In Pursuit of the very best amplifier (to my ears!) money can buy...

pk_LA

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Oct 21, 2021
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Eighteen months ago I began building a new system. The only constant in the system was the speakers - Rockport Lyras.

First, a bit about my tastes and proclivities.
I absolutely love the sound of tubes, particularly SET. The holographic and warm midrange - love it. That said, the warm-up time and upkeep make tubes an unlikely choice. I wish tubes had the dynamics and 'oomph' of the best SS. I have yet to find tubes that do.

Other than just listening and feeling, important criteria I listen for are,
balance sound top-to-bottom,
midrange body and (as Ron R calls it) breath of life,
lower midrange density,
bass drive, speed and definition,
a natural high frequency that never veers into hifi shriek.

My journey has been a long one. As such, I plan to outline it in parts...

Part 1: Soulution

Setup: MSB Select 2 + Director/Horizon 360 -> Pre -> Amps -> Rockport Lyras (Transparent Opus cabling)

I ordered a pair of Soulution 717s and the Soulution 727 pre-amp. While waiting, Axiss Audio (Soulution NA distributor) were kind enough to loan me a 711+ stereo amplifier.

I generally liked the 711+. It was just warm of neutral. It was balanced bottom to top. Never harsh. Good bass drive. All-in-all a very solid amplifier. It gave me great confidence that the 717s would be just what I was looking for.

After a prolonged wait I received the 717s. I believe that I had the very first pair in NA - serial numbers were 3 and 4, as I recall! I hooked them up and I was immediately blown away. Even cold with virtually zero break-in the 717s were among the very best I have ever heard. They sounded natural. While the bass was not quite what my Boulder 3060 had, it more resolved. The high frequency was oh-so natural. The mid-range sounded almost tube-like (somewhat akin to what I have heard on Dartzeels). They were great and I knew they'd only get better with break-in. Unfortunately, I hit a snag. Having the first pair was great. But, it also meant that I was susceptible to early production foibles, which I did. I has an issue with the amps. I am not going to go into the details as I do not feel qualified to do so. Being somewhat superstitious I did not want to move ahead with the Soulution gear. Great as it was, between the long wait and then an issue at launch I wanted to move on. Axiss made sure that I was treated well and the amplifiers were returned. I cannot speak highly enough about Axiss. They are genuinely good people and very professional. I would not hesitate for a second to do business with them i the future.

Part 2: CH Precision

I was able to audition the CH Precision M10 monos and the L10 pre in my system.

Setup: CH C10 -> Pre -> Amps -> Rockport Lyras (Transparent Opus cabling)

The CH was wonderfully quiet. It resolved incredibly. It was balanced bottom to top. It was just the warm side of neutral. But, to my ears, it sounded a bit thin. It lacked mid-range and lower mid-range body and density. I created a spreadsheet to understand every permutation of the feedback settings so i could dial them in. When I go the body into the system, things got flabby (sorry, that's the word that comes to mind). Despite all these great things, without a foundational body & density they were a no-go. So, on I pressed!
 
Part 3: Burmester 159s

Setup: MSB Select 2 + Director/Horizon 360 -> Burmester 808/VAC Master -> Burmester 159s -> Rockport Lyras (Transparent Opus cabling)

The Burmesters are awesome! They have a bass drive and control that is equaled by maybe only the Boulder 3000 series in my experience. They have incredible dynamics. The treble is smooth and a tick rolled off - very nice. They can also be dialed-in like nothing I have experienced. They have a damping control on the amps. As you turn up the knob you gain control, quickness and resolution. But, you lose a bit of natural decay. Whereas the CH feedback had only a few real usable settings to my ears, the Burmesters have the entire range. When paired with the VAC pre, I felt that I was close to exactly what I was looking for - they had the tube-like midrange holography, a natural decay, great air - they were truly special. I did find that I preferred different settings on the amps based on genre of music. For piano I actually preferred the lower settings for the lingering decay. For classical, I preferred the higher settings for the precision. There was only one thing that wasn't bliss for me with the Burmesters. Vocals felt a tick pushed back on the stage. The amps were a bottom-up sound and, at times, the vocals felt a tick receded. This all said, I came VERY close to buying these!
 
Part 4: Constellation Statement

Setup: MSB Select 2 + Director/Horizon 360 -> Boulder 3010/VAC Master -> Constellation Statement (stereo)-> Rockport Lyras (Transparent Opus cabling)

The Constellation was an interesting amplifier. At first, with the Boulder 3010, it was a non-starter - a bit like right-wing and left-wing diehards trying to cooperate! But, together with the VAC pre it was really special. It was very smooth. Very. It was quite neutral. The balance felt a bit lower-mid-range-ish focused to my ears. It wasn't the quickest but it never presented anything other than wonderfully musical (I know that is a faux pas to say!) But, it also did not have the bass control of the Burmesters to my ears. It wasn't as detailed either. Despite sounding very smooth and pleasant to listen to, my search continued!
 
Part 5: VAC Master 300

Setup: MSB Select 2 + Director/Horizon 360 -> VAC Master -> VAC Master 300 (stereo)-> Rockport Lyras (Transparent Opus cabling)

The VAC is truly wonderful! It did vocals and midrange like I was there. It was, well...what makes tubes so special. It also had surprising bass drive. It was oh so natural sounding - I loved it. But, it also lacked the dynamics of the others (as would be expected). I think it is also worth noting that the others were mega-horsepower ss monos and this was a stereo amp doing the lifting! I described it to Ron R like this: the if you think of the spectrum of sound this one was a bell curve. it emphasized and shined in the mid-range. It had body, density, holography, warmth, naturalness - really wonderful. But, the bass lacked the drive and control I sought. Also, it struggled with transients and dynamics compared to say the Burmester.

On I looked!
 
Part 6: d'Agostino Relentless

This system was not in my home - I travelled to LMC in Arizona to hear it.

Setup: dCS Varese -> d'Agostino Relentless pre -> d;Agostino Relentless monos -> Wilson XVX (Transparent Opus cabling)

Ron R and I travelled to LMC. I was just getting so tired of movers and freight companies and all the hullabaloo of getting 400+ pound amps in and out my home. When we first sat down the plan was to listen to the Burmester 159s/Burmester 808s as a sort of calibration. I had become quite familiar with the Burmesters in my own system and so I was trying to set a baseline. I know it won't stand up to scrutiny but it was better than nothing. When we started I immediately suspected something was wrong. I am somewhat familiar with the XVXs and I am familiar with the Burmester setup. The sound was warm but it lacked resolution and dynamics. I asked if something else could be going one. Aha! It was the DAC - they had a Linn Organik DAC in the chain. Nice as it was, it wasn't quite there. So, they kindly swapped in a dCS Varese and wowza! Okay! Now were are talking! It sounded natural, neutral, never sibilant or harsh. It was an interesting contrast to my own system. (I have since purchased a Varese which I will chat on in a different thread!) Compared to my system it was more resolving, slightly less warm, more controlled but also a tick less continuous to my ears. I have always felt that the Wilsons sound incredible so long as you are seated just so.

With the baseline in hand we switched to the Relentless pre + monos. Wow was it a close call between the Burmester and the Relentless. The Relentless was slightly sweeter. It had a bit more bass drive and oomph but no more resolution. I apologize but I am not remebering all the differences as that was a whirlwind day and I don't want to misstate anything. Good as it all was, it became truly special for me when we changed the pre-amplifier. LMC put an Audio Research Ref 6 into the mix. Together with the Relentless it was a magical combination. What we lost in resolution, dynamics and drive we more than gained int mid-rang bliss. To my ears it sounded like the best of tubes AND SS. I left thinking I had found the combination!

There were just a couple options left to consider....more to follow
 
JMF Audio from France, Symphonic Line Kraft 40th anniversary from Germany (need forever to fully break in thou), Mastersound Pff 200, FM Acoustics monoblocks, or even 4 stacks of new Devialet amps (u would be surpised how good they sound with some speakers)
 
JMF Audio from France, Symphonic Line Kraft 40th anniversary from Germany (need forever to fully break in thou), Mastersound Pff 200, FM Acoustics monoblocks, or even 4 stacks of new Devialet amps (u would be surpised how good they sound with some speakers)
The JMF and FMA were intriguing to me. What gave me pause was a what seemed to be a lack of strong US presence. I have learned the hard way that having a strong support network in country is critical.
 
Both brands are built to last, and will serve for decades until needed any service. FM has no official presence in the States.
None of them require service right up until the moment something happens. I live in Malibu CA - the power is cutoff and on all the time. It's a little like living in some remote island of the Pacific !
 
or solar battery UPS back up for your audio power lines ....Talk to WBF member Kingrex about the matter, Im sure he ll provide guidance on the matter.
 
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