[tl1000sv]

Hope this works.  If not, look for my name in the Gallery.

http://www.audiocircle.com/circles/modules.php?set_albumName=albur72&op=modload&name=gallery&file=index&include=view_album.php

Tim

[vsr123]

Hi
  I might be totally wrong on this, but the Gallo Ref 3 cant be bi-amped without having a cross-over in the path. As far as I know, the Ref 3 takes only one input, unless you use their optional BAM amp which is yet to be released. How are you doing this? I am just wondering how the gallo ref 3 sounds with the AKSA?
I have a ref 2 paired with an Aksa 55 and GK-1.

cheers
Sridhar

[vsr123]

For some reason   I did not see your earlier post...just disregard the earlier post

[AKSA]

Hi Tim,

Please excuse my tardy reply;  I've been away in South Australia on family matters and returned only recently.  While away I did read your review, however, and on return I reread it, marvelling at the attention to detail and the entirely believable way you composed it.

Source: Panasonic XR50 CD/DVD transport, Musical Fidelity TriVista 21 DAC
Line-level: Musical Fidelity A3cr, dbx 223 active crossover
Amplification: Carver PM-175, AKSA 100N+
Speakers: Anthony Gallo Reference 3, DCM Timeframe TF400
Interconnects: DIY Cardas/Belden 89207, misc Monster coaxials
Speaker cables: DIY Jon Risch CC89259, 14AWG stranded zip cord, DIY Cat 5

Many of the products you have in the States are not imported into Australia, as the market here, at 20 million souls, is just too small.  I've not seen the MF TriVista DAC, but I have seen and heard the Gallo REference 3 and the DCM Timeframe.  Both very good speakers, of very different genres, and thus offering some diversity.  The transport looks pretty good, but I've not seen them close up.  I can see you are, like me, something of a skeptic with cables!!  But oddly, they do make a difference, dammit, I find this very irritating as I can't fully explain it.  There's something going on with cables which is more art than science.....  

the Gallos’ pseudo-biamping features. These speakers have a dual voice coil woofer, with one coil connected to the full-range speaker inputs, and the second to a dedicated sub input.

This is very interesting;  I wonder what the imagined benefits are?  It would seem to me that the back emf from the full-range connected voice coil, driven hard by the sub, would create intermodulation with the midrange - somewhat like having all the drivers in the same box.  This seems flawed to me, but I guess they know what they are doing........

My review methodology was to simply listen to recordings which I have heard tens, if not hundreds of times, and write down anything that truly struck me as exceptional, remarkable or different than previous experiences.

Tim, this seems entirely congruent to me, and I applaud your approach.  After all, this was an amplifier designed specifically for listening, NOT for measurement (although ironically it measures extremely well with 0.045% THD at full power into 8R resistive at 20KHz, all H2 and H3).  Since we buy high fi gear to play music, (and hopefully to tickle our souls!) then the listening session has to be the definitive test.  Measurements serve only to add that intellectual, marketing cachet that people 'know what they are getting', whatever that can mean.  The fact that an Ongaku records about 2% THD at listening levels seems lost on most.  Finally, that familiar music should be used for this test seems a tautology!!  

It was interesting (and disconcerting) to discover how many recordings have serious mixing and production flaws, that I thought were flawless. The AKSA ruthlessly revealed any anomalies, and faithfully rendered recorded hiss to a very noticeable level, where it had been forgotten or ignored before.

This is an astute observation, tactfully handled.  I have had people say to me that the amplifier is too ruthless, and that it makes bad recordings sound bad.  They wanted something which made bad recordings sound good, and yet permitted wonderful recordings to bloom.......  What was that about 'They want it all..."?  I see the analogy here with a Ferrari and a Cadillac - could it be that bad roads feel good with a Caddy?  You just can't have it all.........

In any case, the AKSA immediately erased my historical impressions of the Gallo lower-midrange. Perhaps it is just a fortuitous combination of amp and speaker, but the male vocals were full and vibrant, and I honestly didn’t think about it again after that minor revelation.

Thank you, Tim.  This redresses the balance, as some have criticised the AKSA for this very quality.  What the AKSA really has is SLAM, quite the antithesis of a tube amp, and something I really had to work on.  Slam is more than just power supply design.......

IMHO, the soundstage is uniquely dependent upon the combination of amp, speaker and speaker/room configuration. Therefore, the likelihood of different system combinations offering divergent results is high.

Yes, I agree with this.  The speaker/cable interaction will hugely influence the sound stage, and just like any high end installation, you have to get a good synergy here.  This comes back to the reactive response of the loudspeaker, and the resulting phase alterations to the feedback loop on the amplifier.  You can remove the speaker from the feedback loop, the Ayre does this, and Charles Altmann SPLIFF technology achieves it, but then there are other issues to deal with.  While sound stage is often improved, some of the slam is gone, and immediacy and drive is affected.  Once again, you can't have it all.......

During a particularly spirited bass guitar solo, the amp appeared to oscillate on the left channel. I quickly brought down the gain and it stopped, and I could not get it to do it again. I am no EE, but at risk of inserting ubiquitous quotations around the word oscillate, that was my impression. The sound was not musical, and was a much higher frequency than the source material.

I cannot be quite sure of what happened here as I wasn't there, watching the performance on a CRO.  However, I think you are right, and it is apparent that the AKSA was squabbling with the back EMF from the speaker driven by the Carver.  The fact that it occured in only one channel tells me that phase shift on one channel reached the limit of stability.  This is a highly unusual configuration, of course, not likely to be often found 'in the wild'.  Naturally I'll record this, but it's not likely to recur.

The first album I listened to was Scheherazade / Chicago Symphony Orchestra, conducted by Fritz Reiner.

I have an original recording of this on vinyl, transferred thirty years ago to cassette.  I do have another recording of Scheherazade (one of the sexiest pieces of all time!), not as good as Reiner, but I think you will agree this amp was designed first and foremost with orchestras in mind.  Scheherazade, The Enigma Variations by Elgar, Bach's Double Violin Concerto and Symphonic Dances by Rachmaninoff are in fact my favorite all time Classical Pieces........

OTOH, I've always had a bit of trouble with Grusin, preferring Jan Garbarek in 'Twelve Moons', but I concede that Dave Grusin is a seminal jazz composer and performer and his music is superbly recorded.

However, it's interesting how our musical tastes compare.  You have picked some of the artists I routinely use to 'listen' to an amplifier.  Enya, Eric Clapton, Fleetwood Mac - I've used them all.  Enya is particularly useful for layering and intermodulation testing;  it's very complex music, but so melodic you can easily pick dissonances due to the electronics.  Eric Clapton - Old Love is my favourite - is extremely close miked and very realistic, can be intrusive if not reproduced properly.  Fleetwood Mac is a useful test for teasing out the anguish in Nick's voice.......

You refer to sustain, separation of notes, and attack.  I can chronicle each of these characteristics and where in the design they were addressed.  There is a great deal of care in the feedback in the AKSA - apparent in the critical path lengths on the pcb.  The feedback factor is crucial, and it affects literally everything.  

You can thank Paul (aka Occam) for discovering the Tara Labs synergy.  I've just bought some myself, though they are presently in transit.  I'm very glad you found them to be so good.  I believe they are a benchmark for all AKSA owners.

I found it interesting that while double checking facts, I realized that Hugh’s (and others’) various assertions of the AKSA mirror most of the impressions I had already scribbled down for posterity. He’s on the level, folks, and I would guess he pretty much has to be with the open nature of the AKSA community…

Thank you, Tim!!  This is a ringing endorsement, gratefully received.  I have to be very careful with my claims, because firstly I have a relationship with almost all my customers, and need to tell the truth, and secondly, because the community is so open, which occasionally causes angst.  However, if people see the product warts and all then the internet purchase experience is not so intimidating, and in any direct selling mode, that's very important.

In closing, Tim, and on behalf of both Paul and myself, our thanks to you for your comprehensive, no holds barred review.  Superbly executed, beautifully written, musically outstanding.  Much appreciated!!  I will be emailing you later to expedite your order!    

Cheers,

Hugh

[cpautsky]

OK, so it's been several days now since I've parted with the AKSA...moment of silence, please...

My existing system:
Modded Denon 2800MKII DVD player
PS Audio PCA 2 preamp
Bryston 4B-ST Amplifier
Ellis Audio 1801b speakers alla DIY
DIY Pulsar ICs with Eichman Silver Bullets
DIY Pulsar ICs with silver Neutrik Balanced Connectors
Goertz Python MI2 speaker cable
Venhaus Flavor 4 PCs everywhere.

So here's how it went:
I first hooked it up using the TARA cables and played a little Sarah McLachlan. My very first response was, "Wow, detail galore and amazingly transparant." This continued to be the case the entire week I played the AKSA. Specifically, vocals were more forward and instruments were just more noticible. All the subtlties of the instruments were there and produced rock solid imaging. Definition everywhere! Another big revelation was that in playing this cd with this amp, this was the first time I actually liked the electric guitar throughout the cd. I never disliked it, but it was always, "Electric guitar, hm, ok." I always associated it with being harsh and something that should be kept in the rock bands. It was actually quite nice now. I quickly swapped in my Bryston and played the same couple of pieces to get a quick comparison. Yeah, those cues are there, but I have to listen for them a little more...they don't just pop like they do with the AKSA. Sure enough, the transparancy thing is the difference. There's just a quieter background with the AKSA.

Next up, Nicole Nordeman. Again, a revelation! This is the first time I actually heard a piano sound real. The harmonics are phenomenal. Cymbol hits and drum thumps are super smooth and just so palpable. Again, the instrument and vocal seperation is incredible. Again, swap in the Bryston. The Bryston does everything the AKSA does, but just not as transparant. This time I played with swapping in the Goertz cables. I listened back and forth between the TARA and Goertz and I couldn't really find myself leaning one way or the other. Maybe I wasn't listening to the right stuff or maybe I wasn't hearing the differences, but I couldn't find anything that stuck out. Both cables allowed for an amazingly smooth presentation with incredible detail and all the impact. SO, I put the TARAs back in and didn't trouble myself to swap them anymore. Now I could quickly compare my Bryston/Goertz combo to the AKSA/Tara combo again.

Now on to some classical. I played a Burmester CD3 demo disc. This cd is pretty nifty to say the least. There are some really great tracks to suit anyone's tastes and can really put some equipment through its paces. I found that with the classical tracks, the AKSA is not leaving anyone wanting. Imaging is incredible. I've never heard the detail and instrument seperation in a symphony like this before. There is plenty of impact in the gotta have it right now form as well. The AKSA never ran out of juice. There are a few other tracks with really great vocal presentations, room reflections, and some incredible Chinese drum symphony. The drum hits are incredibly detailed and the harmonics just plain make you laugh.

So those are all the great things. Negatives: well, the detail and transparancy are only negative when the recording isn't as good as the rest of the equipment in the system. I was incredibly encouraged and pleased to find how revealing the 1801s are and how nice the rest of my system played. The AKSA plays well with others. The recording really is the huge limiting factor now. With that said, if you don't mind removing yourself from the music with lesser recordings, then all is great. I did get annoyed when some songs just weren't as enjoyable because I could pick out all that was wrong. Play something nice and you're rewarded. I would be very interested in building up an AKSA, but I'm also curious as to what I may accomplish in the way of upgrading or tweaking the Bryston a little. Could I get some of the detail and transparancy without going too far and without spending too much?

Overall, I think it's easy to see I thoroughly enjoyed this amp and I really will try to build one in the near future. Is it the end-all to amps? Well, that all depends on tastes and preferences. Bottom line, sign up and see for yourself and don't be upset if what you have paid more for is politely trumped a notch or two.  That seems to be the norm with this amp.

Thank you Hugh for the opportunity and thank you Occam for the time you spend in helping it around the States.  You are doing everyone a wonderful service.

Gig'em!
Clint <><

[AKSA]

Hi Clint,

Many thanks for a thoughtful, well composed and highly credible review of the 100N+!  

Lots of detail there, and clear evidence that you have thought about good sound for a long time.....

I must get working on this 'bad recordings sound bad' issue.  Not sure how I can address this one, though!  

I look forward to despatching your order in due course!    

Thanks for passing it on intact back to Paul.  I appreciate the care you took, and your gracious comments.

Cheers,

Hugh

[kyrill]

"I must get working on this 'bad recordings sound bad' issue. Not sure how I can address this one, though!"

Well, if somebody lies to me, I don't want to hear it as the truth

Please let bad recordings sound like bad recordings spatial and in depth, but most (?) can still sound  musical thru the Aspen gear

[David Ellis]

Clint,

A very good revied, and I agree with you sentiment.  Having lived with a Bryston 3B-ST for 3 years I remember the sound well.  IMO, it's not in the same league as the AKSA 55wpc Nirvana + that I am now using.  The Bryston had considerably more grit.  I believe this is mostly due to the quality of components under the hood, but am not 100% certain of this.  I am certain that the quality of components + the quality of design = quality of sound.  As such, the Bryston falls very short in one of these two categories.  I have a hunch the Bryston (and many other amps) fall short in the quality of components category.  However, I am NOT an expert in this regard.

but I'm also curious as to what I may accomplish in the way of upgrading or tweaking the Bryston a little.

I recommend you don't accomplish this.  If the "engine" of the Bryston 4B ST looks similar to the 3B ST, you will have problems.  First, many of the physically bigger/better capacitors simply won't fit.  Second, there are gobs of electrolitics that should probably be replaced.  There is considerable work involved and you will void the 20 year Bryston warranty.  You will also spend a bunch of time with desoldering wick.  This is quite tedious and time consuming.  The only real danger is that you might break something when removing a component.  After spending $300-$400 on upgrade parts you would likely have a better amp than origional, but... what parts should you upgrade...??  

IMO, you would be $$$ ahead to build the AKSA.  The project is already complete, and the very good parts are chosen.

My 2c

[cpautsky]

Hey thanks for your comments, Dave. The more I thought about it, the more I came to realize that building up an AKSA would be better in the long run anyway. As you say, the good design and the good components are already there. I know what I would be getting, instead of hoping for something magical to happen to my Bryston, and selling broken electronics is a little less lucrative, in the event something went wrong. It's funny...I've been without the AKSA for about a week now and I'm still listening to some cds, wishing I could hear what they would sound like on the AKSA! I'm gonna have to get this settled pretty quickly. Long live the AKSA tour!!!

Hip-Hip, Hooray!

Clint <><

[lonewolfny42]

Long live the AKSA tour!!!

Hip-Hip, Hooray!

 

I totally agree !!!! It's been a excellent tour....coast to coast...nice !!!

Chris[/list:u]

[AKSA]

Say,

How about we do this all again in six months?

Paul?  What are your thoughts?

Cheers,

Hugh

[vsr123]

Hugh
       Any luck with getting 6moons or any other reviewer to perform an offical review ? If you want some of us to start calling (that may help) I would be happy to and I am sure some others could help too.

cheers

[AKSA]

Hi Sridhar,

I'm waiting on Paul before I ring 6moons;  he has a contact in NYC who is apparently interested in review also and I want him to have it first.

However, my thanks, I will contact 6moons after conferring with Paul, which will be hopefully tomorrow.

Thanks for your concern!

Cheers,

Hugh

[lonewolfny42]

Say,

How about we do this all again in six months?

Hugh,[/list:u]
Do I get to go first again ?    (just kidding...I've got one now )[/list:u]
How about an amp

and preamp tour.... AKSA 100N+ and the GK-1 preamp. This would give the "full" Aspen sound....something to think about. Thanks ![/list:u]

Chris[/list:u]

[kyrill]

Say,
...How about an amp and preamp tour.... AKSA 100N+ and the GK-1 preamp. This would give the "full" Aspen sound....something to think about. Thanks ![/list]

Chris[/list:u]

Yes thàt will be a very very different experience.

[Rom]

Hi all,

Yes, I was really thinking before that the tour should have the GK1 along but the cost and having the case for the GK1 may kill the swift as people may be asking for the case as well like what happen to the 100WNplus, well just my thought.

By the way I have seen the Swift prototype on a picture, really looks great
it has more like the tassie look.

my 0.2 cents

cheers
Rom

[Occam]

Say,
How about we do this all again in six months?
Paul?  What are your thoughts?

I'm giddy with anticipation......

The amp is doing its thing at Luis' here in New Yawk. It will be da thing at the April Gotham Audio conclave....

[Rhythm Willie]

Hugh,

Any chance of an Australian GK tour?( or a visit when you are next in Adelaide).

I would love to compare it, a bit too many dollars for me to fork out without a listen in my own set up.

Dennis

PS Drank that Shiraz yet?

[jonwb]

Say,

How about we do this all again in six months?

Paul?  What are your thoughts?

Cheers,

Hugh

I'd like to go on record with my offer to keep watch over the touring 100N+ until its time for it to hit the road again.  My wife won't like having another amp in the house    but I'm sure we can work it out.
 
Actually, she REALLY liked the sound of the AKSA.  And it takes a noteable difference for her to comment on changes to the system.

Seriously though, while I think including a GK-1 in the (next) tour along w/ the 100N+ would be great... that combo represents a substaintial (double?) increase in the dollar amount of components wandering around the USA.  Of course it doesn't seem like you and Paul had any troubles keeping things on track w/ a fairly loose system this time.  

Good job, and thanks again for the wonderful opprotunity.

PS:  Actually, it might be nice to know what the plans are for the touring amp.  There seems to be more and more regional groups having get togethers lately and it might be a good opportunity for new listeners if the amp could be dipatched upon request to the various equipment/music/listening get togethers.  I know some people were able to share their AKSA time w/ others, but it seemed many of the "groups" had difficulties getting together during the short window of time they had the 100N+.

[AKSA]

Thanks Jon,

Very good points;  appreciate the suggestions.

At this point I cannot sustain a full-on preamp and amp at the same time;  right now I'm just putting the finishing touches to the GK1 Swift (getting that last shred of hum out of a tube preamp is always amusing, but I cracked it today!!) and have the next five accounted for to customers.

I strongly support the idea of lending the touring amp out to high end clubs;  and to this end, let the requests roll in.  It's a great idea, as it gets to more people with just one hearing, and I'm very interested in maximizing AKSA exposure.

I suspect that this fully built thang could be very successful, but it might well take me to an early grave, particularly if I choose to distribute conventionally.  I think for the moment I'd prefer to deal direct;  it has so many advantages, notably that I get to know each customer, keep the prices lower, avoid the difficult issues of extracting dollars from resellers, etc etc.  I now have the product line, though I'd need to do an appropriate and stylish cosmetic job on the 100N+ case if that were to become a retail product.

After doing all the listening tests with a known, good Class D I've come to some firm conclusions.  But I think the market will indulge a love affair with these new technologies;  the question is, how long will it be before the technology catches up?  I would think a few years yet;  the big issue is emotional engagement, sometimes called musicality.  Certainly in the interim I'm pretty sure the truly musical amps of high end will remain linear.

Cheers,

Hugh