated to deliver 600W (700W at actual clipping) into 8 ohms. It employs Classé's Intelligent Cooling Tunnel, in which internal heatsinks are mated to a microcontroller to actively ensure a thermally stable environment. All the audio circuitry, including the 36 output devices, is carried on two six-layer boards, allowing signal paths to be very short and keeping the amplifier's noise floor very low. The CT-M600 was the "consummate chameleon," drawing the best from a wide variety of loudspeakers, providing enormous dynamic range, deathly quiet backgrounds, and intensely saturated colors. "They are the best-sounding amplifiers I have auditioned in my system [as of 2013]," said JA. Compared to the massive Musical Fidelity AMS100, the CT-M600 offered better upper-bass definition and slightly more upper-frequency energy, but lacked the AMS100's sweet, forgiving treble, said JA. The CA-M600 is essentially the same amplifier, housed in Classé's traditional Delta-series enclosure, with its brushed-aluminum front panel curved around to form the side panels. (Vol.34 Nos.3 & 9 WWW)

Constellation Centaur monoblock: $64,000/pair
The 103-lb Performance Centaur Mono is rated to deliver 500W into 8 ohms, features minimalist industrial design by Alex Rasmussen, and offers conventional balanced and unbalanced inputs as well as a Direct XLR input for use with Constellation preamps. Utilizing Constellation's proprietary Balanced Bridge topology, each Centaur Mono includes a pair of carefully matched amplifiers, both using only N-channel MOSFETs. Though they lacked ultimate bass depth and definition, the Centaurs produced a fast, open, transparent sound that was ruthlessly revealing, but never unnaturally harsh or edgy, said MF. For best results, the Centaurs' open sound will require careful matching of associated gear, and especially careful choice of cables, he cautioned. "Constellation Audio's Performance Centaur Mono is a powerhouse of an amplifier capable of delivering very high power with very low distortion into 4 and 8 ohms," JA concluded. (Vol.36 No.11 WWW)

Dan D'Agostino Momentum monoblock: $65,000/pair
Dan D'Agostino's statement product, the 300W (450W at actual clipping into 8 ohms) Momentum has a compact chassis (12.5" W by 5" H by 21" D) machined from a single aluminum billet. A large, round power meter dominates the front panel, while thick copper side panels act as heatsinks. The low-feedback, fully complementary, balanced design uses 1% metal-film resistors and two dozen 69MHz output transistors in a direct-coupled, discrete, bipolar output circuit with a claimed frequency response of 20Hz–20kHz, ±0.1dB. The Momentums produced a seamless overall sound, with slightly reserved highs, a tube-like midrange, and an authoritative bottom end, said MF. "With the darTZeel NHB-458, it's one of the two most satisfying power amplifiers I've ever heard," he concluded. "This is an amplifier that is as well engineered as it is beautiful to behold," said JA. Add $5000 for black finish. (Vol.36 No.2 WWW)

darTZeel NHB-458 monoblock: 151,000 CHF/pair
Made in Geneva, Switzerland, the 450W (530W at actual clipping) NHB-458 measures 18" H by 11" W by 20" D, weighs 154 lbs, and has a deep-gold, brushed front panel and retro-industrial, red-anodized case. Tinted glass side panels allow magnetic fields to escape the chassis and reveal the amp's enormous cylindrical transformer. The large rear-panel heatsink has a cutout for connections that include RCA and XLR inputs, as well as a Zeel BNC 50 ohm input, for use with darTZeel's NHB-18NS preamplifier and Playback Designs' SACD player and DAC. It combined outstanding speed, precise high-frequency transients, and unlimited dynamic range with powerful bass and unsurpassed transparency, said MF. "The darTZeel NHB-458 is easily the finest power amplifier I have ever heard in my listening room," he concluded. At a price! (Vol.35 No.8 WWW)

Krell Solo 575 monoblock: $22,500/pair
With their top-of-the-line Solo 575 and its similarly new stablemates, Krell has made a conspicuous return to class-A amplification, but with a twist: Krell's iBias signal-tracking technology is claimed to make possible an amp that runs in class-A yet takes up less space, runs cooler, and delivers significantly more power than class-A amps of yore. In MF's system, the 575W Solo 575—which offers balanced (XLR) and unbalanced (RCA) inputs as well as Krell's proprietary CAST input socket—produced not the richness, suppleness, and maxed-out sustain he associates with traditional class-A amplification, but rather a speedier attack and a "taut bottom end [that] produced always-entertaining rhythmic drive and pleasing musical flow." As Mikey says, especially if you listen mostly to rock, "you need to hear the Solo 575s." JA noted that the Krell inverted the polarity of signals appearing on both its XLR and RCA inputs—and observed power output that comfortably exceeded the manufacturer's specifications. His conclusion: "Amplifiers don't get much better." (Vol.38 No.10 WWW)

Lamm Industries M1.2 Reference monoblock: $27,390/pair ★
The 110W M1.2 with tube front end and MOSFET output stage, comprehensive short-circuit protection, and high/low impedance settings, offered "unflinching honesty in conveying the true nature of the music that passed through it," said PB. "Utterly continuous and coherent from top to bottom," the M1.2 combined resolution and transparency with harmonic completeness, timbral richness, and glow. JA concurs. Compared to the Classé CT-M600 and MBL 9007, the Lamm had a more robust, less delicate sound, but nevertheless impressed JA with its three-dimensional soundstaging and midrange richness. "This is a great amplifier," JA decided. "Highly recommended." (Vol.28 No.2, Vol.35 No.4, Vol.37 No.6 WWW)

Luxman M-700u: $9990
Unlike the discontinued Luxman M-600A, a 30Wpc class-A amplifier whose sound JM described as "sweet," Luxman's recent M-700u is a 120Wpc class-A/B design. The M-700u employs Luxman's Only Distortion Negative Feedback (ODNF) circuit, whereby negative feedback is applied only in the presence of, you guessed it, distortion. For JM, the M-700u proved to be "an amp for all seasons," and while it wasn't, in his words, "out-and-out euphonic," it did allow pianos to sound "more rounded and continuous" than the Channel Islands Audio E•200S, itself another JM favorite. (Vol.38 No.6 WWW)

mbl 9007 Noble Line monoblock: $42,800/pair ★
The 440W Reference 9007 can be used as either a balanced monoblock or a single-ended stereo amplifier and has provisions for biwiring and biamping. It uses mbl's Direct Push/Pull circuitry design and Isolated Gain Cell technology, and its gleaming black exterior is decorated by a large, gold mbl logo. Sacrificing bloom and suppleness for crystalline transparency and offering tightly focused imaging, shimmering highs, and well-damped bass, the 9007 was one of the most exciting and engaging amplifiers in MF's experience. His recommendation only concerns the 9007 used as monoblock pairs, however. JA was thrilled by the mbl's superb measured performance. Compared to the humongous Musical Fidelity AMS100, the mbl monoblocks were a little more forward in the low treble and offered more ultimate slam, but lacked the AMS100's sweet, forgiving treble, said JA. (Vol.29 No.9; Vol.34 No.9, Vol.37 No.6 WWW)

mbl Corona C15: $25,000/pair
Although it employs a custom-specified version of the popular Hypex class-D amplifier module, the Corona C15 monoblock, which offers 280W into 8 ohms, 520W into 4 ohms, is, according to its designer, a "Linear Analog Switching Amplifier," the overall design concept of which entails the use of a linear rather than switch-mode power supply—itself built around a toroidal transformer with generous mu-metal shielding. (The latter is presumed to contribute to the amp's 48.5-lb weight.) Indeed, in his measurements, JA confirmed that "the C15's transfer function appears to remain relatively consistent with both frequency and output current"; also unusual for a class-D amp was the C15's admirable output-impedance behavior: JA discovered that its low-pass function into loads of 4 and 2 ohms was "very similar to its 8 ohm behavior." In his listening tests, JA found that the C15's "intrinsic character was all about control, especially the tight control of low frequencies"—a quality that served well the amp's pairing with the somewhat rich-sounding woofer alignment of the Vivid Giya G3 speaker, but less so the Joseph Audio Perspective, with which the MBL sounded clean but lean. Especially when combined with the classic Rogers LS3/5a, JA observed "superb imaging definition and stability" with the good-looking MBL amps. (Vol.37 No.6 WWW)

Parasound Halo JC 1 monoblock: $9000/pair $$$ ★
MF heard exactly what this high-power—400Wpc specified, 586W at clipping!—John Curl-designed amp's specs showed: "ultra-wide bandwidth, high-current capability, low, low noise, a high S/N ratio, and a fast slew rate, among many other indicators of outstanding amplifier performance....There was an honesty to the overall tonal and harmonic presentation that transcended technological stereotypes." MF found the overall sound to be powerful, refined, smooth, organized, dynamic, transparent, and rhythmically supple, if a little on the subtly warm and rich side of the sonic spectrum, but decided that this not at the expense of transient speed and resolution of detail. "Perhaps some listeners will find the JC 1 too refined and perhaps a tad polite, but I didn't." "Rocks for sure," says ST, adding that with the amp driving the Triangle Magellans, he found the "bass firmed up, the sound wasn't strained in any way, and there was an overall sense of ease. Dynamic ease. Listening ease. Just ease. Compared to the Halcros, the Parasound JC 1s brought the soundstage forward. Tonally, the Parasounds were magnificent?with no trace of solid-state hardness. And the amps weren't even broken in." "The Parasound JC 1 is one of the finest high-powered solid-state amps I've heard," said ST. "Think of it as a 25W class-A amp that does 400W class-A/B when pushed." Matched with the JC 2 preamp, the JC 1s presented even greater holographic detail and transparency. The Parasound Halo JC 1 traded the Moscode 402Au's snappy, vivid tonality and larger soundstage for "quiet precision," clarity, and focus, said WP. The Halo JC 1 traded the Aesthetix Atlas's creamy midrange for greater bottom-end heft and top-end extension, said WP. Compared to the Bryston 7B SST2, the Parasound had deeper bass, tighter images, faster transients, and greater low-level resolution and microdynamic delicacy, said MF. A favorite of JA's, who was equally impressed by how the JC 1 performed on the test bench: "This is excellent measured performance. The Halo JC 1 is not only the best amplifier to come from Parasound, it ranks up there with the best high-end heavyweights," though WP felt that while the Halo JC 1 exhibited grace and delicacy compared with the much more expensive Luxman B-1000f, it lacked some impact, drive, resolution, and detail. Stereophile's—and Sam Tellig's—"Joint Amplification Component" for 2003. (Vol.26 Nos.2, 6, & 12, Vol.30 No.12, Vol.31 No.3, Vol.32 No.9, Vol.33 No.1, Vol.34 No.2 WWW; see also JA's YG Carmel 2 review in VOl.38 No.15)

Pass Labs XA60.5 monoblock: $11,000/pair
Designed by Nelson Pass, the XA60.5 is rated to deliver 60W into 8 ohms (130W into 8 ohms at clipping) and uses Pass Labs' balanced, single-ended, class-A Supersymmetry circuit topology. Housed in the same case as the XA30.5 stereo amplifier, it has a gray-anodized aluminum front panel with a large, blue-illuminated meter that indicates the output stage's current draw. The interior is dominated by a large Plitron toroidal power transformer flanked by two circuit boards, each carrying 10 pairs of complementary power MOSFETs. Though it lacked some bottom-end authority, the XA60.5 produced a natural, transparent overall sound, with especially beautiful mids and highs, said JA. "It is the best-sounding amplifier I have ever used," he concluded. (Vol.37 No.1 WWW)

PS Audio BHK Signature 300: $14,998/pair
Named for its designer, Bascom H. King, the BHK Signature 300 is a hybrid monoblock, with a tubed input stage and a MOSFET power stage, claimed to deliver 300W into 8 ohms. In a departure from the usual practice, all of those output transistors are n-channel devices, implementation of which requires cunning—and, according to King, a bit of global feedback. Both single-ended and balanced inputs are provided on the rear panel, where there is also a removable panel for accessing the amp's two dual-triode tubes. In MF's words, "the BHK Signature 300 is a powerful, nimble-sounding amplifier that immediately drew me in with fast, punchy, tight bass; rich, liquid mids; and delicate, transparent highs—all effectively well integrated into a coherent whole." During use on JA's test bench, one of the BHKs became unstable, and while it didn't fall and break its hip, it did stop working; JA carried on with the other Signature 300. He described it as "a well-designed, well-engineered powerhouse of an amplifier, though it will perform at its best with speakers having an impedance of 4 ohms and above." (Vol.39 No.2 WWW)

Siltech SAGA: $75,000
With their unabashedly expensive Structural Amplifier Gain Architecture (SAGA), cable specialists Siltech took a new approach to the two-box power amp: This is neither a pair of monoblocks nor a split between an amplifier and its power supply, but rather a split between a voltage amplifier and a current amplifier. The former, called V1, is a battery-powered tube amp that's switchable between triode and pentode modes, while the latter, P1, is a mains-powered solid-state amp. More unusual is the P1's Apollo Light Drive technology, in which bias current for the output transistors is produced by training high-intensity LEDs on a solar panel: Take that, orthodoxy! According to MF, in comparison with other top amps of his recent experience, "the SAGA sounded as if it had tightened the turnbuckles of tonality, space, and, especially, rhythm 'n' pace—the sound was positively exhilarating." But tightened turnbuckles have their price: "Soundstage depth was somewhat foreshortened, with images between the speakers that normally appear well behind the speaker plane presenting themselves closer to a line drawn between them." Still and all, MF concluded, "As soon as I pulled [the SAGA] from my system, I began to miss it." JA's measurements, spread over two sample sets, revealed "idiosyncratic" performance, prompting the recommendation that "this expensive amplifier must be auditioned with the prospective owner's own speakers. Stated price is for the V1 (voltage amp) plus P1 (current amp). C1 (preamp) costs $37,500. Entire system costs $112,500. (Vol.37 No.10 WWW)

Simaudio Moon Evolution 860A: $15,000
The solid-state, balanced Moon Evolution 860A, capable of delivering 200Wpc into 8 ohms, is biased to operate in pure class-A up to 5W, beyond which the dual-mono 860A slides into class-A/B. Its DC-coupled output circuits employ 12 bipolar transistors per channel. Among the 860A's many performance characteristics that caught FK's attention, "most noticeable was the bass: subterranean, articulate, complex—and musical, not just a mush of bass notes." But FK hastened to add that neither that nor other individual sonic traits were the deal-sealers: "What most impressed me . . . was my sheer pleasure of listening to music." In his measurements, JA discovered that the 860A's power output was closer to 180Wpc than the specified 200Wpc; otherwise, he wrote, the amp "lives up to Simaudio's reputation for excellent audio engineering." (Vol.38 No.8 WWW)

Simaudio Moon Evolution 880M monoblock: $45,000/pair
Rated to deliver 800W (1050W at actual clipping), the flagship of Simaudio's Evolution line is a DC-coupled, fully balanced differential design. Its massive power supply is built on two 1.3kVA toroidal transformers and two banks of large capacitors. With a chassis of black-anodized aluminum and a front panel comprising elegantly curved extrusions of brushed aluminum, the 880M measures 18.75" W by 7.5" H by 16.5" D and weighs 92 lbs. Though it wasn't as tonally rich as the VTL S-400 Reference, the Simaudio was extremely well balanced, exhibiting an effortless precision and iron-fisted control that extended from top to bottom, said BD. "The 880M is an excellent design superbly executed, with a professionalism and attention to detail that promise consistently outstanding performance and long, trouble-free life," he concluded. Must be auditioned fully warmed-up, notes JA. (Vol.36 No.6 WWW)

Theta Digital Prometheus monoblock: $12,000/pair
Joining the growing ranks of class-D amplifiers with perfectionist aspirations, the Theta Prometheus combines the Hypex Ncore NC1200 module developed by noted class-D specialist Bruno Putzeys with a linear power supply designed by Theta's own David Reich. (The latter—or at least its enormous toroidal transformer—accounts for the amps' 54.5-lb weight.) Specs include 500Wpc, less than 0.001% THD+N at 1W, and an output impedance said to be extremely low. According to LG, "The most striking things about the Prometheus's sound were its huge dynamic range and bass impact." He also noted that "The Prometheuses projected a broad, detailed, involving, three-dimensional soundstage," and "the midrange response blossomed when my [Quad ESL-989] speakers were driven by the Thetas." LG's conclusion: "My last impression of the Prometheus was the same as my first: It's one of the best-sounding amplifiers I've heard in my listening room." Following the Theta's time on his test bench, JA wrote, "The measured performance of Theta Digital's Prometheus is superb, even for an amplifier with a class-D output stage." (Vol.38 No.3 WWW)

Ypsilon Aelius monoblock: $36,000/pair
Made in Athens, Greece, the 200W Aelius monoblock power amp measures 16.6" W by 9" H by 16.6" D and weighs 99 lbs. Its audio circuit has only two gain stages and almost no passive components in the signal path. Its single-ended class-A input stage uses either a Siemens C3g or an Electro-Harmonix 6C45PiEH tube. With the C3g tubes in place, the Aeliuses produced a punchy, direct, and insistent sound with "hair-raising" transparency and three-dimensional imaging; with the 6C45PiEH tubes, the Aeliuses had a much warmer, darker, softer overall sound, said MF. On the test bench, the Aelius exhibited measured performance that was in many ways typical of a classic tube design, but with the ability to drive low impedances usually associated with solid-state designs. "Its sound quality will very much depend on the input tube fitted," said JA. (Vol.36 No.4 WWW)

A (Tube)

Air Tight ATM-1S: $9500
Among the audio world's artisanal power amplifiers, only a few have more impressed AD than the Air Tight ATM-1S, the earliest version of which was made by Japan's A&M Limited way back in 1987. Today's ATM-1S uses two EL34 pentode tubes (configured as triodes) per side, for 36Wpc into 8 ohms. It also features solid-state rectification, dual-channel input-level controls, Hashimoto output transformers, a distinctly easy-to-use tube-biasing system, and a high level of build quality (including point-to-point wiring). AD found the ATM-1S to sound enjoyably warm and lush in his low-powered-amp–friendly system, yet with "an appropriate sense of [musical] momentum and drive." He praised the Air Tight for sounding "forceful and present when listened to at lower volumes," while noting that it remained "poised and free from gross colorations" when pushed. In his measurements, JA noted excellent squarewave response with short risetimes—but, on the downside, "drastically higher levels of second and higher harmonics in the left channel," a problem that may have been caused by a bad tube or damage in shipping. AD summed up: "The Air Tight ATM-1S is among the few power amps I'd care to live with." (Vol.37 No.11 WWW)

Fi 421A: $4575 ★
Designed and built by Don Garber in Brooklyn, New York, the Fi 421A is a single-ended, capacitor-coupled, 4Wpc stereo amplifier with a single 421A power tube. It measures just 10" W by 8" H by 10.5" D, weighs 20 lbs, and uses high-quality parts throughout. The Fi sounded "open, clear, compelling, and lovely," and had a knack for reproducing the human voice with outstanding presence and texture, said AD. Class A in special systems only, he cautions. Price increase since review due to new output transformers. One of AD's long-term references. (Vol.35 No.1 WWW)

Lamm ML-3 monoblock: $139,490/pair
Rated to deliver 32W, Lamm's flagship design is a zero-global-feedback, class-A monoblock with a single-ended-triode output stage and an outboard power supply. It uses one 12AX7, four 6N30P-DRs, and one direct-heated GM70 triode transmitter tube, and its assortment of premium internal components include: military-grade Dale metal-film resistors, Caddock power-film resistors, Cornell-Dubilier and United Chemi-Con electrolytic capacitors, and Electrotube, Elcon, and Roederstein film caps. While the ML3 sounded "lusher and bloomier than life," it produced natural attacks and generous sustain, and had an airy, extended top end, said MF. "Cost and value for money aside, the Lamm Industries ML3 Signature is among a handful of the most pleasurable-sounding amplifiers I've ever heard," he concluded. JA noted good measured performance for an amplifier with a single-ended output stage. (Vol.36 No.9 WWW)

Lamm ML2.2 monoblock: $37,290/pair
Like its predecessor, the ML2.1, the 18W ML2.2 is a single-ended-triode monoblock power amplifier with a 6C33C indirectly heated power tube. Other tubes include two 6N6P, one 6AK5, one 5651, and one 12AX7. Refinements over the ML2.1 include a new input circuit, new power transformer, five power-supply filter chokes instead of two, revised printed-circuit boards, and upgrades of various parts. Measuring 16" W by 8.25" H by 20.375" D, weighing 81 lbs, and with 14 tubes total (all of which must be installed and adjusted by the user), the ML2.2s require careful setup. Though it lacked the Shindo Haut-Brion's knack for expressing musical force, the Lamm combined superb spatial and temporal performance with rich texture and tone color, said AD. "An extraordinary product," he concluded. (Vol.36 No.4 WWW)

McIntosh MC275: $5500 $$$ ★
The revived 75Wpc MC275, preserves the look of the original while adding modern innovations. Chimneys are used to cool the tubes by convection, and three circuit boards have been replaced by a single board on which are mounted all components, tube sockets, and power-supply parts. ST: "I heard all the dynamic quality, all that aliveness of the original, plus a level of transparency that brings the MC275 definitely into the 21st century." Sam bought the review sample. The fifth incarnation of the 75Wpc MC275, originally introduced in 1961, retains the first incarnation's classic appearance and its use of four KT88 power-output tubes, three 12AX7 input tubes, and four 12AT7 driver tubes. New are a stainless-steel chassis, balanced inputs, and gold-plated, five-way binding posts. While the MC275's two hefty transformers utilize the same "unity-coupled circuit" invented by McIntosh in 1947, the copper wiring is now insulated in a more durable synthetic material. Though dynamic expression was restricted and bass notes were "a bit muddy" in dense musical passages, the MC275 produced "stunning" soundstage depth and "spooky" intertransient silences, said FK. Meanwhile, the MC275's superb signal/noise ratios led JA to conclude that "Good audio engineering is timeless." Compared to its predecessor, the Limited Edition version of McIntosh's MC275 ($6500) has beefier binding posts, a more conveniently positioned power switch, and a gold-plated rather than stainless-steel chassis. In addition, a new output-transformer winding process has resulted in wider bandwidth, increased damping factor, and improved linearity. RD noted an ideal top-to-bottom tonal balance and an impressive sense of rhythmic drive, concluding, "The MC275LE is simply a wonderful-sounding amplifier, able to bring out the best from a wide range of loudspeakers." He bought the review sample. (Vol.27 No.7, Vol.33 No.10, Vol.35 No.10 WWW)

Miyajima Labs Model 2010 OTL: $9950
Built into "some of the loveliest steel casework" AD has ever seen, the Model 2010 from Miyajima Laboratory is a stereo OTL amplifier that uses a total of eight 6080WC dual-triode tubes to produce 7Wpc. The fixed-bias 2010 also uses two 12AX7 dual-triodes, two 12AU7 dual-triodes, solid-state rectifiers, and a host of vintage and vintage-style parts, including 18 NOS Black Cat capacitors. Used as a stereo amp, the 2010 impressed AD by sounding "distinctly open and transparent" while lacking "nothing in the way of color or texture." Driving AD's DeVore Orangutan O/96 speakers, the 2010 surpassed the similarly priced and powered Shindo Cortese in top-end sparkle while giving up nothing in terms of "superb touch and force." Adding a second 2010 and strapping the amps for mono—resulting in 16Wpc—delivered what AD described as some of the best sound he has had in his home: "The monoblock experience seems to be the way the Miyajima 2010 was meant to be heard—and I loved it." Full Class A status refers to the use of two 2010s. AD suggests that, even at nearly $20,000 for a stereo pair, the Miyajima represents very good value. (Vol.37 No.7 WWW)

Music Reference RM-200 Mk.II: $5500 ★
Made in the US, the 100Wpc RM-200 Mk.II has the same basic physical and electrical architecture as the original, but uses better output transformers, adds a capacitor-forming function to extend tube life, and has a revised power supply. The fully balanced design features a high-power, bipolar, solid-state input stage and tubed driver and output stages. It uses two matched pairs of KT88 (standard) or 6550 (optional) output tubes, and a pair of 6BQ7 drivers. Though it lacked the slam and bass authority of more powerful solid-state amps, the RM-200 Mk.II produced airy highs, well-defined bass, and a lush midrange. "When the RM-200 Mk.II was in my system, I wanted for nothing," said MF. JA noted "superb measured performance for a tubed design." Hand-wound output transformers, add $1000; tube bias balance control, add $800. (Vol.34 No.12 WWW)

Octave Audio RE 290: $8500
Made in Germany, the beautifully built, 75Wpc RE 290 is a push-pull design with class-A/B output stage and adjustable bias for each tube. It uses KT88 or KT120 power tubes, provides a single set of binding posts optimized for a 4 ohm load, and has a switch-activated power-saving mode. The RE 290's well-balanced sound was marked by tight bass, clean mids and highs, and excellent dynamic range, said EL. JA noted impressive measured performance. Compared to the Audio Research Ref 150, the Octave had better-controlled bass but lacked soundstage size, transparency, and tonal color, said EL. The optional Black Box ($1200) and Super Black Box ($3500) hook up to the RE 290 via an umbilical cord and respectively increase the capacitance four- or tenfold. (Vol.36 No.1 WWW)

PrimaLuna DiaLogue Premium: $3199
Rated to deliver 25Wpc in Triode mode or 42Wpc in Ultralinear, the extremely versatile DiaLogue Premium is a push-pull design that uses six 12AU7 and four EL34, KT88, or KT120 power tubes. Like other PrimaLuna models, it offers: an LED-based Bad Tube Indicator system for the output tubes; a Power Transformer Protection circuit; an Output Transformer Protection circuit; an AC Offset Killer circuit intended to eliminate hum; and an Adaptive Autobias circuit. With every recording AD played, the DiaLogue Premium exhibited an open, clear, and dramatic overall sound, with good tonal balance, realistically weighty bass, and remarkable spatial depth. "A very strongly recommended amplifier and a hell of a good value," AD concluded. Due to the amp's high output impedance and its rising distortion when the load impedance drops below the nominal value of the output-transformer tap, careful matching with the user's loudspeakers is mandatory, cautioned JA. (Vol.37 No.2 WWW)

Shindo D'Yquem monoblock: $24,995/pair
Shindo's newest mono amp produces up to 18W from a parallel pair of Russian-made Genelex 300B directly heated triode tubes, operated in single-ended, pure class-A mode. Like all Shindo designs, the D'Yquem is made from a careful mix of modern and vintage parts and has beautiful steel casework finished on all surfaces in the company's trademark shade of green. While the D'Yquem shared with other Shindo models an excellent ability to portray music's natural color, texture, impact, and momentum, it added an especially clean and colorful low end, said Art. (Vol.37 No.2 WWW)

Shindo Cortese: $10,995 ★
Like a sax player who can't make himself perform the same solo twice, the late Ken Shindo brought a certain artistic restlessness to the design of his hand-made tube amplifiers; the 10Wpc Shindo Cortese—the least expensive of his single-ended amplifiers and the only one built on a stereo chassis—has now been recast, offering the same essence but with slightly different phrasing. The Cortese's input circuit now uses two 6AW8A pentode/triode tubes per channel instead of one, its bias-supply circuit is laid-out somewhat differently, and the Sprague Black Beauty coupling caps have given way to Orange Drops; Allen-Bradley carbon-comp resistors, Siemens F2a indirectly heated output tetrodes, a ginormous Denki power transformer, and Shindo-designed Lundahl output transformers, the single secondaries of which are tailored to high-impedance loads, remain. The sound is punchy and very vivid, with exceptional drive and a bit less gooshiness than its immediate predecessor, says AD, who found it a particularly good match with the DeVore O/96 loudspeaker. (Vol.30 No.7 WWW)

Shindo Haut-Brion: $10,995 ★ Like earlier models, the latest Haut-Brion uses two matched pairs of the rare 6L6GAY pentode tube to deliver 20Wpc. The output section is a fixed-bias design, with a regulated bias supply and individual adjustment pots for each of the four output tubes, while the output transformer is a C-core Lundahl model made exclusively for Shindo. Unlike earlier models, the new Haut-Brion has three 6AW8A triode/pentode tubes per channel, uses a pair of Alps 250k ohm potentiometers, and forgoes global feedback. Though it lacked some low-frequency tightness, the new Haut-Brion created an enormous soundstage and showed impressive force. "The amp was the pizzicato king," said AD. (Vol.35 No.2 WWW)

Thöress 300B monoblock $12,995/pair
The single-ended, feedback-free, hand-wired Thöress 300B mono power amplifier, made in Aachen, Germany, delivers 8W into 16 ohms. Its unique input section is designed around a pair of new-old stock Telefunken EL803S pentode tubes used as triodes, and its fixed-bias output stage is set at the factory: Apart from its power switch, the 300B's only user control is an anti-hum pot for its DC-heated output tube. The Thöress 300B, whose build quality impressed AD as "masterful," delivered "an exceptionally good sense of touch" in his SET-friendly system. It also "distinguished itself as a 300B-tubed amplifier with a little more treble extension than usual," and earned praise as "a lively, colorful, tactile, well-textured, unambiguously musical amp." JA declared that, "Overall, the Thöress 300B monoblock measures well for a SET amp." Mr. D concluded: "Highly recommended for anyone who has both the means and a sympathetic playback system." (Vol.38 No.4 WWW)

VTL Siegfried Series II Reference monoblock: $65,000/pair
VTL's Siegfried Series II Reference weighs an abdominal-wall-challenging 200 lbs and uses a dozen 6550 beam tetrode tubes to produce 330W in triode mode or 650W in tetrode mode. High-tech touches abound: A microprocessor delays and ramps up the output section's B+ rail on power-up and enables (reasonably) fast switching between triode and tetrode modes. And rather than use an output transformer with multiple secondaries—an approach that designer Luke Manley considers a sound-sapping compromise—the Siegfried Series II Reference has a trannie optimized for a 5-ohm load, plus a four-setting feedback control to adjust the damping factor as needed. In MF's system, where tetrode was the preferred mode (with damping factor set to Medium, and with occasional forays into triode), the VTL sounded three-dimensional, with "slam not in spades, but in dump trucks full!" MF reveled in the VTLs' midrange creaminess, while acknowledging the slightly greater transparency of the darTZeel NHB-458 monoblocks—and noted that the Siegfried II Reference was "as neutral and uncolored as any tube amp I've listened to." (Vol.37 No.5 WWW)

VTL MB-450 Series III Signature monoblock: $20,000/pair ★
Rated to deliver 425W (tetrode) or 225W (triode) into a 5 ohm load, the MB-450 III uses eight 6550 output tubes, a 12AT7 input tube, and a 12BH7 driver. Revisions to the Series II include a redesigned, fully balanced differential input stage, a lower-impedance output stage, premium Mundorf capacitors, and a shorter, faster, fully balanced negative-feedback loop. While the VTL sounded soft and "tubey" in triode mode, its tetrode performance was marked by an expansive top end, unusually fast attacks, clean decays, and well-controlled bass. "A significant evolutionary advance" over its predecessor, said MF. Because it provides lower distortion into higher impedances, the MB-450 III will sound best with higher-impedance speakers, JA advised. (Vol.34 No.4 WWW)

B

Anthem Statement M1 monoblock: $6998/pair
Despite its relatively slim proportions (19.25" W by 2.25" H by 18.75" D; 20 lbs), the class-D Statement M1 is rated to deliver a whopping 1000W into 8 ohms. An internal heat-pipe cooling system allows multiple M1s to be stacked without the need for cooling fans or heatsink fins. The tidy rear panel holds balanced and single-ended inputs, a balanced-output gain switch, various trigger options, and a single pair of output terminals. The M1's detailed, extended highs were offset by its gritty, congested bass, which unnaturally colored almost every recording KR played. While the Anthem is extraordinarily powerful for its size, JA was very suspicious of the high level of ultrasonic noise in its output. "This will make the Anthem Statement M1's sound quality very system dependent," he cautioned. Be sure to audition with your own components and cables. (Vol.35 No.12 WWW)

Channel Islands Audio E•200S: $2500 $$$
California-based Channel Islands Audio, aka CIAudio, manufactures a variety of solid-state electronics, the E•200S being at the top of their line of stereo power amplifiers. This class-D amp offers single-ended (RCA) and balanced (XLR) inputs, its differential input stage driving a set of Bruno Putzeys's well-regarded Hypex modules that produce 200Wpc into 8 ohms. JM described the sound of the E•200S as "coherent from bottom to top," adding that the CIAudio amp had "high resolution, authoritative bass control, and, yes, tonal neutrality in spades. It also projected a very large soundstage with a very quiet background." JM suggests that the E•200S deserves our $$$ rating for very high value. (Vol.38 No.6 WWW)

Lindell AMPX: $1595 $$$
Designed in Sweden but made in China, the 20Wpc AMPX is a single-ended, dual-mono, class-A power amplifier with balanced XLR inputs. Designed primarily for pro-audio applications, the AMPX measures 18.8" W by 3.5" H by 17.4" D, and its faceplate, machined for rack mounting, is dominated by two large, blue power meters, calibrated to show watts into 8 ohms. Driving Opera's Callas loudspeakers, the AMPX was lively, detailed, and "unfailingly musical, sounding both powerful and revealing," said JM. "A great amp and an amazing bargain," he concluded. As long as it isn't used to drive loudspeakers with impedances that drop significantly below 4 ohms, the Lindell should perform well, concluded JA. (Vol.36 No.12, Vol.37 No.1 WWW)

NAD Masters Series M22: $2999
With an output stage based on the Hypex NC400 NCore module, the class-D M22 is rated at 300Wpc into 8 ohms, and is described by its manufacturer as being DC-coupled from end to end, without so much as an output-blocking relay. Our review sample's packaging was of notably high quality, and the compact M22 impressed KR with its solid feel—but, as with NAD's similar Masters Series M27 amplifier, he was frustrated by the lack of tactile feedback in the soft-touch standby switch recessed into the M22's top front edge. That hurdle cleared, KR set about listening, and he praised the M22 for conjuring "a big, wide soundstage populated with colorful instruments and voices." In KR's words, the M22 "is more than fair value in view of its compact size, excellent build quality, the wallop necessary for staggering volume levels, a tolerance for driving difficult loads, and, most of all, its transparent sound." From his test bench, JA reported that the M22 delivered more power than specified, and was so low in noise that he had to alter his test regimen to ensure that he was measuring actual distortion—which was itself very low. His conclusion: "It is the very model of a modern class-D amplifier!" A "slight loss of delicacy" keeps the M22 from Class A, feels KR. (Vol.39 No.3 WWW)

Raven Audio Spirit Mk.2 monoblock: $13,990/pair
Designed in Korea by S.E. Han and built in Texas by tube enthusiast Dave Thomson, the Spirit Mk.2 is a hand-wired mono amplifier that uses a push-pull pair of 300B direct-heated triode tubes to produce 26Wpc. The Spirit Mk.2 is tube-rectified, thanks to a pair of 5AR4 diode tubes; they and all six of the amp's small-signal tubes are new-old stock (NOS) items from Thomson's collection. In his own flea-watt-friendly system, AD found the Ravens comfortable with high playback levels, at which they "maintained their poise and clarity," and praised the amps' "flow and general clarity of rhythmic purpose." AD's verdict: "I believe that this Raven deserves more than a second look and listen." (Vol.38 No.5 WWW)

Rogue Atlas Magnum: $1995 ★
Magnum upgrades over the basic Atlas (reviewed by Fred Kaplan in March 2007), include larger, quieter power supplies; polypropylene bypass capacitors; Dale-Vishay resistors in critical spots; sturdier binding posts; gold tube sockets; and the option of KT90 or KT120 output tubes, to increase the specified power rating to 90 or 120Wpc, respectively. EL preferred the fuller, more extended sound of the KT120 output tubes, and appreciated the Atlas Magnum's well-balanced character: "This amplifier had enough dynamic power, enough timbral accuracy, enough soundstage illusion, enough resolution, and enough musicality to turn off the analytical part of my brain and let me simply listen to music." JA was disappointed with the Rogue's lack of high-frequency linearity. Stock Atlas models can be upgraded to Magnum status for $650. (Original, Vol.30 No.3 WWW; Magnum, Vol.35 No.4 WWW)

Sophia Electric 91-01 300B monoblock: $4999/pair
The 9W (3W at 1% THD) Sophia Electric 91-01 300B is a single-ended power amplifier designed around the 300B directly heated triode tube, operated without negative feedback. The input stage is capacitor-coupled to the signal grid of one of Sophia's own Princess Mesh Plate 300B tubes, and both the mains and output transformers are designed and made in-house. Inside, the Sophia exhibited haphazardly routed point-to-point wiring, some sloppy solder joins, and under-insulated capacitor leads. Though its overall sound was slightly dark and lacked some top-end sparkle and mid-treble openness, the Sophia provided decent color, very good texture, and acceptable senses of touch and force, said AD. JA was concerned about some idiosyncratic aspects of the design. (Vol.36 No.12, Vol.37 No.1 WWW)

Spec RPA-W7EX Real Sound: $5995
Created by two Japanese audio designers with experience in both small-scale DIY tube-amp projects and large-scale consumer-audio manufacturing, the RPA-W7EX Real Sound is a class-D amplifier that swims against the class-D tide. Rather than relying on ICEpower or NCore modules, the Spec amp uses a hybrid approach, integrating the driver and DirectFET MOSFET of International Rectifier's AUDAMP4 with a PowIRaudio module. From there, attention is focused on tuning the amp with select paper-in-oil capacitors, and hardwood slabs strategically placed on its steel case. (The wooden parts also form the amp's three support feet.) In KM's system, the RPA-W7EX provided so much gain that he couldn't turn up the volume knob of his Shindo preamp more than a scant few degrees; the remedy—its need evidently foreseen by Spec—was the use of the company's H-VC1 hardwired external volume control ($400), a special jack for which is found on the amp's rear panel. Once the RPA-W7EX was up and running, KM reported that it "had qualities I usually associate with tube amplification: sweet 'n' saturated tonal colors and palpable instrumental textures, coupled to startling microdynamics that left me slack-jawed in wonder." The RPA-W7EX did not, however, impress on the test bench: JA reported that "the Spec RPA-W7EX emitted more RF interference than I have encountered with other class-D amplifiers." He concluded by describing the Spec as "not an amplifier that can be universally recommended," hence the CLass B rating. (Vol.39 No.3 WWW)

Editor's Note: There are no amplifiers listed in Class C and D.

K

Pass Labs XA60.8, Shindo Corton-Charlemagne, Vandersteen M7-HPA.

Deletions
Audio Research Reference 75 and Reference 150 replaced by new SE models; Allnic A-5000 DHT, Conrad-Johnson Classic 60 SE, Luxman MQ-88, mbl 9011 Reference monoblock, Pass Labs XA30.5, Rogue Audio M-180 monoblock, all not auditioned in a long time.

COMMENTS
Staxguy's picture

Class A

Audeze LCD-X: Why would you consider the Audeze LCD-X over the Audeze LCD-3? The Audeze LCD-3, though veiled, "digital" (too few bits of detail), and non-liquid, at least presents music as beautiful.

Not only this, but it (3) is a personal luxury product, with a gorgeous headband, ear-pads, and wood ear-cups.

There also is the issue of it (3) having phenomenal bass, on the non-Fazor version.

The LCD-X? It sounds like absolutely nothing. By nothing, one means about $600.

Audender Flow

Giving that you are Stereophile, this would be great in the Class C department. It has DSD, etc. and decent specs, but no balanced out, so no headphone enthusiast would consider using it.

Chord Mojo: A great DAC/amp. Great that you have it in Class A.

Sennheiser 650/600: certainly very comfortable, but no match for the 580. ;) While neither sounds like shit (the 600 is more natural), they lack any detail and air, although their true comfort makes them fantastic computer speakers. Still, Class C.

HiFiMan 400i: Shouldn't it be the HE-6? Where is the HE 1000? This is Class A guys.

Sennheiser IE 800: Where is this? Perhaps more detailed and fast than the HD-800 and only $1000. ($800 US). Obviously, no imaging like the HD. What an amazing headphone, the HD 800.

Omissions: Shouldn't the class A be the Stax 009 and perhaps some excessive (read: expensive) headphone amplifiers? Om.

Class B

Apogee Groove. Ok. Great. A pro-audio device.

Audeze EL-8: What? Ok. This one sounds like shit. Ok, have only heard the closed. Great cheap price ($699) and design job by BMW, but terrible sound an not even a part of the LCD-2. What a looser.

Audioquest Nighthawlk: Huh? Wah.

B&W P3: Why the P3 and not the P5 or P7? Isn't the quality of the P3 pathetic? Sound, gentlemen, sound.

CEEntrence DACPort: Ok. Great device. How about more CEntrance. Great specs.!

Master & Dynamic MD40: Is this a poor men's clothing magazine?

PSB M4U: Shouldn't this be Class E?

Class C:

Audioengine D3: for $149 a great made device with great components. However, the sound is worse than the stock Intel audio chip you'll have in your PC. Does have less hum and noise than an-in PC chip, though.

Overall: Where are the audiophile components?

Sorry to be a party-pooper.

dalethorn's picture

Mostly agree. Headphones don't seem as accurately covered here as the big stuff. Maybe the headphones and other portable gear should be covered entirely by Innerfidelity, in Stereophile Recommended Components.

Glotz's picture

Naw, just haughty, arrogant and disrespectful.

They reviewed various products for the magazine, and this is the list they came up with. The classes are explained in full, in relation to the other products's performance that have made the list. Older products, sometimes equally capable as current products listed, are removed due to age. Lastly, most reviewers have their own benchmarks and their own opinions about component performance, hence their choice of placement in the classes.

You can disagree all you want man, just do it with a modicum of respect. If you want to start your own magazine, go for it dude.

K.Reid's picture

Glad to see this mighty monitor included in Class A restricted low frequency. Very well deserved and impeccably engineered at a fair price. Most importantly it sounds great. An excellent effort by the folks at Technics. It's obvious they care about and love music by making a product like this.

Anon2's picture

I read JA's assessment of the Arcam A19 regarding its ability to handle low impedance, high volume listening.

I wanted to add my own, perhaps less scientific assessment of the Arcam A18 predecessor model.

I have my Arcam A18 integrated connected to Canton Ergo 32DC speakers whose impedance range is listed as 4...8 Ohm, 87 dB by the manufacturer. The owner's manual for my speakers, of about year 2000 vintage, states that the speakers can be "unhesitatingly operated with any standard amplifier" (with some small qualifications later in the manual).

Stereophile's tests of other Canton speakers show that the speakers tend to operate more towards the 4, rather than the 8 Ohm range of input impedance.

I have used my Canton speakers with my demo model Arcam A18 for several years now. I am not a loud volume listener, but I like room filling sound. For a benchmark of my listening, I will say that audio show rooms, for example, are, for the most part, way too loud.

I did a test this morning. On the integrated's volume range of 1 to 99, I did some listening around 38 on the volume scale. I listened to a Chandos recording of Bryden Thomson's LSO recording of Vaughn Willams's 8th Symphony and assorted string works (Chandos 8828, a great audiophile recording still in circulation). This volume is adequate to fill the room amply with sound. Vaughn Williams works will require a bit more gas-pedal than other orchestral works.

Then, for some higher octane listening, but with the volume set at the same 38 position, I did another test. I listened to the great recording of Don Juan, with the Cleveland Orchestra, and the late great Lorin Maazel (CBS Masterworks MDK 44909). If I had finicky neighbors adjacent to my listening room for this session, they might have complained over the volume in some sections of this work.

After listening to these CD tracks, I put my hand over the unobstructed top ventilation grate on the Arcam A18. After feeling the heat, which was almost imperceptible, I then put my hand to my cheek. After 5 seconds the heat from my cheek was noticeably warmer.

I'd guess that John's assessment would apply particularly--without mentioning brands--to low efficiency low impedance speakers, of the 84-85 dB and/or 4 Ohms nominal varieties. But for my speakers the Arcam never seems over-taxed, and certainly never clips with the music and volume settings that I employ.

If you are a moderate-to-room filling volume listener, have stand-mount speakers of 87-88 dB, and 8 Ohm nominal impedance, and love peerless sound, I'd say buy the Arcam A19 without hesitation. I'm not a dealer or a professional, but that's my assessment. A reader wrote in the Stereophile review of the A19 that he found the A19 to be a big improvement from the A18. My dealer says that if you have an A18, you can probably live with it without going to the A19.

Other publications, that score products in their reviews, show the Arcam A18/A19 models garnering the highest scores of the Arcam integrated amp line-up.

Those are my two cents on the Arcam A19.

makarisma's picture

What about products from companies such as T+A, YBA, Linn, McIntosh, etc., all of which also have outstanding models in the listed catagories?

pablolie's picture

based on the reviews, it seems to defy logic you give the Benchmark AHB2 a class A rating, and the NAD M22 a class B. to quote your own review, the AHB2 "failed to be as lively or exciting as the NAD". oddly enough, the word "loss" is not mentioned anywhere in the M22's review, so it surprises me it shows up in the recommended equipment guide.

sharethemusic's picture

i am the proud owner of raven audio amplification. "THE RAVEN" a 3oob tube based integrated amplifier. There can be no better amplification in the world. You see right thru the music. Your are drawn into it. All the details of the recording are there.Is there colorization by the tubes? Not sure.i can only tell you the music sounds exactly as intended and as natural and neutral as can be.it is rated at 15 watts per channel..Some may not understand. Raven audios 10 watts,is another tube companies 40 watts and solid states 80 watts. It is in the power supply and voltage regulation that all the power of god on earth is unleashed. the power is more than enough to fill my 20x 20 room with blasting clear,warm glorious sound. i have owned mcintosh,krell ,NAD AND MARK LEVINSON. There really isnt anything but maybe my old mac that sounds even close to the raven. andy rothman sharethemusic@aol.com

Ladokguy1's picture

I know Art Dudley has used Auditorium cables as a reference for several years, any reason they are not listed in Recommended Components?

AndySingh's picture

Hello

I went to my local store - Overture Audio, and auditioned the GoldenEar Aon 2 and Dynaudio Emit M10.

Listening to the M10's, I am surprised they (or other Dynaudio products) have never been reviewed on your site.

Is there a Dynaudio review on the horizon?

Glideyork's picture

Hi,

I bought the Dynaudio m20 few weeks ago. I'm not really expert, but I think my amp (yamaha r-n500) is not enough powerful for these speakers. If you make some emit reviews, could you give us some advices about the good amps to associate with :/

Thanks for all the other really interesting articles.

AndySingh's picture

Speaking to Northwoods AV of Grand Rapids, MI, I was told that Yamaha Aventage 750/760 would be a good choice for 4 ohm speakers such as Dynaudio Emit M20.

The dealer claimed he was running Magnepans off of these. For a stereo setup, this receiver would do, however they probably only support 4 ohm impedance for front left and right.

The power output would not be a concern for a stereo setup.

gasolin's picture

I use the Marantz PM8005 and that is the smallest amp i would recommend for the Dynaudio emit m10's

z24069's picture

There are some fine choices on the Transports, Digital Processors, Preamp and Amp listings. I am puzzled however at the total lack of mention of any Esoteric Audio product. They are current products well known for their performance and musicality. What criteria being utilized could yield a recommended components lists where at least one of their products (or more) would not make it into the results?

Waves200's picture

Oh to live in a country with a reasonable rate of exchange! Our local Velodyne distributors have the DD+ 15-inch sub listed at the equivalent of almost $2000 more than the listed RRP is in the US. By the time that customs and excise is added to the cost, and the retailers have added their markup, you would be paying almost as much for the 15 inch model as you would for a new family car!