amplifier

First, I have to admit that a lot of high-end amplifiers are so ugly you'd have to be an audiophile to buy them. But there are more than a few truly gorgeous examples, like the Devialet D-Premier. It's French, after all, and the French know a thing or two about style.

In 2007, Pierre-Emannuel Calmel and Matthias Moronvalle decided to launch a new high-end audio company, Devialet, in Paris. The two men had both worked for Nortel's R&D department, and they weren't the least bit interested in crafting just another high-end amplifier.

It looks like they're off to a grand start; the Devialet D-Premier is a unique Class A/Class D hybrid design. Bona fide Class A circuits are only used in very high-end audiophile amplifiers, but Class A designs are extremely inefficient and consume huge amounts of AC power to produce low power output. Class D amps are highly efficient designs, but their sound quality falls short of the highest audiophile standards.

The D-Premier was designed to have the sound quality of Class A and the efficiency of Class D designs. … Read more

Audioengine's spectacularly good A2 has been my powered speaker reference for years. I recently enthused about Audioengine's slightly larger passive P4 speaker ($249/pair) that need to be powered by a separate amp. I was surprised that Audioengine didn't introduce an amp when they brought out the P4, but now with the N22 ($199), the time has come.

It's an unobtrusive, vertically oriented design--7 inches high, 2.75 inches wide, and 5.5 inches deep--and it weighs 3.5 pounds. The clean front panel has just a volume control and a 3.5mm headphone jack; the … Read more

I've never heard anything quite like the Audeze LCD-2 before. This headphone somehow produces extraordinary clarity, openness, and articulation, but without exaggerated detail or annoyingly overdone treble. The Audeze LCD-2 is a game changer; no wonder it's getting raves from the online high-end mavens at Head-Fi. Audeze's co-founders, Alex Rosson and Sankar Thiagasamudram, are onto something.

The headphones feel great in your hands. Build quality is robust, but the design is nowhere as sleek as Sennheiser's high-end headphones. The LCD-2's impedance is 50 ohms, and the maximum power handling is a remarkable 15 watts, which corresponds to a superloud 133 decibel output! You'd be hard pressed to blow this headphone up by playing it too loud. The LCD-2's tonal balance is noticeably warm, but I never felt it was smearing detail or lacking in resolution. It also sounds great at quiet listening levels. Sure, one of the advantages of headphones is you can play music as loud as you want, but it's still nice to have the option of listening low, without losing detail or presence.

The LCD-2's unusual technology (planar magnetic, or orthodynamic) is currently only used by one other headphone manufacturer, Hifiman, and I raved about its HE-5 headphones last year. The LCD-2's huge headphone drivers (6.17 square inches each) are many times the area of any dynamic headphone I know of. Audeze's very large drivers project sound over most of your outer ears, and that may be the reason why the LCD-2 sounds more speakerlike than other headphones. It weighs a rather hefty 19.4 ounces (550 grams), but I found it comfortable over very long listening sessions. The LCD-2 is handmade in the U.S., with real lambskin leather-covered earpads, and real Caribbean rosewood earcups.

The LCD-2's headphone cable is detachable, via very secure mini-XLR plugs, and is therefore user replaceable. I opted for a Chain Mail 8, an audiophile upgrade cable from ALO. It seemed to enhance everything about the LCD-2's sound, which was awfully good with the stock cable.

The LCD-2's big drivers make bass, oh boy, do they make bass. If you really want to hear amazing bass, you have to get "Kodo: The Heartbeat Drummers of Japan" CD. The drums' big sound is beyond the abilities of most headphones, but here, over the LCD-2, the drumbeats were clear and powerful. Not the sort of flabby, thick, or overdone bass you get from DJ headphones, no, I'm talking about pitch-accurate, highly defined bass that also digs deeper into the very low bass regions than other full-size 'phones.… Read more

Our resident CNET audio expert Steve Guttenberg finally joined the rest of us and started his own Twitter page, so we invited him back on today's episode to see what else is going on with The Audiophiliac.

Steve always comes prepared with relevant (and not so relevant) talking points for us, and today's includes Joy Behar's mixed-breeding novel Sheetzucacapoopoo (Steve's a big fan of her work), the value of headphone amplifiers, and his concerns about the next generation of self-proclaimed audiophiliacs.

It's not a term that should be lightly used to describe anyone who loves music, and Steve considers a real audiophiliac to be someone who is truly concerned with an active music listening experience where extra attention is paid to audio fidelity in all its expensive glory.

The high-priced equipment might be the reason why audiophiliacs are a dying breed of enthusiast, but Steve makes it clear that quality audio gear is worth the price, especially when you consider that some equipment like headphones can last a lifetime.

We also learn that today's younger audiophiliacs are specifically interested in headphones and can be found on Head-Fi.org, a comprehensive audio site with in-depth headphone reviews, expert forums, and more.

Check it out if you're shopping for new cans or earbuds, along with CNET, of course!

Tube amplifiers sound different, and in many ways better than solid-state amps. Describing what better sound sounds like is a highly subjective call. But you can't argue the fact that tubes are still being manufactured, legions of guitarists use tube amplifiers, and a fair number of audiophiles crave tube sound. The catch? Tube designs are more expensive to build and sell than solid-state components.

The Jolida FX10 tube amp ($450) breaks that rule and sells for less than your average mid-price receiver. Jolida was founded in 1995, and has been a budget audiophile favorite right from the beginning. One of my closest audiophile pals bought an early Jolida amp, and he still uses it on a daily basis. So in terms of value, the FX10 will likely be a better long-term investment than most receivers (I get e-mails every week from people asking about dumping their five- or six -year-old receivers).

The FX10 is prettier than Jolida's old designs. Blue LEDs light up the Russian-made EL-84 power tubes and 12AX7 small signal tubes in the glass case, so the FX10 looks especially cool at night. The brushed aluminum chassis and safety glass tube cover are a big step up from what you find on similarly priced receivers. My sample was finished in sky blue, but the FX10 is also available in silver or black. Build quality feels substantial, and the solid-metal, gold-plated speaker wire connectors are a good indication of that. There are two RCA inputs on the rear panel and a 3.5mm input upfront.

The amp comes with a remote control and an iPod hookup cable. The 12-pound unit measures a trim 8x7x7 inches; so it's small enough to fit on a desktop.

The FX10 is a 10-watt-per-channel stereo amp, but don't worry, it can play pretty loud. Bass-heavy reggae music from Ras Mek Peace played nice and loud over my Zu Essence speakers. The little amp wasn't lacking in power or oomph, so yes, 10 watts can drive the right speaker to a remarkably loud volume. Soundstage depth was really good, so each instrument and vocals sounded fully present. This is an extremely well-recorded CD, without dynamic range compression, and the FX10 handled that sort of demanding music without raising a sweat. … Read more

Headphones can sound only as good as the amplifier they're plugged into. The difference in sound quality between the built-in headphone amp in a typical receiver or computer and a high-end amp can be surprisingly huge. True, the very best headphone amps can get expensive, but Schiit Audio's made-in-the-U.S. amps' prices start at $249.

I was blown away by the sound of Schiit's solid-state Asgard amp ($249) a few months ago, and now it's happening again with the new Schiit vacuum tube Valhalla amp ($349). Which one sounds better, the solid-state or the tube design? Read on.

The Valhalla's chassis is a near twin to the Asgard, except for the four tubes peeking out of the top panel. The brushed, all-metal chassis' fit and finish are excellent; the Valhalla looks like an expensive high-end component. The rear panel houses stereo RCA inputs, an on/off switch, and a power connector. The chassis measures 9 by 6.75 by 3.25 inches, and it weighs 7 pounds.

Technically speaking, the Valhalla is a Class A, single-ended triode headphone amplifier with no overall feedback. The amp's innards are stuffed with individual resistors, capacitors, etc,; just like a no-holds barred high-end design, and it delivers classic tube sound. The chassis, circuit board, and power transformer are all sourced from American suppliers, and the amp is hand-built in Newhall, CA; though the vacuum tubes are made in Russia. Like most high-end designs, the Valhalla is built to last a long time; it should have a useful working life of 10 or more years.

The tubes probably won't make it to the 10-year mark; they're rated for 3,000 to 5,000 hours of use, so if you listen to your headphones for 10 hours a week, you won't have to replace the tubes for at least 6 years. The tubes are guaranteed for 90 days, and Schiit sells replacement tube sets for $40.

I spent some time comparing the solid-state Schiit Asgard with the Valhalla, with my Grado RS-1 and Sennheiser HD-580 full-size headphones, and the brand-new Ultimate Ears UE Reference Monitor in-ear headphones.

The Valhalla warmed up the Grado's sound; the Asgard was leaner-sounding, but more transparent. The Valhalla's soundstage depth on the Walkmen's excellent new "Lisbon" CD was more spacious than the Asgard's, but don't get the wrong idea; the tubes didn't soften detail, and the band's guitars had plenty of bite. The Valhalla/Grado sound is fuller-bodied and organic; the Asgard/Grado combo offers greater clarity. … Read more

Dan D'Agostino is one of the founding fathers of American high-end audio. He began his audio odyssey at age 11, patching together more than his share of amplifier kits as his father built Klipsch speakers. By 14, he graduated to a Marantz preamp and power amplifier, and AR 1 speakers with Janszen electrostatic tweeters, all purchased with money he earned "polishing the tubes, and sweeping up the floors" at his hometown hi-fi shop, the Audio Center in Niagara Falls, N.Y. He went on to receive his electrical engineering degree at the University of California, Berkeley.

He … Read more

In a perfect world, all 100-watt-per-channel amplifiers would be equally powerful. If we were talking about cars instead of amplifiers, you might suppose all cars with 300 horsepower are equally fast. But the weight of the car, gearing, and suspension tuning all play their parts, so performance expectations have to be based on more than just a single specification or number.

Before we go any further, I'd like to point out that the power spec's prime relevance lies in determining how loud a given set of speakers can play. Assuming the speakers can handle power, feeding them more power will produce louder sound levels. Sound quality is another matter, and isn't always associated with power, so the more powerful amp isn't necessarily the better-sounding amp. A few months ago I wrote a rave review of a 3.5-watt amplifier that sounded wonderful with my Zu Essence tower speakers. So just a couple of watts can sound amazing, and play louder than you'd think. Amplifier-speaker matching is more than a numbers game; knowledge of what works with what is a valuable commodity, so if you're lucky enough to have access to a top-notch hi-fi dealer or an experienced audiophile buddy, don't be afraid to ask for advice. … Read more

Most amplifiers and receivers generate a lot of heat, and in the summertime, who needs that? Worse yet, the heat they generate is "wasted" energy, meaning it's the energy not being used to drive speakers and make sound. In fact, the majority of the AC power most amps consume is turned into heat. Green, they are not! For this blog I checked out two cool-running amps: Bel Canto's REF500S ($2,495) for my audiophile readers, and the Dayton DTA-100 ($100) amp for everybody else.

Class D amplifiers are different by design, and significantly more efficient, so they run a lot cooler than conventional Class AB amplifier designs. Class D amps are available in every price range, from under $50 all the way up to high-end, megabuck extravaganzas. Class-D-powered receivers are also available, and while they're frequently referred to as digital amplifiers, Class D amps are controlled by either analog or digital circuits.

But Class D is no panacea; most of the Class D amps I've heard sound bland; they're not awful, just boring. However, the best ones can be pretty amazing.

The Bel Canto e.One Series REF500S Dual Mono (stereo) amplifier is definitely in the latter category. For such a little thing (8.5 by 3.5 by 12 inches), the REF500S is seriously powerful, it can deliver 250 watts into 8 ohm speakers; 500 watts into 4-ohm-rated speakers. Bel Canto doesn't specifically refer to the REF500S as a Class D amp, but its low-heat, ultraefficient, heavily regulated switch-mode power supply and switching output stage use a minimum of AC power.

The REF500S sounds stellar on my Magnepan MG 3.6/R speakers, which is one of the toughest speakers to drive well. … Read more