$4995

PrimaLuna’s most powerful Evolution series amplifier delivers 70Wpc in ultralinear mode with the stock EL34 pentode, and almost 90Wpc with the optional KT150 beam tetrode. If more power is needed, a pair of amps can easily be configured in monoblock operation. The design is quite flexible; at the flick of a bias switch, all the popular beam power tubes can readily be used. A neat and useful convenience is the remote switching capability between ultralinear and triode modes. Generally, triode mode offers a mellower presentation and occasionally better bass-line definition. And there is no need for tedious manual power-tube bias adjustments. PrimaLuna’s Adaptive AutoBias circuit monitors and continuously adjusts bias current under dynamic operating conditions. Its inherent tonal character is rather neutral and tends to be shaped by that of the associated preamp. It is capable of excellent imaging and resolution, coupled with exceptional soundstage transparency. In stock form, it delivers the tonal gravitas that the EL34 pentode is famous for, achieving a satisfying big tone presentation. Relative to most vintage tube amps, its superior detail resolution, enhanced dynamic nuances, and ability to peer deeper within the soundstage make for a much more compelling sonic impression. Sonically, the EVO 400 signifies nothing less than a joyous celebration of tube virtues without the genre’s traditional limitations at the frequency extremes. At its asking price, the EVO 400 represents supreme value. (353)

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$75,000/pair

Since JV has liked the sound of several select Class AB solid-state amplifiers enough to make them long-time references—the Soulution 711, the JMF HQS 7001, and the MBL 9008/9011—and since Class AB amplifiers are subject to “crossover distortion” (wherein the imprecise timing of the turn-on and turn-off of the pair of transistors handling the positive and negative phases of the signal causes a small delay, a zero-voltage “flat spot” ) and Class A amplifiers (in which the power transistors handle both phases of the signal and are always biased “on”) are not, the issue with Vitus’ superb SM-103 Mk.II Class A monoblock amplifier becomes: “Is the absence of crossover distortion in a Class A amplifier audible?” In the case of the SM-103 Mk.II, JV found that he could best answer this question by reporting on what it offers that these Class AB amps do not, at least to the same extent. And that is a grainless fluidity that make the Class AB competition (or the competition he has heard) sound just the slightest bit more mechanical, less top-to-bottom dense and continuous in tone, texture, and dynamic, less solid and dimensional in imaging, less sonically of a piece. The difference was rather like the sound of a great full-range planar or electrostat compared with the slightly enclosed, faintly divided-into-pieces sound of multiple cones in a box. Like its companion linestage preamplifier, the SL-103, this is an amplifier that bridges the gaps between absolute-sound, musicality-first, and fidelity-to-source presentations—and does so with a minim of the usual Class A drawbacks (heat, power delivery, etc.). The most lifelike, beautiful, and three-dimensional amplifiers JV has yet heard in his system (and more than capable of driving the tough-load MBL 101 X-Treme MKIIs), the SM-103s were an easy pick for this year’s Solid-State Amplifier of the Year Award. (353)

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$16,500

The new Inspiration 2 Stereo power amplifier may be the “entry level” in Constellation’s line, but there’s nothing entry level about this amplifier, from sound quality to feature set to build-quality. The Inspiration 2 Stereo has preserved the outstanding transparency, resolution, and dimensionality that made the original so compelling, while greatly improving bottom-end performance and dynamic impact. This new model has also increased the power output of the original by 20%, now delivering 240Wpc into 8 ohms. Thanks to a new switch-mode power supply, the Inspiration 2 Stereo’s bass has been transformed. This amplifier has a muscular authority in the low end along with tremendous dynamic impact. But the most significant improvement is how it conveys music’s rhythmic flow in a way that is competitive with cost-no-object electronics. Along with the improvement in the bass, Constellation has managed to keep all those qualities that made the originals so special (and the company’s Reference Series RH’s electronics of choice for nearly 10 years)—resolution, transparency, speed without etch, and a wonderfully open, expansive, and deep soundstage that makes the speakers disappear. Bulletproof build-quality and lavish casework round out this superb amplifier (353)

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$77,000/pr. and $36,000

Like the UHA Ultima Apollo, this pair of monoblocks and preamp from French manufacturer JMF, a company with deep roots in pro audio, took me by surprise. I wasn’t expecting sound that rivaled that of my reference Soulution and MBL electronics, but then, prior to these JMFs, my experience with French ultra-high-end amplification and preamplification was limited to various Jadis tube units (and no solid-state ones). However, hearing is believing. Turns out this Gallic duo had the same rich dark timbre and texture, lifelike imaging, and soundstage continuousness that made the Swiss and German amps and preamps my references. Indeed, and rather ironically given that JMF pointedly limits the use of negative feedback and the Swiss company Soulution embraces it (in a highly ingenious and sophisticated form), upon listening to the HQS 7001 and PRS 1.5, my first thought was that they sounded uncannily like my reference Soulution 711 amplifier and 725 pre in tonal balance, transient response, harmonic/dynamic duration, and sheer density of musical information. Bottom line? The HQS 7001s and PRS 1.5 are world-class offerings that do just about everything musical as well as such things can be done by solid-state audio components, even in comparison with some of the world’s finest competition. (349)

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$230,000/pr.

A nearly quarter-million-dollar price tag for a 20W amplifier may seem like the height of audiophile excess—until you listen to how this extraordinary amplifier transcends mere “hi-fi” to bring music to vivid life. Conceptualized as the ultimate realization of David Berning’s output-transformerless “ZOTL” circuit, the four-chassis Reference SET is the culmination of six years of development between Berning, Rick Brown of Hi-Fi One, audio legend Steve McCormack, and an array of global partners. It is an extremely esoteric design built without regard to cost—each outboard choke is wound with 14 pounds of pure silver wire, for example. The result is an amplifier that delivers the glorious midrange of an SET without sacrificing bass extension, weight, dynamic impact, and authority. But more than that, the Reference SET is simply transcendental in its stunningly natural rendering of timbre and density of tone color, ability to make the speakers disappear with its imaging vividness and expansive soundstage, and perhaps best of all, its sense of relaxed ease that fosters an intimate connection with the music. When driving a loudspeaker of appropriate sensitivity and impedance—an important caveat—the Reference SET is without peer. For an oblique take on the Reference SET, see Paul Seydor’s Golden Ear Award in this issue for the Avantgarde Trio loudspeaker; the Trio he heard was driven by the Reference SET. (352)

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$3398/pr.

The Tyr monoblock amplifiers from Schiit Audio answer with a resounding “yes” the longstanding question of whether an amplifier can offer both accuracy and musicality. This question arose in the early years of the high end, when there seemed to be tension between usual measures of technical accuracy and desirable listening impressions. And amplifiers which combined the two characteristics were most often pure Class A and thus either low-powered or, if high-powered, both huge and hugely expensive. Analog amplification is a mature technology, but progress still happens, and the Tyrs offer both superb technical performance, publicly documented by Schiit, high power at 200W, and a completely satisfying listening experience at a reasonable price. The Tyrs have complete resolution—what there is to hear you will hear—but without any exaggeration of high frequences or artificial edge-exaggeration in imaging. They are wide in bandwidth and neutral in timbre, low in output impedance, but without any edginess that often accompanies wide-bandwidth designs. Their spatial presentation reflects the spatial information on recordings in full truth, and as monoblocks, their channel separation is total. They push every explicit button, technical and in sonic criteria. But beyond this, in a way not easy to quantify, they have “nameless graces which no methods teach”: While they present recordings in all truth and honesty, the Tyrs also present them as satisfyingly as possible by completely avoiding any amusical alterations. Here, truth really is beauty after all. (353)

Full Review Here

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NuPrime STA-9

$899

Producing 120Wpc and weighing just under 10.5 pounds, the STA-9 uses a Class A input circuit along with a Class D output circuit. NuPrime’s website says it “is designed with enhanced even-order harmonic circuitry that mimics the most attractive features of tube-amp sound without incurring tubes’ drawbacks and limitations.” It’s easily bridgeable into 290Wpc monoblocks, and its 47k-ohm input impedance should work with virtually any preamplifier. In monoblock mode, the STA-9 produced powerful bass, even with small KEF speakers. Vade Forrester, 273

Topping LA90

$899

If you have mid- to high-efficiency loudspeakers that you love, you may find the LA90 to be an ideal power or integrated amplifier for your system. Reviewer SS could easily see a single LA90 as the “summer amp” in a high-efficiency horn system. You can, if you require more power, bridge the LA90 into a mono configuration. Still, SS would not recommend even two LA90 to owners of 2-ohm Apogee Scintillas or Thiel 3.5s. Some loudspeakers simply need more power than even two LA90s can provide. If you are intrigued by the LA90’s potential, you’re going to have to take a leap of faith and buy before you try, just like SS did. You can always return it, but SS seriously doubts that you will. SS, 335

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$14,990/pr.

This fully balanced, Class AB amplifier packs 600 watts (8 ohms) into a normal-sized, 42-pound single chassis per channel. The previous generation “squared” series improved output-stage performance whereas the newer “cubed” series improves the input stage. The result represents a more refined sound for Bryston overall. The 7B³’s bass extension and stability during demanding musical passages, coupled with relatively low noise, impart an admirable sense of ease to the presentation. Soundstage depth is in keeping with other solid-state amps at its price level, but width and height are exceptional. (269)

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$5590/pr.

To SS’s ears Bel Canto’s 15.4-pound, 300W (600W into 4 ohms) Ref600M Class D monoblock is good enough to qualify as the best all-around power amplifier he’s heard to date, regardless of technology or circuit topology. Its combination of extremely low noise (which makes it suitable to drive even highly efficient loudspeakers), precision three-dimensional imaging, relaxed and natural harmonic balance, and power capability makes for a potent package. Couple all its sonic achievements with its relatively modest price, and you have a power amplifier that could well be a benchmark reference for many audiophiles for years to come. (269)

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$9600

Sounding more like a fine linear amp than the hybrid-switching amp it is, the 180Wpc C21 offers much of the lush sweetness and sonic gravity of MBL’s own Reference Line 9011 monoblock. It may not have the 9011’s slam, but in most other ways the C21 bears a strong resemblance to the flagship’s air and dynamic energy. Its top end, where Class D has previously struggled, is smooth and extended, not glassy. Its low end is elegantly controlled but not over-torqued. Rather it has a bit of dark velvet bloom, imparting the full measure of harmonic and ambient decay and timbral resonance with acoustic music. This is an amp that can proudly stand next to the best in its class—switching or non-. (228)

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$1999

If you can’t get excited over an amp like the S300, you might reconsider your own high-end bona fides. Based on a Class D ICE module, the dual-mono amp is rated at 140Wpc into 8 ohms. That number seems conservative because it kicks like a 200-watter.  The sleek low-profile design is matched by first-rate construction quality. Sonically, the era of apologizing for Class D under-performance is over. Music simply snapped into view, in full harmonic bloom. Most vivid were dynamic contrasts from the micro level to the macro. The S300 was both fast and explosive off the mark, while timbral information, its ability to define the character and personality of each musical element, was in full-color display. The S300 wears its speed and rhythmic integrity like a badge of honor. (333)

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$12,000

Aesthetix’s first foray into power amps is an unqualified success. Aesthetically, the Atlas is handsome in a brawny but tasteful way. Its front panel offers a convenient menu-system for input selection and crossover point, the latter feature allowing the amp to easily mate with a subwoofer. Sonically, the amp has great resolution and reflexes, making it a snap to follow interleaved melodic and rhythmic lines. The Atlas creates a cloud of air around each instrument, and a deep convincing sense of space. Indeed, its resolution, timing, and imaging are beyond reproach. Tonally, this amp is on the sweet side in a way that is consonant with real music. (196)

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