{"id":39914,"date":"2025-05-06T08:11:40","date_gmt":"2025-05-06T06:11:40","guid":{"rendered":"https:\/\/www.hifi-advice.com\/blog\/?p=39914"},"modified":"2026-03-30T19:22:58","modified_gmt":"2026-03-30T17:22:58","slug":"westminsterlab-quest-preamp-and-rei-mono-power-amps","status":"publish","type":"post","link":"https:\/\/www.hifi-advice.com\/blog\/amplifier-reviews\/power-amplifier-reviews\/westminsterlab-quest-preamp-and-rei-mono-power-amps\/","title":{"rendered":"WestminsterLab Quest preamp and Rei mono power amps"},"content":{"rendered":"

Review organized by Marc Loubeau \/ Prestige Audio Diffusion<\/a>
\nReview sample provided by Prestige Audio Diffusion<\/a>
\nRetail prices including VAT:
\nQuest preamp: 25.490 euro
\nOption Extended Carbon Pack: 2.690 euro
\nOption RCA input card: 1.990 euro
\nOption MC\/MM Phono RCA input card: 6.490 euro
\nOption MC\/MM Phono XLR input card: 6.490 euro
\nOption DS AUDIO Phono RCA input card: 6.490 euro
\nRei mono power amp (pair): 36.390 euro<\/h4>\n

About WestmionsterLab<\/h3>\n

WestminsterLab’s company motto is “Experience music as it is”. In a word, the designers aim to provide the complete music experience. <\/span>One may ask for specific aspects of music experience – detail, treble, bass, staging, clarity, low distortion, or emotion. As life is – good or bad, newly born or of old age, laughing or crying, up or down, war or peace, love or hate, it is also with music. One may choose either side. WestminsterLab <\/span>is not choosing any single aspect but instead wants to allow the whole to reveal itself. Beyond this, the company indicates being unable to describe the enigma, indicating that<\/span>\u00a0adding more <\/span>words is totally futile. Instead, they invite us to experience<\/em>\u00a0the music as it is.<\/span><\/p>\n

As an interesting side note, Marc Loubeau, the organizer of the review, told me that WestminsterLab also uses Apogee Acoustics loudspeakers for the development of their electronics. Upon asking, Angus Leung confirms they have a pair of Divas that are indeed used as one of their reference speakers.<\/p>\n

The timing of this review could not be more ideal, as I currently have two sets of Apogee speakers available: the Centaur, and the Duetta Signature, both in perfect original condition.<\/p>\n

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Quest Preamplifier Description<\/h2>\n

The Quest aims to be the perfect preamplifier to accompany the Rei power amplifier and the company’s cable lineup, completing the connection between your audio source and speakers. It sets out to redefine how a preamplifier contributes to the system and extracts the maximum potential from both the recorded music and the music reproduction system.<\/p>\n

During the project’s inception, WestminsterLab extensively questioned the role of the preamplifier in an audio system and challenged whether it was truly necessary. They sought to understand the qualities that an added stage can bring and how it can improve the outcome. With a fresh start, they thoroughly investigated the relationship between the source and the amplifier, carefully examining each preamplifier section to improve every part and explore the synergy between them.<\/p>\n

In the early stage of the development of the Quest, it was decided to remove any unnecessary or distracting controls, following the logic of “less is more”, fewer features, in this case, meaning there is less that can affect the sonic performance”. This is why the Quest preamplifier has no buttons on its front panel. The only two switches are underneath, reachable via the bottom: one on the far right for power and one in the middle for the grounding method.<\/p>\n

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Grounding<\/h3>\n

The grounding design has a substantial effect on the performance, especially with delicate signals. The company’s Hybrid Grounding feature allows users to switch between two grounding modes, enabling customization for optimal performance. As the manual mentions: “By default, the toggle switch is on Mode I (handle to the right). Mode I is a less aggressive mode in terms of grounding, and it should yield great results with most systems in the world. Mode II (handle to the left) brings more body, texture, speed, and micro dynamics to the music, but it may also bring slightly more noise to some systems”.<\/p>\n

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Dual Mono Fully Balanced<\/h3>\n

The Quest preamplifier features a dual mono, fully balanced design that isolates left and right channels for exceptional separation and clarity and minimizing interference and crosstalk.<\/p>\n

Precision Volume Control<\/h3>\n

Signal attenuation is a vital function of a preamplifier, allowing precise control over signal strength. Various methods, such as optical couplers, autotransformers, and resistor ladders, impact sound quality differently. After careful testing, WestminsterLab determined that a shunt-type stepped resistor network was the best choice for their preamplifier design. This system features four channels, each with a 64-step precision resistor network and ultra-low-noise relays, supported by dedicated power regulators and supplies. The control logic is kept simple to minimize interference and enhance sound quality. The preamplifier includes a large LED display that even my aging eyes can easily read sitting 6 meters away and a remote control, avoiding complex circuits that could introduce noise.<\/p>\n

Power Supply<\/h3>\n

The Quest\u2019s power supply is essential for its musical performance, featuring 10 separate power rails designed to isolate different channels and sections. Each rail is customized to meet the specific needs of various components, optimizing performance and minimizing interference for ultra-low noise levels. Dedicated transformers and power supplies for the non-audio sections further prevent noise from affecting audio signals, ensuring sound purity. A 2-stage linear regulation method maintains precise control in critical areas, especially for sensitive components, minimizing distortions.<\/p>\n

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Both the Quest preamplifier and the Rei mono power amplifiers are fitted with custom solid brass footers with a special anti-oxidization coating.<\/em><\/p>\n

Compartmentation and Shielding<\/h3>\n

WestminsterLab has taken extensive measures to protect the fragile signals passing through the Quest. Many signal-handling relays feature a soft start mechanism, and sections within the unit are isolated and compartmentalized, ensuring that cross-interference is minimized.<\/p>\n

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Customers who want the best of the best can choose to purchase the extended carbon fiber option, which adds an additional layer of carbon fiber shielding inside the unit. As can be seen in the image below, this extra shielding covers the input, output, volume, and power supply sections, and this is said to enhance the background darkness, micro-details, texture, and emotion of the music playback.<\/p>\n

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Expandability<\/h3>\n

At the back of the unit are two slots for future expansion modules, allowing users to add custom input functions easily. This design ensures adaptability and compatibility with emerging technologies, enabling users to enhance the unit’s capabilities without needing to buy a new device.<\/p>\n

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WestminsterLab is proud to collaborate with DS Audio, a leader in cartridge production, to introduce our optical cartridge reproduction. This partnership expands cartridge choices and equalization solutions for DS Audio customers, reinforcing our commitment to exceptional audio experiences.<\/p>\n

DS Audio module<\/h3>\n

The integrated DS Audio module for the Quest features an advanced coupling capacitor and signal-handling technology, ensuring quick response, minimal distortion, and accurate vinyl reproduction. The module has a dedicated power supply for the cartridge’s LED enhances stability, while two built-in high-pass filters\u2014”Disable” and “-6dB (20Hz)”\u2014offer sound customization. Certified by DS Audio, this module guarantees compatibility and performance with DS Audio cartridges.<\/p>\n

MM\/MC Phono<\/h3>\n

The phono module features a three-stage amplification design optimized to minimize distortion while seamlessly integrating with the RIAA equalization of each stage. Custom capacitors have been developed specifically for this application to achieve the highest audio fidelity, significantly reducing distortion and coloration.<\/p>\n

RCA Input<\/h3>\n

The Quest provides a fully balanced signal and XLR connectivity, but many iconic audio sources only offer a single-ended RCA output. To bridge this gap, WestminsterLab has developed a dedicated single-ended to balanced converter that preserves the input signal’s unique qualities.<\/p>\n

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Two Infrared Remote Controls<\/h3>\n

An infrared remote control is an essential part of any audio product, but in the case of the Quest, which has no buttons, it is particularly vital. This is why WestminsterLab supplies each Quest preamp with two remote control units. This way, there is always a backup. The remote control has been redesigned, and new orders will be fulfilled with a sleeker version with larger flat buttons, as shown here.<\/p>\n

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Next: Rei description<\/em><\/p>\n

<\/p>\n

Rei mono power amplifiers Description<\/h2>\n

The development of the Rei amplifier began when WestminsterLab realized the overwhelming love and admiration people had for the company’s first amplifier, UNUM. Witnessing the joy and excitement the UNUM brought to enthusiasts, the company embarked on creating a new iteration that would be more accessible in terms of affordability while preserving the essence and uncompromising performance that made UNUM exceptional. In short, the goal was to bring the cutting-edge technology and sonic experience of UNUM to a broader audience.<\/p>\n

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The UNUM was a test bed for all new ideas 10 years ago, such as point-to-point soldering, power supply design, bias control, material testing (PEEK, Teflon, etc.), heatsink design, and more.\u00a0 A lot has changed since then. The biasing system has gone from AB to A, and the chassis design, mechanical vibration control, power supply rails, and internal divisions have changed. Overall, the architecture is still similar, and there are many cues that the Rei has been developed from the UNUM, but the Rei is a more refined model in terms of tuning and voicing.<\/p>\n

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Not Typical Class A<\/h3>\n

The Rei amplifier, inspired by the legendary UNUM, operates in Class A with an output of up to 400 Watts. It features the company’s proprietary iBias and CCS systems, allowing for a faster warm-up time than typical Class A amplifiers. iBias technology (which, I believe, is similar to Krell’s Sustained Plateau Bias) adjusts the bias based on the amplifier’s current and load, delivering the advantages of Class A amplification while minimizing heat generation and power consumption.<\/p>\n

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Transistors matching<\/h3>\n

WestminsterLab takes a unique approach to transistor matching in amplifier design. Their transistors are carefully matched within a 1% tolerance across multiple working points on the curve. These matched transistors are stress-tested for hours under heavy loads to ensure reliability and performance. This rigorous process allows the Rei amplifier to deliver an impressive 400 watts of Class A power in a compact design.<\/p>\n

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Mechanical Construction<\/h3>\n

Stability and rigidity are crucial for a high-quality amplifier. A stable chassis allows signals and power to flow smoothly, minimizing disturbances.\u00a0The Rei amplifier’s mechanical structure differs from that of UNUM. Instead of a single unibody, it features two CNC-machined aerospace-grade 6063 aluminum components. This design isolates mechanical vibrations between the power supply and the amplifier electronics, reducing the transmission of vibrations that can affect sound quality.\u00a0Moreover, the external panels of the amplifier are designed to absorb micro-vibrations from the speakers while keeping resonances away from the audio spectrum. They are anchored to the power supply chassis, ensuring separation from sensitive audio components.<\/p>\n

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Asymmetric Heatsink Design<\/h3>\n

The heatsink is essential for the chassis where the “amplifier” electronics are mounted. Designing it poses engineering challenges, as it must provide mechanical stiffness while allowing for efficient heat dissipation. However, balancing these needs can lead to unwanted sound absorption. To resolve this, the Rei amplifier uses a unique asymmetric fin design for its heatsink, reducing resonance effects and minimizing sound quality impact. The heatsink’s aperture is also managed by surrounding body panels to limit exposure to audio vibrations, further reducing interference. These design features enable the Rei amplifier to effectively manage heat while preserving sound quality, ensuring stable operation with minimal audio signal interference.<\/p>\n

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Power<\/h3>\n

The design of the power supply is a crucial yet often overlooked aspect of amplifier design. A quality power supply provides low-noise voltage and current while maintaining these characteristics under demanding loads.\u00a0Its ability to quickly respond to sudden load changes is vital for achieving the Rei amplifier’s exceptional clarity and precision.<\/p>\n

Ultra-thick PCB<\/h3>\n

The printed circuit board (PCB) is a crucial component in amplifiers, connecting various elements within the system. If neglected, it can become the weakest link. After years of testing and collaboration with its supplier, WestminsterLab has developed an ideal PCB design with an ultra-thick, ultra-pure copper layer. According to the manufacturer, this advanced PCB enhances signal purity, speed, and transparency and rivals traditional point-to-point soldering.<\/p>\n

Next: Review Context and Listening to the Rei power amplifiers<\/em><\/p>\n

<\/p>\n

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Review Context<\/h3>\n

The Quest and Rei were listened to in the main system<\/a> that consists of the CH Precision C1.2<\/a> DAC, CH Precision L1<\/a> preamplifier, CH Precision A1.5<\/a> power amp, and Magico S1 MkII speakers. Digital sources include the Antipodes K50<\/a> and Grimm MU1<\/a> music servers, and the Aqua Diva M2<\/a> CD transport. All interlinks are Driade Flow Link Reference 808<\/a>, balanced and unbalanced, and the speaker cables are Driade Flow Reference 808<\/a>.<\/p>\n

The CH components are placed on Artesania Exoteryc<\/a> and Aire<\/a> racks with Carbon Fiber Linear Arms<\/a>, and the digital sources are placed on HRS EXR<\/a> Audio Stands. The WestminsterLabs components were listened to on both racks, as well as on an Artesania Organic Line Modular Floor Platform<\/a>.<\/p>\n

In addition to the usual Magico S1 loudspeakers, I also used the Apogee Centaur, Apogee Duetta Signature, and Driade Premium Model 9<\/a>.<\/p>\n

All components, including the review components, are powered by the PS Audio P20<\/a> PowerPlant.<\/p>\n

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Listening – Rei power amplifiers<\/h2>\n

Rather than listening to the two WestminsterLab components as a system, I wanted to assess precisely how the two WestminsterLab components differed from the CH Precision components. To that end, I set up the Quest preamplifier and Rei power amplifiers in parallel and started with the power amplifiers positioned on an Artesania Modular Floor Platform. This platform has a different effect on the sound than the Artesania Aire platform used for the CH power amp, but I figured the differences between the amplifiers would likely outweigh this.<\/p>\n

Maybe it’s the iBias and CCS systems, which are said to allow for a faster warm-up time than typical Class A amplifiers, but, holy guacamole, even when started cold, the Rei’s impressed me right away. This was Love at first listen. As the amplifiers warmed up, they did not change much at all. All I heard was a slight increase in fluidity and refinement and the evaporation of a slight initial dryness, but otherwise, I feel they perform simply sublimely even when cold. In this regard, they behave very similarly to the CH amplifier. Speaking of which, even after playing for hours on end, thanks to their adaptive iBias system, the Class-A Rei’s don’t get any warmer than the Class-AB CH A1.5.<\/p>\n

The Rei’s are characterless in the best sense of the expression. They are so beautifully clean and utterly neutral that they are hard to describe. Where should I start? Well, let’s address the central question first, shall we? How do the Rei’s compare to the CH A1.5?<\/p>\n

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Well, I must confess being worried for a minute, as the differences between the two are far more minor than anticipated! It took me a couple of cable swaps before I could reliably identify them. Basically, in this first comparison, the two were predominantly comparable, the only exceptions being that the CH A1.5 is a little airier and more refined, as well as a little sweeter, and the WestminsterLab Rei’s are punchier, more planted, and a little more expressive. I have to say, I loved the extra confidence and expression of the Rei’s but found them ever so slightly boomy and preferred the agility and air of the CH. But, of course, although I used the same Belden power cables and Driade interlinks, the two amplifiers were positioned on different stands. To make absolutely sure, not expecting a world of change, I made room on another Aire platform to position the Rei’s.<\/p>\n

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Wait… these were the same amplifiers? The earlier noted boominess was gone, replaced by fast-paced incisiveness and agility while maintaining confidence and expression. Holy cow. I knew all too well that the two Artesania stands sounded different, but it now became clear that they were responsible for most of the perceived differences between the two amplifiers. With the CH power amplifier’s gain set to +3dB to match the Rei’s, rather than compensating by the same amount on the CH preamp, they get even closer to one another.<\/p>\n

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Playing under the exact same conditions, the two amplifiers now sounded so much alike that it became hard to form a preference for one over the other. It also became more challenging to get a good grasp of the differences. One thing that was very clear from the start is just how neutral and transparent the WestminsterLab amplifiers are.<\/p>\n

After hours of further comparisons, I wasn’t any closer to describing the Rei’s in and of themselves. However, by now, I have gotten a good handle on how they differ from the CH A1.5. The most obvious difference I heard is what can best be described as a little more carved-from-granite in the bass and very slightly more exuberant (Rei) and a little airier and refined (A1.5). Otherwise, I could not immediately get a firm grip on potential other differences. \u00a0I should add that this rarely happens. There are always differences, usually several of great magnitude. But this time, we’re talking nuances. At this stage, that is already a massive compliment for WestminsterLab. Honestly, I could swap the amplifiers and continue my review work and casual listening as if nothing had changed.<\/p>\n

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To my increasing astonishment, successive comparisons using various different tracks did not make it any easier. If anything, I felt the two amplifiers blended into one another, making it even harder for me to tell which of the two was playing. To further prove this point, when walking back into the listening room with both amplifiers switched on, having forgotten which one I left last connected, hand on my heart, I could not tell which one I was hearing. Clearly, both strive for the same thing: absolute neutrality.<\/p>\n

But upon persevering, a few differences ultimately emerge. Under equal circumstances, the Rei’s are slightly more confident, immediate, and incisive but also a little drier and less airy, although not dark. Dynamic bursts appear just slightly more sudden. With some speakers, but not the Magicos, I can imagine the Rei’s can attribute to the sound becoming a little dry or direct, or, rather, not quite as dreamy as some may desire. The A1.5, on the other hand, is airier and more fluid and refined, as well as a little more laid back, making it more forgiving as well as slightly less expressive.<\/p>\n

There is no perceivable difference in resolution, linearity, transparency, control, timbre, fluidity, or even the flow and soundstaging. Well, perhaps the Rei’s can appear<\/em> ever so slightly more forward, but that is more a function of their slightly more incisive nature. Heck, the WestminsterLab amplifiers even manage to exert just as tight of a grip on the Magico woofers with the same level of articulation. And that is an absolute first.<\/p>\n

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Next: Apogee Duetta Signature and Centaur, other amplifiers, and listening to the Quest preamplifier<\/em><\/p>\n

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Apogee Duetta<\/h3>\n

The Rei’s also sound absolutely fantastic with the Apogee Duetta Signatures, exerting superb grip on their bass foils and making them sing with even more expression and conviction. Again, it’s remarkable how the Rei’s combine control and definition with grace and fluidity, and increase the realism. Even more so than the Magicos, the Duettas are an open window on the upstream components, but even so, there was simply no faulting the Rei’s in any way. Oh, yes, I could live with these amplifiers so very easily!<\/p>\n

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Apogee Centaur<\/h3>\n

The Apogee Centaurs (the mid model between the Centaur Minor and Major) are perhaps not the best Apogees, but they are extremely revealing and even more critical than the Duettas or Divas. Their ribbons are the most open of all Apogees I have heard, and the treble can be ear-piercing if you use the wrong cables or equipment. But, you guessed it, the Centaurs absolutely sang with the Rei’s. Yes, the sound was immaculately clean, open, and precise, but no, there was zero edge or aggression, let alone any audible crossover distortion. Evidently, the iBias system works flawlessly!<\/p>\n

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As amazing as their midrange\/tweeter foils are, the Centaurs are ultimately compromised by a cheap Vifa bass driver in a relatively simple enclosure. Even after having re-tightened the woofer screws and all the screws that attach the bass cabinet to the front panel, they produce a somewhat boxy and lumpy bass that can become a distraction in a non-ideal marriage. But again, while the Rei’s did nothing to hide this aspect, as a smooth-sounding amplifier would, they did not exacerbate it. In fact, despite the speakers’ shortcomings, the combination sang so purely and intimately that I continued playing music with this combination for the remainder of the evening.<\/p>\n

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Other amplifiers<\/h3>\n

One might ask what is the point of a super-duper neutral power amplifier at this price point, if we can also have an Analog Domain M75P<\/a> for 10.000 Euro less, or a Bryston 4B Cubed<\/a> power amp, or a Bi-200 integrated for a third of the Rei’s price. After all, neutral = neutral, right?<\/p>\n

Well, yes, to some extent, it is, and the aforementioned amplifiers are indeed very good. However, and this is a big one, neutrality is only one of many desirable sonic aspects that combine to create the complete experience. It may be hard to imagine without having heard these amplifiers side by side but having done so using very revealing speakers, I can confirm the aforementioned amplifiers are similar only in terms of neutrality and lack of coloration. Otherwise, the differences are substantial<\/em>\u00a0and apparent in every conceivable audiophile parameter.<\/p>\n

What it boils down to, ultimately, is that the WestminsterLab Rei does not just reproduce music, but it makes everything you play sound hugely realistic<\/em>. And that, dear friends, is what I think the audio hobby is all about.<\/p>\n

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Listening – Rei power amplifiers + Quest preamplifier<\/h2>\n

Now that I had a complete understanding of the Rei’s performance, I decided to add the Quest preamplifier. With audio equipment this transparent, I feel that it is essential to investigate all variables. Thus, even though the HRS EXR rack has a very different impact on the sound than the Artesania Exoteryc (where the CH preamp is placed), I still wanted to start with the Quest on the HRS rack. This way, I could observe whether the Quest responds to a rack the same way as the Rei amplifiers.<\/p>\n

To start off, I connected the Quest preamplifier with a Belden power cable. This is another deviation, as I typically power the CH L1 preamp with a GigaWatt PowerSync Ultra. Alas, I have only one of these cables, hence the Belden. I will address this later, but first, let’s dive in.<\/p>\n

The Quest has only two switches: one for power and one for the grounding method. I started with the ground switch in the default position (mode I, handle to the right). Rather than listening to the Quest while cold, I allowed it plenty of time to warm up and kept it powered on between listening sessions.<\/p>\n

To my surprise, the preamplifier’s sonic presentation proved quite different from the Rei power amplifiers, appearing rather smoother, sweeter, and more relaxed than the L1 preamp, and arguably less strictly neutral, or in other words, more characterful, than the Rei monos. However, the Quest also has an immediately beguiling organic nature reminiscent of what tube amplifiers typically do so well. However, as lush and impressively “non-transistor-y” as it performed, I found the sound too rounded, laidback, and lacking excitement.<\/p>\n

Nevertheless, despite the added lushness, the Quest remains very neutral, and, importantly, it retains 100% of the resolution. There is no coloration or congestion here.<\/p>\n

Ground Switch<\/h3>\n

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As soon as I toggled the ground switch to the left (mode II), everything popped into focus. The sound became a little less soothing and romantic than with the switch in the default position, but the bass became faster, tighter, and more articulate, and the excitement and involvement increased. Meanwhile, the sound was still beautifully fluid and refined, and the treble remained liquid and deliciously delicate. At this point, I was reminded of the Spectral DMC-30SV for offering a similar combination of lushness and sweetness with superb resolution.<\/p>\n

Now, we were more closely approaching the neutrality of the Rei monos, but just falling short of equalling them in this respect. Coming from the L1, the Quest was not as fast, articulate, and direct, and slightly less airy. I could not help feeling that the preamp still reduced the amazing tightness, openness, and expression of the Rei’s.<\/p>\n

Now, it was time to eliminate the variables and get to the core of the Quest’s performance. First, I aligned the power cables. Because I do not have a second GigaWatt PowerSync Ultra, I decided to use the same Belden 19364 with Bals schuko and Oyaide C-004 IEC for the CH preamp as I used for the Quest. This made the L1 sound comparatively leaner and less organic, but it did not otherwise change the relation between the two preamplifiers. The CH remained airier, more fluid, and more spacious. After this, I tried two other power cables, but that still did not change the reciprocal differences.<\/p>\n

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Lastly, I needed to address the matter of support. To more closely align the circumstances for the two preamplifiers, I placed the Quest on top of the CH C1.2 DAC. This may seem a bit crude or unfair, but I should mention that this component is built extremely sturdily, and it has proven to work very well as a support base for a wide range of components, passing on the properties of the rack it sits on without adding anything other than a feeling of a little more substance. I used thin paper underneath the Quest’s metal footers to protect the CH DAC’s surface. I will accept that the paper is probably still not 100% sonically inaudible, but the effect sure is negligible.<\/p>\n

The support change had a noticeable impact, and just as it happened with the Rei and the A1.5, this brought the two preamplifiers closer to one another. However, they do not come quite as close to one another as the two power amplifiers did.<\/p>\n

Before I give the impression of being underwhelmed by the Quest, I should add that I am describing how it deviates from the Rei monos and the L1 preamplifier. Musically, however, the Quest is an impressive preamp that eschews any transistor-like qualities and even offers certain qualities that are typically reserved for tube amplifiers. Despite its lushness, the Quest remains very neutral, and, importantly, it retains 100% of the resolution. Additionally, it produces a large soundstage that extends as much behind the speakers as in front, and possesses a beautiful room-filling aura. The L1, in comparison, sounds quite a bit flatter and more down-to-earth. The Quest’s arguably most alluring quality is that it makes everything sound realistic, sometimes even more so than the L1. With small ensembles using real acoustic instruments, for instance, where vocals and string instruments appeared particularly natural and credible.<\/p>\n

However, the Quest remains a little soft and round in the bass, less articulate and controlled, and overall a little less explicit than the CH L1, and its treble, while easily as delicate and refined, is slightly less open and airy. On the other hand, the Quest is easily as revealing as the L1 and every bit as agile, expressive, and dynamic, and timbrally as well as texturally, the Quest can be even more convincing.<\/p>\n

Naturally, these products should ultimately not be dissected separately but judged as a combo. As such, I feel the Quest takes away a little from the Rei monos’ crispness and directness. On the other hand, the Quest could also be considered the ideal companion to lend more smoothness, body, and soul to the Rei monos. The Quest-Rei combo is ideal for those who seek not just to “Experience music as it is” as the company motto successfully embodies, but also prefer to have it presented in a lush and relaxed manner, with a touch of romance.<\/p>\n

Next: Sidenotes and Conclusion<\/em><\/p>\n

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Sidenotes: Mechanics<\/h3>\n

The Quest preamplifier is dead-quiet; even with your ear on the top panel, it is entirely silent. However, both Rei amplifiers produce a mechanical hum that can be heard within a range of about three meters in a quiet room. In my listening position, I could still faintly hear it, but only when there were no other sounds in the room. The hum was inaudible as soon as music played, even at a whisper-quiet level. As Angus Leung explains, this is by design:<\/p>\n

“The O-core transformers we use in the Rei should be quite resistant to humming (mechanical vibration). But if they get saturated, the only way to dissipate that energy is through mechanical vibration. Another solution to avoid this is to pot the whole transformer, which in our case is a space issue (we end up with a much smaller transformer), but more importantly, we prefer the acoustics of a non-potted transformer”.<\/em><\/p>\n

It has been suggested that my household mains power may contain DC components. I cannot test this, but I should add that the P20 can reduce small amounts of DC. In any case, even if we accept that my mains power could be the culprit, it is likely that this will also be the case for many other households.<\/p>\n

To be clear, it is not unique for an amplifier to emit a bit of hum. Countless products do this, and the ones that don’t usually either use switched power supplies (e.g., Soulution) or have transformers that are potted (e.g., Accuphase) or mounted in or on rubber (e.g., CH Precision). However, I should note that the hum remains present whether the Rei power amplifiers are connected directly to the untreated mains power or are powered by the PS Audio P20 PowerPlant. Incidentally, the P20 contains a huge toroidal transformer itself, which does not hum.<\/p>\n

The Rei’s enclosures produce a couple of fast-transient “clanks” as the amplifiers warm up or cool down. As Angus Leung explains, this is also by design:<\/p>\n

“The heatsink of the Rei is a key structure to the unit chassis; panels are mounted to the heatsink as a structural element, all panels are part of the unit’s structure, and the tolerances of these panels are very tight. Unlike most amplifiers (especially class A amplifiers), where a steel chassis is used, heatsinks are mounted to the chassis, with cladding on the outside for the appearance. The conventional design has more margin of expansion available for components to expand and contract. We rarely observe the noise, but it happens more often when the ambient temperature is cold”.<\/em><\/p>\n

That does make a lot of sense. I can add that I also observed this effect with Jeff Rowland model 6 power amplifiers, where the entire enclosure was simultaneously the convection heatsink. It is nothing to worry about, even if it can be startling when first observed.<\/p>\n

\"\"<\/p>\n

Conclusion<\/h2>\n

Since I reviewed the CH Precision components and made them a central part of my system, I have seen several preamplifiers and power amplifiers come and go. A few performed surprisingly well considering their price, and some offered interesting features with notable strengths, but always at the expense of other qualities. So far, only one amplifier has performed at the same overall level, the Soulution 711<\/a>, and only one that exceeded it in a few key aspects: the Halcro Eclipse<\/a>. Both are significantly more expensive. Now, we can add WestminsterLab to this very short list.<\/p>\n

The Rei power amplifiers are magnificent. Utterly neutral and highly revealing, yet fluid and delicate, they combine everything one could expect from an ideal power amplifier while being massively expressive and dynamic.<\/p>\n

While the Quest preamp deviates from the Rei monos with its lusher, smoother, and more relaxed nature, it is a superbly liquid and natural-sounding preamp with resolution and musicality in equal measure. As a combo, the Quest works harmoniously with the Rei’s toward the company’s goal of providing the essence of the music, or, as the company so very rightfully puts it: “Experience music as it is”, without tipping over to a lean, dry, or anemic experience.<\/p>\n

 <\/p>\n

\"\"
\nWestminsterLab Rei mono power amplifiers<\/p>\n

\"\"
\nWestminsterLab Quest preamplifier<\/p>\n

 <\/p>\n

Manufacturer: WestminsterLab<\/a><\/p>\n

PRESTIGE AUDIO DIFFUSION
\nDistributor for France & Monaco<\/p>\n

Contact : Marc Loubeau
\nTel\u00a0: +33(0)6 49 89 68 88
\nEmail\u00a0:\u00a0contact@prestigeaudio-diffusion.fr<\/a>
\nWebsite: www.prestigeaudio-diffusion.fr<\/a><\/p>\n

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