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Not since Sonus Faber's Amati Homage loudspeakers took up residence in my listening room has a piece of audio gear elicited so many "Oohs," "Aahs," and "Wows" from friends as Hovland Company's dramatic-looking, EL34-driven Sapphire power amplifier—especially when it was switched on and glowing orange and blue. It drew unsolicited attention and admiration even when turned off. Not that, on or off, its unusual looks didn't also have their share of detractors. As with Hovland's chrome-façaded, blue-backlit HP-100 preamplifier, some found the Sapphire too shiny, too gaudy, and generally just too…
One problem you might encounter, depending on where you site the Sapphire, is the minimal clearance afforded by its cylindrical feet. I was unable to secure the speaker-wire spade lugs to the binding posts from below; the stiff wire wouldn't clear the shelf. Insertion from above was impossible because of the main chassis' overhang, nor was it possible to connect from the side because of the proximity of the multiple taps. Only by hanging the back of the amp over the edge of the Grand Prix Audio Monaco stands could I get sufficient clearance to attach the lugs.
Switch the Sapphire on from…
Was the Hovland papering over significant differences? Perhaps, but the bottom line was that more recordings I own became more enjoyable through the Sapphire.
Only 40Wpc...?
When I asked Bob Hovland about the Sapphire's relatively low power, he insisted that the amp's impressive dynamics belie its rated output. I found that to be the case—at least with my Amati Homage (89dB efficient) and Avanti III (91dB) speakers. I never heard the Sapphire pull up short in the dynamics department, even with heavily orchestrated symphonic music.
Lately I've been pulling out more recent RCA…
Sidebar 1: Specifications
Description: Hybrid bipolar/FET/vacuum-tube stereo power amplifier. Tube complement: two 12AU7, four EL34. Output power: 40Wpc into 8 ohms (16dBW) (80W, 19dBW, when bridged to mono). Frequency response: 20Hz-20kHz, ±0.2dB. Harmonic distortion: less than 0.1%, 20Hz and 1kHz, less than 0.2%, 10kHz, at 1Wpc; less than 1%, 1kHz, less than 1.5% 30Hz, less than 3% 10kHz, at 40Wpc. S/N ratio: 82dB (A-weighted) ref. 1W out. Input sensitivity: 910mV for 40W output. Input impedance: 680k ohms. Voltage gain: 26dB into 8 ohms.
Dimensions: 18.5" W by 8.125" H (with feet)…
Sidebar 2: Associated Equipment
Analog sources: Simon Yorke turntable; Graham 2.2, Immedia RPM2 tonearms; Lyra Helikon LE, Helikon Mono, Benz Glider L2 cartridges.Digital sources: Musical Fidelity Nu-Vista 3D CD player, Marantz SA14 SACD player.
Preamplification: Hovland HP-100 preamplifier, Manley Steelhead phono section.
Power amplifier: Musical Fidelity Nu-Vista 300.
Loudspeakers: Audio Physic Avanti III, Sonus Faber Amati Homage.
Cables: Phono: Hovland Music Groove DIN/RCA, RCA/RCA. Interconnect: Discovery Essence, Harmonic Technology Pro-Silway II, Wireworld Gold Eclipse…
Sidebar 3: Measurements
I carefully adjusted the Hovland Sapphire's bias before performing any measurements. This is more difficult than you might expect, due to some interaction between the settings. After you have adjusted the bias for the second tube in each pair, you need to readjust the first. The manual, however, is well-written and informative on the procedure.
The Sapphire's input impedance measured a high 68k ohms at 1kHz, this dropping to a still high 36k ohms at 20kHz. The amplifier didn't invert polarity with the red speaker lead connected to the Common terminal, as…
Despite the fairly high level of THD, fig.7 reveals that this is mainly the subjectively innocuous low-order harmonics, at least at low levels. The picture is less good at high output powers. Fig.8, for example, shows the spectrum of the Sapphire's output while it drives a bass signal close to visual clipping—27W—from its 4 ohm tap into 8 ohms. The amplifier is working hard: the third harmonic lies at -40dB (1%), with the fifth harmonic at -50dB (0.3%) and the second and fourth harmonics close to -60dB (0.1%). At these levels, the third and fifth harmonics will definitely be audible on pure…
I was watching Mr. Holland's Opus on the tube the other day and was surprised to find myself teary-eyed, even though the film lost me by subjecting me to Michael Kamen's atrocious "symphony" in the finale. Why had I become all choked up? Because I had a Mr. Holland of my own.
My high school band director was a man improbably named Sharon Hoose. He was a slim, dapper chap who had directed the Lane High School band for 25 years, and he had a credo that saved my adolescent sanity: If you were a musician, you were special.
When we weren't compelled to be in some class or other, band…
With the price of high-end audio increasingly reaching for the stratosphere, audiophiles appear to becoming much more value-conscious. This trend is reflected in the recent popularity of CD players over separate transports and processors, and particularly in the sudden resurgence in integrated amplifiers. An integrated amplifier makes a lot of sense: the buyer saves the cost of two chassis, two power cords, two owner's manuals, and an extra pair of interconnects. You also get a simpler system.
However, there have long been two problems with integrated amplifiers. First, serious designers…
Listening
When I first dropped the CAP-100 into my system, my initial reaction was overwhelmingly positive. The CAP-100 took control of the Aerial 5s in a way that the Linn Majik, Rotel RA-970BX, Anthem Integrated 1, and Audio Note OTO SE integrated amplifiers couldn't match. Granted, the Classé costs much more than these other products (except the Audio Note), but the musical difference rendered by the CAP-100 with the Aerial 5s was dramatic.
When I first dropped the CAP-100 into my system, my initial reaction was overwhelmingly positive. The CAP-100 took control of the Aerial 5s in a way that the Linn Majik, Rotel RA-970BX, Anthem Integrated 1, and Audio Note OTO SE integrated amplifiers couldn't match. Granted, the Classé costs much more than these other products (except the Audio Note), but the musical difference rendered by the CAP-100 with the Aerial 5s was dramatic.
What set the CAP-100 apart from these other amplifiers was its authority, control, power, and dynamics. I always had the feeling that the…