„Confessions of a Part-Time Audiophile” in its article RMAF12: Hot Ayre puts on the Best in Show gave the Ayre’s room Best in Show prize, and the magazine “The Audio Beat” at the same “Rocky Mountain Audio Fest 2010” exhibition gave them Hot Product award (see HERE). This was where the new series “5” devices were introduced: the AX-5 integrated amplifier, the VX-5 power amplifier and the DX-5 universal A/V engine.
The amplifier looks exactly as Ayre’s “believers” are used to – it has exceptionally “clean” design lines. It is very solidly made and user friendly. Combination of the last features i.e. high quality craftsmanship and the ease of use is unique – Ayre does it in a well thought out, not too flashy, way. One can say without overstatement that the device has been created by sensitive and intelligent people for other sensitive and intelligent people.

The AX-5 came to life as a result of an incorporation of a slightly simplified circuit of the KX-R preamplifier (the very top in the manufacturer’s product lineup) and the new Diamond power amplifier. It utilizes zero-feedback and fully-balanced discrete circuitry – these are the trademarks of Ayre.
The current, before it reaches the power transformer, is initially filtered of high frequency “noise” in a small circuit borrowed from the Ayre AC power-line filter. If we own more of Ayre components we can connect them with AyreLink communication system cables that help to control them all.
When powered up, the amplifier produces considerable amounts of heat because the output stages work with a high bias current and run in class A in a lower power output range, up to several watts. The manufacturer solved the problem in both a very modern way (limiting power consumption) and a purist way – when we desire to cut the power off completely there is a power switch on the rear panel. When our wish is to save the energy and help to protect our planet without sacrificing all that is dear to us, we can use the “Low-Power Consumption” mode. The preamplifier will be fully powered but the power section will not. This way we can return to playing music without the necessity of a long warm up time, consuming not that much power – just 48 W. If we kept the device under full “steam”, then we would heat the air with the full 230 W. Simple? Not for everyone.

SOUND

A selection of recordings used during auditions

• MJ Audio Technical Disc vol.6, Seibundo Shinkosha Publishing, MJCD-1005, CD (2013).
• Bogdan Hołownia, Chwile, Sony Music Polska, 505288 2, kopia z taśmy-matki, CD-R (wersja CD: 2001).
• Charlie Haden, The Private Collection, The Naim Label, naimcd108, 2 x CD (2007).
• Czesław Niemen, Katharsis, Muza Polskie Nagrania, PRCD 339, “Niemen od początku, nr 9”, CD (1976/2003).
• Depeche Mode, Heaven, Mute/Columbia, 47537-2, maxi SP, CD (2013); reviewed HERE.
• Diary of Dreams, The Anatomy of Silence, Accession Records, A 132, CD (2012).
• Diorama, Even Devil Doesn’t Care, Accession Records, A 133, CD (2013).
• Ella Fitzgerald, Ella Fitzgerald Sings the Cole Porter Song Book, Verve/PolyGram, “Verve Master Edition”, 537 257-2, 2 x CD (1997).
• Eno/Moebius/Roedelius, After The Heat, Sky/Captain Trip Records, CTCD-604, CD (1978/2007).
• Frank Sinatra, Nice’N’Easy, Capitol/Mobile Fidelity Sound Lab, UDCD 790, gold-CD (1960/2002)
• Frank Sinatra, Sinatra Sings Gershwin, Columbia/Legacy/Sony Music Entertainment, 507878 2, CD (2003).
• Jean Michel Jarre, Essentials & Rarities, Disques Dreyfus/Sony Music, 62872, 2 x CD (2011).
• Johen Rueckert, Somewhere Meeting Nobody, Pirouet Records, PIT3055, CD (2011).
• John Coltrane, Coltrane, Impulse!, 589 567-2, “Deluxe Edition”, 2 x CD (1962/2002).
• Kamp!, Kamp!, Brennessel, BRN016, CD (2013); reviewed HERE.
• Marc Copland & John Abercombie, Speak To Me, Pirouet Records, PIT3058, CD (2011).
• Mel Tormé, Hello, Young Lovers, Pacific Delights/Sinatra Society of Japan, “Historical Recordings”, XQAM-1059, CD (2012).
• Pat Metheny Group, Offramp, ECM/Universal Music K.K., UCCE-9144, SHM-CD (1982/2008).
• Pat Metheny Group, Offramp, ECM/Universal Music K.K., UCCU-9543, “Jazz The Best No. 43”, gold-CD (1982/2004).
• Peggy Lee, Black Coffe, “Jazz The Best No. 17”, Decca/Universal Music K.K., UCCU-9517, “Jazz The Best No. 43”, gold-CD (1956/2004).
• Radiohead, The King of Limbs, Ticker Tape Ltd., TICK-001CDJ, Blu-spec CD (2011).
• Richard Strauss, Also Sprach Zarathustra, wyk. Los Angeles Philharmonic, dyr. Zubin Metha, Decca/Lasting Impression Music, LIM K2HD 035, “K2HD Mastering”, CD (1968/2008).
• The Oscar Peterson Trio, We Get Request, Verve/Lasting Impression Music, LIM K2HD 032 UDC, “Direct From Master Disc. Master Edition”, gold CD-R (1964/2009).

Japanese editions of CDs and SACDs available from

Your Ayre AX-5 offers a significant advance in the musical performance of high-fidelity equipment. The warmth and immediacy of a live performance are apparent from the first listening. The combination of superb resolution and a natural, relaxed quality will draw you into the music, time and time again.
(Ayre, AX-5 – Owner’s Manual, p. 2)

Are you familiar with the feeling of anticipation, the thrill of unpacking and playing a CD for the first time? You don’t get that feeling from playing audio files, music bought that way (as that is what I am speaking about) is treated with much less respect. It is some kind of psychological reaction probably, manifested in certain indifference to the first contact. It is a completely different matter when it comes to media such as CDs, SACDs or LPs. Our expectations, preconceptions and curiosity – all of this is the reason that the moment of taking the record out of its sleeve (if it’s a Japanese “mini LP”), box or even a classic “plastic” or digipack, is something special, cut out of reality. If we happen to be audiophiles there is one extra layer of expectation – the sound. It is important how it sounds, how its tone, in other words music production, will complete its notes and interpretation.
There are several ways in which one can recognize how any given recording was produced depending on the way chosen by the designer to reach the “absolute sound” or rather his conception of the “absolute sound”. It also depends on the effect intended by the music lover, setting up his or her audio system. One can try to extract from the recording each, even the smallest, bit of information, present it selectively and observe how it performs on various records. Or, everything can be presented more homogeneously, the sound sculptured in such a way that it always sounds pleasant, that no record would sound unpleasant enough to lose interest in it. In both cases the common denominator is music but the means to reach the goal are totally different. The two approaches as different as they can be, have their followers pointing (rightly) to the advantages of each method. I fully support both – in the end what counts is the way WE perceive music. Even though there is something called absolute “quality” of any given product, the ways it is reached may vary. It is us who make the choice – we have to decide between accuracy and pleasure. I, myself, lean to the offer provided by the AX-5, though.

The opening words of this part of the review come from the Owner’s Manual of the reviewed amplifier. It is one of the better manuals I have read – well written, providing plenty of information and tips. You won’t be buried with slogans about “the best sound in the world”. That is why the opening words are worth to be taken seriously. I suggest to note the phrases: “the warmth and immediacy of a live performance” and “the combination of superb resolution and a natural, relaxed quality”, because they are true. I could write them myself provided I had not read them before. They should be explained, though, otherwise they will be misinterpreted.
How do I know this? I have to confess that I had never owned an Ayre product. My observations are based solely on my auditions during audio shows and exhibitions, and on reading various reviews. Terms like “warm” and “relaxed” run through all those texts, which could lead us to think that we really have to do with a type of sound that is warm, peaceful and unobtrusive. Perhaps a little boring but not too difficult, so to say. That would be a mistake, however; that is nonsense, nothing more than catchphrases typical for audio press and not the description of reality.
The Ayre amplifier actually does not sound warm, at least not in a sense of certain coloring. Coloring is the last thing I could hear. The sound of the AX-5 is exceptionally pure, you won’t find in it any particular narrow-range coloring, it is not foggy or grainy, either. The sound is open with a tendency to remove any overly irritating elements from the presentation. It is just a tendency; the device has a very good resolution so details are not masked. What I am hitting at is something hidden, eluding – the way of presentation that draws our attention to the music first and then, if we are interested, to its reproduction. As if the “mechanics” of reproduction was a half a step behind the art of performance.

Even though the above looks like a description of sound that tends to “beautify” the reality, that would be a wrong conclusion. The biggest, I think, fundamental asset of this particular device is its truly outstanding ability to differentiate recordings. How to reconcile it, then, with what I called “withdrawing” the technical side of the presentation behind the music? Is that not the way to “make it up”? Is that not how we create our own unobtrusive and nice sound? Yes, that is one solution to have a good sound, but only in relatively inexpensive products. High End is about having full information.
The reviewed amplifier does it through its exceptional resolution. This is not evident at the first glance, though. At the beginning I mentioned the pleasure coming from unpacking CDs and anticipation that accompanies their first reproduction. Almost at the same time as the amplifier, there arrived several CDs, primarily from Japan: Eno/Moebius/Roedelius After The Heat, Pat Metheny Group Offramp golden SHM-CD version (“Jazz The Best”, No. 17), Mel Tormé on mono material, recorded in 1963 for radio stations, titled Hello, Young Lovers (Sinatra Society of Japan) and Peggy Lee with Black Coffe, gold CD version (“Jazz The Best”, No. 17). I am giving all those details because I listened to the fragments of all of them straight away, driven by curiosity about both the quality of recordings and how the AX-5 would present them.
Warm sounding devices favor the midrange, pushing the vocals forward in front of other performers. That may sound great. Here, neither the vocals on The Belldog by the Eno/Moebius/Roedelius trio (listen to that, please; you will realize where Depeche Mode found vocal harmony for their first two records), nor the voice of Mel Tormé were warmer or enlarged. Peggy Lee did sound very organic, intimate, and tangible but that’s exactly how that record had been produced, which in turn was helped by the gold layer of that CD. And yet it is so easy to present the vocals in the foreground by withdrawing both edges of the frequency range. Here, I had something else – the sense of involvement in music. All the CDs sounded in their own particular way; they were different but none failed to involve.
The ability to present many things at once, sorting them in such a way that we receive something complete, was particularly evident in the case of Metheny’s album. This is my favorite record from that artist and hence I own several versions of it. Hearing the latest SHM-CD remastering and then immediately the older 2004 version on gold was very instructive, and could be used to compare both technologies. The “golden” version was warmer, deeper, with the foreground closer to the listener. Both ends of the frequency range were subtle and not fully real, i.e. the cymbals were not as open as I hear them live and the bass did not have the openness I hear from the bass amp, either. The SHM-CD at first sounded dark, which surprised me completely. Only after a while it turned out to be a much higher resolution sound, without the warmth introduced by gold. Even though the difference is only in the CD manufacturing technology, the sonic differences were vast, more evident than with different remasters (remastering is carried out on the source material, while the SHM-CD and others have to do with the physical disc; these are two different things).

It seems that the “warmth” mentioned in the manual derives from very low distortion. There is no other way that I could explain such an exceptional resolution and organic presentation, devoid of any unpleasantries. I can hear the same coming from the Soulution 710 despite the fact that the latter has a totally different topology. The Ayre has ZERO negative feedback whereas the Soulution relies on DEEP negative feedback. The way this amplifier communicates the differences is very subtle and charming. We can hear what’s going on without any irritation; it speaks to our curiosity as if someone showed as a painting in a different light – we are aware of the difference but we just can’t put the finger on the why. It is just there.
The bulk of information comes in midrange. The lower and higher regions are the organic parts of the sound and cannot be treated as separate “beings”, yet they are not what gives the sound its character. Treble is subtly sweet, even though, e.g., the Devialet D-Premier Air had lesser resolution and was warmer in a more ostentatious way. The French Lavardin IT-15, while having a similar sonic character to the AX-5, seemed to be less detailed. The Ayre puts itself somewhere between those two, as it sounds both organic and very informative at the same time.
One of the elements that will most likely bias our decision in favor of or against this amplifier is the way it presents the bass. In short, I have met amplifiers that have more control and better differentiation in this region. The AX-5 sounds incredibly synergic so there is no problem to accept the way it presents the bass, yet this is not something that will be everyone’s cup of tea.
If we mostly listen to acoustic instruments, we will appreciate a full bodied sound and a superb integration of the sub-ranges of the double bass tone, although we will miss its control, such as that provided by the already mentioned Devialet, or the Soulution. Even the Accuphase A-260 has a tighter lower range. To tell the truth, the sound reminds me what I heard from the Dan D’Agostion Momentum Stereo power amplifier, keeping in mind, of course, the scale of reference. The double bass from albums issued by Pirouet label preserved its characteristic, a little dull sound; it had a perfectly presented size as well as its proper place on the soundstage, although definition was not particularly special.
If, on the other hand, we prefer electronic instruments or even the bass guitar, I don’t think any of that will bother us much, maybe not at all. For we will get intimacy, very good dynamics and a deeply saturated low end. It’s enough to listen to something as special as Jean Michel Jarre’s second disc from his Essential & Rarities box, beautifully issued in black plastic (the CD, not the box) resembling vinyl. These are old Jarre’s recordings from the 60s and the 70s, very special when it comes to the sound. The Ayre gave me most of what I had earlier heard from my reference headphone system – immediacy, fullness, and mood.
But there are no perfect devices, and this is a “mere” integrated amplifier, not event pretending to be one of the top line Ayre designs. Despite all of this, it is a complete offer with an exceptionally detailed sound, which – paradoxically – seems to be warm and pleasant. I have attempted to prove that there is something more to it than a simple attempt to hide the information under a “sweet” layer.

Summary

This level of performance has been implemented using the highest level of workmanship and materials. You can be assured that the Ayre AX-5 will provide you a lifetime of musical enjoyment.
(Owner’s Manual, p. 2)

I couldn’t have written it better!

TESTING METHODOLOGY

The AX-5 amplifier is equipped with a proprietary "Low-Power Consumption" circuit, to enable a quick warm-up, and thus reducing the time needed to achieve the amplifier’s maximum potential. But to eliminate all the variables, the unit was switched on an hour before the auditions. It’s worth noting the manufacturer's recommendation regarding the initial burn in of the new device – it takes from 100 to as many as 500 hours. I would treat the recommendation very seriously, as Ayre is a manufacturer that does not bluff.
The amplifier is equipped with nice feet, but like almost all other audio components, will sound much better with specialized anti-vibration feet. During the review it sat on three (two in the rear, one in the front) Franc Audio Accessories Ceramic Disc feet and those in turn on the Acoustic Revive RAF-48H anti-vibration platform. The testing had a character of an A / B comparison, with the A and B known. Music samples were 2 minutes long. Whole album were also auditioned.
The Lektor Air V-edition CD player amplifier was connected to the amplifier via the Acoustic Revive XLR-1.0PA II balanced cable, while power was provided via the Acoustic Revive Power Reference power cord. During the review I also used another source, the Marantz NA-11S1 file player that I was reviewing for “Audio”. You should give it a chance – it’s unique, despite a comparatively low, for high end, price (12,000 PLN). It's probably one of the most interesting current audio file players on the market, regardless of price. Since it has balanced analog circuitry, including XLR connectors, it was a very good match for the AX-5.

DESIGN

Over the last forty years, since breaking the hegemony of tube devices, we have been witnessing the dominance of a particular amplifier’s external design that has survived largely unchanged until today. We're talking about a body in the shape of a flat cuboid, with a wide and relatively low front panel, sporting all the knobs and switches, and a rear panel with all the connectors. Audio manufacturers have been trying to break that monotony with various ideas – just to mention memorable designs from Cyrus, from the days when it was known under the name Mission, a completely different external design from McIntosh, Accuphase, or Jeff Rowland. But these are still just variations on the basic paradigm.
Still, there are things that have changed for the better. More and more manufacturers pays a lot of attention to the solidity of enclosures, in order to ensure the best protection of the interior electronic components against vibration. Another recent novelty is the widespread use of microprocessors, which are amplifiers’ "brains". After the initial obsession with as many knobs and indicators as possible, there has now come time for minimalism and asceticism, promoted mainly by the Scandinavian manufacturers: Copland, Primare, Bladelius, and others. But it is a minimalism in appearance, not in capabilities. The Ayre AX-5, although through and through American, benefits from all these experiences.

It is an integrated amplifier, without an included DAC, although the latter has recently become the norm. In return, the manufacturer offers the highly regarded QB9 external USB DAC, which handles the digital to analog conversion. The amplifier has a very clear design line, and its enclosure is made of thick aluminum plates. Although it is possible to identify design elements unique to the U.S. manufacturer, such as specific mills, or the shape of solid, aluminum knobs, one might as well point the aforementioned Bladelius as the "godfather" of the design. The front panel is a very thick, machined aluminum block, with a large blue alphanumeric (LED) display, two knobs and two buttons. The knobs are used to select inputs and control volume. They are not marked with a volume scale or input names, because they only serve as encoders; the selected input and the volume level are indicated on the display. Using the two knobs and the two buttons, we can operate the device menu. And there are plenty of settings. Starting with names, including a custom name, through input gain level, setting it as an input for an external AV processor, switching it off completely, switching off tape outputs, and finally, resetting all the settings. The two buttons are illuminated – the left one in red, and the right in green. The latter functions as "mute" and controls the low-power consumption mode. It is a state similar to the "standby" mode, but not identical. Only the power output stage is powered down, the preamp is still alive. This reduces the warm up time, but also allows for using an active tape recording loop, to which we can connect e.g. a headphone amp (the input selector is operational). The left-hand button (red) activates the tape outputs.
The device has a fully balanced topology, with zero negative feedback. Therefore, the most important are the four pairs of XLR connectors. RCA inputs are also available (two pairs), and look very solid, yet their signal is first converted into a balanced signal and then fed to the input stage. Speaker terminals are really great and come from Cardas, like almost all other connectors in this amplifier. Only the XLRs come from Swiss Neutrik. Speaker terminals design allows for perfectly even clamping of spade connectors – the bananas are not really welcome here.

According to manufacturer’s materials a large part of the preamp section circuitry has its origin in the top KX-R model. It shows right away, as soon as we look inside: a beautiful, selector from Shallco, used as the volume controller, sporting a stepper motor and ladder belts gears is exactly the same as in said preamplifier. Apart from Ayre, a similar solution, although not as sophisticated, was once used in the Model 5 amplifier by Avantgarde Acoustic. The switch in question has silver contacts and controls the ultra-precise, low-noise resistor ladder, located on the main circuit board. The manufacturer says that this solution differs from others, commonly used, because it controls the preamplifier gain, instead of simply attenuating the signal. A similar design is used by CEC, but it can also be found in higher class mixing consoles. The system allows for 46 different settings, in increments of 1.5 dB. The solution is called Variable Gain Technology (VGT).
Before we arrive at the volume control, however, we pass through the input selector. All input connectors are soldered onto small PCBs mounted vertically behind the rear panel. We can see high quality resistors (the company claims it has developed them in house), integrated FET switches and relays. If I had not consulted the manufacturer’s materials, I would have said that the latter switch the signal. Apparently, however, they are used for permanent activation (or deactivation) of the inputs, as the company says that the input selector on the front panel selects inputs via FET selectors.
The power amplifier is mounted on large PCBs with golden traces. Unlike most other designs, the PCBs are mounted horizontally, and hence the bolted-on heat sinks are also mounted horizontally. I do not, unfortunately, know from which transistors have been used. Ayre only informs that this is a newly developed output stage called Diamond. What is its novelty, we unfortunately do not know, either.

The power supply looks beautiful, too. Its base is very large, great looking classic EI transformer. Power to it is supplied from the IEC socket via a high-quality (a rarity!) power switch, and a core coil, acting as a power conditioner, which the manufacturer mentions in its promotional materials. The rest of the power supply is mounted on a large board near the front panel. Among the components are ten large voltage filtering capacitors from American Cornell Dubilier and discrete voltage regulators for the preamplifier and the drive sections. There are separate secondary windings for each channel preamp and power amp sections, respectively. The whole circuit is controlled by a microprocessor, located on a small PCB near the front panel - the real "brains" of the unit.

The amplifier looks exceptionally solid. This is a level known from Accuphase devices, but with much better passive components and an even better enclosure. Amplifier operation is a fairy tale-like. Also the remote control, which can be additionally used to switch off the display, makes a very good impression. It is nice, has a large, easy-to-use buttons and nice illumination. The manual is very well written and is a value in itself. The AX-5 is a device in which everything seems to have been thoroughly thought out, from its looks, the mechanical and electrical design, information and promotional materials, to its functionality. A beautiful example of no-frills high end, without treating the audiophiles like nitwits who just need a black box with an input and output. The device sound has long been, at least for me, the most important, yet only one of the parts that together build a PRODUCT. Ayre seems to understand that perfectly.