Ampreviews

Tag: Audiophile Equipment

  • Gustard X30 Review: Best DAC and Streamer

    Gustard X30 Review: Best DAC and Streamer

    Are you ready to take your audio experience to the next level? I’ve been writing the Gustard X30 Review, and I have to say, this piece of equipment is seriously impressive. If you’re an audiophile or even just someone who wants to get the best sound possible, you’ll want to hear about this.

    So, what’s the big deal about the Gustard X30? Well, it’s got cutting-edge technology packed into a sleek design, which makes a real difference in the quality of sound it delivers. The high-resolution DAC and powerful amplification work together to produce a sound that’s crystal clear, rich, and full of detail. Honestly, whether you’re just a casual listener or someone who spends hours perfecting your setup, the Gustard X-30 is built to blow you away.

    One thing I like about this unit is the connectivity. It’s got USB, Coaxial, and Optical inputs, which means you can connect it to just about anything. Plus, the interface is super intuitive, so navigating the settings and tweaking everything to your liking is a breeze.

    This is just a taste of what the Gustard X30 can do. In my review, I’ll cover all the features, performance, and even some real-world user feedback. If you’re serious about getting the most out of your music, you’ll want to keep an eye out for my full Gustard X-30 review. The Gustard X-30 is here to redefine what it means to listen.

    A closer look of the back panel of the gustard x30 review

    Key Features of Gustard X30

    The Gustard X-30 is a remarkable piece of audio equipment that stands out in a crowded market due to its impressive specifications and features. At its core, the X-30 employs the renowned AKM AK4499EQ DAC chip, which is known for its high performance in digital-to-analog conversion. This chip enables the X-30 to deliver a stunning resolution of up to 32-bit/768kHz PCM and DSD512, ensuring that music is reproduced with exceptional clarity and detail. The capabilities of this DAC make it an ideal choice for audiophiles who demand the best from their listening experience.

    In addition to its advanced DAC, the Gustard X30 features dual ES9038Q2M DACs configured in a balanced mode. This configuration is designed to minimize distortion and improve sound quality, allowing for a more immersive audio experience. The device also supports a variety of audio formats, including PCM, DSD, and even MQA, making it incredibly versatile for a wide range of audio sources. Furthermore, the X-30 boasts a robust power supply that enhances the overall performance, ensuring stable and clean power delivery to the circuitry.

    Connectivity is another strong suit of the Gustard X30. It offers multiple input options, including USB, Coaxial, Optical, and AES/EBU interfaces, allowing users to easily connect it to various devices, such as computers, CD players, and digital audio players. The inclusion of both balanced XLR and unbalanced RCA outputs provides further flexibility in how the device can be integrated into an existing audio setup. With such a comprehensive array of features and specifications, the Gustard X-30 positions itself as a formidable contender in the high-end audio realm.

    Unboxing of the Gustard X30

    When I got my hands on the Gustard X-30, I was super excited and couldn’t wait to unbox it. When I finally opened it up, the experience was amazing. The packaging was top-notch, keeping everything secure and in perfect condition—there wasn’t a single scratch on the box. As I slowly pulled the device out, I was impressed by the Gustard X-30’s front panel, which has a clean look and a large, vibrant display showing key details like input selection, sample rate, and volume level. The build quality stood out, with its solid metal body giving it a premium, stylish feel.

    The accessories inside the box were a nice touch. Gustard provided a well-built power cable, a USB cable for digital connections, and a detailed user manual that made setting everything up a breeze. A lot of thought went into making the whole experience user-friendly. Setting up the X-30 was straightforward; the layout of the controls and ports was easy to understand, and I had it connected and working in no time.

    Overall, my first impressions of the Gustard X-30 were fantastic. The sleek design combined with its high-quality construction gave off a real high-end vibe. The display is bright and easy to read, and using the device felt natural from the start. Gustard put a lot of effort into the design and functionality, making it a great option for both experienced audiophiles and those new to upgrading their audio gear.

    Also Read: Lyngdorf TDAI-3400 Review

    Sound Quality of the Gustard X30 Review

    Now It’s time to connect the device and listen to my favorite music, the Gustard X-30 does not disappoint. From the moment you start listening, the clarity and detail of the sound are immediately noticeable. The AKM AK4499EQ DAC chip works wonders in delivering a soundstage that feels both expansive and intimate. Whether you are listening to orchestral pieces, vocal performances, or intricate electronic music, the X-30 manages to reproduce each element with precision and depth. The tonal balance is impressive, providing a natural sound that doesn’t favor any particular frequency range, allowing for a well-rounded listening experience.

    One of the standout features of the X-30 is its ability to handle a variety of audio formats and resolutions without compromising quality. The clarity of high-resolution audio files is particularly striking, with nuances that may have gone unnoticed on lesser devices becoming apparent. The dynamic range is also commendable, allowing for quiet passages to be just as engaging as louder, more powerful sections of music. This capability makes the Gustard X-30 an excellent choice for those who appreciate the subtleties in their music.

    Moreover, the amplification capabilities of the X-30 add another layer of performance. The device is equipped with a powerful output stage that drives headphones and speakers with ease, providing ample power without distortion. Whether you are using high-impedance headphones or connecting to a pair of floor-standing speakers, the X-30 maintains control and fidelity across the board. The overall sound quality and performance of the Gustard X-30 truly set it apart, making it a worthy investment for

    Comparison with Other Audio Devices in the Market

    When comparing the Gustard x30 to other audio devices in the same price range, it becomes evident that it holds its own against some of the industry leaders. Many high-end DACs and amplifiers tend to focus on either sound quality or versatility, but the X-30 excels in both areas. For instance, when placed alongside competitors such as the Schiit Yggdrasil or the Chord Mojo, the Gustard X-30 offers similar sound quality at an often more accessible price point. The dual DAC configuration and support for various formats provide a significant advantage for users looking for a comprehensive audio solution.

    Another noteworthy comparison can be made with the Topping D90, which is known for its exceptional performance and features. While the Topping D90 also boasts impressive specifications, the Gustard X-30 distinguishes itself through its user-friendly interface and aesthetic design. Furthermore, the X-30’s robust build quality and comprehensive connectivity options provide an edge that appeals to both casual listeners and serious audiophiles alike.

    Ultimately, while many devices on the market offer fantastic sound quality, the Gustard X-30 stands out due to its balanced approach, combining high-resolution audio playback, versatile connectivity, and solid performance. As more audiophiles seek a well-rounded device that can satisfy various listening preferences, the X-30 emerges as a compelling choice that deserves serious consideration.

    You May Like: Marantz PM7000N Integrated Amplifier Review

    How to Optimize Your Audio Setup with the Gustard X-30

    To get the most out of the Gustard X-30, optimizing your audio setup is essential. One of the first steps is to ensure proper connections are made. Utilize high-quality cables to connect the X-30 to your audio sources and speakers. Using balanced XLR cables can enhance sound quality by reducing noise and interference, particularly in longer cable runs. Additionally, when connecting to a computer or digital audio source via USB, ensure that you are using a USB port that supports high-speed data transfer to avoid any bottlenecks in audio quality.

    Another critical aspect of optimization is the placement of the X-30 within your audio setup. Position the device in a well-ventilated area to prevent overheating, as the internal components can generate heat during prolonged use. Avoid placing it near other electronic devices, which may introduce electromagnetic interference. Additionally, consider the positioning of your speakers and headphones to achieve the best soundstage and imaging. Experimenting with speaker placement can lead to significant improvements in audio performance.

    Lastly, take advantage of the customizable settings within the Gustard X-30. Users can adjust various parameters, such as filter settings and volume levels, to tailor their listening experience. Engaging with the user manual to understand these features can help you unlock the full potential of the device. Whether you prefer a more analytical sound or a warmer, more engaging profile, the X-30 allows for fine-tuning to match your personal preferences.

    Price and Availability of the Gustard x30

    The Gustard X-30 is positioned in the mid-to-high price range of audio equipment, reflecting its advanced features and exceptional sound quality. As of now, the price typically ranges between $2,699.99, depending on the retailer and any ongoing promotions. While this price point may seem steep for some, it is essential to consider the quality and performance offered by the X-30 in comparison to similar devices in the market. Many users feel that the investment is justified, given the level of sound fidelity and versatility it provides.

    In terms of availability, the Gustard X-30 can be found through various online retailers, as well as specialized audio equipment shops. Many audiophile forums and communities often discuss where to find the best deals, so it’s worth checking those resources for potential discounts or second-hand options. Additionally, Gustard occasionally releases limited editions or bundles, which can be a great way to save money while acquiring the device.

    For those in regions where Gustard products are less common, it is advisable to check international shipping options or authorized dealers that can provide reliable service. Ensuring that you purchase the X-30 from a reputable source is crucial to guarantee quality and support. Overall, while the price may be a consideration, the Gustard X-30 offers significant value for its performance, making it a worthwhile addition to any serious audiophile collection.

    inside look of gustard x30

    Conclusion: Is the Gustard X-30 Worth the Investment?

    Gustard X-30 stands out as a remarkable audio device that delivers unparalleled sound quality, versatility, and build quality. For audiophiles seeking to enhance their listening experience, the combination of advanced DAC technology, extensive connectivity options, and a user-friendly interface makes the X30 a compelling choice. It competes effectively with other high-end audio devices, often offering similar or superior performance at a competitive price point.

    While there are minor drawbacks, such as the lack of remote control and the need for a break-in period, the advantages far outweigh these concerns. Users have consistently praised the X-30 for its ability to reproduce music with clarity and detail, transforming the way they experience their favorite tracks. Its robust construction and elegant design further add to its appeal, making it an attractive addition to any audio setup.

    Ultimately, if you are serious about your audio experience and willing to invest in a high-quality device, the Gustard x30 is certainly worth the investment. With its impressive features, excellent sound performance, and strong user feedback, it has rightfully earned its place among the top contenders in the high-end audio market. Whether you are a seasoned audiophile or simply looking to upgrade your home audio system, the Gustard X-30 promises to deliver an exceptional listening experience that will leave you captivated.

    Pros And Cons of the Gustard X-30:

    Pros of the Gustard X-30:

    1. High-Quality Sound: The X-30 delivers crystal-clear and highly detailed sound, thanks to its high-resolution DAC and powerful amplification. It’s perfect for audiophiles who crave excellent audio performance.
    2. Sturdy Build: The metal chassis gives the X-30 a premium and durable feel, making it look and feel like a high-end product.
    3. Versatile Connectivity: With options like USB, Coaxial, and Optical inputs, the X-30 is compatible with a wide range of audio sources, providing flexibility for different setups.
    4. Easy to Use: The intuitive interface and well-laid-out controls make setup and navigation simple, even for those who aren’t highly tech-savvy.
    5. Attractive Design: The sleek and clean design fits well in any audio setup, enhancing the aesthetic of your listening environment.
    6. Comprehensive Accessories: The inclusion of a quality power cable, USB cable, and a detailed user manual adds to the overall value and ease of use.

    Cons of the Gustard x30:

    1. Price Point: The X-30 is on the expensive side, which might be a barrier for those who are just starting to explore high-end audio gear.
    2. Size and Weight: The solid metal construction adds weight and bulk, which may be inconvenient if you need to move it around frequently or have limited space.
    3. No Wireless Connectivity: The lack of Bluetooth or Wi-Fi connectivity may be a downside for users who prefer wireless streaming options.
    4. Limited Color Options: The X-30 may not come in a variety of colors, which could be a drawback for those looking to match their audio equipment with specific decor.

    Overall, the Gustard X-30 offers excellent sound quality and solid construction but comes at a premium price and lacks some modern conveniences like wireless connectivity.

    User Reviews and Experiences with the Gustard X-30

    User feedback on the Gustard x30 has been overwhelmingly positive, with many praising its exceptional sound quality and Build Quality. Audiophiles who have tested the device often highlight the clarity and detail it brings to their music. One user noted that the X-30 transformed their listening experience, allowing them to hear elements in their favorite tracks that they had never noticed before. But You know everyone’s taste is different.

    Another common theme in user reviews is the impressive build quality of the Gustard x30. Many users appreciate the solid metal construction and the premium feel of the device. The responsive display and straightforward navigation are often mentioned as features that enhance the overall user experience. Reviewers have noted that the setup process is intuitive, making it easy for anyone to integrate the X-30 into their existing audio environment without a steep learning curve.

    However, some users have pointed out some issues, the sound quality is top-notch, and it can take some time to fully break in the device for optimal performance. Overall, the consensus among users is that the Gustard X-30 is a fantastic investment for anyone serious about its audio quality, combining remarkable sound performance with a sleek design and user-friendly interface.

  • Nubert nuConnect ampX Review

    Nubert nuConnect ampX Review

    The Swabian speaker direct seller Nubert is always good for a surprise. Of course, it was clear that Schwäbisch Gmünder would soon bring an integrated amplifier. After all, the loyal Nu fan community has been calling for this for a long time. Now it’s here: its full name is Nubert nuConnect ampX – that fits perfectly and is not promised too much.

    However, he presents himself differently than one might have expected. The Nubert developers have proven in recent years that they can very well build amplifiers. However, they come in full-size format, as the amp combination nuControl/nuPower D and the mighty nuPower A prove.

    The Nubert nuConnect ampX, on the other hand, is completely different. With ultra-compact housing, optically minimalist appearance, and savvy connectivity, it undoubtedly belongs to the species of modern smart amps. The usability via the app and the extensive wireless functions also go well with this.

    closer look of Nubert nuConnect ampX

    Nevertheless, the nuConnect ampX is again a real Nubert. Owners of loudspeakers from the nuPro family will also find a lot of familiar features in the Nubert nuConnect ampX. The abbreviation “ampX” already gives it away: Nubert’s baby amplifier has several similarities with the nuPro models of Generation X.

    The Nubert nuConnect ampX has adopted their sophisticated operating concept almost one-to-one. Just like the nuPros, the nuConnect can also be set up and controlled directly on the device, using the included remote control or the app. Since the nuConnect ampX can also serve as a control center in more extensive hi-fi systems, it offers extended customization options in the setup menu. This will be discussed in more detail later.

    The power pack

    Small, strong, black – with a nominal output power of 2 x 110 watts at 4 ohms, the Nubert nuConnect ampX is the espresso among the integrated amplifiers. Such a high “power density” is not feasible with conventional amplifier technology. That’s why the nuConnect relies technically consistently on the highly effective combination of switching amplifier and switching power supply.

    However, unlike most of its compact competitors, the amp does not use quasi-analog Class D power amp technology. Rather, he uses an in-house process that has also proven itself in the numero active loudspeakers for several years. The central, digital signal processor (DSP) provides the direct data stream for the switching output stages (pulse density modulation). Advantage of this method: The D/A conversion required for class D amps is no longer necessary. This means that the signal processing up to the loudspeaker occurs almost completely in the digital domain. Among other things, this enables a very high signal-to-noise ratio.

    You May Like: Cayin CS-805A Tube Amplifier Review

    nuConnect ampX – connectivity is key

    The Nubert nuConnect is also contemporary in the distribution of its hardware inputs: with 6:2, digital audio sources dominate here. No less contemporary is the use of one of the two analog inputs to connect turntables. Its switchable sensitivity even enables the optional operation of MM or MC pickups.

    Digital hi-res audio is of course also welcome: All digital inputs – including the two optical ones – can process audio material of up to 24bit/192kHz. A Nubert specialty is the USB-A socket intended for powering mobile players. With the help of an included adapter box, this becomes an HDMI input. In this way, for example, digital sound can be imported from the TV set.

    nubert-nuconnect ampx back panel terminal

    Despite all the variety of connections – the magic word for the Nubert nuConnect ampX is “wireless”. That applies to him in two respects. The Bluetooth input for mobile players is now a quasi-standard for amps in its format. Whether SBC, AAC, aptX HD, or aptX Low Latency – the little Nubert takes it as it comes.

    The second wireless input, on the other hand, is a specialty: It uses an in-house transmission protocol that operates in the frequency range between 5 and 6 gigahertz. Working bidirectionally, it can initially receive audio signals. These can come from other nuConnect amps, for example, or from Generation X nuPro active loudspeakers. Audio signals can also be transmitted in this way to other receivers – meaning other nuConnect amps or nuPro X active speakers.

    nuConnect ampX – multiroom operation

    The wireless mode makes it easy to create tailor-made listening zones. For example the following scenario: In the living room there are two active loudspeakers Nubert nuPro X-6000 as the main system. In the roof gallery, on the other hand, there is a nuConnect ampX, which, for example, drives two passive nuBox 325 Jubilee (or similar loudspeakers from other manufacturers). And because there is still space for a wallboard on the gable wall, a record player can also find an ideal, undisturbed place to stay here.

    First of all, you can now listen to the music you want in both zones independently of each other. On the other hand, you can tune in to the program currently running in the living room in the roof gallery (party mode) – of course with individually adjustable volume. Of course, this also works the other way around: the program from the roof gallery can be “taken over” just as well in the living room – for example from the record player. There are only a few limits to the concept – why not another nuConnect in the study?

    nuConnect ampX – the specials

    The nuConnect has also adopted all the facilities for individual sound design from the nuPro active loudspeakers. First of all, there are bass and treble controls: the latter works as a so-called tilt equalizer. It can be used to raise or lower the entire audio frequency range above 1,000 Hz, similar to an adjustable ramp (called “sound scales” in Nubert jargon).

    A 5-band graphic equalizer is also available. This can be used, for example, to correct the center emphasis that occurs when compact loudspeakers are placed on a desktop. The switchable loudness device is also on board. It compensates for the ear sensitivity that decreases at low volumes with low tones.

    The loudspeaker distances required for spatial stereo reproduction are not always feasible, which is especially true for small hi-fi systems. As a specialist for such cases, the nuConnect therefore has a switchable stereo base width setting. It can add room reflections generated by the DSP in five stages to make the sound image appear more extensive with small speaker distances.

    The nuConnect ampX wouldn’t come from Nubert if it didn’t have a subwoofer output. A corresponding low-pass filter with an adjustable cut-off frequency is also on board. And that’s not all. Thanks to its high-pass filter, which can be set in 1 Hertz increments, the nuConnect ampX allows the satellites connected to be precisely adjusted to the woofer.

    The nuConnect ampX accommodates all this variety of functions in a housing volume of almost 3 liters. What’s really remarkable is that despite its low weight of just 2,550 grams, its all-metal case looks exceptionally solid and is also extremely well made.

    The nuConnect ampX in a listening test

    With its lifestyle concept, the nuConnect, which costs just under 690 euros, is certainly not primarily aimed at the audiophile fan community. Nevertheless, I wanted to know what “works” in terms of sound. That’s why I’ve chosen the excellent Fyne Audio FS 502 and the ambitious Buchardt Audio S400 as playing partners for the small Nubert (passive) loudspeaker with quite audiophile aspirations. Both are currently doing their test runs in our listening room.

    Both combinations surprised me with an amazingly harmonious and spirited performance. That’s why they got a lot of appreciative approval from all the guests who stopped by the listening room during the recording time. Such “flying visit tests” are quite meaningful, since the hearing of the flying visitor has not yet adapted to the current situation.

    Of course, top amplifiers such as the Neukomm CPA155S showed in comparison that there is still more to be had, especially in terms of transparency. It would be worrying if this were not the case. Little Nubert didn’t want to lose tonal coherence and the necessary tonal “feel good factor” under any circumstances.

    The much-cited, digital coolness was also not an issue with the nuConnect (…although I find this attribute quite “off the mark”). Its sound character was more compact and well-grounded – not a trace of glassiness.

    Such a “briquette” like the nuConnect is often packed in a bag to smuggle it into a friend’s hi-fi system. The Nubert amp was also able to convince with such “reality checks”. The fact that its sound quality via analog input was equal to pure digital operation also proved its worth here.

    A heart for vinyl

    Fortunately, this also applies to the phono input. The nuConnect even got along very well with high-quality MC cartridges, such as a Lyra Dorian. Listening to top analog productions from the 1980s – such as Avalon by Roxy Music or Cupid & Psyche ’85 by Scritti Politti – was incredible fun with little Nubert: Dynamic power, finely detailed work, and three-dimensionality – nothing was missing.

    nubert-nuconnect-ampx-phonoboard

    A welcome, practical side effect: the AmpX outputs the program source currently being played back in 24-bit 96 kHz format via its digital output. Of course, this also applies to the phono input, so that you can even digitally transfer your vinyl sweethearts.

    Who Is It For?

    The Nubert nuConnect ampX is ideal for anyone looking for a modern, flexible amplifier that combines great sound quality with advanced wireless features. It’s perfect for small to medium-sized listening rooms or home theater setups, especially where space and convenience are priorities.

    Nubert nuConnect ampX – conclusion

    This test shows that even with amplifiers, it doesn’t always have to be “full format”. Thanks to modern switching amplifier technology, the Nubert nuConnect ampX achieves plenty of output power with an amazing variety of functions in the smallest of spaces. This makes it a multi-talent for all cases. Nubert’s quality standards don’t suffer as a result. This applies to the sound as well as to solidity and workmanship.

    It is remarkable that his “specials” are not only available but are also implemented in a high quality. Here, for example, is the phono input, which – exceptionally – has no alibi function, but sounds surprisingly good. One thing is certain: at 689 euros, the Nubert nuConnect ampX is an all-around “decent” offer – and thus once again in the style of the house.

    FAQs Nubert nuConnect ampX Integrated Amplifier

    How much power does the nuConnect ampX deliver?

    It provides 110 watts per channel at 4 ohms and 60 watts per channel at 8 ohms, making it suitable for a wide variety of speakers.
    Does the Nubert nuConnect ampX support wireless streaming?

    Yes, it supports wireless streaming via Bluetooth with aptX HD for high-quality audio transmission. It can also integrate with Nubert’s X-Connect system for wireless connections to compatible Nubert speakers.
    What kind of connectivity options does the nuConnect ampX offer?

    It features a wide range of inputs, including digital (optical, coaxial, USB), analog (RCA), HDMI ARC, and a phono input for turntables. It also supports subwoofer output.
    Does the Nubert nuConnect ampX have a built-in DAC?

    Yes, it comes with a built-in high-quality DAC (digital-to-analog converter) for handling digital audio inputs.
    Is there a built-in phono stage for vinyl playback?

    Yes, the nuConnect ampX includes a built-in phono preamp (MM) for connecting turntables directly.
    Can I control the Nubert nuConnect ampX remotely?

    The amplifier comes with a remote control, and it can also be controlled via Nubert’s mobile app, offering additional functionality like streaming controls and firmware updates.
    Does it support multi-room audio setups?

    Yes, when used with Nubert’s X-Connect compatible speakers, the ampX can function in a multi-room audio system, enabling synchronized playback across different rooms.
    What kind of tone controls does the Nubert nuConnect ampX offer?

    It provides bass, treble, and balance controls, allowing for some customization of the sound signature.
    Where is the Nubert nuConnect ampX manufactured?

    It is designed and manufactured in Germany, known for high-quality engineering and audio expertise.

    Pros

    Versatile Connectivity:
    Wireless Capabilities:
    Built-in Phono Stage:
    High-Quality DAC:
    Compact Design:
    Multi-Room Audio Support:
    Flexible Sound Adjustment:
    App Control and Firmware Updates:

    Cons

    Moderate Power Output:
    No Support for Advanced Streaming Services:

    No Balanced (XLR) Inputs:

  • Canor AI 1.10 Review: it couldn’t be better

    Canor AI 1.10 Review: it couldn’t be better

    So clean and neutral that you almost forget you’re listening to a tube amp: With the Canor AI 1.10, Canor has created a timeless classic amplifier that transcends genre boundaries.

    Canor AI 1.10 Review: We had long planned to test the Canor AI 1.10, and the wait has been worth it. My first encounter with both the devices and the passionate team behind them was at High End 2024—a time before the pandemic when no masks hid the broad smiles brought on by exceptional audio experiences. One standout moment was hearing the Finkteam system, masterfully designed by Karl-Heinz Fink. Practically everyone who sat in the acoustically optimized demo room couldn’t help but smile, thanks to the incredible synergy. Naturally, the in-house Borg loudspeakers were part of the equation, delivering stunning sound clarity.

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

    And then there was this beautiful electronics from Slovakia, which I only knew before by its name, which also appeared now and then on the boards of the Austrian rational high-end giant Pro-Ject.

    Canor AI 1.10 back panel view: Canor AI 1.10 Review

    Indeed, the Canor plant in Prešov, Slovakia, builds large parts of the Pro-Ject electronics, but also serves other OEM customers. This makes good use of the capacities of the approximately 80 employees and is certainly responsible for the deliberately calm market launch of the private label: I have rarely heard so little marketing hubris from a company that is so clearly targeting the audiophile premium market.

    No one is in a particular hurry or wants to suddenly dominate the market for this or that niche product. Testers love this trick. Here you still get the feeling of having discovered something great yourself. In any case, the test devices were scarce at first, but then other things intervened, such as the two outstanding PH 2.10 and PH 1.10 phono stages. And now the AI ​​1.10, which I wanted most urgently at the beginning, is finally appearing.

    The special features of the Canor AI 1.10

    What made the 1.10 so particularly attractive? In addition to the outstanding sound that it unfolded at the high end at the time, the prospect of a universal, reliable tube-integrated amplifier that you can blame for almost any speaker. The friendly Canor developer I spoke to at the trade fair (and whose business card I can no longer find) already pointed this out:

    The AI ​​1.10 was not supposed to be a noble bitch that works fantastically with exactly three loudspeaker models in the world (but two of which are no longer built). It is a truly universal tube amp, with sufficient power but also sufficiently low output resistance to be able to drive real boxes with their mostly complex load behavior dynamically and tonally balanced.

    The AI ​​1.10 not only met the ambitious goal in the Review but far exceeded it: It gets a sound out of a set of ordinary tubes that you don’t want to compare anymore. A sound that rests so perfectly in itself that other amps are no longer really of interest. You can also make friends with the optics: The AI ​​1.10 looks like all other Canors, so very, very good. Especially in silver, I think. But also in black, think others. In any case, the sales department sells almost the same amount of both variants.

    The design is simple, the realization very refined, but not at all ostentatious-vulgar: the silver front panel has a certain thickness, and this allows a slightly recessed mounting of the central volume button, which seems to emerge from a soft amber glowing halo. Out of respect for this, even the continuous black acrylic band makes a celebratory arc, which in turn bears the amber-colored illuminated company logo. To the right of this is a giant dot matrix display with a perfectly matching color, which is visible from afar but at the same time shows the selected input and the current volume with very little electrical interference.

    Anyone who finds the amount of light disturbing can dim everything together in several stages up to a complete blackout. The AI ​​1.10 then flashes briefly to acknowledge the front panel or remote control commands. Except for triode ultra-linear switching, all functions are accessible remotely and directly on the device. There are not many: volume, muting, and the selection of the five high-level inputs, which takes place via high-quality, permanently contact-safe relays.

    The volume control is also implemented with relays. When fully turned up, the display shows 0 dB. The passive preamp cannot increase the signal, but this is never necessary with sources of normal volume. It only gets tight with very clumsy combinations: If you operate an extra-quiet MC in the turntable, you should make sure that the phono preamp has sufficient gain, for example.

    Not only the input selection is technically implemented, but also the volume control with high-quality, contact-safe relays: Depending on the desired weakening of the input signal, the relay signal box combines exactly the right selection of precision resistors to a total of 64 one-decibel steps. If you turn the play-free ball-bearing volume knob or press the corresponding buttons on the remote control, you will not only reap a change in level but also a lively click, which betrays the technical luxury solution.

    Their advantages include: perfect channel synchronicity today as in 20 years, the lowest possible distortion, and pleasant side effects such as the problem-free synchronization of several identical amps – we’ll see in a moment what this is for. A balance control would have been desirable and technically feasible without any problems. However, the available 1dB levels would have been quite rough for this.

    After input selection and volume control comes the active part of the amplifier – completely tube-equipped: A double triode of the type 12AX7 plays the input stage, and two further double triodes – now the lower-impedance, but less amplifying 12AT7 – serve as drivers. A pair of KT88 beam tetrodes is responsible for power amplification per channel.

    It doesn’t get much more ordinary than this selection of tubes – which is thoroughly positive news about a future exchange: these types are available in good quality from all corners of the world. For example, at the JJ company in Canor’s home country and EU member Slovakia.

    Canor AI 1.10 inner look of back speaker terminals

    However, Canor is exemplary in ensuring that such an exchange does not become necessary ahead of time. And even goes one step further: the Canor amps make their owners forget what technology they are listening with. With the 1.10, you can only see the end tubes smoldering through the ventilation slots in the thick sheet steel cover.

    The double triodes are practically invisible because they are hidden in protective aluminum cylinders. In day-to-day use, only indications such as the half-minute warm-up after switching on and the separate 4Ω and 8Ω speaker terminals remind us of the thermionic amplification. In the test, however, the 1.10 was completely free of any telltale extravagances: no crackling, no ringing, no hissing or humming, neither when switching on nor off, and certainly not when listening to music.

    After my experience with three previous Canor models, I had expected nothing less. Because quality assurance during production is 110 percent. All tubes have to be burned in for 48 hours before they can be used, and then they go into Canor’s test system called Aladdin. Aladdin measures more different parameters than usual tube testers and stores the results of each tube in a database, which enormously accelerates and facilitates both the selection of components for new construction and later replacement.

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    The output stage of the AI ​​1.10 runs in class A, i.e. with such a high quiescent current that no crossover distortion can occur between the push-pull halves. Since tube amps already get quite warm in AB mode, the difference to pure Class A is no longer as obvious as with their transistor colleagues: The AI ​​1.10 just gets a little warmer and, at 420 watts, draws a little more power from the Can than other typical KT88 push-pull. You get 40 watts per channel from your energy input from the AI ​​1.10 – thanks to the adapted transformer tappings, this power is equally available on 4Ω and 8Ω boxes.

    If you use high-efficiency loudspeakers with the Canor, you can control the output tetrodes like triodes at the push of a button, i.e. put your screen grid on the potential of the anode. Then the whole thing is no longer amplified so well, the power is halved and you get an even nicer distortion spectrum that is exclusively occupied by even-numbered harmonics. Switching is only possible directly on the device and should take place during music breaks and not too quickly back and forth.

    You don’t have to compare for long anyway, because the advantages and disadvantages of the two modes are crystal clear due to the enormous basic quality of the amp: “Triode” sounds very warm and gentle, “Ultralinear” is spatially wider, more lively and the bass is much better defined. The ultra-linear operating mode connects the screen grid of the tube with a precisely defined center tap of the output transformer and thus represents a type of local negative feedback – with correspondingly favorable effects on output resistance and distortion level.

    So with Ultralinear, there is more power, more control, and less distortion. One might ask why a switch is necessary at all – which is not only available from Canor but also, for example, from tube amps from Cayin or Line Magnetic. You ask yourself that question until you have tried the two modes with different speakers. It then primarily depends on the efficiency and impedance curve of the speaker: “Tube-friendly” constructions with rather high efficiency and high/linear impedance often sound better in triode mode. As expected, heavier loads often prefer ultra-linear – although taste and listening situation, as well as the design of the respective amplifier, also play a major role.

    My Tannoy Legacy Eaton (89dB per watt/meter, 6Ω) is somewhat erratic when it comes to triode mode: I preferred it on many amps tested, but not all. Then there are those tube amplifiers that are not capable of anything else because they are simply built with triodes. Here, too, some specimens are fun on the Tannoy (such as the Line Magnetic 805) – and those that want more accommodation.

    The Canor AI 1.10 is unusual in several respects: It sounds better on the Tannoys in ultra-linear mode. And it is not – as usual – a compromise where advantages and disadvantages then add up in favor of one or the other operating mode. The Canor required no compromises. It just sounded so good on the Eatons in every way

    The “Output Mono Block” pair of terminals next to it is internally connected to the 4Ω windings of both output transformers, putting the amp in mono bridge operation. The Canor then receives the required symmetrical signal via one of the two XLR inputs. The blue SubD socket on the bottom right synchronizes the amp in mono mode with a second A 1.10.

    hearing test Canor AI 1.10 review

    Dynamics and scale are two parameters that are closely related: How wide does the window through which we view the music open? When Canor: huge. The answer has surprisingly little to do with an amp’s spec sheet performance. In this point there are parallels to the Pass INT-25, which also works in Class A and is specified as only 25 watts at 8Ω – but in practice and at lower impedances it can deliver a multiple of this power.

    The Canor delivers an unspectacular 40 watts per channel but develops it so completely effortlessly and casually that even close to the limit there is not a hint of effort. Even if the physical limits of the tubes used are simply reached beyond those 40 watts, it seems even more dynamic in a direct music comparison to the pass. Some records need that. Low’s current LP, for example, ends in the seven-minute track “The Price You Pay”.

    As is typical for Low, the piece begins with the tender, two-part singing of the Sparhawk and Parker couple. After listening to the album, one has already gone through a lot at this point and gratefully lets oneself fall into these wonderful, simple harmonies. And then these edgy, distorted beats stomp into the piece again, piling up higher and higher to a true “WTF??” moment:

    If you don’t counteract this with the volume control early on, you can hardly do it on your own from minute three of the button. And wonders how the hell this piece was able to escalate like this. And it just escalates with the Canor even more immediately, surprisingly, more frighteningly than with the Pass – which is not just any random amp, but the best solid-state integrated amplifier that I know of.

    If a particularly large amount of power is required, for example for heavy-duty loudspeakers in corresponding rooms, you can convert the AI ​​1.10 into a monoblock and buy a second 1.10. The two amps then each run in a bridge circuit and synchronize their volume control via a control cable.

    Karl-Heinz Fink had the 1.10 running at the High End back then. So two of them. For trade fair conditions – huge room, massive acoustic measures, background noise, correspondingly high demonstration volumes – an ideal setup with a smooth 80 watts per channel, which will probably only rarely be necessary at home. In any case, it’s good to know that the option is always available.

    timbres and neutrality Canor AI 1.10

    The Canor gains tonal diversity and intensity not so much through its own efforts, but through an unusually neutral approach for tube conditions. In the listening room, my old Linn LP12 / Lingo 2 / Kore / Ekos 1 played upstream with a brand new Thorens TAS 1600 scanning fantastically clean and nuanced.

    A Closer Look of Canor AI 1.10 transformer

    The color palette that the combined masterminds deliver to the Canor is opulent, and it shines through the amp virtually unhindered. Where other tubes swallow a bit of differentiation at the top, underline the presence range a little, or slim down the basic tone by a few grams, i.e. leave a touch of their sound, the Canor blooms with pure, fragrant, unfiltered nature.

    Reproducing colors, unambiguously, and with rich nuances: the Canor does this better than any other integrated amplifier that has ever stood in my listening room. “Ich Tauche Auf” from the current Tocotronic double LP “Nie Wieder Krieg” sounds delicate, the voices of Tocotronic singer Dirk von Lowtzow and guest singer Soap&Skin are so close that you can feel their breath on your skin.

    On the rough, leathery opposite side of the tonal color spectrum there are records like “Bubblegum” by the late Mark Lanegan: Recorded in the legendary and anecdotal desert studio Rancho de la Luna in Joshua Tree, California, staffed by top-class stoner rock personnel, such as the practically entire Queens Of The Stone Age, guitarist/studio operator David Catching and Masters Of Reality boss Chris Goss, as well as illustrious guests like PJ Harvey, who performs an enchanting duet with Lanegan on “Come To Me”.

    With the Canor, that sounds exactly as it should: authentic, direct, and highly dynamic. You can hear the wooden walls resonating, see the grains of desert sand dancing on the vibrating floorboards, feel the pressure of Josh Homme’s bass amp in your stomach, and witness two huge and opposite rock voices ensnare each other: Lanegan’s distressed, tequila-soaked baritone and Harvey’s ethereal soprano. Unrepeatablely grandiose, and with the Canor and Tannoys you feel like you’re standing right next to it. Not a coffee cup in hand, but a glass of José Cuervo.

    Details Canor AI 1.10

    The Canor AI 1.10 has an extremely fine resolution but remains completely informal. A rare combination of tonal beauty and complexity, and an extremely desirable one, because the extra information that the amp conjures up in the listening room never comes across as forced, intrusive, or artificially cymbally. Christy Moore’s “Live – At The Point” once again has a big “Wow!” in the listening test notes: voice and guitar as stable as nailed down, accurately differentiated from listening around, but still with completely smooth edges.

    Authority with silk gloves, from which the light, playful, and spontaneous in Moore’s announcements and anecdotes benefit enormously, the sparkling energy that connects the singer with his live audience like a high-voltage line. This atmosphere lives from the finest details, which can get caught in many places on their way from the vinyl groove to the speaker. Here they don’t. And a lot of what I previously chalked up to the speaker or pickup simply dissolved in pleasure.

    Conclusion Canon AI 1.10

    One can philosophize about how Canor manages to make the AI ​​1.10 sound so incredibly open and neutral. Is it the house-wound noble transformer built with a precisely balanced core composition (30% permalloy)? Circuit boards (CMT, Canor Milling Technology) are artistically skeletonized by CNC milling, which is supposed to combine the advantages of circuit boards and free wiring.

    Or just a lot of experience, sophisticated circuit design, and a bit of luck? In any case, for the price of this amp, I don’t know of anything better, nicer, or more uncomplicated. The key data – KT88, 40 watts – are much cheaper. But they don’t tell the whole story. Not even a chapter of it.

    Canon AI 1.10 Specifications

    Technical concept: Tube Integrated Amplifier

    Performance: 2 x 40 watts (ultra-linear), 2 x 20 watts (triode)

    Inputs: 5 x RCA

    used tubes:        1x12AX7, 2x12AT7, 4xKT88

    Particularities: Power amp mono bridgeable

    Dimensions (W x H x D: 43.5×17.0×48.5cm

    Weight:               26.0 kilos

    FAQs about the Canor AI 1.10 Tube Amplifier


    Q1: What type of amplifier is the Canor AI 1.10?
    A1: The Canor AI 1.10 is a high-end integrated tube amplifier that uses vacuum tubes for amplification. It is designed for audiophiles seeking a warm, natural sound.

    Q2: Which tubes does the Canor AI 1.10 use?
    A2: It uses four KT88 output tubes and two 12AX7 input tubes. These tubes contribute to its rich and detailed sound quality.

    Q3: What is the power output of the Canor AI 1.10?
    A3: The amplifier delivers 40 watts per channel in a Class A/B configuration. This power output is sufficient for most home listening environments, especially with efficient speakers.

    Q4: Is the Canor AI 1.10 compatible with all speaker types?
    A4: While it can drive many speaker types, it works best with high-efficiency speakers, typically with a sensitivity rating above 88 dB.

    Q5: Does the Canor AI 1.10 come with a remote control?
    A5: Yes, the amplifier includes a remote control, allowing for easy adjustments to volume and input selection.

    Q6: What kind of sound signature does the Canor AI 1.10 have?
    A6: The AI 1.10 is known for its warm, full-bodied sound with excellent midrange detail and a smooth top end. It provides a natural presentation, typical of tube amplifiers.

    Q7: Does the Canor AI 1.10 need bias adjustment for its tubes?
    A7: Yes, it includes a built-in automatic bias adjustment feature that simplifies tube maintenance and ensures optimal performance.

    Q8: How long do the tubes in the Canor AI 1.10 last?
    A8: Tube lifespan varies based on usage, but on average, KT88 tubes can last around 2,000-3,000 hours, while the 12AX7 tubes can last longer, around 5,000-10,000 hours.

    Q9: Is tube rolling possible with the Canor AI 1.10?
    A9: Yes, tube rolling is an option, and users can experiment with different tube brands or types to customize the sound.

    Q10: Does the Canor AI 1.10 require regular maintenance?
    A10: Tube amplifiers generally need more maintenance than solid-state amplifiers. You may need to replace tubes periodically and check the bias to keep them in optimal condition.

    Pros of the Canor AI 1.10 Tube Amplifier

    • Rich Sound Quality
    • High Build Quality
    • Automatic Bias Adjustment
    • Remote Control
    • Tube Rolling Capability
    • Efficient Power Output

    Cons of the Canor AI 1.10 Tube Amplifier

    • Price
    • Limited Power for Low-Sensitivity Speakers
    • Fragility of Tubes
    • A Little Warmup Time
  • Canor Hyperion P1 + Virtus M1 Review: preamp/power amp

    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.

    Check Out: Canor AI 1.10 Review

    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.

    closer look of Canor Hyperion P1

    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.

    closer look of control knob of Canor Hyperion P1

    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.

    closer look of front panel of Canor Virtus M1

    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.

    back panel back view of Canor Hyperion P1

    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: 45.0×19.0×46.5cm

    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
  • Marantz PM7000N Integrated Amplifier Review

    Marantz PM7000N Integrated Amplifier Review

    Marantz PM7000N is not just a classic, analog mid-range integrated amplifier. Marantz comes with digital inputs and the group-wide Enrich streaming with HEOS technology. The Marantz PM7000N is a multifunctional device that – with many additional benefits – ensures the connection to the digital present. By testing the streaming amp, we answered another question: Can the brand-new Home Bluetooth speakers from a well-known company like Denon be integrated into the music system without any problems? Yes.

    Idea Marantz PM7000N

    If you need a solid, classic integrated amplifier, you have come to the right place. I know you might be wondering why buy an external streamer if you can have it integrated immediately, without giving the device the characteristics of a receiver. It is precisely this concept that brings some benefits to daily usage. I will explain this with an example. If you connect your LED to the given optical input, the system automatically switches on with the LED.

    A closer look of back panel of Marantz PM7000N

    The LED plays over the system just like over a soundbar, just better. If you want to listen to classic CDs, even SACDs, or records occasionally while working or on the terrace or just enjoying the weekend with a glass of wine then HEOS connectivity does it for you. But we start with the classic connections.

    The Rear panel reveals the inner structure of the Marantz PM7000N quite well. Marantz PM7000N comes with WLAN/Bluetooth antenna sockets and a narrow line of digital connections with LAN. The rest is the classic analog integrated amplifier. At the same price, the Marantz PM8006 has double speaker terminals, preamp and power amp sockets, and a slightly more complex wired phono stage. It is aimed at pure analog fans. The Marantz PM7000N, on the other hand, offers a digital setup right away, without omitting important things.

    Marantz PM7000N also offers one more useful feature a subwoofer output. This has a sum signal with a switchable low-pass frequency. Unfortunately, that is inconsistent: either you filter on the subwoofer or – better – you have all the bass management setup and can also filter the speakers, Sadly this is not the case here.

    Inside Look Marantz PM7000N

    If you carefully open the screws and remove the upper case but I will recommend you do this because by doing this your official Marazntz guarantee will expire, Here’s the inner view of Marantz PM7000N electronics opens up. The Marantz PM7000N integrated amplifier is divided into three parts: 1. The power supply, The power amplifiers with large cooling fins, and the small signal department.

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    Above the analog section with a separate phono circuit board, isolated in the metal cage, is the digital signal processing, from which only the cooling of the HEOS module looks open at the top. A D/A converter chip AK4490 handles the analog transformation for signals up to 192-kilohertz sampling rate or DSD streams up to 5.6 megahertz.

    In the preamplifier and phono stage, Marantz uses HDAM driver stages instead of the usual and old operational amplifier ICs. These HDAMs reduce noise and improve the range of frequencies to provide better sound quality. If you look under the chassis, you’ll see a base plate. The high-quality plastic feet
    are thick and have small felt washers underneath, allowing them to rest slightly above the surface of
    your rack or table.

    Streaming and Configuration

    You can use Marantz PM7000N in the classic way on the device, with the remote control or with the HEOS app. The infrared handheld transmitter is pleasantly ergonomic and, in addition to the amplifier functions, also controls the streaming music sources or a Marantz CD player.

    OLED display in the front of Marantz PM7000N allows a very clear operation and navigation in the music or on the server. Thanks to OLED technology, the display always offers a very good contrast that is not dependent on the viewing angle. While not particularly bright but its good because when you’re enjoying music in dim lighting, the display light doesn’t irritate, it is crystal clear to read. The engineers of Marantz animated the display nicely

    However, what convinces many buyers of the Marantz PM7000N is how easily it works with HEOS. Marantz PM7000N is linked to three digital inputs and has the option of adding music via a USB memory stick or hard drive without having to connect to another device. Another good feature is that HEOS even allows you voice control via Alexa or Google Assistant. You can easily play your mobile music or even if you want to hear the sound of YouTube concerts in large format can send signals via the antennas using Bluetooth or Airplay 2.

    Sound

    According to the specifications, the Marantz PM7000N delivers 60 watts per channel. But in reality, it performs much better than expected. Even though it’s rated at 60 watts, it’s only slightly less powerful than a 120-watt system, about 3 decibels less. This means it still packs a punch and delivers energetic and dynamic sound, making instruments like snare drums and vibraphones sound lively and clear between the speakers. The soundstage, or the space where the music seems to come from, is also impressive. It feels deep and wide, giving you a sense of being surrounded by the music. Instruments usually sound like they’re behind the speakers, and singers sound like they’re in front, creating a clear and immersive listening experience.

    The PM7000N impressively handles even mono recordings, like the classic ’56 Ella and Louis, which I often use as a natural benchmark (recordings made without modern studio enhancements). With this Marantz model, the brightest parts of the sound are slightly toned down compared to other models, such as the Yamaha A-S701 or the Onkyo A-9010. It’s like the cymbals and high hats are illuminated by soft candlelight instead of bright spotlights. However, this subtle dimming effect adds to the enjoyment and is a characteristic feature of most Marantz products.

    Check Out: Eversolo DMP-A6 streamer Review: High-Res Audio on a Budget?

    The Marantz PM7000N’s headphone output Sounds Awesome without being too forceful or laid-back. It delivers tight, detailed sound with rich tones across the spectrum. Another great feature is the large headphone jack, which provides ample power reserves and can drive almost any headphone to its maximum potential.

    Conclusion


    With the Marantz PM7000N, there’s no need to talk about finding a balance between digital and analog
    it effortlessly integrates both worlds. It brings together reel-to-reel classics, vinyl, digital audio, and streaming seamlessly. The HEOS multiroom and streaming system is mature, allowing you to distribute music from various sources throughout your home without needing a complicated AV receiver. Marantz PM7000N doesn’t disappoint in sound quality—it’s powerful, and dynamic, with excellent soundstage separation from the front to the back. It’s a modern, hassle-free device that delivers great audio enjoyment.

    As for criticisms, there are just a couple: the subwoofer control could be more consistent, and while the build quality is good, it’s not quite as flawless as some other Marantz devices in this price range.

  • Cayin CS-55A Integrated Amplifier Review

    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.

    A closer Look of Cayin CS-55A Integrated Amplifier tubes

    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.

    A Closer Look of Cayin CS-55A tube 12AX7

    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
  • Cambridge Audio CXA 81 Mk II

    Cambridge Audio CXA 81 Mk II

    HIGH END 2024, Cambridge Audio announces its new model CXA 81 Mk II: The Cambridge Audio

    CXA 81 MK II stereo integrated amplifier inherits its predecessor of the same name from Generation One. Furthermore: the CXA 81 has been setting standards in the price range of around 1,000 Dollars for years.  The Cambridge Audio CXA 81 MK II has a unique blend of confidence and musicality that sets it apart from most other options in its price range.

    Cambridge Audio CXA 81 Mk II What’s new?

    The new version of the Cambridge Audio CXA 81 Mk II, despite looking similar, hasn’t changed much in terms of its features and how well it performs. moreover, This is good news, especially about its price because its price has not gone up, staying at a reasonable priced at $1,199 / £999 / €1,199.

    However, there’s one big improvement: Cambridge Audio upgraded the digital part of the CXA 81 Mk II with a better DAC (digital-to-analog converter), which should make the sound even better. Additionally, they’ve tweaked some other parts inside to make the sound clearer and more realistic. So, overall, the Cambridge Audio CXA 81 Mk II version is something to look forward to!

    Price & Availability

    The Cambridge Audio CXA81 Mk II will be available from May 2024 in the Cambridge Audio web shop and authorized dealers for $1,199 / £999 / €1,199.

    Specifications Cambridge Audio CXA 81 Mk II

    Power Output: 80W RMS into 8 Ohms, 120W RMS into 4 Ohms

    DAC: ESS Sabre ES9018K2M

    Frequency Response: <5Hz– 60kHz +/-1dB

    Analogue Audio inputs: 1x balanced XLR, 4 x RCA

    Compatibility: TOSLINK optical: 16/24bit 32-96kHz PCM only, S/PDIF coaxial: 16/24bit 32-192kHz PCM only, USB: audio profile 1.0/2.0 (default 2.0), up to 24-bit 384kHz PCM, up to DSD256 or DoP256,
    Bluetooth: 4.2 A2DP/AVRCP supporting up to aptX HD (24bit 48kHz)

    Bluetooth APTX HD Receiver Built-in: Yes

    ROON Tested: Yes

    Remote Control: Yes

    Max Power Consumption: 750W

    Standby Power Consumption: <0.5W

    Dimensions: (H X W X D) 115 x 430 x 341mm (4.5 x 16.9 x 13.4”)

    Weight: 8.7kg (19.1lbs)

    lastly Inside The Box: CXA81 Integrated Amplifier, Power Cable, 3 x AAA Batteries, Remote Control, Control Bus Cable, Bluetooth antenna, Quick Start Guide, Safety Guide

    Find A Retailer For Cambridge Audio CXA 81 Mk II

    Check out some of the authorized dealers near you.

    FAQs Cambridge Audio CXA 81 Mk II

    Some frequently asked questions (FAQs) about the Cambridge Audio CXA 81 Mk II:

    What type of DAC does the CXA 81 Mk II use?

    The CXA 81 Mk II features an ESS ES9018K2M SABRE32 DAC, known for its high-quality digital-to-analog conversion.

    What amplifier class does the Cambridge Audio CXA 81 Mk II use?

    The Cambridge Audio CXA 81 Mk II utilizes Class AB amplification, which combines the musicality of Class A with the efficiency of Class B for balanced and efficient performance.

    What is the significance of the toroidal transformer in the CXA 81 Mk II?

    The CXA 81 Mk II is equipped with a toroidal transformer, which contributes to its incredible sound-staging capabilities, providing a vivid soundstage and dynamic shifts in music.

    What digital inputs does the Cambridge Audio CXA 81 Mk II support?

    The CXA 81 Mk II offers digital inputs including TOSLINK, Coaxial, and USB Audio Input, providing versatile connectivity options for various digital sources.

    Does the Cambridge Audio CXA 81 Mk II support balanced XLR inputs?

    Yes, the CXA 81 Mk II includes balanced XLR inputs for premium connection, allowing compatibility with devices like the CXN100 and others.

    Can I connect wirelessly to the Cambridge Audio CXA 81 Mk II?

    Yes, the CXA 81 Mk II features Bluetooth aptX HD input, enabling wireless connectivity to devices, including the Alva TT V2.

    Is the CXA 81 Mk II compatible with Roon?

    Yes, the CXA 81 Mk II is Roon Tested, allowing you to connect a PC or Mac over USB for seamless integration with Roon software.

    How does the CXA 81 Mk II compare to its predecessors?

    The CXA 81 Mk II builds on the success of its award-winning predecessors by incorporating premium components, an upgraded DAC, and refined tuning for enhanced clarity and depth in audio performance.

    What makes the CXA 81 Mk II stand out in its price range?

    The CXA 81 Mk II is known for its effortless, poised, and sophisticated performance, offering complete authority over your music to reveal every emotion and nuance contained within it.