{"id":40491,"date":"2025-06-07T21:03:03","date_gmt":"2025-06-07T19:03:03","guid":{"rendered":"https:\/\/www.hifi-advice.com\/blog\/?p=40491"},"modified":"2025-06-26T21:26:17","modified_gmt":"2025-06-26T19:26:17","slug":"laiv-harmony-ganm","status":"publish","type":"post","link":"https:\/\/www.hifi-advice.com\/blog\/amplifier-reviews\/power-amplifier-reviews\/laiv-harmony-ganm\/","title":{"rendered":"LAiV Harmony GaNM"},"content":{"rendered":"

Review sample provided by LAiV Audio<\/a>
\nRetail prices:
\n4.494 USD per pair + VAT (5.129 Euro in EU)<\/h4>\n

Singapore-based manufacturer LAiV is on a roll!<\/p>\n

In September of last year, the company announced a complete product line as part of the Harmony range. With the recent release of the GaNM mono power amplifiers, all announced products are now available, except for the NET2 streamer.<\/p>\n

Harmony Range<\/h3>\n

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The complete Harmony range consists of the Harmony DAC<\/a>, HP2A<\/a> Preamp\/Headphone Amp, LExt IN2<\/a> Input Extension Interface, LExt Phono Input Extension Interface (not reviewed), uDDC<\/a> D-D Reclocker, uDAC,<\/a>\u00a0and GanM Mono Power Amplifiers (the subject of this review). The final pending introduction is for the Net 2 Streamer, which is scheduled for Q3 2025.<\/p>\n

In this review, I will cover the GaNM mono power amplifiers.<\/p>\n

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GaNM Description<\/span><\/span><\/h3>\n

The Harmony GaNM mono amplifiers have been designed to perfectly complement the rest of the Harmony Series with a matching footprint, sleek form factor, and cohesive aesthetic with top-panel dimples in matching positions for footers for a cleverly stackable setup.<\/p>\n

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Like all other products of the Harmony range, the GaNM monos’ enclosures have been CNC-milled out of aerospace-grade aluminum.<\/p>\n

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As the name implies, the Harmony GaNM amplifiers have GaN (Gallium Nitride) Technology at their core. This technology uses Next-Gen GaN transistors to deliver exceptional speed, efficiency, and sonic purity. Unlike traditional silicon-based designs, GaN transistors switch faster, with lower losses and significantly reduced distortion. GaN also leads to improved power efficiency, which translates into lower thermal stress and enables a compact form factor.<\/p>\n

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The Harmony GaNM has a fully balanced architecture, meaning both the input and output stages operate symmetrically with completely isolated signal paths for the positive and negative phases, ensuring that common-mode noise is effectively canceled.<\/p>\n

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With 200 watts of clean, high-current power per channel into 8 ohms, the Harmony GaNM is said to provide ample headroom to drive even demanding speakers with precision and authority.<\/p>\n

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The custom-made, ultra-low noise Switched Power Supply is specifically engineered for audio purposes, implementing the NXP TEA2017AAT controller that integrates PFC (Power Factor Correction) and LLC resonant topology into a compact package. This level of integration reduces the number of external components while enabling cleaner and more efficient energy conversion.<\/p>\n

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To ensure maximum reliability, the power supply features premium components such as Infineon \u200bSilicon Carbide CoolSiC MOSFETs, known for their high switching efficiency, low on-resistance, and extended lifespan. Complementing these are Rubycon electrolytic capacitors from Japan, chosen for their excellent temperature stability and longevity.<\/p>\n

The power supply supports a broad voltage input (90\u2013264VAC) for global compatibility and meets stringent EMI standards suitable for medical-grade applications. With its fanless, high-density design and ripple-suppression capabilities, the supply guarantees quiet operation and superior electromagnetic compatibility.<\/p>\n

Robust Protection Circuitry guards from over-voltage and over-current protection to input undervoltage and surge shielding, and ensures safe operation under any condition.<\/p>\n

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At the front, the user can choose between different modes for the dimmable OLED display. One can choose between an elegant level display, the LAiV logo, or a switched-off display, in which case an elegantly small and suitably dimmed white or red LED still shows the power status. Lastly, the displays can be used to make a range of user settings, such as display brightness, auto-dim, power meter range, and the option to perform a firmware update via a micro SD card that can be inserted in a slot on the bottom.<\/p>\n

As firmware updates go, it’s one thing to offer the option, but quite another to actually release updates. In this case, I can confirm that LAiV proactively supplies updates, as I received an update to the power meter range to provide visually engaging meter movements even at low listening levels. The update process is easy-peasy and done in seconds.<\/p>\n

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The left and right corners provide switchable left and right channel LED indicators to quickly identify left and right monoblocks in multi-unit setups. If desired, the indicators can also be switched off via a switch on the back.<\/p>\n

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Also on the back, a 12V trigger input and output allow synchronized power control for a streamlined listening experience.<\/p>\n

Next: Review Context and Listening with Driade and Magico<\/em><\/p>\n

<\/p>\n

Review Context<\/h3>\n

The GaNMs were listened to in the <\/span>main system<\/a>, which consists of the <\/span>CH Precision L1<\/a> preamplifier, <\/span>CH Precision A1.5<\/a> power amp, and Magico S1 MkII speakers. In addition, I used the Driade Premium Model 9<\/a> and Apogee Centaurs.<\/span><\/p>\n

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As natural partners for the GaNMs, I also used the Harmony DAC<\/a> and HP2A preamp<\/a>. Digital sources include the Antipodes Oladra<\/a> and Grimm MU1<\/a> music servers and the Aqua Diva M2<\/a> CD transport. All interlinks are Driade Flow Link Reference 808<\/a>, and the speaker cables are Driade Flow Reference 808<\/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 – Driade Premium Model 9<\/h3>\n

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.<\/p>\n

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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 \u201cwarm up\u201d. 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.<\/p>\n

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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.<\/p>\n

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.<\/p>\n

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I\u2019ve 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.<\/p>\n

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…<\/p>\n

Yet, what the GaNMs delivered completely caught me by surprise!<\/p>\n

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.<\/p>\n

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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<\/em> higher resolution than the E-270.<\/p>\n

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.<\/p>\n

This prompted me to proceed immediately with fully integrating the GaNMs into the system.<\/p>\n

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Listening – Apogee Centaur<\/h3>\n

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!<\/p>\n

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.<\/p>\n

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.<\/p>\n

Blind Test<\/h3>\n

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.<\/p>\n

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.<\/p>\n

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<\/em> 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.<\/p>\n

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.<\/p>\n

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.<\/p>\n

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.<\/p>\n

It’s no longer a matter of accepting a technically impressive performance that lacks musicality and emotional depth. The LAiV GaNMs actually Make Music<\/em>!<\/p>\n

Next: Listening with Magico S1 MkII<\/em><\/p>\n

<\/p>\n

Listening – Magico S1 MkII<\/h3>\n

By this point, it was no longer surprising but expected, and as anticipated, when powering the Magicos, the GaNMs once again performed admirably. Further, I found that the GaNMs performed equally well with any source and music genre. There was simply no faulting them in a musical sense. Whether it was intimate soul, hard-hitting blues or rock, fast-paced electronic music, or small ensemble acoustic performances, they delivered impressively across the board, confirming that the GaNMs are not only technically advanced; they also convey acoustic realism and emotional intent with great fidelity.<\/p>\n

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Unlike the original Q-series, the Magico S1 MkII has a smooth and fluid nature, which works superbly well with the GaNMs. Although the speakers did not mask the reduced refinement and resolution compared to the CH A1.5, they also did not accentuate this, as the Apogees do. In turn, the GaNM’s upbeat nature made for a propulsive and communicative performance.<\/p>\n

In this combination, another aspect emerged that did not stand out with the Apogees, which concerns the soundstaging and layering behind the speakers. In my experience, soundstaging and the portrayal of 3D objects behind the speakers are areas where Apogee speakers, as well as most dipole line-array ribbon speakers, tend to struggle. This is, of course, the perfect excuse for multiple speakers. Now, if only I could also have several listening rooms…<\/p>\n

Whereas the CH A1.5 has the ability to paint a vividly-layered, organically fleshed-out 3D stage behind the Magicos, the GaNMs image very sharply and precisely, but less deeply, and instead more forward. Don’t get me wrong, the sound with the GaNMs still projects in 3D behind the speakers, but less deeply and with less specificity.<\/p>\n

On the other hand, their more forward nature also works in a musically meaningful way, serving to more vividly communicate the pacing and dynamic musical intent. In this aspect, the GaNMs reminded me of the WestminsterLab Rei<\/a> monos, which were also remarkably crisp and direct, in addition to having reference levels of elegance, refinement, and resolution, which acutely made me stop taking audiophile notes and enjoy the music. Like the CH, the WestminsterLab monos still excel in many areas, which is expected given the massive difference in price. Nevertheless, the GaNMs present a sizable slice of the true reference performance, at an attainable price.<\/p>\n

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Earth \/ GND Clamps<\/h3>\n

As with all LAiV components except the u-components, the GaNMs are fitted with Chassis Grounding clamps. If desired, these can be removed to leave the chassis floating with respect to the ground\/earth. In my experience, grounding the chassis invariably leads to a cleaner, tighter, and crisper rendition, which I usually prefer. The CH components also offer this, and with the exception of the L1 preamp, I prefer having the chassis grounded for all.<\/p>\n

The GaNMs performed as expected when the clamps were removed, resulting in a more relaxed sound with looser bass and a significant reduction in concreteness and focus. While I can see how some setups might benefit from this change, I chose to continue listening with the clamps in place.<\/p>\n

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While it may be visually appealing to place the GaNMs on the floor, they truly deserve to be positioned on a high-quality rack or platform. Although they still sound pleasingly musical when on the floor, they lose a significant degree of crispness, articulation, and control compared to when they are placed on racks like the Artesania Aire, Artesania Modular Platform, or HRS EXR.<\/em><\/p>\n

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Spike Bases<\/h3>\n

I did not like the spike bases when used with the Harmony DAC, as they introduced an unnatural accentuation in the treble and diminished the authenticity of the bass. However, with the GaNMs, using the spike bases leads to improved refinement and fluidity in the treble, while only slightly sacrificing a small amount of the crispness in the bass.<\/p>\n

Honestly, I didn’t expect this adjustment to work as well as it did, but after a second test the following day, I was convinced: these amplifiers sound most balanced when used with the supplied footers.<\/p>\n

Musings on Class-D<\/h3>\n

The Jeff Rowland model 201 monos (ICE Power) were the first amplifiers that introduced me to Class D for high-end purposes. At the time, the little beauties impressed me in certain respects, but they also confirmed that the Class A\/B Jeff Rowland Model 6 monos were nowhere near surpassed.<\/p>\n

When I later heard the Mola Mola Kaluga monos (a variant of Ncore), it became clear that switching amplification had made large strides and that it was to be taken very seriously, even if the very controlled “cleaner and tighter than average” delivery was not for everyone.<\/p>\n

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More recently, when I heard the Nuprime ST-10<\/a> and AMG-STA<\/a> (proprietary Class-D) amplifiers, further reinforced this realization. The NuPrime ST-10 impressed me with its remarkably robust and dynamic performance and Class-D-untypical texture and fullness of timbre. The NuPrime AMG-STA, in turn, surprised me with its transparency and refinement. Even if neither of these amps truly challenged the CH reference amplifier, they came closer in their respective fortes than they had a right to, certainly given their price point. Sure enough: it was evident that Class-D was here to stay, and it would only continue to improve.<\/p>\n

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I recall finding the NuPrime <\/span>ST10 remarkably good when I first reviewed it, but that was before I got well and truly spoiled with CH Precision. <\/span>Against this new backdrop, the ST10 loses some points. Nevertheless, when comparing the LAiV GaNM to the NuPrime ST10, the latter still sounds pretty good, particularly given its modest cost (less than half the GaNMs). The bass is nicely full-bodied and powerful, the timbre is deeply saturated and natural, and the amp is smooth without being slow or laid-back. However, the ST10 is significantly<\/em> less precise and transparent than the GaNMs. It is rougher, darker, less articulate, and, frankly, not in the same class. <\/span><\/p>\n

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I recently heard the new Mola Mola Perca stereo power amp, which is several generations ahead of the aforementioned Kaluga monos. The Perca has a hugely tight and controlled yet energetic delivery that is very exciting, if less soothing and soulful than I consider ideal. Most of all, the Perca impressed me with its linearity, neutrality, transparency, and resolution, and in these aspects, it is nearly on par with the CH A1.5.<\/p>\n

In many ways, the Perca represents the current pinnacle of Class-D design, but other brands are also catching up. The LAiV GaNM may not equal the Perca in terms of ultimate refinement and resolution, but to these ears, they better convey the eb and flow, and the soul<\/em> of the music.<\/p>\n

No matter how close technology gets to perfection, there will always be variations that allow for different interpretations and personal preferences. Like any audiophile, I strive for “perfection” even if that may not be 100% possible. With that understanding, it becomes a matter of knowing what matters most to oneself, identifying the aspects that most evoke a sense of realism, and determining what enhances our immersion in the music. No two audiophiles will ever completely agree on these factors. However, the GaNMs offer nearly everything I need, only omitting a relatively small portion of what I desire. Considering their reasonable price, they deliver far more than one could realistically expect.<\/p>\n

Next: Listening to full LAiV system and Conclusion<\/em><\/p>\n

<\/p>\n

All-LAiV System<\/h3>\n

Now that I had a solid understanding of the GaNM’s performance, it was time to evaluate the entire LAiV system, which includes the uDDC<\/a>, Harmony DAC<\/a>, HP2A preamp<\/a>, and GaNM amplifiers.<\/p>\n

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At a total cost of approximately 12,000 Euros, this is not a trivial investment. However, considering that renowned reference components can often cost two to three times as much each, this perspective alters the perceived cost of the system.<\/p>\n

Of course, the question remains: how does the complete LAiV system perform?<\/p>\n

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I’ll admit that I totally skewed the affordability again by using the Antipodes Oladra Music Server as a source. Then again, I also use it for the big reference system. Among this server’s many abilities is the presence of an I2S output, which is ideal for the Harmony uDDC and Harmony DAC.<\/p>\n

I’ve been waxing lyrical about the GaNMs in this review, but regular readers will already know I am equally impressed with all other LAiV components. And with that in mind, all these components combined should logically lead to a great combined result. The reality is that using individually great-sounding components does not guarantee great synergy. With these LAiV components, however, it most definitely does!<\/p>\n

The LAiV components work together to deliver a vivid, expressive, and engaging performance that is uniformly neutral, coherent, upbeat, and convincingly realistic in timbre and texture. The system sounds so well-balanced that it is hard to come up with any criticism. But if I had to single out one area that could divide opinion, it is that it is very revealing and does not romanticize the sound. There is no added body, bloom, richness, or warmth. This is an incredibly neutral system that will let you hear precisely what cables you use and what is in the recordings.<\/p>\n

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Conclusion<\/h2>\n

The GaNM amplifiers have impressed me deeply. Not only are they the best Class-D amplifiers I’ve heard, but they are also among the highest performing amplifiers I’ve heard in a league well beyond double their price point, regardless of technology.<\/p>\n

These gorgeous little amplifiers are also musical omnivores, performing equally well with any music genre. Whether playing intimate soul, hard-hitting rock, dark blues, fast-paced electronic music, or small ensemble acoustic performances, the GaNMs simply deliver the acoustic realism and emotional intent with great fidelity.<\/p>\n

Forget prejudice against Class-D: with the GaNMs, it’s no longer a matter of accepting a technically impressive performance that lacks musicality and emotional depth.<\/p>\n

The LAiV GaNMs present a sizable slice of the true reference performance in a gorgeous enclosure, at an attainable price.<\/p>\n

In fact, I liked these little beauties so much, that I made them a permanent part of the system. This means that they are not only Highly Recommended, but also HFA Favorites.<\/p>\n

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External Links<\/h3>\n

Manufacturer: <\/span><\/span>LAiV Audio<\/span><\/span><\/a><\/p>\n

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