One
single stage amp, true class A,
35 watts rms, it operate as transconductance
amplifier.
This power amp is the
creation that synthesizes my ideas in terms of high-quality audio.
It
houses a series of choices, some revolutionary, made to come up with the best
sound reproduction available today.
Let’s sum up it’s qualities:
-
First—and
only—complete single stage
push-pull type
power amp;
-
First—and
only—amp in which it’s possible to mesh the best of push-pull and
single-ended functions;
-
Considerable
power (35 watt rms/8ohm) per channel in true class A;
-
Direct
load coupling;
-
Transconductance
functioning, as found in tube amplifiers, but without the output
transformers;
-
Galvanic
separation of the inputs;
-
Balanced
structure with possibility of balanced (XLR) or unbalanced (RCA) connection;
-
No
condenser present on signal pathway (excluding feeders), not even in
single-ended function;
-
Power
supply with
inductive Pi-cell filters and Audio-grade electrolytic condensers;
-
Dual/mono
construction with separate aluminium chassis for power supply and amplification
modules.
Sound
This
version is the result of two years of hard work, a search ---and research---for
the best blend of components that yield the musical quality I was working for.
The many
trials and experiments I’ve conducted along the way have seen the best brands
of components in the world vying for a place in
both my solid-state and tube amps.
Most
people who have listened to this creation note with enthusiasm that it has the
type of sound produced by tube
models, much more similar than any other solid-state amp.
In
effect, tube amps try to achieve the best sound work by transconductance (the
output current is controlled by an input voltage) but the tubes manage less than
100 millamperes while the A35 manages many Amperes. This characteristic,
together with a lower final impedance, allows for heightened energy, and a much
better control of the low and medium gamma, as compared to the tube models.
In any
case, since the A35 has so many and such differing characteristics when compared
to the alternatives found nowadays on the market, both solid-state and tube
versions, it would be difficult to make a comparison between the sounds they
produce: let’s say the A35 is a third choice.
Another
thing to consider is the working possibility of single-ended functioning, which
would avoid the necessity of purchasing a DHT monotriode, an increasingly rare
and expensive thing (available types include the 2A3, 300B,
AD1, PX4,
PX25, 211, 845), but which is necessary to obtain that sought-after
maximum accuracy and precision in sound reproduction.
Things
to remember
Since
this amp is different from the others, it is well to remember these two things:
1)
It has a low
input impedance. Notwithstanding the
fact that the A35 gets along well with nearly all the commercial pre-amps and CD
players, those coupled with this amp should have an output impedance of around
600ohm, or less. If this value is
very much higher, the low gamma suffers: and,
2)
The A35
presents a low-medium sensitivity. So,
the pre-amps and CD players coupled with it should have an output level equal or
superior to 2-3 volt rms, to obtain maximum power.
Line preamplifier
This device is the end result of a series of prototypes designed to excel in
musical quality as a whole for which I have been adopted a series of new
solutions.
Its gestation was for this reason, very long, with listening tests conducted
with
audiophile
friends accustomed to listening to delicious and resolute tube preamps. Its
finalization took many, many hours of practice for a period exceeding one year.
This need arises, after
audio listening from
V-FET
amplifiers that used (SIT), (in my opinion, and not only the best power
devices designed for audio). The overall result was listening dependent
especially
on the quality of the preamp utilized (in addition to the rest of the
chain).
So I focused on that part because I realized that I could intervene directly on
it,
designing something about.
I arrived at the result
using a
new
scheme and particular components in order to have especially a tonality and
a resolution at an excellent level, prerogative
parameters
of prestigious tube equipments, but with the pace, liveliness, bass
speed unknown at these last. Pleasure of listening, that is for me a fundamental
parameter, was incredibly high, such as with the female voices as such as with
the opposed rock, jazz and big bands where it enhances, exalt
you, and a shiver runs through your arms.
The sound is
harmonically very rich with a very considerable extent also on the
extremes
frequency, a thick and full of details
sound
. Furthermore, the size of the scene has achieved levels of absolute
excellence in
both
width and depth.
The return of the lower
frequencies has something new, a feeling that I had not even got to check out.
The sound wave of the bass that I usually
noticed to
get longitudinally to listener (greater sense of frontal impact), with this
preamp appears to spread spherically with a substantial transverse component in
addition to the longitudinal axis.
The bass seems to
envelop the listener, creating the feeling of being at the
center of the
sound event rather than in front of it. Probably for the same reason
the size of the scene is huge even sideways giving the feeling of being "inside
the concert" and not a mere spectator.
Its insertion in any hi
fi systems can significantly gain in grandeur and authority of the sound stage,
despite its even small physical size (370x230x80 mm).
As the results are
truly remarkable, I propose it as a definitive solution also on more
conventional systems, because in an hi-fi
chain, tonal quality, resolution at low levels and sweetness are
parameters that depend mainly on the
preamp
quality.
Voice of Spirits
Line Preamplifier
Designed in parallel with his brother "Spirits", he
shares some basic choices and most of excellent components, it is proposed as an
option for those who want to
give
further priority above all to male and female voices and to small groups
(extremely reductive statement).
Grandeur of scene is huge in width, depth and
height, and particularly voices and
high frequencies
are truly impressive . Bass and midbass in
particular very present and it propagates as well as the high frequencies
in three-dimensional sense. The size of the scene is also very extended here,
especially in height.
Definition at low levels, harmonic richness
and
extension in the upper are to maximum of
excellence, without ever tiring.
Do not ask me which one I feels better. If there
was a winner then it would not make sense to present
both
them. They have both excellent sound, but in
some systems or for a particular type of music, or may be more suited one
rather than other
depending on the balance of the entire chain, in which they will be
inserted.
A component that with its small size (330x230x80mm), will acquire at your sound
system a significant step forward at a very low cost compared to the benefits
that will give you. No need of tube pre-amplifiers to get that thick and
wrapping midbass that you liked so much, and you ever thought that only
they could have.
But on the other hand, try to listen Jazz, Rock or Great Orchestra with
tubes and you will understand how many other benefits are lacking
to them
(speed, impact, and energy) and to see how the valves tend to confound the
various instruments.
With the "Voice of Spirits" all this last does not occur, it will keep the
pleasure of listening to all kinds of music, although his most important field
remains for myself what is specified in the above paragraph.
All that I described above is supported by listening tests conducted in parallel
with tube preamps, among those was recognized the most guessed and
good-sounding of famous brands over many years of production.
