the audiophile weekend warrior

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[taww]

Review: Furutech DSS-4.1 Speaker Cable & DPS-4.1 Power Cord

Furutech DSS-4.1 Speaker Cable & DPS-4.1 Power Cord

The Audiophile Weekend Warrior (TAWW)

TAWW Rating: 5 / 5

Attainable ultra-high-end performance.

PROS: Incredibly quiet, transparent and open-sounding; powerful and resolving frequency extremes; pure and organic midrange; fast and unfettered dynamics; remarkable sense of space.

CONS: Only sold in parts form, so you'll need to figure out termination; power cord can put some strain on jacks.

My first couple decades as an audiophile were relatively frugal. I bought a pair of used Merlin TSM speakers out of college that I used for 16 years. I rolled my own DIY speaker wire and bought $400 Sony and Onkyo CD players that I modified. My amplifier was a defective review sample that I repaired and got for pennies on the dollar. But after years of self-restraint, I started to slide down the slippery slopes of system upgrades. It started innocently enough with some used pieces... an Ayre integrated here, a Cambridge Audio streamer there... then came DAC upgrades, followed by nicer amplifiers, which naturally necessitated a better preamp. But things really took a turn for the crazy last year (I blame pandemic cabin fever) when speakers were upgraded to Audiovector SR 6 Avantgarde Arreté, which then led to the Gryphon Essence preamp and amp. Along the way I picked up the excellent Audience Au24 SX cables which, combined with Audience powerChord SEi's and a hodgepodge of other wire from Cardas, DH Labs and Mogami, have held me over. But with the system now scaling new heights of resolution and realism, the cable upgrade itch needed scratching... which leads us to the Furutech DSS-4.1 speaker cables ($395/m bulk; $3,138 as tested) and DPS-4.1 power cord ($480/m bulk; $1,458 as tested). While that might seem pricey for wire, they’re positioned to deliver the kind of ultra high-end performance associated with far more extravagant products. Could they deliver on that promise in the new TAWW reference rig?

DIY Ultra High-end??

Furutech is a Japanese cable and accessory manufacturer known for their fanatical attention to material and construction quality. Their AC power components are particularly acclaimed, and the distinctive NCF-series AC plugs and outlets can be found on the finished products of many other high-end marques. Similar to how manufacturers like Dynaudio used to sell raw drivers to other manufacturers while also building complete loudspeakers, Furutech seems perfectly content with anyone in the industry using their parts while they also sell finished products. The enterprising audiophile looking to construct or upgrade their own gear can find Furutech components readily available for purchase, though be warned - there are apparently a large number of knock-offs being peddled as genuine Furutech on eBay and other online marketplaces, so you'll want to stick to an authorized distributor. Fortunately for us in the States, we can turn to reputable online stores such as Music Direct, The Cable Company, Douglas Connection or any number of authorized dealers. The very friendly Scot Markwell of Elite A/V Distribution, Furutech's US distributor, provided the units under review here.

The DSS-4.1 speaker and DPS-4.1 and power cable represent the very highest-end Furutech wire you can buy in bulk - anything fancier requires factory termination. The two are effectively the same cable design, with the DPS version adding the requisite third conductor for grounding. I got a heads up to the remarkable properties of the power cord from my late friend Marty DeWulf a couple years back. Marty had been quietly consulting with an electrical engineer specializing in high-voltage power line transmission to construct his own power cords from scratch, and had reached a point where he felt his DIY concoctions outperformed the dozens of pricey high-end cords he had tried over the years. Marty sent me a number of development prototypes and I can attest that the cord was indeed superb and elevated the performance of most every amp I had at my disposal. Marty was feeling pretty happy with his effort until Scot @ Elite AV sent him some Furutech samples to try out, including the DPS-4.1. Sure enough, the DPS-4.1 performed at a different level from anything else Marty had tried before, including his own creations, and recalibrated his expectations for power cords - it was that good.

I later picked up the DPS-4.1 cable myself, along with the Furutech e-TP80 power distributor he praised, and confirmed their high level of performance. My appetite was whetted and I got in touch with Scot about kitting out the new reference rig with Furutech speaker and power wire throughout. This includes DPS-4.1 power cords on everything save the DAC, a GTO-D2R power distributor (review forthcoming) and DSS-4.1 speaker cables. All my samples were terminated with Furutech’s top-shelf rhodium-plated connectors - NCF plugs on the power cords, locking bananas and spades on the speaker cable. For the Gryphon Essence power amp, I had a 1.5m DPS-4.1 power cable made with 20A connectors. Since the Audiovector SR 6 speakers have tri-wire terminals, Scot also provided bare-wire jumpers made from the same PCOCC copper employed in the finished cables.

Using Furutech's PCOCC wire as tri-wire jumpers

Buying the Furutech parts and assembling the cables oneself can yield a considerable savings vs. finished cables, and most enterprising DIY'ers should be able to manage the job. However proper termination is critical to performance and safety, especially for the power cord, so if you're in any doubt, ask a dealer such as Douglas Connection to terminate them for you. Excluding any such labor, the retail cost of my 2.5m set of DSS-4.1 speaker cables with CF-202 bananas and FP-201 spades is $3,138. The 1.5m DPS-4.1 power cable with the FI-50/50M NCF plugs runs $1,458. High-end prices to be sure, but as you'll see below, I'd have no hesitation using these in systems that many would kit with far more costly wire.

The massive IEC connector is gorgeous and fits surely, but will put some stress on your jacks

Handling-wise, I'd call both on the lighter end of "garden hose," neither supple nor particularly stiff. At 19mm (0.75") thick for the speaker cable and 17mm (0.67") for the power cord, they're substantial but manageable. They'll bend easily enough into gentle curves, but the power cord will put strain on the chunky plugs if not given a good amount of clearance so don't expect to cram it into tight spaces. The speaker cable comes with an attractive woven sheath; the power cord has a purple PVC jacket, but my cables were clad in a silver Techflex sleeve for a more finished look. Both have 11AWG conductors which should allow for plenty of current flow in a typical run, and the speaker cable's capacitance is rated at 51.7pF/m (15.6pF/ft) @ 1kHz. This is an exceptionally low figure - for comparison, Kimber Kable 8TC is rated at 346pF/m, while Cardas Clear is a whopping 912pF/m - nearly 18x the Furutech! The tradeoff is a higher inductance of 0.7µH/m, but at typical lengths the effect of this should be benign.

Furutech DSS-4.1 Speaker Cable

Before we begin: since it’s impossible to say what any one component sounds like in isolation, I made most of my comparisons of the Furutech DSS-4.1 to my current reference cable, the excellent Audience Au24 SX ($3,300/2m pair). I also had Cardas Clear Light, DH Labs Q-10 Signature and a few other things on hand, but given that the Audience is the best of what I had available and is closest in price to the Furutech, most of my comments are relative to the Audience.

The best way I can describe the sound of the Furutech cable is "wide open." Compared to other cables I've had at my disposal, swapping in the Furutech sounds equivalent to the visual effect of renovating your living room from normal-sized windows to floor-to-ceiling glass. Suddenly everything feels more open, airy and illuminated. Notice that I didn't say "brighter - there’s a difference. The Furutech allows more sonic light to pass into your listening room, so when the music is brilliant and luminous, your room is suitably illuminated. But once the sun sets, that wall of glass becomes as pitch black as the night sky - and so the Furutech can be quiet and dark when called for.

In less fanciful terms, the Furutech gives the feeling of extremely wide bandwidth with no attenuation of energy or dynamics across the frequency spectrum, particularly at the extreme highs and lows. This helps it unlock more of the capability of my recent system upgrades - the top-to-bottom dynamics of the Audiovector speakers and ultra-wide-bandwidth of the Gryphon separates. In the lower frequencies the Furutech is a big step up in bass energy and resolution, transmitting more of a recording's energy and tone in the bottom three octaves. Note that this is different from having “big” or “warm” bass - similar to my illumination vs. brightness comment above, those denote colorations that constantly tilt the perceived spectral balance in a certain direction. There is no lower frequency hump or resonance here that could sound favorable on first listen but get a little monotonous in the long run. The Furutech simply allows what’s present in the signal to be transmitted more unimpeded than I have heard before in my system. This gives music tremendous “surprise” factor - it can go from ethereal to thunderous in a heartbeat. And this applies not just when used on the big Audiovectors; it's also a quality I heard on a scaled-back system with the Silverline SR17 Supreme 2-way monitors.

The top end has a similar level of transparency and dynamism, revealing all sorts of harmonics and textures as well as the air and ambience of the venue with striking transparency. Triangle, cymbals, trumpet, violin, and harpsichord are a few examples of instruments with complex high-frequency structure that sound exceptionally realistic via the DSS-4.1. At first, I felt the treble of the Furutech was a bit coarser vs. the Audience, which I have always found to be notably smooth and natural. I initially ascribed this to break-in, and gave the wire a couple hundred hours with a 4 ohm dummy load to try to burn it off. It improved, but it still had a bit of lingering grain. With time, two things became apparent: this cable takes a REALLY long time to break in - things kept getting smoother and smoother over the next couple hundred hours - and the Furutech simply refuses to cover anything up. Once I made the substantial upgrade to the Gryphon Essence combo I realized that grain was mostly endemic to my previous components, which were no slouches themselves - we’re talking all Class A discrete electronics from Pass Labs and Valvet. That just shows you the level of resolution the Furutech brings into play.

Once integrated into a system of even higher caliber, the Furutech sounded close to invisible, with great openness, clarity and detail from top to bottom and little discernible artifact. That said, at some points I did adjust the top end a bit by moving the Furutech's connection to the Audiovector speakers from the tweeter terminal to the midrange terminal. When connected to the tweeter terminal as per Audiovector recommendation (and my standard practice with other cables), things could get a hair bright, and some of the aforementioned coarseness would pop up now and again. Again, the Furutech was just telling it like it was, because later after further improvements to the system (a dedicated 20A power line, IsoAcoustics Gaia feet, breaking in the latest firmware on the PS Audio DAC), the top end sweetened and I was able to return the cables to the tweeter terminal for best transparency. In my system's current state, the Furutech brings out a top end that's wonderfully sweet, extended and natural.

A few other standout aspects bear mentioning. One is the sheer size of the soundstage, both in width and depth. I'm not sure exactly how components that have no effect on actual channel separation can affect the perceived width of the stage so much. Maybe it's a phase thing, maybe it's low level resolution that helps with ambient retrieval, maybe it's dynamic capability to bring out instruments that tend to be at the edges of the stage... whatever it is, the Furutech is able to convey a stage of substantial depth, width and dynamism. Another standout is the Furutech’s ability to convey dynamic contrasts. This is a quiet and fast cable that responds adroitly to the most minute changes in dynamic character, conveying both the undulations of a quiet melody and the surge of an orchestral climax with great color and intensity. Finally, the midrange is wonderfully dense, pure and harmonically complete, with great solidity in the lower range. Unlike many audiophile cables that provide lots of detail and speed at the expense of fullness or balance, the Furutech can better most comers in the "hifi" aspects while bringing out all the natural warmth of a great acoustic recording. Baritones, grand pianos, french horns and celli have never sounded better.

By comparison, the Audience Au24 SX is still a wonderful if more midrange-centric cable. Its slightly laid-back perspective and silkier treble are appealing for a variety of systems, particularly those on the forward side of neutral. There's a roundness and sweetness to the midrange, but at the expense of sounding a hair more congealed, bunching instruments together on a narrower stage. It also isn’t quite as responsive to quick and subtle dynamic contrasts, and the top end isn't as realistic and extended. Prior to hearing the Furutech the Audience was actually one of the best cables I had heard in many of these regards, so we're already talking about a very high level of performance here. And compared to something like the Cardas Clear Light, the Furutech was far more resolving while having a warmer, purer midrange and a sweeter treble.

The DSS-4.1 is an exceptionally transparent, balanced and complete speaker cable that can bring greater levels of realism and naturalness to a commensurate system. It delivers the type of detail and energy one would expect from an ultra high-end wire, but in an honest and unforced manner that draws one to the qualities of the source material and music without distraction. The net musical result is music has wider variation in color, texture, nuance and ultimately emotional impact - or as another reviewer put it, "expressiveness is their strong point."

Furutech DPS-4.1 Power Cord

Remarkably (or perhaps not?), virtually all the qualities that the DSS-4.1 exhibits as a speaker cable also shine through with the DPS-4.1 as a power cord. My longstanding reference is also an Audience cable - the moderately priced powerChord SE-i ($930/6 ft). It’s an incredibly consistent performer that imparts greater body, dynamics and life to most any component vs. a stock cord, not to mention a good number of aftermarket ones.

Compared to the Audience powerChord, again, the Furutech felt wide-open, more transparent and better balanced. The powerChord was a bit meatier in the mid bass and slightly sweeter on the top end - certainly more forgiving, but a little filtered compared to the Furutech. The Furutech also had a much wider and better-spaced soundstage; I won't say "twice as wide and 3x as deep" or anything with such false precision, but it certainly felt significantly bigger, with a lot more air between instruments and a stage that consistently spread beyond the width of the speakers. On pop mixes, this exhibited as stereo reverb and hard-panned effects that popped much more distinctly. Compared to the Audience and anything else I had on hand, the Furutech allowed whatever was plugged into it to transmit more recorded nuance with a sense of effortless transparency, particularly at the frequency extremes.

But like any cable regardless of quality, the Furutech wasn't the best match for everything I had on hand. I found the Audience cable more competitive with the PS Audio DAC; the Valvet A4 Mk.II monoblocks have a bit of upper midrange shine that was slightly prominent with the Furutech; and with the Class D Legacy i·v2 amplifier it was actually the very affordable Audience Forte that clicked better than the rest. But otherwise, the Furutech really shone with the majority of preamps and amps I tried, especially anything Pass Labs.

With the Gryphon Essence preamp, switching from the Furutech back to the Audience wasn’t a huge let-down by any means. And at first blush, the Audience sounded a bit more dense and focused than the Furutech, particularly in the lower midrange. But a few notes into Billie Eilish's "iomilo" [Qobuz] I realized what I was hearing as density was actually a bit of congestion, and the soundstage was quite a bit narrower than with the Furutech... everything sounded a bit more congealed around the center image of Eilish's voice. With the Furutech, the Gryphon preamp was able to eerily float effects around the entire space of the front of my living room, with percussion flourishes sprinkled throughout the track twinkling in ethereal fashion. With the Audience, everything lost some luster and became more confined between the speakers, and the frequency extremes lost some speed and impact. The DPS-4.1 cable really unleashed the wide-bandwidth capabilities of my system, maximizing both the epic bass depth, power and control of the Gryphon electronics as well as the purity and extension of the Audiovector's AMT tweeters. None of this is meant to beat up on the Audience, which costs about half as much as the Furutech and remains one of my favorite cords, but rather to elucidate how a cord like the Furutech can further elevate the performance of a system. At some point, I'll have to get around to trying Audience's latest models, such as the Studio ONE powerChord (closer in price) or the FrontRow (though that one costs 3x as much as the Furutech).

Testing the DPS-4.1 with the Gryphon Essence stereo amplifier was a bit trickier due to the need for a 20 amp IEC connector, so I special-ordered one for this purpose. Once set up, the Furutech rewarded me with incredible detail, an ultra-wide and deep soundstage that extended far beyond my walls, deep and impactful bass response and a heightened sense of purity - the "blackness" between the notes. Transients were immaculate, with perfectly clean attacks and decays - not excessively sharp, not softened, but just natural and energetic. This helped create the sense of greater macro and micro dynamic range; lots of subtle shadings and nuances in the music became clearer, while sudden transients were more explosive. There was a greater sense of both calm and energy with everything, where quiet moments felt finer and more delicate, while pops of energy in the performance burst forward with an effortless impact more akin to the live event. Separation, pitch, and articulation of bass notes were made more exceptional as well. It brought out the more rarefied capabilities of ultra high-end gear like the Gryphon - that ability to hear every element of a performance distinctively, yet perfectly integrated into the overall fabric of the music. All these qualities came to the fore listening to complex, dynamic material such as Strauss Don Juan [Qobuz]. I was struck by just how much clearer a window the Furutech gave into the dense, at times cacophonous orchestration, while making tranquil moments such as the idyllic oboe solo even more delicate and nuanced. The overall performance of the Gryphon + Furutech pairing was exceptional.

One combo where the Furutech power cord worked even better than the speaker cable was with the Pass Labs XA30.5 amplifier. With the DSS-4.1 speaker cable, there was a bit of a tradeoff where the enhanced resolution revealed some of the shortcomings of the amp vs. the more refined (and expensive) Gryphon Essence. However the DPS-4.1 power cord was dynamite with the Pass, helping maximize its dynamics and balance out its midrange warmth with bottom-end impact and top-end extension. The Pass Labs XP10 line stage also never sounded better than with the Furutech cord, with improved dynamics, soundstaging and clarity. The lack of noise and grain further strengthened the quietness, purity and sweetness that many find so endearing of Class A gear. The outstanding synergy with the Pass Labs components makes the Furutech DPS-4.1 cord about as no-brainer a recommendation as I can make for any Pass owner.

Conclusion

The Furutechs were remarkably consistent in their sonic impact. Both the speaker and power cables impart a wide-open feeling, with striking resolution at the frequency extremes, powerful low-end response, highly agile dynamics, super low noise floor and no readily-discernible coloration. They are extremely fast and clean without curtailing any sweetness or richness intrinsic to the music. Both cables are a tad more forward than my Audience reference wire, the Au24 SX speaker cable and powerChord SE-i power cord. There’s a hair more upper midrange energy and treble resolution that will require care with some systems, though it’s less prominent than, say, something with silver or silver-plated conductors such as DH Labs Q-10 or Nordost Valhalla. And the power cord in particular took the extension and resolving power of my system to a different level. They both strike me as reference-caliber cables, exacting enough to round out a tweaked-out $100k system, yet balanced enough to elevate something more modest, with plenty of headroom to grow into more ambitious gear. In particular, if you have a system with significant extension at the frequency extremes, they’ll help extract the most out of those capabilities. And as well as they work with my reference Gryphon separates, I absolutely love how they elevate Pass Labs gear, enhancing their intrinsic warmth and musicality with greater clarity, dynamics and precision. They'll be staying in the system for the long haul as a TAWW reference cable. Very highly recommended!

[taww]

CD, I want you back in my life.

I've made a terrible mistake.

For the last few years, mostly for practical reasons but also due to the allure of hi-res streaming, my CD collection has been sitting in boxes. After my last West-to-East Coast move, I did not unpack them. I haven't even owned a CD player in a while - I sold my only one, a low-end Onkyo, before that move. The CDs have been sitting in a storage unit, and I was planning to give them to family.

The other day, on a whim, I decided to pull out of storage a couple discs and a Pioneer BluRay player I had bought a while back for the sole purpose of ripping SACDs. I grabbed two albums out of the top of a box - an XRCD of Mahler 4, and a Beethoven Symphony cycle by Claudio Abbado and the Berlin Phil. When I got back to the big rig later that night, I hooked up the Pioneer via coax to the RME DAC, popped in the CD (after fixing a stuck disc tray - the build quality on these players is truly atrocious, but more on that another time), and sat back with little expectation.

WOW. I can't believe how different - and better - this sounds from streaming. Even my wife, who rolled her eyes at my latest exploit, came by the living room about 3 minutes into the opening track and said "ok this sounds really different, and so good." We listened to a couple movements of the Mahler (and the Beethoven, which wasn't quite as striking) totally enraptured with the beauty of the recording and performance. The music had so much life and color - my wife said everything "popped," with both the leading edges and ends of notes being so clear and crisp. It was simultaneously more vivid and dynamic, and more relaxed and at ease. I always suspected the noise of a computer/network-based streaming setup could be washing out my sound quality, but I was in disbelief that such a modest transport could sound so superior. I switched to my AIFF rip of the very same CD, played off my Intel NUC via Roon, and it was like a totally different recording - flat, dull, distant. Despite the fact that she would take any opportunity to not clutter the house with more things, my wife concluded: "Well, I guess we need to start buying CDs again" and started looking up local record exchanges.

While I'm still immensely appreciative of what streaming has to offer, it was a mistake to give up on CD playback. The XRCD with lowly 16/44 resolution and a $99 BluRay transport makes music sound more colorful, more alive, more magical than any hi-res track I've played on my system. Ironically, the substantial upgrades to the rest of my reference system have unlocked more of what this old tech is capable of.

Obviously this also means I have work to do with my admittedly prosaic streaming setup, but the CDs are definitely coming out of storage. Now to find a better transport...

[taww]

Review: Legacy i·V2 Class D Stereo Amplifier

Legacy iv2 stereo amplifier

The Audiophile Weekend Warrior (TAWW)

TAWW Rating: 5 / 5

Class D power going toe-to-toe with Class A refinement

PROS: Nonexistent noise and distortion; tube-like midrange purity; full tonal balance with stellar bass; effortless power delivery; top to bottom refinement.

CONS: Ever-so-slight reductions in top-end extension, low-level resolution and dynamic life; slight mechanical buzz; binding posts could be nicer.

Class D (a.k.a. switching) amps have been around for decades, but really started to hit the audiophile scene in the early 2000′s. My first experiences around that time were a mixed bag, to say the least. A PS Audio HCA-2 sent my way for review blew its output stage when I powered it up. (In retrospect, my subwoofer setup may have been the culprit.) I wrote a review of the original NuForce integrated amp which, despite some sonic promise, felt like an unfinished product. The $30, battery-powered Sonic Impact "Class T" amp became a budget sensation, beguiling even some SET tube lovers, but its magic quickly ran out if you demanded more than a few watts from it. (The magic also ran out for its chip manufacturer Tripath, which went bankrupt.) And then there was a first-generation Bang & OIufsen ICEPower module, packaged inside an integrated amp by a high-end marque. It sounded pretty bad - dry, grainy, lifeless. How much was due to the ICEPower module vs. the rest of the amp is impossible to say, but it wasn't an auspicious introduction to the technology. Given this checkered past, it's little wonder Class D has been battling a reputation for sonic mediocrity with audiophiles. But new technologies make progress quickly, and the increasing number of rave reviews for the latest and greatest from Hypex, Pascal, ICEPower and others had me wondering... has Class D finally "made it" sonically? My time so far with the ICEPower-based Legacy i·V2 (USD $4,785) has been a pretty convincing yes.

Description

I won’t get into all the history and technical details of ICEpower technology - for that, I recommend this excellent audioXpress article. Of note is that ICEPower, after starting off as an independent subsidiary of Bang & Olufsen, split off into its own entity in 2016. The ICEedge controller chip at the heart of the Legacy amp’s 1200AS modules had been under development for 7 years and represents the latest and greatest iteration of ICEpower’s proprietary technology. It can scale in power from 50 to as many as 7,000 watts, and unlike some of those earlier Class D amps I tried, it has an array of sophisticated control and protection features to ensure smooth, bulletproof operation. In many months with the amp I’ve experienced zero clicks, thumps, signs of oscillation or other hiccups.

A kilowatt of clean power from this one board!

The i·V2 implements the ICEdge 1200AS modules as-is without any bespoke customizations to the circuit. (Note that this is the higher-performance mono 1200AS module, not the less expensive 1200AS2 stereo module that’s much more common.) Some other brands add their own input stage, but Legacy chief Bill Dudleston has opted to keep things stock and simple. You might be wondering, why can't I buy these modules myself then, slap them in a Chinese enclosure from eBay, save thousands of dollars and call it a day? The simple answer is ICEPower only sells them to OEMs, and forbids direct sales to consumers. But Mr. Dudleston also mentioned grounding of the modules as an area of special care, saying they were able to achieve a few dB's of additional noise performance through careful experimentation. At this level of power and performance, the little things matter.

Speaking of enclosures, the i·V2 has an extremely solid all-aluminum chassis with rose gold accent trim and plenty of ventilation around the modules. It's reassuringly hefty at 30lbs/13.6kg, so you wouldn't immediately guess it's a class D amp were it not for the 610W continuous (1000W peak) power rating. There's zero flex anywhere and while I have no idea how sensitive the modules are to vibration, knocking on the chassis gives a satisfyingly dull thud - much superior to anything you'd get on eBay or from lower-priced ICEPower resellers. There's a meter on the front, however this is neither a power meter as on McIntosh, nor a bias meter as on Pass Labs, but a measurement of the available AC power line voltage. There's a small pot on the rear panel to center it, and once calibrated it stays motionless during operation. I'm not really sure of the purpose of it, perhaps to monitor if your power lines are sagging when pulling in excess of the 1200 watts that the i·V2 is capable of delivering. The overall look is nicely done though probably a matter of taste... my wife not-so-affectionately nicknamed the amp "JARVIS" [sic] because the triangular meter reminded her of the yellow mindstone on the forehead of Vision, JARVIS's superhero embodiment in the Avengers movies. In what seems to be the fashion these days, the power/standby switch is located under the front panel, and there's an additional power switch at the AC inlet. One set of very standard 5-way insulated binding posts is provided along with balanced XLR and unbalanced RCA inputs. At this price point, I would have liked nicer posts, e.g. Furutech or WBT Nextgen. Not that there's anything wrong with the provided ones, and perhaps these posts were necessary to meet the extremely high power spec, but they feel decidedly prosaic and less pleasant to turn vs. the now-ubiquitous WBT's. A 12v trigger input rounds out the package.

Can’t get enough of rose gold? The i·V2 has you covered.

Setup

I tested the amp in two very different systems: the main reference rig, consisting of PS Audio DirectStream DAC ($6k), Gryphon Essence preamp ($17k) and Audiovector SR 6 Avantgarde Aretté ($25k) speakers; and a second system with RME ADI-2 DAC ($1200), Pass Labs XP10 preamp ($5k) and Silverline Prelude Plus ($2k). As you can imagine, really critical listening was done with the reference rig, but the second setup helped feel out how l the Legacy worked in a less expensive system. Interconnects are my usual mix of Audience Au24 SX and DH Labs Air Matrix; speaker cables were Audience Au24 SX or Furutech DSS-4.1. With the big rig, the Furutech was an excellent match; in the smaller system I used the Audience. I used only the balanced XLR inputs of the amp, so if your results differ from mine and you're using unbalanced RCA, that may be a factor. My system has been fully balanced for several years now and there's been no looking back.

The i·V2 is somewhat sensitive to the choice of power cord. I say "somewhat" because it certainly won't sound wrong or bad with a given cord, the stock one included, but nuances of its presentation can change - bass response, hall perspective, top end extension and soundstage proportion were the most noticeable aspects. For most of the time I was admittedly lazy and used a trusty Audience powerChord SEi without further thought. One day I finally swapped one of @mgd-taww​'s proprietary cords and found it to make a nice difference, which warranted some further tinkering. I found the otherwise superlative Furutech DPS-4.1 to not be a great match - it delivered tons of detail and a huge soundstage, but sounded slightly hollow tonally and lost some of the i·V2's endearing smoothness. The Audience Forte F3 (currently $149) was the big surprise - I actually preferred it to the more expensive powerChord. Audience graciously provided me with a set of Forte F3 cords a few years back when they debuted, but I haven't spoken much about them as I hadn't gotten them to click in my system. With most gear, the Forte was lighter, airier, but lacking some substance and transparency vs. the big-brother powerChord SEi. But with the i·V2, the Forte was surprisingly even better balanced and focused than the powerChord, with a more present midrange, more mid-bass punch and a bit more attack and air on the top end. Some systems and ears may still prefer the more laid-back perspective and silkier top end of the powerChord, but I really liked what the Forte did. At such a reasonable price point, it's a no-brainer upgrade over stock.

Direct connection from the RME DAC worked, but a preamp was much preferable.

A quick word about preamps: you need one with this amp. The RME DAC didn't sound particularly good driving the i·V2 directly and greatly benefited from the Pass Labs XP10. Moving up to the Gryphon Essence preamp was even better, and the i·V2 was more than resolving enough to reveal the Gryphon's substantial advantage in musical resolution and extension at the frequency extremes over the Pass Labs. As mentioned, many purveyors of Class D amplifier modules add their own flavor to the sound with an extra input stage (e.g. PS Audio adds a tube input buffer to the Stellar M1200) and this is one interesting way to go, but my preference would probably be to stick with a vanilla but more neutral ICEdge module as in the i·V2, then tune the system with a proper preamp.

Another setup observation: yes, Class D runs extremely cool vs. traditional amps, but they do still generate some heat and I was a bit surprised that the i·V2 always ran slight warm to the touch, similar to the Bryston 4B Cubed. And sure enough, I measured around 58W of power draw at idle - virtually identical to the Class AB Bryston, or an Ayre AX7e integrated for that matter. The big difference is that the i·V2 will deliver the vast majority of its musical power thereafter into the speakers and not the heatsinks, and temperature rose very little even during some heavy listening sessions. It will never get burning hot, but please don't stick it in an enclosed cabinet - as always, ventilation is still required. If you plan to keep the amp in standby, rest assured it draws only around 0.3W, and sound is delivered almost immediately upon power-up. It does require a few minutes to start sounding its best, but certainly warms up much faster than Class A or AB amps that generally require an hour or more to get close to their full potential.

I do wish the binding posts were fancier...

Finally, while the amplifier is absolutely dead quiet through the 92.5dB-efficienty Audiovector speakers, I noticed a slight buzzing sound from the amplifier modules themselves. It wasn't really audible from the listening position, but you could definitely hear it by the equipment rack. It's comparable to the slight buzz from a toroidal transformer that's dealing with a little DC on the power line, but I'm unsure that is the cause here vs. some intrinsic noise from the ICEPower's switching supply. None of my other components are having this issue at the moment, though in fairness, the Gryphons' exceptional quality transformers that are fully potted and enclosed set a benchmark for mechanical quietness. Not a major issue, just mentioning for completeness.

The Sound

Looking back at my listening notes from the first couple hundred hours of the i·V2's time in my system, it was apparent that I really needed to give the amp more time to break in. I should have known better, as my experience with audio gear employing high-speed switching circuits like DACs and Class D amps is they take a very long time to settle in. The DirectStream DAC needed at least 500 hours to sound its best, and despite cranking the Legacy amp into a 4-ohm dummy load for dozens of hours at a time with my break-in playlist, it took a couple hundred more hours before the Legacy started to click in the reference system. The second system is more forgiving and sounded good earlier on, but I'd still make sure to give the amp many, many hours before passing judgement.

Once that was out of the way, listening impressions were consistent and roundly impressive. Among the Legacy's more enviable characteristics: super low distortion; dead-quiet silence; terrific bass response; seemingly endless power on tap; smooth tonality with no discernible coloration; a surprisingly silky treble and full mid-bass; and a relaxed, slightly laid-back perspective that's a bit less immediate than my Class A amps, but still resolving and involving. Let's delve in...

Head to head with the mighty Gryphon Essence

Tonally, the Legacy struck me as slightly mellower than my reference Gryphon Essence, at least with the Audiovector speakers. I hesitate to say the Legacy is "warmer," or the Gryphon is "brighter.” The Legacy, along with the Gryphon or the Bryston 4B Cubed have less overt tonal coloration compared to, say, the Pass XA30.5 (distinctly but not excessively warm), Valvet A4 Mk.II (more forward in the upper midrange) or Ayre AX7e (crisper and lighter). The upper frequencies were very slightly less prominent with the Legacy than the Gryphon, even though I’d never call the Gryphon bright or the Legacy rolled-off. There’s just a little less air in the soundstage, and instruments with strong HF energy like Donald Byrd’s trumpet in “Witchcraft” (Byrd in Hand, Qobuz 16/44) felt slightly curtailed vs. the ultra-open Gryphon. It might have more to do with the amps’ approach to harmonics than their inherent brightness, which I’ll get to later.

The midrange is smooth and balanced, with a purity that's a step above my aural memory of the Pass and Bryston. As with the treble, it has a sense of warmth and silkiness not for what it adds to the signal, but for what it doesn't. It’s so exceptionally free of any audible distortion that even the lovely Valvet sounded a tiny bit grainy and coarse by comparison. Given that I lauded the Valvet for its midrange purity relative to the Bryston 4B3, which in turn I also liked for its midrange quality, that’s saying something.

Class D amps typically have great bass, and the Legacy didn't disappoint. Earlier in the review period, it easily surpassed the Gryphon in weight and punch, making the Gryphon sound slightly anemic on tracks like Billie Eilish's “all the good girls go to hell” (Qobuz 24/44). It was also more neutral and controlled than the Pass while having even more punch. The Gryphon still has more texture, depth and musical resolution with my speakers, and more recently it has retaken the lead in overall bass response for reasons I'm still trying understand. Either the Gryphon has finally fully broken in its enormous bank of supply capacitors, or improvements to other aspects of the system (e.g. a 20A power line) have favored it. Given that many love the bass performance of Pass Labs and the Gryphon is considered world-class in that regard, the Legacy has to be considered superb, with both the power and refinement to satisfy music lovers across a wide spectrum of genres and tastes.

What really stands out about the i·V2 is how it can combine all of the above qualities with over 600 watts of continuous power, yielding a balanced presentation that's utterly composed regardless of volume level or material. The way it scales its refinement beyond ear-splitting levels makes most every traditional amp seem shouty, edgy or strained by comparison. While the Bryston 4B3 sounded better the louder I played it, it wasn't as smooth and detailed; the Pass XA30.5 got a bit lumpy and loose at the limit; the Valvet gets a little edgy and coarse at moderately high levels; and even the mighty Gryphon Essence can get subtly brighter as you ask more power of it. The Legacy is an effortlessly smooth operator, and I certainly didn't have a speaker on hand that could faze it in any way.

Tradeoffs

Resolution of fine detail is where the Class A stalwarts pull away from the Legacy. There’s a few aspects of reproduction where this exhibits: top-end extension, harmonic resolution, very low level detail and soundstaging, which I’ll attempt to detail...

The top-end is what I would call slightly soft. It's not rolled-off, nor did I find it "dark" as I've seen some people call it. It's more that a level of sparkle and sheen that is subtly omitted from the sound. Instruments like cymbals, triangles and trumpets still have realistic tonality, they just feel slightly softer around the edges. This also affects the feeling of harmonic completeness - the highest overtones of woodwinds are somewhat curtailed. This led my oboist wife to comment that the i·V2 made oboists she was personally familiar with sound even smoother and sweeter than real life, whereas the honesty of the Gryphon Essence gave a more realistic representation.

The Valvet A4 Mk.II and certainly the Gryhon Essence, and by aural recollection the Pass XA30.5, also capture a bit more of the ambient signature in a recording - the "hall" sound, the sense of performers in a space. It’s not that the Legacy is very lacking in this respect, but similar to early SACD players, it does still have a touch of the “velvet curtain” effect where below a certain threshold, subtle parts of the signal seem attenuated. This can also makes listening at very low levels a tiny bit muffled. Resolution is still excellent, at least on par with amps around the $5k price point, e.g. the Bryston 4B Cubed. A pair of Benchmark AHB2’s could be interesting competition, but I haven’t heard it, and it doesn’t have anywhere near the current capability of the Legacy.

The last area where I found the Class A amps superior was dynamic contrasts. Despite the Legacy being the most power amplifier I have ever used by a long shot, it actually didn't sound more dynamic at typical volume than the 50 watt Gryphon, or the 55 watt Valvet monoblocks. Sure, it will play much louder than they can, but loudness isn't the same as dynamics. The Gryphon and Valvet both had a bit more life, a bit more contrast in colors... I hate to say it, but more “PRAT.” I'd put the Legacy somewhere between these amps and the Bryston 4B Cubed, which had a greater tendency to flatten dynamic nuances. (Note: my speakers are quite efficient and tame, so I’d imagine this could be a very different story into something significantly under 90dB/watt and/or presenting a tougher load.)

One more caveat to the above observations: it might be more speaker-dependent with the i·V2 than a typical linear amplifier. Interestingly, I found the i·V2 to kind of be the opposite in terms of speaker interactions and tonality to what I usually experience with my systems. The reference Audiovector speakers, with their ruthlessly revealing AMT tweeters and critically balanced tonality tend to be less forgiving of amplifiers than the much more affordable Silverlines with their soft-dome tweeter. However I actually found the i·V2 to bring out just a bit of upper midrange and lower treble prominence with the Silverline (not a bad thing per se), while sounding comparatively mellow with the Audiovectors. Load-dependent performance is a well-known challenge with the Class D topology, and while designers have found increasingly sophisticated means of mitigating it, it is probably still a factor here, albeit a much more nuanced one than in the past. I have to wonder if this variability is why one still hears of such wildly varying opinions of Class D amps... in any case, an audition with your preferred speakers is highly advisable. 

Further Musings...

The Legacy i·V2's exceptional performance forced me to check my notions of fidelity. In terms of measured performance, it’s among the best I’ve experienced (along with the Bryston 4B Cubed), and my ears registered its sound as correspondingly pure and distortion-free. Could the Legacy's slightly smoother, less bright and less overtly dimensional perspective actually be more accurate than my other amps? It's been shown (by e.g. Nelson Pass) that some judicious 2nd order harmonic distortion can add a sense of dimensionality to a recording, which explains why tubes can sound so "holographic". In the tube case, I find this to be a euphonic (albeit lovely) deviation from the original recording. The Gryphon Essence is also a soundstaging beast, and while it’s far more neutral than any tube amp I’ve heard, could some of its dimensionality also be additive rather than accurate? Could something similar be said of the i·V2 slightly soft treble - is this actually the absence of distortion that exists in virtually all other systems, including the ones used to master recordings? Listening to a bright pop album, e.g. Dedicated by Carly Rae Jepsen (Qobuz 24/44), the i·V2 was certainly more listenable than the crisper and more sibilant Gryphon. On the other hand, the Gryphon has a bracing immediacy, a feeling of being pulled into the mix and enveloped by the music. The i·V2 by comparison is a little tame, a little reserved, perhaps even a tad muffled. Is that extra dynamic verve and contrast I hear from the Gryphon and other Class A amps real, or an artifact? Which is more accurate?

Because of the infinite number of variables in the recording and playback chain, there's likely no clear-cut answer. While no one buys a Gryphon or Pass Labs for the best specs, there’s no denying that the latest crop of Class D amps are on another level of measured performance from old-school Class A machinery. On the other hand, I do feel the i·V2 subtracts a few things from the signal. How much does that matter to your ears in your system? It's a close enough call that I can imagine circumstances of some preferring the Legacy to the Gryphon. For me personally, while I could happily live with the Legacy, I do inevitably find myself returning to the Gryphon for those extra nuances - the fineness of instrumental textures, the palpability of the soundstage, the dynamic inflections - the things that make hifi more evocative of the real thing. 

I recently attended a lovely performance by The Cleveland Orchestra in their summer home, Blossom Music Festival. (Hurray for the return of live concerts!) When I returned home that evening, the Legacy was hooked up in the system. I put on a live recording of the Philadelphia Orchestra - not at all equivalent in venue or performance to what I had just heard, but bear with me - and it struck me that the tonality of the i·V2 was actually quite evocative of the real thing. Live orchestral performances have a ton of energy, and yet they sound so smooth and sweet compared to typical reproduced sound. The i·V2 captured that silkiness to a greater degree than I’ve heard in my system, but was lacking some of the edge and vitality. Switching to the Gryphon gave me more of the excitement of the live event, but tonally it wasn’t quite as spot on. At this point, we’re probably approaching the limits of conventional reproduced sound, so some tradeoff will be necessary. Which one is “better” may depend on your frame of reference. E.g. if you like the neutrality and balance of solid state amps, you'll likely find little missing from the Legacy's presentation; if you favor the tonal color, dynamic verve and larger-than-life presence of tubes, you may find the Legacy a little dull. The very fact that I'm having to finely parse these matters of fidelity and taste is a testament to the overall excellence and refinement of the i·V2. To accomplish that that with 610 watts on tap for under $5k is a significant milestone for Class D technology, and a remarkable feat of engineering.

I must mention the obvious ecological benefits of Class D over Class A - we are drawing literally hundreds fewer watts, we don't need to keep it running or warm it up for extended periods to sound good and we are generating far less waste heat. The electric bill and thus cost of ownership will also be appreciably less. On the flip side, the jury is still out on how long these amps will last, vs. a Gryphon or Pass Labs or Bryston that one can easily imagine humming along for 20+ years. As such, and as is often the case with newer and more commoditized tech, I'd expect resale value to be significantly lower than those marques. Just a couple extra things to consider when you're plunking down a not-inconsiderable amount of money on a piece of kit.

Conclusion

The Legacy i·V2, and Class D amplification more broadly, are emblematic of larger shifts in high-end audio technology. Just as solid state and digital audio took a while to hit their stride and gain legitimacy in the exalted (ok I'll say it, snobby) circles of the high-end, we've hit a point of maturity with Class D where technological sophistication and subjective fidelity can go hand in hand. The fact that I strained my ears comparing the i·V2 to a $24k Class A reference that is far and away the best amplifier I have ever heard in my system is all the proof I needed. For under $5k, the Legacy i·V2 delivers a balance of refinement and power that is unmatched by any conventional amplifier I'm aware of near its price point, and competitive in absolute terms with the better amplifiers under $10k and beyond, regardless of technology. It's a cut above what I heard from the Bryston 4B Cubed, and while I haven't had the Pass Labs XA.8 series in my own room, I would not hesitate to line it up against them. Many may still prefer the more overt musicality of the hot-running Pass behemoths, but my feeling is it'll be more a matter of personal taste or system matching, as opposed to one of absolute fidelity.

I have a few burning questions on my mind now. The first is how Legacy's implementation of the ICEdge 1200AS compares to other ones on the market - could you get similar or even better performance for less? The next one is how does the Legacy/ICEdge stack up against other Class D implementations from Hypex, Purifi, Pascal and others? And finally, I've also heard a lot of wonderful things about the Class H Benchmark AHB-2 from ears I trust. It too is compact, cool-running, superbly specified and relatively affordable, but utilizes a sophisticated implementation of traditional linear amplification technology. I would love to compare and contrast the Legacy with that amp.

In the meantime, I strongly endorse an audition of this amplifier without prejudice. It's a remarkable achievement in amplification - highly recommended!

[taww]

First Take Review: Gryphon Essence Preamplifier & Stereo Amplifier

Okay, let’s get this out of the way: with a combined retail of over USD $40k (and that doesn’t include another $6k for the optional Zena DAC module), The Gryphon’s Essence preamplifier and stereo amplifier are by far the most expensive electronics I’ve ever had in my home! They might be the Danish firm’s entry point into separates, but that’s akin to calling a $146k Aston Martin Vantage “entry level.” There was a time in the not-so-distant past when spending such sums of money on stereo gear struck me as pointless excess. Perhaps I’ve been numbed by flipping through too many issues of The Absolute Sound or walking the halls of an audio show; perhaps I’m just entering a life stage (mid-life crisis, anyone?) where I’m allowing myself to indulge in such luxuries. Whatever the case may be, I’ve now had the good fortune of several months with the Essence combo, and despite a number of people prodding me for this review it’s been quite difficult to put into words how they perform. Why? Because every time I sit down to do the “work” of reviewing I just end up getting sucked into the music and forget to do the reviewing bit! But, here goes...

The arrival of the Gryphon components was a case of one thing leading to another. My first experience was when I strolled into Gryphon’s room at RMAF 2018. After being disappointed by so many other mega-buck systems at the show, I was delighted that this one actually sounded like music! Frankly, a lot of über-expensive show systems landed on my ears like amusical hi-fi effects or whimsical fancies of what some people think music should sound like, rather than an actual musical performance. Like other big systems, the Gryphon rig was imposing and fancy-looking, but with a decidedly purposeful, even stark, aesthetic. And the sound - so tangible and luscious, maybe a little dark and brooding, but in a way that connected me emotionally to the recorded performance rather than distracting me with sonic affect. 

At the time I was happily running the Valvet A4 Mk.II monoblocks, and also had @mgd-taww​’s Pass Labs XA30.5 at my disposal. Both delivered the pure and colorful musical flavors of Class A amplification, and both are superb amps. But things got thrown for a bit of a loop when I settled on the Audiovector SR 6 Avantgarde Arreté speakers as my new reference. I had auditioned them at AudioVision SF with the Gryphon Diablo 300 integrated amp ($16k) and the sound gave up nothing to high-quality separates - big, bold and dynamic with tremendous poise and nuance. Coming back to the Pass and Valvet amplifiers (coupled with a Pass Labs XP10 line stage) certainly wasn’t a let-down, but they didn’t have quite the same level synergy with the Audiovectors which sounded more complete and visceral with the Gryphon integrated. 

This combined with the strong aural memories from the RMAF room led to a call to Gryphon’s US distributor, Philip O’Hanlon and Pandora Pang of On a Higher Note. Philip acknowledged that the Diablo was indeed excellent but teased that Gryphon had recently introduced a new line of separates worth consideration. The Essence had just arrived in the States and he had one more set in stock if I were so inclined... and next thing I know, a pallet loaded with what my wife lovingly referred to as “an illegal arms shipment” landed at our doorstep.

Serious crates for serious gear

Like all separates in The Gryphon’s 35-year heritage dating back to the original DM100 amplifier, the Essence line features pure Class A operation with minimal negative feedback, but brings it at a lower price point ($22,990) with more conservative aesthetics and practical packaging. Prior to the Essence, to get a Gryphon amp one had to shell out anywhere from $39k for the Antileon EVO to $57k for the flagship Mephisto (double those if going for monoblocks). The tradeoff is a lower power rating - just 50wpc, albeit in pure class A and doubling into 4 ohms and again into 2 ohms - so you’ll want to pair it with a reasonably efficient speaker. The Essence preamp meanwhile is a repackaging of the Zena preamplifier launched in 2018 (also $17,500), reskinned with cosmetics to match the amp. It features fully balanced operation via a discrete DC-coupled Class A circuit with zero global negative feedback, and can accommodate either of two optional internal modules, the Zena DAC ($6,000) or an MM/MC phono stage ($2,250). Being strictly digital I opted to evaluate the DAC, which I’ll talk about in a later installment. I’ll also save more details about the design and operation of this beautifully-crafted gear, including Gryphon’s unique Green Bias system, for a more in-depth review. For now, let’s get down to the business of how it sounds...

The Essence Preamp

When the Essence components arrived I clearly needed my wife’s assistance to safely unpack and set up the 45kg/99lb Essence amp. But she was busy making reeds for her oboe that evening, so I initially made do setting up the preamp (it weighs in at “only” 13.4kg/29.5lbs) and comparing it to my Pass Labs XP10 with the Pass Labs XA30.5 amplifier.

Firing up the Essence preamp from a cold start was one of those “damn, I don’t understand how a preamp can make this much of a difference” moments. Even though the Pass XP10 is a very solid performer - I find the sound of my PS Audio DirectStream significantly improved by it vs. feeding an amplifier directly - the 3x-as-expensive Gryphon outclassed it from the first note, taking musical resolution from the micro to nano level.

The first thing I noticed was how the entire back of the stage opened up. I never realized how triangular it sounded before, becoming narrower as you went deeper. With the Essence it suddenly feels rectangular and whole, with winds, brass and percussion able to naturally spread out and breath on the stage. It didn’t even take a big orchestral recording to experience this - my very first track was an intimate vocal with piano accompaniment, soprano Elsa Dreisig singing Strauss songs with pianist Jonathan Ware (Qobuz). The sense of the space - a church, as you can see from this video - and where the performers occupied it became strikingly tangible. Piano has starting clarity, with all its complex overtones unfolded and laid out for your ear to sample at its leisure. Dynamic resolution is also unlocked - subtle gradations in vocal intensity flow so organically. Going back to the Pass pre, macro dynamics weren’t Iacking, but the transitions somehow came across more synthetically, as if the volume dial was being turned rather than the performers modulating their instruments in the original performance. 

One thing that didn't change too much was overall tonal balance. I find the Pass pretty neutral and extended, if anything having a subtly warmish character to it, at least by solid state standards. The Gryphon doesn't deviate notably from that, leaning slightly in that direction though with more sophisticated and varied tonal richness and density. The quality of the frequency extremes, however, is a different matter. Most striking is how triangles sparkle and ring with startling presence on the Gryphon. With a claimed frequency response out to 1MHz, the Essence pre delivers the highest highs with a sense of ease and finesse. And the bass is everything people have come to expect from the Gryphon house sound - deep, taut and powerful with beautiful tonality. The Pass Labs wasn’t missing any of the music per se, but the deepest bass notes and highest overtones sounded constrained vs. the effortless and wide-open delivery of the Essence.

So, yeah - a preamplifier that costs 3x as much as the Pass XP10 sounds clearly superior. Not much of a news flash, and a much fairer comparison in the Pass lineup would be the XP32 ($17,500) or at least an XP22 ($9,500). But what took me aback was how a preamplifier like the Essence could bring out so much life and nuance that was being curtailed by an otherwise fine piece like the Pass. The net effect was to make the musical performance feel significantly more tangible, visceral and unclouded - something that even the change of a DAC or amplifier doesn’t consistently achieve. The Gryphon Essence pre is simply an incredible conveyor of the musical signal.

And we haven’t even tried the amplifier yet...

The Essence Amplifier

Once I got my wife to assist in positioning the hefty Essence amp in the cabinet (safety first!), I hooked up the Audiovectors via my usual Audience Au24 SX cables and powered up the Gryphon using the stock power cord (the amp requires a 20A IEC connector, so standard cords won’t work). I played a bit with the Green Bias settings but obviously settled with it in red-hot Class A operation for serious listening. And while the amp has since benefited from multiple months of break-in, it was apparent from its first notes that the Essence had resolution, clarity, dynamics and tonal completeness on an altogether different level from any amp I’ve experienced in my system. But there was something else remarkable about its presentation that’s taken me many months to put my finger on, and I think I might be finally getting it.

The Essence amp has a very special ability to deliver the leading edge of a sound with incredible speed, precision and clarity. I’ve heard amps with fast leading edges (some attribute this to high slew rate), I’ve heard amps with very clean ones (lack of distortion and ringing). The Essence delivers a combination of fast and clean that is truly exceptional, and perhaps close to the state of the art. Every impulse and note attack hits you with perfect timing and delineation, then decay with similarly impeccable control. By comparison, amps like the Pass Labs that struck me as very pure have a bit of fuzz to them. Ever listen to an AM radio station when the signal gets weak, and all the starts and stops of sounds get staticky and fuzzy? There was a bit of that feeling going back to other amps in my system... no, they weren’t literally fuzzy and distorted. It’s just that the Essence amp sounds exceptionally lithe and clean, removing an extremely subtle layer of distortion that became difficult to un-hear in other amplifiers. 

Coming from the Pass XA30.5, the Essence’s midrange was less overtly warm but even more substantive in tone. The Pass is certainly on the warm and lush side for a solid state amp, but past Gryphons I’ve heard had their own dose of chocolatey richness, so I was initially surprised by the balance of the Essence. It has the midrange density and lush tonal colors I was expecting from a Class A Gryphon amp, and yet it also sounds close to dead neutral in character. There’s a crystalline transparency that makes everything else sound a bit cloudy by comparison. Class A amps usually get the tonal part right, but can sound a bit sluggish or rounded dynamically; Class AB amps often have great transient speed but with some roughness around the edges and a bit of tonal hollowness. The Essence backs its exceedingly snappy and clean transients with real tonal substance and an infinite palette of realistic tonal colors. It can simultaneously preserve the gravitas of a string bass ostinato, the glowing warmth of a French horn, the delicate nasality of an oboe and the ethereal lightness of a flute all in balance. Orchestral recordings have never sounded this vivid and realistic in my home.

An interesting display of the amp’s prowess was in violinist Hilary Hahn’s recording of the Vieuxtemps Violin Concerto (Qobuz). The album also contains Mozart’s popular “Turkish” concerto which probably gets most of the plays; the Vieuxtemps is infrequently performed and mostly known by violinists as a sort of advanced student concerto (yes, my teacher made me study it). Vieuxtemps was a Belgian virtuoso of the romantic era and while the concerto has its charms, its orchestration is rather clunky. This actually made for a fascinating sonic experience in the concerto’s orchestral exposition, where different instruments pass melodic fragments back and forth in somewhat disjointed fashion rather than the more cohesive harmonization and counterpoint you’d get from a German master. A flute here, a clarinet there, a timpani roll or violin flourish coming and passing - the Essence conveyed each one with striking clarity and trueness of timbre and dynamics, arranging all the instruments across the stage in perfect proportion. So much of the feel of an instrument lies not just in its tonal makeup but the shape and feel of its notes - the reedy breathiness of a clarinet, the ringing “bong” of a timpani, the firm attack of a trumpet, the brush stroke of a violin. This is where the Essence’s leading-edge precision and lack of electronic haze help it truly evoke the feeling of sitting on the stage with the musicians, each and every instrumental entrance having that tactile realism.

Having been a classmate’s of Ms. Hahn’s I also have first-hand experiences of her playing, and the Essence strongly evoked memories of hearing her performing in recitals or practicing in our conservatory. Though we were both teenagers at the time, she had already developed her distinctive tone and focused intensity, and hearing that reproduced so vividly through the Essence and Audiovector speakers is uncanny.

The frequency extremes of the Essence amp, particularly in combination with the Essence preamp, are also something special - the crazy-wide specified bandwidth of Gryphon components is no joke. The speed and tautness and slam of the bass brings realistic clarity to the foundation of the music. It’s bass that I like to call “sneaky” for the way it doesn’t unduly call attention to itself, but then will come out and smack you in the face as in a live event. Instruments like string bass or contrabassoon are naturally portrayed in the orchestration, rather than getting buried in the mix. The top end is extended and articulate, capable of bringing out all the energy and brilliance of string, brass and percussion instruments, and yet certain recordings that tend towards brightness actually sound warmer and smoother than I've heard before. It sounds so pure and free from distortion, so that if there’s any distortion already present on the recording it does nothing to aggravate it. Sibilants and tape hiss and clipping are still there, yet come across less obtrusively, making them easy to tune out in favor of the music. 

Case in point: the DSD remaster of Strauss Don Juan, recorded in 1958 by the Cleveland Orchestra under George Szell (Qobuz). My wife and I have listened to this recording dozens if not hundreds of times and while the performance is riveting, the recording quality has always been a bit hissy and strident. My wife asked to listen to it again on the Gryphon setup for study purposes and halfway through I remarked, "does this recording sound a lot less bright to you?" She concurred - we had never heard it sound so clean and natural, and for the first time I didn't notice the tape hiss at all. The Gryphon gear really does excel at extracting the essence of the musical performance locked in the recording, neither artificially filtering nor amplifying the distractions of its mechanical limitations. I’ve heard far too many ultra high-end systems that need absolutely pristine audiophile material to sound their best. With the Gryphons, every recording in my collection has never sounded more distinguished and compelling.

The sense of space that the Essence preamp conveyed with other amplifiers becomes even stronger in combination with the Essence amp. I have never heard the different sections of a symphony orchestra arranged so palpably. Winds and percussion have clearly delineated space behind the string section, and delicate clarinet solos that are typically a bit hazy in recordings are conveyed with both clarity and intimacy. There’s something about the Essence’s blend of clean transients, tonal rightness and harmonic resolution that bring out the distinct ambience and texture of each recording - the aural equivalent of the “mouth feel” of a wine. Going back to otherwise excellent amps makes everything feel a bit more homogenous, a hair less stimulating.

There are a couple of potential shortcomings to call out, and they may be interrelated. The first is that the bass in combination with the Audiovector speakers isn’t quite as hard-hitting as with, say, the 600wpc Class D Legacy iv2, or as what I heard with the Gryphon Diablo 300 integrated; nor is it as plump and room-filling as with the Pass XA30.5. Quality-wise it’s exceptional - fast and deep and pitch-perfect in ways they can’t match - but sometimes I just want it to fill out the space a bit more and punch me in the gut a little harder. I mostly miss this when listening to pop tracks, e.g. anything from Billie Eilish where the raw punch of the Legacy amp factors more strongly than the n-th degree of refinement from the Gryphon.

The other nit is that the soundstage, while vividly painted, feels a bit less “generous” than bigger-sounding amps like the Legacy or Pass Labs, or the Gryphon Diablo for that matter. There’s a bit more emphasis on the precise constituency of an orchestra, as opposed to its sheer scale - a little more of the trees, a little less of the forest. To some, this may make the Essence feel a hair light in presentation, despite its rich and layered midrange.  Ears I trust tell me moving up the Gryphon line to the Antileon EVO or Mephisto can give you the best of both worlds, but those are obviously at increasingly exorbitant price points. 

I’ll need to try tweaking these area of reproduction more (e.g. cables), but as it currently stands, I could see the Essence best matching with speakers that are tonally richer and a bit less critically damped on the bottom end, vs. requiring care with something leaner and more laser-focused. It’s slightly lean with some recordings on the Audiovectors, and I’d definitely want to check before paring it with the likes of a Magico. It goes without saying that when you get to this level of fidelity (and cost), you should expect to spend a fair amount of time and effort on component matching.

As a side note, I was able to further extend the capabilities of the Essence via Furutech’s DPS-4.1 power cord (custom built with 20A connectors) and DSS-4.1 speaker cables. These upped the clarity and transparency yet another notch or three, opened up dynamics further and created a wider sense of space on recording after recording. I’ll have more on these excellent cables and how they synergize with the Gryphons in a future installment.

Capturing the Essence

It’s been challenging pinning down the character of the Essence system, the amp in particular. Even more so than other great Class A amps I’ve heard, including from Gryphon, the Essence amp has a combination of purity, openness, refinement, clarity, speed and dynamic life that defy the usual idiosyncrasies and limitations of Class A vs. AB vs. D. It’s dynamically fleet, rhythmically incisive, tonally sophisticated, dimensionally resolving, and sneakily powerful and punchy. In combination with the superb companion preamp, it uncovers a sense of space in virtually every recording I throw at it with greater detail and palpability than I’ve heard before, without seeming artificially holographic like some tube amps. The tonal purity and resolving power of this pair are simply at a level I have rarely experienced anywhere at any price. Moreover, the name “Essence” couldn’t be more apt - all these sophisticated qualities are squarely focused on conveying the beauty and quirks of the original recording without need for enhancement or editorializing to make it enjoyable. The closest aural recollection I have of this sort of musical resolution was the MSB Reference + Magico M3 system at RMAF 2018, which had a significantly superior DAC and a total cost approaching $300k. 

As for the price... well, I can say that the monies spent on a piece by The Gryphon clearly go towards obsessive engineering and craftsmanship in the service of state-of-the-art music reproduction, rather than ostentation or frivolous excess. This is musical fidelity of the highest order, and my new reference in amplification.

[taww]

Review: Valvet Soulshine Tube Preamplifier by MGD

Marty DeWulf passed away about a month after submitting this review. His work was always an inspiration to me and it was a privilege to share his thoughts on this hobby he loved so much. RIP Marty - you are missed.

There was a time when two high-end audio companies dominated the conversation and the market regarding tube electronics. In the 1970s, Audio Research and conrad-johnson were the first, last and every word when it came to valves. There were other small tube manufacturers around, but they were basically garage-based start-ups, poorly financed with minimal budgets and little business savvy. It was a world populated by solid state and companies carrying the flag for “modern” transistor designs. It seems ironic that back in the 1970s when transistors were so predominant, they sounded their worst… the format was much less than mature.

Related Reading:

First Take Review: Valvet Soulshine Preamplifier & A4 Mk.II Amplifier

Thumbing through a current audiophile publication today, whether it be online or in the pages of a magazine, tube products abound. They come with names from companies I’ve never heard of before, and from faraway places. Go away for a few years and the scenery changes drastically… I feel so old. Fortunately, I’m still friends with @taww, who sends me stuff to listen to and write about. When I first talked to him years ago he wasn’t a fan of tube gear. If I recall, he thought valves to be totally inaccurate and euphonic sounding. [Okay, maybe that’s a little harsh, but yes I strongly preferred solid state accuracy.] I too, was a solid state guy. The dynamic range, frequency extension and clarity of modern solid state electronics have had me on their side for many years. But then, I heard the Monarchy M24 tube DAC and saw it as a true head turner with its tube section. [So did I! I bought my Monarchy NM24 review unit and it was my reference DAC for years, tubes and all.] 

The Monarchy wasn’t the first great tube product in my experience. I’d reviewed a tube preamp from Musical Designs that was a budget wonder, and over the years I’d heard a number of Audio Research products that seemed to bridge the gap between reality and sonic illusion in palpable ways. [Don’t forget Audible Illusions and Joule Electra, I remember you liked those too.] Some very fine tube products had served to weaken my wall of valve resistance and solid state preference, so much so, that I would eventually purchase an all tube preamp from SAS, as did fellow BFS writer Rich Weiner. Still, when it came down to absolutes; dynamic edges, front to back transparency, frequency extension and tonal trueness, my overall preferences always lead me down the road of the better solid state units, the Pass Labs XP10 for example.

When @miy-taww​ suggested that I audition the tube preamplifier from Valvet certain expectations immediately arose; it’s a tube preamp after all. In certain ways, valves are valves and they behave predictably, especially basic designs such as the Valvet. He gave me a rundown of the circuit employed and the choice of tubes. A picture of the unit’s performance was forming in my head even before my ears had heard it. The Soulshine preamplifier from Valvet (USD $5,890) was unique to me in several ways. Handmade in Germany, its parts selection was insanely high with premium resistors and exotic caps in abundance, all hand-wired with solid-core silver. It looked to be a new interpretation of an old theme. 

[Note: An upgraded version, the Soulshine IIz ($8,890), is now available. The original Soulshine reviewed here is still available on order for $5,890 through its US distributor, Alfred Kainz of highend-electronics.]

Design & Operation

A few words about the physical construction of the Soulshine. Like so many quality preamps before it, the Soulshine has a separate chassis for its power supply and control sections. Constructed of thicker than the usual aluminum billet, the appearance is low slung, clean and high tech. I like the way it looks. The front face, following the theme of clean futurism, has a chrome knob for the stepped-attenuator volume control and another for input selection (four line-level inputs, one of which is balanced XLR). To the right of the volume control is a window with numeric volume level displayed with blue LEDs; with one number for both channels, there is no way of setting left to right balance. The tradeoff is one less control in the signal path. 

The rear panel of the preamp allows for single ended as well as balanced operation, though @miy-taww​ informed me that the internal circuit is not truly balanced even when using the balanced connectors. [ On closer examination, it appeared that the inverting half of the balanced signal is referenced to signal ground internally. @miy-taww​ ] On an operational note, I consistently had to allow the preamp about 30 minutes warm-up time at the beginning of each listening session to obtain its best.

The Soulshine has a remote control for volume changes while its listener is firmly planted in a comfy listening chair. Unlike my last experience with a tube preamp employing remote volume control, the Valvet was quiet, responsive and easy to use. This is the way a remote should be configured – simple and easy to use. The lone problem I had with operating the Valvet came from trying to find the on/off switch…. which took me an embarrassingly long time to find (hint, it’s underneath the power supply).

Sonics

Having a pre-established vision of what the Valvet would sound like before it even arrived, I can now report that my expectations were only partially right. First off, let me mention the output impedance of the Valvet is 400 Ohms. Because of that, the input impedance of the power amp you are using is not going to impact the sonics of the preamp substantially. What I didn’t expect were the results obtained by using amps with high, medium and low input impedances; the preamp performed consistently regardless of the amplifier used. Frequency extremes stayed relatively consistent with each amp used. That was a big surprise. What did change was stage size as I went from one amp to another. With the Pass Labs XA30.5′s lowish input impedance (30 kOhms balanced, 15 kOhms unbalanced), the soundstage was somewhat smaller and a bit laid back. Going up in impedance resulted in a nominally larger stage and slightly deeper bass response, but little else.

Let me talk about the Valvet with the low input impedance Pass Labs amp. I didn’t expect these two products to work well at all, but the combo proved almost hypnotic sounding as my initial auditions with the two lasted far longer than anticipated. The performance with the Pass wasn’t so much like having the instruments and singers in the room, a phenomenon I’ve come to expect with my Pass amp and preamp combo. With the Pass and the Valvet it was slightly more distant, while still being super vivid, substantial and picturesque. It was almost like listening to an aural View-Master. Remember the toy from the 60s? It has two eye holes and a lever to press that advanced a round disc with photos that presented to each eye a slightly different version of a scene, usually outdoors, that resulted in the user seeing an almost unrealistically vivid, 3D, and real appearing vista. The sense of 3D depth was stunning using the Valvet and Pass with dense color tones and detailing that resulted in a reach out and touch it quality, a rare synergy between a solid state amp with a valve preamp. It was like being there, except on a smaller scale, a scale in which reality seemed to fit on a smaller stage. The Valvet preamp with the Pass amp was very much like the View-Master. It had a superbly grainless presentation with depth and dimension galore. I thought about how photos of Yosemite in my View-Master seemed like being there one frame at a time – just smaller. Listening to Red Norvo’s, Forward Look struck me as a less-than-forward look at the performance that was in every other way as alive and dimensionally solid as my old Yosemite View-Master images. 

View-Master ad, c. 1955 (source: Santa Barbara Museum of Art)

Dynamics were proportional to image size with good edge and bite, though not to the extent I expect from the best solid state preamps. Interestingly, while large bass and kettle drums when struck with the Valvet didn’t have the visceral punch of my Pass preamp, the Valvet conveyed as much big drum volume as any preamp I’ve ever heard. Going to power amps with input impedances higher than that of the Pass, such as my rebuilt Dayton Wright 500 (75 kOhms), increased the size of the soundstage, brought it forward, while causing the same to be ever so slightly less dense.

Purity. Whereas solid state preamps seem to more easily engender the quality of transparency, sometimes to the extreme, the best tube preamps in my experience have a quality I prefer to call purity. It’s a feeling thing, a sensation that one preamp feels more like “transparency” and the other feels more like “purity.” Yes, that’s a cop out. Then again, I’m not sure I’m capable of defining the two in such a manner so as to come up with a better definition of the two terms. Presently, I use transparency and purity with the understanding that with time, the two might eventually define themselves with some clarity. I fear that the difference in the two terms is more of a gut feeling rather than something clearly tangible emanating from the Webster’s dictionary. Let’s work on this.

Listening to Judy Collins “Send in the Clowns” [Tidal, Qobuz], the Valvet swims in a feeling of humanity - a female life was in the room singing in a form and fashion that highlighted inflection and elemental emotion over power or presence. Not that power and presence were not there, they were, but those qualities were subservient to the sensation of un-hyped reality; a reality formed and fashioned around the sensation of the tangible. It’s a reality that the previous tube preamp covered by me missed in total. The midrange rightness of the Valvet makes all of the exciting details of the music come to the fore, while never seeming to observe the performance through a microscope. Extreme transparency, on the other hand, not only draws attention to itself, but forces the listener, on many occasions, to focus his/her attention on aspects of the performance that are sometimes less than musical. The performance takes on less importance than the sonic fireworks used to stimulate the senses of the listener. Take your pick; the Valvet, though transparent in the best sense of the word, is more pure in its intentions and performance than almost any other preamp I’ve auditioned.

Comparing the Valvet to my Pass Labs XP10 preamp ($5,250 before being replaced by the XP12) resulted in exactly the results one might expect. These two preamps are of unquestionable quality, each passing the signal sent to it as close to perfect as one could want. But they differ, and the careful listener has no difficulty telling the one from the other. I might describe them as saying that where they converge on a singular sound, neither sounds too much like the other; they maintain their individual characters while each seeks a somewhat different though idealized vision of reality. Yes, I’ll give the frequency extremes to the Pass, even the highest highs. Gross dynamics have a small advantage with the Pass also, though it is a minimal advantage. Where they differ, and where the Valvet will have an advantage to some ears is in the area of midrange coherence and that mystery word “purity.” And while the Pass also strikes me as having a high degree of purity in its reproduction, the Valvet goes there in spades, swooping up the listener in a tsunami of musical coherence. The lens of the Valvet is one of musicality, but also of great organic texture, heart and warmth. Now, these later qualities are also found with the Pass - it too delivers a wonderfully picturesque portrayal of the performance - but the Pass tends toward back-of-the-stage “air” and transparency, and the Valvet toward purity. A logical case can be made for either preamp, and I loved listening to both, but I feel the Pass appeals more to my mind as the Valvet harkens more to my heart. Combine the purity of the Valvet with its View-Master spatial qualities, and this preamp conjures up my first memories of auditioning the original SP-10 from Audio Research, so advanced it sounded and how it stood out from other tube preamps I had heard back then. 

Conclusion

If you tend toward tube preamps and yet are unwilling to live with some of their greater failings, the Valvet is a marvelous place to go. The price is not unsubstantial, but when compared to some of the more insanely priced products out there that don’t sound as good, this is a fine place to end up. Thanks to Valvet distributor Alfred Kainz of highend-electronics and @miy-taww​ for allowing me the opportunity to audition this marvelous device. 

[taww]

Class A Amps Explained & Compared: Valvet A4 Mk.II vs. Pass Labs XA30.5

After years of hearing about the benefits of Class A amplifiers, I finally got a taste in my system when the Valvet A4 Mk.II monoblocks arrived. Despite its cost and inefficiency, Class A operation has long been held as a gold standard of amplification by many in the high-end, Krell and Nelson Pass among its better-known evangelists. Different Class A amps have their distinct sonic character like any other amps, and no, Class A isn’t a guarantee of great sound. But one commonality I’ve heard from many of these big hot amps is a lovely naturalness and liquidity that came closer to tubes in capturing music’s tonal colors... as if all that bias current helped burn away the ills of solid state. Once I heard good Class A, many otherwise excellent Class AB amps seemed a bit bland and mechanical by comparison. This was borne out when the Valvet arrived while the excellent Bryston 4B Cubed was also in-house. While the powerhouse Bryston was a great amp in its own right, the Valvet just seems to have less electronic artifact and more musical blood flowing through its veins, to paraphrase an old colleague. I was hooked and craving more Class A, so I jumped at the opportunity to give the Pass Labs XA30.5 a try. Replaced by the XA30.8 a few years back, it’s an older design that became a bit of an icon as one of the more attainable ways (MSRP $5500) to achieve Class A nirvana. It makes for a fascinating design contrast with the Valvet - big American muscle vs. tidy German simplicity.

What is Class A again? 🤓

First, a quick refresher. “Class A” operation means the devices (in this case the output transistors of the amp, commonly MOSFET or bipolar [BJT] devices) have enough bias current applied to them to ensure they always stay conductive (“on”) throughout the entire voltage swing of the musical signal. Remember that transistors tend to behave like on-off switches that require a certain threshold current to become conductive. This non-linear behavior is called the transconductance curve, and the idea with Class A is you always have enough juice flowing to keep the device in the conductive, most linear part of the curve. 

Non-linear transconductance (current vs. voltage) curve of a bipolar transistor (BJT). Amazing we can get good sound of of these things, eh? (Source: stackexchange.com)

In contrast, Class AB amplifiers utilize “push-pull” complementary (NPN/n-channel and PNP/p-channel) pairs of transistors taking turns handling the positive and negative swings of the musical signal. They will only apply enough current to keep both devices on for smaller signals, and as power increases one side of the push-pull will cease conducting while the other side takes care of business. This is a clearly a more efficient setup - no wasted power for a device that doesn’t need to be on - but one that does have one device always transitioning in or out of its ideal operating region. Even if it’s not doing the heavy lifting, it’s contributing non-linearity and this leads to distortion that typically requires some form of negative feedback to mitigate. (If you’d like to go a level deeper on the theory of all this, check out this tutorial.)

A couple observations that are obvious from a circuit perspective, but perhaps clouded by all the marketing speak in the audio biz. Firstly, virtually all single-ended audio amplifiers are Class A by definition, and all Class AB amplifiers are push-pull. There would be no point in designing a non-Class A single-ended amp for audio because it would distort massively whenever the signal exceeded its Class A bias range. Class A for push-pull means both devices are conducting all the time, but there is an interesting catch - if the output signal exceeds the amount of bias current to keep one side of the push-pull pair in its linear region, the amp still keeps working because the other device is conducting - it’s being pushed in the opposite direction on its transconductance curve, towards saturation (overload). This means unlike single-ended Class A, push-pull Class AB will simply start acting like Class B at high power levels.  Secondly, not all Class A biasing is the same - yes, the device might be fully on, but how far into its operating region (where on the transconductance curve) has it been juiced? This is why e.g. when Pass Labs upgraded the XA30.5 to the XA30.8, they increased bias current significantly, resulting in an amp that was still rated at 30Wpc but used over 100 watts more at idle and weighed 25 lbs more.

Class A Power Ratings 🔌

With all that in mind, let’s look at the rated power of these two amps. The Pass Labs weighs 60 lbs/27 kg and is rated at 30 watts into 8 ohms, which is literally 1/10th the rated power of the similarly-sized Bryston 4B Cubed. The Valvet is rated at 55 watts into 8 ohms, with each compact monoblocks weighing 26 lbs/12 kg - it’s well under half the size and weight of the Pass. How can both be Class A, meaning they both operate at low efficiency, yet the Valvet is purportedly 83% more powerful in such a compact package? While I haven’t spoken with Valvet designer Knut Cornils about how he rated the power of the A4, Pass Labs is very clear that their 30Wpc rating is for fully Class A operation, but that the amp will continue delivering power with low distortion well past that. And indeed, when Stereophile measured the XA30.5 on the bench, it delivered 130 watts into 8 ohms and 195 watts into 4 ohms before hitting 1% distortion. Those famous Pass Labs bias meters (NOT power meters as on e.g. Macintosh amps) also tell you exactly when bias current starts to fluctuate, indicating the amp is leaving Class A. On my 92.5dB-efficient Audiovector SR 6 speakers, they would just start to wiggle on heavy bass notes or orchestral climaxes at high listening levels.

Valvet A4 power draw at idle. Double this for two monoblocks.

Since I wasn’t able to measure the actual bias current inside the amps, I took a look at idle power draw as a rough proxy. Though the Pass XA30.5 is rated at 238W at idle, I measured closer to 190W once fully warmed up; meanwhile, the Valvet monoblocks idled at around 90W each. So, pretty similar, which doesn’t mean their Class A biasing is the same (it depends on a host of other factors such as the voltage of the supply rails) but it hints to the Valvet not being “juiced” any more deeply into Class A despite its higher power rating. This is also borne out by the similar operating temperatures (toasty, but not burning hot) and the fact that the power supply in the Pass, while having less capacitance than the Valvet, likely has just as much (if not more) transformer muscle. I don’t know the rating of the Pass’s massive toroid but I suspect it’s more then double the 400VA in each Valvet.

With the caveat that this is conjecture based on the physical, electrical and sonic observations (more on those later), the Valvet’s 55 watts are likely closer to the 1% THD point where it has crossed over into Class AB, and not at full Class A. And as another point of comparison, I currently have the Gryphon Essence Class A power amp that’s rated at 50 watts Class A, and it weighs all of 100 lbs with an absolutely massive power supply. Just as all watts on amp ratings are not alike, neither are all Class A watts apparently.

Sonics 🎶

The Pass amp took some time to come out of its slumber after having been powered down for a while, but its famously warm, relaxed character was immediately discernible. After a couple days much of the initial “MOSFET mist” burned off and a wonderful synergy developed between Pass Labs amp, Audiovector SR 6 Avantgarde Arreté speakers and Furutech DSS-4.1 speaker cables. The XA30.5′s big tone, ripe bottom end and easy power nicely complemented the speed and range of the Audiovectors, requiring no softening or sugar coating from the exceedingly transparent Furutech wire. Compared to the Valvet, the Pass had a bigger sound with more generous bass that was borderline fat without ever getting sloppy. Interestingly the soundstage was noticeably wider as well, despite the Valvets being monoblocks which would ostensibly give them an advantage in channel separation. Vocals on the Pass were a little fleshier on a broader, more spaced stage, and dynamics felt a bit more grounded by that extra bass oomph.

Pass’s XA.5-series styling certainly wasn’t known for its subtlety...

The Valvet counters with a faster, more incisive sound. One of the distinguishing features of the Valvet is the use of a single pair of transistors in the output stage. A number of manufacturers have been taking this approach as of late, including Pass in their XA25 amplifier which takes purism a step further by also eliminating the emitter degeneration resistors. The argument for such a simple topology is that no two transistors behave identically, and thus paralleling them causes some loss of fidelity as you can never get all of them at an identical ideal operating point and things kind of “average out.” The XA30.5 uses 10 pairs of MOSFETs per channel, and it’s only when you listen to the Valvet that you realize the Pass might have a few extra dancers in the troupe who aren’t quite as perfectly in lockstep with the music. The Valvet paints with a finer-tipped brush that can trace all the contours and curves of a musical line with great agility; the Pass doesn’t lack for resolution, but feels a tad slower and mushier, like a brush that has a bit of fuzz around it. This is particularly apparent in the upper frequencies where the Valvet has noticeably more sparkle and precision.

Tonally, both strike me as not deviating very far from neutral, but the Valvet has a subtle bit of upper midrange highlighting that methinks is in part due to its silver internal wiring. Silver tends to have a shinier sound to it, and when balanced well in a system it can really bring the details of a performance alive; but if not properly balanced, it risks sounding lean and forward. With the Valvet, the silver character is applied very judiciously, but I did find I needed to use more relaxed interconnects and speaker wires (e.g. Audience) to get the right overall tonality and perspective. The payoff is in the upper frequencies, where the Valvet makes the Pass sound a bit thick and cloudy by comparison. With a suitable source and preamp (the Gryphon Essence preamp was transformative in this respective), the tinkle of triangles and sheen of violins are presented with effortlessly clarity.

For reference, that’s a bookshelf speaker (Role Kayak) with 4″ woofers.

In terms of Class A qualities, both have wonderfully colorful midranges and a fair helping of liquidity and naturalness, but the Pass wears these quality more on its sleeve by sounding downright lush at times. It also maintains this warmth at higher volume levels where the Valvet can start to get a bit brighter and more strained, perhaps indicating where it’s leaving its Class A bias range. Where both excel is in conveying the lyricism of a tune or the palpability of an instrument or voice owing to their resolving, tonally complete midrange presentations. Both have a singing character that sounds and feels so organic and unencumbered vs. a typical Class AB amp. The Valvet does it with a slightly sharper focus on the lines around instruments and a bit more sparkle and dynamic alacrity; the Pass does it with a big, easy smoothness and weighty low end. Though the Valvet has no problem driving my full-range Audiovector speakers to satisfying volume levels, the Pass feels like it’ll be a bit more effortless and stable into a wider variety of speakers given its beefier output stage.

Going out on a limb: based on Gary Beard’s insightful remarks in Positive Feedback, methinks the Valvet might have more in common with the sound of the newer XA30.8. Gary’s observations of the XA30.5 align very closely with mine, and he describes the 30.8 as being more precise and incisive vs. the 30.5, similar to how I hear the Valvet vs. the 30.5. I would certainly expect the newer Pass to have more grunt than the Valvet given its even more massive power supply, but the Valet might capture some of the delicate qualities of the Pass XA25 as well. Both of those amps would make a really interesting comparison to the Valvet.

Closing Thoughts 🤔

Nit-picking power ratings aside, the Valvet A4 and Pass XA30.5 are both fantastically musical amplifiers that deliver plenty of the famed Class A magic with verve and character. It’s no coincidence that after the Valvet landed in my system, the next two amplifiers I’ve sought out - the Pass and the Gryphon Essence - are also Class A. This isn’t to say I’ll never go back to Class AB (and I’m actually expecting a Class D amplifier soon 😱), but after years of swearing I’d only seek out more practical amps that weren’t so ridiculously big and hot, the Class A bug has bitten me pretty hard. If tonal purity and musical nuance are top priorities for you, amps like the Valvet and Pass Labs deserve a spot on your audition list.

[taww]

In Memoriam: Martin "Marty" DeWulf

My dear colleague and friend Martin DeWulf passed away in late March. He is survived by his wonderful wife of 37 years, Laura, and two children. He was an attorney by trade, but many in the audio world knew him as Marty or MGD, founder and editor of the Bound for Sound audio newsletter ("BFS") from 1989 to 2013.

I've never written a tribute before, and have struggled to articulate what a wonderful person Marty was and what he meant to me and many others. The crazy thing is Marty and I never once met in person. Our paths first crossed over 25 years ago, when I was a starving violin student in music school. I had bought a soldering iron as a teen, tinkered (and broke) my dad's stereo and was off at school trying to scrape together a first system of my own. I can't remember how I had even heard of BFS (remember, this was pre-internet), and probably paid my first subscription fee of twenty-four dollars by stuffing some spare cash in an envelope. I wrote Marty a letter introducing myself and asking for speaker buying advice for a broke wannabe audiophile. Marty wound up publishing and responding to my letter in BFS, and sending me speakers as a gift to get me started - a lovely pair of Tannoy 605's that served as my personal introduction to hi-fi and brought me much joy. It is to this day the kindest gesture I have ever experienced from a total stranger, and over the years our friendship grew via correspondences (we transitioned to the modern era with emails) and the occasional phone call. I began writing for BFS several years later, and we loved to compare listening notes and "hot goss" about the latest and greatest gear.

BFS: “True Audio Underground”

Bound for Sound was a very special publication, notable as one of the only audio periodicals that was 100% advertisement-free and reader-supported. Marty felt all the big audio magazines had become beholden to their advertisers and insisted that BFS remain free of such influence. We had a small cast of misfit contributors, but it was truly a labor of love by Marty and his wife Laura, and the ethos of the publication reflected all the qualities that made Marty himself a wonderful human being - honesty, perspicuity, intellectual curiosity, open-mindedness, good humor and sincerity. Though he was as passionate about hi-fi as anyone, he never took it too seriously or self-importantly. His down-to-earth, unapologetically subjective and insightful writing was a marked contrast to the increasingly stilted, non-committal or monotonically-raving "reviews" being cranked out by mainstream magazines. 

While Marty made many friendships in the industry, he wasn't afraid of rubbing some very prominent manufacturers the wrong way when he didn't think their wares sounded very good. Conversely, he loved seeking out obscure manufacturers and elevating superb products by the "little guys." You always knew exactly where Marty stood, and his incredible ear and talent for describing what he heard with colorful yet straightforward language gave you a real feel for the sound of a piece of gear. And he did it with a warm, personable style that made BFS less like a tome of authoritative opinion and more like a compendium of advice from an old friend.

When I received word of his passing of a heart attack, just a day after we had last corresponded via Facebook Messenger (our preferred medium continued to follow the march of technology), my heart sank as everything he had meant to me weighed on me. Marty opened up the world of audio to me and taught me most everything I know about this wacky hobby that brings so much joy to my life. But more than that, he was my paragon of unassuming kindness and generosity and the fundamental goodness of people. He was a true mentor and friend, and his passing leaves me with a hole I will never be able to fill. I miss him dearly and will always remember him fondly.

[taww]

First Take Review: Audiovector SR 6 Avantgarde Arreté Speakers

As previously chronicled, a move to a new residence last year challenged my undying devotion to 2-way monitor speakers. Though I had two great ones at my disposal - the Silverline SR17 Supreme and Audiovector SR 1 Avantgarde Arreté - asking these relatively compact speakers to fill a large living space with the weight and scale of a symphony orchestra was unreasonable. I needed something that could move more air, but far too many big speakers I’ve heard sound slow, discombobulated or opaque vs. a quality 2-way. Enter the Audiovector SR 6 Avantgarde Arreté (USD $25,000), which confidently assured me of no such compromises during an audition at Audiovision SF. After a bit of listening to some alternatives and the requisite spousal approval, I traded in the SR 1’s and placed an order for a pair of SR 6 AA in piano black with the intention of keeping these as my long-term reference speakers. I’ve logged about 3 months with them and while they’re still taking their sweet time to break in, it’s time to gut check: are they turning out to be everything I had hoped they would be?

Related Reading

Quick Take: Audiovector R 3 Arreté & SR 6 Avantgarde Arreté

Breaking in a Big Speaker: Week 2 with the Audiovector SR 6

Acoustically Treating Side Reflections: Even Better and Not as Hard as You Think

Design & Setup

IMO this is a gorgeous speaker that looks impressive in a room without being dominating - sleek and elegant, with pleasing proportions and a beautiful finish. While our room is a good size, it is an all-purpose living space for my wife and me plus our two large-ish dogs, and there was no way audiophile speakers with a large footprint or funky aesthetics would ever set foot in our home. The Audiovector was a relatively easy sell to my wife and there have been zero groans or offhand remarks about its size or appearance, which makes it an unmitigated success. The magnetically-attached grills are wonderfully crafted, muting the technical look of the baffle during more casual listening, snapping on and off with precision and sticking together for easy storage. The sound isn't bad with them on either - fractionally less open and bright, which is actually kind of nice for background music.

Full-range speakers can be tricky to position to balance bass response with soundstaging, but in my room I’ve found the SR 6 AA to be very easygoing. Thanks to a combination of front-firing ports, bottom-firing compound woofer and careful bass alignment, they work remarkably well close to the wall. I currently have them with just 50cm (20”) of clearance behind them, and I have yet to pick up on any port noises. Yes, the soundstage would be even deeper if I pulled them out further, but it’s still quite satisfactory and the bass is nicely filled out without any boom whatsoever. As with the SR 1 Avantgarde Arretés, I find the sweet spot to be a bit narrow - sound is good off-axis, but you really need to be centered precisely for the image and soundstage to lock in. This is in contrast to traditional 2-way monitors from e.g. Silverline Audio or Role Audio that disappear in your room with little effort and are fairly forgiving of listening position.

Sensitivity is specified at 92.5dB/watt @ 8 ohms, quite good for a dynamic speaker. Sensitivity ratings can be deceiving (measurement methods are not rigorously standardized) but the SR 6 AA certainly puts out noticeably more sound per watt than the 90.5dB-rated Silverline SR17. I haven't seen an impedance plot or minimum impedance spec but it seems pretty easy to drive, with all of my amps sounding open and unstrained. With pop or orchestral material at moderately high volume levels I could get the bias meter on the Pass Labs XA30.5 to wiggle the tiniest bit, indicating the peaks were surpassing the 30-watt Class A bias range, but just barely. While the speakers can clearly take a lot more power (I would have loved to have the 300wpc Bryston 4B Cubed around), a quality amp of moderate power rating (e.g. 50 watts) but enough current to feed the 4 drivers should have no trouble. The Pass sounded great, I love the 55-watt Valvet A4 Mk.II monoblocks on them, and right now the 50-watt Gryphon Essence is singing away.

The Sound

Listening to the SR 6 AA strikes me as the audio equivalent of stepping into something like a big smooth Mercedes S-class, only to find it as lithe and responsive behind the wheel as a Lotus Elise. But step on the accelerator, and sure enough you will hear and feel the grunt of a big bi-turbo V-12. And most of all, it’s fun. Like a car that beckons you to drive it, there’s an aliveness and energy to the SR 6 that compels you to listen to as much music as possible. I could listen to record after record all day and night and never stop.

Coming back to less-fanciful analogies, I love how the SR 6 has all the coherence, focus and speed of the best 2-way monitors, then adds low-frequency power and dynamic ease without any sort of compromise that I can discern. At first I was a bit concerned with the 350Hz crossover point between midrange and woofer - right in the D to A string range of the violin - but I honestly can not hear it at all. The compound bass system also seamlessly integrates from 80Hz down, and all I hear is a very continuous presentation with consistent speed, articulation and tonality. This is extremely rare in my experience - many big, expensive and elaborate speakers have had some sort of discontinuity that bugged me. 

Coming back to the 2-way comparison, I am missing absolutely nothing about my previous monitor speakers. The SR 6 has even more midrange focus and resolving power than its excellent little sibling, the SR 1 Avantgarde Arreté, while sounding less dry and analytical. Much of this can be attributed to the fullness of the lower midrange which puts more meat on the bones of everything. It’s not overtly warm, but has just the slightest bit of extra juice to give pop tunes great bounce and string sections lovely lyricism. My wife noted that orchestral melodies sounded particularly mellifluous and alluring.

This brings me to another point: the SR 6 simultaneously strikes me as tremendously transparent, neutral and precise, but also possessing character. It's very hard for me to describe it any one way because the common sonic labels - warm, analytical, fast, full, forward, laid-back, smooth, sharp - just won't stick. Depending on the associated gear, setup and recording, any of those above descriptors could be applied to a very subtle degree, but switch up the source material and a different set of adjectives come to mind. Going to another abstract analogy, it reminds me of a delicious mineral water - so clean and crisp and pure, but not totally flavorless. The SR 6 is never bland to my ears; sure, a bad recording still won't sound great, but the presentation never falls flat. It has a fun and engaging take on music, perhaps due to just a hair of judicious boost somewhere in the midrange, that isn't dead-on neutral, but subtle and musically consonant. This is what I find most fascinating about Audiovector's tuning vs. other ultra high-end marques such as Magico or YG Acoustics, which can be breathtakingly transparent to the point of sounding flavorless, and incredibly demanding of source material. In those special moments with the right setup and recording they certainly could scale to greater heights of realism than the SR 6, but the Audiovector just sounds consistently natural and satisfying to me.

A few words on what this speaker is not. While it certainly qualifies as full-range, it does not have an overtly “big” sound. You won’t get the same sort of easy, larger-than-life presentation that a large-woofered speaker in a more classic mold (think a big old JBL with 15” woofers, or a top-end model from PBN or Legacy Audio) will give you. If you want Louis Armstrong to sound like he's sitting in your lap, or you’re trying to reproduce a club environment in your living room, there are better speakers for that. Bass extension is deep and powerful, but the quality of the bass that stands out is that it’s always focused - pitch, timing and weight are precise and balanced. It will convincingly represent a symphony orchestra, and the throbbing bass line of Billie Eilish’s Bad Guy will have you bouncing in your seat, but it’s not shake-your-walls, send-you-into-intestinal-distress kind of bass. It is easily the most detailed and revealing speaker I have had in my room, but it is never hyped-up, instead laying the music out for you to inspect at your discretion. The superb Audiovector AMT tweeter has a lot to do with this - it is free of the typical resonant modes of most dome tweeters and has resolving power well above the audible range, with none of the peakiness of metal domes that can go from vivid to fatiguing over time. There are designs with more natural warmth, that can make a female vocal sound more magically in-the-room and human - Silverline and GamuT are two superb marques that come to mind - but they might not be as neutral and versatile across many genres of music.

The Audiovector is much more precise and adaptable than speakers which blow you away with a particular aspect of their performance. It is the sort of sound that may not stand out as much in 3 minute sound bites at an audio show or dealer, but is more accurate and satisfying in the long term. And I appreciate how it effortlessly fills my open space with sound, but never overpowers it. This is a remarkably lifestyle-friendly speaker by high-end standards and I could see it working very well in a more modestly-sized room, though if you have a small room you are probably better off saving some money on the R 3 Arreté and putting the funds towards upstream gear.

The Take

As you can probably guess, I'm liking the Audiovector SR 6 Avantgarde Arreté a whole lot. A big speaker is always a risky proposition - you never know if it'll work in your room, reproducing a wider range of frequencies means more things to critique and potentially bug you, and of course there's the financial outlay. But so far, other than the need for extended break-in time, there have been zero frustrations and only delights in my experience.

As I write this, I'm listening to a lovely record of Bruckner 9 by the Royal Concertgebouw Orchestra with Daniele Gatti (Qobuz 24/96, Tidal MQA) at moderate volume. And I honestly have nothing to observe or say about the speakers because it just sounds good and right and I'm enjoying the performance. It's a total system effort of course, with contributions from PS Audio, Furutech, Audience and the transcendental Gryphon Essence pre + power amp, but as a music lover first and foremost I can think of no higher compliment for the Audiovector SR 6 Avantgarde Arreté.

[taww]

Acoustically Treating Side Reflections: Even Better and Not as Hard as You Think

It's common acoustics knowledge that "early" or "first" reflections in the listening room are the most damaging to sound quality. Every single loudspeaker setup on the face of the earth will have to deal with these to some degree, and the ill effects tend to be concentrated in the midrange where both the bulk of musical content lives and the ear is very sensitive. And yet many audiophiles, yours truly included, spend far less time addressing this than tinkering with our gear. The reasons are understandable - decor considerations and living practicality often make acoustical treatments a nonstarter. Often we'll throw down a heavy rug to temper the floor reflections and call it a day, leaving side walls untreated to say nothing of the ceiling. I get it, it's a pain to deal with acoustics. But as my equipment continued to improve, one particular pesky reflection was weighing more and more heavily as the greatest sonic issue in my setup, and I finally resolved to doing something about it. Well, I was pleasantly surprised (and maybe a little embarrassed) that I was able to address this with a very minimal outlay of trouble and expense, effecting a massive improvement on the quality of my music!

The Problem

My room is a bit lopsided - I have the system placed along a 11 foot wall, with an exterior wall to the left side and an open layout to the kitchen and entryway on the right. It's over 26' long with 12' ceilings, so rear and overhead reflections are less of a concern, at least at midrange frequencies. A heavy wool rug with pad tames the floor decently. There is a kitchen island to the right but it doesn't seem to factor that strongly as an early reflection source. The left wall, on the other hand, is very clearly causing all sorts of issues - a lopsided stereo image, uneven midrange frequency response (different notes along an instrument or singer's range would pop forward or recede due to the comb filter effect) and a general feeling of glare and confusion that would make extended listening fatiguing, particularly at higher volume levels. I had from time to time mitigated it by propping up absorbent objects like a dog bed against the wall, but after a lot of eye rolling from my wife who pointed out I was robbing one of our pups of his leisure spot, I decided to find a more permanent and effective solution.

Current setup in our open living space.

There are tons of online resources for finding early reflection points - e.g. here's one from GIK Acoustics - so I'll leave you to that homework. I finally used the mirror technique to locate exactly where the side wall reflection point was, and luckily it is nearly perfectly centered on a 36" section of solid wall. I was relieved it wasn't on the windows, as treating those in a spouse-friendly way would have been far more difficult. Now all I needed was to decide whether to diffuse, absorb or both at that point, and find the appropriate treatment.

Treatment Option

GIK Acoustics is a well-known purveyor of affordable treatments and I had a good experience ordering a number of their 242 acoustic panels for my wife's music practice room. I'll comment more on them in a dedicated review, but the important things to note is that they feature 2" of fiberglass foam with 1.5" of air gap between the foam and the wall, which increases overall effectiveness, and they are also available with a "scatter plate" option if you want to mix diffusion and absorption. GIK gives this guidance for early reflection treatment:

Though diffusion is sometimes the right solution in the context of a design that supports it, in most existing problematic spaces absorption is not only more effective, but also a simpler, less expensive option.

I decided to stick with absorption and forgo the scatter plate option. A pack of three 24" x 36" panels ran USD $183 plus shipping. Since I only needed one panel, I used the other two to further treat my wife's room. Most people will need two of these for side walls and you can play with the most effective location for a 3rd panel (e.g. directly behind the listening position, if the rear wall is nearby). I  roughly centered it vertically with the upper-frequency acoustical center of my Audiovector SR 6 speakers (the point between the AMT tweeter and 6" midrange). With the panel's 36" height this easily covers incident reflections from any sitting or standing positions in my listening area. Hanging was a piece of cake - a single screw directly screwed into drywall is more than strong enough.

Results

The improvement was instantly obviously. Finally I had a balanced soundstage, sitting more naturally at the plane of the speakers with a rock solid center image. Vocals and woodwinds took on a buttery smoothness, and the overall presentation was much more relaxed and evenhanded. The GIK panel was significantly more effective than other materials and panels I had tried (e.g. a 2" Acoustimac Eco Core panel), largely making the side wall disappear. It won't kill all reflections - you'd need a significantly thicker panel and bass trapping - but it sufficiently attenuates them to more than tolerable levels.

View from the listening position.

Interestingly, I've found Audiovector speakers, with their AMT tweeters and slender, tapered cabinets, to be relatively sensitive to side wall disturbances. The Silverline SR17 Supreme monitors with their more traditional Dynaudio drivers and cabinet were still able to image pretty well without treatment. I'm guessing the lateral radiation pattern of the speakers is pretty different - I'll have to take some frequency response measurements to confirm - so YMMV, but any speaker will benefit.

Conclusion

If you have a bare side wall by your speakers, you really owe it to yourself to try this most basic of treatments. We 'philes are more than willing to throw hundreds, thousands of dollars at cables and sundry accessories, but a modicum of effort mitigating the peskiest of early reflections can provide far greater return on investment. Using the right type of panel is also key - the GIK 242 measures well and was particularly effective in my application. There are dressier, more visually appealing options from companies like Vicoustic, but check specs carefully to see if they're comparable in absorption. And convincing your significant other of the decor is an assignment I leave to you. 🙂

[taww]

First Take Review: RME ADI-2 DAC FS

I learned about the RME DAC when stumbling upon The Master Switch's "Best DAC" list. I don't remember what led me there, but from that list it sounded like it stacked up well against some other popular audiophile DACs from the likes of Mytek, Schiit, Benchmark and Chord. After a bit of online research I was intrigued by the internet buzz around it, and its pro-audio heritage, ostensible quality (made in Germany!) and unique feature set. And at USD $1,149, it hits a price point that many audiophiles can stomach. This is not another $299 made-in-China special off Amazon - not that those can't sound good or be amazing values, but the RME is something entirely different.

RME is a German manufacturer of highly-regarded pro audio gear that decided to make a version of their studio-grade ADI-2 DAC for the audiophile market. This meant equipping it with standard consumer digital inputs, adding dual headphone amps for both big high-impedance cans and low-impedance IEMs, making the menu system simpler (it's still rather arcane in that German first-gen-BMW-iDrive kind of way), making the informative but busy display automatically dimmable and throwing in a remote control. I'll spare the technical details for the full review, but highlights include a very precise reclocking circuit called SteadyClock FS, AKM4493 DACs and three stages of internal power regulation (switching, linear and ultra low-noise) that purportedly make it immune to the quality of the external power supply, the included one being be a run-of-the-mill 12V 2A brick. Other than the dinky supply, the ADI-2 feels extremely sturdy and is clearly designed to withstand the rigors of studio and field use, something you certainly can’t say of the vast majority of audiophile gear. The rotary controls are firm and tactile, and everything feels designed for the highest level of utility and durability with zero fluff.

Decidedly consumer-friendly connections

Despite being simplified from the original Pro model, this thing is absolutely packed with processing features. Adjustable digital filters, parametric EQ, tone controls, loudness contour, crossfeed for headphones - you name it, it's probably got it. There’s no network connection though, so for streaming you’ll need to provide your own USB or S/PDIF device. It has a full digital volume control, so if you're ok with some digital manipulation (albeit done at very high precision), you can hook it up directly to an amp or active speakers and have volume control via the full-function remote. The analog output can be set to 4 different gain settings via the menu system, and I found the +7dbU setting to come closest to my PS Audio DirectStream via XLR output. I kept the digital volume fixed at 0dB.

Setup ⚙️

My initial test was using a Raspberry Pi 3B with Roipeee software as a Roon endpoint, connected to the RME via DH Labs Mirage USB cable ($240). I listened on my main rig, currently consisting of a PS Audio DirectStream DAC, Pass Labs XP10 preamp, Pass Labs XA30.5 or Valvet A4 Mk.II amplifiers, Audiovector SR 6 Avantgarde Arreté speakers and cables and power conditioning from Furutech and Audience. (Yes, I know, a $50k system isn’t the most logical pairing for a ~$1k DAC, so I’ll also be reporting later on results in my more proportionately-priced side system.)

I am not a headphone guy at all, much preferring to listen to everything on my big rig, so I'm not qualified to critically evaluate the headphone amps and will defer to the other reviews on the 'net. That said, I did some light testing with my Ultimate Ears TripleFi IEMs and Massdrop HD6xx, which is a Sennheiser HD650 reproduction (I'll just refer to it as a HD650 for simplicity). For light comparison, I have my Topping NX4 DSD portable USB DAC + headphone amp which cost around $150 when I bought it and is insanely good for the money. I’ve also owned an Ayre Codex DAC + headphone amp ($1795) and remember its sound pretty well, but no longer have it on hand.

An important note: all my speaker listening was performed using the RME's balanced XLR outputs, as both my main and side systems are fully balanced (Pass Labs in the main rig, Ayre on the side). This is of course the preferred connection method in pro audio environments as well, and the RME is designed with fully balanced operation in mind. I have not listened to the RCA outputs yet, but my gut tells me balanced is going to be the way to go (and this account seems to back that up). So keep that in mind - I'll explore the sound of the unbalanced outs in a later review.

A “Dark Mode” setting auto-dims the informative but garish display

The Sound 🔉🎶

First impressions: clean, clean, clean. Excellent resolution, smooth and neutral tonality. Very clear without being bright or clinical. Good crisp dynamics. Everything sounds in its proper place without obvious artifice. Not quite as fluid and relaxing as the PS Audio DirectStream ($5,999), but quite enjoyable on a high resolution system.

Second impressions: I moved the RME to my office area for headphone listening, connected it to my MacBook pro via the same USB cable. Keeping in mind my prior disclaimer that I'm not a headphone guy, I found the RME to again sound very clear and clean on both the HD650's and Ultimate Ears TripleFi's, but maybe lacking a little grunt. While the DAC quality was clearly a step above the Topping NX4 DSD in resolution and transparency, I found the RME a little subdued, both via the IEM output with the TripleFi IEMs and the high power output with the HD650. The latter tends towards mellowness and needs an amp with some moxie to bring it alive; the RME didn't strike me as that, sounding as if it needed a beefier power supply or perhaps a higher-voltage output stage that could slew a little harder. And I found the Topping to give the Ultimate Ears a bit more drive to the sound, though that might also be the Topping erring on the punchy side of neutral. Again, I would hold judgement here, as I only did brief tests and this could also be a function of my digital front-end.

Third impressions: Fast forward a couple weeks, and I moved the RME back to the main rig, but this time with a new Raspberry Pi 4 set up as the Roon endpoint. I have not optimized my streaming setup in the least, but my understanding is the added power and USB bandwidth of the rPi 4 should translate to better performance. And it certainly sounded that way - the very slight grain from my first go with the rPi 3B was diminished, and the sound had greater scale and ease. While I still consistently preferred the PS Audio, it was getting harder tell them apart in quick A/B tests. There's a subliminally less "digital" quality the the PS Audio - it is still the most natural DAC I have had in my system - and everything seems to sing just a bit more freely through it. The RME comes fairly close but sounds a bit flatter and less tactile. Despite the S/N specs being significantly better on the RME, I didn't find it to be absolutely quieter - some aspects felt a little cleaner, but the PS Audio has a better sense of blackness between the notes. The RME is a bit more up-front with its soundstage vs. the PS Audio which put things a hair further back, but with a more natural sense of space. Still, I find the RME less in-your-face and more relaxed than many of the Sabre-based DACs I've heard.

In a nutshell 🥜

So, how do I think the $1,149 RME stacks up against "serious" audiophile DACs like the PS Audio DirectStream at 4x the price? Short answer: the DirectStream isn't going anywhere. But the RME comes much closer to the $6k PS Audio than I was expecting, particularly in terms of tonality, dynamics and resolution. The main differences I hear are the PS Audio has a bit more weight (both dynamically and tonally), a better sense of space and tactility and a less "electronic" overall sound. The RME makes symphony orchestras sound a tad smaller, with less of a difference in scale between a solo oboe and a string section... qualities that are pretty subtle and might not matter to some, but are highly prized by those of us seeking that visceral connection to our reproduced music. This is generally what you have to pay the big bucks for, and what puts DACs like the PS Audio, the Chord DAVE, the MSB’s and the Mergings in a different class from the more affordable offerings. But the RME acquits itself extremely well and is a nice upgrade in naturalness from other very good DACs that I’ve heard at the price point, e.g. from Cambridge Audio. And from aural memory, I feel the RME is a more accurate and satisfying DAC than the Ayre Codex, which never came as close to matching my DirectStream.

I'll be delving more into this fascinating little product in the coming weeks, but you can add this to the internet buzz: the RME ADI-2 FS DAC is an excellent sounding piece worthy of audiophile credibility. And I haven't even begun to tap into all its unique capabilities that no competitor I'm aware of can offer. Before you spend more on a DAC, you may want to give this little guy a listen.

[miy-taww]

Pass Labs XA30.5 amplifier. Introduced in 2008, it was considered by many to be the sweetheart in the .5 line and one of the finer solid state amps made. It was replaced in 2016 by the XA30.8 which I haven’t heard but is said to be a step up in transparency. Nevertheless some are still partial to the .5 for its rich, organic sound. It’s my first Pass amp and will be a fascinating comparison to another Class A amp in my system, the fabulous Valvet A4 Mk.II monoblocks. One thing’s for sure… the Pass totally dwarfs the Valvets which are barely bigger than its heat sinks, American muscle vs. German efficiency. I told my wife, who frowned upon the Pass like some sort of monstrosity, that it must make her appreciate how compact the Valvets are, to which she immediately retorted “that’s not how this works.” 😂 #hifi #audiophile #audio #passlabs #valvet #amplifiers
https://www.instagram.com/p/CAEhvzrJxCM/?igshid=9d90g37kwkxr

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Breaking in a Big Speaker: Week 2 with the Audiovector SR 6

It's been 2 weeks since FedEx Freight dropped off a 250 lb. pallet cradling my new Audiovector SR 6 Avantgarde Arreté speakers, and while I'm enjoying them immensely, I'm quickly learning something... breaking in a big loudspeaker is a challenge!

My wife and I had gotten a pretty good feel for the sound of the SR 6 during an extended audition at AudioVision SF a few months back, and upon first firing them up in my home they did not disappoint - they sounded every bit as fantastic as I remembered. She made one astute observation, that the system at the dealer was a tad warmer and more open. It was a more expensive setup in a treated room, yes, but I think what she was also hearing was the fact that the set at AudioVision was very fully broken in vs. our factory-fresh pair. "Yeah yeah, break-in this break-in that, blah blah." She's heard this refrain before.

Fast forward a week, and things were sounding... worse? Not entirely surprising, given I've experienced many a component break in unevenly early in their life, and Audiovector does caution in their manual:

Expect app. 50 hours before the full potential of your new Audiovector speakers is fully realized. Especially for the SR 6 models you should expect approximately 100 hours of listening beyond normal level before they are performing 100% as intended.

100 hours beyond normal level. That's going to be tricky with everyone stuck at home all day every day... I've probably put in a third of that time but almost entirely at low to moderate levels. And what I was noticing was that the speaker was breaking in quite unevenly. The tonal balance had gotten thinner, and some of the lovely bottom end and midrange density I got out of the box was slipping. The speaker wasn't getting brighter per se, but it was sounding uptight and a little off. The other thing I noticed is that with multiple woofers in an efficient ported enclosure, the drivers barely seemed to be moving, even at higher volume levels that would send the woofers of my prior 2-way monitors flapping wildly.

These woofers need a workout.

I realized if I'm going to get anywhere breaking these bad boys in, I'll need to not only crank them louder, but louder with bass. Lots of it. My classical fare has a lighter spectral balance, with very little sustained bottom end but plenty of treble and overtones. It seems like this is causing the upper frequencies to open up faster than the lower ones, tilting the tonal balance up in something of a positive feedback loop. To compensate, when my wife stepped out with the dogs for an extended outing yesterday, I shifted gears and blasted some pop - Billie Eilish bad guy, U2 Love Is Blindness, some early Erlend Øye and dance-y Carly Rae Jepsen numbers - whatever I could think of with significant low frequency energy. Believe it or not, after just an hour of this at high volume levels (I actually got a slight headache at one point), the speakers were sounding markedly better... more relaxed and balanced, with some of the lovely bloom returning.

Breaking in bigger, more complex speakers takes time, much more so than the typical 2-way speakers that so many of us have owned. Which seems obvious enough, but is easy to lose sight of when anxiously auditioning new gear. While some 'philes go through meticulous rituals, I often read online comments about speakers that are relatively new with little mention of how they were run in. Break-in isn't a neatly linear process where things gradually and evenly get better over time, and the type of material you play is a significant factor beyond the number of hours. Something to keep in mind next time you give a big shiny new pair of speakers a listen.

Anyway, back to those 100 hours...

[taww]

Long-term Review: Cardas Clear Light Speaker Cable

This ain’t your grandpa’s Cardas.

The year is... I can’t even remember, maybe 2012? I was writing for Bound for Sound magazine (BFS) and running my trusty Merlin TSM speakers with a variety of solid state amplifiers and cables, and while there was much to love about this setup, body and warmth were lacking. Merlin's brilliant and dearly-departed designer Bobby Palkovic never stopped reminding me his speakers were best with tube amps and Cardas cables (which he used internally and for jumpers) and he kept urging me to give them a try. I demurred, telling him I hadn’t been a fan of the “Cardas sound” in the past... but an encounter with a friend’s Quadlink 5C’s had me reconsidering. So I put in a call to Cardas to see what they recommended, and they were gracious enough to provide a pair of their recently-introduced Clear Light speaker cables.

The following years are a blur... BFS stopped publishing a short time later, and the Cardas review was put on hold. But I still kept using those cables, and after years of building guilt I finally sat down to do a write-up about them. Cardas, if you’re still listening - thank you for letting me hang onto them, and mea culpa. Better late than never, right...? 🙂

The Clear Light was introduced as a, well, lighter version of their high-end Clear cable. At the time, I believe it retailed around $900 a 1.5m pair - a bit less than half as much as its big brother. This put it in what I would call the “entry luxury” segment of cables, sorta like a BMW 3 series or Audi A4. The newest version of the cable is called the Clear Cygnus; from their website:

In 2017, Cygnus took the place of Clear Light, being the result of a redesign that turned out to be fitting of a new product launch. Cygnus, unlike its predecessor, can be internally bi-wired.

So this review is more than a bit late to the party, but my long-term experience with the Clear Light has been noteworthy and speaks to a fascinating evolution in the Cardas sound over the years.

Then...

Why hadn’t I been a fan of Cardas in the past? I had tried a few of their entry to mid-level cables - Twinlink, Quadlink, Hexlink, Golden Presence, probably others. Cardas had always been known for their smooth, relaxed character and synergy with tube equipment, neither of which are quite my cup of tea. Many of their older models also had quite high capacitance which IMO tended to kill the life of the sound with many components. So yeah, I had a bit of bias against the brand.

For reference, other cables I had tried with the Merlin speakers included the original AntiCables, the original Analysis Plus oval, Signal Cable, an older Synergistic reference cable, JPS Labs Ultraconductor and the BFS “Lowe’s Special” DIY cables which had handily bested many of the former. But it was always tricky with the Merlins and solid state amps - you wanted something that retained their speed, transparency and immediacy, but with sufficient midrange body and warmth. In terms of tonal balance, the Synergistic faired the best, and was what I was using when the Cardas arrived.

Dropping the Clear Lights into the system, at the time with an April Music Stello Ai500 integrated, quickly dispelled my biases. Cardas was not kidding with the model name - these were easily the most transparent and detailed cables I had yet heard in my system, with a judicious touch of the trademark Cardas warmth and body in the midrange that my system was craving. Most striking was the newfound sense of pulse and rhythm. Maybe this is what the Brits call PRAT, but it wasn’t about bass clarity or tautness per se; it was more about allowing the subtle undulations of an accompaniment to pulsate and flow in perfect balance with a tune.

A classic scene from the movie Amadeus.

A perfect example: the Adagio from Mozart "Gran Partita" wind serenade, made famous in the movie Amadeus. I still vividly recall putting on a favorite recording by the Berlin Philharmonic wind ensemble (Tidal) and being floated away by the lullaby-like quality of the accompaniment - the “rusty squeezebox” as Salieri calls it. The oboe solo was also more striking, breaths and phrases feeling more tactile and tone having a little more sheen. Bobby was right - his speakers really do click with Cardas wire, and I had never heard the TSM's sing so freely in my system.

Other material showed no lack of slam or extension either. Though the Merlins were light in the bass, their sealed-box design meant there's some meaningful output down to 40Hz, and the Clear Lights made the best of it with an articulate and balanced bottom end. Large orchestral works had nice scale and weight, and the soundstage was expansive and well-delineated - close-mic'ed material sounded up front and present while mid-hall orchestral recordings had plenty of ambience. And most importantly to me, there was none of the undue warmth and dullness that bothered me with past Cardas cables - leading edges were sharp and dynamics popped without overshooting. All in all, the Clear Lights were clearly (ha) the best speaker cables in my system to that date.

... and now.

Fast forward several years. The Merlins have been replaced by Audiovector SR 1 Avantgarde Arreté and Silverline SR17 Supreme, with a rotation of amps from Ayre, Bryston and Valvet. The front end has also been substantially upgraded with the PS Audio DirectStream DAC and Pass XP10 preamp, and competition at vastly different price points has arrived in the form of Audience Au24 SX ($3,290, 2.5m pair) and DH Labs Silver Sonic Q-10 Signature ($450, 8ft pair).

The Audience Au24 SX has a level of refinement that neither of the other cables can match, hardly surprising at 3x to 7x the price. It's oh-so-silky smooth, stripping away layers of noise and grain within and between the notes and leaving behind the purest, most natural instrumental timbres I've heard in my system. By comparison, the Cardas has a bit of a grittier texture, particularly in the upper midrange, and a more up-front presentation. With some speaker/amp combos this was beneficial - e.g. with the Silverline Minuet Grand ($1,999) and Ayre AX7e integrated, the Cardas struck just the right balance of body and presence, making the Audience sound a little too laid back by comparison. I also found the heavier 9.5AWG conductors of the Cardas allowed the Bryston 4B Cubed amp to get a better grip on the Audiovector SR 1 Avantgarde Arreté speakers ($5200) than the comparatively light-gauge Audience. Overall the Cardas put up a very respectable showing against the superb Audience cables, in line with my expectations given the price difference.

The DH Labs Q-10 was a fascinating and far closer comparison. The Q-10 is just as clean as the Cardas - perhaps even more so - with a slightly more direct character that is on the up-front side of neutral. Its silver-plated copper conductors give it extra sheen vs. the pure-copper Cardas and Audience, which could go in either direction depending on your system. With a mellow amp and a smooth speaker it could be just the thing to inject some life; but pairing with a hot tweeter and bright solid state amp could be downright painful. The Cardas feels like it would be more amenable to a wider range of systems, and it has a bit more midrange dimensionality and soundstage depth. The DH Labs counters with terrific bass punch and super-crisp transients that always sound controlled. Overall I had a slight preference for the Cardas in most setups, but the DH Labs hung in there pretty well and is a superb value.

Usage Notes

The Cardas is just thick enough to impress your audiophile friends and confuse your gardener without being unwieldy, and its rubber-finish jacket is flexible and easily handled. Over the course of years of heavy usage (lots of connect/disconnect cycles and being thrown around) it's held up well, the only obvious sign of wear being the conductors on one end starting to pull out of the collet - not particularly dangerous since all Cardas conductors are insulated litz (magnet) wire, but something you'll want to take care with. (I hear Cardas has excellent factory service, so likely they'd repair it at reasonable cost.)

Little bit of wear and tear showing...

My pair was terminated with Cardas's machined rhodium-plated spades. I have never been a fan of big audio jewelry connectors, preferring unassuming low-mass ones that ironically enough have become all the rage the last 10-15 years. That said, these spades are fantastic. They are the perfect shape and size to fit most any binding post I've come across, including those pesky EU-compliant ones, and for whatever reason - perhaps the rhodium plate and precise machining - they slide effortless in and out of binding posts and tighten more readily and securely than any other spade I've used. I always know I'm getting a secure fit, and I never have to fidget with or retighten them later as I do with most every other spade I've used. Bravo, Cardas.

Conclusion

I've had an extremely positive ownership experience with the Cardas Clear Light speaker cables over the years, and it remains a staple in my bin o' cables. They opened my ears to the virtues of the Cardas sound, delivering much of the brand's famed dimensionality, body and musical flow balanced with a high level of clarity, transparency and directness. While they had exceptional synergy with my Merlin speakers, they worked with a wide variety of gear and were a delight to handle. I would stick to using them with a system that's already fairly neutral and balanced - true to their name, they aren't going to obscure or romanticize anything. I haven't heard its successor, the Clear Cygnus, but I imagine it should deliver a similar if not greater level of listening satisfaction. Recommended!

[taww]

#audiotip: Meguiar’s Ultimate Quik Detailer for Speakers

With everyone stuck at home (but hopefully healthy!), I imagine many have some extra time on their hands to play with their systems. I'll be starting a series of #audiotips posts to share tweaks that I've found useful.

My first #audiotip has nothing to do with sound, but caring for glossy finishes on speakers. My @audiovector SR 1 in piano black has a paint job very similar to luxury automobiles, and I've found that Meguiar's Ultimate Quik Detailer spray does an excellent job cleaning and polishing them. On both my car and the speakers, it creates a flawless shine that has just the right amount of depth without appearing too wet or slick. The very gentle cleaning action helps polish out any marks and hairline scratches, and the smell is mild and unobjectionable. The key is to use a high quality, CLEAN microfiber cloth - I like Chemical Guys - and follow the fold-and-flip method that auto detailers espouse.

Usual warnings - test carefully on a small inconspicuous area first, use sparingly and infrequently (the treatment should last a year or more, use a every-so-slightly damp microfiber the rest of the time) and make sure to apply it only to the finish areas and not any sensitive components. The spray is available at many auto shops as well as Target, Walmart, Amazon etc., and I got a pack of the microfibers from Amazon to use all around the house. Highly recommended!

[taww]

First Take Review: Valvet Soulshine Preamplifier & A4 Mk.II Amplifier

I stumbled upon the Valvet brand fairly randomly. Looking back at my original email to Alfred Kainz of highend-electronics, Valvet’s US distributor, it appears I caught wind of the niche German marque via a review of their E2 amplifier ($2,990) on 10audio.com. In it, Jerry Siegel compared it with some very well-respected solid state and tube competition - Pass, First Watt, Cary - and came away smitten with the musicality of the little 20-watter. I perused the rest of the Valvet line and was immediately drawn to how it blended sleek, unassuming styling with a focus on tried and true design approaches. Tube preamps with solid state amps (no Class D in sight), super quality passive parts, minimalist Class A and single-ended topologies, all in urban-lifestyle friendly packaging... Valvet was speaking my language. The relative obscurity of the brand (at least here in the States) and lack of online reviews only added to the intrigue. A review was clearly in order, and Alfred was kind enough to oblige us with the Soulshine tube preamp ($5,890 in the configuration we received) and A4 Mk.II monoblock amplifier ($7,890). 

Alfred provided this description of the company:

Valvet is located in Bargteheide, in the north of Germany, near Hamburg. What we have here is a very consistent vision by designer Knut Cornils in design and execution. Knut founded the company in 1991 and has been building Class-A amps since 1982. Knut has evolved a distinctive architecture of Class-A modules using high-quality components in minimal designs, featuring valve pre-amplifiers with separate power supply and solid-state mono-block power amplifiers.

Valvet Soulshine Tube Preamp ($5,890)

The Soulshine is Valvet’s top preamplifier line and comes in a number of configurations. The model we received is a line stage and includes a compact external power supply and stepped attenuator with remote control. Recently, two further upgrades became available: the Soulshine IIz ($8,890) featuring a dual-mono external supply, and the Soulshine Trio ($10,990) with built-in phono stage and quad supplies. @mgd-taww​ has the full review of our base configuration coming out imminently, but I'll share some observations from my time with the unit.

I really dug the sleek look of the Soulshine - super slender, with a minimalist front panel sporting two polished chrome knobs, a 2-digit volume display and the Valvet "V" softly glowing in blue. There's zero panel markings, which makes input selection a bit of a guessing game, and slightly odd is the fact that the free-spinning volume knob (it's a rotary encoder for the electronically-controlled attenuator) has a dimple to indicate position, despite it being completely uncorrelated with the actual volume setting. The attenuator itself works extremely well - volume control is a bit on the coarser side, definitely not 1dB across the range, but adjustments are quick, smooth and noiseless other than the gentle clicking of the internal relays. Best of all, the outputs are quickly muted to eliminate any possibility of transients on power-up or turn-off which can be a real hazard with tube designs. The back-panel features 4 inputs - 2 balanced XLR, 2 unbalanced RCA - and both RCA and XLR outputs. The power supply is external, connected with a light, flexible and detachable umbilical cord. Under the hood, the circuit is simple and the parts are high quality, with relatively neat hand-soldered point-to-point wiring (Teflon-sleeved silver in our model). Like any tube component, it'll need some room to breath, but it generates a fairly moderate amount of heat and will fit in shelves with less clearance than typical tube pre's with tall chassis and upright tubes.

Tonally I found the Valvet to be fairly nondescript, and I mean that in the best possible way. There is just a hint of extra juice in the mid-bass, and the low end isn't as extended and tightly-controlled as the solid-state Bryston BP-17 Cubed ($4,500), but otherwise things felt quite neutral and in order - another example of the convergence of tube and solid state tonality over time. The top end had clarity and extension and there was neither the upper-midrange forwardness nor the rolled-off treble that one sometimes gets with tubes.

What it did have was a uniquely singing tone in the midrange that made it particularly expressive with soft melodic passages. E.g. on a performance of the Rachmaninoff Romance by cellist Alicia Weilerstein [Tidal], a passionate rendition of the theme is followed by a pianissimo echo. Through the Soulshine, the delicate passage sounded wonderfully quiet and intimate, yet still expressive; on the Bryston it came across a bit threadbare and pale. Every once in a while this could also come across as a bit of thickening, like just a dash too much cornstarch in the sauce - e.g. with Magdalena Kozena's Mozart arias, the ethereal floatiness of her voice came across slightly more opaque than I heard with the Pass Labs XP10. Tradeoffs, tradeoffs...

Bryston BP-17 Cubed, Valvet Soulshine and Pass Labs XP10 locked in battle

I (or more accurately, my wife and I) heard a bit more editorializing going on with harmonics and timbre. One late evening I was playing some tunes on the Soulshine, Beethoven Symphony No. 2 to be precise, and my wife commented that the orchestra sounded rather sharp (pitch-wise) and nasal. Normally this is how American woodwind players describe European ensembles (who do indeed tune their A's higher and use totally different technique, reeds and often instruments). But in this case, it was a Montreal Symphony performance which she never previously commented on sounding particularly European. Switching back to one of the solid state pre's (the Bryston or Pass XP10) restored the expected timbre - her ears are particularly sensitive, and I can only surmise she was picking up on harmonic distortion being introduced by the tubed Soulshine. I could hear it as well, but to me it was pretty mild, and probably 99% of people won't notice it to the same degree.

The other area where THD may be coming into play is soundstaging. The Valvet has a healthy dose of that holographic tube feel, suspending instruments across a deep, airy and three-dimensional space... so much so that my wife actually felt the sound to be “too 3D,” something I doubt you’ll ever hear an audiophile say. Nelson Pass under his First Watt enterprise shared a design for a very simple 2nd-order harmonic distortion generator, called the H2, as a fun way to add some color to sound. He made this interesting observation about the phase of such distortion:

So why is the phase important? Well, it's a subtle thing. I don't suppose everyone can hear it, and fewer particularly care, but from listening tests we learn that there is a tendency to interpret negative phase 2nd as giving a deeper soundstage and improved localization than otherwise. Positive phase seems to put the instruments and vocals closer and a little more in-your-face with enhanced detail.

My sense was that the Soulshine adds more of the “negative phase” second harmonic - it has that deep holographic stage, without sounding up front and “technicolor” as some tube designs are wont to. Again, to my wife’s ears this effect sounded a little phasey and unrealistic, but I’m guessing many audiophiles will eat it up.

Some other notable and positive aspects of the Soulshine... it's extremely quiet, with nice black backgrounds. In fact, I found it to be nearly dead silent even when cranked to max volume, and considerably quieter than the Bryston which always had some level of audible hiss. Dynamics were strong, the Bryston capturing big hits in the bottom end with more slam and edge, the Valvet otherwise having more verve and nuance - piano in particular had great weight and presence on crescendi. There was a sense of ease, with plenty of headroom even on the loudest, most cacophonous orchestral passages, though I did find dynamics varied a bit with the volume setting, a likely consequence of placing the attenuator after the tube gain stages thus creating variable output impedance. Separation of instruments was excellent - whether listening to a small chamber ensemble or symphony orchestra, tonally-adjacent voices like viola vs. second violin came through with clarity and color. And while lesser preamps can blur the region below middle C (262Hz) into a bit of a soupy blend, the Soulshine clearly distinguished the lower registers of the cello from the left hand of piano accompaniment on sonatas.

All in all, the Soulshine struck me as a lovely and enjoyable preamp. Musically expressive and pure, it was significantly more engaging than the Bryston BP-17 Cubed, and made for an interesting counterpoint to the Pass Labs XP10 ($5,250 before being replaced by the XP12). I didn’t mention the Pass so far as @mgd-taww also uses the XP10 as his reference preamp, so I’ll let him do the honors of an in-depth comparison in his coming review.

Valvet A4 Mk.II Class A Monoblock amplifier ($7,890)

The A4 represents the 2nd generation of Valvet’s original Class A monoblock design, the A3.5. This latest “Mk.II” iteration includes 33% larger power transformers (400W), more filtering (132,000µF each!) and upgraded parts throughout including audiophile-brand resistors and cotton-insulated silver wiring. Allegedly this brings the performance of the Mk.II closer to Valvet's flagship A4e ($9,890), a souped-up 4-chassis model with larger external power supplies and a bit more power. Despite the Class A design, the A4 is downright petite, each monoblock measuring just 230 x 110 x 310 mm (9 x 4.4 x 12.2 inches) but feeling hefty and solid - I don’t have the weight on me, but you’ll definitely want to firmly grasp each one with two hands. Power is rated at 55 watts/8Ω, 90 watts/4Ω in full Class A operation. In what seems to be a new craze (Pass Labs XA25 and models from GamuT come to mind), the output stage uses a single pair of high-power transistors per channel, and the signal path is direct-coupled with no global negative feedback.

My first night with the A4 ended in disaster. I still don't know what happened - my best guess is a wire got crossed in the hookup to my REL T-9 subwoofer - but upon powering up one of the monoblocks, sparks, a small flame and smoke ensued. Clearly something shorted out somewhere, and the A4 being a true minimalist design with zero protection circuitry means any mishap can end in catastrophe. Fortunately no human, animal or other device was harmed, but after weeks of anticipation to hear the amps, I was heartbroken. In my desperation, I listened a bit to one speaker through the other functioning amp, just to get a taste... and even from that crippled mono reproduction, I could already tell there was something very sweet and special about the A4, which made my misfortune even more agonizing.

Alfred Kainz was extremely understanding and had the amps shipped back to Knut @ Valvet for repair. A while later I got them back, and this time I completely steered clear of the REL hookup, instead feeding the subwoofer from my preamp just to be safe. The amps have worked absolutely flawlessly since so the only lesson here is to be extremely careful setting them up, which the manual also states very clearly...

With that out of the way... I think these are some very special amps. While I've heard Class A amps plenty of times in other systems, it's my first time having one in my own, and it was easy to hear from the first notes what all the fuss is about. There's a purity and density of tone, a freedom from electronic haze and grain, a fluidity of expression that's subtle in absolute terms but significant in visceral ones. Great Class A amps have given me the feeling of emancipating music from the chains of typical solid-state limitations, making Class AB (and certainly Class D) designs sound synthetic and mechanical by comparison. The Valvet is delightfully expressive, sweet and pure, with an honest and unforced way of capturing the warmth and beauty of a performance. The Bryston 4B Cubed, a 300W Class AB powerhouse, impressed me with how it carried some of these lovely qualities to a surprising degree, but the Valvet communicates with a higher level of musical connection and tactile presence.

At times, I've heard Class A amps come off a bit dark and slow vs. a very transparent Class AB design. I hear no such issues with the Valvet - in fact, it has all the speed of the Bryston 4B3, with even more dynamic alacrity and nuance. Twists and turns of a phrase are conveyed with uninhibited momentum. Its highs are as sweet and refined as I’ve heard in my system, but with no sacrifice of brilliance. Vocals have richness and complexity, and the variegated harmonics of the violin and oboe have startling trueness. And while it doesn't have the big Bryston's bass slam and depth, it still packs plenty enough wallop to be satisfying with rock and electronic fare. The Mk.II upgrades included a significant stiffening of the power supply, seemingly to good effect - close your eyes, and you would never guess you were listening to an amp rated at just 55 watts. It's by no means a current monster so I would stick with at least moderately-efficient speakers that don’t dip too low in impedance, but I’ve heard 150-watt amps that don’t have this level of control and explosiveness. Certainly compared to a 60-watt integrated like the Ayre AX7e or Bryston B60, the Valvet sounds like a powerhouse.

I'll have much more to say about this wonderful amplifier in the coming months. One of the things I'll need to work on is getting some good comparisons on hand (the Pass XA25 and XA30.8 come to mind). And I have a much larger, 3.5-way reference speaker on order which will stress the Valvet's drive and current capability far more than my current 2-way monitors. In the meantime, if you value beautiful, engaging yet truthful reproduction, I strongly recommend an audition of the Valvet A4 Mk.II - it's captivated me enough to earn a long-term home in my system.

[taww]

Quick Take: Audiovector R 3 Arreté & SR 6 Avantgarde Arreté

After moving to a much larger living space last summer, it became apparent that my fondness for large-scale orchestral music combined with the volume of my listening area (a 26’/8m long open space with 12’/3.7m ceilings) were going to be an insurmountable challenge for my current speakers, a rotation of the Silverline SR17 Supreme and Audiovector SR 1 Avantgarde Arreté. They actually both do an admirable job - the Silverline has the body and tone of a much larger speaker, and the little Audiovector is shockingly capable of energizing the space. But physics are physics, and as they say in the car business there’s no replacement for displacement. One simply needs to move more air in a larger room. And thus I’ve been on the hunt for a bigger, full-range speaker that can retain the virtues of my beloved monitors - the speed, the focus, the purity and lack of distractions - which is no easy feat, and generally requires a considerable jump in budget. There are many big speakers under $10k that can play plenty loud but in my experience they give up too much in the process. Which leads me to these two contenders from Audiovector, a brand that I discovered only a couple years ago but immediately latched onto. Could they deliver the big sound I was seeking without compromise? I took advantage of a work trip to California to visit the crew at Audiovision SF and give them a listen.

The Audiovector R Series

I was excited to see Audiovector announce a big update to their “SR” line last fall, with the SR 3 floorstander, SR 1 bookshelf, SR C center channel and SR S subwoofer all transitioned to “R” models. (I admit, I was also a little crestfallen given I had recently purchased an SR myself, but c’est la vie). Similar to in the car industry where technologies from concept and flagship cars trickle their way down to models you and I can afford, the R series incorporates ideas and learnings from Audiovector’s most recent top models - the R 11, R 8 and SR 6. Visually the differences are fairly subtle - they retain the same proportions and “boat” cabinet and sport the same basic driver complements - but look more closely and there are actually too many changes to enumerate here. Some highlights to me:

The Arreté models boast a number of features taken straight from the flagship R 8: their latest-and-greatest AMT tweeter; a carbon-fiber back plate to eliminate interactions with crossover magnetic fields; and “Freedom Grounding,” which purports to reduce distortion by grounding the driver frames directly to earth via a dedicated cable.

The woofer has a new cone material, still utilizing carbon fiber but sandwiched with an artificial wood resin, giving it a distinctly glossier finish.

While the enclosure looks nearly identical, it’s said to be a new construction that’s measurably stronger and more inert.

The “Avantgarde Arreté” top-model designation has been shortened to just “Arreté,” a welcome simplification (the old name was a mouthful, and easy to confuse with the lower Avantgarde model).

The base “Super” model has been dropped, logical given the QR series is covering the more affordable end of the market.

The honey-toned American Cherry finish has been replaced by Italian Walnut that’s much more amenable to current interior design tastes.

So why isn’t there an R 6? I have an email out to Audiovector CEO Mads Klifoth about this, but Antonio @ Audiovision thinks it’s probably a few years away, as the SR 6 Avantgarde Arreté was updated a couple years ago to a 2.0 version that incorporated some of the technologies that made it into the R line, and being a much more complex design it’ll take some time to improve on it with the latest tricks. This gave me a bit of pause considering a purchase now, but as you’ll read later the SR 6 remains plenty compelling in the here and now.

The Setup

My previous demos of Audiovectors at the shop utilized a Chord DAVE DAC feeding either Chord or Naim electronics wired with Nordost. This audition retained the DAVE, but with an interesting new wrinkle - a Gryphon Diablo 300 integrated amp (USD $16,000) wired with Audience FrontRow cables. I was pretty excited to hear the Gryphon as I’d read great things about it, and their mega-buck systems at shows always impressed. (Incidentally, I hear after pairing with Naim for many years, Audiovector now demos with Gryphon a lot in the EU.)

The Diablo integrated impressed, combining unflappable grip and composure with musical body and flow. Plenty of high-end integrateds claim to be as good as separates, but more often than not you're still left with a nagging feeling of compromise, often in terms of the range of dynamic and tonal color, the scale of the presentation and the blackness of backgrounds. The Diablo's performance in these areas was stellar and up there with some of the better separates I've heard. I could hear just a trace of that Gryphon darkness I've heard at shows - not a lack of brilliance or extension, but a very slightly chocolatey midrange and darkened soundstage that’s quite nice if a slight deviation from neutral. And while I hadn’t heard the Audience FrontRow cables before, I’m intimately familiar with their sibling, the Au24 SX line which are my current reference cables. I heard the purity and naturalness I’ve come to expect from top-flight Audience wire, and they seemed to take off a trace of the edge I’d heard prior with the very detailed Nordost cables. I would call this a substantial upgrade (or at least one more suited to my tastes) from the previous front-end, having a deep, organic presentation with lifelike scale that was immersive. From the first notes, I could tell this was going to be a good session.

Listening to the R 3 Arreté (USD $9,999)

I nestled in the GamuT Lobster chair and got a good hour or so listening to my usual assortment of tracks via Tidal/Qoboz streaming - Magdalena Kozena Mozart Arias, Lisa Batiasvilli Prokofiev Concertos, Saint-Saëns Carnival of the Animals for two pianos and ensemble, Mahler Das Lied von der Erde, Francois Leleux Telemann oboe solos and some Ella Fitzgerald and Carly Rae Jepsen thrown in for good measure. I was most interested in that new resin/fiber mid-woofer, said to be more detailed and articulate than the outgoing unit. The carbon fiber unit in my SR 1 Avantgarde Arreté is clean to extreme but just slightly dry, so I was hoping for a bit more body and resonance with voices and orchestral instruments. 

Quick impressions:

The new woofer definitely has a subtly different tone, sounding less dry and bringing out tonal complexities better. It’s just as fast but it supports the leading edges better with a bit more body. It also sounds better damped, taking off a bit of crispness in the upper midrange that can sometimes be heard in the old unit. This really helps out bring out more of the beauty of vocals and wind instruments. 

The tweeter is a similar upgrade, being slightly sweeter and more articulate. It too also sounds a tad less dry, giving flutes a bit more fluidity and harmonic fullness.

The updated drivers and cabinet, as well as the Freedom Grounding system, make the speaker sound exceedingly free of distracting distortions and noises, even more so than the SR series.

The slight dip in the crossover region around 2.8kHz that both @mgd-taww​ and I have heard in the SR 1 (and that I have measured in my SR 1) seems a bit smoother in the R 3.

The bass was huge for a speaker of this size - it could really pound out a full orchestra and bass guitar line with weight and gusto.

Overall the midrange was more relaxed and expansive than what I heard from the prior SR 3 model (the hyper-tweaked Avantgarde Arreté Raw), with a similar fullness in the mid-bass but noticeably stronger output at the bottom end and a much bigger overall presentation. Antonio described it as an evolutionary upgrade over the SR 3, but I felt the many little changes added up to a substantial shift (and improvement) in the overall presentation. It sounds less uptight and clinical than the old model without losing the trademark Audivector speed and incisiveness.

So all in all, a very nice upgrade that makes me excited for how the R 1 would improve on my SR 1. But was I sold? This is where things get a little tricky... the R 3 is no doubt a compelling speaker - fast, detailed, polished and packing a big punch. But similar to when I auditioned the SR 3 before deciding on my smaller SR 1, I felt I heard some trade-offs of adding an extra woofer and larger cabinet to a super precise monitor design. The SR 3’s slight loss of lower midrange clarity vs. the SR 1 is still there with the R 3 - it sounds bigger and fuller, but not as tightly focused. While the extra bottom end is great and results in a much more complete tonal balance, to my ears tones below 250Hz (where the extra woofer kicks in) didn’t quite seem to match the blazing speed of the midrange on up. I liked a lot about the R 3, but I wanted it all, without any compromise whatsoever.

And so...

The SR 6 Avantgarde Arreté (USD $24,999)

Antonio listened to my assessment, and suggested the big-brother SR 6 might hold the answer. At 2.5x the price, it wasn’t originally on my list, but as he had them all set up behind the R 3’s I figured what harm could come from giving them a listen... (famous last words)

Wow. I had heard the SR 6 before, when Mads Klifoth demo’ed them on a visit to the store, but this was my first time sitting down for a serious audition. And it became immediately clear what happens when you give a top-notch designer and firm more than double the budget to build a full range speaker. It had all the speed and purity that I loved of my SR 1, but with even more clarity and resolving power. It then took that speed, and extended it all the way down the frequency spectrum. Every instrument in the orchestra, from the celli to the clarinets to timpani, had the same startling presence and completeness of tone. This is probably the closest I’ve come to feeling like I had the speaker wires plugged directly into my ears.

The weight and scale was impressive, but what really shocked me was listening to Francois Leleux’s solo oboe. The recording is nothing remarkable, made in a church by a small label. But for the first time, I could clearly make out precisely where Leleux’s long tapered notes ended, and where the echo of the church began. It was uncanny, and I had to bring my wife, an oboist, in for a listen the next day. She observed the same: “Wow, it’s so clear. I can hear all his breathing and where his notes begin and end. And I can also now hear all this extra nuance and phrasing in his playing. Dammit.” (She’s always hard on herself when she hears what the best musicians in the world can do with their instruments.) We moved on to the slow movement from Brahms Symphony No. 1 (Berlin Philarmonic/Rattle), a recording we know inside out, and she noted how she had never heard the orchestra with such realistic weight and size, and how this changed the entire balance of the recording to be far more realistic, as you’d hear it in the hall (as in, harder to hear the oboe solo!). She listened some more, and despite knowing the hefty price tag, she couldn’t help but remark “this is really nice...”

And just to make sure it could have fun, I pulled up Carly Rae Jepsen’s Julien (from Dedicated) and heard the track as I’ve never heard it before. The SR 6 sucked me into a soundscape so vivid, it felt like I was being pulled inside the mix, rather than listening to it from the outside. I was engaged, stimulated, bouncing around in my chair. This speaker (not to mention the rest of the system) can definitely boogie, and I could have happily sat there for the rest of the week going through all my favorite tracks.

So, yeah, a $25k speaker model sounds better than the $10k one. Shocking. But it was a clear illustration of how at a certain point with high-end reproduction, you just need to expend a lot more money to get to the next level of realism. It’s diminishing returns for sure, but how sweet those returns are.

It did leave me wondering what an R 6 with the new woofer and all the latest trimmings could sound like. The SR 6 better integrates its midrange with the woofer than the R 3, but it has just a hair of the same dryness that the new resin woofer in the R 3 ameliorates. Not to over-generalize, and a clever designer can massage away much of this, but the material of a cone tends to impart its distinct texture to the sound - untreated paper can sound dry and papery, plastic woofers tend to be plasticky and mushy (examples: early Devore speakers, countless monitors from the ‘90s using the Seas polypropylene cones), metal can be hard and ring-ey, etc. Treated paper tends to be a nice compromise by damping the break-up modes, carbon fiber can also be good (example: Role Audio speakers) but can lean a little dry and mechanical. Dynaudio was onto something when they developed their magnesium-silicate-polymer (MSP) cone - they’re distinctly less dry than paper and carbon fiber, while being much faster and crisper than plain poly cones, and are used to great effect in their Esotec woofers (Example: Silverline SR17, and of course Dynaudio’s own line). I would say the carbon fiber woofer in the SR series is just a tad on the dry side, while the new resin version moves it about halfway between the old woofer and Dynaudio Esotec without sacrificing speed, which to my ears is a very nice place to be. That said, the SR 6 is a considerably more refined speaker than the R 3 and the overall completeness of the design far outweighs the nuances of the driver material. I think I read online somewhere that the R 3 could now give the SR 6 a run for its money; my experience most definitely did not concur with that assessment!

So to sum up: the new R series’s numerous tweaks seem to make an appreciable difference in character and musicality, the R 3 Arreté is impressively fluid and big-sounding, and the SR 6 Avantgarde Arreté is still a killer speaker in its current form... so much so that it’s jumped to the top of my list of potential reference speakers for my new room. I’ve got my eyes and ears on it...

Huge thanks as always to the Antonio, Taylor and the entire Audiovision SF crew for their hospitality.

[taww]

Review: Bryston 4B Cubed Stereo Amplifier

Bryston 4B Cubed stereo amplifier

The Audiophile Weekend Warrior (TAWW)

TAWW Rating: 4.5 / 5

An honest, refined and easy-going amp that may leave many questioning if they need more.

PROS: Clean, smooth and clear with a hint of warmth; effortless power; superb bass; bulletproof engineering, build and operation; that 20 year warranty.

CONS: Excruciatingly long break-in; not as lively or dimensional as some of the audiophile competition; balanced input seems slightly compromised.

Bryston is a name that needs no introduction, and the company’s popularity is obvious every time I post anything about them on social media - those posts consistently get a ton of likes and comments. Perhaps for this reason, along with Bryston's no-nonsense pro audio heritage, elitist high-enders seem to shun the brand as too mainstream and un-audiophile to be taken seriously. This hasn't stopped their latest Cubed series of amps from garnering some solid reviews since its introduction in 2016, with some proponents in online forums putting it in the conversation with some of the more revered high-end amps under $10k. I was intrigued, and thanks to the graciousness of Bryston's James Tanner and their US marketing rep Micah Sheveloff I was able to spend a full year getting to know one of their most popular models, the 4B Cubed (MSRP $6,695), along with the BP-17 Cubed preamp. Read on about my long but rewarding journey with this workhorse.

Design, Features & Usage

Compared to typically-spartan, even downright crude high-end amplifiers, the Bryston 4B Cubed (4B3 in shorthand) has a number of nice features:

Switchable unbalanced RCA and balanced XLR inputs

Low (23dB) and high (29dB) gain settings

Bridged mono operation

Soft start with remote trigger option

The distinguishing aspect of the Cubed series vs. Bryston’s previous line (e.g. SST2) is the Salomie input buffer. Co-developed with the late Ioan Alexandru Salomie, the circuit is said to reduce noise and distortion by 10x vs. the previous implementation and excel at immunity to RFI and power supply noise, a critical factor in today’s world where literally every device imaginable has a microprocessor and/or switching PSU buzzing away. Much has been written about the circuit in other reviews and the objective proof is in the 4B3’s superb measured performance - 0.005% THD and > 119dB S/N at full power (300W) across the entire audible spectrum.

I got the amp in black, with standard 17” front panel (no rack handles). The status LEDs glow green, but apparently this can be internally changed to blue if the customer prefers. I found the remote trigger feature quite handy when paired with the BP-17 Cubed preamp, and the switchable inputs useful for preamp/interconnect comparisons. The binding posts are of the standard 5-way insulated variety to meet EU regulations, and worked well with different sized spades. An extra pair of posts would have been nice to aid bi-wiring or my REL subwoofer hookup.

All business inside.

The 4B3 consumes a reasonable 60 watts powered up at idle - certainly not EPA EnergyStar territory, but about the same as my 60 watt Ayre AX7e integrated and just warm to the touch thanks to the generous heatsinks and extensive use of aluminum. Ecological concerns aside, I had no qualms leaving it running 24-7 in an open shelf with just a few inches of clearance above. Should you decide to do the green thing and power it down between sessions, the 4B3 consumes under half a watt on standby, and powers up quickly and smoothly. You'll hear the distinctive clicking of the soft-start circuit, and sound will start flowing within a few seconds. From a cold start, the sound takes about a half hour to get the juices flowing, and maybe an hour to reach full potential.

Setup

Preamp: I had the good fortune of having 3 very different preamps on hand during my time with the 4B3 - the companion Bryston BP-17 Cubed, the tubed Valvet Soulshine from Germany, and the Pass XP10. I found the Bryston pre to be a reasonably good match, but the Pass and Soulshine were simply better musically and both worked well, my top choice being the Pass. The 4B3's RCA input impedance is on the low-ish side (30kΩ), not the 100k+ that many tube pres seem to favor, so something to keep in mind when matching. The Soulshine did just fine, others may not.

Balanced vs. unbalanced input: for some reason, I preferred the sound of the 4B3 through its unbalanced inputs, save with the Pass preamp which doesn't fare as well unbalanced. It's hard to control for all the factors, but I had identical model of cable (DH Labs Air Matrix, Audience Au24 SX) in both RCA and XLR, and contrary to expectations I found the RCA input to sound fractionally more open and dynamic, and equally as quiet. Normally balanced operation affords you these qualities but I heard no such advantage with the 4B3. One clue is in the specs, which show drastically different input impedances for the balanced terminals - 30kΩ for positive, and a shockingly low 6kΩ for negative. This seems to indicate that it's not a differential/complementary input circuit like you'd find with e.g. Ayre or Pass, and I'd imagine this lack of symmetry compromises CMRR and some other benefits of balanced operation. I inquired with Bryston about how the circuit was implemented but didn't get a response.

High vs. low gain: Some people have commented that you can "tune" the sound of the Bryston, with the low gain (23dB) setting sounding a bit smoother and more laid back, while high gain (29dB) is more dynamic and detailed. I agree they sound different, but I had a different take: to me, high gain sounds transparent, and low gain sounds subtly dulled and veiled. For me it's a no brainer - unless absolutely necessary to attenuate, I'd always use the high gain setting. It simply sounds more truthful to me. I also inquired whether the low gain setting adds an additional attenuator in the signal path (it sounded like it to me) but again, I didn't hear back.

All the preamps, plus a DAC.

Bridged mono operation: I didn't test it, at least not intentionally, as I only had one amp on hand. I did accidentally flip the bridging switch once during playback which fortunately did not cause anything to explode. One note: if you do bridge it as a monoblock, be aware the input impedance drops to a very, very low 7.5kΩ, which I imagine will make some preamps quite uncomfortable.

Power cord/conditioner: The Bryston comes with a standard but appropriately-heavy 14-3 power cord, and it sounds quite good with it and wasn’t particularly fussy about changes. That said, I felt it was really locked in with the latest version of the Twirling Gerbil Red Electrum, a really fascinating cord made by our own MGD - bass became even more grounded, the soundstage locked in place and everything just clicked. Given that this cord isn’t readily available though, I’d say it’s worth trying a few different things (e.g. the Audience powerChord was a bit nicer than stock) but don’t worry too much - as long as you don’t use something gimmicky or too light, your amp is still going to sound good. One thing was clear though - the Bryston perferred being plugged directly into the wall vs. my Audience ar6 TSSOX conditioner. Even though the Audience is designed specifically with low impedance and high current delivery in mind, the Bryston felt constrained running through it - give it as direct a connection to the wall juice as possible.

Speaker cables: I got the impression that the Bryston prefers having a very direct connection to the speakers, working better with the heavier gauge cables I had on hand like the Cardas Clear Light or DH Labs Q-10 Signature (both 10 gauge or larger), vs. the Audience Au24 SX. I have a completely unsubstantiated theory that high damping factor amps employIng more negative feedback are more effective when there’s less between them and the speakers, whereas low/zero feedback designs (e.g. Pass or Ayre) don’t care as much and are more amenable to being tuned/voiced with lighter cables. Whatever the reason, I’d recommend sticking to the heavy stuff to maximize the Bryston’s grip on the speaker.

Speakers: I had a few speakers on hand, all of the 2-way monitor variety - Silverline Minuet Grand and SR-17 Supreme, Audiovector SR-1 Avantgarde Arreté, Role Audio Kayak. I really wish I had had a big 3-way floorstander as I’m sure the Bryston would have flexed its muscles and flourished wrangling a big speaker. My comparatively small speakers don’t provide that much of a challenge, all being amendable to low power tube amps. That said, the Bryston showed no favoritism towards any particular speaker - its voicing is essentially neutral and you’ll hear what the speaker is capable of. This is in contrast to my Ayre AX7e integrated, which clicks with the Silverline while sounding thin and unengaging with the Audiovector. I really did not think the Bryston would work at all with the Audiovector, an ultra high-resolution speaker that will megaphone any solid state liabilities like brightness, hardness or lack of body, but the Bryston impressively held its own with the unyielding Dane. I wouldn’t call it the most organic or emotive pairing, but they were quite agreeable working together. The Silverline SR-17 Supreme with Cardas Clear Light wound up being my preferred pairing, the combo bringing out wonderful midrange density and great dynamics, and most of my listening notes below reflect that setup.

Pure conjecture - I think the Bryston would be killer with a speaker like the Role Audio Enterprise - something a bit on the warm side with an silky-smooth but still-detailed soft dome tweeter that complements the transparency of the 4B3, and with some meat on the bottom end that could take advantage of the amp’s grip and power (I'm a fan of Role’s transmission lines). I’d also be curious to hear the 4B3 with a relatively inefficient but neutral speaker like something from ATC - that could be a good one, and ATC has a similar pro-audio pedigree. I’d steer clear of pairing with more forward/harder-sounding speakers, e.g. Focal Sopra or B&W or Paradigm Persona - not because the Bryston does anything wrong, but I frankly find those speakers with their metal/diamond drivers and higher-order crossovers too brittle and aggressive and in need of something more laid back (e.g. Naim) to sound anywhere near balanced.

Counterpoint: a reader reports getting great results with the 4B3, Focal Electra speakers and Crystal Cable with primarily hard rock and metal. I could see how the qualies of the 4B3 would click in such a system, particularly with harder-driving material.

The Sound

Out of the box, things were not promising. Compared to the Ayre AX7e I had been using for some time, or even an old Bryston B60 integrated, the 4B sounded drab. It wasn't bad per se, but everything was a little lacking - dynamics were a little flat, soundstage lacked depth, highs were a little glazed, midrange wasn't very dimensional, etc... even my wife couldn't help but comment, "this sounds boring." I saw a comment online describe the 4B3 as "gray," apt given what I was hearing for the first several days. A couple weeks later things were slowly improving, but not to the extent I was hoping. I was starting to get a little nervous about the conversation I'd be having with Bryston.

I fought the urge to swap other amps back in, and fortunately things continued to get better - much, much better. Despite having 100 hours of burn-in at the factory, the first 100-200 hours in my system were not at all representative of what this amp is capable of. After a month of continuous operation, virtually all of the aforementioned detractions had largely faded away; after 3-4 months and perhaps 500+ hours of music, it really started to push all the buttons. All my comments henceforth shall refer to the sound of the 4B after 6+ months in my system, and are representative of the long-term ownership experience.

With that out of the way... a standout aspect of the Bryston was how it delivered its obvious power with an easy finesse and speed. The Bryston sounds good for every one of its rated 300 watts (and actually more according to my unit's factory spec sheet)... this is an amp that revels in being cranked up, and the more watts I asked for the better it seemed to sound. But it also delivered those watts with delicacy and articulation, effortlessly revealing tons of musical detail in recording after recording without the typical detractions of high-power solid state - the glazed or harsh treble, the hard or murky midrange, the lack of rhythm and pulse. It was equally at ease floating Magdalena Kozena's vocals over delicate period accompaniment on a Mozart Aria, as it was hammering out the bass line of a Depeche Mode track. The 4B3's ability to reproduce music at realistic volume levels without strain or loss of transparency was addictive and had me cranking up number after number and pushing the limits of my neighbors' tolerance.

The treble was surprisingly delightful. In the past I've found big Bryston amps to lack refinement and resolution there, but the 4B3’s highs caught me off guard with how silky and delicate they were. Violins had just the right amount of brightness, bringing out the steeliness of the E string without sounding tinny, and triangles had realistic tinkle without popping out of the fabric of the soundstage. There was enough detail to do justice to the extremely high resolution AMT tweeters on my Audiovector monitors, but at no point did the 4B3 come close to burning my ears off the way some detailed amps can. Compared to the ol' Bryston B60 integrated, a longtime favorite that sacrifices some detail for sweetness and musicality, the 4B3 has far higher resolution in the upper registers that will bring out more energy without glare. There's no euphonic give in the high frequency response either, so if you need an amp that'll take some zing off a problematic tweeter (metal domes, I'm looking at you), look elsewhere.

Another nice surprise was how smooth and grainless the 4B3 was in the midrange, with just a hint of richness in the lower mids on things like cello, baritone, french horn or piano. It's subtle, and nothing like the bloom you'd get from a tube amp, or the coziness created by the Bryston B60 for that matter - just enough to balance out the transparency and power of the frequency extremes and keep the otherwise ruler-flat response from sounding too dry. Bryston claims the 4B3's quad-complementary output stage "mimics the characteristics of a Class-A design, but with dramatically lower distortion"; while it's not as round and juicy as true Class A designs like the Pass Labs XA30 or Valvet A4, it does approach their naturalness and smoothness much more than I'm used to from a high-power Class AB amp. I've found most gear that isn't blatantly colored to tend toward the leaner side these days, which can really put you in a pickle if you don't have something to balance it out. The 4B3 has a relaxed, generous quality to it which will help keep your system from getting too lean and bright, one of the more common traps of a modern system. I think this character of the 4B3 is summed up well in Christian Punter's extensive review on hifi-advice.com, and while I wouldn't go quite as far as he does, my listening observations largely align with his.

That warm, smooth quality might sound at odds with neutrality, but unlike some amps I've heard (ahem tubes) this came without biasing or distorting the sound in any particular way. Tonality of woodwind instruments in particular was spot-on, with the timbre of reed instruments - oboes, clarinets and bassoons - coming through distinctly and realistically. The wide variety of instrument timbres in a symphony orchestra are the toughest test for any gear and at no point did I pick up on anything nasal, bright, muffled or otherwise colored with the 4B3. True to its pro audio heritage, it gives the sense of telling it like it is with minimal editorializing and exceedingly low distortion.

Bryston makes much of the extensive lengths it went through in the Cubed series to both minimize internally-generated noise while maximizing rejection of external sources (e.g. RFI and power line noise). Whatever they did, it worked a treat. While the 4B3 is quiet at idle - with no input and your ear pressed up against the speaker, there's barely any hiss and zero hum - it's really the lack of audible noise and grain imparted on the signal that makes it sound so true and clean. Most solid state amps, including the older Brystons, always sounded a bit cloudy and grainy compared to the likes of Pass or Ayre. With the Cubed improvements, much of that has been scrubbed away, giving music a newfound sense of openness and purity approaching those venerable marques. Combined with fast, clean attacks, everything comes across with great clarity. Jason Kennedy describes this quality, along with all the usual British flourishes about PRaT etc., better than I could in his excellent review for The Ear - I recommend giving it a read.

The 4B3 also produced some of the best bass I have heard in my system. I've known Bryston amps to have big bass, but perhaps lacking in subtlety and definition. I found the 4B3 to be powerful for sure, but also tight, fast, and musically balanced. It was deep and tuneful, creating a feeling of unflappable stability with big orchestral music and heavy rock tracks. Sometimes amps with very high damping factor can sound lean, but the Bryston complemented its slam and control with just enough juiciness and resonance. String bass sounded full and tuneful without bloat, bass drum whacks had realistic impact, and pop/rock tracks had relentless drive. Some Class D amps I've heard capture pitch a bit more evenly (maybe due to their switching power supplies which reduce 60Hz colorations), but the Bryston is nearly their equal in that regard. It gripped the 6" woofers of the Silverline and Audiovector monitors and coaxed low notes of remarkable clarity and power within their physical limits.

Nits & Comparisons

Okay, so what doesn't the Bryston do right? Mostly little flaws of omission - subtle things that seem like fluff to non-audiophiles, but that the fanatics among us go through inordinate lengths and expense to obtain in the name of musical nirvana. While it's very detailed, it does gloss over some fine instrumental texture and spatial cues. While it's plenty dynamic, there are more organic sounding amps that convey more emotional swing and nuance - the electrifying climaxes of Maria Callas in a Puccini aria, the ebb and flow of the Vienna Phil in a Strauss waltz, the emotional surge of cellist Alisa Weilerstein in the Elgar concerto. While its midrange is very smooth, it doesn't have the liquidity of a fine tube or Class A solid state amp that makes instruments flow from the recording to your room. And its soundstage is a tick or two less deep and open, its images less dimensional and tactile than what those amps can convey.

Things got a little out of hand with the comparison testing...

For the most part, these are things you need to pay a lot more money to obtain, but some aspects can be had in this price range. E.g. the $4k (before it was discontinued) Ayre integrated gets more of the presence and immediacy of a voice, the sense that there's less between you and the performer - little nuances like clarity of diction, articulation of a bow stroke, pauses between phrases are a hair more convincing. Some people call this "inner detail" - not the obvious stuff, but the little things. The Bryston was a little laid back by comparison - not veiled, just less forthcoming - which will likely come as a relief to those with an aversion to harsh, forward solid state sound, but it's an omission nonetheless. The flip side is the Ayre pushes a bit too much in the other direction, sounding a little on edge and over-articulate compared to the unflappable Bryston, particularly with hyper-articulate speakers like the Audiovector. The 4B3 also has a more solid "core" to its sound - a sense of solidity and anchoring in the midrange. This is most apparent with notes around middle C (262Hz), where the Ayre lacks the natural weight that the Bryston captures nicely without sounding heavy or slow... again, a very endearing quality to those traditionally allergic to solid state.

An amp that made for a fascinating comparison was the Valvet A4 Mk. II ($8k) - a handmade, Class A solid state monoblock from Germany with minimalist circuitry and real soul. Despite being rated at just 55W/8Ω, with a reasonable load and volume level the Valvet sounds just as capable of macro dynamics as the Bryston while being noticeably more expressive within the melodies and more holographic with its soundstage. Tonally they were surprisingly close, both sounding full bodied in the midrange and extended in the treble. But the Valvet really has a way of projecting a compelling image and conveying a natural, singing quality that showcases the beauty of a tune and really pulls at your heartstrings. The resonance and ring of a soprano or flute, the halo around solo instruments, the height of the stage, the harmonics of an oboe - the Valvet captued these nuances with an uncanny ease and conviction that made the Bryston sound a little restrained and disconnected by comparison. However the Valvet doesn't have the same slam in the bass, won't drive as wide a range of speakers, and will run out of steam well before the Bryston even comes close to breaking a sweat.

I'll have more to say about the Valvet in its forthcoming review, but this isn't meant to be an indictment of the Bryston in any way - on the contrary, it proved itself a very fine sounding and satisfying amp, and I was impressed with how well it held up musically to a very special, highly tweaked-out audiophile amp costing over $1k more.

Verdict

Maybe I'm not talking to the right people, but the Bryston 4B Cubed seems to be flying under the audiophile radar. It's a very, very good sounding amp - great, even. Once properly run in, it possesses a subtly smooth and warm sound with none of the coldness or harshness one might be prejudiced to expect from such a powerful and practical solid state amp. And while not cheap, it's downright affordable compared to the astronomical price points in today's high-end market. It would be my absolute first choice for a combined music/home theater system, where it would have all the power and reliability to handle the needs of TV/movie watching while having plenty of refinement for music.

So it doesn't resolve the last few degrees of detail or stir the musical soul quite like the better high-end amps - the fuzz of the peach, the inner glow, the transcendent insight, whatever you want to call it. But those amps generally cost much more and/or have other limitations and compromises. For under $7k, the Bryston gives you musically satisfying reproduction that's easy to live with, and it will probably outlast every other piece of gear in your system. It's also a sound investment, maintaining resale value far better than average thanks to its durability, exceptional factor service and support, and of course that 20 year warranty.

Overall, I'd give the Bryston 4B Cubed 4 stars purely on sound quality, 5 for value, netting out to 4.5 stars overall. It's an amp you can set up and forget in most any system and just enjoy for years, and I came very, very close to purchasing the review unit. Ultimately my quest to get every last bit of that fuzz on the peach led me to continue my search for a reference amp, but there are times I wonder if I should have hung onto it... particularly now that I've moved to a larger space that could really benefit from the power, I have some pangs of regret sending it back. I enjoyed my time with the Bryston 4B Cubed and highly recommend giving it a listen - it might just be all the amp you need.

Many thanks to James Tanner @ Bryston and Micah Sheveloff @ WIRC Media for their generous loan.