I'm probably somewhat premature with this topic as I've only been listening to the Soraya for a couple of weeks but it seems that nobody else is about to do it so here we go.
First I'll list my other equipment: I have a Shanling CDT-100C CDP which has been modified with WE396A valves, upgraded power supply, clock and caps. This goes into a Swift with the upgraded teflon caps and the signal ends up at Whatmough P31 speakers, 91dB efficiency, 2.5 way in a d'Appolita array. I consider the speakers, and my room, to be the weak links of my system.
I've had a Lifeforce 100 since March 2007 and a few weeks ago Hugh offered to loan me a Soraya to see if I wanted to graduate to the Aspen flagship. Naturally I jumped at the opportunity. (In truth I'd been nagging him ever since he released it and he probably gave it to me just to shut me up) He told me that the new amp was only a marginal improvement on the Lifeforce, but that I would probably like it.
Hugh was less than honest with me.
As soon as I exchanged the amps the difference was obvious and not slight. To my (cloth) ears it seemed that the background noise had diminished significantly; it was most apparent in upper frequencies where the decay of cymbals and piano was greatly extended. I had the loan amp for a week and told him that the only way he was getting it back was if he rebuilt my Lifeforce to Soraya specs on the spot.
Hugh reluctantly agreed so two Sundays ago I went around for a visit with my amp under my arm. A few hours later, after standing behind Hugh with a whip in my hand, he had completely replaced all modules and power supplies and I escaped poorer in cash but richer in opportunities for great music.
Since that time I have been delighted with what I have heard; there is a lot more detail available, imaging (poor in my system) has improved, bass slam, always good, is now even better. I have been hearing things on familiar albums that I did not know were there as they had been hidden in the background but are now exposed. After 15 months of the Lifeforce I had become blasé, I knew it was an excellent amp but my toe-tapping had just about stopped. The Soraya has brought it back again and put a large smile on my dial every time I hear it. The better the recorded material the more apparent the change as well. I have been buying a number of XRCD and HDCD recordings recently and last night Hugh came around for a listen. I played him Patricia Barber’s Companion on XRCD, Martin Taylor’s Artistry on HDCD and Judith Owen’s Happy This Way on RBCD and HDCD amongst other things.
The soundstage on Companion was considerably wider and deeper than previous, the bite of the guitar strings on Artistry was wonderful to hear and the difference between the RBCD and HDCD versions of Happy This Way were easy to pick.
All I can recommend is that if you get an opportunity to listen to this amp grab it.
