Audiophilepure

At the opening of this review, I posed the question as to whether the LSA Warp 1 Class D amplifier could replace a solid-state Class A power amplifier. My conclusion is if you use a Class A amplifier partially because of its effect on the harmonic balance of your system, then no, the Warp 1 will not be an interchangeable substitute, because it has a different and, to my ear, more neutral, slightly less euphonic harmonic balance than a traditional Pass Class A design. But if you’ve ever wanted to hear what your system would sound like with an exceedingly noise-free power amplifier that produces a remarkably even-handed harmonic balance, then yes, the Warp 1 would be a viable power amplifier option.

Given its rather modest price of $1495, you might be tempted to write off the Warp 1 as just another me-too, mid-fi Class D power amplifier. That would be a mistake. I have, over the years, listened to plenty of Class D power amplifiers…so far, the Warp 1 is the best-sounding one I’ve reviewed. If you have loudspeakers that are at least reasonably efficient (or better), and you have no need to warm up their sonic personality, the Warp 1 power amplifier could be an excellent and exceedingly rational choice as your next reference power amplifier. 

https://www.stereophile.com/content/lsa-vt-70-integrated-amplifier

 V3 and V4 on the right. Pull the left switch toward you (position V1) to get a reading on the state of the first tube. The left needle should jump to the middle of the meter’s red zone and stay there. Now, push the switch to the rear, to the V2 position, and again watch the needle. Then do the same with the switch and the meter on the right. If necessary, insert a small slotted screwdriver in the corresponding hole marked “BIAS ADJ” and gently turn the trimpot until you’ve nudged the needle to the correct position. The process took about a minute for all four tubes. LSA recommends a monthly bias check, but during the three months I had the amplifier in my system, the VT-70 was completely stable, no adjustments needed.

There’s a lot to like about the AVM A 30.3. Yes, it’s pricey, but not overpriced given the quality of the audio presentation and marvelous build quality, and attention to detail. This could be a great choice for a full-blown high-end 2-channel system in a home or apartment. The dual amps can drive just about anything with super sharp imaging and inaudible distortion. The electronics are free of audio clicks when changing inputs, but there is a nice physical click confirming the input change. The AVM A 30.3 can handle digital inputs as well, and I could find no fault with the high-quality DAC that’s part of the package.

Those who evaluate amplifiers like it’s a game of Top Trumps will never ‘grok’ Lavardin because a 55W, four-input amplifier that doesn’t even have a balance control doesn’t hit their spec buttons, and the presence of notionally the same product for thousands less will send them apoplectic. On the other hand, if you listen to the Lavardin ITx there is nothing remotely close to what it does… and the ITx 20 does it a lot better. If you want a valve amplifier but don’t want valves, listen to the Lavardin ITx. And if you like the ITx, only listen to the ITx 20 if you have that kind of money to hand. Because you just might not be satisfied with anything else.

That said, there’s a slight price to pay for this extra musicality. Although the KT88s are capable of cranking more volume than the 6550s in triode mode, they don’t quite match that tube complement’s tetrode muscle. So, one will, on occasion—especially if in a mood to crank some heavier rock—cause a tube to draw excess current, which activates the fault-sensing system to protect the amplifier by shutting down. A deck-mounted LED next to each of the output tubes indicates which one is having a problem, and rebooting takes about a minute. Now and then a tube may completely fail, requiring replacement, but that’s rare and, in any case, is something all tubes are prone to.

https://www.whathifi.com/reviews/technics-sa-c600

Mahler’s Symphony No.10 is a dense and demanding piece of classical music. The Technics does well, though to be fair if you’re after the last word in insight a well-chosen combination of separates will do better. Regardless, the SA-C600 captures the feel of the music convincingly, delivering a combination of drama and fluidity that grabs a firm hold of our attention. A claimed power output of 30 watts per channel (into 8 ohms) is pretty modest, but the SA-C600 exceeds expectations by sounding surprisingly authoritative and suitably large-scale.

The digital inputs maintain this high standard, provided the source is of the requisite quality, of course. It’s only when we feed a signal through the single line-level analogue input do we feel a tinge of disappointment, as it sounds a little more opaque and dynamically constrained than we’d hoped for. Oddly, the onboard moving magnet phono stage doesn’t exhibit these traits to any serious extent and sounds way better than is the norm from such built-in circuits. This phono stage is good enough for most price-compatible turntables, which is an unexpected but thoroughly pleasant surprise.

https://www.hifinews.com/content/engstr%C3%B6m-arne-tube-amplifier

Ahead of those 300B power tubes, used in push/pull configuration, is a quartet of D3a driver/ phase-splitter triodes – again two for each channel – which are direct-coupled to the power section. The designer explains that ‘the driver stage has a symmetrical ± power supply so the DC level on the output of the driver is zero, making it possible to connect the driver stages directly to the grids of the power tubes which have individual cathode bias’.

The intent of this design, which is entirely in-house Engström thinking, is aimed at extending headroom and reducing distortion without compromising transient performance. Quite apart from the impressive output for a 300B amplifier of this kind, the ARNE promises real speaker-driving capability, without the need to seek out ultra-high-sensitivity ‘made for valves’ loudspeakers to make the most of usually tiny – often single-digit – power outputs. This is a world away from the ‘purist’, though not necessarily ‘pure’, single-ended single-300B amp

My ears were trained years ago, late at night, in dark recording studios. I listened to thousands of hours of music, through the iconic Yamaha NS-10 studio monitors. The NS-10s were legendary in their transparency. No musical sin could hide from these speakers. None. If there was a problem, the NS-10 would reveal it. The Pass Labs X260.8 monoblock amplifiers remind me of these speakers.

If you love power, grace, transparency, and (if you move your equipment around a lot) occasional back pain; I highly recommend you demo a pair of the Pass Labs X260.8 monoblock amplifiers or any of the Pass Labs .8 series amplifiers. You will not be disappointed. Highly recommended!