Specifications:
Power: 25 Wpc/8 Ohms, class A
Frequency Response: 10Hz – 34kHz, -3dB
Distortion: <0.25%
Sensitivity: Variable > 150mV Full Output
Noise: <70dB
Power Consumption: 200 Watts
Tube Compliment: 300Bx2, CVX100x1, CVX120x1
Finish: Gold and Chrome (standard)
MSRP: $15,995 a pair
Address:
Audion International
Chez Reynaud
Le Haut mont
17360 La Genetouze
France
Telephone: +33 (0) 5 46 04 32 82
Fax: +33 (0) 5 46 04 36 93
Manufacturer’s website:
http://www.audion.co.uk/index.html
Importer’s website: http://www.ossaudio.com/
Power: 25 Wpc/8 Ohms, class A
Frequency Response: 10Hz – 34kHz, -3dB
Distortion: <0.25%
Sensitivity: Variable > 150mV Full Output
Noise: <70dB
Power Consumption: 200 Watts
Tube Compliment: 300Bx2, CVX100x1, CVX120x1
Finish: Gold and Chrome (standard)
MSRP: $15,995 a pair
Address:
Audion International
Chez Reynaud
Le Haut mont
17360 La Genetouze
France
Telephone: +33 (0) 5 46 04 32 82
Fax: +33 (0) 5 46 04 36 93
Manufacturer’s website:
http://www.audion.co.uk/index.html
Importer’s website: http://www.ossaudio.com/
INTRODUCTION
Working in 1986 as Audio Innovation’s Technical Director, David Chessell, with the now-defunct
company’s founding member, Erik Andersson, claimed to have produced the first triode amplifier in
Europe the same year. The partnership continued into the following year with David founding the
Audion name and making Erik his Chief Designer. In 1992, when Chinese audio vacuum tube maker
Golden Dragon succeeded in producing its version of the Western Electric 300B triode tube, Audion
adopted the new tube and introduced its acclaimed “Silver Night” triode monoblocks.
In 2001, prior to leaving the business, David Chessell sold his company to two of his good friends,
David Gough and Graeme Holland, while Erik stayed on as the Chief Designer. In addition to being
co-owners, David G. assumed the role of Director of Production, and Graeme Holland became the CEO
and Marketing Manager. Though a British company, Audion’s production facility is located in a small
village half an hour northeast of Bordeaux, in southern France.
Audion has been offering six progressing models of power amplifiers in twenty-three variations, with
nine from the entry-level Sterling line, six from the next-level Silver Night, one from each of the
Paragon and Golden Night lines, two from the Black Shadow and last not least, four in the top-of-the-
line Golden Dream series. Prices ranged from the Sterling’s $1,295 to $34,895 for a pair of top-level
Golden Dream monoblocks. Audion also made preamplifiers, and reviews on the 2-chassis Quattro is
being arranged.
In the words of Randy Bankert, Audion’s U.S. Importer and proprietor of O.S. Services, Inc.,
“all Audion products retain the characteristic ‘family’ sound: very fast rise time and slew rate, extended
phase coherent high frequencies, excellent resolution and low-level dynamics and detais, involving
natural tonality and presentation.”
TECHNICAL BACKGROUND
Based on a platform of the Golden Night, the Golden Dream is a single-ended design, utilizing two
300B tubes in parallel configuration per monoblock to produce a claimed 25 Wpc into all impedance.
There are four different levels of refinement in the GD line, designated as Level 5, 6, 7 and 8. The
Level 5 Golden Dream SCSE (Self-Canceling Single-Ended) retails for $10,595, while the similarly
equipped $15,995, Level 6 GD is endowed with an output transformer with a silver secondary
winding, a choke filtered polypropylene power supply unit, pure silver input transformer and silver
signal path throughout. Level 7’s $26,195 MSRP includes silver signal path and Black Gate
capacitors in the main unit. Then, the $34,895 Level 8 Golden Dream monoblocks put silver into
everything, including the wiring in the power supply unit. The subject of this review is a pair of the
$15,995 Level 6 Golden Dream monoblocks.
Audion’s “Self-Canceling” topology aims at canceling out second order harmonic distortion inherent in
tube amplifiers. According to Dave Gough, the proprietary topology accords superior impedance
matching to drive the output tubes slightly harder, yielding two additional watts from each 300B, and
inducing transient and bottom-end response “very difficult to find in other amplifiers.”
Each Level 6 Golden Dream features heavy duty speaker connectors robust enough for larger cables
with either banana or spade termination, with separate positive connectors for 2 ohms, 4 ohms and
8 ohms applications. Volume adjustment is via a step-less Alps volume knob on the front panel that
has no volume marking around the knob, using a notched locator etched on the gold-plated collar to
indicate the volume setting.
Each of the amplifiers from the Golden Dream line features tube sockets with unique locking
mechanism that corresponds with the locking pins at the 300B tube’s base. Replacing the usual pin
holes inside other amplifiers’ tube sockets are unique conductive levers allowing the tubes to be
inserted and rotated 60-degree clockwise for locking.
SET UP AND AUDITION
Significantly larger than either the Audio Note Quest monoblocks or the single-chassis Loth X JI300,
the pair of Golden Dream’s in their formidable chassis depths and widths took up the entire top shelf
of one Salamander Synergy 20 rack, which was one of the few flexible designs of its kind on the
market able to accommodate components of extraordinary depths, such as my former reference
transport, the CEC TL1, and my former DAC, the Wadia 27. In addition, the Golden Dream’s uniquely
mirror-like transformer cover, and gold sheet metal top chassis constantly attracted considerable
attention away from other equipment in the system.
Working in 1986 as Audio Innovation’s Technical Director, David Chessell, with the now-defunct
company’s founding member, Erik Andersson, claimed to have produced the first triode amplifier in
Europe the same year. The partnership continued into the following year with David founding the
Audion name and making Erik his Chief Designer. In 1992, when Chinese audio vacuum tube maker
Golden Dragon succeeded in producing its version of the Western Electric 300B triode tube, Audion
adopted the new tube and introduced its acclaimed “Silver Night” triode monoblocks.
In 2001, prior to leaving the business, David Chessell sold his company to two of his good friends,
David Gough and Graeme Holland, while Erik stayed on as the Chief Designer. In addition to being
co-owners, David G. assumed the role of Director of Production, and Graeme Holland became the CEO
and Marketing Manager. Though a British company, Audion’s production facility is located in a small
village half an hour northeast of Bordeaux, in southern France.
Audion has been offering six progressing models of power amplifiers in twenty-three variations, with
nine from the entry-level Sterling line, six from the next-level Silver Night, one from each of the
Paragon and Golden Night lines, two from the Black Shadow and last not least, four in the top-of-the-
line Golden Dream series. Prices ranged from the Sterling’s $1,295 to $34,895 for a pair of top-level
Golden Dream monoblocks. Audion also made preamplifiers, and reviews on the 2-chassis Quattro is
being arranged.
In the words of Randy Bankert, Audion’s U.S. Importer and proprietor of O.S. Services, Inc.,
“all Audion products retain the characteristic ‘family’ sound: very fast rise time and slew rate, extended
phase coherent high frequencies, excellent resolution and low-level dynamics and detais, involving
natural tonality and presentation.”
TECHNICAL BACKGROUND
Based on a platform of the Golden Night, the Golden Dream is a single-ended design, utilizing two
300B tubes in parallel configuration per monoblock to produce a claimed 25 Wpc into all impedance.
There are four different levels of refinement in the GD line, designated as Level 5, 6, 7 and 8. The
Level 5 Golden Dream SCSE (Self-Canceling Single-Ended) retails for $10,595, while the similarly
equipped $15,995, Level 6 GD is endowed with an output transformer with a silver secondary
winding, a choke filtered polypropylene power supply unit, pure silver input transformer and silver
signal path throughout. Level 7’s $26,195 MSRP includes silver signal path and Black Gate
capacitors in the main unit. Then, the $34,895 Level 8 Golden Dream monoblocks put silver into
everything, including the wiring in the power supply unit. The subject of this review is a pair of the
$15,995 Level 6 Golden Dream monoblocks.
Audion’s “Self-Canceling” topology aims at canceling out second order harmonic distortion inherent in
tube amplifiers. According to Dave Gough, the proprietary topology accords superior impedance
matching to drive the output tubes slightly harder, yielding two additional watts from each 300B, and
inducing transient and bottom-end response “very difficult to find in other amplifiers.”
Each Level 6 Golden Dream features heavy duty speaker connectors robust enough for larger cables
with either banana or spade termination, with separate positive connectors for 2 ohms, 4 ohms and
8 ohms applications. Volume adjustment is via a step-less Alps volume knob on the front panel that
has no volume marking around the knob, using a notched locator etched on the gold-plated collar to
indicate the volume setting.
Each of the amplifiers from the Golden Dream line features tube sockets with unique locking
mechanism that corresponds with the locking pins at the 300B tube’s base. Replacing the usual pin
holes inside other amplifiers’ tube sockets are unique conductive levers allowing the tubes to be
inserted and rotated 60-degree clockwise for locking.
SET UP AND AUDITION
Significantly larger than either the Audio Note Quest monoblocks or the single-chassis Loth X JI300,
the pair of Golden Dream’s in their formidable chassis depths and widths took up the entire top shelf
of one Salamander Synergy 20 rack, which was one of the few flexible designs of its kind on the
market able to accommodate components of extraordinary depths, such as my former reference
transport, the CEC TL1, and my former DAC, the Wadia 27. In addition, the Golden Dream’s uniquely
mirror-like transformer cover, and gold sheet metal top chassis constantly attracted considerable
attention away from other equipment in the system.
Primary speakers were the Audio Note AN-E SEC Silver reviewed in
February, 2003, while a pair of Italian loudspeaker manufacturer Aliante’s
Royal Device Laura Studio Mk II with Miranda Horn and the Tannoy
Churchill Wideband were also on hand to provide additional perspectives.
Primary digital front end was the 47 Laboratory 4704 PiTracer CD Transport
with the 4705-G Gemini Progression DAC. Audio Note’s $30k DAC 5 Special,
Harmonix Reimyo’s $5,500 DAP-777 20bitK2 DAC and Sony’s SCD-777ES
SACD player also provided additional perspectives. AN’s 1-meter length
Sogon was used as digital cable, and an 1.5-meter length of its interconnect
version were used between the DAC to the Golden Dream’s. Speaker cable
was an 1.5-meter length of AN’s SPx.
February, 2003, while a pair of Italian loudspeaker manufacturer Aliante’s
Royal Device Laura Studio Mk II with Miranda Horn and the Tannoy
Churchill Wideband were also on hand to provide additional perspectives.
Primary digital front end was the 47 Laboratory 4704 PiTracer CD Transport
with the 4705-G Gemini Progression DAC. Audio Note’s $30k DAC 5 Special,
Harmonix Reimyo’s $5,500 DAP-777 20bitK2 DAC and Sony’s SCD-777ES
SACD player also provided additional perspectives. AN’s 1-meter length
Sogon was used as digital cable, and an 1.5-meter length of its interconnect
version were used between the DAC to the Golden Dream’s. Speaker cable
was an 1.5-meter length of AN’s SPx.
| AUDIO NOTE AN-E SEC SILVER |
In a RBCD rendition of Deutsche Grammophon’s 1975 Mozart Requiem hybrid SACD
(DG SACD 471 639-2), the Golden Dream propelled the silver-wired AN speakers
to produce dynamics atypical of tube amplifiers. The silver wire-laden
loudspeakers conveyed the serenity of the angelic strings in the whispery opening
procession of “Introitus” with the unmistakable 300B midrange beauty as
endowed by the Golden Dream’s, then propagated the immediately ensuing choral
succession with dynamic impacts resembling those of the advanced, switching-
power-enforced Linn Klimax Twin.
(DG SACD 471 639-2), the Golden Dream propelled the silver-wired AN speakers
to produce dynamics atypical of tube amplifiers. The silver wire-laden
loudspeakers conveyed the serenity of the angelic strings in the whispery opening
procession of “Introitus” with the unmistakable 300B midrange beauty as
endowed by the Golden Dream’s, then propagated the immediately ensuing choral
succession with dynamic impacts resembling those of the advanced, switching-
power-enforced Linn Klimax Twin.
The Golden Dream’s rendition of “Lacrimosa”, in which the female choir’s
vocalization eclipsed even the accompanying strings’ spellbindingly
subliminal fiddling with distinct dimensionality and textural impression,
conveyed a convincing realism. Dynamic scale of the venue was infused
with vocal flamboyancy that conveyed a communion and expansiveness
that was at the same time charged with energy and warmth. The
exclusive realm of the SET was fully glorified.
Musically, the very energetic and yet resolving Golden Dream/AN-E SEC
Silver interface complimented the spectacular DSD-remastered recording
with such dynamics, that also lent credibility to the opinion that no other
ensemble could’ve mustered the level of perfection as the Berlin
Philharmonics did during the von Karajan legacy.
vocalization eclipsed even the accompanying strings’ spellbindingly
subliminal fiddling with distinct dimensionality and textural impression,
conveyed a convincing realism. Dynamic scale of the venue was infused
with vocal flamboyancy that conveyed a communion and expansiveness
that was at the same time charged with energy and warmth. The
exclusive realm of the SET was fully glorified.
Musically, the very energetic and yet resolving Golden Dream/AN-E SEC
Silver interface complimented the spectacular DSD-remastered recording
with such dynamics, that also lent credibility to the opinion that no other
ensemble could’ve mustered the level of perfection as the Berlin
Philharmonics did during the von Karajan legacy.
| ROYAL DEVICE LAURA STUDIO II with MIRANDA HORN |
Unless you also own von Karajan’s 1985 four-apple-cover, Le Quattro Stagioni
(The Four Seasons) CD on Deustche Grammophon, the label’s recent re-
release of the recording in Vivaldi: The four Seasons/L’Estro Armonico/Bach, J.
S.: Brandenburg Concertos Nos. 3 & 5 (DG CD 474 287-2) of the much sought
after music-making under the baton of the Maestro with the BP strings is
another gem. The fact that von Karajan utilized Berlin Philharmonic’s entire
string section for the occasion is historic, and the Golden Dream’s conveyance
of both the dynamics and fullness of the fiddling was towering, as well as
unprecedented.
(The Four Seasons) CD on Deustche Grammophon, the label’s recent re-
release of the recording in Vivaldi: The four Seasons/L’Estro Armonico/Bach, J.
S.: Brandenburg Concertos Nos. 3 & 5 (DG CD 474 287-2) of the much sought
after music-making under the baton of the Maestro with the BP strings is
another gem. The fact that von Karajan utilized Berlin Philharmonic’s entire
string section for the occasion is historic, and the Golden Dream’s conveyance
of both the dynamics and fullness of the fiddling was towering, as well as
unprecedented.
The Golden Dream’s 25 Wpc rating proved to be more than enough for the
Tannoy Churchill’s 95 dB/8 Ohm sensitivity. Under such unification, the
Tannoy’s 15-inch Dual-Concentric™ method rendered a majestic
manifestation of the Berlin Philharmonic’s massive strings, at the same time
inducing the delicate layering of the 300B sound, making for an invigorating
experience only the Audion/Tannoy union could muster. While Linn’s
Klimax Twin’s vanquishing of the Churchill satisfied with delicate, pristine
top-end and a remarkably effortless transients, Audion’s Golden Dream’s
pushed the envelope of SET methodology in driving the Tannoy to
producing spades of tonal vividness and an unprecedented dynamic
transients.
The music-making abilities of the ensemble, together with the Maestro’s
artistic version and BP/DG’s massive sound of strings, already dwarfed
many other performances before and after it; and now the recording is
sounding better than ever. This is a fabulous re-release, making a classical
fan’s dream come true.
Tannoy Churchill’s 95 dB/8 Ohm sensitivity. Under such unification, the
Tannoy’s 15-inch Dual-Concentric™ method rendered a majestic
manifestation of the Berlin Philharmonic’s massive strings, at the same time
inducing the delicate layering of the 300B sound, making for an invigorating
experience only the Audion/Tannoy union could muster. While Linn’s
Klimax Twin’s vanquishing of the Churchill satisfied with delicate, pristine
top-end and a remarkably effortless transients, Audion’s Golden Dream’s
pushed the envelope of SET methodology in driving the Tannoy to
producing spades of tonal vividness and an unprecedented dynamic
transients.
The music-making abilities of the ensemble, together with the Maestro’s
artistic version and BP/DG’s massive sound of strings, already dwarfed
many other performances before and after it; and now the recording is
sounding better than ever. This is a fabulous re-release, making a classical
fan’s dream come true.
| TANNOY CHURCHILL WIDEBAND |
Via the AN speakers, Vladimir Ashkenazy’s piano solo reading of Chopin’s
Barcarolle, op. 60 (Decca 470 608-2) also benefited from the Audion’s methods.
A hybrid SACD that is a positive testimony to the multi-format arrangement, the
CD layer’s piano was depicted with outstanding clarity in an highlight of the
pianist’s prowess, and the dynamics portrayed had an atypical conciseness that
fostered the illusion of a live instrument. Most importantly, the Audion
monoblocks vanquished the Audio Note speakers into projecting wide-ranging
dynamics and convincing tonal sophistication. In this audition, Ashkenazy
sounded even livelier than the young Evgeny Kissin on RCA’s high-resolution
discs.
Barcarolle, op. 60 (Decca 470 608-2) also benefited from the Audion’s methods.
A hybrid SACD that is a positive testimony to the multi-format arrangement, the
CD layer’s piano was depicted with outstanding clarity in an highlight of the
pianist’s prowess, and the dynamics portrayed had an atypical conciseness that
fostered the illusion of a live instrument. Most importantly, the Audion
monoblocks vanquished the Audio Note speakers into projecting wide-ranging
dynamics and convincing tonal sophistication. In this audition, Ashkenazy
sounded even livelier than the young Evgeny Kissin on RCA’s high-resolution
discs.
But it was in the lamentation of despair amidst powerful beats of Rock artist Seal's
same name CD Seal (Sire W2 26627) and the mayhem of heavy-metal hard-rock
group's Metallica (Elektra 9 61113-2) that the Golden Dream’s surpassed
expectations. What once belonged in the realm of the solid-state devices was
now re-interpreted with a 300B-infused full-bodied tonal immediacy with powerful
dynamics not produced by other tube amplifiers, and the GD’s prompted the
Tannoy’s 15-inch Dual-Concentric™ into recreating the quintessential bass lines
and percussions in rock music, with the colossal scale and thunder to boast in this
matching.
same name CD Seal (Sire W2 26627) and the mayhem of heavy-metal hard-rock
group's Metallica (Elektra 9 61113-2) that the Golden Dream’s surpassed
expectations. What once belonged in the realm of the solid-state devices was
now re-interpreted with a 300B-infused full-bodied tonal immediacy with powerful
dynamics not produced by other tube amplifiers, and the GD’s prompted the
Tannoy’s 15-inch Dual-Concentric™ into recreating the quintessential bass lines
and percussions in rock music, with the colossal scale and thunder to boast in this
matching.
ON PRE-AMPLIFICATION
Audio Note’s $10k, M5 preamplifier was instrumental in amassing more tonal sophistication in
connection with the Golden Dream’s. Yet, when driving speakers with compatible, complimenting
efficiencies, such as the Audio Note AN-E SEC Silver (94.5dB/8 Ohm), Royal Device Laura Studio Mk
II with Miranda Horn (98.5dB/6 Ohm) and Tannoy Churchill Wideband (95dB/8 Ohm), the Audio
Note DAC 5-driven Golden Dream monoblocks already garnered sufficient gain in exploiting the
speakers’ potentials on their own.
Furthermore, coupling the M5 to the Golden Dream monoblocks mandated a lowering of both the
monoblocks’ input level and the preamplifier’s volume to maintain my usual listening level, which
might have restricted each to operate at its own optimal.
Situations were different when the 90dB/6Ohm Genesis VI and the 82dB/8 Ohm Celestion SL700
were utilized, as the Golden Dream’s benefited from the M5’s extra gain, as the preamplifier
became pivotal in exploiting the speakers.
In this setup, what the Audio Note M5-driven, 230 Wpc/4 Ohm Linn Klimax Twin system was able
to induce from the Celestion was fundamentally equaled by the M5-coupled Audion Golden Dream.
Dimensionality and tonality of the Celestion continued to be exemplary when driven by the M5 and
Golden Dream’s, and the Linn Klimax Twin’s top-end delicacy, extension and tonal coherency was
very nearly matched by the the SET monoblocks, with the distinction of a fuller midrange, more
vivid tonality and slightly less extended frequencies .
With all taken into consideration, on their own, with the 47 Lab PiTracer and Audio Note’s DAC 5
Special at the helm, the Audion monoblocks-driven AN-E SEC Silver speakers exhibited highly
resolute disposition approaching that of the integrated Loth X JI300, manifesting superior
dynamics akin to those generated by the $9,000 Linn Klimax Twin.
Audio Note’s $10k, M5 preamplifier was instrumental in amassing more tonal sophistication in
connection with the Golden Dream’s. Yet, when driving speakers with compatible, complimenting
efficiencies, such as the Audio Note AN-E SEC Silver (94.5dB/8 Ohm), Royal Device Laura Studio Mk
II with Miranda Horn (98.5dB/6 Ohm) and Tannoy Churchill Wideband (95dB/8 Ohm), the Audio
Note DAC 5-driven Golden Dream monoblocks already garnered sufficient gain in exploiting the
speakers’ potentials on their own.
Furthermore, coupling the M5 to the Golden Dream monoblocks mandated a lowering of both the
monoblocks’ input level and the preamplifier’s volume to maintain my usual listening level, which
might have restricted each to operate at its own optimal.
Situations were different when the 90dB/6Ohm Genesis VI and the 82dB/8 Ohm Celestion SL700
were utilized, as the Golden Dream’s benefited from the M5’s extra gain, as the preamplifier
became pivotal in exploiting the speakers.
In this setup, what the Audio Note M5-driven, 230 Wpc/4 Ohm Linn Klimax Twin system was able
to induce from the Celestion was fundamentally equaled by the M5-coupled Audion Golden Dream.
Dimensionality and tonality of the Celestion continued to be exemplary when driven by the M5 and
Golden Dream’s, and the Linn Klimax Twin’s top-end delicacy, extension and tonal coherency was
very nearly matched by the the SET monoblocks, with the distinction of a fuller midrange, more
vivid tonality and slightly less extended frequencies .
With all taken into consideration, on their own, with the 47 Lab PiTracer and Audio Note’s DAC 5
Special at the helm, the Audion monoblocks-driven AN-E SEC Silver speakers exhibited highly
resolute disposition approaching that of the integrated Loth X JI300, manifesting superior
dynamics akin to those generated by the $9,000 Linn Klimax Twin.
CONCLUSION
In a side by side comparison, in spite of the 300B’s known, inherent tonal uniqueness, the Audion
Golden Dream monoblock’s was a less evocative tonal iteration of the Loth X JI300 Integrated
300B Amplifier, while enforced by a superior level of contrasting, vigorous dynamics, due
presumably to the company‘s exclusive “Self-Canceling Single-Ended“ circuitry. Relative tonal
modesty notwithstanding, the Golden Dream’s 300B-induced midrange remained captivating and
prevailing, its texturing pristine and refined. The Audion’s interaction with digital front ends of
varying degree of finesse, from the $5,500 Harmonix Reimyo DAP-777 DAC to the $30k Audio Note
DAC 5 Special, also revealed a refined, intrinsic nature that will compliment ongoing upgrades of
source component.
The Audion monoblocks were also among the most powerful, volume control-equipped 300B-based
SET amplifiers in today’s high-end audio environment, being able to vanquish all speakers at my
residence without need for a preamp, except for the Apogee Duetta Signature.
Therefore, the Audion Level 6 Golden Dream’s may well be the one glass device in a position to
capture the aspirations of transistor purveyors, while their expeditious transients and the
noticeably less flamboyant 300B tonal disposition will also stir controversy among SET aficionados
on the rationale of the design.
As one audiophile’s budget on amplifier can be another audiophile’s annual salary, none of us can
criticize the logic of the one who will not spend more than $500 on an amplifier anymore over the
other who can care less about spending over $10,000 on the same pursuit. For a device such as
the Audion Golden Dream that is capable of approaching the dynamics of the Audio Note/Linn
system while garnering Loth X-like SET tonality, if your sonic priorities coincide with my finding of
the Audion’s, and you listen only to a digital front end, or don’t mind changing connections when
necessary, then your investment of $16k will give you tremendous satisfaction in the long run by
acquiring the Audion Golden Dream monoblock amplifiers. Although there are two higher models
after the Golden Dream’s in Audion’s own lineup that will surpass the monoblock amplifiers, the GD’
s are unlikely to be matched at its asking price by any other designs for the encompassing
strengths.
In a side by side comparison, in spite of the 300B’s known, inherent tonal uniqueness, the Audion
Golden Dream monoblock’s was a less evocative tonal iteration of the Loth X JI300 Integrated
300B Amplifier, while enforced by a superior level of contrasting, vigorous dynamics, due
presumably to the company‘s exclusive “Self-Canceling Single-Ended“ circuitry. Relative tonal
modesty notwithstanding, the Golden Dream’s 300B-induced midrange remained captivating and
prevailing, its texturing pristine and refined. The Audion’s interaction with digital front ends of
varying degree of finesse, from the $5,500 Harmonix Reimyo DAP-777 DAC to the $30k Audio Note
DAC 5 Special, also revealed a refined, intrinsic nature that will compliment ongoing upgrades of
source component.
The Audion monoblocks were also among the most powerful, volume control-equipped 300B-based
SET amplifiers in today’s high-end audio environment, being able to vanquish all speakers at my
residence without need for a preamp, except for the Apogee Duetta Signature.
Therefore, the Audion Level 6 Golden Dream’s may well be the one glass device in a position to
capture the aspirations of transistor purveyors, while their expeditious transients and the
noticeably less flamboyant 300B tonal disposition will also stir controversy among SET aficionados
on the rationale of the design.
As one audiophile’s budget on amplifier can be another audiophile’s annual salary, none of us can
criticize the logic of the one who will not spend more than $500 on an amplifier anymore over the
other who can care less about spending over $10,000 on the same pursuit. For a device such as
the Audion Golden Dream that is capable of approaching the dynamics of the Audio Note/Linn
system while garnering Loth X-like SET tonality, if your sonic priorities coincide with my finding of
the Audion’s, and you listen only to a digital front end, or don’t mind changing connections when
necessary, then your investment of $16k will give you tremendous satisfaction in the long run by
acquiring the Audion Golden Dream monoblock amplifiers. Although there are two higher models
after the Golden Dream’s in Audion’s own lineup that will surpass the monoblock amplifiers, the GD’
s are unlikely to be matched at its asking price by any other designs for the encompassing
strengths.
| Associated Equipment: Digital Front End 47 Laboratory 4705-G Gemini Progression DAC 47 Laboratory 4707 PiTracer CD Transport Audio Note DAC One 1.1x Signature Audio Note DAC 5 Special GW Labs DSP Engine Harmonix Reimyo DAP-777 20bit K2 DAC Sony SCD-777ES SACD/CD player Amplification Decware SE84C GW Labs 270 tube power amplifier Harmonix Reimyo CAT-777 tube preamplifier Harmonix Reimyo PAT-777 300B SET power amplifier Linn Klimax Twin Loth X JI300 integrated amplifier Reference Line Preeminence Two passive preamplifier Reference Line Preeminence One Signature power amplifier] Z-systems RDP-1 Reference Digital Preamplifier Speakers Apogee Duetta Signature Audio Note AN-E SEC Silver Celestion SL700 ELAC CL330JET Genesis VI Loth-X BS1 Rethm 2nd Royal Device Laura Studio Mk II with Miranda Horn Tannoy Churchill Wideband Cabling Audio Note Sogon digital cable (1m, RCA) Audio Note Sogon interconnect (2m pair, RCA) Audio Note AN-Vx interconnect (1.5m, RCA) Audio Note AN-V silver interconnect (RCA 1m, 2 pairs) Audio Note AN-SPx speaker cable (2m, bananas, bi-wired) Audio Note AN-La copper speaker cable (8 feet, bi-wired) Canare L-5CFB 75-ohm digital cable (RCA, 1.5m) Canare D206 110 ohm digital cable (AES/EBU, 1.5m) Cardas Quadlink 5C (8 feet) Granite Audio #470 silver cables (RCA 1m, 2 pairs) Granite Audio #560 AC Mains (2) Illuminations D-60 75 Ohm digital cable (1.5m, RCA) Loth X Royal Device Bi-wire speaker cable Van den Hul MCD-352 (8feet) Accessories ISO Salamander Synergy 20 (2) ASC Tube Traps and Flat Traps |
| AUDION GOLDEN DREAM (LEVEL 6) 300B MONOBLOCK AMPLIFIERS by Constantine Soo February 2, 2004 |
