Furutech’s Alpha Design Lab range includes cables, headphones and earphones, a portable headphone amplifier and stylish system equivalents of the ADL X1 here. This appears to be a portable miniature music centre, offering USB and iDevice functionality, plus a built-in rechargeable battery giving around five hours of operation.
Six top-mounted LEDs display sampling frequency, and there’s a front fascia volume control – which sadly proved just a little too easy to accidentally move when out and about. Those on the Number 41 bus will doubtless prefer the ergonomic simplicity of, say, an Arcam rPAC or Cambridge Audio DacMagic XS, which are truly portable devices.
Longstanding Slovakian tube specialist Canor is based in Prešov, in a purpose-built factory where it builds everything in-house and has developed a proprietary valve-testing and burn-in methodology. Valves that don’t measure up, we’re told, are returned to their makers for use in guitar amps and the like.
The company traded for many years as Edgar until changing its brand name to Canor at the end of 2007. Its inaugural integrated tube amp, the TP101 was first shown in 1995 at an exhibition in Brno.
Exposure Electronics was founded by John Farlowe in 1974 and has remained committed to two-channel music reproduction. The company is largely famous for its big blackpre/power amplifier combinations of the 1980s, when it sold to people who wanted punchy solid-state amps that sounded smoother and creamier than rival Naim products.
Nowadays, the sound hasn’t changed much but the size has, and most of its wares are more affordable products such as this one – Exposure’s top integrated. The 3010S2 series comprises a CD player, mono and stereo power amps, a preamplifier and a phono amp.
Germany’s T+A has spent the last couple of years developing a completely new range of all-solid-state electronics: its ‘HV Series’.
Built into an all-aluminium case, the PA 3000 HV amplifier’s individual sub-assemblies are screened in separate chambers. An upper compartment houses the preamplifier and voltage amplifier stages, while the electronic control processor and circuitry for driving the display screen – fed by a separate power supply arrangement – sits in a recess machined out of the 40mm-thick aluminium front panel. A 10mm-thick dividing wall shields the top section from the left/right current amplifier stages and the unit’s massive power supply is in a lower compartment.
The Editor’s review briefing included the warnings: ‘It’s 29kg – you may need help in unpacking it’ and ‘The S-550i is a remarkably dense amplifier, probably the most self-effacing yet monstrously powerful integrated we’ve ever tested. ’
This new flagship integrated, replaces the FBI while the S-300i remains as Krell’s entry-level integrated at £2795. The S-550i is a true ‘big brother’: the sonic resemblance is uncanny save for a brutal power delivery.
While the front panel suggests minimalism, that’s only because all minor settings are relegated to a menu system, eg, balance setting and input trim, which can also be accessed by the full-function remote.
Yes, those valves – made in-house – really are a foot tall! And they radiate substantial heat once the SXI has been powered up for a few minutes, but KR Audio’s amplifiers are beautifully engineered.
The company is based in Prague, founded by electronics engineer the late Dr Ricardo Kron in 1992. It’s a boutique firm of only a dozen or so people – skilled artisans who blow the glass and hand-craft the tubes.
Such is the transparency of KR Audio’s Kronzilla amplifiers that at least of couple of German recording studios use them in mastering suites.
McIntosh’s original MC275 featured as an ‘Audio Milestone’ [HFN Dec ’10], but what’s reviewed here is the current production version of this most famous power amplifier. It’s the same as the 2011 Anniversary Edition but with stainless steel rather than a gold chassis.
Its most spectacular outward feature, described in staid McIntosh tech-speak as ‘small tube illumination for amplifier status operation’, comprises LEDs indicating status or output tube failure. This is a part of a protection circuit system which will also shut the amp down if speaker wires are shorted or there is a gross impedance mismatch.
Enter Musical Fidelity’s latest ultra-high-power creation, described as ‘a true heir to the [2008] Titan, delivering near-identical sound’. It’s a monoblock design that’s considerably more bank-balance friendly, rated at 700W/8ohm, although this transpired to be conservative. It is part of a new series of high-end components, also including the M8PRE preamplifier.
The sturdy casework has a finely-textured black finish and thick aluminium fascias while the M8700m’s heatsinks are smoothly finished.
These are just the first two models in Roksan’s new Oxygene series. In the amplifier, the use of Class Dor switching-amplifier technology provides high power and excellent performance from a physically compact package. There’s very little heat dissipation, so the amplifier doesn’t require big heatsinks or a lot of ventilation. The designers have chosen one of the well-known range of Hypex UcD modules, which have a high reputation for sound quality.
On seeing Siltech’s pre/power combo you might think it incorporates a separate power supply. In fact, this unusual design splits the power amplifier into separate interstage (voltage gain) and current amplifier sections. The combo’s C1 tube preamplifier (pictured) features a rechargeable battery power supply as does the V1 voltage stage of the two-box power amplifier. Of course, running the complete V1/P1 amplifier from a battery would be wholly impractical, so the P1 is mains powered.