Tag: Audiophile Amplifier

Cayin CS-55A Integrated Amplifier Review
Cayin CS-55A: Audiophile gear is known for being pretty traditional. It’s like the world of making sharp swords – both are slow to change. So it’s surprising how quickly and confidently Chinese brands have made their mark here. But let’s not talk about business strategies from Asia; let’s focus on one interesting result of their work.

Cayin CS-55A For Music Lovers

Cayin is a brand well-known to our music lovers. But not everyone knows it’s owned by Zhuhai Spark Electronics Equipment, a pretty big company with government backing. So, it’s not just a small workshop with basic tools trying to copy Western models. Today, Cayin has a modern, high-tech production setup.

But just having fancy equipment doesn’t automatically mean they make great sound equipment, especially when it comes to delicate stuff like tube technology. Especially because there are so many cheap boxes out there with subpar sound, which has hurt the reputation of Chinese audiophile gear.

Regardless of discussions about national hi-fi characteristics, nothing beats listening to a specific device. That’s exactly what we’ll do.

Vintage

Cayin’s approach to lamp technology is pretty impressive. They offer a wide range of products, including ten integrated circuits, three preamplifiers, a power amplifier, and a CD player. Their portable line is especially diverse. They use lamps and switching schemes in various ways, but all their devices share a recognizable style.

While many European and American audiophile startups lean towards a hipster aesthetic, Cayin takes a different route. They don’t focus on flashy finishes or trying to look like a fancy garage project. Instead, they blend the aesthetics of 1950s equipment with modern hi-fi and interior design trends. Picture this: classic layout, flat chassis, a bunch of lamps on the surface, and transformer casings in the background. It’s vintage without being over the top.

The metal surfaces subtly shine with a “gray graphite” hue that rivals the quality of automotive coatings. Golden inscriptions adorn the chassis, yet their thin and compact font maintains a harmonious balance without appearing flashy.

While the glossy main body, toggle switches, and labeled parts evoke a retro vibe, the thick front panel crafted from roughly brushed aluminum presents a more modern aesthetic. Silver with black inscriptions gives it a contemporary feel, while the dark anodized facade exudes a sense of complete and unwavering vintage charm—appealing to different tastes.

Four Benefits in One

Measuring just 36 cm in width (8 cm narrower than the classic high-fi component), the top panel hosts eight radio tubes: four sizeable output KT88 tubes and a pair of smaller 12AX7 / 12AU7 tubes. Adjacent to them are slotted bias current regulators and a stylish pointer indicator for adjustment purposes.

Interestingly, you can completely change the set of tubes if you wish. Instead of the KT88 beam tetrodes, you can use EL34 pentodes, and instead of the 12AX7 / 12AU7 pairs, you can use ECC83 / ECC82. Adjusting the circuitry for this is as simple as flipping a single selector on the rear panel.

The Cayin CS-55A can operate in two fundamentally different modes: triode and ultralinear. Switching between them is also simple, requiring just a button press—not even on the amplifier itself, but on the remote control.

Also Read: Cayin CS-805A Tube Amplifier Review

Speaking of the remote control, it’s quite impressive too. It’s a compact metal bar that feels just right in your hand. It lets you adjust volume, and switch inputs, and the biggest button is for selecting the gain mode. And there’s a reason for that—it’s a crucial feature!

Looking ahead a bit, it’s worth mentioning that depending on the music you’re listening to, your preferences might change. And there’s nothing more exciting than being able to change the sound with a simple press of a button, all without leaving your chair.

Now, let’s talk about what’s under the hood of the Cayin CS-55A. It’s a mix of nostalgia, solidity, and a touch of eclecticism. It’s nostalgic because much of the setup is old-school hinged installation. It’s solid because the soldering is top-notch, the wiring is kept short, and the components are high-quality (think ceramic lamp panels, graphite-coated resistors, Nichicon capacitors, and an Alps motorized potentiometer).

The power transformer is toroidal, and the output transformers are wound on an E-shaped iron with taps on both primary and secondary windings. The primary taps are for implementing the ultra-linear mode, while the secondary taps are for optimal performance with speakers of different impedances (8 and 4 ohms).

It’s important to note that ultra-linear amplifiers are highly sensitive to the quality of transformer manufacturing, and not every company can maintain the necessary level of production. However, with its deep roots in the electronics industry, Cayin confidently tackles even such challenges.

Regarding the mentioned eclecticism, alongside components directly soldered onto lamp and transformer blocks, there are also printed circuit boards with a high level of integration. This is understandable, as units like the remote controller and the DAC cannot be assembled without them. Speaking of the built-in DAC, it accepts PCM streams up to 32-bit/384 kHz, although details about its chipset and circuitry are not officially disclosed.

As for the origin of the tubes, it’s a bit of a mystery. What we do know is that Cayin selects them in sets and marks them with their own brand. On the KT88 tubes, you’ll find the slogan “Never be the Same Again,” which seems a bit out of place for serious electronics.

What’s meant by “Never be the Same Again” probably isn’t about the technical characteristics of the KT88 tube itself. It seems to be more of a call to expand your aesthetic horizons, inspired by diverse music experiences.

Let’s talk about the speakers used in the testing. The Cayin CS-55A was paired with ELAC Carina FS247.4 speakers. These relatively compact 2.5-way towers feature a pair of 5.25-inch mid/bass drivers with two-layer aluminum-cellulose cones and a proprietary ribbon tweeter that operates on the principle of an acoustic transformer.

For comparison, we also listened to the modern version of the KLH Model Five speakers, which were hugely popular in the 70s and are designed with an acoustic suspension. Our sources included the Technics SL-G700 network and SACD player, along with a MacBook Pro running Audirvana, connected with Analysis-Plus Solo Crystal Oval 8 speaker wires. And if you’re into vinyl, you can connect your turntable directly, as there’s a built-in MM phono stage.

In terms of tube concepts, the power of our test subject commands respect. In triode mode, it delivers 22W, while in ultra-linear mode, it boasts 40W (RMS, at THD 1%, regardless of load impedance).

When it comes to sound, the differences between triode and ultra-linear modes were expected. What was even more surprising and delightful was the inability to decisively prefer one over the other, even when listening to a particular speaker.

Moreover, swapping bass-reflex towers with ribbon tweeters for closed boxes with aluminum dome drivers on rubber suspensions created such a diverse range of sounds that it was simply breathtaking.

To sum up my impressions, I found that the sensitivity and impedance of both the Carina FS247.4 and Model Five speakers were nearly identical, making the comparison straightforward.

In triode mode, I was impressed not only by the richness of timbres in the vocal range but also by the articulate bass, which is often a rarity in such systems. Despite a fairly balanced tone overall, it was the distinctly tube-like midrange that caught my attention.

Listening to the album “Quiet Letters” by Bliss, I was captivated by its textured yet unpretentious melodic lyrics. Alexandra Hamnid’s voice, sometimes layered in multiple tracks, exuded an angelic charm that I found difficult to dissect into technical elements like sibilants and overtones. The bass and cymbals, mixed generously, confidently guided the rhythmic lines without overpowering the rest of the music.

Switching to ultra-linear mode and changing from the Carina to the Model Five speakers aimed for a more club-like sound. While the bass didn’t necessarily get deeper, it did gain in resolution and slightly in control.

Expecting sharper highs in ultra-linear mode, the transition from ribbon tweeter to dome didn’t bring as much quantitative change as it did a stylistic one.

Staying true to the classic essence of the KLH Model Five, the sound remained balanced and not overly aggressive. However, now the mood was set more by the bass support and sharpness rather than refined treble.

Returning to the ELAC Carina speakers, I found that Vaya Con Dios worked exceptionally well in ultra-linear mode. Not just the well-known “Nah Neh Nah,” but deeper and more intriguing tracks from the penultimate album “The Promise.” Whether you like it or not, an additional 18 watts for speakers with a sensitivity of 87 dB like the Carina didn’t hurt.

Quiet Different

It’s not just about power; it’s about the overall sound character. Dynamic genres with bright guitar parts and deep, but agile basslines suit the style of ultra-linear mode more than triode.

On the flip side, the “triode” mode proved optimal not only for chamber jazz. Even tracks that weren’t inherently tube-like, such as the John Wick soundtrack or Bach’s sonatas, gained an intriguing interpretation it. The cohesive, solid sound with sparkling highs and well-defined bass structure didn’t overwhelm with details but instead helped immerse oneself in the musical storytelling.

There’s no need to pit such an amplifier against transistor amplification. It simply invites you to include it in your system and experiment—for a long time and with discerning taste.

Specifications Cayin CS-55A Integrated Amplifier:

Frequency response: 5 Hz – 44 kHz (-3 dB)

Ex. Power (RMS): 2 x 40W (ultra-linear), 2 x 22W (triode)

Harmonic distortion: 1% (1 kHz)

S/N: 92 dB, 68 dB (phono stage)

In. Sensitivity: 270 mV (line), 3 mV (phono stage)

In. impedance: 100 kΩ, 47 kΩ (phono stage)

RIAA Curve Accuracy: ±0.25dB

MM Phono Gain: 40 dB

Load impedance: 4 – 8 ohms

Cons. power: 270 W

Dimensions (WxDxH, mm): 360 x 334 x 180

Weight: 17 kg

Pros And Cons Cayin CS-55A Integrated Amplifier:

Pros
- Outstanding finish quality
- rare functionality for a tube-integrated circuit
- high-quality sound
- plenty of opportunities to find your sound.
Cons
- Lamp cost.
- DSD Not supported
January 17, 2025
Luxman L550 AX Mk-II class A amplifier Review

Luxman L550 AX Mk-II: Class A amplifiers are not as popular as they used to be. Nowadays, push-pull or digital amplifiers are becoming more advanced and efficient, making them better for the environment and more versatile. However, some people still believe that Class A amps, which operate without crossover distortion, might sound better. Recently, when testing the INT 25 pass and the Luxman L-550AX-II at amp reviews, it seemed like Class A amps still have an edge in sound quality.

Luxman’s L-530, L-550, and L-560 amplifiers have been on my wishlist for over forty years. It seems I’m not alone, as these iconic Class A amps are highly sought after and expensive on the used market. Luckily, Luxman still offers Class A amplifiers, including the L-550AX-II, which is priced at 6,450 euros. During testing, it proved to be impressive, with a touch of nostalgia for the 1980s.

Let’s start with the impressive build of the “small” L-550 AX-II: right out of the box, you’re met with a hefty weight of 24.3 kilos that needs to be carefully balanced. Luxman’s craftsmanship shines through, reminiscent of renowned brands like Yamaha or Accuphase: smooth edges, impeccable fit,
and a satisfying click of the relays throughout the device. It’s exactly what you’d expect from a top-notch amplifier.

As for its features, the L-550 AX-II takes a pleasingly classic approach. It includes REC-In/Out, preamp output, and power amp input, along with five high-level inputs (including a balanced XLR input) and a built-in phono stage accessible at the back.

The discrete phono board, located behind the connection sockets, offers switchable gains for MM and MC pickups. While there are no adjustable settings, Luxman’s design incorporates average resistances or capacitances, which proves to be more than satisfactory. Testing with both the pre-installed ATR SPU (MC) and the Ortofon 2M Black (MM), the sound was magnificent, retaining the characteristics of each pickup. With the L-550 AX-II, there’s no need to invest in an additional phono stage in the sub-700 euro range you’re getting top-notch performance right out of the box.

The Luxman L-550 AX-II operates as a transistor amplifier with Class A circuitry, effectively eliminating typical takeover distortions. However, the power output within this low-distortion range is relatively modest: 20 watts into 8 ohms or 40 watts into 4 ohms. These specifications are notably conservative, according to Luxman’s measurements.

Despite its old-fashioned design, the L-550 AX-II incorporates several modern features, including the innovative volume control system called LECUA (Luxman Electric Controlled Ultimate Attenuator).
This system utilizes a processor to enable precise volume adjustments across 88 steps, offering enhanced control and reduced noise compared to its predecessor. While some may question the impact of a volume control system on sound quality, the LECUA1000 proves its worth.

Those familiar with passive preamps, which solely rely on volume control, understand the potential for significant improvements in sound quality with such advancements.

Despite efforts to identify significant differences from its predecessor, the Luxman L-550 AX-II doesn’t appear to undergo many noticeable changes. Internal inspection reveals no alterations and technical data doesn’t provide much insight either. However, a few noteworthy updates include borrowing the
power amplifier modules from the larger L-590AX-II, refining the sophisticated negative feedback,
and a slight increase in the damping factor from 160 to 200. While these modifications may seem minimal, their impact on sound quality is substantial.

According to one of the sales managers, the external appearance may not be particularly impressive, but the L-550 AX-II represents a significant advancement in sound compared to its predecessor. This sentiment aligns with Luxman’s commitment to prioritizing sound quality over cosmetic enhancements.

Indeed, the subjective experience confirms this assessment. In comparison to the L-550 AX tested in 2014, the current AX-II model delivers a wonderfully full-bodied sound, demonstrating Luxman’s dedication to continuous improvement and audio excellence.

Build L550 AX Mk-II class A amplifier

When it comes to this type of amplifier, I don’t expect cutting-edge technology. Instead, I anticipate a familiar structure and features reminiscent of the past. In addition to the aforementioned inputs and outputs, this includes classic elements like the characteristic VU meter, a headphone output, tone controls, and a loudness curve. Additionally, there are thoughtful touches such as the ability to switch to mono and the option to bypass all tone controls with the “Line – Straight” button.

One notable aspect is the front panel of the Luxman L-550 AX-II, which is adorned with control switches and buttons. However, some functions can only be activated using the supplied remote control, such as the mono or loudness function. This blend of traditional controls and modern remote functionality adds convenience and flexibility to the amplifier’s operation, catering to both nostalgic and contemporary preferences alike.

As a classic Class A amplifier, the L-550 AX-II tends to generate more heat compared to its AB counterparts. This is due to its relatively high power consumption, even when idle, consuming around 170 watts when not in standby mode. From an ecological standpoint, this high power consumption raises concerns, although it’s worth noting that such amplifiers, like their renowned predecessors, are built to last and rarely end up in landfills—an important consideration for sustainability.

Given its tendency to generate heat, it’s advisable not to place the Luxman L-550 AX-II in narrow cabinets or racks without adequate ventilation. It requires some breathing room to dissipate heat effectively.

Moreover, the choice of speakers is crucial to maximize the amplifier’s performance. While it offers a preamp output for connecting to more powerful power amps, it’s generally not recommended due to compatibility issues. Instead, pairing the L-550 AX-II with high-efficiency speakers such as Blumenhofer or Spatial Europe models yields optimal results. Alternatively, it also shines when paired with smaller, fine-quality speakers like the Dynaudio Heritage Special, B&W 805 D4, or the high-efficiency Stenheim TWO, delivering stunningly good sound in smaller listening environments.

In cases where the amplifier’s performance limit is exceeded, it doesn’t exhibit harsh or unpleasant qualities. Rather, it gracefully rounds off the edges, maintaining its transparent sound image albeit with a slight loss of clarity at higher volumes.

Hearing Test Luxman L550 AX Mk-II class A amplifier

The Luxman L-550 AX-II presents a slightly slower pace compared to classic transistor models like the Neukomm CPA 155S, yet it delivers an outstandingly good integrated amplifier experience. The Neukomm deserves credit for its robust and crisp performance, particularly in the bass range, as well as its superior coarse dynamics and maximum level output.

It may take a moment to adjust to the Luxman’s leisurely pace, but once accustomed, its exceptional qualities become apparent. The timbre, fine dynamics, grace, and authenticity it brings to recordings are simply extraordinary.

For instance, in Rimsky-Korsakov’s Scheherazade, the opening notes of “The Story Of The Calendar Prince” feature a lovely yet slightly plaintive violin tone. Switching between the Luxman and Neukomm amplifiers during this passage reveals that the L-550 AX-II extracts even more power and warmth from the violin tone, along with a wealth of micro-information, resulting in a sound that feels remarkably real.

We also compared the Luxman with other integrated amplifiers from our reference shelf, including the extremely powerful Atoll IN 400 ES and the tube amplifier Fezz Audio Lybra, equipped with a double 300B configuration achieving around 20 watts per channel.

In ideal conditions—like being in a smaller room and sitting closer to the speakers—the Fezz Audio Lybra amplifier came closest to matching the Luxman L-550 AX-II in terms of sound. The Lybra, being a tube amplifier, also had a natural sound with a touch of airiness, although it didn’t quite have the same depth as the Luxman.

A few weeks ago, there was much excitement about the INT 25 pass amplifier, which also operates in Class A. Although I couldn’t directly compare it with the Luxman, it seemed like the INT 25 pass had a bit more power and dynamics when paired with the Dynaudio Heritage Special speakers.

However, this doesn’t take away from the exceptional performance of the Luxman L-550 AX-II. Thanks to a recommendation from Ampreviews sound engineer, I discovered the album “Book Of Romance And Dust” by Exit North. Despite its melancholic tone, the jazz music on the album was received exceptionally well, revealing intricate details that were captivating. Singer Thomas Feiner’s voice, especially when paired with the Luxman amplifier, was incredibly powerful.

Even though I rarely listened to “Book Of Romance And Dust,” the combination of the Luxman amplifier and B&W 805 D4 speakers compelled me to do so. The sound was so captivating, natural, and beautiful that I couldn’t resist. Overall, it was a wonderful experience that I’ll never forget

Conclusion Luxman L550 AX Mk-II class A amplifier

The Luxman L550 AX Mk-II, a “small” Class A integrated amplifier, delivers precisely what you’d anticipate from it: a flawless execution of the distinctive Japanese hi-fi approach. With meticulous attention to detail, flawless mechanics, and premium materials, Luxman has crafted a product that delights the heart. It combines an array of features with an incredibly rich sound.

Potential buyers need to understand that a class-A amplifier won’t deliver earth-shattering volume levels. However, in return, it offers a wonderfully pure tone that is seldom encountered elsewhere. Thus, for those who prioritize sonic purity and appreciate meticulous craftsmanship, the Luxman L-550 AX-II is a standout choice in the world of integrated amplifiers.

January 17, 2025
Aris THE 30 tube integrated amplifier Review

Aris The 30 tube integrated amplifier, hero of today’s Review has already overcome at least two stages of this path. In any case, he appeared in stores and on online platforms, and he seemed to be able to attract attention without difficulty.

THE amplifier

The large capital letters on the front of the 30-tube integrated circuit are separated by dots so that no one will mistake them. This abbreviation stands for simply and without undue modesty: True High End. What prompted the creators to such courage, and, perhaps, shock?

Most likely, the three decades during which Aris has earned a reputation as a reputable developer and supplier of professional electro-acoustic solutions. It is clear that a competent voice acting of a concert hall and the construction of a high-quality home setup lie on several different planes, but they are real pros for that, in order to boldly move to new horizons.

Tube amplification is a delicate thing, so one of the high-end Audio gurus Sergey Matyushin took up the THE 30 circuitry. In the design of the building, it was also decided to do without amateur performances and apply to the Department of Industrial Design of the Academy. Stroganov.

As you can see, the specialists from Aris behaved extremely professionally. Opening a new direction, they did not begin to fence an unfamiliar garden from scratch, nor to buy up other people’s developments in the bud. Instead, they brought in professionals with extensive experience in highly specialized areas.

Design

Looking at Aris THE 30, one immediately recalls the closeness of Aris to professional sound equipment. Front handles and slots for mounting in a rack immediately set up for communication with serious equipment. And even though this integrated circuit will most likely not have to work in a rack, the brackets are also not without practical value. After all, the device weighs 22 kilograms, and you need to move it with care: lamps do not like shocks and shocks.

Check Out: McIntosh MC275 Amplifier & C22 Preamplifier Combo Review

The rough-hewn anodized aluminum façade also adds a harsh professionalism, but brutality is only part of Aris THE 30’s visual image. The official booklet talks about combining Techno and Steampunk styles, but I would risk arguing with this statement. Large dial indicators with transparent scales illuminated by ultraviolet light are an interesting variation on the electronic retro theme, but somehow there is no steampunk here.

The volume control drum is originally designed. It is machined from a very hard technopolymer and has a through groove. Through it one of the bright red LEDs is visible, located under the regulator in a ring. In a dark room, the rich glow of scales and LEDs looks very impressive and unusual.

Looking at the device in profile is just as interesting as looking at it from the front. The main board with the lamps mounted on it is perfectly visible through the stylish openwork grille. By the way, its structure is called the Voronoi mosaic, in honor of the Russian mathematician Georgy Voronoi, who studied the division of the plane into separate elements at the end of the century before last.

The compartment with the mighty output transformers is, for obvious reasons, shielded much more densely. Unlike the front of the device, its upper corners are strongly rounded, which makes the outlines of the case even more intricate. The hand of a professional designer is felt even in the round barred holes on the rear panel. What can I say, Stroganovka!

Musical pentodes

The output stages of Aris THE 30 are based on four powerful EL34 pentodes. These lamps were developed by Philips specifically for sound amplification, began to be produced by London’s Mullard in 1949 and gained immense popularity around the world. Today, in addition to music lovers, EL34 is highly respected by guitarists. The amps on these tubes (eg VOX or Marshall) have a typical British sound: transparent, but not too sharp at the top, without a pronounced emphasis on the mids.

Our test subject works in class AB and is armed with EL34B lamps manufactured in Russia under the Tung-Sol brand. Push-pull output stages deliver 30 watts per channel. This is much less than it is customary to shoot with the EL34 in the guitar world, but here the task is almost the opposite – to minimize any form of distortion. And, judging by the characteristics, the developers have succeeded in this. In the 20 Hz – 20 kHz section, the frequency response unevenness is only 0.5 dB, and without taking into account strict tolerances, operating frequencies extend from 10 Hz to 35 kHz.

For a tube device, the numbers are very ambitious. The point here is in the ultra-linear mode of operation, which provides the widest possible frequency response without the use of common feedback. The path in this case is as short as possible: input buffer – phase inverter – output stage.

True, the requirements for the performance of the output transformer become even more stringent (at least, taps are needed on the primary winding), but Aris has a lot of experience in its own production of equipment, and they have cards in their hands. By the way, for connecting acoustics with different impedance, taps from the secondary winding are provided, so the output power for 4- and 8-ohm speakers is the same.

As for the preliminary stages, they are built on 6H8S double triodes. Sergey Matyushin settled on these relatively large tubes with an octal base, because he believes that a large anode area is extremely important for the right sound.

Setup

In the test setup, THE 30 was made up of Argon7LS acoustics manufactured by the notorious Finnish company Amphion. Each 27 kg tower is armed with a pair of 6.5-inch mid/bass drivers and two passive radiators of the same caliber.

The impressive area of the cones provides a dense, well-articulated sound even at low signal levels. In our case, this is exactly what is needed, although according to tube concepts, “thirty” cannot be called low-power. The source was a Clear Audio Concept turntable with a Musical Fidelity MX-VYNL phono stage and a Primare I15 Prisma Black digital player.

From the first seconds of listening, it became clear that Aris managed to create a truly non-trivial device. A truly plastic, balanced sound combined both transparent, well-detailed treble and surprisingly full-bodied bass with a confident attack that was not like a tube.

Floor-standing speakers with a sensitivity of 91 dB, the amplifier controlled freely and confidently. Moreover, in a room with an area of about 15 squares, this tandem was clearly cramped. That’s why on Depeche Mode’s immortal “Fly on the windscreen” the rhythm section drew attention a little in its direction. On the other hand, this did not prevent percussion and synthesizers from creating intricate spatial patterns at all.

The light, voluminous sound was in perfect harmony with its monolithic bass base. As it turned out later, Aris THE 30 perfectly plays almost any electronic music – however, it does it with the charm inherent only in serious tube equipment, which is not inclined to lubricate dynamics and space.

In fact, the above can be applied to almost all musical directions. “Thirty” is quite enough enthusiasm and resolution even for large symphonic forms, but, again, it would be strange to expect explosive blockbuster energy from such an apparatus.

As for the traditionally “tube” genres, there are a lot of delicacies awaiting musical gourmets. And it’s not scary that vocal chamber jazz and guitar blues have completely different sound aesthetics. In both cases, Aris THE 30 manages to highlight the main thing – whether it’s the most delicate tonal transitions in the voice of Helen Merrill or the overdriven guitar of Muddy Waters.

The only subtlety is that you need to sensibly select speakers for the tonal texture of this amplifier, and you should also carefully monitor their interaction with the acoustics of the room. Otherwise, basses written from the heart can take liberties, emphasizing the middle range.

Lamps

The sound of THE 30 amplifier goes beyond being merely “comfortable” and instead possesses a remarkable level of intelligence. It exhibits a discerning nature that captures every intricate detail within the musical material while maintaining a firm grasp on the overall emotional essence. This amplifier ensures that no element is overlooked or sacrificed in pursuit of insignificant nuances. It strikes a delicate balance, preserving the utmost clarity and precision while staying true to the holistic emotional impact of the music. THE 30 amplifier is an embodiment of intelligence, showcasing an astute ability to deliver an immersive and captivating musical experience without compromising the essence and mood of the music.

It will not let you forget for a second that you are listening to a lamp, but any genre will serve you in such a way that you will not regret this choice. It feels not just the triumph of even harmonics over odd ones, but a consciously developed musical style. And it is all the more gratifying that such an amplifier is not only created in our country, but is really accessible to music lovers.

Pros and Cons For Aris THE 30

Pros

High quality of materials and body assembly.

Pedigree embossed sound. Excellent bass control and energy,

speaker enviable for a tube device

Cons

Rather, the features: the low frequencies are so full-bodied that it is better to avoid excessive bass acoustics. Like any original act of creativity, the design of the case will cause controversy

Aris THE 30 Specifications

Frequency range: 10 Hz – 35 kHz; 20 Hz – 20 kHz (0.5 dB)

Output power: 2 x 30W (RMS)

Load impedance: 4 – 8 ohms

Dimensions (WxDxH, mm): 404 x 438 x 190

Inputs: 4 x RCA

Outputs: 4 ohm and 8 ohm

Weight: 22 kg

January 15, 2025