Audiophilepure

With an output of 300 Wrms (x 2) at 8 ohms and 390 Wrms (x 2) at 4 ohms, the Telos 800 is a leap forward in Goldmund’s offerings, presenting a formidable stereo amplifier capable of satisfying even the most discerning audiophile consumers. 

To support its power output and audio quality, the Telos 800 incorporates a 3200 VA toroidal power transformer and an impressive capacitor bank of 93,600 µF. Compliant with IEC 62368-1 standards on rated power consumption, this amplifier delivers remarkable efficiency and power, rivaling the performance of two mono-power amplifiers. 

https://www.enjoythemusic.com/magazine/equipment/0424/Aric_Audio_Super_300B_SET_Stereo_Power_Amplifier_Review.htm

The Aric Audio Super 300B SET amp can get up and go! I did a lot of late-night listening with the system at low volume levels. Then it was time to let the amp cut loose. I played some classical recordings from Reference Recordings engineered and recorded by the world-famous Keith Johnson. Do you want dynamics baby? How about a full orchestra at close to realistic volume levels? Bing, check the box. The other thing about the dynamic range was what you didn’t hear. The amp is dead quiet! I believe the benefit of having a separate power supply allows for silent operation which increases the dynamic range. Every dB makes a difference.

I was surprised by how well-defined, and the fullness of the bass was presented by the Aric Audio Super 300B SET. This is not your father’s tube amp. It is quick, lively, transparent, and dynamic. Tonal contrasts and frequency responses were smooth in transitions. The high frequencies were articulate fully extended and natural sounding. I don’t think I’ve had an amp in my system that accomplished these feats! Do all 300B amps sound this way? Remember this is my first journey with a 300B amp. Is this the Super 300B SET a benchmark design? I’m inclined to say yes.

https://www.stereophile.com/content/arcam-radia-a25-integrated-amplifier

The original 1953 Columbia mono disc produced an exceptionally dense, life-like sound that intensified the effect of the Budapest String Quartet in delivering this soul-stirring performance. That old black disc is gone, but the hi-rez remastering (24/192 FLAC, Columbia/Qobuz), played through the Denafrips Terminator Plus DAC into the A25’s analog input, made exceedingly smooth, instantly engaging sound laced with tone that was more saturated and tempo-keeping that was more toe-tapping than expected. Playing Op.133, the ARCAM exceled at sorting all the sound molecules and not mucking them up. It felt good to hear a $1499 integrated amp make a piece of difficult music this affecting. Its natural ease invited me to lean forward and close my eyes.

Right now, my system is silent, but as I type these words, I can still hear Op.133 playing inside my head. I keep trying to imagine what was going on inside of Beethoven’s head as he composed these dark, quivering forms. Driving the Heretic speakers, the A25 presented the Maestro’s Grosse Fuge as a daring artistic invention performed by a brilliant quartet operating in peak form.

Soulnote also implements a very unique (and likely expensive) relay-switched balanced attenuator. The resulting level settings are quite coarse but are accompanied by a satisfying and confidence-inspiring mechanical “click” of the relays switching as you change the volume.

The case and circuit layout are said to be symmetrical, and the case incorporates all of Soulnote’s unique resonance control schemes.

The whole deal only weighs about 22 pounds which is very lightweight for an 80 wpc Class A/B integrated amplifier. The toroidal transformer visually appears to be undersized for the amplifier’s claimed power delivery.

https://www.audiophilia.com/reviews/2024/3/4/neptune

The acoustics are surprisingly good, giving a full amplitude to the horns and brass and revealing an unfailing purity of sound and accuracy from the upper strings. The bass is perhaps slightly muddied in spots, but this, in no way, mars the overall impression of a stunning sound and performance. The Neptune’s macrodynamics are represented with a clear, yet golden glow that is so typical of SET amps but with a bonus from the Neptune’s 211 power tubes. With no negative feedback required, neither local nor global and low levels of distortion, the 211s create a substantially open and spacious soundstage, augmenting the perception of depth and instrument placement with this orchestra and this recording. T

Vincent Audio has built a reputation for making amplifiers that sound great, are reliable and that can serve as the anchor of a well-performing stereo system. When our editor-in-chief, Carlo Lo Raso, asked if I could make time to review an integrated amplifier from Vincent, the answer was a rousing YES! There is no audio dealer within 200 miles of our home that carries Vincent, and over the last two decades, I have been curious to find out just how good their amps are.

The Vincent SV-237MKII goes well beyond being a high-value audio component. It can serve as the centerpiece for a high-end audio system. It can hold its own with a variety of high-end speakers. Its performance on both the Diptyque 140 Mark II planars and the DALI Oberon 9’s demonstrated a versatility that is hard to find for such a modest price.

The included remote operates all inputs with complete silence. The build quality is excellent. I have worked hard to come up with something I don’t like about this amplifier, and cannot think of anything except that it only has two digital inputs. Everything about the Vincent 237MK II is first class. Think of it as a five-star performer with a three-star price!