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Manufacturer: P.A. LABS
Prices (when reviewed): 49 000 EUR

ul. Marii Skłodowskiej-Curie 1
95-100 Zgierz ⸜ POLSKA


Supplied for the test by: P.A. LABS


zdjęcia P.A. LABS, Marek Dyba

No 239

April 2, 2024


The history of the Marton Audio brand is impressive, as its roots date back to the 1970s. It is now owned by P.A. Labs, which manufactures power conditioners, power strips and cables under the GigaWatt brand. Marton's lineup is modest, as it is only two models of amplifiers, but how impressive these two are! We are testing a smaller GREAT amplifier, the Opusculum Omni V1.0. This is its WORLD PREMIERE.

IN THE INTRODUCTION TO THE REVIEW, I wrote that the history of Marton dates back to the 1970s. In fact, it is about the history of audio fascination of the man behind this brand, namely Mr. MAREK KNAGA. For it was then, already as a teenager surrounded by live music at home (his grandfather was a violinist, and his uncles were also musicians) that this young man, fascinated by electronics, began to build his first audio devices.

Given when and where (we are talking about Poland, after all) these events took place, one can make a blind bet, and Mr. Marek confirms it, that they were designs based on... tubes. The way he approached the construction of audio devices was undoubtedly influenced by his specific field of study, medical electronics. Devices used in medicine must be super-precise which clearly influenced our designer’s approach also to audio components he developed. It was there that he learned everything that makes Marton's devices the way they are.

The Marton brand appeared on the market in the 1990s, although Mr. Marek had already been strongly associated with sound in its various forms. After all, he was worked as sound engineer at live concerts, maintained and modified equipment, and produced soundtracks for theatrical performances. Later, for twelve years, he worked as a sound engineer in dubbing for films. Finally, he joined the famous Lodz Film School, where for more than 30 years, as a sound operator, he made several hundred films. His fascination with sound and electronics, plus a good overview of what was available on the market at the time, led him to start his own company to offer high-end amplifiers.

The aforementioned 1990s were a „busy” period for the Polish audio market. On the one hand, brands that we could have previously only read about in Western magazines finally became available here, and on the other, many Polish engineers, who never lacked knowledge and creativity but only means, began to develop their own designs. Many of such companies, even those offering quite good products, did not survive for too long, because not everyone had yet fully realized that offering a good sounding product is not enough to function on the difficult audio market. But Marton must have been doing something right, because not only did the first products gain a lot of recognition, but the brand has survived to this day, albeit with a new owner.


MISTER MAREK KNAGA set ambitious goals for himself from the very beginning. He didn't simply want to build more good amplifiers, but assumed that they would aspire to the high-end category, and that they would be built in Poland. To achieve this, he assumed that his amplifier should offer first and foremost a neutral sound. In a way, this is a reference to the famous "wire with gain" idea, i.e. a maximally simple design that is supposed to merely amplify the received signal without losing any of its components and without introducing any audio signal phase changes/distortion.

The theory is simple, and its implementation, as most audio designers would tell you, is very difficult, because every component used in an audio device introduces something to the signal. To accomplish such an ambitious task, our designer had to demonstrate not only knowledge and experience, but also patience. The project was developed from scratch, without haste. The goal was not a deadline for launching the product, not some budget to follow, but the realization of assumptions and full satisfaction with the performance. To achieve it, it was necessary to carefully select each component, meticulously test each circuit. The work therefore took much longer than with many (probably most) other designs available on the market, and was only completed when Mr. Knaga was satisfied with the sound coming from the speakers driven by his amplifier.

Having achieved his goal didn’t make „conquering” the market easy. The audio industry is quite... peculiar, one may say, or specific. We all know stories about brands that developed (at least in their opinion) a „perfect” (usually perfectly measuring) product, which did not manage to succeed on the market. Also in this case, meeting all the designer's assumptions meant his satisfaction, but did not guarantee market success. In this case, however, the result of Mr. Marek's painstaking work gained recognition in the eyes and ears of many discerning audiophiles, who became convinced that ambitious audio products can also be made in Poland, boldly competing with well-known world-famous brands. Marton's products were never cheap, but their class was appreciated not only by (affluent) audiophiles, but also by people in the industry, many of whom bought these amplifiers for their reference systems to make sure their own products (particularly speakers) offer top performance.

The perfectionist approach to the development of new products I mentioned above meant that over the years only limited number of devices with the Marton logo were made, also because it has always been a small company with limited production capabilities. To change that, a few years ago, Mr. Marek Knaga started working with another well-known Polish brand, Gigawatt, owned by P.A. Labs. They are specialists in power products, and their conditioners, power strips, power cables and a range of accessories (sockets, fuses, wall cables) are highly regarded by users around the world.

As you could read in the press release at the time, the idea of Gigawatt and Marton joining forces had been around for a long time, after all, both companies are located in and around Lodz. The decision was finally made in 2015 and realized in 2018. To Marek Knaga's knowledge and experience, Gigawatt added its expertise in power conditioning, but also its knowledge of chassis. The first result of the joint work was the Marton Opusculum Reference 3 amplifier, and the next one is its (slightly) smaller brother, the Marton Opusculum Omni.

We could listen to the former at the 2018 Audio Video Show in Warsaw. The amplifier drove Wilson Audio Alexia II speakers, and the signal was supplied by two top sources, namely a J.Sikora turntable and a dCS DAC. The Marton "beast" shown back then for the first time then was huge and heavy (at 100 kg!), superbly made and finished. And it performed, as for the show’s conditions, of course, exceptionally well.

Less than a year later, I had the great pleasure of hosting this amplifier in my room for a review, and it impressed me like only a handful of competitors before or since. To put it briefly, it was undoubtedly one of the few absolute best amplifiers (regardless of brand, technology, and price level) I have ever listened to at home. Barely two months later, at the Audio Video Show 2019, a smaller version of the "beast" was introduced, the Marton Opusculum Omni.

Opusculum Omni

YOU MAY HAVE NOTICED the use of two terms describing this device, namely power and integrated. The reason for that is that its design allows it to be used in two, or actually even three ways. This is because the Omni can function in a system as an integrated amplifier, as well as a stereo power amplifier and, when bridged, as a monaural one. Buying the Omni, therefore, does not mean that its owner is limited in the possibilities of system expansion. After all, one can add a separate preamplifier to it, and later also a second Omni unit to make both work as monoblocks. Let me remind you that a similar functionality is offered by Vitus Audio's SIA-030 amplifier (test → HERE).

The Opusculum Omni is clearly a smaller and lighter design than the Reference, which doesn't mean it's small or light. Measuring 475 x 580 x 243 mm (W x D x H) and weighing 49 kg still makes it a heavy-weight beast (though opposite the 95 kg of the top model it may seem not that much). The amplifier is a dual mono design, where the objective was maximum electronic-mechanical symmetry, according to the manufacturer. It is capable of delivering 2 x 180 watts (8 ohm) and 2 x 360 watts (4 ohm) output, and after bridging, up to 720 watts (@ 8 ohm) with very low distortion for maximum power, amounting, as the manufacturer declares, to just 0.1% (THD).

It's worth noting that the first 30 watts per channel are given off in Class A, and only at higher requirements does the amplifier begin to operate in Class AB. It is also important to note that the total harmonic distortion at 100 W/1 kHz is only 0.003%, which shows that Mr. Marek's assumptions of amplifying the signal without changing/distorting it have been realized.

The basis for efficient and stable operation of any amplifier is its power supply section. The Omni uses a 1000 W toroidal transformer dedicated exclusively to audio circuits, mechanically isolated from the amplifier chassis. To maximize isolation from vibrations (its own and external), the transformer was additionally flooded with a special anti-vibration compound. A separate EID transformer powers the digital and control circuits. Also in its case designer took care of proper anti-vibration isolation, and of protection from generating unwanted interference.

Protection of the power supply has been realized on elements that do not restrict the flow of current (these are elements taken from Gigawatt's conditioners), unlike traditional fuses. Instead of the latter, a hydraulic-magnetic fuse from Carling Tech is used here. In addition, in the Omni there is a powerful battery of "long life" capacitors with a total capacity of 528,000 μF.

In fact, Marton's power supply section combines several separated power supplies, built with low-noise stabilization circuits. According to the manufacturer, the design of the power supply is intended to ensure the free flow of energy from the massive capacitor bank to the final stage, which translates into the ability to instantaneously render the energy peaks necessary for proper music reproduction.

According to the manufacturer, Marton does not use floating Class A circuits, which increase current when a spike in signal dynamics is detected. Mr. Knaga claims that such a circuit cannot react quickly enough to changes in the audio signal, and music is, after all, a collection of many fast successive pulses. That's why Marton's Class A is constant.

To ensure the safe operation of the device, the manufacturer uses a modern microprocessor-based thermal and short-circuit protection system. This circuit provides full protection of the amplifier from failures, importantly, without affecting the quality of its sound. The system constantly monitors the operation of all stages of the amplifier and, in the event of a failure, immediately shuts down the power supply, cutting off the signal to the speakers and internal systems.

FRONT AND REAR • The front panel of the Opusculum Omni is devoid of any keys and knobs. Communication between the user and the amplifier is done via a sleek aluminum remote control, and all information is displayed on a highly legible alphanumeric OLED display. During operation, you will see on it the indication of the active input and the volume level. Underneath, there are several LEDs that indicate the operation (or standby mode) of the amplifier, or the tripping of the device's protection circuit. The display can be turned off, and the "Save" button on the remote control allows you to save the current settings in the device's memory.

On the rear panel there are six line-level analog inputs: four asymmetrical analog inputs (gold-plated RCA jacks) and two symmetrical (XLR). An additional fifth XLR jack is used like a symmetrical mono input - essential when the Omni is used as a monoblock. The set of connectors is completed by single, solid gold-plated speaker jacks and a power inlet.

We are reminded of the studio provenance, resulting from the aforementioned designer’s experience, by solid handles mounted on the back. These are a very practical solution when (with a second person!) the device needs to be moved. Together with the amplifier the manufacturer provides a high-end GigaWatt LS-1 EVO+ power cable with a length of 1.5 meters. The conductors in this model are made of silver-plated copper wires using multi-layer insulation. The cable is features a lossless passive filter made of nanocrystalline materials. Depending on your needs, the cable can be terminated with rhodium-plated plugs, either European - SCHUKO, American - NEMA, or Australian - AS/NZS 3112.

Looking at the device, one can see some similarities in its external design to some top audio products, for example, to amplifiers from the Swiss company Soulution's 700 Series. But the whole thing is Gigawatt's idea, in a slightly different version implemented in its top conditioners from the Powermaster series.

INSIDE • The amplifier's electronics have been assembled on PCBs made of laminate 2-3 mm thick and a copper layer 120 μm thick - that's more than usual. This is to ensure maximum speed of current propagation. All connections are soldered with tin-silver alloy.

The amplifier's output stage consists of 28 Sanken bipolar power transistors, operating in a push-pull arrangement. The input signals fed to the amplifier are electrically isolated from the gain stage. The internal power wiring, the shortest practically possible, was realized using Gigawatt's finest cables, Powerlink.

Neither a classic potentiometer nor the traditional resistor ladder, often used in high-end designs, was used to control the output of the amplifier. According to Mr. Knaga, these solutions usually result in reduced signal dynamics. The circuit used in the Opusculum Omni is said to be devoid of this drawback. "Extremely precise", as the company materials say, power control is possible thanks to the very high resolution of the control circuit and takes place in 0.5 dB steps, ensuring smooth and precise volume control.

The Omni's chassis resembles that of the Opusculum Reference, albeit noticeably smaller. The whole, except for the shielded transformer housing, is made of non-magnetic materials resistant to EMI and RFI interference. The amplifier, as I mentioned, puts out the first 30 watts of power in Class A, which translates into large amounts of heat dissipation.

The chassis therefore had to be designed to guarantee efficient heat dissipation. It is achieved by means of both powerful CNC-milled heat sinks and perforated top and bottom covers. All components of the outer case, including the heat sinks, and the internal chassis are made individually to the company's order. The entire chassis is supported by high-end anti-vibration feet - the GigaWatt Rolling-Ball Isolation System.


HOW WE LISTENED • Marton Opusculum Omni was tested in my reference system (with some extras). The sources were my custom music server with Roon and a J.Sikora Standard Max turntable with a J.Sikora KV12 Max tonearm and Air Tight PC-3 cartridge. The signal from the server went to the LampizatOra Pacific 2 via a David Laboga Custom Audio Expression Emerald Mk 2 cable. The signal from the cartridge was amplified by a GrandiNote Celio Mk IV phono preamplifier. Both the DAC and phono preamp were connected using Bastanis Imperial unbalanced cables with Omni’s RCA inputs.

The amplifier and Ubiq Audio Model One Duelund Edition speakers were connected alternately by Soyaton Benchmark and Siltech Classic Legend 880L cables. The aforementioned extras (in addition to the Siltech cable) were the Ayon Audio CD-35 HF player and the "apple of Adam Szubert's eye", head of P.A. Labs, i.e. Fonica FLAG L isodynamic (planar) speakers and Gigawatt's top-of-the-line Powermaster power conditioner, which the Gigawatt team brought along with the amplifier. During the test, after brief comparisons between the wall outlet and the outlet in the conditioner, the Opusculum Omni remained plugged into the Powermaster.


WHILE FEBRUARY 2024 WAS warmer than in any year before in our country (and not only here) the Omni, after spending an extended period of time in the car, behaved similarly to how the Reference once did. I'm talking about the start-up process, which requires some components to reach the right temperature before the unit reports ready for operation. It took long enough for us to decide we would just go out for lunch to avoid wasting time :)

When the got back Opusculum Omni was ready to go. Normally, of course, it doesn't take that long. In normal use at room temperature, awakening the amplifier from standby mode takes several, not dozens of minutes, so this is not a major problem. However, it is worth taking into account the fact that Marton can heat up quite a bit during operation, so it should be set up so that the heat can dissipate freely. But to the point.

MARTON & FONICA • As I already mentioned, planar speakers from the Italian company Fonica are Adam Szubert's personal favorites, so they were the first ones we connected to the Marton. Adam himself, with tape measure in hand, took care of the optimal (in my room) placement of these speakers so that they formed an equilateral triangle with the listening spot. Then, with the second manufacturer's representative, Piotr Sadulski, we began listening.

I hadn't had the opportunity to listen to speakers from this company before, and also the size of the Flag L model (2 meters high) raised my concerns - in fact, I assumed in advance that they would play better in a larger room, so I didn't know what to expect (test of the Flag M model → HERE). On the other hand, however, I remembered very well how brilliantly the Marton Opusculum Reference 3 played with the Popori Acoustics speakers in the (much larger) J.Sikora showroom in Lublin. These are, admittedly, electrostatic speakers, but some affinity in the performance of those and the tested speakers can be found.

The transition from the Estelon Aura speakers, which were still playing at my place after the previous test, to the Flag L was quite a remarkable experience (Estelon speakers test → HERE). The Italian speakers driven by the Marton created an unbelievably spacious, air-filled, three-dimensional, breathing spectacle, which, however, was not as filled in and weighted in the lower part of the range as the speakers I'm used to.

The Omni amplifier provided excellent resolution, that is, a huge amount of information presented in a precise, well-articulated and well-arranged way. The sound was clean, clear, and had good so-called "flow", i.e. fluidity and coherence. It’s just that the tonal balance was set higher than with the Estelons, or my Ubiq speakers connected to Omni after the Fonica speakers. To be honest, I just found the sound a bit lacking in terms of substance and richness. In this setup, even after replacing the Soyaton Benchmark speaker cable with a slightly denser and warmer Siltech, the sound was just a bit leaner, and especially the lower bass didn't have as much mass and power as with the other two pairs of speakers.

Interestingly, as Piotr told me, in their company's listening room, the same FLAG Ls reproduce a far better weighted and filled in sound (with both the Reference and Omni models) than what they heard at my place. There, he explained, the low frequencies are plentiful, even more so compared to "normal" high-end competitors. This is an important reminder for those who insufficiently (or not at all) consider the contribution of the listening room to what we can ultimately hear. The same system can sound very different depending on where we place the speakers.

In some respects, described above, the sound of the Omni with the Italian Fonica speakers was downright fabulous, but it was not a complete sound. The experience with the top-of-the-line Marton suggested that the smaller Omni model should also offer a powerful sound, complete in all respects, so the source of the slightly insufficient elements had to be sought elsewhere - rather, in the combination of the tested amplifier with the Flag L and my room than in amplifier itself.

So when the gentlemen from Gigawatt returned to Lodz/Zgierz, I swapped the isodynamic Italian panels for my sizable three-way Ubiq Audio Model One Duelund Edition speakers. Let me remind you that these are closed-box speakers with a 30-cm woofer. After a brief listening, I decided that it was the right setup to base this review on, at least in my room.

MARTON & UBIQ AUDIO • After everything I've described so far, it's impossible not to start with a description of the bass presentation. I like my Ubiqs very much. On the one hand, their large bass driver is a guarantee of adequate power of sound and pumping enough air to make the bass, when needed, even physically felt. On the other hand, however, it works in a closed enclosure, and thus is clean, tight and contoured (albeit not at all overly so).

The bass is not boomy with them at all. By those accustomed to the way bass is reproduced by bass-reflex vented speaker designs, this is considered necessary, because it creates an impression of greater power and/or extension of the low tones. However, this comes at the expense of their clarity and precision. I have been saying for years that given a choice between compactness, juiciness and precision of the bass, or maximum extension and power at the expense of clarity I will always choose the former version. To get it right with Ubiq speakers, of course, a high-end amplifier is also necessary. As it turned out, and as expected, the Opusculum Omni falls into this category.

My speakers driven by the Marton amplifier showed their best side. The bass was powerful, agile, and at the same time very clean and tight. The tested amplifier governed the woofers' diaphragms with an iron fist, so to speak, effortlessly keeping up with the showmanship of VICTOR WOOTEN, STANLEY CLARKE, or MARCUS MILLER, perfectly rendering the quick pulses of their bass guitars, but also serving up the heaviest, lowest sounds with appropriate weight. Great differentiation in timbre, shading of dynamics, plus high resolution created a superb, immersive musical spectacle allowing the full appreciation of the maestry of each of these brilliant musicians.

The combination of the Omni's high energy with a bit of stage (in the good sense of the word) character of the Ubiqs resulted in a dynamic, highly engaging, "fun" and concert-like experience. All the more so, that since having so much fun listening to the bass showdown I kept turning the volume up and up. Usually at some point the amplifier looses its grip over speakers and some distortion or compression creeps in, but this time the first element to give up was.... my room, specifically the glass in the door, which started to audibly resonate. Increasing the volume made no impression on the Marton - it still played in the same, effortless way, only louder.

I was also encouraged to turn up the volume by the equally impressive (which is not to say flashy) presentation of the drummers' performances. The Marton-driven woofers of my speakers gave a sense of the weight of strong, fast, springy kick drums, but the fast, hard sound of the snare drum was equally well conveyed. It didn’t take any effort to hear the bouncy and different response of each type of drum. The flawless PRAT (tempo, rhythm and timing) made virtually any kind of music, especially rock or blues, sound just right.

It may not seem like much of a praise, but that's exactly the point of any audio setup - it is supposed to sound not flashy, not one way or the other, but just right, or accurate so that the listener doesn't wonder for a moment if what comes out of the speakers should sound like it does. With the Marton Opusculum Omni I didn’t for a second consider not accepting the sound I heard, it just was exactly as it should be and there was no debating it.

The excellent speaker control demonstrated by the Opusculum Omni does not by any means mean hardening of the sound. This was perfectly demonstrated by the performances of Stanley Clarke, Ray Brown, or Christian McBride on double bass. Instead of the super tight, focused, contoured strokes of the bass guitar strings, fleshy, juicy, deep, naturally soft, box-supported sounds flowed from the double basses, with sustain and long decay were conveyed just as brilliantly as the attack phase.

As I listened to each of these double bass masters from great recordings, Marton's class allowed me to follow the myriad of peripheral musical elements as well: fingers sliding across strings, floor creaks, gentle taps on boxes, and so on. Needless to say, it all combined to create a highly realistic, incredibly immersive presentation of the music - one that drew me in, forcing my limbs to tap out the rhythm and my head to sway in all directions. Engagement grew even more while listening to live recordings because of the clearly, convincingly rendered audience participation, and that audience, especially at Brown's concerts, was sometimes very, very active, and... fun to be a part of :).

The treble, in this case the metal cymbals, wasn't as sonorous as with the Italian Fonica speakers, but enough to make following the showmanship of my favorite, Steve Gadd, a highly exciting experience as well. Here again the high resolution and differentiation, apparently innate qualities of the Opusculum Omni, made themselves known. But also its ability to convey a huge amount of information in an instant, yet in a precise and perfectly differentiated manner.

So the cymbals shone and sparked, but they also had their own proper mass and, I'll stress again, were superbly differentiated. In this part of the band, the lightning-fast, hard strokes of the sticks were rendered just as convincingly as the contacts of the sticks with the membranes of the drums, and even when it came to the delicate work of the drum brushes I could effortlessly "see" and differentiate each of their contacts with each cymbal.

Listening to ANDREAS VOLLENWEIDER's Vox a little later took me to a completely different world. I got a great, enveloping, hypodermically powerful, though not abundant in powerful sounds presentation and it extended far behind the speakers. And then came a clear (there's that word again!) and extremely natural voice, and with Marton every word against the music was exceptionally clear.

Although I’ve been writing in the following paragraphs about the ear-catching elements of the sound, what really mattered first, regardless of the type of music, was the story dressed in notes and words. What mattered was its atmosphere, the plasticity and depth of the colorful, three-dimensional image. All this delivered by a pure solid-state, eminently neutral yet natural solid-state amplifier, and yet this description sounds like a quote from one of the reviews of a high-end tube amp, doesn't it?

Does this mean that the Marton Opusculum Omni sounds like a tube amplifier? No, not quite, even if the midrange, that I’ve mentioned rarely, also lacks nothing and is not inferior to the impressive bandwidth extremes. Not quite (which means it does a little), because there are elements in its sound that are similar to what top Air Tight or Ayon products offer, including high naturalness and surprisingly realistic spatial aspect of the presentation.

More, however, are those features that characterize the best solid-state designs. Because you can't mistake that power and energy, that perfect control over the presentation (regardless of the speakers), that ability to render even the fastest and still perfectly differentiated impulses, or to handle effortlessly even the densest, most complex pieces of music, with anything else.

Even most of the transistor amps I know can not do it so brilliantly, although there are some that display the same typically transistor-like qualities well, but whose sound lacks Omni’s naturalness for me. With the Marton I didn't lack it, not for a second, and to be more precise, not for a moment did I wonder even if what I was hearing sounded natural.

Whether I listened to the Aussies from AC/DC, the Yanks from AEROSMITH, or the jazz queens CASSANDRA WILSON, or KARI BREMNES, MOZART’S opera under Currentzis, or JARRETT solo, or finally the amazing, albeit so young, bluesman CHRISTONE "KINGFISH" INGRAM - Marton played each type of music in a way that I perceived as the accurate, right one. I was sure that a given recording was meant to sound like Omni conveyed it, period!

This by no means means that it played all albums the same. I have already emphasized the excellent differentiation many times. It also does not mean that Omni belong to the group of devices lenient towards the quality of recording. It shows the differences in the class of played albums and tracks clearly, but does not try to convince the listener to give up those imperfect ones. It demands a certain minimum quality level, and when it gets it tries to make listening fun, and perfectly succeeds in the task of making listening to music a highly enjoyable experience.


IT IS HARD FOR ME TO FULLY reliably compare the Opusculum Reference 3 with the Opusculum Omni, because their auditions happened several years apart, and in addition, my system has changed a bit since the Reference review. But, I am pretty sure, that the higher model provided even better control, that the energy of the presentation was even higher. I also have the impression that the Reference was even a bit more neutral sounding. Only that the Opusculum Omni amplifier cannot be accused of lack of energy or control, nor did I find even traces of any coloration it its performance - as you surely noticed, I used words „clean” and „clear” many times describing Marton’s performance, and the reasons should be evident by now.

The tested Marton not only managed to drive effortlessly and control perfectly any speakers I plugged into it, but on top of that its sound proved not only neutral, but also natural, smooth and coherent. At times it was hard for me to believe that somewhere inside there weren't some tubes, because the spaciousness, openness and all the air in this sound reminded me of the best tube amplifiers, not solid-states.

Sure, Omni doesn’t quite match the best SETs in terms of tangibility of sound, that unique sense of the performers' presence in the room. It doesn't magnify or zoom in on phantom images, which the tube competitors often do. It's performance transports listeners there, to the performers, rather than bring latter to our room. And when it does take us to the venue of a musical event, Marton Opusculum Omni does its best to make it the fullest, most exciting experience possible, and it achieves this by presenting the recording as truthfully and faithfully as possible.

It’s one hell of an amplifier! And a true High-End device! And it’s Made in Poland! And ˻ RED FINGERPRINT ˺!

Technical specifications (according to the manufacturer):

Max output:
• stereo – 2 x 180 W (8 Ω), 2 x 360 W (4 Ω), 0.1% THD
• bridged – 1 x 720 W (8 Ω), 0.1% THD
Class A output: (first) 2 x 30 W
THD+N: 0.003%/100 W/1 kHz
Damping factor: 5000
Frequency range: 10 Hz - 120 kHz, +/- 1 dB
Input sensitivity: 1.5 V
Gain: +26 dB
Speaker loading: 4 - 16 Ω
Minimum speaker impedance for bridge mono operation: 4 Ω
Power consumption in standby: ~ 0.3 W
Ambient temperature range: 5 - 32 C
Dimensions: 475 x 580 x 243 mm (W x D x H)
Weight (net): 49 kg

THIS TEST HAS BEEN DESIGNED ACCORDING TO THE GUIDELINES adopted by the Association of International Audiophile Publications, an international audio press association concerned with ethical and professional standards in our industry, of which HIGH FIDELITY is a founding member. More about the association and its constituent titles → HERE.