Berlin Based B.M.C. Audio, whose slogan is ‘The Sound of Nature” have launched their new Stereo Amplifier, the CS3 and M3 Mono Amplifiers.

CS3 Stereo Amplifier

B.M.C.’s CS3 is a Load-Effect Free (LEF) Amplifier with an option to upgrade it to an LEF Stereo Power Amplifier. The crucial secret of the CS3’s sound is that it avoids distortion, instead of compensating for it through a negative feedback loop.

B.M.C. explain: “The CS3 is a power amplifier without a preamplifier for a short, pure signal path. It features a Volume Control using our exclusive Discrete Intelligent Gain Management (DIGM) system, and an input selector. The lossless DIGM volume adjustment eliminates unnecessary signal attenuation at the input, as well as unnecessary high amplification. Combining the CS3 with a B.M.C. Digital-to-Analog Converter (DAC) transforms it into a LEF stereo power amplifier that offers DIGM gain adjustment set by the DAC’s volume control. In addition, B.M.C.’s balanced Current Injection (CI) input enhances the immediacy of reproduced music by processing the signal current of the source until it reaches the speaker’s output voltage. B.M.C.’s LEF output stage avoids distortion before it occurs by relieving the sound-critical LEF single-ended Class-A transistor of all duties other than providing perfect signal reproduction. Unlike other amplifiers, an LEF amplifier handles a speaker’s current demand separately from the voltage demand. The result is an unparalleled mastery of musical complexity that brings to startling life delicate details, rock-shaking power, high dynamics, sonic vitality, and accurate imaging — all on a three-dimensional soundstage. The CS3 also boasts solid output power: 2 x 200 watts into 8 ohms, and 2 x 350 watts into 4 ohms and has an electronically stabilised power supply with a 2kW toroidal transformer and balanced current capacitors provide the muscle behind the music”. It also features, according to B.M.C., “ A massive aluminium made remote control for your convenience of use with a statement of build quality in your hand”.

Price:

5.998,00 EUR, 19 % VAT incl. excl. Shipping costs 

M3 Mono Amplifier

B.M.C.’s M3 is a distortion-free LEF Mono Power Amplifier with adjustable gain DIGM and a balanced XLR-CI input. The AMP M3 can also be used as a classical monaural power amplifier. B.M.C. go on to explain: “In the short B.M.C. signal chain, the unattenuated signal is used from the fixed output of the source, while our exclusive DIGM system adjusts the volume by setting the gain of the amplifier. The lossless volume-setting happens at the B.M.C. DAC, which optically transmits the desired value to the M3. Tonal and technical crème de la crème: B.M.C.’s balanced Current Injection (CI) input imparts an even more intense musical experience by processing the original signal current until it generates the adjustable speaker output voltage. The channel separation by two separate mono power amplifiers cannot be surpassed. A large power supply with a 2kW toroidal transformer, Balanced Current capacitors and the new “active virtual capacity” delivers a silent background and rock-solid stability. The Load-Effect Free (LEF) output stage avoids any distortion before it occurs by relieving the sound-critical single-ended Class-A transistor of all duties other than providing perfect signal reproduction. Unlike other amplifiers, an LEF amplifier handles a speaker’s current demand separately from the voltage demand. The result is an unparalleled mastery of musical complexity that brings to startling life delicate details, rock-shaking power, high dynamics, sonic vitality, and accurate imaging — all on a three-dimensional soundstage. Load-Effect Free amplification is a new experience. The M3 also boasts solid output power: 200 watts into 8 ohms, 380 watts into 4 ohms”.

Price: 11.996,00 EUR (For the pair) 19 % VAT incl. excl. Shipping costs

PMC is using Sound & Vision, The Bristol Show, to launch the AVM high-end electronics brand, which it is adding to its distribution portfolio, making this high-end brand available to UK audiophiles.

AVM, designed and crafted in Malsch, Germany, is owned by managing director Udo Besser. The company, which has been developing and manufacturing electronic equipment for over 30 years, believes electronics must relay the purest emotions of recorded music, regardless of genre, directly to the listener.

This objective drives the company’s product design process, which is centred on keeping the “fingerprint” of the design inaudible and as musical as possible. Simplicity of design is key, As Udo Besser says, “Trial and error does not produce good sounding equipment. Therefore we do not develop unnecessarily complicated circuits that need a lot of compensating components in order to function correctly. We prefer a simple, straight circuit design where every component has its own clearly defined task. This circuit concept provides the best result, by far.” The AVM product line-up spans three ranges, namely: Inspiration, Evolution and Ovation. It consists of pre, power and integrated amplifiers, plus CD players, streamers, CD-receivers and all-in-one CD/streamer/amplifiers. PMC will be stocking a comprehensive selection covering all the categories; from the Inspiration CS 2.2 Compact Streaming CD-Receiver with 2 x 165 watt amplification and culminating in the Ovation range’s SA 8.2 stereo power amplifier. All the products feature a minimalist aesthetic design, reminiscent of the classic German design philosophy of the Bauhaus, uniting form and function. Peter Thomas, PMC’s founder and owner, has long admired AVM’s products and says, “The opportunity to bring them into the UK, to present the exceptional audio quality and exquisite design to our home market is ideal.” He continues, “AVM’s philosophy is so similar to our own – the reproduction of recorded music as it is meant to sound – that there is a real synergy between our products. They just work superbly well together, something we’ll be clearly demonstrating at the Bristol Show.”

Udo Besser adds, “AVM is delighted to announce that PMC will join the global distribution network for Germany’s top high end brand as exclusive distributor for the UK. The companies combine nearly six decades of experience in creating great sound reproduction to enrich customers lives in their homes and in the world’s best recording studios. And, with an identical approach to the voicing of the products, we have an additional and essential asset for this new team.”

Visitors to Sound & Vision, The Bristol Show, will be able to experience AVM with PMC’s latest range of loudspeakers, the twenty5 series, in SS Great Britain 2&3.

APURNA is a new brand of audio amplifier from France, but above all is a brand telling the story of one couple’s “passion for the purest technology and elegance”. After years of work and thought, Catherine and Franck Borne today are proud to launch their analogue amplifier that, they say “delivers not only on performance, but every bit as much on refinement and design”.

They go on to explain: “Every APURNA amplifier is built in France to the very highest quality, the technical choices guaranteeing premium performance while the quality of signal-to-noise ratio ensures the truest sound. Everything is designed to be intuitive and a pleasure to use, thanks to the control module beautifully sculpted from noble metals and fine crystal. APURNA is committed to bringing you the finest range of the most stylish and carefully selected materials. This innovative and luxurious hifi system is patent-protected”.

“Committed to offering a truly unique product, APURNA amplifiers can be customised using the very finest materials. This customisation makes our system not only a technological masterpiece, but a beautiful work of art you’ll be proud to display. Every APURNA client has the option to make their amplifier something really special – whether finished in gold, beautifully lacquered, or studded with diamonds, each piece is carefully crafted to your wishes.”

Technical Details

Bandwidth: DC to 430KHz (+0 ; -3dB) or DC to 80KHz (+0 ; -0,1dB)

RMS output power: 200W (8 Ω) ; 400W (4 Ω)

Dimensions: 400x400x245 mm

Weight: 47.5 kg for a standard trim

Inputs available:

2 XLR sockets (1 in Bypass mode)

3 RCA sockets (1 in Bypass mode)

2 Phono level RCA sockets (MM & MC)

Speaker outputs: WBT-0702.01 terminals with 24-carat gold finish.

In case you are not familiar with the name Unison Research, it is an Italian company in business for some 20 years or so at Treviso, a municipality just to the north of Venice, with a well earned reputation for producing some excellent hifi components. Dominic Marsh hs a play with their Triode 25 valve amplifier.

Construction

At first glance this amplifier looks positively handsome.  The sample supplied for review sported a real Cherry wood fascia which I found rather attractive and a welcome change from the ubiquitous black or silver finish.  The remainder of the chassis is painted black however and as a foil to that the valve bases are inset into two polished alloy heat shields which extend from the front panel in a sweeping arc upwards, meeting the top plates of the transformer covers.   A rather substantially built chrome plated valve cover cage is supplied, removed by slackening off four Allen bolts and sliding the cover along keyhole slots in the cover’s base plates to quickly release the cage.

For those that don’t own or know how to operate a multimeter, or have the confidence to go poking around within the internals of a valve amplifier to adjust the valve bias settings, Unison Research have thoughtfully provided a simple yet effective way of adjusting the bias current settings.  Betwixt the valves on the valve base level there is a simple voltmeter and a potentiometer that makes setting the bias child’s play and completely safe, even for the most novice of owners.  The review sample needed no such adjustment but I took the time to read the owner’s handbook and it seems simple and painless.

The end user has a choice of power output modes between Pentode and Triode.  I won’t go into details of how the two modes work, save that Pentode mode gives a higher wattage output with a slightly less refined sound whereas Triode mode has a lower output wattage, but has greater detail and clarity.

Front panel controls consist of a machined alloy rotary knob to the left which is the source selector and an identical rotary knob for volume control to the right of the panel.  Between the two in the centre of the front panel is a toggle on/off power switch aligned horizontally, beneath which is the remote control sensor window.

To the rear we find from left to right, an IEC power inlet socket with integral fuse holder, the fuse rating depending upon mains input voltage, the value thoughtfully printed on the transformer cover above.  Then we find a set of four speaker binding posts, able to accept 4mm banana plugs, spade connections and bare wire.  There is no biwire facility or catering for more than one pair of speakers.  Next we see a row of single ended RCA connections, namely  SUB out, TAPE out, TAPE (Input), AV input, TUNER and CD.  To the right of this is a blanking plate marked “USB” which would have a USB connection if the module is fitted.

It is supplied with a remote control handset.

Retail price is £2,600.00 at the time of review.

Sound

They say that EL34 valves have a sweet sound to them, but that has more to do with the design implementation of the circuitry, especially in the output transformer quality rather than a mythical inherent sound to the valves per se, as I have been less than enamoured with some EL34 amplifiers I have listened to in the past.  Unison Research really have got the recipe right with this amplifier as it sounds sublime to me and I could sit here and probably type a hundred superlatives and you would probably read it in disbelief, so I am going to have to justify in words the sounds that I heard from this amplifier.

The interesting part of this review was pairing the Unison Research amplifier with different speakers, one of which was supplied with this amplifier and a Reloop turntable as the source, all from the same distributor as one of their recommended packages.  I won’t mention the Reloop turntable in this review as that will feature in a separate review with the Unison Research Triode 25 and Opera Mezzza speakers as a complete set.

I first coupled the Unison Research Triode 25 into my resident system and immediately it was apparent just how lucid and insightful this amplifier really is and surprisingly quiet and noise free too.  Trust me when I say it took no effort at all to listen to this amplifier producing real music, bursting with tonality and dynamism in a truly effortless way.  I have heard other EL34 amps produce this level of sound quality, but the Unison Research had that top level of polish and refinement that to date I have not heard elsewhere from EL34 valves.  Hard to describe, but the sound had a rich liquid silkiness which you might infer as being masked or veiled, but not so.  Leading edges were crisp and sharp enough to have a shave with, but not sharp or edgy either.  I’m struggling with the right words here (unusual for me) but would it suffice to say that I had no cause for complaint with anything I heard, with one small exception.

Bass was extremely clean and tight, perhaps a little too tight as that swift kick in the guts power a solid state amplifier can deliver with plenty of beefy watts behind it, the Triode 25 couldn’t quite muster.  I bet you valve fans are muttering under your breath at reading this, but you play something like Supertramp’s “Dreamer” or Dire Straits “Private Investigations” at full chat on a valve and then a solid state rig, then come back and argue!  This was no real surprise as I have yet to hear any valve amplifier compete with that, so living with a valve based power amplifier is all part of the whole package for me.  Conversely, there isn’t a solid state amplifier that could quite produce that sweet silkiness in the treble and midband the Unison Research Triode 25 possesses so I will settle for an even score here.  You pays your money and takes your choice, as they say.

Listening to Fink’s “Wheels Beneath My Feet” album recorded live at various venues revealed a depth of image and soundstaging that was all enveloping, extending beyond the speaker boundaries and depth-wise not lacking by any means.  My biggest bugbear with this album is Fink’s diction which makes following the lyrics rather difficult, nay impossible at times despite the songs inviting you to sing along (I use the word “sing” here with some caution).  The album’s true forte though is the instruments, with some stunning well recorded drum playing and bass guitar.    When the drummer hits the Floor Tom in the track “Sort Of Revolution” it should penetrate to the centre of your being with it’s power and slam, but as mentioned above the Unison Research amplifier just fell short of that idea.  In it’s defence though, the ambience of each venue shines clearly through and you can easily discern the size of the venue and it’s acoustics.  The cymbals sounded exactly like struck cymbals should sound like, full of vibrancy and energy so you were in no doubt at all that metal was being hit.  Track one on the album is called “Biscuits For Breakfast”, opening with some delicious  acoustic guitar and Ride Cymbal playing, recorded with great precision, joined soon afterwards by deep bass guitar plucks, all a joy to listen to.  Track two called “Perfect Darkness” again has some great intro drumming with snare drum rim knock and kick drum.  Of particular note was how real the audience sound was, seemingly surrounded by some very enthusiastic clapping and cheering.

Time to give the Unison Research amplifier a good workout now, with Porcupine Tree’s “Deadwing” album slotted into the CD player’s drawer.  This album is full of rawness in the recording and it easily wrong-foots many a system, but all credit to it, the Unison Research Triode 25 managed to tread that fine line between  accuracy, delicacy and smoothness, avoiding for the better part the raw edgy harshness that this album can output, yet not totally mask the album’s recording shortcomings.  To be truthful, this is the kind of presentation I enjoy for my personal listening; excitement and dynamics without being sonically assaulted by the drawbacks of absolute accuracy and fidelity. 

Next into the fray came a pair of Opera Mezza speakers.  On my resident system they had a weird ‘beaming’ effect whereby there was a glorious sweet spot dead centre and a metre either side of that, but beyond that boundary the sound collapsed severely, losing bass and treble definition in my listening room.  Paired with the Unison Research amplifier I didn’t notice that effect quite as much.  That pairing was fine tonally and dynamically, but not a big bold sound by any means which I would best describe as “intimate”, best enjoyed at lower levels, which sounds rather perfect for those who live in thin walled houses with complaining neighbours.

Out with the Opera speakers and in with a pair of Roksan K2 TR-5 S2 speakers, which have a superb ribbon tweeter and larger cabinet dimensions than the Opera speakers, so I was expecting a lot more bass.  Bass indeed now took a good leap forward and the ribbon tweeter coupled with the silkiness of the Unison Research amplifier was a great marriage.  However, the Roksan speakers have a quite prodigious bass output and the Unison Research couldn’t keep as tight a grip on the bass registers as I would have liked, resulting in a slight overhang  I am being picky here and if I didn’t have my resident system as the benchmark then I might not have been quite so critical in this respect.

Last but not least, a pair of Audiovector QR1s (Full review soon) were connected up to the Unison Research amplifier.  Again, this speaker has ribbon tweeters like the Roksan’s and sure enough treble output was as sweet and mellifluous in that respect as the Roksan speakers.   Bass had a less prodigious quantity and was all the better for that when paired with the Unison Research amplifier, providing a better balanced sound.  In fact, I purposely left the Audiovector speakers connected for quite some time.

Conclusion

If I were in the market for a valve amplifier then this would probably be the one I would buy.  I listened very hard for any fuzziness, harshness, noise, distortion, ringing, muffling, or veiling and I found none.  Sure, the bass lacked concussion inducing power but I could live with that, as what was there was clean with no trace of bloom or boom, which does annoy the heck out of me.  On the positive side it has a sweet beguiling sound that you can listen to for many hours and not once will it displease you in sound terms.

It is well specified, well built and easy to maintain too, especially the built-in bias adjustment settings.  Comes with a great remote control and that pleases me too.  I like the sturdy and thoughtfully designed chrome plated valve protection cage which keeps hot valves out of human harm’s way.

In summary then, if you hanker for a valve amplifier then this one HAS to be on your audition list for sure and I give it a high recommendation.

AT A GLANCE

Build Quality:  Beautifully crafted in every respect and the design is a tribute in how to make a valve amplifier not look like an ordinary run of the mill valve amplifier

Sound Quality:  Sure footed and highly mellifluous, you owe it to yourself to audition or miss a sonic bargain

Value For Money:  As it stands head and shoulders above the herd in sound and build quality, it has to be good value for money

Pros:  Build, sound, ease of maintenance and a remote control.  You really are being spoiled with this one.

Cons:  None, except for a slight shortage of gut thumping bass power, to be expected though.

Price: £2600

Dominic Marsh

SPECIFICATIONS

• Output Stage: Push-pull, ultralinear, Class-AB
• Output Power: Approx. 45 watt per channel (Pentode configuration)  Approx. 25 watt per channel (Triode configuration)
• Output Impedance: 6 Ohm
• Input Impedance: 47 kOhm / 50 pF
• Negative feedback: 5 dB or 1.8 dB
• Valve complement: 2 x ECC83 (12AX7) 1 x ECC82 (12AU7) 4 x EL34 (6CA7)
• Power Consumption: 300 watt max
• Fuses: T6.3A from 100V to 130V T3.15A from 220V to 250V
• Dimensions: 30 cm x 45 cm x H. 20cm
• Net weight : 20 Kg

The Acoustica Show, which returns for its fifth year on 11th and 12th March, will see the north of England debut of new products from Naim and an exclusive preview showing of the next Kudos loudspeaker.

Taking place at the Doubletree by Hilton Hotel, Chester, this free to enter event showcases many of the brands stocked by Acoustica, including: Bowers & Wilkins, The Chord Company, Dynaudio, Focal, Kudos, Naim, Rega, Roksan and Spendor. Among the new products on display for the first time at a north of England show are the Naim Atom, Star, Nova and Core music ripping, streaming and storage models. Dynaudio will be showing off its new Contour range and visitors can enjoy a trip to the movies courtesy of the ARCAM/Bowers & Wilkins cinema installation.

Last year Kudos treated Acoustica Show visitors to their flagship loudspeaker, the Titan 808 for 2017, Kudos will be previewing the latest member of the Titan family, the 707.  The Titan 707 is a smaller, single-box version of the 808 that will be within reach of a wider range of budgets. Show visitors will be able to new and used vinyl courtesy of Theme One Records. Chesky CD label titles direct from New York will also be available.

Don’t forget, you can find details of this and all other Hifi Shows in our Hifi Diary!

Eunice Kron of KR Audio dropped us a line to tell us what she would be bringing to this year’s High End Munich show.

KR Audio will be exhibiting in Hall 1, stand D15 at the MOC Munich, 18^th to 21^st May 2017.

The KR Kronzilla SXI will be attached to RD Acoustics speakers, the VA830 will be exhibited plus, Eunice told us, ‘there will be other surprises‘.

Read more about High End Munich 2017 and previous years here

Find out what KR Audio are exhibiting at High End Munich 2017…

Read the full story here

In case you are not familiar with the name Unison Research, it is an Italian company in business for some 20 years or so at Treviso, a municipality just to the north of Venice, with a well earned reputation for producing some excellent hifi components. Dominic Marsh has a play with their Triode 25 valve amplifier.

“At first glance this amplifier looks positively handsome.  The sample supplied for review sported a real Cherry wood fascia which I found rather attractive and a welcome change from the ubiquitous black or silver finish.  The remainder of the chassis is painted black however and as a foil to that the valve bases are inset into two polished alloy heat shields which extend from the front panel in a sweeping arc upwards, meeting the top plates of the transformer covers.   A rather substantially built chrome plated valve cover cage is supplied, removed by slackening off four Allen bolts and sliding the cover along keyhole slots in the cover’s base plates to quickly release the cage…”

Read the full review here

Chord Electronics’ flagship Reference range and its full-size Chord range is to benefit from a new solid black machine-polished acrylic side panel option.

Chord Electronics has introduced a new styling alternative to its full-size component ranges, Reference and Chord. All double- and quad-height products* in Chord Electronics’ two upper ranges can now be ordered with high-quality solid black acrylic side panels as an alternative to Chord’s traditional Integra Leg System; Chord’s single-height products** will also be available with the new side panels later in 2017.

Each block is precision-machined from solid black acrylic and then machine-polished to a piano black finish. The new aesthetic takes inspiration from Bauhaus styling and gives flexibility when placing equipment in differing environments, offering a softer look which reflects home décor. Compatible products already in service can also be retro-fitted with the panels as a chargeable factory upgrade.

*The following models can be ordered now with the solid black acrylic side panel options:

CD playback: Red Reference Mk III; Integrated amplifiers: CPM 2650; CPM 3350 and CPM 2800 MKII (with DAC); Preamps: CPA 5000 and CPA 8000; Power amps (mono): SPM 1400 MK II; SPM 6000 MK II and SPM 14000 MK II; Power amps (stereo): SPM 1200 MK II and SPM 1050 MK II

**The following models will be available later in 2017 with the side panel options:

Streaming: DSX 1000; Preamps: CPA 2500 and CPA 3000; Power amps (stereo): SPM 650

Danish manufacturers Densen have launched their brand-new Cast Amp Streamer, the first in their brand-new Dino range of products.

The Cast Amp is the first product from Densen to allow streaming. By using Google Cast Audio technology, users will be able to stream music directly from services such as TIDAL. The component can also be used with Google Home to implement multiroom listening. A specially shaped, pure aluminium cabinet encases the external Wi-Fi Source along with a high-end DAC.

The most interesting and unique feature of the Cast Amp is the internal Power Amplifier. This is a scaled down version of the upcoming B-390 Power Amplifier (set to be released in late 2017) that has been 15 years in the making. The delivery of the Cast Amp is 2 x 60 W in 8 ohm and 2 x 120W in 4 ohm. As such, the component can also be used as a standalone power amp with a 5V trigger. Densen’s Cast Amp uses already pre-established streaming software to ensure that no issues are created between Densen created software and Google Cast. The non-magnetic casing adds to the Cast Amp’s benefits and decreases magnetic distortion. The aluminium casing also creates a heatsink, ensuring that it does not overheat.

Retail Price £2,895.

Technical features:

·         Output power: 2 x 60 W 8 Ω / 2 x 120 W 4 Ω

·         Power supply: 400 VA and 20.000 uF

·         9 individual powersupplies

·         5 volt trigger for remote control, when used as pure poweramp

·         Upgradeable DAC

·         Controllable via GOOGLE CAST AUDIO

·         Size: Height: 64mm (72mm with feet). Width: 220mm. Depth:310mm (+cable connectors)

·         Available in both Albino silver and black

·         Manufactured in Denmark

Trafomatic Audio of Serbia sent us over pictures of their new Evolution amplifier series.

The new range replaces their current Experience range and represents significant upgrades in both the appearance and the internal electronics.

The new amplifiers will be shown for the first time at the Moscow Hifi Show in April by Traformatic’s Russian distributor, T-Art.

Audio Hungary got in touch to tell us more about their Qualiton brand, their products, philosophy and their history. “Audio Hungary Ltd., owners of the Qualiton brand, started off in 2012. This essentially came about when they purchased Univox Ltd, a manufacturer of industrial PA equipment. Without wanting to make this a lesson in economic history: the company started back in the 1940’s operating under the names of “Audio” “EAG “and BEAG until the 1990’s. That was when Univox was created from a manufacturing unit of BEAG (Budapest Electro-Acoustics Factory). BEAG used to be one of the largest players in the industry in the Eastern bloc, having also supplied the entire PA system for the Moscow Olympics back in 1980”.

“Much more interesting from our home audio perspective is the fact that BEAG’s APX100 mono valve amplifiers, originally designed for PA purposes, were and sometimes still are used by many Hungarian audiophiles, looking for a sound that – after some modifications – could be more musical than the cheap mass market stuff that was available in Hungary at the time. One of the current product lines is loosely based on that original design but more of that later. Audio Hungary’s founder, owner and chief engineer, Laszlo Fabian is a physicist, university lecturer and co-owner of a communication network business. Also being a music-lover and audiophile, he started reading up on valves and valve amplification circuits. Now it seems that when Laszlo sets his mind on something he makes sure he goes all the way and he now has a library-worth of relevant literature under his belt. Much of the most valuable stuff was from Russian sources, where else, as valves were used extensively and well into the SS era in no-nonsense military applications. Want valve electronics that perform within tight tolerances in all circumstances? Check out the power supply of the primary radio in a MIG-25 fighter plane! That’s where the world first laid eyes on the famous 6c33c power valve when in 1976 a Russian pilot defected, landing in Japan, and the plane was pulled to pieces for a thorough examination. And then the usual story: Laszlo decided to turn his hobby into a business. By purchasing Univox, AH laid hands not only on its manufacturing capabilities but, more significantly, on the very valuable practical skills of its engineers and technicians. To this were added a selected bunch of young engineers”.

“Circuit designs are not me-too versions of the innumerable generic valve amp layouts but incorporate elements from the designers’ wider than usual source of knowledge and experience. Generally speaking, Qualiton amps are designed with a brief of technical excellence in mind. They are not of the simplest-possible-circuit-design, he designers believing that a circuit carefully conceived for wide bandwidth, linearity, low distortion and healthy power output will not rid the sound of the valve traits we all love (well, most of us anyway) but will also carry the solid-state trademarks of bass depth, definition and clarity. Qualiton is a no-compromise brand without the price-tag that usually goes with that ambition. In practical terms that means, transformers designed and wound in-house, valves selected in a very low tolerance process (around 25% pass the test), audiophile grade components throughout and everything carefully built into massively constructed steel chassis and quality controlled in-house. Products conform to European, US and Japanese standards (CE, FCC, PSe) and the production process is Iso 9001 compliant”.

The Products

The Classic (Heritage) Series

Qualiton APX200 Stereo Power Amp

“Audio Hungary’s first product was the APX200 power amp which is a tribute, in terms of both the innards and the outer looks, to the BEAG APX100 mentioned above. Output power is 100W per channel and distortion remains below 1% from 20 to 20kHz/-3dB at the rated power. Extremely linear for a valve amp and will drive even insensitive speakers. The carefully selected valve complement and the dimensions and construction of the transformers make their contributions to the sound quality. The Russian 6P45S power pentodes operate in class AB in a push-pull configuration. Bias is increased to reduce THD, moving closer to class A operation, but only until THD is improved to 1% at the highest frequency extreme. Distortion could be reduced even more by further increasing the bias but at the expense of too much heat being generated. So this limit is set in order to keep temperature within the appliance in check. Transformers are designed and built in-house. Great care is taken in the dimensions and material quality of the iron core and the quality of the winding of the coils (suppliers were unable to satisfy the strict requirements).”

Qualiton APR 204 Preamp

“Obviously, the APX 200 needed a partnering preamp so the APR 204 was born, conceived along the same technical and aesthetic lines so as to form a perfect match. It includes an MM phono input with fully passive RIAA equalisation. To keep the shortest possible signal path the input signal goes straight to the grid of the first voltage-amplifier valve then via the passive RIAA to the second voltage-amplifier stage. Tungsram ECC83 double triodes are employed in the phono and E88CC’s take care of the output signals”.

The A-Series

Qualiton A20i

“Class A, push-pull stereo integrated amplifier putting out 20W per channel. The design brief was for a compact premium quality integrated amp that would drive average sensitivity speakers in average size listening rooms. Speaker output terminals are for 8 Ohm speakers. The output transformers will allow 4 Ohm loads to be driven with some minor changes to the published performance parameters. This is a highly linear, wide bandwidth, low distortion amplifier, working in class-A all the way to its rated power output. The chassis is constructed from 1.5 mm stainless steel. Also produced in house, the steel sheets, with holes for valves and ventilation pre-cut, are bent then edges joined by welding and the whole thing hand-polished to a mirror finish. No screws are visible, everything is fixed to the steel shell from the inside. It looks like there was a single knob in the middle of the slim fascia. Actually, around the volume knob there is a ring that selects the 3 line-level inputs. A row of small LED’s at bottom right indicate the input selected. The remote control is the same mirror-polished steel shell as the amp itself and provides volume up, down and mute. It’s leather on the underside to make sure there’s no scratching and no clatter when placing the remote onto a hard surface. Internal construction is partly on high quality PCB’s, partly hard wired, always going for the best solution in the given application and the shortest signal paths. Input signals are handled by NOS Tungsram ECC83 valves, drivers are NOS Tungsram or Tesla E88CC’s, of which a sufficiently large stock has been secured. Power valves are Tung-Sol 5881 beam tetrodes”.

Qualiton A50i

“In terms of design goals and solutions, quality of componentry and build, looks and ergonomics the A50i is almost identical to its smaller brother, but designed for larger rooms and/or less sensitive speakers. Indeed, it was during the very successful tests and comparisons that the A20i took part in that the need emerged for a higher powered version of the same. Thus the design brief here was to have a sonic character similar to the A20i with output power up to 40-50W per channel in class-A and a 50% power reserve outside of class-A but with very moderate distortion. All other technical specs had to be at least the same as for the smaller brother. An important requirement for the power valves was that they be currently in production so that they can be easily replaced. During development Russian KT88 and KT120 types were tried. The power and distortion figures that had been set as goals were best achieved with the KT120’s so those were chosen for production. In the preamp and driver stages NOS Tungsram ECC83 and E88CC are used. For the case that these should be replaced with new production ones the Genalex Gold Lion were found to be closest in sound to the Tungsram NOS valves. The power valves here are Tung-Sol KT120 pentodes driven by Tungsram E88CC’s, while ECC83’s, also from Tungsram, process the signals in the preamp section. As for the output transformers, many types were designed and tried different materials in the prototypes, EI, M and C-cores, all with massively oversized cores to avoid any curtailing in the bass. Measured results and listening tests were often in contradiction and in these cases it was always the subjective results that were decisive. A toroid transformer design was finally selected, although it is the most difficult to manufacture with precision, requiring a lengthy and painstaking winding process. That is a reason why very few high-end quality amps are made with toroids. Mains transformers are also made in-house, from the vacuum-impregnation of the iron cores to the highly impermeable transformer covers. These are all cost increasing factors but any high-quality amplifier ought to be made with such a degree of electromagnetic shielding”.

Qualiton Phono

“In the early design phase several transistor and IC-based circuits were assembled and listening tests conducted. The very best op-amps were used and while all showed their characters the differences were not significant. Then for comparison the preamp of the Classic range, the APR 204 – fully valve based and including a phono section – was hooked up. Immediately there was the space, tone and room-filling quality that none of the transistor/IC designs could match. This defined the direction for the further stages of development: a circuit with no solid state components. Instead, an important role was to be played, again, by the NOS Tungsram ECC83 valve. This is a two-box phono amp, the power supply being in a separate unit for best noise results and both boxes are clad in the same mirror-polished steel that is the trade mark of the range. The MM input module may be replaced by an MC module carrying input transformers”.

Qualiton MC

“Visually matching its mirror-polished steel stablemates, the transformers in this MC step-up device are produced in-house like all other transformers in all applications employed throughout the Qualiton range. There are 3 standard versions for cartridge impedances below 5Ω, 5 to 15Ω and above 15Ω. A version to match your specific cartridge can be made on request”.

Stemfoort may not be a name that immediately trips off the tongue when speaking about amplifiers, but the companies heritage goes back to the mid eighties and they are owned by J.E.Sugden, who many will know for their Class A amplifiers. Lionel Payne takes a listen to their SF-200 Passive Line Amplifier costing £2135 for Hifi Pig.

I have to admit that I hadn’t heard of Stemfoort Audio before being asked to review this integrated amplifier. Stemfoort began life way back in 1985 in Holland and was a partnership between a recording engineer and a group of enthusiasts and audio designers. J.E.Sugden & Co. acquired the company in 1988 and, interestingly, the original founder still remains an active and valued technical director with Sugden and was the designer of the SF-200’s unique circuits.

The SF-200 is a passive line amplifier, often referred to as a straight line amplifier. This means that the basic configuration is a volume pot directly coupled to the power amplifier section, i.e. the preamplifier is passive ensuring the most direct signal path from your source to your loudspeakers. Handmade by a team of dedicated audio enthusiasts, the SF-200 is a wide bandwidth design reaching frequency extremes of 6Hz to 120kHz making it an ideal partner for hi-resolution formats such as 24/192, DSD and SACD amongst others. Power output is listed as a very capable 100 watts per channel and there is plenty of current available providing impressive tone bursts and resulting in greater control of loudspeakers and powerful deep bass when required. My own reference loudspeakers (Impulse H2’s) are known to require a good, strong current supply and the SF-200 did a fabulous job in driving them. The robust power supply has quite a unique selling point as the manufacturers claim that the amplifier can remain operational even when faced with a 30% drop in mains voltage. That seems quite a feat to me !

Visually, the SF-200 gives a little hint to its heritage. It has a 10mm thick aluminium faceplate with rounded corners that are identical to the Sugden’s portfolio of products. However there is a central line cut through with a CNC machine to allow the placement of a central dial for input selection, a similar sized dial to the right for volume control and on the far left a smaller push-in on/off button. In between and to the left of the central dial is a small red bulb which lights to indicate power is on. To the right of the central dial is a small sensor for remote control of volume only.  This central cut out with curved edges to mirror the two dials and the smaller power button reflect back to earlier Stemfoort designs and , in particular, their LPA-10 which was a popular high powered integrated, dating back to early Sugden ownership. There are substantial heat sinks to both sides of the amplifier but during operation I found the amplifier to be absolutely stable without even a hint of getting warm. To the rear are 3 way gold-plated loudspeaker binding posts, five pairs of single ended line inputs and a tape out which are also all gold-plated. Other than that there is the proprietary IEC socket. It should be noted that there is good distance between all the sockets so even the broadest of interconnects and speaker cables can be utilised.

The SF-200 is visually as impressive on the inside as it is on the outside with military specification wiring to eliminate interference from power supplies, while the custom designed transformer sits within a steel sub assembly to reduce noise and vibration. Quality components have been used in all areas, chosen for performance and reliability; low inductance resistors replace standard components in critical areas of the signal path. Each circuit board is always completely hand-soldered and there is no sign whatsoever of surface mount components that can degrade sound quality.

Sound

I knew the SF-200 had been run-in when it arrived so it was quickly put into action within my reference set up. The first CD placed into my venerable disc spinner, the Acoustic Precision Eikos, was Tracy Chapman’s self-titled debut album. I wasn’t immediately planning to get into review mode but simply wanting to listen to some good tunes. However, within two or three tracks I had identified what turned out to be this amplifier’s strongest attribute. It has a captivating way of portraying the rhythm and timing of a tune that only the very best possess. A slight caveat on that statement would be that the partnering equipment, and in particular, the loudspeakers must be reading from the same hymn sheet. Synergy is definitely the premium element when looking to build a system around this amplifier but if you get the chemistry right you will be rewarded ten-fold. I listened to the amplifier through several pairs of loudspeakers and the results were mixed but never below par with it.  Without a doubt, my favourite combinations were with my reference Impulse H2’s and the recently reviewed Monitor Audio PL300ii’s and further references within this review will be discussing the SF-200 driving these loudspeakers.

Listening to that first Tracy Chapman CD really highlighted a wonderfully taut, transparent midrange with Chapman’s intonation really to the fore. One of my favourite bands are New Model Army who date right back to my Indie DJ’ing days of the eighties. They are a band that somehow have missed the bigtime but surely deserved more success than they have attained. They are a difficult band to put into a genre as they could be categorised in punk, post-punk, indie, rock, political, folk and probably a few others besides. I think I have virtually every album they have ever made but I do tend to listen to their live albums more frequently and because I listen to them so often I can more easily identify slight changes in presentation with the hardware being used. Listening to one such album (Between Wine And Blood – CD2 which is a live recording) I was astonished at how tangible their lead singer – Justin Sullivan’s voice appeared, I swear I could hear the fact that he has a front tooth missing (he has !) as he got stuck into his performance. The SF-200 is capable of producing this kind of detail and is the type of amplifier that will have you rediscovering your music collection all over again.

I do find a lot of amplifiers that are capable of  highlighting these small details like this are often balanced a little bit towards the bright side but I found this SF-200 to be right on the money in terms of tonal balance. I listen to a lot of rock and acoustic music, particularly live recordings, and the Stemfoort played both extremely well and always gave a view to the size of a venue with an informative soundstage. Perhaps, if I were forced to choose, I would favour its execution of an acoustic set over a rock performance and, although I rarely listen to jazz, I would wager that a jazz aficionado would adore what the SF-200 has to offer.

I also found that the SF-200 was an extremely entertaining listen at low volume but I did find when I pushed the volume up to concert level output the combination with my Impulse H2’s did become a little strident. However, this was not the case when I pushed the amplifier to similar sound levels with the Monitor AudioPL300iis. 

Conclusion 

The Stemfoort SF-200 is a lovely amplifier and one that has a lot of good selling points. It has great tonality and timing and is really well put together. The design is obviously all about creating the best sound quality possible and to this end it does eschew facilities that a lot of modern amplifiers are now including; there is no phonostage, on-board DAC, headphone socket or led display. It does have a remote control but this is only for volume control and nothing else, making this a fairly utilitarian offering. However, for all its shortcomings in facilities it does what we really buy an amplifier for – it plays music… and it does so with great aplomb.

I really like it !

AT A GLANCE

Build Quality : Impeccable throughout and should last for years                        

Sound Quality : A mellifluous tonal portrayal with fabulous timing 

Value For Money : In a tough price sector but don’t dismiss without audition 

Pros : Well built, good soundstage, great tone and fantastic timing 

Cons : Lack of facilities 

Price : £ 2135.00

Lionel Payne

Specifications 

Power output: 100 Watts per channel both channels working

Noise Level: Greater than 85dB

Weight: 16 kgs

Size: 115 x 430 x 360 mm

NAD Electronics has announced the new C 338 HybridDigital™ Integrated Amplifier (£599.00 SRP) is now shipping. The first hifi amplifier to feature Chromecast built-in for music streaming, the C 338 is a Class D amplifier designed in NAD’s Classic Series tradition.

With Chromecast built-in the C 338 allows users to stream and listen to music, podcasts, and playlists from many popular apps. Working with hundreds of Chromecast-enabled music & audio apps, users can simply tap the cast button on an iPhone®, iPad®, Android phone or tablet, Mac® or Windows® laptop, or Chromebook, to stream music directly to the C 338. The C 338 can also be voice-activated, powered by the Google Assistant, to play music via Chromecast with a Google Home speaker or the Google Pixel phone.

With Bluetooth® also natively integrated, the C 338 can wirelessly connect to any smartphone, tablet, or Bluetooth-enabled device within range. It also serves as an UPnP Client for network streaming from a local NAS library. The C 338 works with the NAD Remote App, transforming a smartphone or tablet into a powerful control interface that allows users to easily control power, volume, and select sources. The free app is available from the Apple App Store or Google Play Store.

“Using music streaming apps has become the primary way for so many of us to listen to music,” said Greg Stidsen, NAD’s Director of Technology and Product Development. “The
C 338 supports Chromecast built-in and Bluetooth streaming right out of the box, drives speakers with power and precision thanks to our latest HybridDigital design, and lets users experience NAD’s legendary audio performance with the latest streaming technologies.”

The C 338 uses a Class D amplifier. Using HybridDigital™ technology, the C 338 amplifier delivers 50 Watts of Continuous Power per channel (into 8 and 4 Ohms) and a remarkable 150 Watts of Dynamic Power at 4 Ohms, all with virtually no noise or distortion. The C 338’s active power supply, controlled by NAD’s latest Asymmetrical PowerDrive, is capable of 160 Watts continuously and over 300 Watts instantaneously. Yet the C 338 consumes less than half the power of other amplifiers in its class. It can operate with any AC mains voltage from 100 to 240 volts and provides pure DC power to all the various stages of the C 338. This supply also provides regulation of voltage across a wide range of conditions.  The preamp stage features a solid-state volume control, with a hi-res dynamic range of 120dB in 0.5dB steps. The C 338’s onboard DAC uses eight high-end DAC channels configured in a dual-differential array to also boast 120dB dynamic range. “The C 338 dramatically improves every aspect of the music experience, reaching a new level of innovation and precision to make this one of the most versatile amplifiers we have ever made,” said Greg Stiden, NAD’s Director of Technology and Product Planning. “Its carefully engineered Class D amplifier uses HybridDigital technology and the most efficient power supply to deliver incredible performance, while allowing users to easily connect and listen to all their music sources—from turntables to streaming apps.” With the resurgence of vinyl, the NAD MM Phono stage returns. Add a turntable to the C 338 using the phono input. The C 338 is equipped with a wide array of connections including MM Phono, Stereo Line, Optical Digital and Coax Digital.

C 338 Key Features and Specifications:

• 50W x 2 Continuous Power into 8 or 4 ohms
• 90W / 150W / 200W IHF Dynamic Power into 8 / 4 / 2 Ohms
• First hi-fi amplifier to feature Chromecast built-in
• Integrated Bluetooth® for added music streaming flexibility
• Built-in Phono Preamp for Turntables
• Stereo Line, Optical Digital and Coax Digital inputs
• NAD Remote App support for tablet and smartphone
• Dedicated Headphone Amplifier
• Subwoofer Output
• TV Audio Input
• Bass EQ

The C 338 HybridDigital Integrated Amplifier joins NAD’s newest line of Classic Series amplifiers, including the C 368 and C 388 HybridDigital DAC Amplifiers, which are all shipping and available where NAD products are sold.  

Based in Serbia, Trafomatic are well known in audio circles, not least for their £100 000 Elysium amplifiers, but they also produce more moderately priced products. However, £2350 is a serious commitment for a headphone amplifier, Janine Elliot takes a listen to the Audio Head 2 and tells us if it is worth the outlay. 

“The culminating sound quality from this beautiful looking machine shows Saša’s love for creating the best sound as well as his great knowledge of valve design, and this model goes much further than the Experience 1. This latest model also has an input for 4-pin balanced headphones as well as traditional ¼”-jack variants (the original release of the Head 2 had a combo XLR/¼” jack). Just as the Belus I reviewed had some original architecture in its design, so does this; firstly the model features the ability to make it highly attractive to both the shy and not so shy listener alike; yes, as well as offering excellent private listening on cans, by turning the left of the two knobs fully clock-ways transforms the unit into a fully-fledged (well, single input) pre-amplifier with XLR and RCA outputs for your balanced or non-balanced power-amp…”

Read the full review here

AVID Hifi got in touch to confirm the debut of three new products at the Munich High End Show.

Conrad Mas of the Huntingdon hifi manufacturer told us more: “Completing our electronics line and cascading our designs to more affordable levels we will introduce the Celsus Pre Amplifier and matching Celsus Stereo Power Amplifier”.

“Celsus Pre Amplifier naturally incorporates a high quality phonostage within a fully balanced design and offers the same flexibility found in our Reference Pre-Amplifier. There’s the ability to simultaneously connect two phono cartridges and an additional four line level inputs. The stunning ALPS RK50 volume control used in the Reference Pre-Amplifier is retained and the separate PSU makes sure power delivery is stable. The matching Celsus Stereo Power Amplifier directly cascades the Reference Stereo Amplifier design to bring the power and control associated with AVID products”.

“Completing the line up is our Sigsum Integrated Amplifier. With it’s built-in phonostage and four line level inputs, we have again retained the same ALPS RK50 volume control, this alone will make this a benchmark product. Prices are yet to be confirmed but we expect them to be highly competitive”.

AVID were the winners of our ‘Hifi Pig Loves You’ Award at last year’s show, so we are very excited about seeing their new gear there this year.

Find out what AVID will be launching at High End Munich 2017…

Read the full story here

Aequo Audio’s Ensis speakers will be appearing at High End Munich 2017 with Audiopax, Sound Galleries Monaco and Tellurium Q cables.

The room is called the Blue Moon Room because all the products in the room have received the Blue Moon award from our friends over at 6 Moons:

SGM 2015 music server by Sound Galleries Monaco

Maggiore L50 pre-amp by Audiopax

Ensis loudspeakers by Aequo Audio

Silver Diamond cables by Tellurium Q

Aequo Audio told us “If you are visiting the show in Munich, the Blue Moon Room will surely be worthy of a visit. It is located in hall 3, directly visible from the main entrance when looking to the left.”.

We are looking forward to hearing this room very much. Both the Aequo Audio Ensis and the Tellurium Q Silver Diamond cables have won our very own Outstanding Product Award, click through to read our reviews.

McIntosh has introduced the MXA80 Integrated Audio System. Amplifier, preamplifier and speakers all in one.

The MXA80 Integrated Audio System is the next generation of the MXA70. It maintains the same compact footprint and functionality while adding support for DSD and DXD digital music files thanks to a new digital-to-analogue converter (DAC).

The MXA80 features a 50 watt stereo amplifier and a pair of specially designed 2-way desktop speakers. A total of six inputs, 4 digital and 2 analogue, allows for connecting a variety of music sources. The USB input accepts PCM signals up to 32-bit/384kHz and supports DSD64, DSD128 and DSD256 along with DXD 352.8kHz and DXD 384kHz. Our exclusive MCT input offers a secure DSD connection to enjoy the high definition audio on SACDs when paired with the MCT450 SACD/CD Transport. A dedicated headphone amplifier is available for those times when the user wants to listen to their music more intimately. It takes advantage of several McIntosh technologies. Headphone Crossfeed Director (HXD®) brings added dimension to the music while Power Guard® prevents clipping that could damage the speakers or headphones. A 5 step Bass Boost Control allows for further tonal customisation.

The MXA80’s compact size makes it a system for an office, bedroom or vacation house. Combine it with the similarly-sized MB50 Streaming Audio Player and MP100 Phono Preamplifier to form the basis of a complete audio system. The amplifier is housed in a polished stainless steel chassis that compliments the classic glass front panel, knobs and brushed aluminium end caps; the speakers come with a high gloss piano black finish.

Pricing and Availability

McIntosh are now accepting orders for the MXA80 with shipping expected to begin in April. Suggested retail price (VAT, shipping and any customs duties related to current standards of individual countries are excluded): $6,000 USD

When we were asked to take the trip down Valence in the South East of France to visit APURNA^TM we naturally jumped at the chance. Not only is this an absolutely beautiful part of the world, situated as it is on the left bank of the Rhone and surrounded the Massif Central and the Ardèche hills to the west, and the Vercors Massif in the French Prealps to the east, but we were also going to be treated to a private and exclusive viewing and listen to APURNA^TM’s two hundred thousand euros (per stereo pair) Pure 200 amplifiers.

Yes you read that correctly two hundred thousand for a stereo pair of amplifiers, but then you can also go 5.1 or 7.1 and buy the requisite number of mono amplifiers! Many will be reading this and immediately reel in horror at the price of these amps but then you are clearly not the market for these beautifully crafted and luxury products. The market for APURNA^TM is the super-rich; people that have yachts, luxury cars and homes around the world. These people exist in large numbers and crave exclusivity and opulence in the things they choose to spend their money on. You may or may not agree with the need for an amplifier like the APURNA^TM, but there is a market their and the guys behind the brand intend to cater to that market and why they will be attending the fabulous, they are an old client of mine, Top Marques Monaco show later this month.

The couple behind APURNA^TM are Franck and Catherine Borne, and a lovely pair they are too. Franck runs a very successful electronics company and is responsible for the technology behind APURNA^TM, but Catherine adds the feminine touch and this shines through in the finished product and the “Unique Like You” branding the company have adopted. The product is fully Made In France of course, something the couple are immensely proud of! Franck is a long standing audiophile and whilst at university built his own amplifiers; it’s still there in the company’s display cupboard that shows the evolution of APURNA^TM. Both Franck and Catherine are music lovers with a particular affection for opera and it was a visit to Opéra De Lyon to see Carmina Burana that set the first seeds for the couple’s journey leading to the birth of APURNA^TM. They bought the CDs, the SACDs and vinyl copies of lots of versions of this piece of music, but never did they feel they were getting the true feel and dynamic of the opera house experience, despite having a high-end system.

Let’s get the technical features out of the way first of all. The APURNA^TM is essentially a mono integrated amplifier offering up 200 Watts into 8 Ohms and doubling up into 4. You get two XLR inputs (one of which is in bypass mode), three RCA inputs (one of which is in bypass mode) and two phono level RCA sockets for either moving coil or moving magnet cartridges. Obviously you need a pair of amplifiers for stereo. The aluminium chassis of Pure 200 is formed as one piece with the aim of reducing vibration and there is an integrated powered ventilation system to keep the amp cool. All components in the amplifiers are made specifically to APURNA^TM’s specifications and carefully measured and paired where needed. Putting the barebones of these amplifiers together takes three days and takes place in the company’s workshop. Each amp weighs 47.5Kg in the standard finish. There are several patented technologies within the Pure 200 but more than that simple fact we were not made privy. 

So, the amplifier’s inner workings are done with and that’s the macho stuff taken care of, but what happens next could only be the brainchild of a woman who appreciates the finer things in life. Once built, the chassis and electronics are sent away to the same craftspeople that carry out work for luxury brands Hermès and Cartier and this is where the lavish extravagance begins. Customers can specify specifically how they want their amplifiers finished and hence the Unique Like You branding. And the amplifiers that we saw were absolutely stunningly finished and just ooze elegance and craftsmanship of the highest order…as you would expect.

The stereo pair we heard (pictured above with Franck and Catherine) were crafted with a wealthy Chinese woman in mind and have highly polished brass plaques on each amplifier saying “Flower Princess for Shuang-Pu Yao” and I think this is the kind of person to whom the Apurna amplifiers will appeal a great deal; someone who has oodles of disposable income and who wants something beautiful and exclusive – fine audio jewellery, if you like. They are absolutely beautifully finished with layer upon layer of lacquer and the workmanship of the craftsmen carry out these sonic works of art could never be called into question.

The remote control is stunning and feels luxurious, solid and is presented in its own wooden box. Nothing has been overlooked here and it is clear that every detail has been meticulously crafted and finished with a particular kind of end user in mind.

We had a listen to a few tracks of music including the aforementioned Carmina Burana (an old Decca pressing) and it was clear that these amps are sonically very good indeed and very fast. The familiar almost whispered choral part of this track builds to a fantastic crescendo and speed and attack are words that come to mind; but you would take as a given that these amplifiers could perform well sonically! To judge them absolutely in an unfamiliar room and with unfamiliar ancillaries is nigh on impossible and somewhat pointless given that what people will be buying into when they buy these amplifiers is opulence, luxury, exclusivity and lavishness. These are no simple audiophile offerings and the package goes much further than that…and that is the crux of understanding what Franck and Catherine are trying to achieve here.

With thanks to Franck, Catherine, Clarisse, Delphine and the rest of the APURNA^TM team for making us feel welcome and looking after us so well.

Stuart Smith

HIfi Pig asked a few questions of Franck and Catherine.

Who or what was the biggest influence on your career?

There’s no one thing that had a particular influence. It was more a sequence of events. The fact that I had worked for different-sized companies and in different fields allowed me to form my own opinion about managing a business in general and about the luxury segment in particular. CB

Proudest moment/product you’re most proud of?

APURNA^TM. I totally relate to this product – you can feel the quality and the luxury. CB

Tell Hifi Pig readers about your next project and what they can expect in the future from you and your company.

Naturally we plan to expand our range with ancillary products, but we can’t talk about that yet – it’s still confidential. CB FB

What was your very first system?

My very first system was a pretty decent SONY – one with a turntable and huge speakers. That was in 1984. CB

How often do you listen to music?

All the time, every day, everywhere. But even more since our APURNA^TM adventure began, because we also listen to music at the office. CB FB

Vinyl resurgence… what are your thoughts?

It’s great, it shows that after all the enthusiasm for CDs, customers today are focusing more on sound quality and analogue technology, which remains the benchmark. FB

Is CD a dying format?

No, I don’t think so because it’s a relatively small and very portable medium, even though it faces competition from streaming websites. For now at least it still has a place in the market. FB

What are you views on the state of the industry/where is it going/what will it look like in 5 years/what will typical systems look like?/What will happen to prices?/What will happen to the high end – will it carry on regardless?

I think that after years of selling us only mediocre sound reproduction, demand is going to force manufacturers to produce something better, particularly since vinyl is making a comeback and with it, turntables. For a large part of the market, price – I mean low price – will no longer be the primary selection criterion; we’re moving towards a more balanced market in which sound quality will be the deciding factor, as it was 30 or 40 years ago. CB

Digital downloads, what do you think their impact has been on the way people listen to music?

People who only ever listen to virtual music are always amazed by the sound you get from an amplifier and good-quality speakers. Young people who’ve often only ever known CDs don’t really get this difference, but the music market is evolving positively in this direction. CB

How do we engage young people, the audiophiles of the future?

Hard to say – I think the market is going to be split, between those who swear by virtualised (and lower quality) music which nonetheless is extremely accessible anywhere, and the more demanding who‘ll be looking for high-quality sound reproduction. CB

Online shopping’s effect on the retail industry?

The impact’s obvious. Customers are buying without testing or listening to the equipment. Even technical data or comparisons are no substitute for actually experiencing the music yourself. CB

What is your favourite recording?

Bob Sharples – Dimension in Sound – “Mack the knife” FB CB

What are your most embarrassing recordings/guilty musical pleasures.

Diana Krall – The look of love FB CB

What do you as a company have in the pipeline and what new products can we expect to see?

It’s still too early to say. CB FB