Although there is only one set of speaker binding posts, the amps can be configured for 8, 4, or 2 ohm loads by a simple operation of changing a set of internal connections. The circuit is fully balanced, input to output-even including the output transformers. The driver and output stages are direct- rather than capacitor-coupled, to improve transient response and to avoid any signal blocking that might occur due to residual charge on the capacitors. The basic circuit uses four 6922 tubes as the input/driver stage, followed by a pair of 5687s for high-voltage drivers, and eight 6550C output tubes. It combines a tried-and-true tube circuit with modern, innovative engineering. Starting from a purely analytical perspective, the Power 3's spec sheet confirms that it's a serious assault on the state of the art. Its $9999/pair price tag isn't exorbitant by today's standards, but still, this isn't a case of an amplifier being "good for the price" or "a reasonable compromise." I expect a product like the Power 3 to do it all: to amaze and impress my analytical side, and to enchant and captivate my heart. SF has earned a reputation as a high-end heavyweight, and the Power 3 is their flagship amplifier. This contradiction-or spectrum of response-is the backdrop against which the Sonic Frontiers Power 3 must be judged. The solid-state model was a technical marvel whose engineering and performance I truly admired, but when the lights went down and the music went on, I unfailingly found its tube sibling more satisfying. Perhaps the best example in my recent history is a pair of integrated amps I auditioned a few years ago: one tube, one solid-state, both from the same manufacturer. The music never connected with me emotionally, never captured my heart. Yet they manage to be more musically satisfying than CD's "perfect sound forever." Conversely, when the Melos SHA-Gold preamplifier of a few years back impressed me mightily, though I was hard-pressed to come up with specific criticisms of its performance, it never seemed as musically satisfying as an analysis suggested it should be. LPs, for example, have obvious flaws and don't appeal to my logical side. Whatever the reason, it's rare that an audio component excels across the board: from the most analytical perspective to the most emotional. Or it could be a contradiction that's inherent in trying to apply a fragmented, analytical picture to something as emotional and organic as my reaction to music. Perhaps this reflects shortcomings in my analysis or communication skills. Inevitably, there's a huge gap between a dispassionate accounting of a component's pluses and minuses and my holistic, emotional response to the music it produces. This struggle is often in full force when I venture into the audio world. However, things like a house full of castaway dogs, or a garage full of quixotic British cars and Italian motorcycles, suggest that my heart holds sway reasonably-perhaps distressingly-often. This is true in a lot of cases most of my actions and decisions are based on straightforward, logical analyses. I'm an engineer, so it seems as if my cold, calculating side should have the upper hand. Fax: (905) 632-0183.The internal battle between the head and the heart, between the analytical and romantic sides of our nature, is a difficult one. (2005), 205 Annagem Blvd., Mississauga, Ontario L5T 2VI, Canada. (1996), 2790 Brighton Road, Oakville, Ontario, Canada Paradigm Electronics Inc. Approximate number of dealers: Not known. Power output: 110W continuous into 8, 4, and 2 ohms (20.4dBW), terminated with rated load, 20Hz–20kHz, with 50. Tube complement: eight 6550/KT88s (output), six 6922s (input/voltage amp), and two 5687WBs (driver cathode followers). Description: Push-pull, tube stereo power amplifier.
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