The WiiM platform features extensive support for streaming services—essentially everything except Apple Music—and includes a commendable internet radio function along with Chromecast compatibility. Standard WiiM highlights, such as the ability to utilise your phone’s microphone for EQ adjustments and an excellent Amazon Alexa integration, are also maintained. 

The Ultra is only getting started, though. It is a fully functional preamp that boasts an optical and analogue input, like the Pro and Pro+. The Ultra then sets about adding to this functionality. First up is an HDMI ARC connection for straightforward TV integration. This first appeared on the WiiM Amp, but the implementation here seems considerably more responsive and stable. 

The Vinyl Frontier?

A notably unusual addition is the arrival of a phono stage. This supports both moving magnet and moving coil cartridges, elevating the Ultra to a distinctive product category compared to anything else in a similar price range. In terms of pure functionality (streaming, analogue and digital inputs, on-board EQ), the closest match for the WiiM is the NAD M66, priced at over ten times more. While I won’t claim that everything they do is executed at the same level, it is nonetheless immensely impressive. 

The Ultra also benefits from enhanced casework compared to the smaller Pro and Pro+ models. It shares a similar shape with the WiiM Amp, but represents another step forward. The glossy front with a metal top plate is appealing, and the addition of a touchscreen display is genuinely useful here. It is sufficiently large to serve as a viable point of interaction with the unit, allowing you to adjust functionality on the fly. This is complemented by a physical volume knob, making the Ultra less daunting to use as a preamp than relying solely on a software volume slider. The RCA stereo output is accompanied by a dedicated sub-out, featuring adjustable crossover and EQ settings. Additionally, the Ultra can also function as a streaming transport via optical, coaxial, and USB outputs. 

This offers an extraordinary amount of functionality for the asking price. While I don’t believe the WiiM app is as appealing as some competitors for browsing and interacting with a large music collection, it has demonstrated consistent stability in testing and day-to-day use.

I initially connected the Ultra up to a Cyrus 40 AMP via the RCA outputs to get a handle on the on board decoding. Like a few pieces of affordable digital I have tested in recent times, I found myself making criticisms and then realising that they are being applied to a device that, while pricier than most nights out, has still only reached the level of ‘pleasant weekend away.’ Listening to the Ultra power its way through The Greatest Love, the latest offering from London Grammar [Ministry of Sound], the effect, more than anything else, is to question why you would ‘need’ to spend more. 

With the opening ‘House’, the Ultra showcases the drum and bass-adjacent lower registers with sufficient control, texture, and speed to keep them engaging while ensuring that Hannah Reid’s vocals above it possess the space, clarity, and tonal realism required to capture your attention and anchor the track. It’s not overly flashy; there’s no prioritisation of any part of the frequency response over another, and if you revert decoding back to the Cyrus, there is a noticeable jump in the three-dimensional space, but it remains very listenable. 

Ultra Roon

If you disconnect the RCA connection and ask the WiiM to communicate with the Cyrus via USB, the differences between it and the Roon Nucleus—previously performing the same function—fade into the long grass of subjectivity. This is particularly true once you start using the Ultra as a Roon endpoint. While listening to Hayden Thorpe’s gloriously odd Ness [Domino], one could convincingly argue that the Nucleus exhibits a slightly lower noise floor than the Ultra, which extracts a bit more nuance from this curious collection of tone poems. However, the difference is minimal. It’s unfortunate that the USB output’s addition hasn’t been accompanied by the formidable sample rate handling of the Pro+, but for most available recorded music, the Ultra will serve as an excellent means of connecting those digital input-equipped devices to the outside world. 

You can connect a turntable to it. In this case, I conducted most of the testing with a Pro-Ject Debut Evo2 that was available at the time, and listening to Labi Siffre’s Remember My Song [Mr Bongo] proves it isn’t just ‘good for a streamer digitising the signal on the fly’; it’s a genuinely enjoyable listening experience. Noise levels are impressively low, ensuring that fine details are released from the record, making it sound altogether more dynamic and believable. Connecting a Vertere MG-1 MkII and switching to the moving coil function outperforms expectations. It might be fair to say that high-end phono stage manufacturers needn’t concern themselves quite yet, but equally, if you had told me at the start of the year that I’d be testing a £350 streamer with moving coil cartridge support, I would have thought you were joking; perhaps they don’t have as long as they think they do. 

Evolutionary Leap

What the Ultra does rather well is serve as another evolutionary leap in affordable audio, achieved without burning any bridges. If you seek a line-level streamer to connect to an amplifier, it still leaves most conventional rivals appearing somewhat feature-light. As a USB transport, it operates flawlessly too, providing the type of flexible front end for DACs and digital input boards that users are likely to find extremely easy to live with. 

Finally, there’s the intriguing nature of the next step. When connected to a power amplifier or a pair of active speakers, the WiiM can collate your likely existing inputs, such as a TV and a turntable, and manage them sufficiently well to prompt more than a few people to ask if they truly need anything more. WiiM’s relentless pursuit of affordable digital has expanded into a broader challenge against the entire entry-level audio market, and given the level of performance on display here, it’s very difficult to see them being halted anytime soon. 

Specs & Pricing

Type: Streaming preamp
Analogue Inputs: RCA Stereo pair (line), RCA Stereo pair (phono)
Digital inputs: HDMI ARC, USB-B, Toslink optical S/PDIF, RJ45 Ethernet
Analogue outputs: RCA Stereo pair, subwoofer RCA, 12V trigger
Digital outputs: Coaxial and Toslink optical S/PDIF
Supported Streaming Services: Spotify Connect, Tidal, Qobuz, Amazon Music, Deezer and SoundCloud,
Smart home support: Chromecast Audio, Google, Siri and Alexa,
Internet radio support: TuneIn, iHeartRadio, vTuner and Radio Paradise
Roon Ready
Audio Codecs Supported: MP3, AAC, ALAC, APE, FLAC, WAV, WMA, AIFF, OGG
Analogue Input (ADC): Fixed 192k, 24bit
Memory: 512MB Flash + DRAM
Tone Control:  Adaptive EQ and Graphic Equaliser built-in
Bluetooth Version: Bluetooth 5.3
DAC Chip: Dual ES9038Q2M
App Control WiiM Home
Dimensions (W x H x D): 205 x 205 x 73 mm
Weight: 1.3 kg
Price: £349, $329, €399

Manufacturer WiiM
www.wiimhome.com

So why am I dwelling so much on the past? In the intervening decades, I spent tens of thousands of pounds on audio equipment without finding anything that served me better than that original system. Only when I stepped from in front of the counter to behind it in audio retail could I start building what I now consider my ultimate system, which combines terrific sound with domestic acceptability. As a reviewer, I am privileged to hear many different components, which I enjoy hugely. Still, I usually have them here for some time, learn their strengths and occasional weaknesses, write about them, and send them back. I rarely get excited about a forthcoming “guest” component, but when I read about the new Quad33/303 combination, I was bursting with enthusiasm.

Nostalgia was a factor, but so was curiosity and an enduring fondness for the Quad brand.

Enthusiasm Justified?

Before we know whether I was right or wrong to have been so enthusiastic, let me describe these brand-new, twenty-first-century versions of the pre and power amplifiers. They may strongly resemble their ancestors but are very much contemporary under the surface. Starting with the 33, my first impression when I lifted it from the box was its solidity. It feels sturdy, and the toroidal transformer within it gives it a reassuring weight. Once on the rack and wired up, the LED illumination gives off a wonderful orange glow. Looking at the front panel, on the left is a rotary control for volume, and below that, four rectangular buttons marked Aux 1.2 and 3 and XLR. To their right are two small black circles, one being the receiver for the remote control and the other a full-size headphone input. To the right are four rectangular buttons: Phono, Tone, Backlight, and Standby. Above those is the backlit LED screen, which shows how much bass adjustment has been applied, how much Tilt has been dialled in and whether or not the balance has been adjusted. These three functions are controlled via rotary controls above the LED screen.

So, what is Tilt? Peter Walker developed this idea because he felt that separate tone controls were inadequate and clumsy. Quad says, “The Tilt control differs in that it adjusts both ends of the frequency spectrum together, either attenuating the bass and lifting the treble or lifting the bass and attenuating the treble in 1dB steps.

“It rotates – or tilts – the audible frequency range on a 700Hz axis, thereby adjusting the overall sound balance with ‘warm’ or ‘cool’ hints without altering volume or adding colour to the sound. This feature is unique to QUAD and offers a subtle, precise, and consistent way to adjust your system’s performance and compensate for recordings or environments.” My old Quad 44 was equipped with a Tilt control, so this was not a new concept for me, but it may take some acclimatisation for someone new to Quad.

Switchgear

The rear panel offers an IEC input socket for mains power from the bottom left. Above that is an on/off rocker switch. The next cluster of sockets relates to output. There is a pair of XLRs and a pair of RCAs, allowing the user to choose either, and then a second pair of output RCAs marked Aux for connection, for example, of a subwoofer. The right-hand side is given over to inputs – a pair of XLRs and two pairs of RCAs, and above them, two pairs of RCAs, the right-hand ones being for access to the built-in phono stage. There is a grounding pin to the right of those. A tiny pair of sockets for the 12v trigger system is also available for powering up the 33 and the matching 303 power amplifier simultaneously. The supplied remote control is excellent, allowing access to the tone controls and the inputs while giving precise level settings for the volume.

Turning to the 303 power amplifier, the designers at Quad have remained faithful to the original version in terms of size and shape but have again built a contemporary piece of engineering within the familiar exterior. At the flip of a switch on the rear panel, the 303 can be used as a singleton stereo amplifier, putting 50W per channel into an eight-ohm load or 70W into four ohms. It offers the user the choice of XLR or RCA connection to a pre-amplifier, two pairs of multiway binding posts and an IEC input socket with an on/off rocker switch above it. The front boasts just the single orange rectangular switch in the lower centre, which brings the unit out of standby mode and is illuminated when the power is on. 

I started the review using a single 303 in stereo mode. I connected the visiting Gold Note CD5 (reviewed next issue) using Tellurium Q Ultra Silver II XLR cables, and the guest turntable, a Michell Orbe SE, fitted with Michell’s own Cusis M moving coil cartridge in the Michell TechnoArm A-II was plugged into my own Gold Note PH10/PSU phono stage. This was connected with Vertere RedLine RCA cables to the 33. My pair of Harbeth Compact 7ES XD loudspeakers completed the system, connected to the 303 using Tellurium Q Ultra Silver II cables.

Listening To The 33/303 

As I do not own a standalone DAC, and the 33 is strictly an analogue-only device, I used only CD and vinyl throughout the sojourn of the Quads at Kelly Towers. I let the units warm up for a day with a selection of compact discs before starting to do any serious listening, but even cold from the box, I was struck by the engaging nature of the sound being delivered. The first CD to be loaded into the Gold Note’s drawer was Audio Fidelity gold CD issued in 2011 of Crosby Stills and Nash’s eponymous first album from 1969. As the opening notes of the first track, ‘Suite: Judy Blue Eyes’, poured into the room, I was drawn into the music. Stephen Stills and his bandmates had wandered into my room and were positioned just ahead of the loudspeakers. Their voices were clear, well-defined and, for me at least, as lovely as ever. I had intended to play just a few tracks but could not tear myself from my chair until the last track ended. 

I played a couple more compact discs, then switched to vinyl, and was not surprised that from the outset, this sounded terrific. As I was on a Stephen Stills kick, the first album onto the Orbe SE’s platter was an original 1972 copy of Manassas on the Atlantic label. Although Stills’ name is prominent on the cover, this is truly a band effort, and all the better for it. The four sides each have a theme, and side one is titled ‘The Raven’, and starts with the rocking ‘Song Of Love’ and ends with the gorgeous ‘Both Of Us (Bound To Lose)’, on which Stills the writing credit with Chris Hillman, formerly of the Byrds, but a key member of this band. The music had real rhythmic drive, and with the volume advanced halfway through, it was an awe-inspiring performance. 

Unable to resist, I reconfigured the system, adding the second 303 I had been sent and now running a pair of them, bridged to mono. The power output was increased to 140W into eight ohms and 170W into four ohms. I cued up Manassas again and lowered the stylus onto the black disc. Oh my goodness! The same music positively leapt from the Harbeths, transporting me to the studio with the band and encouraging me to listen to their contribution while immersed in the overall sound.

Record after record followed because this system made me want to keep playing music. From modern pop à la George Ezra through 1950s jazz via rock, folk, classical and electronica, the 33/303 trio delivered. Two final system changes had to be made to complete the review process. First, the Gold Note PH10 was disconnected from the 33, and the Michell’s cables were attached to the phono input on the pre-amplifier. Setting up the Moving Coil was a straightforward process. I cued up the second side of my early 1970s pressing of Pink Floyd’s Meddle. I sat through the 20+ minutes of ‘Echoes’, absolutely absorbed in the complex music. This fine phono stage is extremely quiet when not playing and will make a fine match with many mainstream cartridges. 

Lastly, I removed the Harbeths from the system and replaced them with a pair of Wharfedale Super Lintons mounted on their dedicated stands. Again, I allowed the newcomers some time to warm up before sitting to listen more closely. What a team they make, the Quads and the Lintons. Yes, this turned the nostalgia to 11, as I had lived with a pair of original Lintons in the early 1970s. However, this modern version is a better-built and sounding device than its illustrious forebear. Modern drive units, a carefully designed crossover, and much higher quality cabinetry and internal bracing make this new version impossible to ignore at its price point. That said, I found this whole system’s visually retro appeal irresistible. 

Final Thoughts

At the end of the review period, I reluctantly dismantled this system. I liked the way it looked at the other end of our lounge, and I also had to enjoy the sound it created. If you have grown up with modern audio equipment, the Quads are slightly less analytical, perhaps a tad warmer tone than you are accustomed to. However, you will not want to hear details or musical communication.

If I were buying and had the budget, I would go for the 33 with a pair of 303s. You will own a first-class amplification system for under £4,000 here in the UK. If they were coming here, I would site each 303 close to the speaker, which it was to drive, using the ability of XLR to carry the signal the width of the listening room for the 33 and requiring much shorter runes of loudspeaker cable. I would also set up the 12V trigger system so the 303s woke up when I took the 33 off standby. More than once in the first days of their time here, I took the 33 out of standby, cued up some music, and then was momentarily puzzled by the absence of music, having forgotten to wake up the power amplifiers. They turn themselves to standby mode if they detect no signal for a period. My feeble excuse is that my amplifier is integrated, so I never have to take that extra step.

If you prefer to stream their music, remember that the 33 will require you to connect an external DAC, as it is is resolutely analogue only. I enjoyed the forced abandonment of my iPad and a full-time return to using physical media. One unexpected but welcome consequence was that I listened to whole albums, undistracted by fiddling with an app to find the next piece to play. 

It came as no surprise that the Quad/Harbeth combination worked so well. I know that Alan Shaw, who designs Harbeth loudspeakers, uses a Quad 405MkII as one of the tools in his development laboratory. However, I am sure the amplifiers will work well with many modern loudspeakers. They have enough power to stir even the most challenging loads into musical action.

When the Quads arrived, I fell for their looks. By the time they left, I had fallen for their performance. These are a first-class, carefully conceived, and brilliantly executed homage to Quad’s illustrious history but should appeal equally to those unfettered by the remembrance of times past and are highly recommended. 

Specs & Pricing

Quad 33

Type: Line and Phono Preamplifier with headphone amplifier
Inputs: 3 x RCA, 1 x Balanced XLR (pair), 1 x Phono (MM/MC switchable)
Outputs: 1 x RCA (AUX), 1 x XLR, 1 x RCA (Pre Out), 1 x Headphone, 2 x 12V Trigger Out
Frequency Response: 20Hz – 20kHz (±0.2dB)
THD: <0.0005% (1kHz, Line/XLR), <0.002% (1kHz, Phono MM / MC)
Signal-to-Noise Ratio: > 108dB (A-weighted, Line/XLR), > 82dB (A-weighted, Phono MM), > 74dB (A-weighted, Phono MC)
Output Impedance: 120Ω
Headphone amplifier output impedance: 2.35Ω
Headphone amplifier load impedance: 20-600Ω
Dimensions (WxHxD): 25.8×8.3×16.5cm
Weight: 4kg
Price: £1,199, $1,599, €1,499

Quad 303

Type: Class AB bridgeable stereo power amplifier
Inputs: RCA stereo pair, XLR stereo pair, 12V trigger
Outputs: Loudspeaker terminals, 12V trigger
Rated power output: Stereo: 2 x 50W (8Ω, THD<1%), Bridged: 140W (8Ω, THD<1%)
Frequency Response: 20Hz – 20kHz (±0.3dB)
THD: <0.002% (1kHz)
Signal-to-Noise Ratio: > 108dB (A – weighted)
Input impedance: 15kΩ (Line), 22kΩ (XLR)
Dimensions (WxHxD): 12×17.6×32.5cm
Weight: 8.4kg
Price: £1,199, $1,599, €1,499

And Burgundy? That’s a challenge unto itself. A region that captures the minds, hearts, and pocketbooks of the geekiest of wine geeks. Here is where identifying the nuances that define the region’s distinct communes earns you street cred. But the next level up is distinguishing among the finest vineyards within a commune. What makes a Chambolle Bonnes Mares different from, say, neighboring Les Amoureuses or Musigny? Put another way, what makes it a wine of place and soul as opposed to just another tasty pinot noir?

How exactly this relates to the latest gear from the hands of Jim White and his team at Aesthetix is something I’ll get to shortly, but I suspect you have already sensed where this might be headed.

The pair under review today are the latest additions to Aesthetix’s Saturn series. As such they naturally sport names adopted from one of that planet’s 146 moons.

Both the Pallene preamplifier and Dione power amp ($6500 and $7500, respectively) are hybrid designs that one could say were birthed by Aesthetix’s first integrated amplifier, the Mimas (wonderfully reviewed by Neil Gader in our May/June 2019 issue). As White emphasized in an email: “At Aesthetix, our product design is an ongoing process in which we continually build on our previously released work. Our latest products, Pallene and Dione, are no exceptions. To fully understand their technology, we must first unpack the challenges and breakthroughs that created Mimas.

“Mimas was released in 2019 and is an amalgamation of our award-winning Calypso pure tube linestage and Atlas hybrid power amplifier (tube input, solid-state output). Developing this integrated amplifier presented numerous technical challenges, as we wanted the highest performance possible while including a headphone output, an optional phono module, and an optional DAC module.”

With a “wink” in his voice White also observed that at Aesthetix “One of the things that make us unique is our willingness to do things the hard way.”

For example, and quite rare in the audio field, Aesthetix manufactures all its transformers in-house. And though it may not seem particularly obvious, White told me how making transformers is so completely different an undertaking from audio manufacturing that it’s like having a whole other company.

This reminds me of how A.J. Conti of Basis decided to grind his own drive belts in-house and developed the tools to do so, because no one could make them to his demanding spec. Similarly, with no prior experience, Aesthetix started making its transformers eight years ago because White wanted complete control over the process. “Most audio companies will provide voltage and current specs but leave the details to the [transformer] maker,” he told me. Meaning while there are myriad approaches to creating the same transformer specifications, not every approach is ideal for audio applications.

Another thing Jim underlined is how fundamentally important creating his own transformers has been to his growth as an audio designer. Now it was Jim’s turn for a wine analogy: “It’s as if a producer is buying grapes versus growing grapes; the latter has more control. My designs before and after making our transformers are night and day.”

Both units are housed in beautifully constructed, minimalist-looking brushed aluminum housings. Let’s first unpack the Pallene.

Design Pallene

Here is a supremely functional modern-era preamp engineered to cover pretty much any contemporary music lover’s needs. The circuitry is identical to that found in the Mimas integrated, which in turn was derived from work White did designing the Saturn series Calypso all-tube linestage preamplifier. “The volume control, the vacuum-tube gain stage, and input switching are all taken from our work developing Calypso. The volume control is a unique multi-stage switched-resistor network employing individual metal-film resistors in a balanced configuration. The gain stage is also fully balanced in a differential amplifier configuration, using one 6DJ8/6922 per channel.”

The Pallene employs 100% zero-feedback fully balanced differential circuitry, while incorporating a solid-state balanced output buffer capable of driving long cable runs. Pallene also accepts the same phono and DAC modules as the Mimas and comes standard with a headphone output.

Getting into the technical nitty-gritty, White also points to the Pallene’s unique technologies—multiple regulated power supply sections, including separate transformer winding and discrete regulation for the vacuum-tube high-voltage section; separate winding and discrete regulation for low-voltage sections; separate winding and regulated heater supplies; separate winding and regulation for the optional DAC module, as well as a separate transformer and regulated power supply for the display and control sections, in order to fully isolate any clocks and noise from sensitive audio circuits. Not to forget those low-flux custom-wound made-in-house transformers.

The front panel is a model of elegant simplicity. The center display window is flanked by a pair of triangular buttons (whose shapes echo the company logo): DISPLAY (right, to illuminate or extinguish the LED panel) and MUTE (left). No VOLUME control is visible. Instead, pressing the left side of the display lowers the volume, pressing the right side raises it. Beneath the display window sit a trio of additional buttons—INPUT (selection), STANDBY (brings the tubes to life, otherwise the solid-state circuitry is always on), and SETUP (accesses all setup menus).

The rear panel offers a plethora of options: Five balanced and single-ended inputs and a single set each for preamp out, plus IR extender jack, DB9 RS232 connector, and a remote trigger jack.

When fully loaded, the optional phono module offers two sets of RCA inputs that can store unique settings for different cartridges. All are set via the front panel SETUP button. For moving-coils resistive load options are 47k, 20k, 10k, 5k, 2.5k, 1k, 750, 500, 375, 250, 200, 150, 100, 75, and 50 ohms (I used 500 for my My Sonic Lab Signature Gold), and gain settings are 60, 64, 68, and 72dB. For moving-magnet cartridges resistive load options are 47k, 20k, 10k, and 5kK ohms; capacitive load options are 100pF, 220pF, 330Pf, and 470pF, while gain values are 44, 48, 52, and 58dB.

White seems especially proud of the phono module’s flexibility and quality, citing as one of his biggest accomplishments achieving such high levels of gain in spite of the challenges of various electromagnetic fields within the housing. “To me, that’s a $3000 phonostage for $1250 (if this were a separate unit), because it uses the same FETs you’d find in a $20k or $30k stage.”

The DAC module sports five digital inputs: one USB, and two each TosLink and coax RCA. Each can store a unique setting, and the USB input is capable of reading a 24bit/352k DSD and DSD2 signal, while utilizing Wavelength Technologies’ asynchronous implementation. One may also deactivate any unused inputs.

Pallene also comes with an exceptionally nice-to-use backlit remote, reflecting White’s thoughtfulness about the smallest details.

Design Dione

Rated at a healthy 160Wpc into 8 ohms and 320Wpc into 4 ohms, Dione, too, is a direct descendant of the Mimas integrated amp. I’ll again quote Jim White (with minor edits), as his explanations, like his design thinking, are crystal clear. “The core of developing Mimas was designing a new power output stage, which is based on the [Saturn series] Atlas but has slightly different requirements. Solving these new requirements led to numerous breakthroughs, resulting in a revolutionary new output stage incorporating an FET input/gain stage, bipolar driver, and bipolar output stage in a balanced bridge configuration.

“To achieve the performance, we wanted from this output stage we chose to use the much-coveted out-of-manufacture Toshiba 2SK246/2SJ103 (don’t worry, we have lots!) that we match to very tight tolerances. They are the only devices we’ve found that can deliver the level of performance we demand for the FET input section of the output stage and are usually found only in extremely expensive audio equipment.”

In conversation, White explained how sensitive these devices are, saying that even touching them with our fingertips changes their measurements, which means that careful matching requires plenty of extra patience and attention to detail. “But it’s the only way you can get away with no DC servo,” Jim told me.

“You can add a DC servo, and it will be fine, but if you take it away, it is life changing—bringing a sense of life and naturalness to the sound that otherwise would not exist.”

Zero feedback is another part of what makes Dione special. While noting that feedback is found in amps at all price levels and that there’s nothing fundamentally wrong with it, White believes that, all other things being equal, getting rid of feedback makes for better sound (if worse measurements), and speaker sensitivity goes up.

Lastly, White added that he and his team don’t design around one system or one speaker. Instead, he brings newly designed gear to friends with different systems to make sure they work well in a wide variety of applications.

Let’s Listen

Before I describe the sound of the Pallene and Dione I want to circle back to my concept of “transparency” vis-a-vis wine. When I discussed this with Jim White, he immediately got my point.

Let’s briefly discuss two highly admired producers of white Burgundy. One is known for wines that have a distinctive style. They’re rich, powerful, high in acid, and made in a reductive fashion (meaning with little oxygen exchange and a moderate dose of sulfur to ensure anti-oxidation). While each of his wines can be readily discerned as his style, interestingly they still express the different communes and vineyards where the fruit was grown.

The other vigneron’s techniques aren’t radically different, but his lighter touch results in wines that are relatively dialed back, less “flashy” if you will, with a less obvious style. They too are quite transparent to the places they’re from.

Both are damn tasty wines that any one of us would be happy to have poured for us. But they’re distinctly different.

I’ll now revisit my take on a product I reviewed earlier this year, the Zesto Audio Eros 500 Select monaural power amplifiers. The Zestos are highly sexy beasts—offering 250 watts a side of pure Class A tube-driven power. I loved the sound of these amps. They brought me massively high levels of musical enjoyment and hedonistic pleasure over the time I had with them and are among the best pieces of gear I’ve heard during my lengthy journey into the high end. If I could have afforded to, I would probably have purchased them, but they also take up lots of space in our small house and run hotter than the flames of Hades.

Like that first producer’s Burgundies, the Zestos have a strong personality, while also readily showing differences among recordings.

The Aesthetix gear is more akin to the wine of the second maker. The Pallene and Dione lack such a strong signature—which, in a way, makes their sound that much harder to describe. They’re very pure, not as overtly seductive, but nevertheless quite convincing, musically.

I’ll start by describing my impressions of one recording that nicely illustrates much of what I found so appealing in this Aesthetix duo. Yarlung Records’ marvelously natural live recording of Petteri Iivonen playing Bach’s Violin Partita No. 2, one of the finest renderings I know of a solo acoustic instrument in real space.

When played through the Zestos (along with VTL’s likewise tube-driven TL6.5 Series II Signature linestage), this record was pure liquidity. As I wrote in my review, “Iivonen plays a marvelous sweetly toned 1767 Gagliano fiddle. The upper register is honey-kissed, light and limpid as dew drops; the mid-to-lower registers are sweet, too, but with just the right edge of sandpapery grit. Heard through the Zesto 500, the entire presentation is exquisitely coherent, seamless from top-to-bottom.”

By comparison, the Aesthetix pair is not as liquidly honey-toned but is still marvelously of a piece from bottom-to-top, still conveying that Gagliano’s rosiny sweetness, warmth, and texture, along with a lovely expression of the subtlest dynamic shifts and musical curlicues. I also like that it seems just right in terms of instrumental scale, making the impression of the fiddle’s body size, as I expect from this LP, into a highly convincing replica of a solo violin performed in a real venue. It’s a slightly drier but by no means cold presentation.

Radically switching musical gears, listening to the classic Maazel Decca recording of Gershwin’s Porgy and Bess led me to Janis Joplin’s cover of “Summertime” on Big Brother & The Holding Company’s Cheap Thrills (MoFi 45). I’d forgotten the clarity MoFi’s mastering brings to this LP, digital steps or no. It’s appropriately raw, upfront, and viscerally thrilling as Janis and this band were. “Ball and Chain” also benefited from the Dione’s hefty 280 watts of output power into the 4-ohm loads of each of the speakers used during the review process. The music is so totally there in all its funky, unrefined glory, with plenty of air in the reverberant space, in-your-face dynamics, incendiary fuzz-soaked guitar solos, and Janis’ impassioned vocals slicing through the air like a celestial buzz saw.

As analog is my preferred playback medium, I don’t play many CDs these days, and streaming is something I do mostly in the car, at the gym, or at work. Hence, I use the good if not state-of-the-art Bluesound Node 2 at home for more causal listening. But feeding the Pallene’s excellent DAC module via the Bluesound’s coax out has brought the sound of higher-res sources to a whole other level for me. Right before deadline I learned of Phil Lesh’s passing and had the urge to play Live Dead. But not being able to locate my vinyl copy I streamed it through Pallene’s DAC to impressive results in definition, clarity, and tonal naturalness, as was immediately apparent during the subtle, jazz-like “Dark Star,” as Lesh’s brilliantly nimble bass work sets the theme, weaving hypnotic magic with his bandmates throughout the tune’s myriad pathways.

Moving to a full-throttled orchestral workout, the legendary Mercury recording of Stravinsky’s Firebird with Dorati and the London Symphony offers a marvelous open-aired window on the performance. With the Pallene and Dione the presentation was notably neutral—straddling the line between super-revealing and detailed and tonally as close to dead-center as can be—neither overtly warm nor cool sounding. Which is tricky with this recording, as Mercury’s are famously on the brighter side of the tonal spectrum (though this Classic Records reissue is less so).

And Stravinsky’s score covers the range, from the rumble of the opening double basses to the upper reaches of violins, winds, and percussion. The solo violin parts sing sweetly, the bases purr and growl as written. Flutes and piccolos flutter, horns announce transitions with their distant hollow brassiness.

Spatially this recording is about as good a test as one can conjure. And the Aesthetix gear does a mighty fine job of stepping aside and letting this great recording strut its considerably impressive stuff. The stage is very large, while seemingly just right proportionally—front to back, top to bottom—a damn fine rendering of a large orchestra. Dynamics are likewise on excellent display here. From the quietest chamber-like passages to the full-on brass and percussive assaults, with those famous shake-the-rafters bass drum thwacks. There’s no tonal fat, to be sure, but, at the same time, the sound isn’t lean and never edgy. More like a svelte, muscular athlete.

Thrilling stuff.

End Point

White ended our conversation with an interesting point that I found refreshing and one that nicely sums up the value I find in Pallene and Dione, a value I find that much more impressive given the obvious care that Jim and his team put into all things Aesthetix.

“Even though I enjoy designing equipment at the bleeding edge, I also derive great satisfaction out of creating products that break price/performance barriers.”

Specs & Pricing

Pallene
Type: Hybrid preamplifier
Tube complement: 1 6DJ8/6922 per channel
Number and types of inputs: 5 pairs balanced XLR, 5 pairs single-ended RCA
Input options: Phono (2 pairs RCA), DAC (2 coax RCA, 2 TosLink, 1 USB 24 bit/352K
Number and types of outputs: 1 pair Balanced XLR, 1 pair single-ended RCA, ¼” headphone
Dimensions: 17.9″ x 5.5″ x 17.7″
Weight: 35 lbs.
Price: $6500 (phono module: $1250; DAC module: $1250)

Dione
Type: Hybrid power amplifier
Power output: 180Wpc into 8 ohms, 280Wpc into 4 ohms
Tube complement: 1 6DJ8/6922 per channel
Number and types of inputs: 1 pair balanced XLR, 1 pair single-ended RCA; optional high-pass crossover: 1 pair XLR, one pair RCA
Dimensions: 17.9″ x 5.5″ x 17.7″
Weight: 44 lbs.
Price: $7500

Aesthetix Audio corporation
5220 Gabbert Road Suite A
Moorpark, California 93021
(805) 529-9901
aesthetix.net

ASSOCIATED EQUIPMENT
Loudspeakers: Magnepan 1.7i, 1.7x, and Piega Coax Gen2 611
Headphones: Audeze LCD-X
Analog sources: Basis 2200 Turntable, Basis SuperArm, My Sonic Lab Signature Gold moving-coil cartridge
Digital Source: Bluesound Node 2
Preamp: Sutherland N1
Cables: Nordost Tyr 2
AC Power: Nordost Tyr 2 power cables; Nordost Qx4 power conditioner and Qb8 AC distribution center

I will discuss some of the technical aspects of both units later—as well as some of the differences between the original and the new versions—but since we are on the subject of sonic performance, allow me to continue along those lines. Let me just say, upfront, that the P30A and H30A combo is simply a joy to listen to. I relished my long listening sessions with the Hegels. I would inevitably go beyond my allotted time to check various sound quality cues as a reviewer, simply because I would let the recordings continue beyond my normal “test passage.” I had reviewer work to do, but the Hegels kept me listening.

While I was auditioning in the early stage, the single-word summation that came to mind was “clean.” I don’t mean a sound that can border on antiseptic or clinical or dry. Just beautifully clear, low-noise, flowing music. The combo has such a low noise floor that it was a bit surprising—and wonderful, of course—to hear familiar music with such ease and “musical flow” from a combo that did not cost a fortune. Some “high-resolution” gear imparts a kind of crispness or sizzle to the music. I think I have partially bought into that character as a positive attribute. I also had surmised that some of that electronic sizzle is often just part of the recording chain or part and parcel of high-end playback in general. The Hegels challenged my thinking and reminded me that high resolution and musical beauty are not incompatible. In some ways, the Hegel pair sounds more like live music than many other high-end pre/power combos—especially solid-state ones. Their “easy resolution” reveals lots of information in recordings, but details are not shoved in your face (or ears). Of course, a lot of output power also helps enhance listening ease, especially with difficult-to-drive speakers. The H30A delivers there, too.

The H30A power amp has 305 watts per channel on tap in stereo mode (1100 in mono) into eight ohms and 599 watts into four. When it comes to power delivery and dynamic stability, it is as calm an amp as I have had in my system—and I have had some 450- and 500-watt (8-ohm spec) bruisers in house. Nothing perturbed the H30A while driving the excellent YG Sonja 3.2 (review in the works). The amp had power to spare. As you would expect from such a powerful amp, the bass is robust and commanding. Big music is served well. A feeling of weight and substance is conferred in playback. It can be thrilling to get the kind of corporeal, feel-it-in-the chest impact the H30A and Sonja 3.2 impart.

Along the lines of “clean as well as musical,” Hegel reinforced what I encountered with the much more expensive Constellation gear I had reviewed in 2019: the Revelation Series Pictor linestage and Taurus monoblock power amplifiers—current pricing $32,500 (with power filter unit) and $57,000/pr. They, too, upended the “resolution vs. musicality” dualism. The Constellation combo was fabulously transparent and revealing of fine details as well as musically enjoyable across a wide range of recordings. Similarly, the Hegel combo revealed plenty of sonic information but didn’t sound stilted or forced. I could hear deeply into soundstages, and the music seemed to “make more sense” as artistic expression.

With the new Hegels, decays lasted longer, and leading edges had finer gradations compared to my reference Ayre K1xe preamp and Gamut M250i mono amps (both no longer available). I heard musical lines and instrumentation details that I had not noticed before. The Constellation combo had “peer into the recording” transparency that the Hegel combo probably can’t match (going by memory), but the Constellation gear costs over three times more. My reference pre/power combo also has fairly high resolution, but the Hegels’ ability to track multiple, differently timed events, as they unfold on their own timing trajectories, simply outpaced my reference combo. My combo also could not portray soundstage depth as well as the P30A/H30A did. The Hegel pair cost about $6000 less than my Ayre/Gamut units when I bought them several years ago (and they would surely cost more now). Yes, my Ayre/Gamut set represents older technology, but plenty of other newer models have not sounded better in my system.

The Hegels always brought my attention back to the music, not audiophile checklists. I got really swept up in the longing and passion of “Io piango” an acapella work for choir from Morten Lauridsen’s Madrigali [Layton/Hyperion]. The pathos was communicated vividly through the Hegels. On Radiohead’s self-released album In Rainbows, the “All I Need” track sent me into “eyes-roll-back” ecstasy after the song shifted to its concluding theme and drummer Philip Selway came in with shimmering cymbal work at about 2:55. On lesser systems, that cymbal sound can come across as hashy and a bit gritty, thus detracting from its musical impact. A recording can intentionally have a gritty cymbal sound, of course, but the playback system should not also add its own gritty noise on top of it.

Throughout my listening sessions, I never felt bored because the Hegel pair were masking details or lacking in rhythmic drive. On the contrary, I found the Hegels amply portrayed details—not in a hi-fi “look what I can do” way but in a musically integrated one. The Hegels also have an appealing dynamic verve that kept the music skipping along. All kinds of music remained interesting. I will say, if you are used to your music playback on the crisp, transient-snap-favoring side of things, you might find the Hegel pair to sound a tad controlled. I hear it as a lack of added electronic sizzle, but others might hear it differently. The Hegels carry a sense of speed and attack quite well. They just don’t scream dynamic cues at you. Caveats? Well, the amp is a huge brute at 104.5 pounds and 17″ x 9.4” x 25.6”, and I think the preamp should have three XLR/balanced inputs instead of two. Nit-picky? Admittedly, yes.

The soundstage is huge—on par with the overall size conjured by the considerably more expensive Constellation Revelation Series set I mentioned earlier. In my setup, the soundscape could (per recording) extend well outside the speakers laterally, about six feet behind the speakers and about two feet above them. It was not unusual for the whole front third of my listening room to be filled with a soundscape, with the speakers seemingly evaporating into that area of the room as sound sources. In one case, I heard a repeated musical element (probably a hand-cupped whistle of some kind) that originated from the middle of the soundstage and then continued over to the side of the room directly across from my right ear (Dead Can Dance “Song of the Stars” [Spirit Chaser, 4AD]). Individual images had a sense of weight, substance, and roundness, not merely partial relief outlines. I heard depth layering, especially on classical recordings—that was quite like a very fine tube amp. A lot of this sort of soundstaging comes from an entire system functioning well enough to make it happen, not just the contributions of a preamp and power amp. Even so, the Hegels enhanced my system’s soundstaging and integrated with my system beautifully.

A key aspect of both the P30A and the H30A that contributes to their evocative musical appeal is their extended and refined high-frequency presentation. The Hegels’ upper end is just lovely: clear, smooth, and refined, like a great tube amp with an extended upper end, not a stereotypical rolled-off tube sound. Hegel has a long-standing knack for producing solid-state gear that has many of the positive attributes of tubes. A lot of electronic noise in amplifiers is most audible in the midrange and upper frequencies. Reduce that noise, and you should end up with cleaner, less strident results. When I can hear deeply into a recording and do not hear a hashy or etched quality, I surmise that the gear I am listening to is on the right track. Some of the more expensive, high-performing solid-state equipment I have come across also have this “details with musicality” quality, like the Constellation gear I mentioned. The great news is Hegel offers a fair amount of that experience at substantially lower prices.

On a personal level, I am encouraged by what Hegel is doing in a market that seems to be racing toward ever-higher pricing, almost as if higher prices provide some perverse bragging rights. With Hegel gear, you get smart innovative engineering aimed at delivering the best possible sound quality at reasonable prices, not cosmetic bling. Hegel’s aesthetics are understated and functional. I identify with Hegel’s apparent priorities in this regard and find the styling to reflect humble Scandinavian sensibilities. I would rather pay for good sound than beautiful case work.

Let me address some of the technical elements, after which I will comment on the sonic differences between the original P30/H30 and the newer P30A/H30A combos. First, the fully balanced P30A preamp is a complete redesign from the original—other than the front-panel controls and the back-panel layout. The internals are all new. Short signal paths were a priority in both units. (Please see the Specs & Pricing section for input and output details.) Hegel’s VP of Sales & Marketing Anders Ertzeid offered this about the P30A: “We use a whole new volume attenuator system: a digitally controlled analog volume attenuator, and this is really where the magic is.” And further: “Tweaking and working on this bit of the preamp took a long time. Both in back/forth listening and measuring but also as a learning experience.” The preamp’s input stage uses just two hand-matched—apparently by Holter himself—SuperTex FETs. The power amp also has a new input section—also with just two FETs, but it gets “hand-matched Siliconics transistors.” The output section has 56 “15A, 200W, high-speed, ultra-low-distortion bipolar transistors.” The power supply has two 1000VA toroidal transformers and 270,000μF in capacitance. The amp has lots of power reserves to accommodate demanding speaker loads and demanding music, and it sounds like it, too—rock-solid, robust, dynamically agile bass.

For those unfamiliar with Hegel’s SoundEngine technology (and can’t watch the YouTube video I cited earlier), here is some text from my TAS piece called “Visit to Hegel Music Systems in Oslo, Norway”: ”SoundEngine is Hegel’s feed-forward technology, which allows the output transistors’ operating parameters to be adjusted as the waveform continually changes its characteristics so that the crossover notch distortion at the ‘hand off’ between the positive-going and negative-going phases is greatly reduced, compared to most other typical Class AB amplifiers that set static operating parameters which cannot account for the changing conditions (bias, temperature-related flux, etc.).” Per Hegel, SoundEngine also increases dynamic range, damping factor (more than 1000 in stereo mode), and greatly reduces higher-order harmonic distortion.

Both the new preamp and power amp look very similar to their predecessors. The main visual difference is a subtle cosmetic upgrade in the form of a tasteful, beveled cutout in the top center of the new face plates. Thankfully, the new power amp has easier-to-use binding posts that replace the larger, wing nuts in the older version. The H30A and its forerunner were designed as mono amplifiers, but many are used as a single stereo amplifier. Per Hegel and to my surprise, a good many H30As are sold as mono pairs, even though the cost, size, and weight double by going that route. My experience with the H30 and H30A in my own system is solely as a single stereo amp. Both the pre- and power amp couldn’t be easier to use. They have straightforward knobs (input and volume) and buttons (on/off). Completely intuitive.

The old and new versions have a similar tonal balance. The newer models sound more extended and focused in the upper frequencies and give the impression of sounding closer to (although still just a hair warmer than) neutral compared to the older versions’ more apparent tilt toward warmth. The obvious sonic differences are in overall resolution, spatial realism, and dynamic precision. The new units fill in a notable amount of information that the older units soften or don’t quite flesh out as fully. Subtle details emerge with greater verisimilitude, like the way singers enunciate lyrics. Spatial cues like hall sounds become more readily apparent, soundstage depth is more lifelike, and individual images are more finely focused. Subtle dynamic shadings and leading edges of notes have finer delineation and are integrated into a more convincing musical gestalt. The level of “musical interest” is also higher with the newer models.

I suspected the original preamp was not quite as good as its partnering power amp when I first used them a few years ago, but I certainly cannot say the same holds true of the new pair. When I used the new P30A with my reference Gamut M250i monoblocks, I thought they complimented each other well in general with only a slight reduction of low-bass weight as a small compromise. When I paired the P30A with the H30A—its intended partner—the bass filled in nicely. In general, the P30A and H30A together amount to a performance result that is greater than the sum of their parts. Something bordering on magical happens when the P30A and H30A play together.

The common denominator across all Hegel products I have reviewed is low distortion without sounding analytical. The P30A and H30A have such low levels of noise riding along with the signal, and are so musically compelling, that I would happily live with them as my primary references. This is the first time a preamp and power amp priced lower than my long-standing references has outperformed them. That should tell you how highly I regard the P30A and H30A. I am unaware of any other solid-state combo that offers higher levels of sonic refinement, power stability, and sheer musical enjoyment in its price range. Bent Holter and the folks at Hegel have done a great job. Enthusiastically recommended.   

Specs & Pricing

P30A preamp

Inputs: 2x XLR balanced, 3x RCA unbalanced, and one home theater
Outputs: 1x XLR balanced and 2x RCA unbalanced
Other connections: 3.5mm IR-direct jack, 3.5 mm 12V trigger output jack
Signal to noise ratio: More than 130dB balanced mode
Crosstalk: Less than –100dB
Distortion: Less than 0.005%
Intermodulation: Less than 0.01% (19kHz+20kHz)
Dimensions: 17″ x 3.8″ x 12″
Weight: 15.9 lbs.
Price: $8995

H30A Power Amplifier

Output power: 305Wpc (8 ohms), 599Wpc (4 ohms) in stereo mode; more than 1100W (8 ohms) in mono mode
Minimum load impedance: 1 ohm
Inputs: RCA unbalanced and XLR balanced
Speaker outputs: One pair of heavy-duty gold-plated terminals (spades or bananas)
Input impedance: Balanced 20k ohm, unbalanced 10k ohm
Signal to noise ratio: More than 100dB
Crosstalk: Less than –100dB
Distortion: Less than 0.003% at 100W into 8 ohm
Intermodulation: Less than 0.01% (19kHz + 20kHz)
Damping factor: More than 500 (mono) 1000 (stereo)
Power supply: 2000 VA dual mono, 270,000μF capacitance
Output stage: 15A 200W high-speed, ultra-low-distortion bipolar transistors (x56)
Dimensions: 17″ x 9.4″ x 25.6″
Weight: 104.5 lbs.
Price: $18,995

HEGEL AMERICA INC
Fairfield, IA
usa@hegel.com
(413) 224-2480

Associated Equipment
Analog Source: Basis Debut V turntable & Vector 4 tonearm, Benz-Micro LP-S MR cartridge
Phonostage: Simaudio Moon 610LP
Digital sources: Hegel Mohican CDP
Linestages: Ayre K-1xe, Hegel P30
Integrated amplifier: Hegel H390
Power amplifiers: Gamut M250i, Hegel H30
Speakers: YG Acoustics Sonja 3.2, Dynaudio Confidence C1 Signature
Cables: Shunyata Sigma V2 signal cables, Shunyata Sigma NR and Omega XC power cords
A/C Power: Two 20-amp dedicated lines, Shunyata SR-Z1 receptacles, Shunyata Everest 8000 and Typhon power conditioners
Accessories: PrimeAcoustic Z-foam panels and DIY panels, Stillpoints Ultra SS

For this review, I had the pleasure of working with Elliott Schultz, T+A’s regional sales manager, and Jim Shannon, its international press relations liaison. Jim started out with Mark Levinson/Madrigal overseas and then transitioned to Wadia, eventually finding himself working for Siggi about 22 years ago. Jim is essentially T+A’s evangelist, spreading the word of Siggi’s work to the world and sharing the joy and quality of products that he profoundly believes in.

From a design standout, T+A embraces advanced digital engines in most aspects of their signal path (again, think Meridian and CH Precision). Jim explained that T+A uses high rail voltages, which allows its products to operate in a much narrower, linear, more pristine voltage window. No op-amps are used, and everything is discrete and dual-mono in design to reduce crosstalk and noise and improve dynamics and imaging. Great efforts are made to avoid magnetic materials and reduce the intrusion of electromagnetic radiation. Screws and leads are all made of non-magnetic materials, and the transformer is ultra-shielded to keep its noise to itself. In addition, all components are thermally regulated and bias voltage adjusted to maintain a consistent thermal environment, which improves digital performance and further reduces the noise floor. Running with an ultra-high bandwidth (like 300kHz) overall, separating PCM and DSD decoders, and utilizing high-speed oversampling with advanced digital interpolation, the digital componentry takes on an analog persona while retaining the advantages offered in the digital domain. All preamps use discrete resistor-ladder volume controls, so performance is identical at every volume level. After listening, I can attest to what equated to a proud poppa for quite some time; these guys know their stuff and sweat the details, and we reap those rewards.

While this review is strictly for the PSD 3100 HV, which is T+A’s preamp/streamer/DAC ($22,000), I requested a matching A 3000 HV stereo power amplifier for the review, as I am a firm believer that preamps and amps are typically symbiotic and perform best with their matching symbiote. I mean, what would Venom be without Eddie Brock? Thus, I am obligated to spend a paragraph or so on the A 3000 HV, considering T+A was generous enough to comply.

The $24,275 A 3000 HV is built like a fine Swiss watch, and I found myself frequently caressing it. (Is that weird? Probably, but I’m ok with it.) It provided a prodigious 300Wpc stereo into 8 ohms and 500Wpc into 4 ohms. Power bandwidth was said to stretch from 1Hz to 150kHz, with a damping factor of greater than 65. Needless to say, the amp had zero problem powering any speaker I had in my room at the time. I was able to hear the PSD 3100 HV/A 3000 HV combo with my Wilson Alexx Vs, the more than competent Dyptique 160mkII magnetostats (review pending), the Estelon XB Diamond Mark IIs (see review in Issue 353), and my newest children, a pair of Rockport Atria 2s. Having the luxury of playing with several of the best speakers out there at different price points really allowed me to see what the T+A could do, and I have to say I was heartily impressed.

I also had on hand my old reference Pilium stereo amplifier and my new reference Lamm M1.2 Reference monoblocks for comparison. And while the Pilium and the Lamm each have insane strengths, with the PSD 3100 HV neither was able to merge into a uniquely cohesive unit like the A 3000 HV could; I am glad I asked for it. For the lion’s share of the time, I reviewed the A 3000 HV with the PSD 3100 HV. Adding different amps will add their flavor. Adding the A 3000 HV was like adding soy sauce to my soy sauce. And that is all I will say about the A 3000 HV except that I was blown away at the value-for-performance it represented. Personally, if you do go for the PSD 3100 HV, I would strongly urge you to consider bringing along the A 3000 HV for a trial, at least.    

OK, now for the guest of honor. The T+A PSD 3100 HV (this is a bit tedious so I’m just going to call it “Pre” from now on) is a newer class of component that seems to be taking a strong foothold in our hobby—the extended preamp. It is a preamp (Class A design); it is a streamer; it is a DAC; it is a radio tuner; and it is a headphone amp (4.4mm Pentaconn jack). The enclosure goes thud (and you go, “Ow”), when you rap your knuckles on it. Aesthetically, both the amp and PSD are luscious looking. The design is elegant and modern, and the finish is almost viscous. The designated touch buttons on the screens are simple and responsive, and the knobs roll beautifully and take commands with a sense of richness and purpose that well fits the cost of entry. I am, as I have said before, a knob snob, and I loved everything about the design, layout, and physical responsiveness of the components. The amp was connected to the preamp with T+A’s HLink, so both turned on and off simultaneously. The PSD has a cornucopia of digital inputs, a USB Ethernet input for the server, and a single pair of RCA and XLR inputs. If I had one complaint with the PSD, it was that I wished it had a second pair of XLR inputs. But as I learned more about it, it became clear that this was intended to be a digital preamp that accommodates analog inputs, as opposed to the other way round. I was impressed by T+A’s use of completely isolated power cables for digital and analog, situated on opposite ends of the component; it shows the lengths to which T+A went to reduce noise and isolate internals.

The D/A section features two completely separate conversion circuits, one for PCM and one for DSD. The PCM converter uses a Double-Differential-Quadruple-Converter with four 32-bit sigma-delta D/A converters per channel and a 705.6/768kbps conversion rate. The DSD utilizes T+A’s proprietary discrete True-1Bit DSD D/A converter, converting up to DSD512 (22.4/24.5MHz), native bitstream. Digital inputs include AES/EBU, BNC, coax, TosLink, USB DAC, USB host (HDD), HDMI, antenna, LAN, and W-LAN. The streamer uses T+A’s third-generation streaming client (allowing native DSD streaming up to DSD256), and the USB receiver is a UAC-3 standard. The tuner does double-duty as a digital and analog tuner, managing Internet Radio, FM, FM-HD, DAB, and DAB+. Its Bluetooth capabilities include A2DP (Audio), AVRCP 1.4 (Control)/aptX^® HD, SBC, and AAC. Jack of all trades, master of most. 

Let’s talk about the front controls, remote, and digital interface for a bit. Everything analog can be controlled both on the faceplate and from the remote. The T+A app (I used an iPad) allows control of most of the analog functions and adds extensive source selection, digital filter selection, control over sampling, input names, and frequently used inputs and sources. I am reasonably app literate, and it took me about 15 minutes to become familiar with T+A app, and about an hour of use to be comfortable with it. Twice during my time with the PSD, I was notified of an update; and both updates uploaded and installed with minimal effort and not a single glitch. I would call the software simple, straightforward, elegant, and easy to use, though it didn’t have the visual and structural elegance of Apple’s software. I don’t think that is an insult really, considering that T+A is not a software company. But my second criticism would be to take the app aesthetic and design to the next level. You can see I am struggling for criticism, and this is the best I can do.

Digitally, I logged into my one on-line music source within the T+A app and was up and running. I also connected an external hard drive filled with music, and it was instantly available. One unit, no external DAC, no external server needed. PSD and amp and speakers and done. That is nifty, especially considering the sound I was hearing.

For those who wonder, the equipment we receive is frequently brand new. As such, most manufacturers or distributors (including T+A) urge a lengthy break-in period to allow the equipment to sound its best. I always take advantage of this and do not start my review-listening until the components have stabilized and show no further sign of change and maturation.

OK, I think that about covers everything but the way the stuff sounds.

So, the two things stood out most with all the equipment I had at my disposal. The first was how amazingly flexible T+A gear is. While some components are quite particular about what is connected upfront and behind and what cables are used, the T+A duo just sounded freaking amazing with everything I connected them to. The combo liked silver cable, it liked copper, it liked tubes, it liked solid-state, it liked planars, it liked big and small dynamic speakers, it liked expensive isolation, it liked no isolation, I think the damn things even liked Green Eggs and Ham! The second thing I learned was that, despite the extensive digital implementation, the T+A gear showed not a single sign of digital rendering. None. The analog stuff sounded analog, and the digital stuff sounded analog. I will say that while the internal DAC and server are certainly excellent, there are limits to what you can expect of each individual component in a $22k jack-of-all-trades box. When I connected my external Light Harmonic DaVinci 2+ DAC ($45k retail) and my new Lampizator Poseidon DAC ($25k) with my Aurender N30SA ($25k) music server, these reference-level external components added a significant level of performance. I tried using the digital SPDIF output from the PSD into my external DAC and then back into the analog balanced inputs, and there was a distinct improvement over the T+A’s internal DAC. I identified an equally impressive improvement when using my Aurender server running directly into the USB and AES inputs in the back of the PSD, bypassing the internal server. But, when I borrowed a friend’s Weiss DAC 205 and Aurender N150 server, which are a bit more affordable (and, in truth, a much fairer comparison), the changes between internal and external became more horizontal than vertical.

I recognize and acknowledge the simplicity and convenience of having an all-in-one system (maybe an all-in-two with the Pre and amp). But I also like the option of upgrading at a later date to improve performance by adding external source components, spending some more hard-earned dinero to make your ears happier. The meat and potatoes are top notch, you can take the brown sauce (on the side) that comes with the dinner or upgrade to béarnaise sauce. We’ve even made the brown sauce so that it tastes good with a spoon of béarnaise right on top.

In general, I would call T+A’s sonic signature neutral on the warm side. Not gooey-tubey SET warm, but not dead neutral and certainly not cold. To be honest, it’s right where I want to live, and I immediately connected with what the T+A presented. I would call it meticulously engaging. While it lacks nothing in the areas of analysis, accuracy, or definition, it conveys all with a sense of ease and refinement that avoids any hint of sterility.

I started with my standard and asked Natalie Merchant to spin up “Peppery Man.” She obliged with a presentation that was exactly what I expected and wanted it to be. Nothing offensive, nothing put-offish. Right out of the gate, Goldilocks components. Not too hot, not too warm, not too analytical, not too cold…juuuuuuust right. And they stayed just right for the remainder of the time I spent with them. Natalie was husky and a touch angry, and I could hear every little spitty, raspy ounce of it. The instruments came from a properly black background and burbled boldly into my room like a bluesy brook. How’s that for some serious alliteration? But you can see it now, right? I was struck by the (dare I say it?) musicality of the moment.

I jumped to “Hey Nineteen,” and Steely Dan burst into my room. These voices, so thick and luscious and inviting. That double guitar riff intro lingered into that wonderful bass line, and it all came together: organ, guitar, bass, drums, and vocals—each performer occupying a solitary and separate space in my room, sounding more live than recorded. The stage was wide and deep, but not overly exaggerated. Gonna just say it: stupid good for the price.

OK, classical then. “Ein Mädchen oder Weibchen” (from The Magic Flute) separates the men from the boys. The stage is projected way forward, literally pushing at the front wall and beyond, and the recording itself has a sense of distance, forcing the perspective of sitting farther back in the audience. The sound of harpsichord hammer hitting string has made expensive equipment run away in tears. They can shriek and scream and sometimes downright hurt. The T+A did none of that. The tympanic percussion of the harpsichord hit fast, and the tones were crisp and clean, fading into a hollow echo of what was just there, as they should. The vocals had a sense of energy and vigor and felt right (I keep using that word).

Billie Eilish then, shall we? I usually go to “&Burn,” but “Bad Guy” called to me. Oh, that bass and percussion rhythm with Billie’s breathy (so breathy on this track) style. Her albums are always so well produced, and good equipment really highlights that. The T+A presented what the Brits call “pace, rhythm, and timing” exceptionally well, raising the energy in the room and having me snapping along. This is a great track as it can get sloppy when not done right. It’s a simple song with complex themes and instrumental pace that’s mixed just right. It’s edgy and modern. Play it on your system. If any part of it offends, audition the T+A to see what it should sound like.

One more? OK. But only because you asked…. Joni Mitchell, “Both Sides Now”? Don’t mind if I do. A song about clouds, love and life, and seeing both sides. Up and down, give and take, win and lose, and how in the end she really just doesn’t know. Yet to me, the song resounds with hope and her celebration of life. The airy atmosphere offered a stage with presence yet lacking any real viscosity; it’s there but it’s not. (You see what I did there?) Joni’s vocal performance is timeless and impassioned, innocent yet filled with wisdom. It all comes through. The tonal presence, the textural complexity, the hollow sonic character of the wafting strings and vocal resonance. As a friend of mine says, “Me likee.”

Have I mentioned the T+A Pre just sounds right? It’s not a component you evaluate; it’s a component you listen to. The quality of design and fabrication correlates to the dollars required to acquire. But the performance is where the value truly lies. During my review period, there was never really a moment where I wanted it to sound different or do more or better. It delivered, and it impressed. I admit (don’t tell T+A) that I stalled giving the PSD and amp back as long as I could and missed them as soon as they were gone. For a reviewer, it was admittedly a bit too forgiving of other equipment to allow me to scrutinize and criticize everything that comes through my room. But for a listener…man, it just did everything right. Highly, highly recommended.

Specs & Pricing

Digital inputs: AES/EBU, SPDIF (x4), BNC, TosLink (x2), USB DAC, USB Master Mode (x2), HDMI with ARC (x2), IPA (LVDS)
Analog inputs: Stereo RCA
Analog outputs: XLR and RCA (one stereo pair each), 4.4mm Pentaconn headphone jack
D/A conversion: Four delta-sigma DACs per channel (PCM), T+A proprietary True-1Bit (DSD)
Features: FM radio, FM-HD, Internet Radio, DAB, RDS/TDBS, Bluetooth
Dimensions: 18.1″ x 6.7″ x 18.1″
Weight: 57.3 lbs.
Price: $22,000

T+A  ELEKTROAKUSTIK GMBH & CO. KG
Planckstraße 9 – 11
D – 32052  Herford, Germany
Tel: +49 (0)5221 7676
info@ta-hifi.com
ta-hifi.com

T+A North America
2800 Saint Marys Road
St. Marys, Georgia 31558
hello@tahifi-na.com

The Icon Series features Onkyo’s proprietary DIDRC, Dynamic Intermodulation Distortion Reduction Circuity, which reduces beats generated in the ultra-high frequency band by DIDRC’s High Slew Rate Circuit to improve the sound of analog recordings and stabilizes audio signals with positive and negative signal symmetry to reproduce minute signals such as those of MC cartridges even when amplified.

Icon P-80 – 2-Channel HiFi Network Pre-Amplifier

The P-80 Preamplifier is no exception to Onkyo’s commitment to impress. The DIDRC, ONKYO’s patented technology that reduces high-frequency noise at a high slew rate, is installed in the DAC Filter section and Phono stage, allowing users to experience an emotional sound.

Thanks to HDMI ARC, Dirac Live Room Correction (Limited Version 20Hz-500Hz), (w/DLBC/ART option), Wi-Fi/Airplay2/Chromecast, Bluetooth, Roon Ready, Separate Phono stage, supports (MM/MC) and a high-quality phono terminal, 5mm Aluminum Front Panel, 3-pieces housing, a fan-less design to eliminate noise, the P-80’s premium stereo DAC reduces distortion, and extrusion aluminum heat sink for vibration suppression, this preamp lays a solid foundation for superior sound.

Users curated playlists play well with the Onkyo P-80 Preamplifier. Seamlessly hardwire or cast your content from any of the built-in platforms: Spotify Connect, TIDAL Connect, qobuz Connect, Amazon Music, TuneIn, QQ Music, AirPlay 2 and Google Cast, and is Roon Ready. Controllable with Onkyo Controller, our proprietary application.

Model: Model: Onkyo Icon P-80 /  US SRP $1,999. Available in Q4 2025

Icon M-80 – 2-Channel HiFi Power Amplifier                                                                                                                   

The new Icon M-80 2-Channel Power Amplifier (200W@4ohms, 150W@8ohms) features a Symmetrical Class AB amplifier with 3-stage Inverted Darlington (output stage), high current drive with low distortion.   It features the patented DIDRC distortion reduction circuitry (Driver Stage), 3-pieces housing, 5mm Aluminum Front Panel, and a fan-less design that eliminates noise, a custom high current power supply to provide, dynamic full-range sound, and an extrusion aluminum heat sink that suppresses vibration. These material elements allow you to experience Onkyo’s unique delivery of sound.

Add in hi-fi grade terminals, quality capacitors, copper bus bar, and anti-vibration rigid 5mm Aluminum front panels and you will get world-class playback that packs a punch.

Model: Onkyo Icon M-80 / US SRP $1,999.  Available in Q4 2025     

Icon A-50 – 2-Channel HiFi Integrated Amplifier

Thanks to patented DIDRC circuitry, the Icon A-50 Integrated Amplifier, Symmetrical Class AB amplification with three-stage inverted Darlington amplifier (180W@4ohms and 140W@8ohms) that drives high current signals with minimal distortion for clear and strong content just as the creator intended.

Combined with HDMI ARC, Dirac Live Room Correction (full bandwidth is optional), Wi-Fi / Airplay 2 / Chromecast, Bluetooth, Roon Ready, Separate Phono stage, supports (MM/MC) and a high-quality phono terminal, 5mm Aluminum Front Panel, a fan-less design to eliminate noise. Like the P-80, its premium stereo DAC reduces distortion, and extrusion aluminum heat sink for vibration suppression with fan-less design to eliminate noise, premium stereo DAC that reduces distortion, and extrusion aluminum heat sink for vibration suppression, this preamp lays a solid foundation for superior sound.

Hi-fi grade terminals, quality capacitors, copper bus bar, and rigid front panels further reduce vibration and signal degradation. And with a separate, high-quality phono terminal that supports MM/MC, and more!  Its separate Phono stage supports (MM/MC), a high-quality phono terminal and 5mm Aluminum Front Panel suppress vibration to deliver crisp and clear sound reproduction.

The Onkyo A-50 streams music content from any of the built-in platforms: Spotify Connect, TIDAL Connect, qobuz Connect, Amazon Music, QQ Music, TuneIn, AirPlay 2 and Google Cast, and is Roon Ready. Controllable with Onkyo Controller, our proprietary application.

Model: Onkyo Icon A-50 / US SRP $1,499.  Available in Q4 2025

REX 300 stands at the zenith of simplicity for modern high-power amplifier design thanks to an amplifier circuit that consists of just two gain blocks. As well, the output stage is based entirely on “N channel” MOSFET devices (as opposed to the traditional use complementary “N” and “P” channel devices where “P” are inherently slower and therefore inferior), allowing both sides of the waveform to be handled by identical devices in an identical circuit configuration, assuring symmetry of the resulting signal.

Finally, there is the “Intelligent Power Upgrade” where a REX 300 can be ordered as either a stereo amplifier or as a monoblock.  BAT provides a transparent upgrade path that allows an owner of a stereo REX 300 to easily convert it to a monoblock configuration at any point. There’s no need to trade-in the amplifier to obtain more power. A simple conversion of a customer’s existing stereo REX 300 to a monoblock and the ordering of a second REX 300 monoblock to match. Technically, the stereo to monoblock conversion is accomplished by paralleling the inputs and outputs. What this means is that the sonic performance gets even better since the current delivery doubles, becoming more effortless, just like the sound of live music.

BAT REX-300 Power Amplifier Significant Design Features:

= BAT’s new fourth-generation SuperPak topology which provides four levels of power-supply filtration

= Uses the same split power supply topology (TWIN-Path) found in the larger REX 500.

= “Fuse-less” protection circuit for enhanced sound and user-friendly operation.

= There are only two gain stages with Zero Global Feedback and the circuit is fully balanced from input to output.

= Amplifier circuit is based entirely on N-Channel MOSFET devices

= The REX 300 can be ordered as either a stereo amplifier or as a monoblock

= Power output in stereo configuration: 200W/ch @ 8 ohms and 400W/ch @ 4 ohms

= Frequency Response: 3Hz to 200kHz  /  Nominal Gain into 8Ω: 25dB

= Dimensions (w x h x d): 19″ x 6.5″ x 18″  /  Weight: 70 lbs

The VK-85 Preamplifier is the result of a new design strategy that benefits from several improved in-house circuit technologies, including the aforementioned “SuperPak Quattro” and the “Second Generation Transformer Coupled Outputs”, as well as proven BAT circuits such as Unistage Design, High-Current N-Channel MOSFET Circuit and Shunt Volume Control.

The new “SuperPak Quattro” dramatically lowers the VK-85preamplifier’s overall noise floor while the new “Second Generation Transformer Coupled Outputs” results is a highly open and dynamic sound, free of both the sonic and longevity drawbacks common to capacitor coupled designs. While all BAT preamplifiers use transformer coupled outputs, what is used in the VK-85 is on a whole new level of premium output transformer design.

Unistage Design in a preamplifier serves the purpose of maintaining the integrity of the input signal. In the VK-85, this is achieved using only one gain stage – one free from the negative artifacts attributable to both extremes of modern preamplifier design: passive preamplifiers and multi-stage buffered active circuits. BAT’s trademarked Unistage circuit provides the ultimate simplicity of amplifying the incoming signal just once while using no global feedback to double-back on the integrity of that signal. This continues to be a hallmark of BAT’s purist approach to circuit topology.

 The VK-85 circuit is based on High-Current N-Channel MOSFET devices where both sides of the waveform are handled by identical devices – in identical circuit configuration – assuring symmetry of the resulting signal, just as described for the REX 300. The highly accurate volume control employs a proprietary electronic shunt volume attenuator with 140 steps of 0.5dB resolution. This is accomplished using a single Vishay bulk foil resistor – the most precise and thermally stable resistor available – per phase; This is all that’s in the signal path. Discrete metal film resistors are used to bleed the unused signal to ground. The 140 steps give precise repeatable volume settings that sound continuous to the human ear.

Lastly, but of paramount importance for the VK-85 and REX 300 – and all prior BAT models over the past 30 years – is the reasoning behind using fully balanced circuits. BAT firmly believes that balanced is better because it simply provides a complete signal representation; Something very magical occurs when the limitations of a single-ended circuit with its half-signal processing is lifted from an audio component and replaced by a balanced circuit topology. Aside from the well established benefits of signal integrity for long interconnect cable runs there are other benefits to balanced circuitry: As a circuit becomes more symmetrical, the residual effect of the power supply becomes less intrusive – the demand on a power supply becomes less taxing – so it becomes easier to design a balanced circuit that conforms more closely to the engineering ideal. For added convenience and compatibility with source components the VK-85incorporates a mix of balanced and single-ended inputs and outputs.

BAT VK-85 Preamplifier Significant Design Features:

= Fully balanced design circuit topology

= Revised power supply incorporates BAT’s new fourth-generation SuperPak topology

= Second-Generation Transformer-Coupled Outputs

= Unistage Design with a single gain stage

= High-Current N-Channel MOSFET Circuit

= Noise (unweighted): -96dB  /  THD @ 2V output: 0.01%

= Inputs: 3 XLRs and 2 RCAs  /  Outputs: “Main” 2 XLRs and “Tape Out” 1 RCA

= Proprietary electronic shunt volume attenuator with 140 steps of 0.5dB resolution

= Frequency Response: 2Hz to 200kHz  /  Maximum Gain: 20dB

= Dimensions (w x h x d): 19″ x 5.75″ x 15.5″  /  Weight: 40 lbs

To summarize, the result of all of this aforementioned engineering excellence in the VK-85 preamplifier and REX-300 power amplifier is pure musicality, midrange clarity, perfect linearity, power and dynamics that have made Balanced Audio Technology one of the most respected brands in high-performance audio.

The BAT VK-85  Preamplifier will be available in Q2, 2024 with an MSRP of $12,500.00 USD
The BAT REX-300 Power Amplifier will be available in Q2, 2024 with an MSRP of $15,000.00 USD

Both new models will be on display at AXPONA 2024 – Suite 348, April 12 – 14.

When I first reviewed “The Grail” I assumed that it was not designed by Mr. A.J. van den Hul, who to the best of my knowledge is not an electrical engineer. That proved correct when I heard from German engineer Jürgen Ultee who told me in an email that he was the “hired hand” designer of The Grail as well as of many other products badged with familiar brand names, though for obvious reasons he would not name them.

There’s absolutely nothing wrong with this arrangement for van den Hul or for any other company that contracts with Mr. Ultee or any other similarly situated “for hire” designer. Having reviewed three The Grail iterations designed by Mr. Ultee, clearly he is a seriously talented man!

Introduced last August (2023) the new van den Hul The Grail SX is a sleeker-looking all metal chassis, satin aluminum finished design featuring a single umbilical connected external power supply and no wooden side “cheeks”. It costs $28,995 or $5000 more than The Grail SE+.

The new Grail SX features a “redesigned” circuit board, which van den Hul claims significantly improves sound quality, providing enhanced sound staging and “airiness”. The new board also provides for “mixed-mode operation” meaning when using a balanced XLR input the signal is available at both balanced XLR and single-ended outputs and both can be simultaneously used. The same is true of the single-ended inputs, for which both the single-ended and balanced outputs are available and can both be simultaneously used.

Here’s The Grail SX feature list found in the useful PDF manual:

Feature list:

1. a specific designed Phonograph preamplifier section, unique in the world
2. balanced design for inputs and outputs
3. inputs: three Phonograph inputs, two balanced for MC cartridges, one for MM (unbalanced)
4. Phonograph RIAA – equalization with coils only, no sound impairing capacitors in filters
5. special printed circuit board material with gold conducting paths
6. special equipment foot made of selected wood avoids mechanical energy storage
7. low noise moving coil input stage, less annoying noise even with low-output cartridges
8. automatic adapting MC input stage for moving coil cartridges, no matching resistors needed
9. possibility to compensate phonograph cartridge sensivity (level adjustment)
10. strictly separated amplifier sections and circuit layout deliver a very natural soundstage
11. power supply with Gyrators for each amplifier stage delivers very high noise cancellation
12. the external power supply works with 120V and 240V mains voltage (reversible inside)

Though it doesn’t specifically say so, The Grail SX’s MC inputs, as with previous “The Grails”, feature current source, not voltage-based amplification circuitry, designed to maximize the capabilities of low-output, low-internal-impedance MC cartridges. Once-esoteric, this feature is no longer “unique in the world”, though it’s possible the instructions refer to something else.

van den Hul claims the circuit is appropriate for low output MC cartridges with internal impedances ranging from 10 to 400 ohms. As with the original Grail, this one features capacitor-free, L-R (inductor-resistor) RIAA filters.

The Grail SE+’s dual chassis outboard power supplies are replaced here by a single one; the SE+’s internally mounted DIPswitches allowing settings for 56, 64, 70 and 73dBs of gain, have been replaced with a dual switch (one per channel), that gives you the choice of 52, 60 and 66.5dBs of MC gain (20dB less into the MM input). Those handy with a soldering iron can change the MM input’s impedance from the standard 47kOhms or add capacitive loading if need be.

Setting Up and Operating The Grail SX

I connected The Grail SX to my preamp using its balanced outputs and used both its single-ended and balanced MC inputs. The default gain setting is 60dB and that proved more than sufficient for the lowest output moving coil cartridges I used with it.

A clean back panel makes connecting everything easy unless your tonearm connecting cables are of the “narrow Y” variety like the set below, in which case they will not be useable due to the back panel’s dual mono layout that places the left and right channel inputs a good distance apart.

Three buttons on the front panel control everything. The center button turns the unit on and off. The button to the right selects MM or MC, while the one to the left selects MC1 or MC2. Simple! And since there are no loading options, The Grail SX is essentially “plug and play”. The only caution: mute your preamp before switching between inputs or you might experience a loud “pop”.

Compare that to my description of using SE+ : “The back panel is very busy, with 12 jacks, two umbilical connectors, and a pair of toggle switches (one for MM/MC and the other for choosing which of the two MC inputs is active) placed in close proximity to one another…If you have two MC-cartridge–fitted arms connected, you’ll reach behind, find the toggle switch, and throw it to select between them. If you have a third arm fitted with an MM cartridge, you’ll throw the other toggle switch. If you use the single-ended inputs, you must use the single-ended outputs.” In other words, big operating system upgrade!

The Sound: Black as Night, Black as Coal

How can I compare the previously reviewed SE+ with the new SX? I cannot. It was much easier to compare the original single-ended The Grail with the far more ambitious, costly and fully balanced SE+. While it wasn’t fair comparing the original The Grail to the far more costly CH Precision P1/X1 combo, that did highlight The Grail’s lesser dynamic “slam” and its looser less extended lower octaves and its comparative overall lax musical grip.

The SE+ produced obviously greater macrodynamic slam that rivaled that of the P1/X1 combo and its bottom octaves were bold, deep and well-defined. The SE+’s midrange clarity and “see into the stage” transparency was likewise more similar to that of the CH Precision and its ability to cleanly delineate instruments in three-dimensional space without adding unnatural edge definition.

At this point based on my experience with them, I think that low output, low internal impedance cartridge enthusiasts need to at least experience a trans-impedance phono preamplifier in their own systems even if it’s one of the least costly. All of them, regardless of price, produce background quiet that only the best voltage-based phono preamps manage. There’s another attractive quality all that I’ve heard also share, and that’s a surprisingly sophisticated delivery of high frequency transients—never edgy and overly defined or “antiseptic” as many voltage based ones produce, nor soft and ill-defined as lesser tube-based phono preamps produce.

On the other hand, unlike with voltage-based phono preamps where you can change loading and sometimes affect top end balance, with transimpedance-based phono preamps you are stuck for better of worse with what you get. What I’ve gotten from all of them regardless of price is an almost tube-like “just right” transient liquidity and overall transparency. The better ones do it better and The Grail SX is up there with the better ones.

Macro-dynamic performance here is powerful, and effortless and image three-dimensionality and sound staging both leave little to be desired. Right now I’m playing a gatefold copy of Basie Jam #2 (Pablo 2310-786) recorded May 6th, 1976 at RCA studios, Los Angeles. These are fun, mid-size band jam sessions featuring great players: Basie, Louis Bellson and John Heard rhythm section plusBenny Carter, Eddie Lockjaw Davis, Clark Terry, Al Grey and Joe Pass. Can’t go wrong with that group, though they are all past their youthful prime.

I’m listening to “Doggin’ Around”: Joe Pass hanging in 3D to the right of the left speaker, Clark Terry on the other side and Bellson way back stage center. It’s silly how “in the room” Terry is, doing a long, deft circuitous solo with Basie laying low behind him and Heard dealing nimble bass notes. Everyone’s having fun jamming, they’re all and it’s as close to being there as it gets. Images are filled in and not at all skeletal, transients are well-defined and not edgy, instrumental harmonics are rich and believable and when Bellson does a solo towards the end of the track the hits stay where they are in the confined space in which he’s been placed to avoid leakage—and you can clearly hear that too.

Completely shifting gears, moving on to chamber music, I played a few sides of an 8 LP ERC mono box set of Mozart Sonatas for Piano and Violin performed by the Lili Kraus and Willi Boskovsky recorded some time in the 1950s for the French label Les Discophiles Francais (Boskovsky was also the Concertmaster of the Vienna Philharmonic from 1939-1971 and sort of a Guy Lombardo sophisticate who conducted New Year’s Eve concerts with the orchestra, mostly playing Strauss waltzes, released on British Decca).

The delicacy of the violin and piano recording is a test of both The Grail SX’s timbral accuracy and its presentation of microdynamics. Here was the main area where the $76.000 CH P10 was clearly better but at quite a cost. While The Grail SX pleasingly delivered both piano and violin textures and timbres, the CH produced greater “see through” transparency, more vibrant string textures and a more convincing piano sound, with attack delicacy, much improved sustain and decay.

Microdynamic deficiency for whatever reason or reasons is the only overall criticism I can offer about The Grail SX’s sonic performance. It “gives up the ghost” at the bottom of the dynamic scale. It’s something you don’t hear as much as you sense as a “delicacy loss” and it’s not related to the noise floor so don’t ask me what it is, or that unless you listen to the CH P10 or another phono preamp at that performance and price level you’re going to hear it. But going between The Grail and the P10 makes it obvious.

It was easy to hear on the reissue of Yusef Lateef’s Eastern Sounds (previously reissued as a “Small Batch” one-step and now as a less costly OJC CR00615). On the opener, “Plum Blossom”, there’s a percussive tapping produced by an unidentified instrument. The attack and sustain of tap sound produced by the two different preamps made clear the microdynamic difference and now I’ll stop going on about it because it’s only an issue if the rest of your front end and system resolves everything.

Otherwise, The Grail SX is one of those rare and most attractive “gets out of the way and lets your transducer of choice do its thing” phono preamplifier. If you want yours to add a “touch of warmth” or “a bit of sparkle”, The Grail SX might not be for you. it’s as neutral an arbiter of timber, texture and transient attack as you’re going to hear from a MC phono preamplifier. Its rhythmic authority produces the desired toe taps. When I plugged various cartridges into the very fine phono input of my darTzeel NHB-18NS preamplifier, the overall sound got somewhat more supple and soft and some might prefer that to The Grail SX. On some records I did as well. It’s a very good “built in” phono preamp but for rhythmic drive, and tightly sprung drive, The Grail SX was the clear winner.

Conclusion

$29,995 is a lot to pay for a phono preamplifier. The Grail SX give you a lot: three inputs—two single-ended and balanced trans-impedance MC inputs and one single-ended voltage gain-based MM input. It doesn’t include a subsonic filter or a “mono” switch so despite the cost it’s very “basic”, but the sonic performance is “get out of the way” neutral timbrally and it features controlled, full bottom end slam that if your cartridge and the rest of your system can deliver it, bass performance you’ll fully appreciate with every record you play that you expect good things from on bottom.

The Grail SX never sounds thin, or antiseptic or “clinical”. We’ve all heard those and the usual “work around” is a warm-ish cartridge. I never felt the need to insert one of those though I have a few. Still, if you are a tube person, The Grail SX might not be what you’re looking for unless you are thinking about what a great solid state phono preamp might bring to your system. If you mostly listen to rock or jazz, you’ll really appreciate what The Grail SX will deliver. But it does an equally credible job on classical music. Enough for the “warmth” folks? Perhaps.

The Grail will bring to the picture quiet, black backgrounds, rhythmic organization, macrodynamic “slam” and solidity, sophisticated textural performance, solid, three-dimensional imaging, generously wide and deep sound staging and very little if any of a sonic personality of its own. That’s what most of us are looking for. Or at least we say we are. If you can find a way to audition The Grail SX at home and you’re comfortable at the price, give it a listen!