The Vertere Acoustics Phono-1 phono preamplifier has been updated several times over the past nine years, and the new LX version is hailed by the manufacturer as the most significant evolution of the platform. Vertere notes that the original model received the MkII update in 2019, followed by the Phono-1 MkII L in 2022, and now the Phono-1 LX continues its development.

In creating this new product, the company leveraged the expertise of its flagship Calon phono preamplifier, a dual-mono design unveiled at the 2024 High End Munich exhibition. Thus, the Phono-1 LX is positioned not as a completely new product, but rather as a thoroughly redesigned version of an already proven design.

The previous version of the Phono-1 MkII L featured a gold-plated L-shaped printed circuit board, a redesigned internal layout, and easier access to the DIP switches. It also retained the extensive tuning options for both MM and MC cartridges: ten gain settings, fifteen input impedance settings, and nine capacitance settings.

The Vertere Acoustics Phono-1 LX phono preamplifier has further refined this foundation. The new product features an improved printed circuit board, a redesigned internal DC power supply, improved AC input filtering, a new two-position ground lift switch, a redesigned case and cover, and the signature blue-green power LED.

According to Vertere Acoustics, the new printed circuit board features a higher-quality gold plating, which should ensure more stable solder joints across the entire surface. The redesigned DC power supply, in turn, is designed to deliver cleaner and more stable power to the circuitry. This is especially important for the phono preamplifier, as the signal from the cartridge is extremely weak, meaning noise, grounding, and power supply stability directly impact the final sound.

Particular attention was paid to noise filtering. A dedicated choke is installed at the AC input to block high-frequency interference before the signal reaches the circuit. An additional choke is located after the transformer and provides another stage of filtering before power is supplied to the DC circuits. The grounding system has also been simplified: a new two-position switch allows you to choose between ground lift and ground connection, depending on the specific audio system.

The Vertere Acoustics Phono-1 LX phono preamplifier remains a recognizable member of the Phono-1 family, but features a more refined finish. The new cover features a subtle silver metallic texture, and the removal of the four top mounting screws creates a more refined appearance. The manufacturer claims a darker background, expanded dynamics, a more precise soundstage, and a more natural vocal reproduction.

Price:  $2,000

The amplifier’s role in a hi-fi system

An amplifier is the electrical and musical core of a hi-fi setup. While your source components provide the signal and your speakers reproduce the sound, the amplifier determines how that signal is handled and delivered. This goes well beyond raw power output.

Factors such as current delivery, damping factor, stability under load, and power supply design all contribute to how confidently an amplifier controls a pair of speakers. A system with the right amplifier will sound composed, dynamic, and engaging, while a poor match can result in strained highs, weak bass, or listening fatigue.

Why power ratings don’t tell the whole story

One of the most common mistakes when buying an amplifier is focusing too heavily on wattage figures. While power output matters, numbers alone rarely tell the full story.

A modestly rated amplifier with a strong power supply and excellent current delivery can often outperform a more powerful model in real-world listening. This becomes especially important with demanding speakers that feature complex impedance curves or low sensitivity.

Specifications such as THD, signal-to-noise ratio, and amplifier class (Class A, AB, D, or G) are certainly useful, but they should be viewed as part of a bigger picture rather than the final answer.

Matching the amplifier with your speakers

The relationship between amplifier and loudspeaker is one of the most important aspects of building a balanced hi-fi system. Not every amplifier works equally well with every speaker, even when the specifications suggest compatibility.

Speakers with low sensitivity or difficult impedance behavior require an amplifier capable of delivering stable current under demanding conditions. When properly matched, bass becomes tighter, vocals sound more natural, and the stereo image gains precision and depth.

On the other hand, highly efficient speakers may benefit more from refinement and tonal finesse than from sheer power. In those systems, a more delicate and nuanced amplifier design can produce a more musical and enjoyable result.

This is why amplifier selection should always be considered as part of the complete system, not as an isolated component purchase.

Understanding amplifier types

Modern hi-fi amplifiers generally fall into a few main categories:

Integrated amplifiers

Integrated amplifiers combine a preamplifier and power amplifier in a single chassis. They remain the most popular option because they offer simplicity, performance, and value in one package.

Separate pre- and power amplifiers

Using separate components provides greater flexibility and upgrade potential. These systems often deliver improved channel separation and power supply performance, but they also require more careful matching and system planning.

Streaming amplifiers and all-in-one systems

Compact streaming amplifiers continue to grow in popularity thanks to their convenience and modern functionality. Many combine streaming, DACs, amplification, and wireless connectivity into a single solution, making them ideal for minimalist setups.

The best choice depends on how you plan to use your system and what level of flexibility or future upgrade potential you want.

Technical details that truly matter

Beyond the headline specifications, several technical factors can significantly influence performance:

• Power supply quality
• Current delivery capability
• Circuit design
• Thermal stability
• Component quality
• Input and output connectivity

Modern amplifiers may also include built-in DACs, streaming platforms, Bluetooth, HDMI ARC, or room correction systems. While these features can improve usability, it is still important to ensure the amplifier’s core sound quality remains the priority.

The best products strike a careful balance between functionality, reliability, and musical performance.

Listening is still the most important step

No specification sheet can fully describe how an amplifier will sound in your room, with your speakers, and with your music.

Timing, dynamics, tonal balance, and emotional engagement are qualities best judged through listening. An amplifier that measures beautifully may still fail to create the musical connection you are looking for, while another may immediately bring your system to life.

Whenever possible, listening to amplifier and speaker combinations before making a decision remains the most reliable way to find the right match.

Conclusion

Buying an amplifier is not simply about choosing the most powerful model or the one with the longest feature list. The best amplifier is the one that works harmoniously within your system and helps your speakers perform at their full potential.

When amplifier, speakers, and source components are properly matched, the result is a system that feels balanced, controlled, and musically convincing. Taking the time to understand these relationships will ultimately lead to a far more rewarding listening experience.

At the heart of the Pre900 is a fully balanced four-channel differential architecture that treats the left and right audio channels as completely independent signal paths. This approach is far more sophisticated than the simplified “balanced” implementations often seen in more affordable hi-fi gear. By maintaining separate processing for each channel throughout the entire audio path, TOPPING aims to minimize crosstalk, suppress unwanted noise, and preserve stereo imaging with exceptional accuracy.

The company has also paid close attention to internal power management. The digital and analog sections each operate on dedicated power circuits, reducing interference between sensitive audio stages and the control electronics. In practice, this contributes to a cleaner background, improved channel separation, and greater overall transparency, particularly when paired with revealing power amplifiers or high-resolution source components.

One of the most technically impressive elements of the Pre900 is its relay-controlled volume system. Instead of relying on conventional potentiometers, which can introduce imbalance and degradation over time, TOPPING has implemented a precision relay ladder network capable of adjusting volume in ultra-fine 0.1 dB increments. With a total of 1000 discrete volume levels available, users gain an unusually precise degree of control over listening levels. This level of granularity is especially valuable in nearfield desktop setups and high-resolution headphone systems where even minor volume adjustments can noticeably affect the listening experience.

Connectivity is equally serious. The Pre900 is equipped with three balanced XLR/TRS combination inputs using premium Neutrik connectors, ensuring compatibility with both professional studio equipment and modern high-end home audio components. A balanced XLR output handles signal delivery to external power amplifiers or active loudspeakers, while three selectable gain levels allow the preamplifier to adapt to a wide variety of system configurations.

TOPPING also claims an impressive maximum output voltage of 69 Vpp, giving the Pre900 enough headroom to comfortably drive demanding amplifier stages without strain. For users operating powerful balanced systems, this translates into effortless dynamics and improved control during complex musical passages.

Beyond the technical specifications, the Pre900 incorporates several thoughtful usability features that make daily operation feel refined rather than clinical. A built-in volume safety system automatically lowers the signal level when switching inputs or powering on the unit, helping protect loudspeakers and headphones from accidental spikes or unexpectedly high playback levels.

The front panel combines a minimalist industrial aesthetic with surprisingly versatile functionality. Dominating the center is a 2-inch color display capable of operating in several visual modes. Users can choose between standard playback information, animated VU meters, or a real-time FFT spectrum analyzer that gives the device a more professional studio-inspired personality. The interface itself is controlled through a combination of touch-sensitive buttons, a precision rotary encoder, and an included infrared remote control.

Physically, the Pre900 continues TOPPING’s familiar approach to construction quality. The chassis is machined from aluminum using CNC manufacturing techniques, resulting in a rigid enclosure designed to reduce vibration and electromagnetic interference while maintaining a clean, understated appearance suitable for both desktop and full-size hi-fi systems.

For users integrating the Pre900 into larger systems, TOPPING has included 12V trigger input and output connections. This allows connected components such as power amplifiers or active loudspeakers to power on and off automatically alongside the preamplifier, streamlining operation and creating a more seamless user experience.

What makes the Pre900 particularly interesting is how it bridges the gap between professional audio engineering and enthusiast hi-fi design. It clearly prioritizes measurable performance, low distortion, and signal purity, yet it also offers the kind of flexibility and visual sophistication that modern audiophiles increasingly expect from premium desktop and living-room systems alike.

Rather than chasing coloration or a heavily “voiced” sonic character, the TOPPING Pre900 appears designed to disappear from the signal chain entirely. For listeners seeking neutrality, precision, and uncompromising balanced operation, it represents another strong example of how modern audio manufacturers are pushing high-end engineering into increasingly accessible territory.

TOPPING Pre900 specifications :

• Device type: fully balanced preamplifier
• Architecture: Quad-channel differential
• Volume control: relay / 1000 steps / 0.1 dB
• Inputs: 3 x XLR/TRS Combo
• Outputs: XLR
• THD+N: 0.00005% @1kHz
• SNR: 151 dB
• Dynamic range: 151 dB
• Frequency response: 20 Hz – 40 kHz (±0.05 dB) / 20 Hz – 100 kHz (±0.1 dB)
• Output level: 69Vpp @G=L / 65Vpp @G=M / 65Vpp @G=H
• Gain: 0 dB / +10.4 dB / +19.9 dB
• Crosstalk: 150 dB
• Input impedance: 20 kOhm
• Output impedance: 100 Ohm
• Display: 2.0″ color
• Functions: FFT / VU Meter / Safe Volume / 12V Trigger
• Remote control: CNC aluminum housing
• Power supply: separate for digital and analog parts

Minimalist yet comprehensive preamplifier

According to the designers, the new 5510 preamplifier from British Exposure Electronics is pleasantly free of the frills that often seem to be designed to distract from the essence. Instead of relying on a touchscreen, various (control) software, or other passing trends, the British brand claims to have produced a flagship control center for serious two-channel systems, with a firm focus on technology and ease of use.

According to Exposure, the 5510 is equipped with an ultra-quiet power supply featuring a specially wound toroidal transformer and integrated hum shielding. That may not be the most attractive detail, but in practice, it is often the deciding factor. There is also a relay-controlled volume system with 99 steps, which guarantees precise channel matching and repeatable volume control, as you would expect from a device in this price range.

Extensive connection options

The 5510 offers six line inputs and features both balanced XLR and unbalanced RCA outputs, making the device easy to pair with a wide range of power amplifiers. In other words, it is a specification designed for practical systems, rather than to prove a philosophical stance on minimalism.

Optionally expandable with modules

Exposure has also opted for a modular approach, allowing buyers to add the features they are actually likely to use themselves.

There is a module for connecting a turntable with an MM or MC cartridge, and there is a separate module for those who wish to connect an optical cartridge from the Japanese DS Audio. The third module is a DAC module for connecting digital sources.

Exposure 5510: housing

The 5510 is housed in a robust aluminium casing designed to reduce resonance and protect sensitive circuits from electromagnetic interference. The manufacturer has not added any decorative elements, which is certainly a plus for enthusiasts of understated components rather than flashy ones.

Meet the FiiO Jade Audio LEVEL 1 — a small-footprint integrated amplifier built for modern setups where space is tight, but expectations aren’t.

Big power, small footprint

At first glance, the LEVEL 1 feels like it belongs next to a pair of nearfield speakers on a clean desktop. But under the hood, it’s built around the proven Texas Instruments TPA3255 Class D platform — a chip that’s become something of a cult favorite for delivering serious output with impressive efficiency.

FiiO pairs this with a six-layer PCB featuring thick copper traces and gold plating, signaling that this isn’t just about raw wattage — it’s about control, stability, and keeping noise in check. Supporting components come from names audiophiles recognize instantly, including WIMA, Nichicon, and ELNA, suggesting careful attention to signal integrity rather than just spec-sheet flexing.

Real-world power vs headline numbers

On paper, the LEVEL 1 can push up to 600W into 4 ohms (300W per channel) — numbers that place it far beyond typical desktop amplifiers. But as always, the fine print matters.

With the included 48V/5A power supply, output is capped at a still-respectable 240W. To unlock the full potential, you’ll need to step up to a 53V/12A external PSU, turning the LEVEL 1 into something much closer to a full-blown speaker amp than a desktop convenience box.

Hybrid control

FiiO keeps things tactile with physical bass and treble knobs on the front — quick, intuitive, and perfect for on-the-fly adjustments. But the real flexibility comes through the FiiO Control app, which opens up a 10-band parametric EQ, presets, and deeper tuning via Bluetooth or USB.

It’s a smart dual-layer approach: instant control when you want it, surgical precision when you need it.

The LEVEL 1 isn’t just an amp — it’s designed as a compact system hub.

• Subwoofer output for easy 2.1 setups
• PRE-out for scaling into larger systems
• Flexible integration whether you’re running active subs or external power stages

Wireless is handled via Bluetooth with support for SBC, AAC, and LDAC, making high-quality streaming from phones or laptops straightforward. While FiiO hasn’t detailed the DAC architecture, LDAC support alone signals that wireless playback isn’t an afterthought here.

A different kind of entry-level

The “LEVEL 1” name might suggest a starting point, but the execution says otherwise. This is less about entry-level compromise and more about accessible performance — bringing serious amplification, flexible tuning, and modern connectivity into a form factor that fits real-world listening spaces.

For anyone building a compact hi-fi system — or upgrading from basic desktop audio — the LEVEL 1 looks like one of those deceptively small components that can redefine what a “budget” setup is capable of.

The ATC-6 is not just an update, it’s a refinement of a proven concept. It carries forward the DNA of its predecessor while introducing structural and electrical improvements aimed at lowering noise, improving stability, and enhancing long-term reliability. The result is a preamplifier that feels timeless in both execution and intent.

A purist topology with tube-driven character

At its core, the ATC-6 follows a traditional two-stage tube architecture built around a pair of 12AT7 dual triodes. This choice is no accident, the 12AT7 has long been favored in high-end audio for its balance between gain, linearity, and tonal richness. In the ATC-6, the tubes are implemented in a carefully tuned circuit designed to preserve microdetail while maintaining a natural, fluid presentation.

Air Tight keeps the signal path clean and focused. There are five line-level inputs available, including two balanced XLR connections alongside standard RCA inputs, giving the unit flexibility in modern high-end systems while staying firmly rooted in analog purity. There are no unnecessary processing stages, no digital conversions, just a direct and deliberate approach to signal amplification.

Built like a precision instrument

One of the most noticeable upgrades in the ATC-6 is its reinforced chassis design. The outer enclosure is constructed from 1.6 mm thick steel, while the internal chassis uses 1.0 mm steel treated with an anti-resonance coating. This dual-layer approach is designed to minimize vibration and mechanical interference, factors that can subtly degrade audio performance in sensitive tube circuits.

The attention to physical construction reflects Air Tight’s philosophy that great sound starts with stability. By reducing unwanted resonance and ensuring a rigid platform for the internal components, the ATC-6 aims to deliver a quieter background and more precise signal reproduction.

A relay-based output delay circuit is also integrated, protecting downstream components and speakers from transient noise during startup. It’s a small but important detail that reinforces the unit’s high-end credentials.

Wide bandwidth, refined control

Technically, the ATC-6 offers a frequency response of 20 Hz to 100 kHz (-1 dB), ensuring that it comfortably exceeds the limits of human hearing while maintaining linearity across the audible range. The high 100 kOhm input impedance makes it compatible with a wide variety of source components, from DACs to phono stages, without introducing loading issues.

This kind of bandwidth and impedance matching is not just about numbers, it translates into a sense of openness, speed, and control that defines high-end tube preamplification when done right.

A statement of intent from Japan

Hand-built in Japan, the ATC-6 reflects the meticulous craftsmanship that has defined Air Tight products for decades. Every detail, from circuit layout to chassis damping, is executed with precision and restraint.

With dimensions of 400 x 290 x 90 mm and a weight of 8.3 kg, the unit has a substantial physical presence without being excessive. It feels dense, purposeful, and engineered to last.

Pricing and positioning

The ATC-6 enters the European market at €9,900, placing it firmly in the high-end category. But this is not a product designed to compete on features or specs alone. Instead, it targets listeners who value tonal integrity, build quality, and a deeply musical presentation over convenience-driven functionality.

What follows is a ranking of some of the most extreme power amplifiers currently in production. These are not just amplifiers—they are statements. Built to control any loudspeaker on earth, reveal the smallest nuance in a recording, and deliver power with absolute authority.

10. FM Acoustics 1811-MKII

Price: $125,000

Swiss engineering rarely shouts—and neither does the 1811-MKII. But behind its understated design is a seriously capable amplifier delivering 1,000 watts per channel with exceptional current reserves.

Everything here is purpose-built, from the custom capacitors to the massive transformer. The dual-chassis layout reduces vibration and interference, resulting in a sound that is calm, controlled, and incredibly refined even at high output levels.

9. McIntosh MC2.1

Price: $140,000 per pair

This is classic McIntosh taken to the extreme. The MC2.1 uses a three-chassis configuration per channel, combining multiple amplifier modules into a single, massively powerful output stage.

With around 2,000 watts on tap and the company’s signature Autoformer technology, it delivers consistent performance across different speaker loads. The result is effortless drive, massive headroom, and that unmistakable McIntosh authority.

8. Analogue Domain The Calysto

Price: $148,000 per pair

The Calysto is not just powerful—it’s incredibly precise. Designed with an extended Class A operating range, it offers a refined and highly controlled sound that excels in high-resolution systems.

Its extremely high damping factor and ultra-low distortion allow it to grip speakers with absolute authority. This is an amplifier that thrives in complex setups, especially when used to drive specific frequency ranges in multi-amp systems.

7. Audio Note Kondo Kagura2i

Price: $184,000 per pair

The Kagura2i takes a completely different path. While others chase power, Kondo focuses on purity. Using parallel 211 tubes in a carefully balanced circuit, it produces just 50 watts—but those watts are exceptional.

This amplifier is about tone, texture, and realism. Its complex power supply design ensures stability, while its sonic character prioritizes emotion over measurement. For many, this is what high-end audio is really about.

6. Soulution 701 Monoamplifier

Price: $199,975

The Soulution 701 is obsessed with speed and bandwidth. With frequency response extending far beyond human hearing, it captures transient detail with astonishing precision.

It delivers 600 watts into 8 ohms, backed by a massive power supply capable of handling extreme current demands. The result is a sound that feels incredibly fast, clean, and transparent—almost like the amplifier disappears completely.

5. Gryphon Apex Mono

Price: $209,000 per pair

This is engineering excess done right. The Apex Mono operates entirely in Class A and delivers massive output with zero negative feedback.

Inside, it’s a monster—huge capacitor banks, multiple transformers, and an architecture designed to eliminate interference at every level. The sound is powerful, dense, and highly controlled, with a sense of scale that few amplifiers can match.

4. Boulder 3050

Price: $306,000 per pair

The Boulder 3050 is unapologetically massive. Built with a huge array of output devices and mounted on a granite base, it’s designed for absolute stability.

Power output reaches 1,500 watts into 8 ohms and climbs dramatically into lower loads. Despite this, distortion remains vanishingly low. It’s a perfect blend of brute strength and precision engineering.

3. Constellation Audio Statement Stereo Amplifier

Price: $352,800

This amplifier is all about refinement at scale. Delivering 850 watts per channel into 8 ohms, it combines high power with extremely low output impedance.

The result is tight control, excellent dynamics, and a presentation that feels both powerful and effortless. It’s a luxury amplifier in every sense—both in sound and execution.

2. Goldmund Telos 5500 NextGen

Price: $420,000 per pair

Goldmund’s flagship is built with a clear goal: ultimate control. Delivering 1,000 watts with exceptional damping and extremely low distortion, it’s designed to dominate any speaker system.

Its sheer size and weight reflect the level of engineering involved. This is a modern reference amplifier that prioritizes precision and authority above all else.

1. Dan D’Agostino Relentless Epic 1600 Mono Amplifier

Price: $699,000 per pair

At the very top sits a true statement piece. The Relentless Epic 1600 is as extreme as it gets—massive power supplies, enormous current capability, and build quality that borders on insane.

Delivering up to 1,500 watts into 8 ohms and far more into lower loads, it combines brute force with finesse. Despite its size and power, it maintains control, clarity, and musicality at every level.

This isn’t just an amplifier—it’s the pinnacle of what’s currently possible in high-end audio.

What Makes Ultra High-End Amplifiers Different from Everything Else

What separates these amplifiers from “normal” hi-fi gear isn’t just power or price—it’s philosophy. At this level, designers are no longer working within constraints. They are chasing absolute performance, regardless of cost, size, or practicality.

One of the biggest differences is current delivery and control. While a typical amplifier might handle everyday speakers comfortably, these statement designs are built to dominate any load—no matter how difficult. They maintain composure into ultra-low impedances, deliver massive current on demand, and keep complete control over the speaker at all times. This translates into tighter bass, greater dynamic impact, and a sense of effortless scale that smaller amplifiers simply can’t replicate.

Then there’s power supply design, which is often more extreme than the amplification stage itself. We’re talking about enormous transformer arrays, capacitor banks measured in hundreds of thousands—or even millions—of microfarads, and fully isolated power sections. This ensures that even the most explosive musical peaks are delivered instantly, without strain or compression. In real listening terms, that means music feels faster, more alive, and completely unrestricted.

Another defining factor is circuit purity and topology. Many of these amplifiers eliminate global feedback, reduce component count, or use exotic Class A and single-ended designs to preserve signal integrity. Others pursue ultra-wide bandwidth and vanishingly low distortion through advanced solid-state engineering. Different approaches, same goal: remove anything that stands between the recording and your ears.

Build quality is also on another level entirely. These are not just electronic devices—they’re mechanical and material showcases. Custom-machined chassis, vibration-controlled structures, separate power enclosures, and carefully selected internal components all contribute to reducing noise and preserving signal accuracy. Even seemingly small details—like isolation feet or internal layout—are treated as critical to performance.

Finally, there’s the intangible aspect: scale and realism. The best of these amplifiers don’t just play music—they recreate presence. Instruments feel physically grounded in space, dynamics rise and fall without effort, and the system never sounds like it’s reaching its limits. It’s the difference between hearing a great recording and feeling like you’re in the room with it.

That’s what you’re paying for at this level—not just more power, but fewer compromises.

From the moment you see it, the intention is clear. The walnut cabinet, the softly glowing VU meters, and the retro typography all echo the golden era of hi-fi. This is not subtle nostalgia, it is a confident tribute to the amplifier that defined a generation, the legendary 3020. Back then, NAD proved that great sound didn’t have to come with a luxury price tag. The C 3050 carries that same spirit forward, but in a very different technological landscape.

Behind the vintage façade lies a thoroughly contemporary amplifier. Digital sources are handled with ease thanks to a high-resolution DAC capable of processing PCM up to 32-bit/384 kHz, while HDMI ARC brings seamless integration with modern TVs, something unimaginable in the 1970s. Connectivity is generous but purposeful, with analog inputs, digital inputs, subwoofer outputs, and control interfaces that make the amplifier feel as comfortable in a smart home setup as it does in a traditional stereo system.

Where the C 3050 truly bridges eras is in its amplification stage. NAD’s HybridDigital nCore Class D design delivers a clean 100 watts per channel, with substantial headroom when needed. It’s fast, controlled, and impressively stable, even with more demanding loudspeakers. This is not vintage sound in the technical sense, it is modern precision dressed in classic form.

And yet, there is something undeniably old-school about its character. The presentation leans slightly to the warm and relaxed side, with a softer top end and a soundstage that prioritizes musical cohesion over analytical sharpness. It doesn’t chase hyper-detail or clinical clarity. Instead, it invites long listening sessions, much like the amplifiers that inspired it.

Vinyl playback is handled with care via the built-in MM phono stage, while wireless listeners get Bluetooth with aptX HD, covering both ends of the spectrum. For those who want to go further, the modular MDC2 platform opens the door to BluOS streaming and Dirac Live room correction, turning the C 3050 into a fully modern hub without compromising its classic identity.

The visual highlight remains those beautifully illuminated VU meters. Beyond their aesthetic appeal, they serve as a reminder of how little power is often needed for real listening levels, a small but charming detail that connects past and present.

The NAD C 3050 is not trying to outperform every amplifier in its class on paper. Instead, it offers something more emotional, a blend of heritage, design, and sound that feels intentional. It is a celebration of where hi-fi came from, interpreted through the lens of what it has become.

At its core, the PMA-1700NE is not about reinvention, it is about refinement. The familiar Denon design language remains intact, with its gently curved aluminum front, a perfectly weighted central volume control, and proper tone and balance knobs that invite interaction. This is an amplifier that respects the ritual of listening, not just the result.

Inside, the story becomes more serious. The amplifier is constructed with a disciplined, almost purist approach, dividing its circuitry into separate functional blocks to minimize interference and distortion. The chassis itself, reinforced with steel plates and carefully damped components, reflects a philosophy where mechanical stability is just as important as electrical precision.

Denon’s long-standing expertise in amplification is clearly present in the power stage. Using their signature UHC MOSFET output devices in a refined single push-pull configuration, the PMA-1700NE delivers a sound that is both authoritative and controlled. With up to 140 watts into 4 ohms, it has the grip and headroom to drive demanding loudspeakers, yet it retains the composure and finesse expected from a true hi-fi amplifier.

What elevates this model into classic territory is the attention given to signal integrity. The redesigned preamplifier section, now built around a high-grade electronic volume control system, replaces traditional signal paths with a far more precise and lower-noise solution. Volume adjustment feels analog, smooth, continuous, and intuitive, but underneath it operates with a level of accuracy that older designs could never achieve.

For the modern listener, the PMA-1700NE also bridges the gap between analog purity and digital convenience. Its built-in DAC supports high-resolution PCM and DSD playback, while Denon’s proprietary Advanced AL32 Processing Plus works quietly in the background, refining digital signals with mathematical precision. Yet, for those who prefer a completely untouched analog path, the amplifier offers an Analog Mode that disables all digital circuitry entirely, stripping the signal path down to its purest form.

Vinyl lovers are not forgotten either. The integrated MM and MC phono stage is not an afterthought, but a carefully implemented circuit that brings warmth, depth, and musicality to records without requiring external gear.

Connectivity is comprehensive without being excessive, three line inputs, digital inputs, USB for high-resolution playback, and solid, widely spaced speaker terminals that reflect real-world usability. Every element feels considered, not added for the sake of a spec sheet.

The PMA-1700NE is built in Denon’s Shirakawa facility in Japan, and it shows. There is a quiet confidence in its construction, no unnecessary luxury, no visual exaggeration, just precision, durability, and purpose.

This is not an amplifier chasing trends. It is one that refines a formula that has worked for decades. The Denon PMA-1700NE delivers exactly what a classic hi-fi component should, control, musicality, flexibility, and above all, a deep respect for the signal it is asked to reproduce.

Very complete integrated amplifier

According to the designers, the new M5xi is not a simple update with a different logo and some new firmware, but a new design featuring amplifier technology inspired by the Titan. Furthermore, the manufacturer has built in a phono amplifier that finally supports not only MM cartridges but also MC cartridges, and HDMI eARC for anyone who wants to enjoy solid stereo sound during a movie night.

According to Musical Fidelity, the M5xi is a clear improvement over the previous M5si, with the preamp, power amp, digital module, and phono input all receiving a fresh overhaul. The key innovation is a revised circuit approach that brings the M5xi closer to the company's more robust Titan style (also found in the aforementioned M6 series), but in an integrated amplifier that does not require an entire audio cabinet, nor does it break the bank.

The M5xi looks very similar to the previously launched M6xi , but the power output is slightly lower and the XLR connections have been dropped. Musical Fidelity sticks to the idea of ​​'two mono amplifiers in one enclosure' and states that the M5xi is essentially a preamplifier with two independent mono power amplifiers in the same chassis. This means that left and right remain more separated than with a typical integrated amplifier, which can help keep the stereo reproduction clear, even when the mix threatens to become a wall of sound.

We are seeing two-channel amplifiers equipped with an HDMI eARC connection increasingly often. Most film enthusiasts want good sound, but far from everyone wants a multi-channel setup with the associated price tag, space requirements, and cables in the listening room. The M5XI fully embraces this trend, just like the earlier M6xi.

In addition to HDMI, there are also optical and coaxial digital inputs, plus a USB-C input that supports playback up to 24-bit/192kHz. Traditional sources are also supported, i.e., RCA line inputs and a home cinema bypass. Streaming enthusiasts also get an isolated 5V/2A USB-A power output, intended to power a USB streamer via a cleaner power supply than the average AC adapter. Add RS232 for custom installation control, pre-outs for bi-amping or a subwoofer, and a fixed line output for, for example, a separate headphone amplifier, and the M5xi starts to look more like a system hub than just an integrated amplifier.

Musical Fidelity states that the phono amplifier under the hood of the M5xi is completely new compared to the M5si, featuring improved shielding and a revised layout aimed at reducing noise and distortion. Both MM and MC cartridges are accepted.

The volume is controlled by a Burr-Brown stepped control. This is a precise volume control with stepped operation. As a result, the left and right channels remain better aligned than with a typical rotary knob, even after several years. After all, a traditional potentiometer, even the expensive models, is subject to wear and tear and will sooner or later exhibit channel imbalance. The Burr-Brown stepped control is based on a chip (which operates analogously) and does not wear out.

The designers emphasize the output stages built according to the well-known low-distortion Darlington architecture (a transistor combination often used for delivering high current) and a revised PCB layout to reduce imbalances that would otherwise require corrective feedback.

The M5xi has a specified power output of 160 Watts per channel at eight Ohms, rising to 240 Watts at four Ohms. This is more than enough power to effortlessly drive a wide range of speakers, even those with decreasing impedance precisely when the tension in the music builds.

The digital and HDMI cards are separate and each supplied with its own linear power supply, while the transformer and power supply board are housed in a metal enclosure to reduce electromagnetic interference. This is particularly important due to the presence of a phono amplifier in the same enclosure.

Construction-wise, the all-metal housing of the M5xi is designed to minimize interference, complemented by a robust aluminium front panel. This is roughly the same construction as the M6xi. The updated IR remote control now also features a Standby and Mute function.

The Musical Fidelity M5xi reportedly has a suggested retail price of just under $2,300, but we have not yet received any delivery information.

To achieve this, Octave Audio uses newly developed XLR input transformers in the Octave Audio Jubilee Preamp SE. According to the manufacturer, these are specifically designed for modern source devices and offer ample headroom for output levels up to 8 V RMS. Furthermore, they feature a significantly higher input impedance of 80 kOhm. In practice, this translates into greater compatibility with a wider range of high-quality sources and thus more freedom of choice when assembling complex audio systems.

Low distortion and high bandwidth

Equally important is the redesign of the circuit itself. Octave Audio quotes distortion figures of less than 0.005 percent and a bandwidth of 5 Hz to 150 kHz. According to these figures, this preamplifier will therefore not be a bottleneck in the system. Of particular interest is the 3 dB improvement in the signal-to-noise ratio. In terms of sound, this translates primarily into greater clarity in the background, sharper contours, and better spatial separation. Subtle details, reverberation patterns, and the separation of individual instruments benefit particularly from a circuit that further reduces interference.

Price: $40,000

Although final pricing and availability have yet to be confirmed, and official imagery remains limited, the technical direction of the M6xi already suggests a compelling evolution of one of Musical Fidelity’s most respected amplifier platforms.

Classic Analog DNA Meets Modern Connectivity

At its core, the M6xi remains faithful to Musical Fidelity’s philosophy of robust analog amplification, but it now embraces the realities of contemporary listening. The amplifier is equipped with a wide array of digital inputs, including optical and coaxial connections, HDMI ARC for seamless TV integration, and a USB-C input for direct connection to computers and smart devices.

System integration has clearly been a priority. An RS232 interface allows for easy inclusion in custom installations or advanced control environments, while a dedicated USB-A port (5V/2A) provides clean power for external streamers — a small but meaningful touch for those building streamlined digital front ends.

For users combining two-channel hi-fi with home cinema, the inclusion of a home theater bypass input allows the M6xi to function as a pure power amplifier within a multi-channel setup, ensuring flexibility without compromising performance.

More Power, Greater Authority

Compared to its predecessor, the M6si, the new M6xi delivers a noticeable increase in output power, rated at 230 watts per channel into 8 ohms and a substantial 390 watts into 4 ohms. This added headroom translates into greater control, improved dynamics, and the ability to confidently drive demanding loudspeakers.

The amplifier’s topology draws directly from Musical Fidelity’s flagship TITAN platform, bringing high-end engineering principles into a more accessible form factor. A carefully implemented Darlington output stage minimizes crossover distortion and preserves signal integrity, resulting in a cleaner and more natural presentation.

Further refinements include an optimized PCB layout designed to reduce circuit imbalances, alongside fully analog power supplies that help suppress high-frequency noise and electromagnetic interference — critical for maintaining purity in complex systems.

Precision Preamplification and Vinyl Support

The preamplifier section of the M6xi has been engineered for low noise and consistent performance across all volume levels. A Burr-Brown stepped attenuator ensures precise channel matching, contributing to stable imaging and accurate soundstage reproduction.

Flexibility continues with a pre-out connection, enabling bi-amping or subwoofer integration, while vinyl enthusiasts are well catered for with a built-in phono stage supporting both MM and MC cartridges — a welcome inclusion in an amplifier of this class.

Built to Last: Form Meets Function

Physically, the M6xi reflects Musical Fidelity’s commitment to solid, no-nonsense construction. The chassis is crafted from extruded aluminium panels on all sides — front, top, and flanks — delivering both structural rigidity and effective shielding from external interference.

The result is not only a durable and acoustically stable enclosure but also a clean, understated aesthetic that fits effortlessly into both traditional hi-fi racks and modern living spaces.

While we await full pricing details and broader availability, the Musical Fidelity M6xi already stands out as a thoughtfully updated integrated amplifier that bridges classic analog performance with modern connectivity. With increased power, expanded inputs, and serious system flexibility, it looks set to become a strong contender in the upper tier of integrated amplifiers.

For listeners seeking a single-box solution that can anchor both digital and analog systems without compromise, the M6xi is shaping up to be one to watch closely.

The Velsonic claims to build upon existing Avid Hi-Fi design principles rather than introducing an entirely new architecture. The design utilizes technologies developed for the company's Reference Pre-Amplifier and features revised circuitry and updated components aimed at improving overall performance. Avid states that attention has been paid to reducing noise and refining signal processing throughout the device.

Fully analog signal path, no digital circuits and fully adjustable

The Avid Velsonic features a fully analog dual-mono configuration without digital circuits. This approach is intended to preserve signal integrity and minimize potential interference. The internal layout and signal paths have been optimized to reduce unwanted noise and maintain channel separation.

An important aspect of the Velsonic is the extensive adjustment options for both MM and MC cartridges. The device offers a wider range of gain settings, allowing users to better match the output levels to other system components. Furthermore, the more extensive impedance options offer greater flexibility when combining with different cartridges, enabling a more precise system configuration.

The phono preamplifier features a precisely engineered chassis and improved isolation feet to limit mechanical interference. AVID has also adjusted the power supply voltage to improve operational stability and consistency. The use of series-connected components derived from high-quality designs is part of the overall technical approach.

The Avid Hifi Velsonic is expected to become available for delivery in the course of May 2026 and will have a suggested retail price of just under 16,000 euros.

A larger stage for more inputs

The SA-32 AE inherits the familiar hybrid concept but arrives in a roomier chassis — a practical decision that allows Vincent to expand the device's digital connectivity considerably. Alongside Bluetooth, coaxial, and optical inputs, the preamplifier now adds an HDMI port with Audio Return Channel (ARC), making it straightforward to integrate a modern television into a dedicated hi-fi system without additional adaptors or signal conversion.

New tubes, new topology

The valve complement has been overhauled. Where the original SA-32 used four 6N16 tubes throughout, the AE variant employs two 12AU7s and two ECC88s in distinct roles. The 12AU7 pair sits at the front of the signal path, immediately after the inputs; Vincent characterises their contribution as warm and enveloping. The ECC88 tubes operate within the tone control stage, functioning as phase splitters — a configuration that keeps the analogue voicing transparent and well-controlled.

The 12AU7 is widely favoured in preamplifier designs for its low noise floor and smooth midrange character, while the ECC88 — electrically equivalent to the 6DJ8 — brings fast transient response suited to splitting duties.

Power supply redesign

Vincent has fitted the SA-32 AE with an entirely new power supply centred on an R-Core transformer — a topology chosen for its low stray magnetic field and efficient energy transfer. Filtering capacitors from Wima and Nichicon complete the design, with the aim of minimising ripple voltage and maintaining stable operating conditions across the valve stages. The result, according to the manufacturer, is a measurably improved signal-to-noise ratio and reduced distortion throughout the audio band.

Pricing and availability

The Vincent SA-32 AE carries a recommended retail price of just under €2,000 and will be offered in black or silver finishes. With production capped at 200 units, availability is expected to be limited.

Specifications

• Frequency range: 20 Hz to 20 kHz +/- 0.5 dB
• Output voltage: 2 Volts
• THD (1 kHz / 1 Watt): less than 0.1%
• Input sensitivity: 500 mV
• S/R ratio: greater than 90 dB
• Input impedance: 47 kOhm
• Maximum power consumption: 40 Watts
• Inputs: 5 x stereo RCA, 1 x stereo XLR, 1 x optical, 1 x coaxial, 1 x HDMI (ARC), 1 x Bluetooth
• Outputs: 2 x stereo RCA preamplifier output, 1 x stereo XLR preamplifier output, 1 x stereo RCA recording output)
• Tubes: 2 x 12AU7, 2 x E88CC
• Trigger output: 2 x 3.5 mm jack connectors
• Colors: black and silver
• Weight: 7.23 kilograms
• Dimensions (W x H x D): 430 x 95 x 360 millimeters

Known for its uncompromising dedication to hand-built tube gear, Ampsandsound continues to refine its philosophy of combining classic vacuum tube topology with modern engineering precision. This latest lineup reflects a clear ambition to serve both headphone enthusiasts and traditional two-channel audiophiles with equipment that prioritizes musicality, craftsmanship, and tonal authenticity.

Kenzie Reimagined – A Modern Evolution of a Cult Favorite

The Kenzie Reimagined builds upon one of the brand’s most celebrated designs, taking a familiar sonic signature and elevating it with meaningful technical improvements.

At the heart of the amplifier is a carefully selected tube configuration using 5751 / 12AX7 input tubes paired with 1626 / VT-137 output tubes. This combination is known for delivering a rich, harmonically dense presentation, but here it is refined with a significantly improved noise floor of just 30 µV, making it particularly well-suited for high-sensitivity headphones.

Performance figures further underline the upgrade. With total harmonic distortion below 0.7% at 750 mW, the Kenzie Reimagined maintains the warmth and fluidity associated with tube amplification, while offering improved clarity and control. The 18 dB gain, achieved through the 12AX7 stage, provides sufficient drive for a wide range of headphones, and the 7 Hz to 35 kHz frequency response ensures both deep low-end extension and open, airy highs.

The result is an amplifier that stays true to the emotional, intimate sound of the original Kenzie, while introducing greater refinement, lower noise, and enhanced dynamic capability.

Badlands Preamplifier – Flexibility and Sonic Precision

The Badlands Preamplifier represents Ampsandsound’s approach to system control and signal purity, combining classic tube character with a highly flexible design.

Built around 12AX7 and 12BH7 tubes, the Badlands is engineered to deliver a balanced mix of gain and tonal richness. A key feature is its support for multiple rectifier tubes, including 5Y3, 5V4, 5U4, and 5AR4, allowing users to tailor the power supply behavior and subtly influence the overall sound signature.

With 16 dB of gain and a remarkably low THD of no more than 0.007%, the Badlands aims to preserve signal integrity while still providing the organic flow and texture that define high-end tube systems.

Ampsandsound also offers the preamplifier in both point-to-point wired and PCB-mounted versions, appealing to traditionalists who value hand-wiring craftsmanship as well as those seeking consistency and scalability.

Stereo 17 – Classic Tube Power in a Compact Form

Completing the lineup is the Stereo 17 power amplifier, a compact yet expressive design delivering 2 x 17 watts in ultra-linear mode.

The amplifier is built around a push-pull configuration using EL84 output tubes, a topology long appreciated for its lively, engaging midrange and musical coherence. A 12AX7 input stage handles voltage amplification, while a 12AU7 phase splitter ensures proper signal balance and stability across channels.

While its output power may appear modest on paper, the Stereo 17 is designed to work in synergy with efficient loudspeakers, where its tonal finesse, speed, and harmonic richness can fully shine. This type of amplifier is less about brute force and more about delivering a nuanced, emotionally engaging listening experience.

A Cohesive Vision of Modern Tube Audio

With the introduction of these three components, Ampsandsound reinforces its position as a specialist in high-end tube amplification. Each product serves a distinct role, yet together they form a cohesive ecosystem built around musicality, flexibility, and craftsmanship.

Whether driving headphones with precision, shaping the signal at the preamp stage, or powering a loudspeaker system with classic tube authority, this new lineup demonstrates that traditional tube design still has plenty of room to evolve in today’s hi-fi landscape.

Ampsandsound’s triple premiere at AXPONA 2026 is not just a product launch, it is a statement of intent, reaffirming the enduring appeal of tube audio when executed with care, expertise, and a clear passion for sound.

At its core, GEMINI operates with a true dual-channel topology, independently processing the positive and negative phases of the audio signal. The result is a cleaner, more stable output with reduced noise and distortion—exactly what you want when feeding revealing loudspeakers or high-resolution sources.

Built for Stability and Authority

Power delivery is where the GEMINI begins to flex. A shielded 600VA toroidal transformer anchors the design, supported by a substantial power supply stage featuring 36 storage capacitors and fast Schottky diodes. This isn’t just about numbers—it translates into grip, dynamic headroom, and the ability to remain composed even when the music gets demanding.

Each channel is equipped with four pairs of high-current output transistors, ensuring the amplifier can confidently drive both 8-ohm and 4-ohm loads. Whether paired with efficient floorstanders or more challenging speakers, GEMINI maintains control without strain.

Fully Balanced Signal Path

The amplifier is designed from input to output as a fully balanced system, with XLR inputs as standard. This approach minimizes interference and preserves signal purity across the entire chain—especially important in systems where every component is operating at a high level.

On the output side, robust screw-type speaker terminals provide a secure connection, reinforcing the amplifier’s focus on reliability and long-term performance in fixed installations.

Industrial Design Meets Thermal Efficiency

Visually, the GEMINI leans into a purposeful, industrial aesthetic. The solid aluminum chassis is complemented by large, integrated heatsinks that ensure efficient thermal management during extended listening sessions. It’s a design that communicates both durability and intent—this is hardware built to be used, not just admired.

Performance That Speaks for Itself

With 120 watts per channel into 8 ohms and 220 watts into 4 ohms, the GEMINI sits comfortably in the sweet spot for high-end stereo systems. But beyond power, it’s the measured performance that stands out: extremely low distortion, wide bandwidth, and impressive channel separation all contribute to a presentation that is clean, dynamic, and controlled.

Key Specifications

• Type: Class AB, fully balanced, discrete
• Inputs: XLR (balanced)
• Power Output:
  • 120 W per channel (8 ohms)
  • 220 W per channel (4 ohms)
• Frequency Response: 10 Hz – 80 kHz
• THD+N: 0.002%
• Signal-to-Noise Ratio: 118 dB
• Dynamic Range: >121 dB
• Channel Separation: -110 dB
• Input Sensitivity: 1.8 Vrms
• Input Impedance: 22 kΩ
• Power Consumption: 0.5 W standby / 35 W idle / 365 W max
• Dimensions: 375 × 334 × 124 mm
• Weight: 16.6 kg

The Musician GEMINI doesn’t try to reinvent the power amplifier—it refines it. With a fully balanced topology, serious power supply design, and a focus on stability, it delivers exactly what demanding systems need: clean power, precise control, and the confidence to drive real-world speakers without compromise.

If you’re building a system where transparency and authority go hand in hand, GEMINI is clearly aimed right at you.

According to the manufacturer, the new Momentum C2Z is ​​the intended partner for the Momentum Z monoblock amplifiers . The combination is, by the company, designed to fully utilize the capabilities of the latest Z circuits. It builds upon the Z platform introduced with the Momentum Z amplifiers and indicates a broader shift towards closer system integration across the entire range.

The new Momentum C2Z does not replace the existing Momentum C2 , but is positioned as a complementary design developed to optimize the electrical interface between the preamplifier and power amplifier, with the aim of improving overall system performance. At the heart of the update is a reworked output stage. The Momentum C2Z introduces a current-capable field effect transistor (FET), allowing the preamplifier to deliver significantly more current to the output stage, which, according to the designers, improves stability and control over the signal path.

This change is intended to work in conjunction with the revised input topology of the Z-amplifier. This deviates from conventional high-impedance FET designs by lowering the input impedance, allowing more current to be drawn from the preamplifier. In practice, this results in closer coupling between the components, with the aim of improving transient response, dynamic contrast, and overall system resolution.

Lead designer Dan D'Agostino describes the new design as a step towards a more direct connection between the different stages. “With the creation of the Momentum C2Z, we wanted to do more than just refine an already exceptional platform; we wanted to fully utilize the performance of the Momentum Z Monoblock circuits. We have created a more direct and optimized connection between the preamplifier and the power amplifier,” states the manufacturer.

Although the technical focus is on current delivery and interface optimization, the intended result is improved control over low frequencies and higher resolution at low levels. According to the company, bass reproduction in particular benefits from more texture and spatiality, especially at lower listening levels where details are often lost.

Placed in the proper context, the Momentum C2Z continues a pattern within the Momentum series, where recent updates, including the Momentum Z amplifiers and the MXV integrated amplifier , have focused less on individual components and more on how those components work together as a complete system.

Integrated amplifiers with analog and digital connections

Both the A-i130 and the A-i190 from Advance Paris are built on the same core idea: this is not just an integrated amplifier, but the control center for a complete system. Advance Paris combines hybrid amplification, DSP, DA conversion, and subwoofer management in a single enclosure and offers the user the option to expand it later with modules.

Both models utilize a hybrid design featuring an ECC81 tube preamp driving a Class AB output stage. You get a rich harmonic texture without sacrificing control. On the digital side, both rely on an ESS9017 DAC operating in Quad mode, coupled with a four-channel DSP that handles EQ and room correction for the left, right, and up to two subwoofers.

Incidentally, subwoofer integration is taken seriously here. Both models support 2.1 or 2.2 configurations with a solid crossover filter and independent control, which immediately distinguishes them from many integrated amplifiers that, according to the manufacturer, still act as if subwoofers do not belong in stereo systems.

Then there is also HDMI eARC, USB with DSD support, multiple optical and coaxial inputs, five RCA line inputs, an MM input (with ground), pre-out, record-out, dual subwoofer outputs, and a 6.35 mm headphone jack. The amplifiers are designed to replace a stack of separate components without compromising sound quality.

They also share the same expansion capabilities. Both have slots for the optional A NTC streaming cartridge and A BTC Bluetooth module, enabling full streaming or bidirectional wireless audio, including headphone transmission. And yes, both support the rotary knob remote control if you want to adjust the volume without having to get off the couch.

The A-i130 delivers 130 Watts per channel at eight Ohms using a single toroidal transformer. The A-i190 builds upon that foundation and takes it to the next level. The device features a dual-mono design with two toroidal transformers, effectively isolating each channel and increasing the output power to 190 Watts per channel with more headroom. Connectivity has been expanded where it really matters: in addition to the same five RCA line inputs and digital inputs (optical, coaxial, USB, HDMI eARC), the A-i190 now also features balanced XLR inputs and a balanced XLR pre-out alongside the RCA pre-out. The phono input has been improved to support both MM and MC cartridges and retains the dual subwoofer output and the recording output. In other words, it is not just more power, but it is also designed to integrate seamlessly into more demanding, high-end systems without having to make compromises.

Advance Paris A-NTC: network module

The A-NTC is Advance Paris' modular answer to streaming and is designed to work in two ways without making things unnecessarily complicated. On its own, it can function as a standalone streamer via the optical output, adding network playback to any system with a compatible digital input. However, install it in the expansion slot of the A-i130 or A-i190 and it disappears into the housing. No extra cables or housing are required then.

The network module supports the platforms that really matter: Spotify Connect, TIDAL Connect, Qobuz Connect, AirPlay 2, Chromecast, DLNA, and Roon, with connectivity via Ethernet or Wi-Fi. The output is limited to 24-bit/192 kHz, which covers the vast majority of streaming applications in practice, without striving for high figures for marketing purposes.

Advance Paris A-BTC: Bluetooth dongle

The A-BTC is a bidirectional Bluetooth 5.4 module that uses the same expansion slot and adds both transmit and receive functionality to the NOVA platform. You can stream from your phone to the amplifier or send audio to a single pair of Bluetooth headphones.

Codec support includes aptX HD, aptX Adaptive, aptX Low Latency, and AAC, ensuring solid coverage for both audio quality and low-latency video. Lip synchronization should be tight with aptX LL, and aptX Adaptive handles variable bitrates better than older standards.

What is *not* included is just as important: there is no LDAC and no aptX Lossless. That is a problem if you use newer wireless headphones that rely on these codecs for maximum resolution. In other words, this is a well-executed, practical Bluetooth solution, but it is not the latest technology in the field of wireless audio.

Advance Paris A-RTR: rotary Bluetooth remote control

The optional A-RTR rotary knob remote control is exactly what the name suggests: a solid, heavy metal control intended to sit on your coffee table or listening surface, and not to disappear between the cushions of the sofa. It connects wirelessly to the A-i130 and A-i190 via the A-BTC Bluetooth module, so yes, you need that module for this to work.

In terms of functionality, it has been kept simple. The rotary knob controls the volume, while additional buttons operate input selection and the on/off button. No screen, no app dependency, no fuss. Just direct control with a physical interface that reflects the design style of the amplifiers themselves.

Elegant and refined, yet immensely powerful—that is the brief summary of the new flagship monoblock amplifiers from US-based Rogue Audio . The M250 Ultra's ability to reveal the finest musical details while simultaneously offering seemingly boundless dynamics is the hallmark of the best amplifiers the manufacturer claims to have ever produced. Also read our review of the Rogue Audio Sphinx 3 .

That these pure tube amplifiers deliver a continuous power of more than 250 Watts is only a small part of the story. The M250 Ultra is designed and built without compromise and features a perfectly flat frequency response, enormous bandwidth, a gigantic dynamic range, and negligibly low distortion. The massive linear power supplies make it possible to reproduce musical transients, even far above the amplifier's nominal power.

The M-250 Ultra features a unique and tasteful appearance thanks to the CNC-machined aluminium front and side panels. The ultra-precise electronic components and massive transformers contribute to the unparalleled build quality. The amplifier is equipped with a switch that allows you to choose between triode and ultra-linear operation. A built-in meter and individual bias switches make setting up the tubes a breeze, even for the novice tube amplifier user. The rear panel features balanced and unbalanced inputs, as well as Cardas speaker terminals for 4 and 8 Ohms.

Technical specifications

• Output power: 250 WPC Ultraliner mode with KT-88 tubes
• User-selectable triode/ultralinear output
• THD: less than 0.1% typical, 1% peak
• Frequency range: 20 Hz to 25 kHz at full power, 10 Hz – 100 kHz at 10 Watts
• Input sensitivity: 1.0 V RMS
• Installed tubes: 6 x KT-88, 2 x 12AU7, 1 x 12AX7
• Both 4 and 8 Ohm speaker terminals
• Dimensions (W x D x H): 31.75 x 46.7 x 33.3 centimeters
• Weight (per piece): 40 kilograms
• Power supply: 115 Volt/230 Volt, 50/60 Hz

With the Cayin HA-300 MK3, the manufacturer is relaunching its flagship, the 300B tube amplifier for personal audio and desktop hi-fi. The third generation features not only a redesigned circuit and separate power supplies in two enclosures, but also more connectivity options, higher output power, and targeted optimization for a significantly wider range of headphones.

The Cayin HA-300 MK3 remains true to the principles of a single-ended Class A tube amplifier and still uses 300B tubes in the output stage. This is not a random choice, but a deliberate positioning. For many listeners, 300B designs remain the epitome of performance that gives body to voices, renders timbres vividly and in detail, and allows music to flow with exceptional naturalness. Cayin now combines this classic approach with a revised third-generation circuit to unite the emotional quality of such an amplifier with greater precision, improved noise immunity, and greater user-friendliness in everyday life.

Cayin emphasizes regulated, low-noise voltage amplification with a stepped, independent power supply. This is intended to keep the signal path cleaner while simultaneously laying the foundation for preserving subtle dynamics, spatial depth, and texture, so that these are not lost due to inherent noise or distortion.

Cayin HA-300 MK3: power supply in external enclosure

The power supply of the Cayin HA-300 MK3 is housed in a separate enclosure, and this serves a very practical purpose. Users of sensitive tube amplifiers want to keep interference, vibrations, and stray fields out of the audio path as much as possible. This is precisely what the two-chamber design aims to achieve, while simultaneously offering greater flexibility for placement in the listening environment.

Moreover, the two units are connected via a lockable cable system, which, according to the manufacturer, is designed for stable power transmission with minimal loss. In practice, this is an advantage, as the device is not only intended to be displayed in the showroom but also to reliably maintain its place in the setup for years to come. According to the designers, the HA-300 MK3 is not a fragile collector's item, but rather a serious workhorse for ambitious music lovers.

Cayin HA-300 MK3: more power and more compatible headphones

One of the most important innovations concerns the range of headphones that can be used with the Cayin HA-300 MK3. To this end, Cayin has significantly expanded the sensitivity and power range.

The balanced 4-pin XLR output delivers 6.500 mW per channel, while the 6.35 mm stereo jack delivers 6.000 mW plus 6.000 mW. Even the 4.4 mm Pentaconn output delivers 1.600 mW per channel and is specifically optimized for in-ear headphones. Furthermore, a three-stage impedance matching for low, mid, and high frequencies allows for more precise tuning to various loads.

This is exactly what makes the amplifier so attractive for everyday use. Anyone who switches between sensitive in-ear headphones, large magnetostatic headphones, and high-impedance reference models knows the problem: not every amplifier is truly suitable for every situation. The Cayin HA-300 MK3 aims to address this issue. It is a device that not only harmonizes with certain top models but is also widely applicable, from advanced desktop setups to uncompromising, full-fledged flagship models.

Cayin HA-300 MK3: connections

The connections also show that Cayin did not design the HA-300 MK3 as an exotic niche solution, but as a versatile control center. On the input side, there is a balanced XLR input and an RCA input. On the output side, in addition to three headphone outputs, there are speaker connections for four to eight Ohms. This means that the amplifier can be used not only in classic audio setups but also in compact speaker systems.

This is exactly what provides a practical advantage that is not self-evident in this category of devices. The Cayin HA-300 MK3 can be used in the evening with high-quality headphones and during the day just as well as an amplifier for a small, high-quality speaker system. For many music lovers, this is a more attractive solution than two separate devices, because it takes up less space while still maintaining a clear sound profile.

Cayin HA-300 MK3: high-quality components and finish

With a tube amplifier of this caliber, the story is not just about tube types and output power. Cayin uses DUELUND coupling capacitors from Denmark, newly developed third-generation broadband EI output transformers, and a toroidal transformer designed for low magnetic noise and high efficiency, according to the manufacturer. Additionally, there is point-to-point wiring, gold-plated tube sockets, a combination of a JRC MUSES 72320V volume control and an ALPS 41-stage attenuator, and a carefully selected tube complement that is broken in for 48 hours before the amplifier is shipped. 

Cayin has also taken a step further in terms of appearance. The Cayin HA-300 MK3 features a redesigned case with a fine sandblasted surface, new protective caps for the tubes, and an overall refined finish. This is not just superficial styling; it gets to the heart of what high-end desktop components require: such a device belongs prominently in the room. It must exude technical expertise without looking crude or cluttered.

Cayin HA-300 MK3: VU meters and delayed startup cycle

Among the small but surprisingly important features for daily use are the two VU meters on the front panel and a mute function with a 60-second delay after power-on. A proper warm-up phase is crucial, especially for tube amplifiers, to ensure that the electronics function optimally. Such solutions may seem inconspicuous, but it is precisely these features that often reveal whether a product has been developed based on real user experience.

Cayin HA-300 MK3: swapping tubes

Additionally, there is the option to swap tubes. Cayin explicitly emphasizes that all tubes can be replaced with compatible alternatives. For experienced users, this offers further possibilities to tailor the amplifier's sound to personal preferences, headphones, or music genres. This means that the Cayin HA-300 MK3 is not limited to a single interpretation of its sound, but becomes an instrument for listeners who consciously wish to define their own sonic path. 

The rear panel features input jacks (two pairs—for MM and MC cartridges), a power cable jack, a pair of output jacks, and switches for adjusting the phono preamplifier. For MC cartridges, you can adjust the impedance, gain, and capacitance (which is unusual, as capacitance adjustments are more often reserved for MM cartridges). However, there are no adjustments for MM cartridges. However, the markings are somewhat confusing, so it's best to consult the manual for adjustments. But the important thing is that the device is designed to utilize both inputs equally and operate two different cartridges. Of course, a pair of universal inputs would be more interesting, but this is also fine. It's also worth considering that Rega equipment has a distinct synergy, and building the entire system on components from a single manufacturer (if we separate the developers' approaches to sound and ideology) is perfectly logical. However, the company has never produced turntables with dual tonearms.

A closer look inside and a closer look at the circuit diagram reveals a far more complex preamp than one might expect. Although everything is assembled on a single board, it appears that the MM and MC preamps are well separated. Another important point: everything is built using discrete components, no op amps. Plus, the components are solid, the power supply is well-designed and generously implemented, and the wiring is neat. Each stage of the Rega Aria is calculated and designed to maximize the potential of any system with a vinyl source. At the same time, the model remains simple and easy to set up. The enclosure reliably protects the select internal components from any radio frequency interference and noise.

To achieve high-quality analog sound, British engineers eliminated all unnecessary circuits from the signal path, leaving only the essentials. At the same time, it employs an innovative self-regulating servo control system designed to maintain the input circuits for the MC cartridges in optimal condition, regardless of the operating temperature inside the enclosure or the ambient temperature.

The moving coil circuit utilizes low-noise field-effect transistors (FETs) connected in parallel. Four dip-switch banks are located next to the MC input. These allow the desired input impedance (70, 100, 150, or 400 ohms), gain (63.5 or 69.3 dB), and capacitive load (1000, 2000, 3200, or 4200 pF) to be set for each

channel when working with MC cartridges. Low-noise bipolar transistors are used in the circuits for MM cartridges. A separate power supply is used for each channel, as well as Nichicon FG electrolytic capacitors. ICEL and Wima polypropylene capacitors are used in the signal path. To ensure the highest possible sound quality, only discrete components are used in the circuits.

The Rega Aria is a versatile device that accommodates all types of cartridges, takes up little shelf space, and delivers musical, well-balanced sound with minimal noise.

Rega Aria Specifications

• Supported Cartridge Types MM, MC
• Maximum Output Level 11 V
• Nominal Output Level 200 mV
• Output Impedance 100 Ohm
• Input Impedance for MC Cartridge (Switchable) 70, 100, 150, 400 Ohm
• Input Capacitive Load for MC Cartridge (Switchable) 1000, 2000, 3200, 4200 pF
• Gain (MC Cartridge) Switchable: 63.5 or 69.3 dB
• Frequency Response (MC) 13 Hz – 70 kHz (-3 dB, -0.2 dB)
• RIAA Curve Accuracy (MC) ±0.2 dB (70 Hz – 70 kHz, at 100 kOhm Output Load)
• Harmonic Distortion (MC) 0.035%
• Signal-to-noise ratio (for MC) 67 dB
• Input impedance for MM cartridge 47 kOhm (at 100 pF)
• Gain (MM cartridge) 41.4 dB
• Frequency range (for MM) 15 Hz – 100 kHz (- 3 dB, – 0.2 dB)
• RIAA curve accuracy (for MM) ± 0.2 dB (100 Hz – 100 kHz, at 100 kOhm load at the output)
• Harmonic distortion (for MM) 0.005%
• Inputs two RCA (for MM and MC cartridges)
• Outputs linear RCA
• Other switching ground terminal, socket for power cord
• Power consumption 10 W
• Dimensions (WxHxD) 220x80x310 mm

Configurable Class D power amplifier

The new Impulsion 8 power amplifier combines Class D amplification with native Audio-over-IP (AoIP) connectivity and supports the AES67 and Dante protocols. StormAudio states that this approach ensures the amplifier functions as an intelligent endpoint within modern AV networks, rather than simply a conventional analog output stage.

StormAudio explicitly positions the Impulsion 8 in the custom installation market, where increasingly complex immersive cinema systems are driving demand for scalable and network-oriented architectures.

By integrating AoIP connectivity directly into the amplifier, system designers can build fully digital signal chains with less cabling and a simplified infrastructure compared to traditional analog routing. Cable lengths, for example, are much less relevant with digital cables.

The amplifier is housed in a compact 2U enclosure and utilizes Pascal Audio's UMAC Class D amplification technology in combination with a UREC 3,600-watt power supply. The specified output power is a maximum of 200 watts per channel at eight ohms, with the ability to deliver up to 800 watts (eight ohms) or 1,200 watts (four ohms) in bridge mode.

StormAudio states that the architecture is designed to maintain strong dynamic performance while simultaneously guaranteeing high efficiency and low noise levels. As a result, the system is suitable for both dedicated equipment racks and quieter installations in living spaces.

StormAudio Impulsion 8: Digital Signal Processing (DSP)

An important aspect of the Impulsion 8's design is its ability to integrate directly into the broader StormAudio ecosystem. In combination with a StormAudio AV processor, the amplifier can be automatically detected and configured, significantly reducing installation time.

StormAudio has also confirmed that full DSP functionality will be added later in 2026, giving system designers direct access within the amplifier to tools such as parametric equalizers, FIR filters, limiters, and per-channel gain control. These capabilities are intended to enable detailed calibration and loudspeaker protection without the need for additional external processing hardware.

The amplifier also integrates with the company's StormMonitoring platform, allowing installers to view system status and diagnostics via a built-in web interface for easier remote management and long-term support.

The Impulsion 8 is expected to be available in April 2026, but the price has not yet been announced.

Class AB integrated tube amplifier

The Aria has a standard width of 43 centimeters, making it easier to place in hi-fi cabinets. Another difference from its predecessor, the Orchestra, is that the three transformers are covered with a metal cover and are therefore no longer visible.

The most important innovation is that it is available with four different types of tubes, namely EL34, KT88, KT120, or 6CA7. Unlike the i35, the bias adjustment is manual, so adjustments cannot be made while playing. Jadis has also updated the finish. The Aria is available in stainless steel with black or stainless steel with white. Finally, a remote control is now standard.

The term “entry-level amplifier” is a bit misleading, as the Aria is a high-end tube amplifier. The power output of 30 watts per channel is on the modest side, but the sound is not. Although the price is higher than that of the Orchestra, it comes with a remote control, features point-to-point wiring like all its larger siblings, and now accepts KT88 and KT120 tubes.

In addition to these technical improvements, the sound is a clear step forward compared to its predecessor, which was launched nearly twenty years ago.

The Aria features a non-magnetic stainless steel chassis and wooden side panels. The tubes are mounted in ceramic fittings with gold-plated connectors. It operates with various output tubes in a push/pull configuration, driven by two ECC83s and one ECC82.

By their own account, this amplifier is the result of extensive research by Jadis, aimed at creating a high-end product at a manageable price. Like an Aria, this new integrated amplifier invites the most expressive listening experience. Sparkling, powerful, it is a true delight. With its new size and new design, it remains true to the manufacturer's core principles.

The specified frequency range is from 5 Hz to 60 kHz (-3 dB), and five RCA line inputs are installed. The dimensions are 430 x 210 x 360 millimeters, and the Aria weighs 20 kilograms.

Price: $4,800

In addition to its refined MIDI-format chassis, the A 200 features discreetly integrated heatsink grilles that are as functional as they are subtle. Beneath its compact exterior lies serious performance—this is a true powerhouse, capable of delivering up to 250 watts into 4 ohms. Naturally, that level of output generates heat, but the amplifier is engineered to manage it efficiently without compromise.

At its core, the A 200 is built around high-performance PURIFI Class D modules, developed by the renowned Danish company focused on pushing amplifier technology to its limits. With Bruno Putzeys—known for pioneering UcD at Philips and the highly regarded Ncore modules at Hypex—among its founders, PURIFI brings exceptional expertise to the table. The result is an output stage that combines precision, efficiency, and remarkably low distortion, setting a new standard for modern Class D amplification.

However, T+A’s engineers didn’t stop at simply implementing state-of-the-art PURIFI modules. They went a step further by integrating their own proprietary High Voltage architecture into the output stage. This additional refinement elevates the A 200 beyond already cutting-edge Class D designs, pushing its technical performance to an even higher—and arguably exceptional—level.

Among the standout features is the ability to adjust the speaker damping factor, allowing the amplifier to tightly control demanding loudspeakers or adopt a more relaxed character with easier loads. The A/B speaker switching supports two pairs of speakers, making it suitable for flexible system setups, including bi-wiring. Around back, alongside the standard RCA and XLR inputs, you’ll also find an XLR output—ideal for linking a second power amplifier, enabling full bi-amping or scaling up overall system power.

T+AA 200 Specifications

• Number of channels 2
• Power 8 Ohm, W 2 x 125
• Power 4 Ohm, W 2 x 250
• Frequency range, Hz-kHz 1 – 60
• S/N ratio, dB 113
• Harmonic distortion factor, % 0.002
• Input impedance 5.8 / 20 kOhm (RCA/XLR)
• Sensitivity, dB 800 mV / 1.6 V (RCA/XLR)
• Channel separation, dB 103
• Damping factor 800Inputs
• Analog audio 1 x RCA, 1 x XLR
• Others 1 x SYS-LINKOutputs
• Analog audio 1 x XLR
• Speakers 4 pairs
• Others 1 x SYS-LINK
• Power consumption, W 600
• Supply voltage, V 200 – 240
• Dimensions, mm 320 x 340 x 100
• Weight, kg 5

The ICE 525 digital preamplifier from the German company Backes&Müller (B&M) is now available with a phono input. However, the underlying phono amplifier is implemented in a highly unusual way, as the processing of the signal from the connected cartridge is performed digitally, including RIAA equalization. For some turntable enthusiasts, this will be a form of sacrilege. B&M says it is aware of this, but according to the designers, vinyl lovers should definitely give so-called “lossless digital transmission a chance.” After all, the ICE 5252 features special technology and a superior signal-to-noise ratio for MC cartridges. That calls for further explanation.

Backes&Müller ICE 525: S/N ratio of 103 dB for MC cartridges

First and foremost, the B&M ICE 525 is known as a digital control center for all sources. It features eight inputs, including RCA and XLR connections, as well as Toslink, S/PDIF, and AES/EBU. A USB port is also present, for example for a Roon server. And now, a phono input has been added that operates in the digital domain.

Why is B&M so convinced of a digital phono input? Initially, it operates conventionally. The output impedances are selectable at 100 Ohm (MC) or 47 kOhm (MM, etc.). That is standard. However, the entire signal processing and adjustment are digitized. This results in a precise configuration, individually tailored to the connected cartridge. The settings can be saved to a memory card and, if desired, even manually adjusted on a computer.

The real advantage of digital technology, however, lies in its absolutely noise-free operation. The specified signal-to-noise ratio for MC cartridges (100 Ohm) is an astonishing 103 dB. The DA converter achieves 123 dB, ensuring that even the quietest MC cartridges are amplified cleanly without loss or interference. With the ICE 525, B&M guarantees precise matching to the cartridge's output level, whether it is a subtle MC or a loud disco MM.

Backes&Müller ICE 525: digital RIAA equalization

The equalization standard for vinyl records, which is still in use today, was established in the 1950s by the RIAA (Recording Industry Association of America). This created a uniform technical standard that made it possible to press more signal onto the record and lower the signal-to-noise ratio. All phono amplifiers are based on this characteristic curve defined by the RIAA. With the digital equalization integrated into the new ICE 525, listeners now have the advantage, according to B&M's designers, that original cutting characteristics, such as those of the legendary Neumann cutting machines, served as the basis for the digital correction filters. As a result, the Backes&Müller ICE 525 Phono achieves an ideal phase and timing response during equalization, which would be unattainable with an analog circuit.

Naturally, the internal components are also exceptionally clean, with the power supply, data lines, and clock all carefully isolated.

The B&M ICE525 is naturally designed to drive the company's renowned active loudspeakers. Thanks to B&M Easylink via CAT7 cable, this is easier than ever with the latest BM Line speakers. Moreover, flat CAT7 cables can easily be concealed behind skirting boards.

The recommended retail price of the ICE 525 is just under $8,900.

Reduction as a healthy principle

The Soulnote A-0 ver.2 takes an unusual approach: less power for better sound quality. According to the manufacturer, this integrated amplifier deliberately delivers only 2 x 10 watts, with a focus on control, timing, and subtle details. Soulnote developed this concept for realistic listening levels in a living room. Depending on the selected speaker and the size of the listening room, 10 watts can be more than sufficient, for example, when using a pair of sensitive horn loudspeakers.

The A-0 ver.2 focuses on a streamlined signal path. Input selection and volume control feed directly into the power amplifier. The architecture follows a puristic approach, using as few components as possible in the signal path. The goal is precise, direct music reproduction with clear structure and stable dynamics.

The amplifier uses a fully discrete circuit with no negative feedback (NFB). Negative feedback typically corrects errors in the signal by feeding back deviations. Soulnote forgoes this and instead relies on direct signal transmission. According to the manufacturer, this results in more open transients, preserves micro-details, and ensures the music maintains its natural flow.

The output stage also follows this approach. It operates as a single push-pull circuit with fast TO-220 transistors. These components have a low collector-base capacitance (COB) and respond exceptionally quickly to signal changes. This ensures a pure reproduction of subtle dynamics and stable impulses.

Soulnote A-0 ver.2: deliberately “only” 10 watts per channel

With a power output of 2 x 10 watts, this amplifier is primarily designed for speakers with good efficiency. In a typical living room, this power is sufficient to achieve realistic sound levels and precise spatial reproduction. The advantage: the amplifier operates consistently within its optimal operating range and doesn't need to manage large power reserves.

The Soulnote A-0 ver.2 truly excels at reproducing fine details. Quiet passages, spatial elements, and subtle dynamic shifts remain clearly audible. The integrated headphone amplifier also benefits from the stable output stage.

Soulnote A-0 version 2 with bias circuit and flexible pre-outs

New is a revised bias circuit. Bias describes the power amplifier's operating state without a music signal. A stable bias setting reduces background noise and results in a quieter sound. This makes subtle nuances in the sound more discernible.

The amplifier is also versatile. In addition to its classic function as an integrated amplifier, it can also function as a preamplifier. The pre-out is available via RCA and XLR connectors. Two level modes allow adaptation to external power amplifiers, active speakers, or subwoofers.

Specifications

• Fully discrete circuit with no negative feedback
• Output power per channel (8 Ohm): 10 Watts
• Headphone power per channel (32 Ohm): 3 Watts
• Speaker output frequency response (8 Ohms / Watt. +0/-1 dB): 5 Hz – 350 kHz
• Headphone output frequency response (32 Ohm / 200 mW, +0/-1 dB): 5 Hz to 400 kHz
• S/N ratio IHF A-weighted): 115 dB
• Total gain: 22 dB (speakers), 8 dB (headphones)
• Dimensions (W x H x D): 430 x 109 x 418 millimeters
• Weight: 8 kilograms

Price: €2,700

The 25-kilogram Rega Osiris amplifier's enclosure is crafted from anodized aluminum and CNC-machined. Its side panels conceal two cooling heatsinks. The front panel's composite design is formed by the edges of the top cover and base, as well as inserts, between which is a polished panel with a two-line display, two triangular input selector buttons, and a stylish volume knob. The power switch, shaped like an oblong button, is mounted at the joint on the left side. When pressed, an LED with the company logo, located at the bottom of the front panel, lights up. A universal aluminum remote control is included.

The symmetrical circuit topology follows the dual-mono principle. Nichicon audiophile-grade polyester capacitors are used. A differential input stage (cascade amplifier) ​​is employed. The output section utilizes eight Sanken transistors. The power supply includes two 400 VA toroidal transformers. They are mounted to the chassis in a special way, significantly reducing vibration and noise transmitted to the case. The transformers are combined with Rega K-Power capacitors, with a total capacitance of 40,000 μF per channel. This potential allows the Osiris to handle demanding speakers and deliver 162 watts per channel into 8 ohms. Fast-response rectifier diodes are used. The audio signal paths receive a separate power supply, significantly reducing distortion. The input selector, display, microcontroller for the input relays and the amplifier protection circuits against overheating, short circuits and overloads are also powered separately.

There's one balanced XLR and four RCA line-level inputs. A loopback is included for recording and monitoring. A fixed Direct Input provides direct access to the amplifier's power stage and is useful, for example, when using the Osiris as a power amplifier for the front speakers of a theater system.

The Rega Osiris's signature sound gravitates toward the sound of vacuum tube amplifiers and reflects the company's philosophy. Its sound is carefully crafted and boasts density, depth, and precise tonal balance. The device impresses with its musicality and naturalness. The model is an ideal match for the Rega Isis CD player.

Rega Osiris specifications

• Nominal output power 162 watts per channel (8 ohms), 250 watts (4 ohms)
• Input sensitivity/input impedance balanced input: 250 mV/10 kOhm; unbalanced inputs 2-5: 220 mV/22 kOhm; Direct Input: 220 mV/50 kOhm
• Gain (Direct Input) 44 dB
• Output signal level (recording output at nominal input signal level) 215 mV
• Frequency response 10 Hz – 75 kHz (-1.7 / -3 dB)
• Harmonic distortion less than 0.05% (22 Hz – 30 kHz)
• Inputs balanced XLR, four line RCA, Record Input (RCA) for recording monitoring, Direct Input
• (RCA) for direct access to the amplifier's power stage
• RCA outputs for recording
• Power supply two toroidal transformers with a power of 440 VA each, the total capacity of the
• buffer capacitors is 40,000 μF per channel Speaker
• output two pairs of gold-plated terminals
• Volume control passive, motorized potentiometer Alps Blue Velvet
• Surface mount technology is used yes
• Power consumption 560 W
• Remote control Osiris CDP, universal, aluminum case
• Dimensions (WxHxD) 434x122x350 mm
• Weight 25.6 kg

The T+A PA 2500 R features massive screw-type terminals for connecting two pairs of speakers. The speaker terminals are machined from non-magnetic brass and are rhodium-plated, featuring a clear housing with easy-to-grip handles.

The T+A PA 2500 R amplifier has three balanced and line-level inputs, with connectors #3 (XLR) and #5 (RCA) configurable for home theater use when connecting a processor with surround sound decoders. When SRND mode is activated, balance, volume, and some other functions for these connectors are individually adjustable, with the settings retained in memory. There's a Pre Out (RCA), R2-Link system bus connectors (one of which can be used as a trigger), and a LAN port for controlling/monitoring the T+A PA 2000 R via a computer. Two pairs of pure copper screw terminals allow connection to speakers.

The voltage and current gain sections are galvanically isolated. The fully discrete input stage utilizes hand-selected J-FET transistors, and the intermediate section operates in Class A mode. The rest of the T+A PA 2500 R's specifications are equally impressive: MOSFET drivers, high-power bipolar output transistors, mica capacitors, low-inductance resistors, and fully sealed, zero-loss gold-plated relay switches. The total capacitance of the buffer capacitors is 60,000 µF.

The T+A PA 2500 R amplifier delivers 280 watts per channel into a 4-ohm load and 140 watts into 8 ohms. The specifications even claim 400 watts into a 2-ohm load, indicating the manufacturer's complete confidence in the power supply's reliability. The T+A PA 2500 R can be optionally equipped with a built-in phono preamp for MM or MC cartridges. The amplifier's balanced circuit topology is almost identical to that of the HV series. This model is housed in a slim case and, like the higher-end HV series, utilizes a higher voltage to power its discrete stages. The advantages of the HV concept have been repeatedly emphasized: the specified frequency response ranges from 0.5 Hz to 300 kHz, plus outstanding transient response. The manufacturer positions the PA 2500 R as a powerful, premium-class amplifier. The company emphasizes two key features: low-negative-feedback output stages and new power supplies, which, according to T+A, were designed specifically for audio devices to withstand maximum load levels.

It's worth noting that each channel has its own tone control (a bypass mode is also possible). For use in a surround sound system, a Surround Pass Through mode is available, activated by a trigger signal.

T+A PA 2500 R Specifications

• Output power 2 x 140 W (8 Ohm), 2 x 280 W (4 Ohm), 2 x 560 W (2 Ohm)
• Frequency response 0.5 Hz – 300 kHz (+/- 3 dB) (preamp section), 1 Hz – 150 kHz (power amplifier)
• ​​Harmonic distortion less than 0.001% (preamp), less than 0.02% (power amplifier)
• ​​Inputs 3 balanced XLR, 4 unbalanced RCA
• Outputs from preamp (balanced, unbalanced), to headphones, to two pairs of speakers
• Additionally, a control system connector (AMX / Crestron), R2-Link control system input and output
• Signal-to-noise ratio 109 dB (A-weighted)
• Channel separation more than 90 dB
• Tone control LF (-6 / +8 dB), HF (-6 / +8 dB)
• Loudness compensation is, adjustable, switchable
• Input sensitivity 250 mV (RCA), 500 mV (XLR)
• Tone control LF (-6 / +8 dB), HF (-6 / +8 dB)
• Slew rate of the output signal 60 V / μs
• Damping factor more than 65
• Filter capacitor capacity 120,000 μF
• Power consumption 2000 W (max), 0.5 W (Standby)
• Dimensions (W x H x D) 460 x 165 x 405 mm
• Weight 14.5 kg

The T+A PA 2000 R amplifier has three balanced and line-level inputs, with connectors #3 (XLR) and #5 (RCA) configurable for home theater use when connecting a processor with surround sound decoders. When SRND mode is activated, balance, volume, and some other functions for these connectors are individually adjustable, with the settings retained in memory. There's also a Pre Out (RCA), R2-Link system bus connectors (one of which can be used as a trigger), and a LAN port for controlling/monitoring the T+A PA 2000 R via a computer. Two pairs of bare copper binding posts allow speaker connections.

The voltage and current gain sections are galvanically isolated. The fully discrete input stage uses hand-selected J-FET transistors, and the intermediate section operates in Class A mode. The rest of the T+A PA 2000 R's specifications are also impressive: MOSFET drivers, high-power bipolar output transistors, mica capacitors, low-inductance resistors, and fully sealed, gold-plated, zero-loss switching relays. The total buffer capacitor capacity is 60,000 µF.

Despite its modest dimensions, the T+A PA 2000 R easily delivers 200 watts per channel into a 4-ohm load and 100 watts into 8 ohms, with the specifications even claiming 300 watts into a 2-ohm load, indicating the manufacturer's complete confidence in the power supply's reliability. As an option, the T+A PA 2000 R can be equipped with a built-in phono preamp module for MM or MC cartridges.

The amplifier's balanced circuit topology is almost identical to that of the HV series models. The model is housed in a slim case and, like the higher-end HV line, uses a higher voltage to power its discrete stages. The advantages of the HV concept have been repeatedly emphasized: the specified frequency response ranges from 0.5 Hz to 300 kHz, plus outstanding transient response.

The manufacturer positions the PA 2000 R as a compact yet powerful premium amplifier. The company emphasizes two key features: output stages with low negative feedback and new power supplies, which, according to T+A, were developed specifically for audio devices to reliably handle maximum load levels.

It's worth noting that each channel has its own tone control (a bypass mode is also possible). For use in a surround sound system, a Surround Pass Through mode is available, activated by a trigger signal.

T+A PA 2000 R Specifications

• Output power 2 x 80 W (8 Ohm), 2 x 120 W (4 Ohm)
• Frequency range 0.5 Hz – 300 kHz (+/- 3 dB) (preamplifier section), 1 Hz – 150 kHz (power amplifier)
• ​​Harmonic distortion coefficient less than 0.001% (preamplifier), less than 0.02% (power
• amplifier)
• ​​Inputs 3 balanced, 3 unbalanced
• Outputs from preamplifier, to headphones, to a pair of speakers
• Additionally, a control system connector (AMX / Crestron), R2-Link control system input and output
• Signal-to-noise ratio 109 dB (A-weighted)
• Channel separation more than 90 dB
• Tone control LF (-6 / +8 dB), HF (-6 / +8 dB)
• Loudness compensation yes, adjustable, switchable
• Input sensitivity 250 mV (RCA), 500 mV (XLR)
• Tone control LF (-6 / +8 dB), HF (-6 / +8 dB)
• Slew rate of the output signal 60 V / μs
• Filter capacitor capacity 60,000 μF
• Power consumption 1000 W (max.), 0.5 W (Standby)
• Dimensions (W x H x D) 460 x 82 x 400 mm
• Weight 10.5 kg

In terms of power, this amplifier delivers a record-breaking 550 watts per channel into 8 ohms and 870 watts into 4 ohms. And with the load impedance dropping to 2 ohms, the Musical Fidelity M8xi can deliver up to 1.6 kW of output power (for short periods). And note that all of this is in true, traditional Class A/B, not the trendy Class D! According to Musical Fidelity, the M8xi can drive any speaker on the market, and it's hard to disagree.

But why does a “home” amplifier need a whopping five hundred watts of output power per channel? The point isn't really about listening to music loudly (although, as you can imagine, that's not an issue here), but about the ability to control any speaker, thereby achieving its best sound.

Perhaps now is the time to dispel the rather popular myth that choosing an amplifier with an output power lower than the speaker's maximum specified will prevent damage when listening to music at high volumes. In reality, it's much easier to burn out speakers when connected to a low-power amplifier operating at the limit (or beyond) of its capabilities. Distortion is the real enemy of the voice coils in your speakers' drivers.

But, of course, you should still stop switching analog cables while the amplifier is on, especially with the volume control set to maximum. And if distortion begins to appear in the sound, turn down the system's volume a couple of notches.

But let's return to the Musical Fidelity M8xi's appearance. This amplifier will undoubtedly stand out in any interior, though not to the same extent as devices from Gryphon or McIntosh. The aluminum front panel is half a centimeter thick and features two hockey-puck-sized knobs—an input selector and a volume control. The display shows the selected signal source, and the amplifier is turned on with a tiny button below the input selector. Two enormous cooling heatsinks are located on the sides of the enclosure. This makes perfect sense, as when the Musical Fidelity M8xi is running at full power, they will generate up to one kilowatt of heat!

The amplifier's remote control is a blue-gray plastic box that looks like it was once a CD player remote control. Perhaps, given the amplifier's price, its remote could have been a little fancier. The amplifier control buttons are located in the lower third of the remote, but there is no power on/off button.

The Musical Fidelity M8xi is equipped with a wide range of analog inputs, but not a phono input. So, if you plan on listening to records, you'll need to invest in a suitable phono preamp. The amplifier also has a Home Theater input, allowing the M8xi to be used as an amplifier for the front channels of a home theater. This is a plus, but it should be used with caution, as it bypasses the amplifier's volume control. If, for example, you accidentally feed the amplifier a signal from a CD player, each speaker will receive half a kilowatt of power!

The unit also has a wide range of digital inputs: two optical, two coaxial, and an asynchronous USB port for connecting a computer. However, the Musical Fidelity M8xi lacks network functions or power inputs for external devices.

Musical Fidelity describes the M8xi as two mono amplifiers and a preamplifier, housed in a single enclosure. In principle, this is exactly what we're used to calling an integrated amplifier. But in this case, these three components have completely separate power supplies and are almost completely separated from each other within a spacious enclosure.

Since the amplifier doesn't have network capabilities, it's fairly straightforward to use. However, you'll need a helper to position the Musical Fidelity M8xi, and as we've already established, it won't fit on standard speaker stands. A sturdy coffee table would probably do, or, in a pinch, you could simply place the unit on the floor.

An amplifier with such impressive specifications and a price tag that's a bit out of my comfort zone sets high expectations for sound quality. And perhaps that's why, after listening to music through it for a while, I thought, “Is that all?” Only then did I realize how loud it actually was. With five hundred watts of output and the ability to drive any speaker without straining, this amplifier sounds a little different than most of us are used to.

Music played through the M8xi will likely be a bit harsher than through other amplifiers. And not because the device itself sounds harsh, but simply because its exceptionally clear sound will have you cranking up the volume to the point where your ear's frequency sensitivity changes. Simply return the volume control to a more realistic setting, and everything will fall into place.

One of the strengths of the Musical Fidelity M8xi is its sound dynamics. Not only can this amplifier play loudly, but it also masterfully shows the difference between the quietest sounds and explosive musical passages.

The Musical Fidelity M8xi sounds as impressive as it looks. If you have the space and can afford this giant, you will get an absolutely uncompromising foundation for your system. The most indelible impression is made by the dynamic capabilities of this amplifier, which are simply unmatched today, even among high-end models. With an output power of half a kilowatt per channel, the Musical Fidelity M8xi allows you to use any speakers in your system.

Musical Fidelity M8XI Specifications:

• Output Power (20 Hz – 20 kHz): 550 W per channel into 8Ω (870 W into 4Ω); peak 1.6 kW into 2Ω
• Maximum Output Voltage: 67 V RMS from 20 Hz – 20 kHz; clipping start at 190 V peak-to-peak
• THD+N: <0.004% typical (20 Hz – 20 kHz, XLR)
• Signal-to-Noise Ratio: >86 dB, A-weighted (XLR)
• Input Impedance: 25 kΩ (RCA), 50 kΩ (XLR)
• Frequency Response: +0 / –1 dB from 10 Hz – 100 kHz
• Maximum Peak Output Current: 105 A
• Damping Factor: 150
• Output Devices: 3 + 3 pairs (bridged) per channel
• Analog Inputs: 4 × RCA line-level, 2 × balanced XLR
• Digital Inputs: 2 × coaxial S/PDIF (24-bit / 192 kHz), 2 × optical S/PDIF (24-bit / 96 kHz), 1 × asynchronous USB-B (24-bit / 192 kHz)
• Analog Outputs: 1 × fixed RCA, 1 × variable RCA (pre-out), 1 × variable balanced XLR
• Digital Outputs: 1 × coaxial S/PDIF (24-bit / 192 kHz), 1 × optical S/PDIF (24-bit / 96 kHz)
• Dimensions (W × H × D): 440 × 162 × 400 mm
• Maximum Power Consumption: 2000 W