High Fidelity by Wojciech Pacula
nowe audio company offered absolutely uncompromising amplifier, leading to almost edge of the meaning of the term 'pure', in truly truly fantastic form of two ultra low, heavy monoblocks made of milled aluminium block.
That is an ingenious gear that ought to be in every recording studio, in every audio dealer listening room. Talking about studio gear I meant something like surgery instruments. Since the quality of high frequency and midrange is reference indeed and it can be compared to only a few amplifiers that I know.
All the same, this mono3.5 amplifier does not perform either like the solid state, or like the tube. It performs as if there was nothing inside. Airy. I come back again to the gear - this equipment fantastically presents the depth of the soundstage, by opening to us something like a panorama, yet not only wide but also deep, like a 3D panorama. The delicacy is here together with precision. This is not an everyday sound of an amplifier, since mono3.5 sucks in the listener, its rivets attention. Even though nothing is coloured. The resolution of this sound, the skill of differentiation are simply killing.
What is differentiation about - it is about presenting the biggest number of differences between instruments, the background, recordings, versions etc. The more, the better. The basis here is resolution and details. The tested monoblocks are perfect in this respect, but above all, with the tested amplifier I have heard more than with others. And, above all, I could name what I heard.
One of the features of that amplifier is that it does not look back to the type of music, since it always does its job. It has no preferences or contraindications concerning the recordings. All plays in equally committed, full and natural way. The sound is deep, inviting etc. The gear in any way convicts worse studio records to non-existence, while not covering for their shortcomings, it rather brings out their strengths.
The advantages of that sound are so devastating to the so far ideas about what should and what should not a solid state amplifier do, that there should be no problem with applying it solo, without the empowerment of the low frequency amplifier section.
This is a reference amplifier, with an outstanding, almost challenging idea. Yet, it really works - provided that we know how to handle it. This is the sound that is expected from very expensive tube amplifiers, with 300B, or 2A3 as an end. The bass is not strong, but it is always a question of choice. A refined construction, design and sound - an almost perfect trinity.
High Fidelity magazine
solid state, single ended, class A
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