It’s been a while since tube/valve gear made any extended appearance in any of my homes. Nothing against the gear, but what with graduation and traveling and not settling down it just wasn’t practical. This is not to say that in my time I did not possess tube/valve gear from Audio Research and Conrad-Johnson, but those times were indeed fleeting, and with the renewed interest in tube/valve gear by the public I thought it high time, now that I’m more situated,to start taking a look at what’s new.

Having attended and covered more than a few Hi-Fi shows, I would always make my way to the Rogers High Fidelity exhibit room where their gear was coupled with Burwell & Sons horn speakers. There was something about the sound. As I got to know Roger Gibboni, Rogers’ President & chief designer, and Rob Pleyer, its Director of Sales, I became more and more comfortable with them, to the point that I could ask to audition their idea of a 21st century integrated amplifier, the 65V-1, a class A, singled ended, lower power design. The unit they sent came with EL34s, but purchasers can specify their preference for KT88’s if they so desire.

The Rogers High Fidelity 65V-1 integrated amplifier ($4,000) comes with a lifetime warranty and has the look and tangible feel of a traditionally designed unit.With its Teflon coated military specification wire and military specification components, not to mention its point to point wiring, one could rightly think the 65V-1 was designed to be combat ready, and that would not be too far off target. But don’t let all that military precision fool you, there’s a wrinkle here sure to please the folks in Cupertino. Rogers has designed an iPad [iOS] remote control app relying upon Bluetooth connectivity to do the following:

▪ Display the power out on a virtual VU meter
▪ Enable users to switch between triode/ultra-linear output (more on that to follow)
▪ Enable users to switch between line level inputs

It took a while for me to become accustomed to using an iPad to remotely control the 65V-1 and, mind you, I’ve always been an early tech adopter. Still, being as it was the first time encountering such, I had to remember that when grabbing for the remote that, given it’s an iPad, it does indeed multitask, and for that reason just might be off somewhere in another room. Note: In my communications with both Roger and Rob of Rogers, I pleaded with them to think about making the iOS app available for the iPhone as well. And from what I understand some new designs will be iPhone compatible, and I’m hoping the 65V-1 will be retrofitted.

The remote-control app and its virtual VU meter are critical. The meter is calculated in watts from 0 to 25 and it samples both channels’ power output and in turn displays continuous average power. Simply put, Rogers would like its customers to note when they start to hear clipping, and then turn the volume down to just about 20% below this level. For the uninitiated this takes practice. It is not an insurmountable task, and while the iPad remote control is not absolutely necessary, it is fun, but the purplish LCD-like display can be hard to read at times.

The 65V-1 is a kit that an engineer could just … its look, its feel, the mechanical switches really brought me back. It is physically imposing at 17” W x 7.5”H and 12” D, but at 24lbs, the 65V-1 is lighter than I would have thought. As stated earlier, the model sent to me came with Mullard EL34 tubes/valves, I could have requested KT88s as well, but I let Rogers decide. To be fair, this started out as Rogers being rather friendly to me and sending me the unit to audition and not review, so I can get a better read of Rogers as a company, its design philosophy and workmanship. Over time, I became entranced to the point where I just wanted to share my experiences with my readers.

You will notice in the picture above that one of the toggles is expressly for switching between headphones and speakers. It’s a nice feature to have as I made great use of the headphone jack when I transported the 65V-1 from my primary listening area into my office, where I work more often wearing headphones. This is an oddity, as I cannot stand wearing headphones in my normal listening configuration, but when sitting near field, I’m okay with it. Hmm. This will require some self-exploration. Note: While Rogers does supply a headphone jack, one is not likely to purchase a 65V-1 solely for that purpose. It did an admirable job of powering my Audioquest Nighthawks and Meze Classic & Neo 99 and, if anything, I would say this functionality is a very welcome feature and for some could be a deciding factor in comparison with similar tube/valve integrated amplifiers lacking such.

Connecting the 65V-1 is pretty much straightforward. About the only thing I could mention is that upon powering up users should note that there is a red light on the power toggle. This indicates the unit is powered on. The digital display will take about 60 seconds while the filament slow-start circuit starts up. This slow start circuit is designed to significantly increase the tube lifetimes. Yes, there is a Bluetooth antenna that comes with, and yes, it is easy to screw on and install. The iPad remote control will not work without that being attached.

Even though it’s been a while, I still remember that tube/valve gear doesn’t just need but demands high efficiency/sensitive speakers. To that end I was prepared. I could have connected some less than efficient speakers, but to what end? I knew what that would mean, and I was not going to put either myself or you through it for that matter. I assembled a series of speakers with which to listen to the 65V-1, all of which are rated at 90 dB or higher:

• Audio Note AX-2
• Blumenstein Audio Marlin
• Blumenstein Audio Orca
• Klipsch Quartet
• Tekton Design Mini Lore Monitor

These speakers range from 90 dB to 97 dB in rated sensitivity by their respective manufacturers. The 65V-1 played nicely with all of them. The AX-2 being rated at 90 dB gave me some initial concern, but that’s when more fun began as I started switching between Triode and Ultra-linear output modes. Long story short, as I wrestled with the idea of providing a history of and detailed definition/description/differentiation of the modes, the number of pages and the sheer boredom started setting in. Again, I am not going to put you, my readers, through that. What I will say is that in ultra-linear mode the 65V-1 appears to pack more punch, although it comes with a loss of detail in comparison to triode mode, in which less sensitive speakers fare worse and the higher efficiency speakers let me relax and soak in the finer detail and the nuances of the recordings in my listening sessions.

Here’s a breakdown of how each of the speakers fared with respect to output modes: the Audio Note AX-2 and Blumenstein Audio Marlin speakers sounded fuller and more authoritative in Ultra-linear mode. The Blumenstein Audio Orca, Tekton Design Mini Lore Monitor and Klipsch Quartets took just about everything in stride and flourished in Triode mode.

What I listen to is not important, and should not be. This is why I continually omit my reference recordings in my writings. They are mine and not yours. Why am I highlighting this at this juncture? Because it speaks to ultra-linear vs. triode mode. At the end of the day the decision is subjective. Yes, there will be compromises and trade-offs but those are decisions only you can make and hear for yourself. I can only guide you so far. What I can share with you is my Facebook Project: New Album Releases – curation and listing of recordings released in calendar year 2018 – and apart from my reference recordings, I listen to a great deal of this music while auditioning gear, so maybe you’ll find something here: https://www.facebook.com/groups/newalbumreleases

My primary listening room is large (24’ x 20’) and I must say that with the appropriate speakers the Rogers 65V-1 filled the room with sound. The ephemeral glow of the tubes at night was an added plus. They transported me back in time…fade to a Montgomery Burns moment. The 65V-1 felt at home in my office as well, I just had to clear up some space, which forced me to de-clutter as its footprint is noticeably larger than either my Bel Canto Design s300 or the truly diminutive PS Audio Sprout 100. Well built, professionally designed and taking a bite out of 21st century technology, the 65V-1 could very well be the tube/valve integrated amplifier for this generation. There’s more going on under the hood.

Copy editor: Dan Rubin

Manufacturer’s Comment:

Rogers High Fidelity would like to personally thank both David Blumenstein and Dagogo for reviewing our model 65V-1 and for all of the insight on it’s merits for the end user.

Thank you and best regards,

Roger Gibboni – President
Rogers High Fidelity

Rogue is a small but well known American audio company that is known for building affordable all-tube components. They have grown into a true high end company with products like the Apollo dual mono tube amplifiers that retail for $10,995 for the pair. Now Rogue also offers hybrid amplifiers, the newest being the Sphinx which use tubes and Class D outputs. I should confess at the start that I have not been a fan of  Class D amps when sold as high end amps, but I have been impressed with them in bargain components and as subwoofer amps. So, I was intrigued by the concept of a hybrid tube/Class D for such a bargain price. The Sphinx integrated amplifier is a one hundred watts per channel hybrid amp built and designed in the U.S.A for $1,300. These days it’s hard to really get your head around that statement. Every Rogue component is hand-built in Pennsylvania with what appears to be excellent build quality.

Description

The hybrid Rogue Audio Sphinx integrated uses two matched JJ/12AU7 triode tubes for the preamplifier tube circuit. The tubes form a mu follower design that is coupled to an OEM version of a pair of Hypex UCD180HG Class D amplifier modules for the output stage, and an oversized toroidal transformer supplying the amplifier power. It has an output of 100 watts into 8 ohms and 200 watts into 4 ohms, plenty of current here. It has a damping factor of greater than 1,000 which means the bass should be very tight, fast, and powerful. We know how important power supplies are in amplifiers and the Sphinx uses a hefty, that is for this price range, toroidal transformer.

Fit and finish is very nice for this price point also, and I like the way it looks, especially in silver. The Sphinx has three line source inputs and a moving-magnet phono input. I think the balance control on the Sphinx is a great feature that is missing on most modern line stages. The Emia Autoformer line stage I am using in my reference system at this time has an ingenious balance control and I have come to find it a feature that I would not be without. There is also an optional motorized remote volume control which I think most people would think is worth the additional $100.

For an entry level integrated it has another well thought out features in addition to the balance control — a moving magnet or hi-output moving coil phono stage that has 40 dB gain. Also included is a discrete headphone amplifier. The optional remote is a motor driven Alps volume control, which is the way my unit came. I should mention the remote only changes the volume.

The front panel is made of a 0.25-inch thick-brushed aluminum or anodized black plate. From left to right, you find an opening for the remote control receiver, then the POWER On/Off button. On either side of the POWER button, there are two LED’s. The one on the left is a blue LED that indicates the power is on. The one on the right is a yellow colored LED indicating the amplifier is in standby mode; to the right of that is a socket for a 1/4″ headphone jack. Then there are three nice knobs, the first is the SELECTOR switch, the second is the BALANCE control, and last, the VOLUME control.

On the back panel you find an IEC power socket, the main power switch, and three-way binding posts nicely placed on the far side of the back panel with enough space to use decent speaker cable. In the center moving from the left, the first pair of RCAs are the phono inputs and the next three pairs of RCA inputs are for line 1, 2, and 3. There is also a pair of fixed and variable line-level outputs to use with a power amp, a subwoofer, or maybe with the popularity of headphones, an external headphone amplifier.

This is a $1,300 integrated amp so there have to be some cost savings. The speaker binding posts are the less expensive plastic type with 3/4″ spacing. The RCA female connections are cost saving board mounted and not individual sockets mounted on the back panel, and the phono ground connection is just a Phillips head screw. Also all of the graphics are simply silkscreen printed on the case work.

Still, while it will never be called eye candy, neither does it feel cheap, light, or plasticky like so many things at this price point. I have two other integrated amps, the $4,000 Electrocompaniet PI 2D Prelude and the $1,000 Peachtree Audio Decco. Both of these have built in DACs and in fact, the Electrocompaniet has two DACs, although neither has a phono section. They both look more stylish on the outside than the Sphinx which looks a little dated in appearance by comparison. To me, that says that Rogue spent more on the unseen parts than most amps at this price range.

What the Sphinx lacks in stylish looks it makes up for in some really great, if somewhat old fashioned features. To start with, as mentioned above, it has a built in phono stage. This provides 40dB of gain which is more than enough for a MM or Hi-output MC cartridge. Next, it has a discrete headphone amplifier that works in a pretty neat way. You put it in the standby mode and the speakers don’t play but the head phone amp does and you can adjust the volume with the volume knob on the front panel. The remote is made of solid aluminum, and feels good in the hand. As mentioned previously, the remote does only two things, up and down volume; I wish it also controlled the balance. Speaking of balance, the inclusion of a balance control is a nice old fashion feature as well.

I love finding unexpected pathways to performance, that is, methods that have potential to outperform expectations. Some are so unexpected that few audiophiles would try them because of the foregone conclusions, “It won’t work,” or “It won’t matter.” If it doesn’t involve something potentially harmful to the system, I’ll likely try it. Some of my favorite discoveries have come about this way.

One such discovery was doubling bi-wired speaker cables. It sounds like an idiotic idea to slap another full set of speaker cables on top of (parallel) to an already doubled set. That entails the use of two full bi-wire sets; in the case of the reliably superb sounding Clarity Cable Organic cables that means eight full cables! I can’t tell you how many engineering types, “know it all” types, skeptical types, etc. have rolled eyes, laughed, or were silent when I intoned that it is a superior way to hook up speakers. Do I care that they scoff? Not in the least, because I get to hear the results!

The reason I do so is because in my casual experimentation the total gauge of the speaker cable matters, and the more conductor (while maintaining a short signal path) the better. In short, if you have an identical wire in terms of conductor material, geometry and dielectric, doubling it up will improve its sound. I’m sure this violates all sorts of fancy electronic principles, but it works. I’m not most interested in proving electronic principles; I’m most interested in building superior sounding rigs, so my cables get doubled.

Might I find a cable someday which would as a standard bi-wired setup outperform the double bi-wired speaker cables? Sure, but then I would want to hear it in a double bi-wire configuration!

Now, if you are scoffing, sensing this is going to be a dumb article, please feel free to stop reading now because you likely will not take away much from it. You likely have already labeled me and condemned my perspective, so save your time. To the rest, who want a potentially useful insight into alternative systems to achieve unexpectedly good results, read on!

Mono Integrated

About five years ago I stumbled upon my first mono integrated amp, the Pathos Classic One. I first bought the amp to use traditionally as a stereo integrated. Following the geeky habit of reading through the Owner’s Manual, I discovered it was capable of being run in Mono mode! I thought it a swell idea and scoured the audiophile community to find only two others who had tried using two units for discrete Left/Right channel amplification. Not only did it prove efficacious, it became one of my favorite amplification schemes I have ever encountered. These two lovely Italian workhorses put out 170wpc into 8 Ohms and approximately 270wpc into 4 Ohms! I say “approximately” since Pathos didn’t even put the specifications for Mono mode in the Manual, as the function was seemingly an afterthought. After all, who would be foolish enough to try mono integrated amps? Are you beginning to get the gist of this article? It is the setup you don’t see, the one you would dismiss, which might be your ticket to glorious sound. Those little amps stayed with me five years, longer than any component or speaker I have owned.

Upon embarking on this review I was shocked to discover that the Musical Fidelity M6 500i is a dual mono integrated amp, literally two mono integrated amps in one chassis! My amazement increased when I learned that Antony Michaelson of Musical Fidelity has been designing such amps for decades. I’m sure that his eyes have been rolling furiously as he reads the above comments on cables. Antony does not suffer fools easily, and as I interviewed him the exasperation with lesser design minds was evident, as he stated flatly that cables are, “… one of the biggest confidence tricks ever foisted on the consumer.” According to Antony assessment of a cable is straightforward, the relation of the total resistance of the cable to the output impedance of the amp. One gets the feeling Antony is confident he could make coat hanger wires work as well as boutique cables.

Titan Design and Titanic Power

So, those wishing to consider this Musical Fidelity M6 500i should know that it is built solidly upon objective principles, such as the Titan Design. Antony explained that the Titan design is based on the principle of very low global feedback through subtle circuit and PCB layout design. In a Titan layout, high frequency distortion doesn’t climb nearly as high as with classic designs. In 2006-2008 Antony decided to build the ultimate circuit, which was a bridged Mono design, which is neutral in terms of distortion all the time. The goal is an amplifier absolutely neutral both objectively and subjectively.

I suggest that Antony has hit the mark, as to my ear the M6 500i is fantastically neutral sounding. When one has experienced the dryness of many Class D offerings, or the warmth of higher power tube brands such as Moscode or VAC, then “neutral” is not only conceptual but very real goal for some listeners. It shows itself in the dynamics being as evident as the tonality, the definition as noticeable as the coherence and fluidity of the sound, with no emphasis placed on any part of the audio spectrum. Put the M6 500i on an electrostatic speaker and one notices the speed associated with panel speakers. Put the amp on a higher efficiency dynamic speaker such as the Daedalus Audio Ulysses and the vibrancy, sometimes considered as forwardness, of the speaker is epitomized. Put it on a rock-your-world hybrid like the Vapor Audio Nimbus White and you will get well-defined and powerful response over the entire spectrum, as well as generously scaled soundstage.

A 500wpc amp in such a tidy package is music to this audiophile’s ears! I love big power amps; the cleaner and more powerful the better! But, as aforesaid, the simplicity of the dual Pathos integrateds was beguiling. There is a direct payoff sonically relative to system costs when one simply skips the preamp and extra set of cables for a fine integrated. The problem is that often the integrated with high end sensibility is unable to fulfill the promise of a big gun amp, which can drive nearly any speaker on the market effortlessly. The M6 500i resolves that issue.

D’Agostino Master Audio Systems Momentum Integrated Amplifier

This had been a pretty sleepy summer. I spent more time with my two boys for which I am eternally grateful but I feel I have lost a bit of my edge in the process. Daddy brain they call it. The thought of getting clever and deep in the audio realm seemed a touch out of grasp. Perhaps my review of the Rogers PA-1A phono preamp took a little out of me. Great product to write about but the summer heat took over and cast a slight pall of laziness around the old Petan household. Perhaps fall would whisk in winds of change and my pilot light would fire up again. One thing was for certain, I was not counting on the D’Agostino Master Audio Systems Momentum Integrated amplifier falling into my lap for a prolonged run around the block.

Arriving in a hearty metal flight case, the packaging is what one should expect at this level. It really could not be any more straightforward getting the Momentum Integrated set up and playing. Simply screw in the cone shaped feet and stack the chassis on top of the power supply, attach the umbilical and power cord, plug it in and off you go. “God this thing is gorgeous;” you will mumble to your self after the brief set up. Gleaming blocks of diamond etched aircraft aluminum and some mad, cool looking copper slabs come together in encasing the watch bezel-like volume meter that looks more horological than audio. The meter mechanism is in full view front and center and really looks like a tourbillon, a device invented by Abraham-Louis Breguet in 1795 in order to deal with the earth’s gravitational pull on the mechanics of a watch. Still being mastered today, a tourbillon watch can start at $200k and head towards a million very easily. You thought high-end audio was expensive! What is really beyond slick is the VOLUME knob that rotates around the bezel of the volume meter. The mechanism is so smooth with just the right amount of knob feed back.

The front panel of the D’Agostino Master Audio Systems Momentum has six buttons named for every type of popular gizmo one may plug into it. And that copper is not just for show. They conduct heat three times more efficiently than steel or aluminum. This efficiency has allowed for the Momentum’s sturdy, but compact silhouette. Only providing for six XLR terminated connections, one must get plug converters to accommodate RCA terminated cables. On the right side of the front panels you find BASS and TREBLE controls. You read that right, BASS and TREBLE controls! The knobs are machined into a complex bolt-like shape. Each adjustment is met with a hearty thud, again great mechanical knob feel.

From the circular remote there is BALANCE control, POLARITY control, TONE control, POWER, MUTE and INPUT. I have not determined how sensitive the finish is, I have been polishing it every couple of days with a dry cloth just enough to remove fingerprints. There is a HT pass through input with unity gain. I only wish it was offered with a phono preamp. I hear one is in the works. The D’Agostino Master Audio Systems Momentum is nearly a Momentum Preamp And Stereo Amp in one chassis. They share a great deal of circuitry and at 200 watts on tap into 8 ohms, 400 into 4 ohms and 800 watts into 2 ohms it sounds every bit as powerful and then some. The separate power supply is machined from a solid block of aluminum, allowing for extreme physical and electro-mechanical integrity. The Momentum Integrated is also available in a stunning Black finish as well. For all the technical info available, please see D’Agostinoinc.com.

D’Agostino Master Audio Systems Momentum Integrated Amplifier

I am very familiar with Dan D’Agostino’s work. I date back to the KSA 150 amplifier and then the X32, and a X64 DAC. I also had the KPS 20i, KPS 25 CD players, a FPB 300 and FPB 600 amplifiers. Throw in a few preamps and I guess you could say I have a clear view into Dan’s past perspective on audio.

After being in possession of the D’Agostino Master Audio Systems Momentum Integrated amplifier for about two weeks, it dawned on me like a ton of bricks that it was time to start writing about this $45,000 gem from Dan D’Agostino Master Audio Systems. I typically would live with a component a bit longer before delving into the formal review. In this case the Momentum Integrated makes such an impression, such a compelling case for its singular superiority, I just had to get down to business.

Listening to Rush Moving Pictures, YYZ and Limelight were enough to get me off my mental couch, clear out the cob webs and let as many of you know as possible, what this magnificent piece of industrial art is capable of on every level.

I’ll start with the bottom line right up front. This thing is just killer. There is an absence of any type of distortion tampering with the signal — just pure rich, colorful tone and texture form top to bottom. Starting with the low end, on Limelight from Moving Pictures, Geddy Lee’s bass has such grip, such well resolved texture without compromising dynamic slam, like sledgehammers pounding you with both brutality and poise. Skrillex’s “Coast is Clear” from Recess possesses some of the scariest deep bass ever recorded and the D’Agostino Master Audio Systems Momentum remained unflappable. I have rarely heard the Lansche 4.1 speakers sound this rock solid and extended in the bass. “Show Me How to Live” from Audioslave’s self titled album just slithers and twists its way to audio nirvana. This track really does make its way to the monkey brain and flat out rocks. The level of composure the Momentum Integrated allows amongst the chaos is superb and offers complete confidence in the presentation.

I tend not to listen to a ton of audiophile recording so most of my impressions spring from recordings I am deeply committed to for the musical content rather than the audiophile parlor tricks. For instance, Black Sabbath’s Heaven and Hell sprang to life with impact and above all, mid bass clarity, giving the otherwise boxy sounding bass line a sense of texture and focus, clearing away so much of the hollow coloration that normally plagues this recording. Mid-bass notes are not defined through the D’Agostino Master Audio Systems Momentum by any type of euphony, coloration or over-emphasis. Simply tone, texture, transient accuracy and dynamic shading takes over and squeezes out the distortion leaving the easiest-to-follow bass lines I have yet heard.

Moving up the frequency ladder, the lack of distortion is on display with David Ostrika playing Mozart’s Scottish Fantasy on Classic Records CD via a streamer — you will be hearing a great deal about it soon, the notes despite being a tad shrill never jumped off the stage and slap you in the ear. The lack of distortion allowed the slight shrillness of the recording to simply come and go with little emphasis allowing one to sink deeper into the illusion. Ultimately, great music simply becomes greater through the Momentum Integrated.

47 Labs Midnight Blue system:

Lens II Speaker: $3,250 (read Review)
 Midnight Blue Integrated Amplifier Model 4736: $2,500
 Midnight Blue CD Player Model 4735: $3,250 (read Review)
 *Midnight Blue Tuner Model 4730: $1,500 (read Review)
 47 Labs OTA Cable Kit Model 4708: $800

Also read the 47 Labs Model 4733 Midnight Blue headphone amplifier/preamplifier/USB DAC Review

I’ve reviewed each component in this system except for the integrated amp, and I’ve lived with the system for a while. This review focuses on the sound of the whole system. The new Midnight Blue Series from 47 Labs has made the aesthetics a little more typical looking and don’t require outboard power supplies. Trying to appeal to a broader range of music lovers, I guess. Even if they look a little more typical of audio equipment on the outside the well known 47 Labs approach to minimalism and quality remains obvious on the inside.

Technically, the Lens II bookshelf speakers aren’t part of the Midnight Blue System, but they seem the perfect mate so I thought I would review the system with them. I chose to use the integrated instead of the power amp because by the time I got around to doing this review I had returned the preamp. Personally in a system this simple, I prefer the integrated.

The sound of the system in the all-important midrange was clear, clean, and transparent. The system did a very good job of letting music come to life. Voices were simply beautiful, and it handles male and female singers equally well. The amount of inner detail was not quite up to par with a great vinyl setup, but it was more than good enough and only sounded lacking by direct comparison. The top end was very extended and very smooth. The overall sound of the 47 Labs Midnight Blue System was simple, exceptionally musical with emotionally involving midrange and top end.

The bass of this little system was a nice surprise. I’m not saying they plunge into the depths of bass. Truth is the system doesn’t play all that deep, but the bass it has is surprisingly engaging. It had nice tone in the lower midrange and upper bass. It had a very nice sense of air in the bass area as well as the midrange and top end. I have heard several systems using a single five-inch driver that didn’t play bass as well. Still, I could get better bass by using my $6,500 Teresonic Magus speakers and I could get better bass from the Lens II using the Pass Labs XA30.8 amp. Still, I thought there was something very special about the overall sound of the system using all 47 Labs.

Voices sounded very natural on the system and that was equally true for female and male vocals. I point this out because so many small speakers add too much warmth to male voices, because of their mid-bass hump. I found the overall sound of the human voice to be very believable on this great little system. Likewise, trumpets, saxophones, and clarinets all had nice tonality and were very enjoyable. One of the things about using the Lens II speakers in this system is you get the characteristic, wonderful tonality of alnico magnet speakers. This allowed the system to play music with great tone and soul. It also contributes why the system is never bright or edgy sounding. With horns and woodwinds, they are on the side of warmth and may not have the very last word in bite. Still, the sound was nicely alive and communicated the music in a very enjoyable manner.

If you choose to set the system up with the speakers on stands then it’s ability to produce a believable soundstage is about as good as it gets. Set up right, the soundstage extends way beyond the speakers and the soundstage appears totally behind the speakers and very deep. It’s that kind of soundstage where non-audiophiles want to know where the speakers are that are playing or are the speakers firing out the back. You can also hear the air between the instruments and the space where the recording was made very well.

The good news is if you choose to set the system up on a bookshelf with the speakers also on the bookshelf, you still get a very nice soundstage and maybe the best bookshelf system I have heard.

The overall sound of the system surprised me. Just looking at the equipment and I wasn’t surprised that the sound was transparent, clear and fast. What I wasn’t ready for was how very organic and tactile it sounded. The 47 Labs Midnight Blue system had rich tonal colors and a wonderful ease to its sound.

This system has some very interesting applications. I’ve been using it in a small den upstairs with everything sitting in an entertainment center and the speakers on each corner of the same top shelve the TV sits on. I also set it up downstairs where I could put the speakers on stands and set them about 4 feet from the rear wall and well off the side walls. In both locations, the system performed superbly, but with different strengths and weaknesses. I can see many different people who would find this system addressing both their space needs at home and their musical taste.

I think if you look at the system’s individual parts the two source components are the ones that give you value well above their price tag. The little 4730 Midnight Blue Tuner is a real throw back to the world of really good analogue tuners. This only matters if you live where you can receive good FM radio.

Both source components are of medias that seem to be a dying breed. Still, you can get CDs and get them really cheap used. The 4735 Midnight Blue CD Player is an exceptionally musical digital source. If you are like me and listen to something like 98 percent vinyl this player is perfect for playing the music I can’t get on vinyl. It’s reasonably priced, takes up very little space and sounds amazing for a digital source. Also, I don’t have to put a computer in the system.

Conclusion

I have not tried to rewrite each of the reviews that have already been published. This review is more of a conclusion to all the 47 Labs Midnight Blue reviews. The closing thought I would like to leave you with is this: I have heard many systems that did not sound nearly as good as this one, where nearly every piece in the system costs more than this whole system including cables cost. Heck, most of those systems spent more on cable than the 47 Labs Midnight Blue system. Nuff said.

Jeff Wells used to own a retail shop named Audible Arts in Campbell, CA, about fifty miles southeast of San Francisco. As brick-and-mortar audio stores withered in the onslaught of online commerce, Jeff capitalized on his retail experience and formed Wells Audio, a manufacturer of amplifiers. (See the 2015 Dagogo interview with Jeff.)

After developing the $7,000 Innamorata power amplifier six years ago, Jeff wanted to address the needs of younger, upcoming generations, and the $5,000 Akasha power amplifier (150 Wpc/8 ohms, 220 Wpc/4 ohms) was the result. Subsequently, a $15,000 flagship, the Innamorata Signature, was introduced for those customers who were demanding something better than the original Innamorata. Dagogo senior reviewer Doug Schroeder reviewed the Akasha amplifier in 2012 and the Innamorata in 2013, while Greg Petan reviewed the Innamorata Signature in 2015.

The $3,599 Majestic, the subject of this review, is the company’s first integrated amplifier and represents Jeff’s effort in further addressing the needs of the younger audiophile market. It brings Wells Audio amplification to an attractive, lower price point.

Whereas the Akasha and Innamorata upper models are both endowed with dual transformers and weigh in at 58 pounds, and the Innamorata Signature comes in at 60 pounds, the Majestic, with its one transformer only, is a comparatively light 35 pounds but still sports the same power output into 8 ohms as the Akasha and Innamorata amplifiers. The Akasha was a more modest form of the Innamorata and the Innamorata Signature employed the most superior parts of its siblings that required a magnitude of more time-consuming assemblage. For the Majestic, Jeff intended the integrated amplifier to provide a performance level close to his $5,000 Akasha for households of modest income and audio system.

The Majestic is a Class AB design that churns out Class A power up to 15 watts. On the left side of the back panel is one pair of balanced (XLR) and four pairs of single-ended (RCA) inputs, plus a fifth RCA pair with fixed output for subwoofer or headphone amplifier use. The IEC plug and the speaker five-way binding posts sit rather closely together on the right side of the back panel. The front panel of the amp is adorned with an Alps motorized Volume control on the left, a front-lit “Volumeter” at the center, which tracks the setting of the manual volume control, and an Input Selector knob on the right. The power switch is accessible under the front of the chassis. The Majestic includes a compact remote control.

Jeff told me all his power amplifiers share the same basic circuitry, with his upper–end models employing progressively higher-performance capacitors and other parts, including Bybee noise filtering technology. These products have a reputation for being among the quietest electronics in the high end. Even at the lower price points – Akasha, Majestic, Looking Glass and Milo – Jeff is proud of the quietness of the designs, which he attributes “in large part to simplicity of design and near flawless execution. Also central to my design philosophy is that every component that is used we sonically evaluate before it makes it into a product.”

The price difference of the Akasha and Majestic is not significant by high-end standards although the Majestic resides more in the white-hot zone of budget amplifiers than the Akasha. Many audiophiles are only comfortable in spending $2,000 or less in amplifiers and in this market segment the Majestic represents a significant investment. The Wells Audio Majestic is not an ultra-performing amplifier, although neither is it a product for the less initiated audiophiles in mind.

For the seasoned audiophile who continues to endure the upgrade bug of difficult purchasing and economizing decisions in his/her life, who has spent long nights comparing loaner equipment from audio stores before returning them the next day, and who is familiar with the anguish of buyer’s remorse from the realization that a better decision could’ve been made had he or she done the comparison before the purchase and not after, the Wells Audio Majestic is an easy choice. It is not adorned with complex convenience features but it adheres to one overriding priority: give the experienced listener sonic refinement when driving high-end speakers – at a comparatively modest cost.

A few “budget” amplifiers ranging from $1,500 to $2,500 passed through my system recently, but the Majestic was the only one able to drive the 86dB Quad ESL 2812 electrostatics with considerable composure. By virtue of the simple circuit design and pure tonality, the Majestic driving the Quads bore a pleasant resemblance to how the Quads sound driven by the $12,000 Pass Laboratories INT-250. Intimate jazz ensembles carried momentum with the often-illusive sense of energy attained by the INT-250. Complex orchestral passages were presented with separation and frequency extension beyond the crop of “budget” amplifiers I auditioned. Quite simply, the Wells Audio Majestic was one of the most refined and powerful class AB amplifiers I’ve heard at $3,500.

Though a budget design in the company’s offering, the Majestic possessed such competency nonetheless that it showcased the superiority of the $8,000 Bricasti M1 dual-mono DAC over the $3,100 Arche Audio Opus 5 DACT and Opus 501 Power Supply in increased three-dimensionality and spectral extension.

This is the kind of novel product I want to leisurely show our attendees at the 45-room California Audio Show (July 28-30).

Not long after, Jeff Wells brought over the Majestic Reference, a $12,000 version of the Majestic ordinaire. And that, as they say, is a whole ‘nother story.

Copy editor: Dan Rubin

Also read: Interview with founder King Ip.

“I think music in itself is healing. It’s an explosive expression of humanity. It’s something we are all touched by. No matter what culture we’re from, everyone loves music.” – Billy Joel.

The audiophile industry has seen prices rising dramatically over the last few decades and many individuals are trying to find good values wherever possible. Perhaps, as Billy Joel states, everyone loves music, but it is audiophiles who love great music packaged by great sound quality. The trouble is that the audiophile industry, and often the review press, becomes focused on promoting the upper end of the audiophile market, presenting the notion that your final system should be rather enormously expensive.

Occasionally, a product comes along that is impressive, surprising, and is also affordable. Many very expensive components are impressive, which should not be a surprise given the price, and  when an audiophile spends $20,000 on a given piece of stereo equipment, they had better be impressed and amazed and even gob-smacked. These products tend to interest me less because they are supposed do these things at these prices.

So what do most of the rest of us do? What do young audiophiles do who generally have less money to spend and generally better hearing? Some of them look to the review press or forums for solid values and hope the reviewers are correct and that this week’s cheap wonder gizmo will be excellent. Unfortunately, many a time the product is a largely hollow endeavor.

Many audiophiles have discovered some ear pleasing advantages with tube amplifiers, many find a higher sense of musical satisfaction from those old fangled tube amplifiers. And like their solid-state cousins, tube amplifiers come in all sorts of shapes, sizes, and prices.

Many experienced tube lovers and reviewers find favorites in designs. They may prefer big power tubes such as the famed 211 or the 845, or they may prefer the flea power variety of the 2a3 or 45. However, some of these famed output tubes require a certain level of expense to create, which is why the big power output tubes typically run many thousands of dollars. The design requires large power transformers and physical space to safely operate. They are out of reach for audiophiles on a budget. So, what is needed is an amplifier that can retain as much of the quality as possible, in an affordable and sensible package. The desire is for an amplifier that retains the spirit of the presentation, the richness, and the beauty of our record collections, all the while allowing the audiophile to be fully engaged.

Enter the KingKo Audio KA-101.

The KA-101 is a relatively small, 12 watt-per-channel integrated amplifier from a company you’ve never heard of and retails for a price many audiophiles spend on a set of cables. Sadly, given the price, many audiophiles will dismiss it for not being expensive enough.

This amplifier is a cut above anything else I have heard at this end of the market for several reasons. Firstly, many audiophiles may have seen similar looking amplifiers from Audio Space, Line Magnetic and Antique Sound Labs and many others. You have seen these small headphone amplifiers with a little bit of power, typically 3 watts in Single Ended Triode operation, to drive some desktop speakers. Most of these amplifiers are priced from $200-$1,000 and are toys compared to the KingKo KA-101. The first surprise is that the KingKo KA-101, being a push-pull design, sounds quite substantially superior to any of these aforementioned headphone amps.

This is a surprise because SET (Single Ended Triode) amplifiers typically sound superior, provided they are competently designed. Their biggest shortcoming is that they are very low powered so they can’t drive demanding loudspeakers, which nullify their sonic advantages. SET amplifiers typically offer what fans describe as a magical, holistc presentation. An analogy to the SET sound might be that SET is equal to a fine filet minion versus solid-state design, which is the equal of ground beef. A good push-pull tube integrated would be something in between. As readers will no doubt point out, a great chef can make a great hamburger and a lousy chef can ruin a fine steak.

By going down the push-pull track, King has been able to make a solid integrated amplifier. The KingKo KA-101 is a full fledge design offering enough power to drive a credible number of speakers. While it is only 12 watts, it will be comfortable with most 90dB sensitive loudspeakers and will be able to control woofers credibly. Comparable SET units are limited only to efficient horn-like speakers with sensitivity of around 97dB+. To be clear though, no one really buys those headphone amps to be used as integrated amplifiers.

King Ip, founder of KingKo, decided to have his engineers add an extra winding on the output transformers to make a proper and serious headphone amplifier as a bonus. The latter alone justifies the price of the amplifier. The second surprise is that for the first time in 17 years, the Sennheiser HD600 opened up from its deep slumber to show its true abilities. An expansive, open, and altogether huge sound presents itself to the listener. This is a distinct departure from the generally overly polite nature so many headphone enthusiasts grumble about with this particular headphone.

The KA-101’s sound quality will inspire the user to try and possibly buy more headphones and make upgrades to their source material. Bass was tight, deep and the upper midrange and treble sparkle with a sense of space. Cymbals are no longer dulled or rounded off. Music reproduction is altogether more powerful. The very low noise floor of this amplifier is impressive because it is often stated by some headphone enthusiasts that SET has less noise than push-pull and thus are more suitable for headphones. The KA-101 is just as quiet if not more so.

SIMAUDIO REVEALS TWO LUXURIOUS NEW MOON HIGH-PERFORMANCE STEREO COMPONENTS

The MOON 700i v2 integrated stereo amplifier and 780D v2 streaming DAC

MOON has added two outstanding new products to its class-leading range of audiophile electronics. Designed to offer performance way beyond their price, both the 700i v2 integrated stereo amplifier and 780D v2 streaming DAC will permanently alter listeners’ expectations of audio quality.

The 700i v2 is the most flexible, most extensively specified integrated stereo amp MOON has ever made. Building on its 40-year heritage of designing some of the world’s finest integrated amps, the MOON 700i v2 is created to provide a lifetime of thrilling audio performance. Featuring four unbalanced RCA inputs alongside balanced XLR, and with an RCA monitor loop, plus line-level outputs, the 700i v2 is capable of utterly faithful, uncoloured audio reproduction from any source.

175 watts per channel of power, delivered by an oversized dual-mono power supply, ensures effortless dynamic dexterity, and gives absolute control over even the most demanding loudspeakers. MOON’s ‘Lynx’ technology eliminates the global feedback loop and ensures class-leading transparency and detail-rich authenticity of sound. And, the 700i v2 can even contribute to an extensive home theatre system, thanks to the ability for each input to bypass the volume control.

700i v2 FEATURES
• Power output: 175 wpc @ 8ohms/350 wpc @ 4ohms
• Frequency response: 10Hz – 100kHz
• Inputs: 4 x RCA, 1 x XLR
• Outputs: 1 x monitor loop, 1 x line-level RCA

The 780D v2 is the most accomplished digital-to-analogue convertor MOON has ever built – and, at the same time, it’s a feature-packed network streamer. An abundance of digital inputs, plus DAC architecture that embraces the cutting edges of digital audio (PCM up to 385kHz and DSD256) ensures the 780D v2 will make your digital music sound its best, no matter the source. It’s Roon-ready and features MQA decoding via every input.
As well as class-leading D-to-A conversion, the 780D v2 also delivers the finest possible network streaming experience. Premium streaming services like TIDAL Masters, Qobuz Sublime+ and Deezer Hi-Fi are integrated into the MiND2 (MOON intelligent Network Device) streaming module, which also allows any of the 780D v2’s inputs to stream wirelessly to other MiND devices on the network. Bluetooth aptX is on board as well as ethernet connectivity to ensure absolute signal stability.

From every conceivable digital source, at any file size or standard whatsoever, the MOON 780D v2 is the
comprehensive answer to the question of digital audio quality.

780D v2 FEATURES
• Roon Ready
• DSD and MQA decoding from every digital input
• TIDAL Masters, Deezer Hi-Fi and Qobuz Sublime+ integrated
• Inputs: USB, AES/EBU, 3 x SP/DIF, 2 x optical, ethernet, wi-fi, aptX Bluetooth
• Outputs: Balanced, unbalanced
• PCM bit-depth range: 16 – 32
• PCM sampling frequency range: 44.1 – 384kHz
• DSD sample rates: 64 – 256

Both the MOON 700i v2 and 780D v2 are available in black, silver or two-tones finishes and come with a 10-year warranty.

RETAIL PRICES
MOON 700i v2: £13,000 / starting at 14,000 USD
MOON 780D v2: £13,500 / starting at 15,000 USD
AVAILABLE NOW

I have always enjoyed attending the California Audio Show and feel it is worth the drive to Northern California to attend as much as I can. This year I had the opportunity to listen to a number of products that are not sold by my local retailers or are available only direct from the manufacturer. One company with a direct-to-consumer sales model is Wyred 4 Sound, based in the Central California city of Atascadero near San Luis Obispo. The owner, E.J. Sarmento, started Wyred 4 Sound in 2007 with a small team of friends and colleagues and with a mission to produce great products at affordable prices that provide years of pleasure to fellow music lovers. All of their products are designed and built in California. I have never had experience using any Wyred 4 Sound products in my system, so this review will serve as an educational experience into the brand.

I had a chance to meet E.J. at the 2019 California Audio Show (CAS9), where I found him to be a very pleasant person who knew his product line well. The Wyred 4 Sound room at CAS9 was always crowded, so I had to catch him early before the show started. I was looking for a reasonably priced integrated amplifier to review and E.J. thought the Wyred 4 Sound mINT integrated amplifier would be the perfect component to review. This amplifier also includes a DAC (Digital-Analog Converter), which would give me an additional feature to enjoy. Since the amplifier was not available at the show, E.J. was nice enough to make delivery arrangements while I was listening to the products that he brought to this show. He is proud of all of his products and was confident that I would enjoy this particular integrated amplifier.

The Wyred 4 Sound mINT (short for Mini Integrated Amplifier) is $1,499 but is now on sale for $1,399. It is small and extremely light (9 pounds) and sports a very neat, industrial look. The Wyred 4 Sound mINT produces 100 watts per channel into 8 ohms and 170 watts per channel into 4 ohms running in class D, which should be capable of driving most speakers while being environmentally friendly for its efficiency. This is a truly modern integrated amplifier with a built-in ESS DAC supporting 24 bit 192KHz through S/PDIF inputs and 24 bit 96KHz via USB, plus a powerful headphone amplifier. Also included are configurable analog inputs and outputs, giving you everything you need in one component. There is a remote but no tone or balance controls and no phono section. I did not open up the mINT to look inside, however, externally there was a feeling of quality so I assume inside the mINT would have the same quality. Before you turn on the mINT it is important to have the external voltage switch set to the correct setting, in my case 115 volts.

When you power on the Wyred 4 Sound mINT from the back, it enters into standby mode. You can then turn on the power and choose which input you want to use directly on the front of the amplifier or with the remote control. You can also adjust the volume either with the volume control on the front of the amplifier or with the remote control. I just used both the volume control and selected the source directly on the amplifier even though most people would probably use the remote control.

I connected the Wyred 4 Sound mINT to my main system. My turntable setup includes the Acoustic Research “The AR Turntable” with a Sumiko Premier MMT tonearm and the wonderful sounding Hana EH high output moving coil cartridge. This was played through an NAD PP1 phono stage. I connected my Audio Alchemy transport directly into the mINT via the coaxial input, which allowed me to compare the mINT’s built in DAC with my Audio Alchemy DAC. The mINT’s output was connected to a pair of Acarian Systems Alon 1 speakers. AudioQuest speaker cables and interconnects were used throughout the system.

My first impression was of a clear, musical sound with a nice, full bass. A major criticism of my Alon speakers has been the difficulty of matching components, especially solid state preamplifiers and amplifiers. I had switched to tubes (Antique Sound Lab line stage and a pair of Quicksilver monoblocks) because most solid state preamplifiers and power amplifiers sounded forward and bright with these speakers and tubes was a way to tame the sound. A few weeks ago, I inserted a very old solid state power amplifier in the system and although it sounded fine, it was nowhere close to the performance of my tube Quicksilvers.

This was not the case with the Wyred 4 Sound mINT. The mINT had a very nice, relaxed, musical sound playing both CDs and records. One reason digital listening is so good is the mINT’s built-in DAC is so superior to my 25 year old Audio Alchemy DAC. In particular, I also found no forwardness or brightness when using my turntable set up, so it is not just the DAC; the preamplifier and power amplifier sections of the mINT are outstanding. And there was plenty of power. Playing the Reference Recordings RR-70CD of Eiji Oue conducting the Minnesota Orchestra playing Stravinsky brought out bass that shook the room. Playing my Miles Davis Kind of Blue LP brought out the midrange’s natural sound, which, combined with good side-to-side imaging and a wide soundstage, gave a realistic presentation of this classic jazz album. The highs were on the sweet side, reminding me of an EL34 tube except with a lot more bass. The only area my tube combination betters the mINT was the three-dimensional sound that only tubes can give you. You get more of the front to back depth. The gain of my Antique Sound Lab line stage is also a little higher than the preamplifier portion of the mINT, so the volume level had to be turned up. The mINT holds its own in every other area. I played a wide variety of music and no matter what genre I played, there was a natural, musical sound.

My Hana EH phono cartridge still sounded great but it had well over 2,000 hours on it, so I switched to a newer cartridge, the Sumiko Olympia, of which I gave a very positive review last year. The mINT sounded wonderful with the Olympia although the superiority of the Hana was obvious. The mINT was able to show the advantages of the over-twice-the-price Hana phono cartridge.

I also used the Wyred 4 Sound mINT with my 86 dB, 4 ohm Magnepan MMG speakers. The load would really test the capabilities of the power amplifier portion of the mINT. The Wyred 4 Sound mINT is so small and lightweight that I wondered if it would be capable of driving the Magnepans, which are known for being power hungry. Any preconceptions that the mINT might not have the muscle to drive the smaller Magnepans quickly vanished. The mINT had a nice, sweet sound whether playing my records or CDs with the Magnepan MMGs. I am sure it would drive the new Magnepan LRS speakers with no problem.

The versatility of this product combined with the convenience is incredible. This one very small and lightweight component replaced four of my existing components during this review: a DAC, a line stage preamplifier and a pair of monoblock amplifiers. This meant two fewer pairs of interconnects, resulting in a much less cluttered stereo setup. I only used the mINT with my turntable and CD player (used as a transport), but the product also offers a headphone amplifier and a USB input that others may find useful.

I found the customer service first rate when I accidentally called the company after hours with a simple question. E.J. himself picked up the telephone and provided the answer instantly. I was also kept updated on the status of my order when I ordered the mINT by their outstanding customer representative Alissa. This means that before you buy anything from Wyred 4 Sound you will be fully informed about the products you intend to purchase and, afterwards, the company will be there to support your purchase. They have a wide range of products, including line preamplifiers/phono stages, monobolocks/stereo amplifiers, DACs/other digital components, music servers, and some accessories.

The Wyred 4 Sound mINT combined with a pair of speakers such as the Magnepan LRS and maybe one of the many under-$400 turntables that come with a built-in phono stage will get you started with a fine sounding stereo that will meet the expectations of most music lovers. You could add a CD player with a coaxial output and an inexpensive USB cable for your computer and still be under $2,500.

I may have to change my listening habits. I have always been an “old school” kind of guy, feeling that analog played by a vintage turntable combined with tube amplification was the only way to go for my needs. The Wyred 4 Sound mINT has made me reassess everything. This little amplifier sounds so wonderful and is so easy to use that I plan to use it to review other products in the future. I have been writing how much I enjoy my current system and was not planning on changing anything. Since I am not selling my tube preamplifiers and tube power amplifiers, the last thing I need is another amplifier. I even have unused amplifiers packed in their original boxes just sitting in my closet. Even though I retired as a certified public accountant over a year ago old habits die hard. I get more excited about a great product that I consider a bargain than the very expensive products out there, so I have decided to purchase the Wyred 4 Sound mINT review sample.

Copy editor: Dan Rubin

There are several gushing reviews of the original Kinki Studio EX-M1, the precursor of the component on review. The EX-M1+ adds a few twists in terms of functionality, and that is what I will explore here.

It can be dangerous to make a presumption in regards to a follow up product when the introductory model has not been tested. I did not use the first version of this integrated, so with a certain degree of risk acknowledged I will presume Kinki Studio did not eviscerate the sound when moving from the first version to the “+” version. If the topology and population of the boards is largely unchanged, then the presumption that the sound has not worsened, but at a minimum remained the same might be accepted without a direct comparison. From the specifications of both units on the company’s website, which are identical, it seems a valid premise.

In this article once the expected discussion of the EX-M1+’s stock integrated performance has been covered, I will to move on to exploring the variant uses of the EX-M1+, including as a dedicated preamplifier, a dedicated amplifier via the “HT Bypass” function, an integrated amp with preamplifier output, and as a component amenable to rolling-in discrete opamps.

Two gentlemen assisted me in the procurement of the review sample. Alvin Chee owns Vinshine Audio, a Singapore dealer for Kinki Audio, which sells Kinki Audio direct to the United States, and Bernard Li is owner of Charisma Audio, Canadian Distributor of Kinki Audio. I wish to thank these men for their assistance. Alvin was especially helpful in answering all of my technical questions and providing the information necessary to confidently opamp roll this integrated amplifier.

A “sweet” component

This was one of the few “blind” international reviews I have conducted in audiophile land. I have been hesitant to buy a product from an overseas entity, though through reviewing I have worked with many products that originate overseas. Products I review typically have distributorships in the U.S. and often are on display at dealerships, so the lifeline for help is shorter. Persons who are considering an international purchase will likely wonder how this long distance, dealer direct review unfolded.

I was impressed by everything pertaining to the arrival of the unit, including the communication, shipping window, packaging and condition of the unit. It was as smooth as the best purchases I have made in the U.S.A. It appears that Vinshine Audio and Charisma Audio wish to cultivate a respected sales reputation. It was a bonus that the $2,898 price direct to the U.S.A. included FedEx shipping.

In terms of build quality, design, and performance for an integrated amplifier, the EX-M1+ is what I would call a “sweet” design. The apparent simplicity of it recalls products from Nagra or D’Agostino. The derogatory term “ChiFi” has been used to dismiss products made in China, but the Kinki Studio integrated is testament that Chinese build quality (I presume with Singapore quality control, as Kinki Studio is a Singapore company) can be world class. The case is thick brushed aluminum, very solid with high quality binding posts, a mercifully clear and large LED display, and two enormous polished dials to control INPUT selection (left) and VOLUME (right). A diminutive center button allows control of the selections for Power/Mode; “OUT1” integrated amp, “OUT2” preamplifier only, and “OUT1+2” integrated amp and preamp output activated (i.e. preamp output could be sent to active subwoofers, or an additional, external amplifier to bi-amp a pair of loudspeakers). All pertinent functions on the face of the unit are repeated on the remote control.

The remote, machined from a block of aluminum, and with a clever magnetic bottom cover, also includes controls for Mute, HT Bypass, and Display brightness. Operationally the large dials are very smooth, but not on heavy-duty posts. They are not wobbly, but have a slight give when operating them. Commands are usually, but not universally ergonomically efficient. When the HT Bypass button is used the EX-M1+ reverts to operating as a power amp only. A slight lack of ergonomics is found in the unit resetting to OUT1 (integrated amp) at turn on, and the HT Bypass must be selected every time the unit is powered up. The button layout of the remote is clean, however the printing identifying operations is small and not terribly distinct. The remote is not illuminated, however the larger buttons for Power, Vol + and Vol – help when using the remote in a dimly lit room. The display remained in its brightest setting and could not be dimmed in HT Bypass setting.

The unit reverts to very low volume, 10 on the digital display, with each power up. This is good for safety, and it does not bother me much, but could irritate some Dagogo readers. Often when I attempted to advance the volume by pressing the Volume button on the remote it would increase only 1 digit. I had to press the Volume button again to have it run up. This may have been an anomaly associated with the infrared signal transmission in my room, as it was inconsistent. I am not willing to assign blame to the unit for this particular anomaly as it has not undergone circuit testing. In my room it is not uncommon for products such as the Exogal Comet to not respond at the first touch of the Volume button. I sit far enough back from the system that distance may be a contributor to functionality. If you do not see references to this elsewhere, then I suggest it is likely a situational occurrence.

These are niggling issues that are idiosyncratic, and the unit’s operational flexibility more than makes up for these foibles. The nomenclature on not only the remote but also the unit’s backside is smaller than I would wish, but smartly laid out and explained simply in the Owner’s Manual. The back of the amp reveals a mirror image layout typical of good circuit board design. The binding posts are solid, the gold RCA jacks robust, the Gain switch firm in operation between High and Low (-4dB) settings.

Ordinarily I would not open such a component, however the promise of discrete opamp rolling with the review unit had me exploring its internals. I am happy I asked Alvin about how to open it up, for the rows of screws atop are not the means to access it. I had to remove three sets of screws, a pair each on the top, side, and bottom of the unit, to gain access from above. Inside, the dual mono design is apparent, along with overbuilt construction and meticulous finishing. It is a bling fest for the eyes. I liked having the top removed during opamp rolling simply to see the banks of lights flash when the unit starts up. It’s also a PITA to keep removing a cover when rolling opamps.

I give Kinki Studio high marks for aesthetics, build quality, and good footers with adequate clearance such that fingers are not pinched when picking up and placing the nearly 60 pound unit. Aside from the aforementioned infrared issue the EX-M1+ never faltered operationally during the review period.

I met up with Dave Cope of Old Forge Marketing and Old Forge Studio at the California Audio Show (CAS) in July 2019.  Dave is the US importer for Pure Audio, a line of audio equipment amplification from New Zealand. After listening in the room Dave had set it up it was very clear to me that this room was one of the two best rooms at the show. Dave has always shared a similar ear to my own and so I was not surprised that I liked the system he brought to CAS. However, what did surprise me was that he was running a solid-state amplifier and getting a sound that had none of the solid-state nasties to which I have been accustomed for decades.

I went back to the room a number of times to be sure that what I was hearing was this good. The amplifier was the Pure Audio One integrated, and I became convinced that this amplifier had something special going on so I requested a review sample.

The Pure Audio One is a 100 watt Class A dual mono integrated amplifier. It has four line inputs as well as a direct input so it may be used as a dedicated power amp. Co-founder Gary Morrison also sent along their dedicated Control 2 preamplifier, which I will review separately.

The One is a rather large integrated weighing in at 26kg (57lbs) and the partnering remote control is a hefty affair in its own right. The artisanship of the amplifier and the matching remote control is first rate.  The One gives the impression of a prestige product that could sit beside far costlier amplifiers. The chassis is made from heavy aluminum and stainless steel mesh. The amplifier runs quite warm, being Class A, so the large heat sinks on both sides of the amplifier with a mostly mesh top allows the heat to dissipate.

Class A amplifiers run hot and soak up a lot of electricity, so does the One. It has an automatic standby mode: if no music signal is being sent, the amplifier will conserve energy until it is woken up by a music signal.

The front panel is minimalist. There is a large smooth volume knob on the right and an input pad on the left for the four inputs and DIRECT IN. There is no power button on the front of the amplifier. On the back, there is a large power switch. The remote control only controls volume up and down. Moreover, Pure Audio uses single-ended (RCA) inputs only, eschewing balanced inputs for reasons they note on their website http://www.PureAudio.co.nz/?page_id=270

Nothing is perfect, so I will get my complaints out of the way.

The back panel layout is perhaps my main gripe about the amplifier. The RCA alignment will require you to separate your RCA cables. The Black and Red are spaced quite far apart as all the black RCAs are aligned in a row on one side, and red aligned on the other. Further, the high quality Cardas speaker connectors do not accept banana plugs, so you will need to purchase adapters if your speaker cables are fitted with bananas. This mystifies me given that bananas are arguably the most common speaker connectors in use today. Fortunately, I had a set of cables with spade/fork connectors just in case this situation arose. I would suggest that Pure Audio include adapters with the amplifier or ensure that dealers stock them. Better yet, look for a high quality 5-way binding post and incorporate that instead.

My last issue is that when you turn the amplifier on, you must always push the SOURCE button. If you are using just one source, the amplifier “forgets” that you were using source 1. Therefore, you must always push the source 1 button. You will forget. You will turn the amplifier on, sit down, and get no sound. Then after you scratch your head, you will say “ahh” and then have to get up and walk over to the amplifier and select number 1. Granted this is probably that bit of exercise most audiophiles need, so the more you forget the healthier you will be. Once you have made your connections you will rarely need to go behind the amplifier and, if you leave the amplifier on in standby mode, you will not need to press the input pad.

Sonic surprise

When I first connected the system and pushed play, I was rather surprised by the valve-like presentation emanating from the amplifier. There was ambiance and depth to my first recording, Loreena McKennitt’s “Lullaby” from her album Elemental, which features Loreena’s vocals overtop of Douglas Campbell’s reading of William Blake’s Prologue intended for a dramatic piece of King Edward the Fourth. One of my complaints about solid state is that it often seems unable to play “gently” and provide an emotional experience with music that should touch your soul. It is usually an abysmal failure in this regard. Yes, solid state can punch you in the kidneys with massive bass slam at obnoxious volume levels, but usually at the expense of delicacy and insight. Thus, I was relieved that the Pure Audio One didn’t manhandle this album and retained the delicacy and allure of Loreena’s vocals and what I often refer to as the “breath of life” that goes missing with a lot of high end audio.

Interestingly, the Pure Audio One sounded more stereotypically “tube” than some tube amplifiers I have auditioned over the years. The fluidity, big tone, ambiance, and portrayal of three-dimensional space should endear the amplifier to tube amplifier fans.

Chantal Chamberland’s “Here Comes the Rain Again” from her album This is Our Time is an excellent recording that, like the Loreena McKennitt, offers a non-digital, you are there experience. With the One integrated, I was hearing big breathy vocals and solid bass lines along with coherency similar to what I remember about my big Line Magnetic 219IA.

Pass Laboratories INT-250

Pass Laboratories has a core of talents I dub the Pass Labs Four: Founder Nelson Pass, not a boastful character but witty, adventurous and quiet, that is until you get him up on a stage and he opens up. And he attracts talents and major nerds who are like him. Then there is Kent English, North American Sales and Worldwide Support, and a scientist by training. The Pass Labs Rushmore and other speakers bear his mark. Wayne Coburn, Nelson’s Co-Designer and Lead Digital Designer, whose brain children the phono stages, linestages and integrated amplifications are. Last not least, Desmond Harrington, president of the company, Lead Industrial Designer and Graphic Artist.

Dagogo readers know that I consider the source to be the most important component in the audio system. Analog is a most engaging medium and I have five turntables to boot, but the digital medium remains the only widely available one allowing for a single-sitting through a Richard Strauss tone poem non-stop. Digital sources like the Bricasti M1 dual-mono DAC is my preferred, sub-$10k product that elevates the performance statue of a majority of transports paired with it. You get what your source trickles down.

For our readers who have done due diligence in acoustic treatment and have secured the best source component as per their budget, the cable system should be the next priority with the caveat that it is auditioned before purchase. A system will only sound as good as what the cables allow through; always complement the competency of your system with complimentary cable system. Then, choose the kind of loudspeakers you have always fancied and you will have come to the crux of system building: choosing the right amplifier.

While the source is the first piece in the system building block, the amplifier anchors the potentials of the system for the long run. Pick an underpowered amplifier and you will find constantly unfulfilled predicaments in your audio experience. Pick a competent one and you will have acquired license to choose a wide range of speakers, secure in the knowledge that you have the force and finesse at home to drive them. Without a strong amplification system, any and all loudspeakers that strike our fancy will just be mere possibilities at best plus haunting prospects of under-performance. Think of the possibilities when there is a strong and pristine sounding amplifier in your system already, waiting to flex its muscles.

With a highly hobbyist stance, Pass Labs produces not just powerful behemoths that can drive the most demanding speaker system in the world, as evidenced in its $85k Xs 300 quad-chassis monoblocks and the $42k XA200.8 pure class A monoblocks. The company also produces the XA25, a $4,900 pure class A stereo amplifier outputting 25 wpc into 8 ohms and 50 wpc into 4 ohms.  Between the Xs300 and the XA25, there are some eleven models in between.

The company also offers three integrated models.

INT-25

INT-60

The $7,250 Pass Labs INT-25 at 25 wpc into 8 ohms, 50 wpc into 4 ohms and “stable into any conceivable load,” is the integrated version of the XA25 stereo amplifier. Next model up is the $9,000, 93 lb class AB and high bias INT-60, which takes us into a slightly different world of finesse and force while still delivering pure class A performance up to around 30 wpc, then switching to class AB to deliver 60 wpc into 8 ohms and 120 wpc into 4 ohms.

The flagship integrated INT-250, the subject of this review, costs $12,000 and is equipped with the company’s industry-leading Class A/AB amplification in a 250 watts-per-channel configuration. At 19 inches wide, 21 inches deep, 9 inches tall, and weighing 105 lbs, the INT-250 shares the immensity of the company’s monoblock physique. On paper, it produces pure Class A output for the first 15 watts; in actual listening, I found this device while running mostly in Class AB, to be of the same bloodline and lineage of the XA200.8 that manifests an industry-exclusive finesse and strength akin to that pure Class A sound.

INT-250 Rear Panel

Extended auditioning of the INT-250 in my system driving the $95,000, 105dB efficient Destination Audio Vista Horn confirmed the integrated amplifier’s SET-like finesse. Those first 15 Pass Labs watts albeit in solid-state execution made it the quintessential alternate amplification system for the horns after Destination Audio’s own $39,000 preamplifier and the 1.8 watts-per-channel monoblock amplifiers package.

And recently, the same first 15 pure Class A wattage also tied the colossal, $25,000, 90dB/8 Ohms Sound Laboratory Majestic 645 electrostatic panels exceptionally well over, going a long way towards driving the massive panels no doubt, before the remaining 235 Pass Labs watts kicked in for good measure, a further confirmation of the integrated amplifier’s superiority in finesse and strength.

In portraying piano solo or massive orchestral presence, the INT-250 carried a differentiating ability parallel to my experience of its preamplifier siblings. Now married internally to a Pass Labs preamplification stage, the need for exotic interconnects is mitigated tenderly and fidelity is assured masterfully.

Featuring four pairs of RCA inputs among which two pairs are also XLR double sourced and thus switchable, the INT-250’s provision of one pair of XLR and RCA outputs cemented its universal appeal as the most flexible amplifier at the highest performance level possible ever to grace my system, lest our readers want to spend considerably more for fancier looking models of other brands. The large speaker binding posts are the same as the bigger power amplifiers with the torque limiting ratchet design. It is a delight to tighten spade plugs with it.

Desmond Harrington and company once described the now-discontinued, $7,500 INT-30A as the “jewel in the crown.” Granting that a pure class A amplifier producing 60Wpc into 4 ohms, resplendent with full JFET input complement and comes complete with a preamplification stage is a thing of desire, I will not hesitate to choose the INT-250 over the INT-30A . For even in class AB, the INT-250 sounded so similar to the XA200.8 monoblocks, and was capable of such driving force and accorded such operational flexibility with the exceedingly fine preamplification stage that it was the most hardcore and hence ultimate embodiment in the integrated amplifier category. The Pass Labs Class AB integrated flagship was of such exceeding performance I lost sight of the performance of the Xs Preamp with the XA200.8 monoblocks.

Good amplifiers litter the marketplace on an unprecedented scale these days. It is only when one begins to build an ambitious system that the current, massive crop of amplification designs show its limitations. Creators of the “super” amplifiers have no choice but batten down now. With the Pass Labs integrated amplifiers, particularly the INT-250, we can own a piece of history and share in the experience of the extraordinary together.

Now, if you need to have the best or got to spend that $100k first before your wife does, then by all means procure the Xs Preamp and the Xs monoblocks. Otherwise, the INT-250 is the gargantuan all music loving souls like us will ever need, and what a gem the giant is.

Copy editor: Dan Rubin

System:

Acoustic Sciences Corp TubeTraps
Audio Reference Technology Analyst EVO, Analyst SE, XLR, RCA interconnects, power cables, Super SE power cables
Harmonix Reimyo by Combak digital coaxial cable
PS Audio DirectStream Power Plant 20 AC regenerator

Clearaudio Master Innovation turntable system with Smart Power 24V battery power supply
Koetsu Jade Platinum cartridge
AMG 12J2 tonearm
Stealth Audio Cables Helios phono cable

Esoteric K-03 SACD player/CD transport & G-01 rubidium clock
Bricasti Design M21 USB DAC
Bricasti Design M1 DAC

Destination Audio 417A tube phono stage
Destination Audio 76 tube preamplifier
Destination Audio 45 tube monoblocks
Destination Audio Vista Horns

Pass Laboratories Xs Phono
Pass Laboratories Xs Preamplifier
Pass Laboratories XA200.8 pure class A solid-state monoblocks
Bricasti Design M28 solid-state monoblocks
Sound Lab Majestic 645 electrostatic panels

After reviewing the ultra-high-end Clearaudio Master Innovation turntable system, a curious product came to my attention: a $499 turntable, albeit made by another large corporation, Pro-Ject Audio.

Austria-based turntable manufacturer Pro-Ject Audio has twelve series of turntables, which range from the $400 Hard Rock Café Primary turntable in the Artist Series to the $14,000 Signature 12 in the Signature Series. Some of the Series have as many as fifteen models, such as the aforementioned Artist Series, in which the highest priced model is the The Beatles’ White Album 2Xperience SB turntable at $1,800. Jukebox E, the subject of this review, is not the lowest priced model in the entire lineup. There is the lone Elemental turntable in the Elemental series for $229, and a Primary E for $225 in the Primary Series. It is interesting to see the multitude of affordable turntables, or as Pro-Ject puts it, record players, being offered at such low price points.

Of all Pro-Ject turntables, the Jukebox Series stands out as the only Bluetooth-enabled models —and they come equipped with an integrated amplifier. The Jukebox E, in particular, is capable of 50 watts of output into 8 ohms, features a silicon belt for damping, a low vibration synchronous motor and DC power supply, an 8.6-inch aluminum tonearm with sapphire bearings, and an entry-level Ortofon OM5e moving-magnet cartridge premounted. Round the back, jacks include Line Out, Phono Out, Line In and two pairs of five-way speaker binding posts. Decoupling feet and dustcover complete the package.

Pro-Ject even devised a remote control unit for POWER, MUTE, LOUDNESS, BASS+, BASS -, TRE+, and TRE-. Further features on the remote include TURNTABLE, LINE IN, VOLUME+ and VOLUME-. A BLUETOOTH button on the remote accesses the Bluetooth functionality when connecting to a Bluetooth player, such as those in smart phones. Under the front to the left are two rocker power switches. The first switch turns on the motor and thus the Jukebox E can be used as a pure turntable. The second switch turns on the onboard Bluetooth and amplification electronics. An LED display on the top panel of the turntable provides status. It doesn’t come with a record puck for hold down, and the motor is not powerful enough to pull along using the ones I have. Nonetheless, it is utterly incredible and mindboggling to have all this for a meager $499.

I placed the Jukebox E in a system consisted of the $399 Audioengine HPD6 bookshelf speakers on $50 Atlantic stands. I used Audio Note UK AN-SPx 27-strand silver speaker cables with banana connectors from the Jukebox E’s speaker terminals directly into the back of the speakers. Note that the company also offers the $299 Speaker Box 5, available in high gloss piano black, white or red, a supposedly ideal companion to the Jukebox E. Vinyl playback on its own was acceptable with good instrument placement although the gain was a bit low. Using its Line Out and routing the signal to an integrated amplifier, such as the $2,899 Wyred 4 Sound STI-1000 v2 class D stereo integrated amplifier, changed the narrative completely. Now the sound became eminently easy on the ears, and criteria such as tonal separation, dynamic contrast and spatiality emerged and were enjoyable.

Utilizing the LOUDNESS feature added overall presence to the music while increasing the gain, although I preferred using the BASS function instead to add weight to the presentation through the small speakers without also impacting the midrange and top-end. There were considerable limitations to the Jukebox E’s sound but picking it apart based on review criteria for a high-end turntable would be missing the point. The Jukebox E was created so that more people can have the joy of music, and not exactly to be used as reference.

The Pro-Ject Jukebox E’s Bluetooth playback is via its own speaker terminals and not possible through the Line Out function, which only outputs the cartridge signal and nothing else. Nonetheless, being able to play my favorite tunes from my iPhone 11 was a good dose of casual fun. And there were sufficient spatial cues to be enjoyed.

Bearing in mind that the volume control functionality only works via the speaker terminals, there is more fun to be had. I put an Oppo BDP-105D Blu-ray player’s RCA analog outputs into the Line-in RCA jacks of the Jukebox E and it was unreal. There was the expected big sound of SACDs, such as the soundtrack to Star Trek: Nemesis and the Esoteric remastered and reissued Grieg Peer Gynt excerpts, coming even from the HDP6. Again, adjusting the volume and having the BASS and MUTE functions available via remote control just added to the value of the package.

The Pro-Ject Jukebox E makes for a nice traditional turntable+tonearm+cartridge package for $499, highly competitive against similar offerings by similar-sized corporate manufacturers. Throw in a Bluetooth receiver, add a Line-In function, increase its value further by equipping the turntable with a 50 wpc amplifier, then add all sorts of tone controls, and finally make all functions controllable via a remote — that’s the Pro-Ject Jukebox E Bluetooth.

For the savvy-minded, Pro-Ject offers a complete Juke Box E HiFi Set that comes with the Jukebox E and the Ortofon OM 5E cartridge, Speaker Box 5, a spool of speaker cables with banana plugs and the Damp It rubber damping feet for use underneath the speakers. All for $999. Kudos to the marketing efforts that make audio affordable and fun.

Ladies and gentlemen, questions?

Copy editor: Dan Rubin

Review system:

Audio Reference Technology Power Distributor

Acoustic Sciences Corporation TubeTraps
Audio Note UK AN-SPx speaker cables

Oppo BDP-105D Blu-ray/SACD player
Wyred 4 Sound STI-1000 v2 class D stereo integrated amplifier

Audioengine HDP6 bookshelf speakers

The following is a press release from Rotel

AUGUST 17, 2020 – Rotel is pleased to introduce the Michi X3 Integrated Amplifier and Michi X5 Integrated Amplifier as an extension of its current portfolio of Michi products, continuing to deliver on the promise of uncompromised performance and design elegance with exceptional value. The X3 and X5 proudly continue the legacy of nearly 60 years of audio engineering and design experience.

The Michi X3 and X5 are the latest products to showcase the legacy and tradition of Michi, with best-in-class audio engineering methods coupled with the perfect balance of innovation and critical evaluation of every circuit, signal path and component. The exquisite industrial design of the X3 and X5 models are surpassed only by their breathtaking performance. The X3 Integrated Amplifier will be available for purchase in September 2020 with the X5 Integrated Amplifier following in November 2020.

X3 INTEGRATED AMPLIFIER FEATURES AND CAPABILITIES:

• Delivers 350-watts of robust power into 4-ohm and 200-watts to 8-ohm loads driven by a high efficiency oversized toroidal transformer feeding independent analog, digital and power amplifier voltage regulator circuits for optimal power isolation
• The X3 circuits are designed to optimize the signal path to each of the 13 source inputs including XLR, analog, digital, pc-USB, Bluetooth with apt-x wireless streaming and moving magnet phono stage
• Utilizing direct-path circuit topology, the X3 further isolates sensitive audio signals and processing from the high current amplification stage lowering the noise floor and delivering an improved sound field
• The X3 high-resolution screen ensures quick setup of all features and multiple user-selectable configuration options of the run-time display.
• RS232 and ethernet connectivity provide integration with all popular control systems

X5 INTEGRATED AMPLIFIER FEATURES AND CAPABILITIES:

• Delivers 600-watts of output power into 4-ohms and 350-watts to 8-ohm loads with near limitless, controlled, bass energy
• Supports an array of 14 source inputs including analog, digital, XLR, PC-USB with DSD 2x decoding and MQA rendering
• APT-X and AAC high quality wireless Bluetooth streaming and both moving-magnet and moving-coil phono stage
• Digital to analog conversion utilizes an AKM 32 bit, 768khz DAC, achieving meticulous accuracy and timing of the audio
• The front panel graphic display provides easy access to all setup options using the included custom designed signature Michi remote control
• The display is configurable to show operating status, a 12-band graphic EQ or peak power meter
• RS232 and ethernet connection ensure simple integration with automation systems

PRODUCT PRICING:

• X5 Integrated Amplifier – $6,999 USD
• X3 Integrated Amplifier – $4,999 USD

Rotel Michi X3

Rotel Michi X5

ABOUT ROTEL

Rotel audio products are known worldwide for their quality, reliability, value, and, above all, exceptional sound reproduction. Since 1961, Rotel has utilized the resources of its formidable international design team and has manufactured its products in its own sophisticated production facilities. Rotel proudly offers a complete range of electronics that have consistently received critical acclaim and coveted industry awards. With substantial investment in new technologies and manufacturing, Rotel is prepared to meet the challenges of an evolving specialty electronics marketplace.

ROTEL WELCOMES SPECIAL EDITIONS OF THE FAVORITED A11 AND CD11 MODELS

The Company is Thrilled to Announce Upgrades to the Products in Honor of Late Audio Legend, Ken Ishiwata

TOKYO, JAPAN (August 28, 2020) – Rotel Electronics is excited to reveal the launch of two special editions of the company’s popular A11 integrated amplifier and CD11 CD player, each model named as tribute versions in celebration of the company’s partnership with the late audio legend Ken Ishiwata. The A11 and CD11 were chosen as two of his favorite products and the Rotel team felt that the Class AB 2 x 50W A11 integrated amplifier & CD11 CD player represented the perfect base for elevating products that were already excellent and updating them into something even more special.

Ishiwata was widely admired in the hi-fi industry for his unique ability to identify the most ideal products for modification and take these products’ performance to new levels, often with a modest increase in price. Ken Ishiwata offered initial appraisal for the new specification with the Rotel engineering team, producing preliminary prototypes before having the final specifications approved by Rotel. Having approved the changes creation of the first prototypes, Ken sadly passed away in November 2019, before the project could be completed. In his memory, Rotel worked to complete the product to fulfill Ken’s original vision.

The A11 Tribute and the CD11 Tribute result is an increase in resolution and detail, while delivering a more musical presentation with both improved rhythm and timing. The upgraded A11 Tribute and CD11 Tribute products, each with a special badge in honor as a nod to the man whose total passion for music was the impetus that inspired their creation, will be available starting in September of 2020 through authorized Rotel dealers.

A11 TRIBUTE INTEGRATED AMPLIFIER FEATURES AND CAPABILITIES:

• Specially selected improved components were chosen to offer higher performance throughout the signal path. In the amplifier stage, all 10 capacitors and two resistors in the signal path were changed.
• For the pre-amp, six capacitors were upgraded, representing over 50% of the components in the signal path. All six capacitors in the volume stage were also upgraded.
• Custom damping materials were added to the A11’s mechanical chassis to reduce ringing and further isolate/insulate and dampen any vibrations within the product.
• Rotel Class AB amplification, continuous rating 50 Watts per channel into 8 ohms
• Custom, in-house developed, oversized toroidal transformer
• Moving Magnet Phono Stage
• Texas Instruments 24-bit 192KHz DAC
• apt-X and AAC Bluetooth for wireless audio streaming
• 4 RCA analogue inputs for ultimate flexibility
• A-B speaker 5-way output binding posts
• Remote control

Available in both Silver and Black finish

CD11 TRIBUTE CD PLAYER FEATURES AND CAPABILITIES:

• The CD11 CD player eight capacitor changes and one resistor change were made in the DAC stage while in the power supply all nine capacitors were changed with improved components.
• A great deal of thought was given to the damping of internal vibrations with custom damping material added to the top cover to eliminate vibration and ringing, while further changes were made to the mechanical and electrical grounding of the CD player.
• Tray loading dedicated CD mechanism
• Texas Instruments 24-bit 192Khz DAC
• RCA Analog and Coaxial Digital output connections
• Rotel Balanced Design topology of digital and analogue circuits
• Available in both Silver and Black finish

PRODUCT PRICING:

A11 Tribute Stereo Integrated Amplifier (available September 2020): $799 USD

CD11 Tribute CD Player (available September 2020): $599 USD

ABOUT ROTEL

Rotel audio products are known worldwide for their quality, reliability, value, and, above all, exceptional sound reproduction. Since 1961, Rotel has utilized the resources of its formidable international design team and has manufactured its products in its own sophisticated production facilities. Rotel proudly offers a complete range of electronics that have consistently received critical acclaim and coveted industry awards. With substantial investment in new technologies and manufacturing, Rotel is prepared to meet the challenges of an evolving specialty electronics marketplace.

The following is a press release from Technics

The First-ever Reference Class SU-R1000 Integrated Amplifier Developed to Further Expand Technics’ Sound Experience

Introduction

1 September, 2020 – Technics unveiled its first Reference Class integrated amplifier, SU-R1000 (MSRP TBD). The Reference Class products are developed in pursue of Technics’ insatiable desire to deliver ultimate sound quality to customers, and they offer premium musical experience the Technics brand is known for. The SE-R1, Technics’ first Reference Class stereo power amplifier introduced in 2014, featured many new and original digital technologies such as LAPC (Load Adaptive Phase Calibration) for realising ideal impulse response and JENO (Jitter Elimination and Noise-Shaping Optimisation) Engine for achieving high-quality, high-precision PWM signal conversion with minimum jitter. Boasting precise sound image and expansive sound ambience, the SE-R1 was received with open arms by the market and marked the dawn of the digital amplifier age. The SL-1000R turntable system released in 2018 fused digital control technology with traditional analogue technology at high levels. Combined with the overwhelmingly powerful torque and accurate and smooth rotation performance, this turntable realised unprecedented quietness and sound dynamism unattained by any conventional record player.

Armed with the achievements and evaluations accumulated in the Hi-Fi market since the rebirth of the Technics brand in 2014 and backed by the results of R&D aimed at improving sound quality focussing upon digital technology, Technics launches the SU-R1000 integrated amplifier, further evolving digital amps to new heights.

SU-R1000 Development Approaches

Most high-end audio amplifiers are analogue. Analogue amps boast a long history, and their sound quality improvement technologies, such as circuit systems and parts development, are regarded as having been fully established. Digital amps, on the other hand, still have great potential for further development since rapid technical advancements in recent years have enabled high-accuracy signal processing not possible with analogue systems. Given that today’s mainstream music sources are digital, such as CD and streaming platforms, digital signals should ideally be processed in the original digital format. Furthermore, devices such as AD converters are also advancing, allowing high-precision digital signal processing of analogue music sources.

Under such circumstances, Technics has been devoted to the development of digital amp technology since 2014. In creating the SU-R1000 Reference Class product, Technics took the following technical approaches.

Advancement of Digital Amp Technology

Technics has newly developed ADCT (Active Distortion Cancelling Technology), in addition to the proprietary technologies that maximise digital amps’ advantages, such as LAPC and JENO. The ADCT realises further enrichment of sound quality by eliminating distortion generated in the power stage by speaker’s counter electromotive force and power supply voltage drop.

Advancement of Power Supply

The new switching power supply system, Advanced Speed Silent Power Supply, has successfully improved the S/N ratio. Furthermore, four independent power supply units provided for different circuit blocks realise superb separation and dynamic sound reproduction. What’s more, the power devices incorporate low-resistance GaN (gallium nitride).

Technics’ New Proposal: Phono Input

There are still many analogue record enthusiasts, and they form an important market segment for Technics. The SU-R1000 is equipped with an Intelligent Phono EQ, which utilises digital technology to achieve accurate equaliser curve and delivers high sound quality by improving the crosstalk of the cartridge and enhancing the frequency characteristic determined by the matching of the cartridge and phono equaliser.

High Sound Quality Technologies Incorporated in SU-R1000

JENO (Jitter Elimination and Noise-Shaping Optimisation)

Jitter is a major cause of distortion in digital systems, and is caused by mis-timing in the master clocks used in digital-to-analogue conversion. To eliminate the degradation of sound caused by jitter, Technics has developed an original jitter reduction circuit, comprising a clock generator in the noise-shaping system to reduce jitter in the low-frequency range and a high-precision sample rate converter for suppressing jitter in the high-frequency range. Thus it reduces jitter in an ideal way over the entire frequency range. This works with original high-precision PWM (Pulse Width Modulation) conversion circuit, optimising the noise-shaping speed, the degree and re-quantisation number, and the PWM gradation, in order to convert high-resolution signals to PWM without causing any damage to the dynamic range. These technologies enable Technics digital amplifier designs to reproduce the natural and delicate nuances of music.

LAPC (Load Adaptive Phase Calibration)

Speaker impedance changes with each frequency and a power amplifier is required to drive speakers without being affected by the speaker’s characteristics. However, conventional digital amplifiers are connected to speakers through a low-pass filter at the output stage, so they are even more strongly affected by the speaker impedance characteristics. Also, although the amplitude characteristics of conventional amplifiers due to negative feedback were improved, the phase characteristics could not be enhanced. We thus developed a speaker impedance adaptive optimisation algorithm that performs correction to the ideal impulse response through digital signal processing by measuring the frequency amplitude-phase characteristics of the amplifier with the speakers connected. This new technique enables flattening the frequency characteristics of amplitude and phase, which had previously not been achieved by amplifiers, as well as delivering a sound with rich spatial expression.

ADCT (Active Distortion Cancelling Technology)

The Active Distortion Cancelling Technology newly developed by Technics accurately extracts and removes distortion in the power output stage which is generated by the speaker’s counter electromotive force and voltage drops. In the Hi-Fi audio market where an unlimited number of audio systems can be configured by combining various products, high-end audio amplifiers need to drive a diversity of speakers to the fullest. The Active Distortion Cancelling Technology accurately extracts distortion by determining the difference between the speaker terminal output and JENO output and then applies correction to the output digital signal, thus correcting the conventional digital amp system. This provides powerful speaker driving force and acoustic energy while offering the superior features of the digital amp, such as low noise, sharp sound image and expansive sound ambience, regardless of the types of connected speakers.

Advanced Speed Silent Power Supply

The SU-R1000 uses a switching power supply system to ensure stable supply of voltage and current required by the digital amp. In a conventional switching power supply system, the ON time of the switching operation was controlled in order to stabilise the voltage, and this caused the switching frequency to fluctuate according to the load, resulting in a modulation noise to affect the sound quality. The Advanced Speed Silent Power Supply has eliminated this noise by fixing the switching frequency in the 400-kHz band. Furthermore, a Super Low Noise Regulator is provided in the later stage. This prevents the decrease of regulation resulting from the fixed switching frequency and impedes the mixing of noise component into high frequencies. The result is high-response power supply that brings out the best performance from the digital amplifier.

Four Independent Power Supply Units

In the SU-R1000, every element comprising the power supply has been revamped for higher sound quality. What’s more, four independent power supply units are provided for different circuit blocks for further enhancement of sound quality. Since the SU-R1000 is an integrated amplifier, the internal circuits consist of a pre-amp stage and power amp stage in a mix of analogue and digital circuits. The Phono-EQ section which processes minute analogue signals is particularly susceptible to the effect of noise transmitted through the power supply line. The SU-R1000 uses separate power supply units for the analogue circuits and digital circuits in the pre-amp stage. It also uses separate power supply units for the right and left channels in the power amp stage that requires large electrical power. With the four independent power supply units, the SU-R1000 prevents power-line-induced interference among the circuit blocks and realises a high S/N ratio and superb separation.

Battery Driven Clock Generator

For a digital amplifier, improving the precision of the clock, which provides the important operation timing information, is the key to high sound quality. However, power supply noise from the clock circuit is a major impeding factor. The SU-R1000 is equipped with a Battery Driven Clock Generator. The use of a battery as a power supply for the clock circuit eliminates the adverse effect of power supply noise on the clock signal, thus enabling superb sound image localisation and clear sound space expression.

GaN-FET Driver (High Speed and Low Impedance Power devices)

In the power output section of the amplifier, Technics has employed a high-speed GaN (gallium nitride) FET driver device with super-low resistance. This enables the construction of a high-power amp using a single push-pull configuration, allowing the length of the large current carrying signal path to be shortened, and resulting in outstanding linearity regardless of the sound level.

Intelligent Phono EQ

The Intelligent Phono EQ mounted in the SU-R1000 utilises the sound quality improvement technology for DSP, which Technics has accumulated through the development of LAPC, in order to realise high sound quality not possible with analogue Phono-EQ. This technology consists of three parts: 1. Accurate EQ Curve, 2. Crosstalk Canceller and 3. Response Optimiser. These functions can be turned ON/OFF to suit the user’s preference.

1. Accurate EQ Curve

Accurate EQ curve is achieved by a hybrid analogue-digital system. The high-gain low-pass filter (LPF) performs analogue processing, and high frequencies are raised after the A/D conversion. The use of the 40-dB LPF in the analogue region suppresses the bit loss during digital filter processing, and high frequencies are raised with high accuracy in the digital region to achieve a high S/N ratio.

2. Crosstalk Canceller

This function measures the crosstalk characteristic of the installed cartridge by using the crosstalk measuring signal recorded on the Calibration Record bundled with the SU-R1000 and then performs reverse-correction using the built-in DSP to achieve significant improvement of the crosstalk characteristic. This results in sharper sound image and more expansive sound ambience.

3. Response Optimiser

This function measures the frequency characteristic of the installed cartridge by using a TSP (Time Stretched Pulse) signal recorded on the bundled Calibration Record, and corrects characteristic disturbance. It corrects the effect of impedance matching. between the cartridge and phono equaliser to bring out the true sound quality of the cartridge. This technology aims to improve sound quality by providing a selector such as a switch in the high-sensitivity phono input line for the removal of the possibility of noise mixing.

A Wealth of Input and Output Terminals

The new amp comes with an abundance of input and output terminals, including Phono XLR Input and two USB-B Input terminals, to handle a broad range of analogue and digital audio sources and peripheral equipment.