Review Context
The GaNMs were listened to in the main system, which consists of the CH Precision L1 preamplifier, CH Precision A1.5 power amp, and Magico S1 MkII speakers. In addition, I used the Driade Premium Model 9 and Apogee Centaurs.
As natural partners for the GaNMs, I also used the Harmony DAC and HP2A preamp. Digital sources include the Antipodes K50 and Grimm MU1 music servers and the Aqua Diva M2 CD transport. All interlinks are Driade Flow Link Reference 808, and the speaker cables are Driade Flow Reference 808.
All components, including the review components, are powered by the PS Audio P20 PowerPlant.
Listening – Driade Premium Model 9
When you first pick up a GaNM amplifier, it feels much lighter than expected. When setting it up and connecting cables, it shifts from its position relatively easily unless you use the supplied rubber-bottom spike bases. Naturally, a small footprint and not using a massive power transformer has this effect. Despite their low weight, the enclosure is built impeccably and feels very robust, oozing style and class, and I love their subtly sculptured look. The size is just right: compact, but assured and confidence-instilling, thanks to its tallness.
This pair had seen previous use by another reviewer and could be considered run-in. Nevertheless, I granted the amplifiers the best part of a day to properly “warm up”. I used quotation marks because, while idling, they never got warmer than room temperature. Only when using them for a prolonged period do they eventually get a little more than lukewarm, which speaks volumes about their efficiency.
To begin this review, I first positioned the Driade Premium Model 9 monitors and connected the GaN amplifiers using a second XLR cable from the L1 preamp. This setup allowed me to listen to the new amplifiers while keeping the main system intact.
One should be cautious not to underestimate these “cute” monitors. They are very revealing and provide a very good handle on the quality of any connected product, in any price class. For example, while the Magicos have excellent resolution, they still sound pleasant and musical when paired with the Accuphase E-270 integrated amplifier. In contrast, the Driades are more ruthless and make it abundantly clear that this amplifier lacks resolution and refinement, compared to my reference CH A1.5, The Swiss Beast provides a rare mix of resolution, control, fluidity, and refinement, which, unsurprisingly, perhaps, works superbly well with both the Magicos and the Driades.
I’ve listened to a broad variety of Class-D amplifiers across different price ranges. While some have truly impressed me with their fantastic sound considering their price, none have completely convinced me to overlook their switched design.
Even though I have reviewed several LAiV products and know that the weight of a component is not a trustworthy indicator, I still expected a somewhat lean sound, just because the GaNMs were so lightweight. Prejudice is hard to eradicate, even when one should know better…
Yet, what the GaNMs delivered completely caught me by surprise!
The first thing I noticed was the truly excellent bass. Of course, that is expected of Class-D. Control and definition are some of the most widespread advantages of this amplification technology. But there was none of the leanness or lack of body and tonal saturation, so often associated with Class-D. Additionally, the timbre was impeccably natural, with realistic textures, further augmented with direct-coupled highly communicative expression, toe-tapping pacing, and dynamic behavior to die for.
Furthermore, the GaNMs possessed not just all of the E-270’s confidence and stature, but even a similarly natural flow. In my book, that’s quite an achievement for any amplifier in this price range, and even more so for a Class-D design. The real kicker was that the Driades also effortlessly unveiled that the GaNMs were considerably more linear and transparent, and offer significantly higher resolution than the E-270.
These little beauties made the Driade monitors perform on a level that no amplifier under 10K has managed so far. In fact, they possessed certain qualities I only heard from reference-level amplifiers. This was far beyond expectation.
This prompted me to proceed immediately with fully integrating the GaNMs into the system.
Listening – Apogee Centaur
Like the Driades, the Apogee Centaurs should not be underestimated. They can sound absolutely fantastic or very poor, depending on the positioning and quality of the electronics. The Centaurs are the most unforgiving speakers I know, yet they sing beautifully when powered by the GaNMs!
With the Centaurs, once again, the GaNMs showed impeccable neutrality, with tightness and bass grip to challenge my big reference amplifier, combined with toe-tapping pacing, and a super-engaging, highly communicative midrange. The sound was projected more forward, but this was not unpleasant, as it also raised the sense of involvement.
The Centaurs left no doubt about the CH A1.5’s superiority in the areas of finesse, fluidity, elegance, and low-level resolution, and it would have been a miracle if this were any different. Nevertheless, the sound was continuous, not at all choppy or dry, and very far from sterile. Moreover, the combination sounded so confident and engaging that I soon slapped a mental “approved” label on them, stopped analyzing, and simply continued listening to the music.
Blind Test
I liked the GaNMs so much that I decided to keep them connected for the weekly Vinyl Listening Session with my friend Wouter, who has developed the most elaborate record-cleaning routine imaginable, using three different cleaning machines and endlessly repetitive to-and-fro cycles. I realize this is wholly unrelated to the review at hand, but I must note that you have not truly heard what vinyl is capable of until you have heard thoroughly cleaned records.
In any case, I figured our upcoming vinyl session was the perfect opportunity for a blind test by not telling him we were listening to different amplifiers. I usually have all the displays switched off, so he would be none the wiser with the GaNM displays also switched off.
As we played record after record and Wouter made no remarks other than enjoying the music, I decided to let him in on the secret, to which he responded: “Ah, so that was why the sound was so upbeat and enthusiastic!” Rather tellingly, he did not pick up on the lower resolution until I made an A-B comparison to illustrate this. But even then, the performance was so entertaining that we chose to continue with the GaNMs for the remainder of the session.
Sometimes, an audio component can be impressive during a first session, only for the effect to wear off with extended exposure. However, this did not happen with the GaNMs. In the days that followed, I kept enjoying the amplifiers without feeling the need to switch back. And so, I decided to repeat the involuntary blind test the following week with another friend, MP, using CDs he brought along. Like Wouter, MP had no observations whatsoever, other than that he enjoyed the music and felt it sounded very good.
I should note that Wouter and MP are less concerned about ultimate resolution than I am, but they are both very sensitive to the musicality of the performance.
What this tells us is that while there remains a significant gap between the performance of advanced Class-D amplifier designs and true reference-level Class A/B amplifiers, the differences are no longer primarily found in the areas one might typically associate with Class-D amplifiers.
It’s no longer a matter of accepting a technically impressive performance that lacks musicality and emotional depth. The LAiV GaNMs actually Make Music!
Next: Listening with Magico S1 MkII
