Zesto Audio Andros Téssera phono preamplifier Specifications

Thu, 06/15/2017

Zesto Audio Andros Téssera phono preamplifier Page 2

Thu, 06/15/2017

Zesto Audio Andros Téssera phono preamplifier

Maybe you've seen the widely circulated New Yorker cartoon: Two guys stand in front of a nicely drawn, tubed audio system, under which are shelves full of LPs. One guy says, "The two things that really drew me to vinyl were the expense and the inconvenience."

If you can't laugh at that, you've lost your sense of humor—even acknowledging that, oddly, convenience is the raison d'etre of some recent phono preamplifiers—including Dan D'Agostino Audio's Momentum and the CH Precision P1, both of which offer multiple, switchable, configurable inputs saved in memory. Today's well-heeled vinyl enthusiast might have two or more tonearms mounted on a single turntable—or even two turntables, each with two arms. Zesto Audio's new Andros Téssera tubed phono preamplifier takes aim at that market segment.

Thu, 06/15/2017

Audionet Max monoblock power amplifier Measurements

Thu, 06/15/2017

COMMENTS
Owen1's picture

I thought I was going to read a review of the Audionet MAXes but ended up feeling like I just read a rave review on the the Pass XA200.8 monoblocks and the Nordost Odin 2s at the expense of The MAXes and Kubala Sosna Elation!s. Perhaps the funniest or saddest comment depending on how you look at this was the admission that the MAXes may have been at a distinct disadvantage due to them NOT being on the Grand Prix Audio amp stands like the Passes WERE when evaluating. YOU THINK? That's like saying "we didn't feel the Ferrari handled as well as the Lamborghini but perhaps it was because the tires on the Ferrari were worn out retreads and the Lamborghini was test driven with Perelli P ZERO CORSAs". Wow!

Jason Victor Serinus's picture

I spent months with the Max monos in my system, properly positioned on the Grand Prix Audio amp stands. All my conclusions were based on that proper set-up, using the volume control of the dCS Rossini (which, I might add, needs no apologies).

The PNWAS visit took place after I had reached my own conclusions about the sound of Max monos. It was only during that brief visit, which extended over several hours, that the Max was at a disadvantage due to the lack of four amp stands and sufficient space to put them.

In retrospect, it was a mistake to have devoted so much space to comments made by others, at a demo where one set of amps was at a disadvantage. If you skip those comments, and read the rest of the review, I believe that it will make sense.

icorem's picture

I'm a proud owner of the Audionet Max.
I didn't find in the "associated equipment" section the pre that was used in that review.
I, as Owen1, found the review a little bit confusing...

John Atkinson's picture
icorem wrote:
I didn't find in the "associated equipment" section the pre that was used in that review.

No preamplifier - the dCS DAC, with its own volume control, was connected directly to the Max amplifiers.

John Atkinson
Editor, Stereophile

chhue's picture

Some years ago, I wanted to upgrade from my Bryston 4B SST. Because I already owned a Audionet Preamp, I aimed for the Audionet Amp. But I got an Audionet Max to audition at home. Because I was in search for a little more warmth and colour I finally got the Pass XA 60.5. But I always missed the last bit of rhythm and tight bass and also being more "effectful", traits the Max provided in my system.

I can relate to this review, though it was never a real A/B comparisson, because I've got the Pass some weeks later than I had the Audionet Max at home. Reading the review here, was greatly in line with my own memories.

The Pass XA 200.8 is surely an improvement over the XA 60.5.

The Pass and Audionet are very good amps, but for me they aim at opposing tastes. So I would not recommend choosing between them in a short period of time or even try to call one better or worse. At least this is how I understood this review, even if there is a slight bias in favour for the pass.

In fact, I think there are many amplifiers in between these sonic signatures. Because I build my own speakers with an cross over running in my computer, I've switched to two NAD M27. Though I might miss some of the XA 60.5's strengths, I do not miss their tradeoffs.

tonykaz's picture

I feel your concern.

It could've gone the other way and this comment section would have the Pass owners griping.

As an Salon Owner using Electrocompaniet Gear, I was never able to find any Amplification that could out-perform it but nearly all Reviewed Amps were "said" to be superior, I sampled nearly all to find them lacking.

Customers listen with their Eyes and Mag.reviews when it comes to Amps.

Customers eagerly "listen" to all pricy Wire Products, they will always hear differences.

Customers can (and easily do) hear differences in PreAmps, nooooooooo problem.

Audiophile Amplification is the most Psychotic component, it's 2+2= something different for each person.

All this makes me wonder : What is the most popular Audiophile Amplifiers ever? I'd guess it's the NAD 3020.

Tony in Michigan

Ukcolin99's picture

Wondering what version of Toy you have my copy has neither track you referenced. Thank you

Jason Victor Serinus's picture

The 24/48 download from HDTracks. I have not heard other versions. Whenever possible, I work with hi-rez files or SACD (or perhaps, in the future, MQA CD), because the sound is so much better.

Double Fun's picture

Found this on Facebook, maybe it'll help:

"The Audionet review in this issue is perplexing. We have had 16 reviews of Audionet systems in the US since becoming the distributor and all of those reviewers come up with a different conclusion.
We strongly recommend using amplifiers with a companion preamp or at least a preamp. We don’t believe a DAC going direct with a digital volume control that trims bits is ever superior to a proper preamplifier. Further if a system is filled with tweaks and you are going to evaluate a component we strongly encourage detweaking the system and then reoptimizing the system. Only then can you really tell what a particular component really sounds like.
Also note that when using a digital volume control and playing DSD files the DSD is converted to PCM for the volume adjustment.
Any system’s sound is a sum of its parts. The system in which the MAX amps were placed might have been the Audionet showing off other parts of the system rather than the actual sound of the MAX.
At the most recent Axpona 2017 where the MAX amplification was used Jason reported,
“proved once again that this was a perfect, synchronistic match of components.
Perfect match? How about "highs that were brilliant without being piercing, impressive bass (albeit nowhere near as overwhelmingly powerful as from the far more expensive Sonja XV system), and excellent timbres? The bottom end may not have been as focused and clear as it could have been—this was a hotel room set-up, after all—but the excellence of timbres made for a winning presentation. Reservations aside, I loved it."
It is these types of experiences of our setups that peaked Jason’s interest enough to give the Max a try in his system. We just wish the recommendation of a preamp was used and a bit more care in the setup addressed. A true apple to apple comparison would have been appreciated.
We are not quite sure why Audionet was chosen for this beta-test-experiment of amplifier comparisons for an Audio Society when according to Jason, “the Maxes were at a distinct disadvantage” and the system clearly optimized for his reference amplifiers. Not only did the end results end in differing conclusions but amounted to a severely flawed experiment. True A/B test should be on an apple to apples basis which this clearly was not.
We appreciate John Atkinson’s measurements and his conclusion that “Max performed very well on the bench, offering high powers with very low levels of distortion and noise”.
We would like to highlight and clarify a couple of things in the measurement section. The measurement spikes which are shown in Figure 3 have nothing to do with the 1 kHz Signal. These are 60 Hz components from the mains. The procedure which Max turned off after 42 minutes has no practical attempt for a speaker but this was stated later on. All shut downs from the safety circuit are correct.

Pages

Audionet Max monoblock power amplifier Associated Equipment

Thu, 06/15/2017

COMMENTS
Owen1's picture

I thought I was going to read a review of the Audionet MAXes but ended up feeling like I just read a rave review on the the Pass XA200.8 monoblocks and the Nordost Odin 2s at the expense of The MAXes and Kubala Sosna Elation!s. Perhaps the funniest or saddest comment depending on how you look at this was the admission that the MAXes may have been at a distinct disadvantage due to them NOT being on the Grand Prix Audio amp stands like the Passes WERE when evaluating. YOU THINK? That's like saying "we didn't feel the Ferrari handled as well as the Lamborghini but perhaps it was because the tires on the Ferrari were worn out retreads and the Lamborghini was test driven with Perelli P ZERO CORSAs". Wow!

Jason Victor Serinus's picture

I spent months with the Max monos in my system, properly positioned on the Grand Prix Audio amp stands. All my conclusions were based on that proper set-up, using the volume control of the dCS Rossini (which, I might add, needs no apologies).

The PNWAS visit took place after I had reached my own conclusions about the sound of Max monos. It was only during that brief visit, which extended over several hours, that the Max was at a disadvantage due to the lack of four amp stands and sufficient space to put them.

In retrospect, it was a mistake to have devoted so much space to comments made by others, at a demo where one set of amps was at a disadvantage. If you skip those comments, and read the rest of the review, I believe that it will make sense.

icorem's picture

I'm a proud owner of the Audionet Max.
I didn't find in the "associated equipment" section the pre that was used in that review.
I, as Owen1, found the review a little bit confusing...

John Atkinson's picture
icorem wrote:
I didn't find in the "associated equipment" section the pre that was used in that review.

No preamplifier - the dCS DAC, with its own volume control, was connected directly to the Max amplifiers.

John Atkinson
Editor, Stereophile

chhue's picture

Some years ago, I wanted to upgrade from my Bryston 4B SST. Because I already owned a Audionet Preamp, I aimed for the Audionet Amp. But I got an Audionet Max to audition at home. Because I was in search for a little more warmth and colour I finally got the Pass XA 60.5. But I always missed the last bit of rhythm and tight bass and also being more "effectful", traits the Max provided in my system.

I can relate to this review, though it was never a real A/B comparisson, because I've got the Pass some weeks later than I had the Audionet Max at home. Reading the review here, was greatly in line with my own memories.

The Pass XA 200.8 is surely an improvement over the XA 60.5.

The Pass and Audionet are very good amps, but for me they aim at opposing tastes. So I would not recommend choosing between them in a short period of time or even try to call one better or worse. At least this is how I understood this review, even if there is a slight bias in favour for the pass.

In fact, I think there are many amplifiers in between these sonic signatures. Because I build my own speakers with an cross over running in my computer, I've switched to two NAD M27. Though I might miss some of the XA 60.5's strengths, I do not miss their tradeoffs.

tonykaz's picture

I feel your concern.

It could've gone the other way and this comment section would have the Pass owners griping.

As an Salon Owner using Electrocompaniet Gear, I was never able to find any Amplification that could out-perform it but nearly all Reviewed Amps were "said" to be superior, I sampled nearly all to find them lacking.

Customers listen with their Eyes and Mag.reviews when it comes to Amps.

Customers eagerly "listen" to all pricy Wire Products, they will always hear differences.

Customers can (and easily do) hear differences in PreAmps, nooooooooo problem.

Audiophile Amplification is the most Psychotic component, it's 2+2= something different for each person.

All this makes me wonder : What is the most popular Audiophile Amplifiers ever? I'd guess it's the NAD 3020.

Tony in Michigan

Ukcolin99's picture

Wondering what version of Toy you have my copy has neither track you referenced. Thank you

Jason Victor Serinus's picture

The 24/48 download from HDTracks. I have not heard other versions. Whenever possible, I work with hi-rez files or SACD (or perhaps, in the future, MQA CD), because the sound is so much better.

Double Fun's picture

Found this on Facebook, maybe it'll help:

"The Audionet review in this issue is perplexing. We have had 16 reviews of Audionet systems in the US since becoming the distributor and all of those reviewers come up with a different conclusion.
We strongly recommend using amplifiers with a companion preamp or at least a preamp. We don’t believe a DAC going direct with a digital volume control that trims bits is ever superior to a proper preamplifier. Further if a system is filled with tweaks and you are going to evaluate a component we strongly encourage detweaking the system and then reoptimizing the system. Only then can you really tell what a particular component really sounds like.
Also note that when using a digital volume control and playing DSD files the DSD is converted to PCM for the volume adjustment.
Any system’s sound is a sum of its parts. The system in which the MAX amps were placed might have been the Audionet showing off other parts of the system rather than the actual sound of the MAX.
At the most recent Axpona 2017 where the MAX amplification was used Jason reported,
“proved once again that this was a perfect, synchronistic match of components.
Perfect match? How about "highs that were brilliant without being piercing, impressive bass (albeit nowhere near as overwhelmingly powerful as from the far more expensive Sonja XV system), and excellent timbres? The bottom end may not have been as focused and clear as it could have been—this was a hotel room set-up, after all—but the excellence of timbres made for a winning presentation. Reservations aside, I loved it."
It is these types of experiences of our setups that peaked Jason’s interest enough to give the Max a try in his system. We just wish the recommendation of a preamp was used and a bit more care in the setup addressed. A true apple to apple comparison would have been appreciated.
We are not quite sure why Audionet was chosen for this beta-test-experiment of amplifier comparisons for an Audio Society when according to Jason, “the Maxes were at a distinct disadvantage” and the system clearly optimized for his reference amplifiers. Not only did the end results end in differing conclusions but amounted to a severely flawed experiment. True A/B test should be on an apple to apples basis which this clearly was not.
We appreciate John Atkinson’s measurements and his conclusion that “Max performed very well on the bench, offering high powers with very low levels of distortion and noise”.
We would like to highlight and clarify a couple of things in the measurement section. The measurement spikes which are shown in Figure 3 have nothing to do with the 1 kHz Signal. These are 60 Hz components from the mains. The procedure which Max turned off after 42 minutes has no practical attempt for a speaker but this was stated later on. All shut downs from the safety circuit are correct.

Pages

Audionet Max monoblock power amplifier Specifications

Thu, 06/15/2017

COMMENTS
Owen1's picture

I thought I was going to read a review of the Audionet MAXes but ended up feeling like I just read a rave review on the the Pass XA200.8 monoblocks and the Nordost Odin 2s at the expense of The MAXes and Kubala Sosna Elation!s. Perhaps the funniest or saddest comment depending on how you look at this was the admission that the MAXes may have been at a distinct disadvantage due to them NOT being on the Grand Prix Audio amp stands like the Passes WERE when evaluating. YOU THINK? That's like saying "we didn't feel the Ferrari handled as well as the Lamborghini but perhaps it was because the tires on the Ferrari were worn out retreads and the Lamborghini was test driven with Perelli P ZERO CORSAs". Wow!

Jason Victor Serinus's picture

I spent months with the Max monos in my system, properly positioned on the Grand Prix Audio amp stands. All my conclusions were based on that proper set-up, using the volume control of the dCS Rossini (which, I might add, needs no apologies).

The PNWAS visit took place after I had reached my own conclusions about the sound of Max monos. It was only during that brief visit, which extended over several hours, that the Max was at a disadvantage due to the lack of four amp stands and sufficient space to put them.

In retrospect, it was a mistake to have devoted so much space to comments made by others, at a demo where one set of amps was at a disadvantage. If you skip those comments, and read the rest of the review, I believe that it will make sense.

icorem's picture

I'm a proud owner of the Audionet Max.
I didn't find in the "associated equipment" section the pre that was used in that review.
I, as Owen1, found the review a little bit confusing...

John Atkinson's picture
icorem wrote:
I didn't find in the "associated equipment" section the pre that was used in that review.

No preamplifier - the dCS DAC, with its own volume control, was connected directly to the Max amplifiers.

John Atkinson
Editor, Stereophile

chhue's picture

Some years ago, I wanted to upgrade from my Bryston 4B SST. Because I already owned a Audionet Preamp, I aimed for the Audionet Amp. But I got an Audionet Max to audition at home. Because I was in search for a little more warmth and colour I finally got the Pass XA 60.5. But I always missed the last bit of rhythm and tight bass and also being more "effectful", traits the Max provided in my system.

I can relate to this review, though it was never a real A/B comparisson, because I've got the Pass some weeks later than I had the Audionet Max at home. Reading the review here, was greatly in line with my own memories.

The Pass XA 200.8 is surely an improvement over the XA 60.5.

The Pass and Audionet are very good amps, but for me they aim at opposing tastes. So I would not recommend choosing between them in a short period of time or even try to call one better or worse. At least this is how I understood this review, even if there is a slight bias in favour for the pass.

In fact, I think there are many amplifiers in between these sonic signatures. Because I build my own speakers with an cross over running in my computer, I've switched to two NAD M27. Though I might miss some of the XA 60.5's strengths, I do not miss their tradeoffs.

tonykaz's picture

I feel your concern.

It could've gone the other way and this comment section would have the Pass owners griping.

As an Salon Owner using Electrocompaniet Gear, I was never able to find any Amplification that could out-perform it but nearly all Reviewed Amps were "said" to be superior, I sampled nearly all to find them lacking.

Customers listen with their Eyes and Mag.reviews when it comes to Amps.

Customers eagerly "listen" to all pricy Wire Products, they will always hear differences.

Customers can (and easily do) hear differences in PreAmps, nooooooooo problem.

Audiophile Amplification is the most Psychotic component, it's 2+2= something different for each person.

All this makes me wonder : What is the most popular Audiophile Amplifiers ever? I'd guess it's the NAD 3020.

Tony in Michigan

Ukcolin99's picture

Wondering what version of Toy you have my copy has neither track you referenced. Thank you

Jason Victor Serinus's picture

The 24/48 download from HDTracks. I have not heard other versions. Whenever possible, I work with hi-rez files or SACD (or perhaps, in the future, MQA CD), because the sound is so much better.

Double Fun's picture

Found this on Facebook, maybe it'll help:

"The Audionet review in this issue is perplexing. We have had 16 reviews of Audionet systems in the US since becoming the distributor and all of those reviewers come up with a different conclusion.
We strongly recommend using amplifiers with a companion preamp or at least a preamp. We don’t believe a DAC going direct with a digital volume control that trims bits is ever superior to a proper preamplifier. Further if a system is filled with tweaks and you are going to evaluate a component we strongly encourage detweaking the system and then reoptimizing the system. Only then can you really tell what a particular component really sounds like.
Also note that when using a digital volume control and playing DSD files the DSD is converted to PCM for the volume adjustment.
Any system’s sound is a sum of its parts. The system in which the MAX amps were placed might have been the Audionet showing off other parts of the system rather than the actual sound of the MAX.
At the most recent Axpona 2017 where the MAX amplification was used Jason reported,
“proved once again that this was a perfect, synchronistic match of components.
Perfect match? How about "highs that were brilliant without being piercing, impressive bass (albeit nowhere near as overwhelmingly powerful as from the far more expensive Sonja XV system), and excellent timbres? The bottom end may not have been as focused and clear as it could have been—this was a hotel room set-up, after all—but the excellence of timbres made for a winning presentation. Reservations aside, I loved it."
It is these types of experiences of our setups that peaked Jason’s interest enough to give the Max a try in his system. We just wish the recommendation of a preamp was used and a bit more care in the setup addressed. A true apple to apple comparison would have been appreciated.
We are not quite sure why Audionet was chosen for this beta-test-experiment of amplifier comparisons for an Audio Society when according to Jason, “the Maxes were at a distinct disadvantage” and the system clearly optimized for his reference amplifiers. Not only did the end results end in differing conclusions but amounted to a severely flawed experiment. True A/B test should be on an apple to apples basis which this clearly was not.
We appreciate John Atkinson’s measurements and his conclusion that “Max performed very well on the bench, offering high powers with very low levels of distortion and noise”.
We would like to highlight and clarify a couple of things in the measurement section. The measurement spikes which are shown in Figure 3 have nothing to do with the 1 kHz Signal. These are 60 Hz components from the mains. The procedure which Max turned off after 42 minutes has no practical attempt for a speaker but this was stated later on. All shut downs from the safety circuit are correct.

Pages

Audionet Max monoblock power amplifier Page 2

Thu, 06/15/2017

COMMENTS
Owen1's picture

I thought I was going to read a review of the Audionet MAXes but ended up feeling like I just read a rave review on the the Pass XA200.8 monoblocks and the Nordost Odin 2s at the expense of The MAXes and Kubala Sosna Elation!s. Perhaps the funniest or saddest comment depending on how you look at this was the admission that the MAXes may have been at a distinct disadvantage due to them NOT being on the Grand Prix Audio amp stands like the Passes WERE when evaluating. YOU THINK? That's like saying "we didn't feel the Ferrari handled as well as the Lamborghini but perhaps it was because the tires on the Ferrari were worn out retreads and the Lamborghini was test driven with Perelli P ZERO CORSAs". Wow!

Jason Victor Serinus's picture

I spent months with the Max monos in my system, properly positioned on the Grand Prix Audio amp stands. All my conclusions were based on that proper set-up, using the volume control of the dCS Rossini (which, I might add, needs no apologies).

The PNWAS visit took place after I had reached my own conclusions about the sound of Max monos. It was only during that brief visit, which extended over several hours, that the Max was at a disadvantage due to the lack of four amp stands and sufficient space to put them.

In retrospect, it was a mistake to have devoted so much space to comments made by others, at a demo where one set of amps was at a disadvantage. If you skip those comments, and read the rest of the review, I believe that it will make sense.

icorem's picture

I'm a proud owner of the Audionet Max.
I didn't find in the "associated equipment" section the pre that was used in that review.
I, as Owen1, found the review a little bit confusing...

John Atkinson's picture
icorem wrote:
I didn't find in the "associated equipment" section the pre that was used in that review.

No preamplifier - the dCS DAC, with its own volume control, was connected directly to the Max amplifiers.

John Atkinson
Editor, Stereophile

chhue's picture

Some years ago, I wanted to upgrade from my Bryston 4B SST. Because I already owned a Audionet Preamp, I aimed for the Audionet Amp. But I got an Audionet Max to audition at home. Because I was in search for a little more warmth and colour I finally got the Pass XA 60.5. But I always missed the last bit of rhythm and tight bass and also being more "effectful", traits the Max provided in my system.

I can relate to this review, though it was never a real A/B comparisson, because I've got the Pass some weeks later than I had the Audionet Max at home. Reading the review here, was greatly in line with my own memories.

The Pass XA 200.8 is surely an improvement over the XA 60.5.

The Pass and Audionet are very good amps, but for me they aim at opposing tastes. So I would not recommend choosing between them in a short period of time or even try to call one better or worse. At least this is how I understood this review, even if there is a slight bias in favour for the pass.

In fact, I think there are many amplifiers in between these sonic signatures. Because I build my own speakers with an cross over running in my computer, I've switched to two NAD M27. Though I might miss some of the XA 60.5's strengths, I do not miss their tradeoffs.

tonykaz's picture

I feel your concern.

It could've gone the other way and this comment section would have the Pass owners griping.

As an Salon Owner using Electrocompaniet Gear, I was never able to find any Amplification that could out-perform it but nearly all Reviewed Amps were "said" to be superior, I sampled nearly all to find them lacking.

Customers listen with their Eyes and Mag.reviews when it comes to Amps.

Customers eagerly "listen" to all pricy Wire Products, they will always hear differences.

Customers can (and easily do) hear differences in PreAmps, nooooooooo problem.

Audiophile Amplification is the most Psychotic component, it's 2+2= something different for each person.

All this makes me wonder : What is the most popular Audiophile Amplifiers ever? I'd guess it's the NAD 3020.

Tony in Michigan

Ukcolin99's picture

Wondering what version of Toy you have my copy has neither track you referenced. Thank you

Jason Victor Serinus's picture

The 24/48 download from HDTracks. I have not heard other versions. Whenever possible, I work with hi-rez files or SACD (or perhaps, in the future, MQA CD), because the sound is so much better.

Double Fun's picture

Found this on Facebook, maybe it'll help:

"The Audionet review in this issue is perplexing. We have had 16 reviews of Audionet systems in the US since becoming the distributor and all of those reviewers come up with a different conclusion.
We strongly recommend using amplifiers with a companion preamp or at least a preamp. We don’t believe a DAC going direct with a digital volume control that trims bits is ever superior to a proper preamplifier. Further if a system is filled with tweaks and you are going to evaluate a component we strongly encourage detweaking the system and then reoptimizing the system. Only then can you really tell what a particular component really sounds like.
Also note that when using a digital volume control and playing DSD files the DSD is converted to PCM for the volume adjustment.
Any system’s sound is a sum of its parts. The system in which the MAX amps were placed might have been the Audionet showing off other parts of the system rather than the actual sound of the MAX.
At the most recent Axpona 2017 where the MAX amplification was used Jason reported,
“proved once again that this was a perfect, synchronistic match of components.
Perfect match? How about "highs that were brilliant without being piercing, impressive bass (albeit nowhere near as overwhelmingly powerful as from the far more expensive Sonja XV system), and excellent timbres? The bottom end may not have been as focused and clear as it could have been—this was a hotel room set-up, after all—but the excellence of timbres made for a winning presentation. Reservations aside, I loved it."
It is these types of experiences of our setups that peaked Jason’s interest enough to give the Max a try in his system. We just wish the recommendation of a preamp was used and a bit more care in the setup addressed. A true apple to apple comparison would have been appreciated.
We are not quite sure why Audionet was chosen for this beta-test-experiment of amplifier comparisons for an Audio Society when according to Jason, “the Maxes were at a distinct disadvantage” and the system clearly optimized for his reference amplifiers. Not only did the end results end in differing conclusions but amounted to a severely flawed experiment. True A/B test should be on an apple to apples basis which this clearly was not.
We appreciate John Atkinson’s measurements and his conclusion that “Max performed very well on the bench, offering high powers with very low levels of distortion and noise”.
We would like to highlight and clarify a couple of things in the measurement section. The measurement spikes which are shown in Figure 3 have nothing to do with the 1 kHz Signal. These are 60 Hz components from the mains. The procedure which Max turned off after 42 minutes has no practical attempt for a speaker but this was stated later on. All shut downs from the safety circuit are correct.

Pages

Audionet Max monoblock power amplifier

Three years ago, when I first heard Audionet's Max monoblock power amplifiers, I described their pairing with YG Acoustics Hailey loudspeakers "an absolute winner" and "definitely one of the finer systems at T.H.E. Show Newport Beach." At subsequent audio shows, no fewer than four other Stereophile Contributing Editors enthused about different pairings of YG loudspeakers with Audionet amplification. Herb Reichert, at the 2014 Rocky Mountain Audio Fest: "Everything had a kind of just right quality. Totally impressive!" Sasha Matson, at RMAF 2015: "Marvelous" on vocals, "rockin' and tight" on bass and drums. John Atkinson, at T.H.E. Show 2016: "Duke Ellington's classic Jazz Party in Stereo . . . was reproduced with terrific dynamics." Larry Greenhill at the 2017 Consumer Electronics Show on the sound in the YG Acoustics room, which included Audionet's Max monoblocks: "the sound on playback of Jake Shimabukuro's ukulele wizardry came closer to matching his live performance than in most rooms."
Thu, 06/15/2017

July July July

Zesto's Téssara tube phono preamplifier takes pride of place on the July Stereophile's cover, to accompany Mikey Fremer's review inside. Add to that Jason Victor Serinus on the expensive Audionet Max monoblocks from Germany, John Atkinson on an affordable DAC from Arcam, Larry Greenhill on the awesome No.536 monoblock from the revitalized Mark Levinson company, Art Dudley on the Lamm L.21 preamplifier and the Serbian Soulines Kubrick DCX turntable, and Herb Reichert on turntables from Analogueworks and Palmer, and you'll see why we think this issue is rad! (JA's daughter says "Don't say that, Daddy.")
Tue, 06/13/2017

Are You Experienced?

There are no ifs, ands, or buts about it: Headphones sound different from speakers. For different reasons, I like both, but all speakers come with one undeniable disadvantage: the room you play them in. I don't care if you're running pint-size Falcon Acoustics LS3/5a's or giant Wilson Audio Alexandria XLFs—they're at the mercy of your room's acoustics. Losses are inevitable.
Tue, 06/13/2017

Pages