Audiophilepure

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” Since the Ayre MX-R monoblocks have been a central part of my reference system for the better part of a decade, and as the Twenty upgrade of the MX-Rs (now $29,500/pr.) has itself been ear-opening, it was exciting to hear how far class-D, as implemented in the Mola Mola Kaluga, has scaled that height. Based on my experiences, a valid argument can be made in favor of the Kaluga, which in some parameters — iron-fisted bass control, absolute quiet — beats what I consider to be the best of the class-A/B topology. Both were wonderfully transparent amplifiers able to transmit the underlying performance and emotional appeal. Returning to the Ayres at the end of my listening to the Kalugas, I felt I could relax into the emotional aspect of the music through the MX-R Twentys just a skosh more — although this was perhaps due only to my long intimacy with the Ayres’ sound. Nevertheless, and all things considered, the Kalugas, fed by their companion Makua preamp, trumped the AX-5 Twenty currently presiding over my family-room system. That such an equality of excellence can be achieved with such wildly different approaches — zero-feedback, fully-balanced class-A/B vs. massive-feedback class-D — is a testament to the efficacy of Bruno Putzeys’s designs.”

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” During the months I listened to the Kaluga, and regardless of the preamplifier used — at first my Ayre Acoustics KX-R Twenty, then Mola Mola’s Makua, and finally Ayre’s Codex in variable output mode — I experienced an ease that I’d hoped for but could not assume I would hear. This ease not only defied the conventional wisdom regarding the limitations of class-D sound, but embodied the sense of musical reality often attributed to and associated most closely with class-A amplification.”