Icon Audio's new Stereo ST30SE amplifier makes use of beefy KT150 output valves in an effort to overcome the traditionally low power of SE tube amps. Does it succeed?
The single-ended valve amplifier is still something of a niche product. Low power outputs and often equally low damping factors mean that very careful system matching, plus sensitive loudspeakers, are a prerequisite if you are to hear such designs give of their very best. However, the UK's very own guru of all things thermionic, David Shaw of Icon Audio, has decided to address these issues with his £2299 single-ended Stereo ST30SE, an integrated amp having, shall we say, a tad more welly, thanks to it being equipped with KT150 output valves.
The artisan of high-end tube audio, Jadis, has imbued more than a little Gallic flair into this 'entry level' integrated. Serve with sensitive speakers for a taste of magic...
Until the mid-1990s, valve amplifiers were typically persona non grata. The '80s had been all about solid-state – from tweaky low-powered integrateds to mega powerful monster power amps – and tubes didn't so much as get a look in. By the turn of the millennium however, the pendulum had swung back and tube amps were reinvented as exclusive objects of luxury and desire, famed for their sweet and satisfying sound. How times change!
Offering all the functionality of full-sized components, this petite five-part '90s system took micro to the max, spawning imitations industry-wide. How does it sound today?
The first time I saw a JVC UX-1 it was pictured on the side of a bus. The image was part of an ad that carried the simple message 'All features, Great, and Small'. And this turned out to be true, for the UX-1 micro system had every function imaginable, sounded like 'proper' hi-fi and was tiny.
We're a long way from the old idea of hairshirt hi-fi here: the latest heavyweight integrated amp from Krell's Connecticut factory comes fully-loaded – and then some!
You need to do some serious rethinking on first encountering the Krell K-300i. If you're expecting a simple device all about massive power and minimalism, you're going to be disappointed, but for those looking for an amp able to handle all the needs of the modern music listener, this one could just be bang on the money.
Debate that’s been raging since the dawn of hi-fi, Integrated vs Separates boils down to this: the former’s benefits over the latter include the removal of a pre-to-power cable connection, the need for one less AC outlet, less shelf space and – above all – the knowledge that the two sections are optimised for each other. Separates, however, counter with truly dedicated power supplies for each section, as well as isolation of the pre and power amp stages for less potential for undesirable interaction. Traditionally, the higher you go up the price scale, the more likely you are to opt for separates.
Over the decades, milestone integrateds would appear that upset the formula: Sugden’s A48, specific models from Rogers, McIntosh, AR, et al.
The Editor’s review briefing included the warnings: ‘It’s 29kg – you may need help in unpacking it’ and ‘The S-550i is a remarkably dense amplifier, probably the most self-effacing yet monstrously powerful integrated we’ve ever tested. ’
This new flagship integrated, replaces the FBI while the S-300i remains as Krell’s entry-level integrated at £2795. The S-550i is a true ‘big brother’: the sonic resemblance is uncanny save for a brutal power delivery.
While the front panel suggests minimalism, that’s only because all minor settings are relegated to a menu system, eg, balance setting and input trim, which can also be accessed by the full-function remote.
Yes, those valves – made in-house – really are a foot tall! And they radiate substantial heat once the SXI has been powered up for a few minutes, but KR Audio’s amplifiers are beautifully engineered.
The company is based in Prague, founded by electronics engineer the late Dr Ricardo Kron in 1992. It’s a boutique firm of only a dozen or so people – skilled artisans who blow the glass and hand-craft the tubes.
Such is the transparency of KR Audio’s Kronzilla amplifiers that at least of couple of German recording studios use them in mastering suites.
While a near dead-ringer for the amp it replaced, this '60s integrated saw Leak leverage new technology to boost performance and widen its appeal. How does it sound today?
It's not unusual for a successful hi-fi product to be updated with mild revisions during its lifetime. Often the changes are minimal: a tidied-up fascia to match a new model added elsewhere in the range, or an extra function or minor circuit redesign. This was certainly not the case with the Leak Stereo 30 Plus amplifier of 1969, which replaced the Stereo 30 [HFN Oct '10] first seen in 1963. Side by side the two looked much the same, but inside the 30 Plus was all new in order to take advantage of improved technology.
Very big in the Far East since 2005, Line Magnetic offers a comprehensive range of tube-based disc players, DACs, phono stages and amps. Here's the entry-level integrated
We may now live in an age of digital and streaming, but the number and sheer variety of valve amplifiers on offer seems to be on the increase. Perhaps more remarkable are those designs that unashamedly hark back to a previous era, attempting to keep it alive by the use of modern technological twists. One of the main proponents of this philosophy is Chinese company Line Magnetic, the £1699 LM-34IA integrated reviewed here being just one of a wide range of its amps inspired by famous designs of the past.
With retro styling currently all the rage how will this integrated compare, especially considering it was the most affordable amp in Luxman's mid-'70s lineup? We find out
The L-30 was the cheapest amplifier in Luxman's 1976 range. Not that it looked anything like a budget model – rather, it had an almost intangible feel of quality and superior finish that in terms of showroom appeal put it above all but the very best offerings from the Japanese big names at the time.
The style may be ‘retro’, but this powerful integrated amp from a Far East legend is no exercise in nostalgia: it lacks fashionable digital inputs, but has serious sonic appeal
OK, so it may help explain the whole ‘vinyl revival’ thing, from portable record players with greater tracking weight than a Caterpillar bulldozer to supermarket own-brand LPs, but looking to the past will only get you so far. Forget all that longer summers, colder winters and ‘jumpers for goalposts’ stuff: even nostalgia’s not what it used to be. Products must stand on their own merits in today’s competitive market.
Taking its cues from the industrial design and Darlington topology of the L-509X, the latest L-509Z variant demonstrates how subtle revisions can exert a big sonic impact
At first glance, since they look like twins, you might wonder what Luxman has done to the L-509X integrated amplifier [HFN Jan ’18]
to justify the Z suffix. The pesky price increase from £8500 to £10,999 reflects six years of inflation and recent world turbulence, but don’t be fooled by nearly identical looks. The devil is in the details.
High-end headphone amps for connoisseurs of cans require total adjustability – has Manley Laboratories delivered the goods with the Absolute Headphone Amplifier?
Veteran makers of headphone amplifiers for studios, Manley Laboratories is taking on the extreme high-end of the domestic genre with a £4500 unit – the Absolute – that marries audiophiles' sonic requirements with the total control demanded of professionals. Company CEO Eveanna Manley says, bluntly, 'Our goal was simply to produce the most awesome-sounding and sonically flexible vacuum tube headphone amplifier!'.
As inescapably all-pervading as swine flu or the taxman, Apple’s iPod is now the most popular source component of all. The generation gap is bookended by Those Who Like Physical Music Carriers and Those Happy To Use Music Files. And, as this is a transitional period, there are those who use both. We are in the middle of a revolution that will render wall-filling libraries of discs about as desirable as typewriters or cathode-ray TVs.
Buy one of these late-'70s beauties secondhand today and you'll own an amp from a pedigree name with radio thrown in for 'free'. So, is this a receiver worth considering?
The receiver (tuner/amplifier) has always divided opinion, in the UK at least. While popular in Europe and the US, the British market never embraced these units to the degree it did separate tuners and amplifiers. And this wasn't because they could not rival a two-box counterpart on performance due to any technical reason. The real issue was that two top-quality units built into one housing could result in an indivisibly expensive product, one many consumers may not have been able to afford.