Canor Hyperion P1 + Virtus M1 Review: preamp/power amp

It’s a preamp/power amp combination that I didn’t want to drag into the listening room anymore: too big and heavy. The trio consists of the preamp Canor Hyperion P1 + Virtus M1 (mono power amps) and is made according to the old tradition: with tubes for amplification and extremely high material costs. The height of 19 centimeters alone is enough to spread fear: Who can put something like that up? In addition, when unpacking, the station wagon feels like 200 kilos – at least. The technical data would have me believe it was only 115 kilos (preamplifier: 35 kilos, per monoblock 40 kilos). Would I then have needed so many strong hands to support me? Certainly not. But that’s not the only point where the paper form of the combination seriously understates.

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We’ve written the story more than once: the ambitious people who have been manufacturing the electronics for Pro-Ject in Prešov, Slovakia for more than 25 years, at some point had the feeling that they – no matter how good the bread and butter – components – would not be filled out. So, under the Canor label, they began to develop and manufacture very serious tube electronics. At LowBeats, we think the amplifiers (and phono amps) are so great that they all got an “outstanding” rating – mainly because they are comparatively cheap compared to what’s on offer.

With the trio of Canor Hyperion P1 + Virtus M1, the Canor makers go even further and want to create what they see as the ultimate. It probably worked.

The specifics of Canor Hyperion P1 + Virtus M1

It is often said that a tube stage is only as good as the transformers or the output transformers. In this regard, the Slovaks have excellent cards, because these special components are precisely tailored at Canor in the factory: That means the engineers wind the coils themselves and can even determine the composition of the core sheet. It doesn’t get any better than that. As a reminder: Germany’s flagship tube manufacturer Octave also comes from a winding plant…

A striking feature of all Canor components tested so far was that the Slovaks always equip their circuits with very common components. The components used here (especially the tubes) are not absurdly exotic types that you have to pay thousands of euros for if you need a replacement or you may not even get them at all. That speaks to a wise assessment of things and the longevity of Hyperion and Virtus.

Also striking is the massive, very prominent control button, which at least has a central function in the preamp. One has the impression that everything here is milled out of armor plates. At least in my tester career, I’ve only very rarely come across a preamp with a live weight of 35 kilos.

And because we are at the absolute high end here, everything about the combination is of course designed symmetrically. The power amplifier M1 has only one input: a three-pin XLR connection. It is the reduction to the superior type of connection – especially for longer distances. At the top right, there are trigger accesses so that you can start up the entire combination via remote control.

The preamp is a different number on the connection side: 9 inputs and 3 outputs are available here. Under the proviso that the Canor developers are striving for the absolute Olympus of sound, plug-in circuit boards for digital, but also for phono, are not provided. If you need them, you have to purchase them separately.

A look under the lid of the Canor Hyperion P1 underlines the extreme demands of the Slovaks: Everything is neatly separated into chambers and even the chamber walls are made of solid steel. Not only the clinically clean structure is impressive here, but also the powerful relay bank at the back of the picture. It enables the most precise form of volume control in 64 steps.

As with every test, I naturally want to know what the people were thinking during the development – especially since the combo sounded outstandingly good shortly after unpacking and switching it on. So are there any tricks, or secret knowledge?

But the communication with the developers at the Slovaks used to be a bit peculiar. Because the guys don’t speak English (or even German), the information runs through an associated PR man, who doesn’t understand that much about the technology. Author: “Can you say something about the circuit? What are the special features?” The answer after some detours via the PR office: “The circuit was carefully designed and special emphasis was placed on the best components.” Aha. I was already thinking something like that.

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But of course, the good man is not wrong: Entire companies of Supreme Silver Gold-Oil capacitors from Mundorf were installed in the signal path. The conductor tracks of the circuit boards are made of extra strong, oxygen-free copper, which is additionally coated with pure silver.

The power amp Canor Virtus M1

The technical data shows that the pre-amplifiers and power amplifiers run in class A mode and without overall negative feedback. While for a while, especially in Germany, a high level of negative feedback was often considered a panacea among amplifier developers, people are gradually moving away from it – if at all possible. Nevertheless, the Canon engineers have not completely banned the said overall negative feedback: Below the front, the M1 monoblock offers the option of activating it in a discreet form using a toggle switch. I just don’t know why. Because it didn’t sound better “with” any of the loudspeakers I tried. And there were many.

The M1 draws its power from a bridge circuit of two pairs of KT150. This tube has become very fashionable in recent years – simply because it can provide an amazing amount of power when wired correctly. If you believe the technical data from Canor, then the monoblock has an output of 55 watts in triode operation and 110 watts in ultra-linear operation.

To explain: You can switch between the two modes on the front of the M1. But because the M1 sounded so much better to our ears in triode mode, we left the two monos in triode mode throughout. This is another option that I don’t understand. In ultra-linear operation, the M1 sounds a bit snappier, but also paler and less spatial. What is that good for? In triode operation, it sounds warmer, more colorful, more plastic, and more rousing.

And then this value: 55 watts? Can this be? You know the murmur of tube fans, tube watts always sound like much more than transistor amplifiers because they clip differently. Nevertheless: In the listening tests, the performance of the M1 monos sounded like a lot more.

When trying to measure the performance of the monoblocks, we failed. Our measuring equipment (the so-called shooting gallery) is only designed for small tube amps up to 30 or 40 watts. The M1, which was quickly recognizable, has a lot more to offer.

Colleague Holger Barske published performance measurements in his very readable test in LP Magazin (issue: 4/22) and reported 250 watts (ultra-linear) and 180 watts (triode). So a shoe is made out of it and what is heard is explained. However, why Canor states its values ​​in such a “conservative” manner remains a mystery to me.

The fact remains: The M1 are among the most powerful triodes that I know of and they should easily drive most of the loudspeakers on the world market. This also applied to our reference boxes, the FinkTeam Borg. However, this circumstance was to be assumed because the M1 was created in the Canor laboratory on the terminals of the Borg, which also serves as a reference loudspeaker for the Slovaks.

Sound Test

I had invited two friends for the first listening test and after the first tracks had been played via the Esoteric CD Player/Canor Vor-/End/Merason-DAC and FinkTeam chain, it was initially quiet. Until I then asked into the room: “Have you ever heard that better?” Both said no devoutly. To warm up, I once again fished the “Misa Criolla” with Jose Carreras out of stock and was floored: had I ever heard that the nave is so deep? Have I ever had Carrera’s voice so present in front of my nose? No. Everything is right here: the timbres, the vocal power of the choir, the power of the timpani.

Since its release in June 2022, “Saturday Night in San Francisco” has also been an integral part of our listening music. We heard almost the entire album and were all floored: how the strings could shine, how authentic the impulses came…

In the final listening test, we had four speakers that were quite different in their way: the aforementioned FinkTeam Borg, the Fyne Audio 703, the B&W 803 D4, and the AudiaZ Opera. While the Canor combo also boosted Fyne and B&W in a way I hadn’t heard before, the AudiaZ versus FinkTeam comparison was about something else: every last bit. While the Borg was always enchanted with dreamy tones and a little more pressure in the bass, the AudiaZ managed to reveal the last information even more openly and finely. Especially with the guitar trio from “Saturday Night…” it was a bit more thrilling – which is why most of the listening tests were then carried out with the AudiaZ.

First, we exchanged the M1 for the powerful SPL mono power amplifier S1000. They had a bit more power, but the SPLs couldn’t match the incredibly rich, authentic, very fine reproduction of the M1 either. Another LowBeats reference is the (separable) tube amplifier Monaco from Westend Audio. If we use the power amplifiers of Monaco, everything has a little more kick a more seductive touch more dynamic. But it’s the tonal colors and this warm, subtle openness with which the M1 keeps most power amps at a distance, even beyond their price range. Because she has power.

The large Daiko drum of the Kodo drummers came extremely dynamic and open with the Monaco power amplifier. With the M1, the punches had a little less punch, but the presentation was even richer, more sublime, and somehow more sovereign.

Then we turned things around: the Monaco now acted as a preamp, the M1 as a power amp. Here it became clear that both the developers from Canor and from Westend Audio know their craft because the preamp and power amp are very closely related in terms of sound. Nevertheless, it can be said that the P1 offers even more sonority compared to the Monaco preamplifier than was the case when comparing the power amplifiers.

However, this also shows that the character of the preamplifier is almost more important for the overall sound than the tonal character of the power amplifier. And the fact that the Canor combination, both as a whole and in parts, is different and in many areas better than Monaco played shouldn’t come as a surprise to anyone who has taken a look at the price tags: the last percentage is always the most expensive…

Conclusion Canor Hyperion P1 + Virtus M1

Big, heavy, edgy, not cheap, but unfortunately incredibly good: The large Canor combo has inspired us as no amplifier electronics have for a long time – even though it costs more than 40,000 euros and needs a lot of space and electricity.

But in terms of sound, this trio has mastered a feat that most amplifiers in this hi-fi world have forever denied: an authenticity like real life. Anyone who hears the Canor station wagon is addicted to it – at least that’s how we felt. It is simply the best amplifier electronics that we have had in the LowBeats listening room so far.

Against this background, the price is also put into perspective – at least a little. As with the smaller amplifiers, Canor also manages to create an extremely serious price/performance ratio here. With most other well-known high-end providers, such a sound quality – if it can be achieved at all – would be a lot more expensive.

Canon Hyperion P1 Specifications:

Technical concept: tube preamp

Inputs: 4 x XLR, 5 x RCA

Outputs: 2 x XLR, 1 x RCA, triggers

used tubes:     4×6922, 2x6H30PI

Constant power consumption: 300 watts

Dimensions (W x H x D: 45.0×19.0x46.5cm

Weight:            35.0 kilos

FAQs about the Canor Hyperion P1 (Preamp) + Virtus M1 (Power Amp)

Q1: What are the Canor Hyperion P1 and Virtus M1?
A1: The Canor Hyperion P1 is a tube-based preamplifier, and the Virtus M1 is a solid-state monoblock power amplifier. Together, they form a high-end preamp/power amp combination for audiophile-grade sound quality.

Q2: What type of tubes does the Canor Hyperion P1 use?
A2: The Hyperion P1 uses two 6922 tubes in its circuitry, contributing to its warm and detailed sound signature.

Q3: What is the power output of the Virtus M1 monoblock amplifier?
A3: Each Virtus M1 monoblock delivers 350 watts into 8 ohms and 600 watts into 4 ohms, making it powerful enough to drive most speakers with ease.

Q4: Can the Hyperion P1 and Virtus M1 be used with other audio equipment?
A4: Yes, both units are compatible with other preamplifiers and power amplifiers, respectively, allowing for flexible system integration.

Q5: Does the Hyperion P1 have balanced inputs and outputs?
A5: Yes, it includes both balanced (XLR) and unbalanced (RCA) inputs and outputs, providing versatile connectivity options.

Q6: Do the Virtus M1 monoblocks use tubes?
A6: No, the Virtus M1 is a solid-state amplifier, which ensures high power output and control while maintaining the warmth from the tube-based preamplifier.

Q7: What kind of sound signature can be expected from the Hyperion P1 and Virtus M1 combination?
A7: The combination offers a balanced sound with the warmth and natural presentation of tubes (from the Hyperion P1) and the power, dynamics, and control of solid-state amplification (from the Virtus M1).

Q8: How often do the tubes in the Hyperion P1 need replacement?
A8: The 6922 tubes generally last around 5,000-10,000 hours, depending on usage. Periodic replacement is recommended to maintain optimal sound quality.

Q9: Does the Hyperion P1 have a remote control?
A9: Yes, it comes with a remote control for volume adjustments and input selection, adding convenience for the user.

Q10: Can the Virtus M1 be used in bi-amping configurations?
A10: Yes, because the Virtus M1 is a monoblock design, it can be used for bi-amping by using a separate amplifier for each speaker channel.

Pros And Cons Canor Hyperion P1 + Virtus M1

Pros of the Canor Hyperion P1

High-End Sound Quality
Flexible System Configuration
Powerful Output
Balanced Connectivity
Remote Control
Tube Warmth with Solid-State Power

Cons of the Canor Hyperion P1

• High Cost
• Tube Maintenance
• Space Requirements
• Heat Generation
• Not Portable