Audiophilepure

https://www.stereophile.com/content/electrocompaniet-aw-800-m-stereomonoblock-power-amplifier

The AW 800 M’s unique voice is perhaps best described by returning to where I started, with soup. In the most miraculous miso soup I ever tasted, meticulously cut, carefully proportioned, and impeccably arranged vegetables and herbs floated free from each other in a clear, savory broth. Each morsel had its own unique flavor, as did the broth itself. Because no taste overpowered any other, the entire bouquet of flavors was there to savor.

Many humans would gladly exchange that miso masterpiece for a bowl of the Atlantic Fish Company’s finest Boston Clam Chowder. Need I begin to recount how different they are in taste, consistency, subtlety of flavors (or lack thereof), and appearance?

Which is superior? Our frequent online critics will be all too eager to either supply a definitive answer or to state that only by measuring certain viscous parameters can you be sure which soup is best. I, in turn, would advise you, unless you have specific allergies or sensitivities, to stick with taste. As different as they are, you may find you crave both. And even if you prefer one over the other, you’ll be richer for the experience—as you will for tasting the Electrocompaniet AW 800 M Reference mono

https://www.soundstageultra.com/index.php/equipment-menu/1208-chord-electronics-ultima-6-power-amplifier

In terms of detail retrieval, transparency, bandwidth, soundstage, and stability, the Ultima 6 is up there with power amplifiers at the top of its price class. I absolutely loved it, especially when driven by my Naim NAC 82 preamp, which added a little more exuberance to the sound. Partnered with the matching Ultima Pre 3, the combination was also deeply impressive, and offered a superb insight into the music. This combination was particularly notable for the way it handled low-level detail, such as ambient cues, the sound of fingers on guitar, or the subtle inflections in the vocal performance of an artist. The sound was never fatiguing, and always absolutely natural. It’s easy to see why the BBC uses Chord amplification.

https://www.hifichoice.com/content/longdog-audio-p6100m

This is helped along somewhat by the naturally gutsy, barrel-chested sound, but it’s not thuggish or brutish in any way. There is enough slam to really tickle the big 12in bass drivers of my loudspeakers. This power is swiftly deployed; the opening drums on Roxy Music’s More Than This for example, are wonderfully powerful and dramatic when the wick is turned up. Yet still there’s no obvious sense of strain, despite the amplifiers not having a ‘muscle amp’ look about them.

Extended listening ends up with me thoroughly enjoying these Longdog Audio monoblocks. They’re really good at pretty much everything; for example, soundstaging is excellent, with a really ‘out of the box’ presentation that is never less than expansive and three dimensional. Ultimately, perhaps, they don’t have the true grit and insight of some really high-end designs – yet they deliver massive amounts of sound per pound.

https://www.enjoythemusic.com/superioraudio/equipment/1023/Margules_Audio_U280SC_30th_Anniversary_Limited_Edition_Vacuum_Tube_Amplifier_Review.htm

I learned that even in ultra-linear mode, this amplifier could easily drive the Scansonic speakers to a volume that I considered “realistic.” Not only was the volume more than satisfactory but so was their sound, due to the sound quality prowess of the Margules U-280SC 30th Anniversary tube amplifier. Even though the Scansonic MB5 B speakers cost less than half the price of the speakers that were used for the majority of the audition period, their midrange transparency made it so I felt as if I could hear not only details from the musical signal being sent to the speakers but the details from the musical signal that was sent to the Margules amplifier.

The above description might seem a bit obtuse. Yet, it was the relative amount of transparency of these speakers that led to a feeling that I could imagine hearing through to the Margules amp, and therefore could sense that I could clearly hear the intentions of the musicians, engineers, and producers that were responsible for the recording I was listening to at the time. The Margules amp’s level of transparency was often frighteningly lifelike sounding on some recordings.

https://www.enjoythemusic.com/superioraudio/equipment/1023/Art_Audio_Opus4_Carissa_Vacuum_Tube_Amplifier_Review.htm

Art Audio’s Opus 4 monoblocks managed to convey an impression to me of nearly as much depth of overall musicality as the 275 Watts of ultra-linear power of my other reference system amp, the CJ Premier 8A. I ultimately decided to keep the Carissa amplifier as part of my system to use with the Quad 57s and as an alternative for the 63s when they are not connected to the big CJ amps. The power, control, and sound along with the lavish and lovely looks of this latest revised Art Audio 18 Watt SET amp as designed by Tom Willis is highly recommended to be seen and heard.

Art Audio’s Carissa vacuum tube stereo amplifier has character, a distinctive beauty, and elegance that it continues to be part of my reference system. If you are looking for an elegant-looking design and musically refined, and lovely sounding amp in a more powerful rating range, then seek out an audition of the Art Audio Opus 4 monoblocks that have a diminutive look and weight yet produce a prodigious, powerful, and excellent quality output. Bravo to both Tom and Scott for their excellence in design, musical listening, and customer support throughout this evaluation period.