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I heard evolutionary changes in multiple parameters. Overall, these could be described as a greater robustness in the MX-R Twenty’s sound over the MX-R: more meat on the bone. The MX-R Twenty did away with the faintest sheen of electronic haze that I heard in the MX-R only in direct comparison with a pair of Aesthetix’s Atlas Signature tubed/solid-state monoblocks. What I’d incorrectly attributed to the faintest remnant of LP surface noise or master-tape hiss in the otherwise effervescent sound of Louis Armstrong and Ella Fitzgerald’s Porgy and Bess (180gm LP, Verve/Speakers Corner MGVS-6040-2) was revealed as an artifact introduced by the solid-state MX-R. There was no hiss with the MX-R Twenty. The increase in contrast made possible by eliminating the perception of a noise floor (rather than artificially boosting the top) opened the door to greater enjoyment regardless of volume level, and never at the expense of long-term listening pleasure. There was nothing etched about the MX-R Twenty’s sound.

Tagged: Ayre Acoustics MX-R Twenty Mono Amplifiers

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