2024 Golden Ear: JMF Audio HQS 7001 Monoblock Amplifier and PRS 1.5 Linestage Preamplifier
- REVIEW
- by Jonathan Valin
- May 10, 2025
$77,000/pr. and $36,000
Like the UHA Ultima Apollo, this pair of monoblocks and preamp from French manufacturer JMF, a company with deep roots in pro audio, took me by surprise. I wasn’t expecting sound that rivaled that of my reference Soulution and MBL electronics, but then, prior to these JMFs, my experience with French ultra-high-end amplification and preamplification was limited to various Jadis tube units (and no solid-state ones). However, hearing is believing. Turns out this Gallic duo had the same rich dark timbre and texture, lifelike imaging, and soundstage continuousness that made the Swiss and German amps and preamps my references. Indeed, and rather ironically given that JMF pointedly limits the use of negative feedback and the Swiss company Soulution embraces it (in a highly ingenious and sophisticated form), upon listening to the HQS 7001 and PRS 1.5, my first thought was that they sounded uncannily like my reference Soulution 711 amplifier and 725 pre in tonal balance, transient response, harmonic/dynamic duration, and sheer density of musical information. Bottom line? The HQS 7001s and PRS 1.5 are world-class offerings that do just about everything musical as well as such things can be done by solid-state audio components, even in comparison with some of the world’s finest competition. (349)
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By Jonathan Valin
I’ve been a creative writer for most of life. Throughout the 80s and 90s, I wrote eleven novels and many stories—some of which were nominated for (and won) prizes, one of which was made into a not-very-good movie by Paramount, and all of which are still available hardbound and via download on Amazon. At the same time I taught creative writing at a couple of universities and worked brief stints in Hollywood. It looked as if teaching and writing more novels, stories, reviews, and scripts was going to be my life. Then HP called me up out of the blue, and everything changed. I’ve told this story several times, but it’s worth repeating because the second half of my life hinged on it. I’d been an audiophile since I was in my mid-teens, and did all the things a young audiophile did back then, buying what I could afford (mainly on the used market), hanging with audiophile friends almost exclusively, and poring over J. Gordon Holt’s Stereophile and Harry Pearson’s Absolute Sound. Come the early 90s, I took a year and a half off from writing my next novel and, music lover that I was, researched and wrote a book (now out of print) about my favorite classical records on the RCA label. Somehow Harry found out about that book (The RCA Bible), got my phone number (which was unlisted, so to this day I don’t know how he unearthed it), and called. Since I’d been reading him since I was a kid, I was shocked. “I feel like I’m talking to God,” I told him. “No,” said he, in that deep rumbling voice of his, “God is talking to you.” I laughed, of course. But in a way it worked out to be true, since from almost that moment forward I’ve devoted my life to writing about audio and music—first for Harry at TAS, then for Fi (the magazine I founded alongside Wayne Garcia), and in the new millennium at TAS again, when HP hired me back after Fi folded. It’s been an odd and, for the most part, serendipitous career, in which things have simply come my way, like Harry’s phone call, without me planning for them. For better and worse I’ve just gone with them on instinct and my talent to spin words, which is as close to being musical as I come.
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