Solid State Power Amp Reviews

The preamplifier was the remote-controlled Mark Levinson No.38S, with either a Mod Squad Phono Drive EPS or an Audio Alchemy VAC-in-the-Box used to amplify LP signals from a Linn Sondek/Cirkus/Trampolin/Lingo/Ekos/Arkiv setup on an ArchiDee table. Digital sources were MLevinson No.30.5 HDCD and Parts Connection Assemblage D/A processors driven by Mark Levinson No.31 and No.31.5 transports via Madrigal and Illuminati AES/EBU cables and Meridian 518 or Genesis Digital Lens jitter-reduction units (No.31) or Sonic Frontiers UltraJitterbug (Assemblage). I also used the impressive Sonic Frontiers SFCD-1 CD player.

Interconnects used were AudioQuest's balanced AudioTruth Lapis X3 alternating with XLO 1.1 Signature. All source components and preamps were plugged-in to a Power Wedge 116 Mk.II, itself plugged-in to a dedicated AC circuit and fitted with the Power Enhancer option.

Other than my regular B&W Silver Signature loudspeakers, used with their own solid-core silver cables, the No.333 saw service driving all the speakers I have reviewed in the last 15 months: in chronological order, Acoustic Energy AE2 Signature, Platinum Audio Solo, Unity Audio Signature 3, Joseph Audio RM7si, Totem Mani-2, Coincident Troubador, Swans Baton, Monitor Audio Studio 50, B&W Compact Domestic Monitor 1, JMlab Micron Carat, PSB New Stratus Mini, Wilson Audio Specialties WITT, Boston Acoustics Lynnfield 300L Mk.II, and Sony ES SS-M9. Speaker cable was bi-wired sets of AudioQuest Sterling or Cardas Cross.—John Atkinson