{"id":43307,"date":"2026-06-09T15:23:29","date_gmt":"2026-06-09T13:23:29","guid":{"rendered":"https:\/\/www.hifi-advice.com\/blog\/?p=43307"},"modified":"2026-06-09T21:48:31","modified_gmt":"2026-06-09T19:48:31","slug":"avm-pa-8-3-preamp-sa-8-3-power-amp-a-8-3-integrated-amp","status":"publish","type":"post","link":"https:\/\/www.hifi-advice.com\/blog\/amplifier-reviews\/integrated-amplifier-reviews\/avm-pa-8-3-preamp-sa-8-3-power-amp-a-8-3-integrated-amp\/","title":{"rendered":"AVM PA 8.3 Preamp, SA 8.3 Power Amp, A 8.3 Integrated Amp"},"content":{"rendered":"

Review samples supplied by Mafico<\/a><\/h4>\n

Retail price in the Netherlands, incl. VAT:
\nPA 8.3 Preamp: 10.299 Euro
\nSA 8.3 Power Amp: 20.649 Euro
\nA 8.3 Integrated Amp: 14.199<\/h4>\n

This review was initially intended to focus solely on the PA 8.3 Preamp and SA 8.3 Power Amp. However, thanks to a bit of serendipity, Garmt from Mafico happened to have the A 8.3 Integrated Amp in his car on his way to deliver these products to me<\/span>. Rather than returning it to storage as intended, h<\/span>e called me to ask whether I was interested in reviewing the integrated amp as well. Naturally, I agreed to include it. It’s not often, if ever, that a reviewer is in a position to cover a company’s top-tier products and directly compare them with that company’s cost-effective integrated alternative.<\/p>\n

All three components are part of AVM’s Ovation range, which uses only the highest-quality components. From the carefully designed power supply to selected components, everything has been designed to transmit even the finest sound details without loss. All components are equipped with OLED displays that show operational information and allow users to adjust various settings.<\/p>\n

In this review, I will cover the PA 8.3 Preamp and SA 8.3 Power Amp in my usual extensive manner. Then, I will switch to the A 8.3 Integrated Amp to hear how much of the separates’ performance is preserved in the single-chassis solution. My guess is a not inconsiderable amount, but we won’t know until the end of this review. So, let’s dive in!<\/p>\n

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PA 8.3 Preamp<\/h3>\n

The Ovation PA 8.3 is a modular, fully balanced, and DC-coupled analog preamplifier with multiple back-panel slots for optional input and output modules, enabling precise customization for individual setups. As standard, it is ready to play, equipped with 1 input card and 1 output card. Optional modules include tube output, line output, MM\/MC phono, tone control, Bluetooth, DAC, and FM tuner.<\/p>\n

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The review sample was equipped with analog input modules and, initially, only a Tube Preamp output module. However, because it can also accommodate a transistor Preamp output board, I assumed both were included, which would come back to bite me later on.<\/p>\n

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If the tube output card is installed, the switch-on process takes approximately 30 seconds because of the tube warm-up time. During this period, the display text gradually changes from lowercase to uppercase, letter by letter, to indicate progress. Without a TUBE OUT card installed, the switch-on process lasts about five seconds.<\/p>\n

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A key feature of the preamp is its two chrome-plated, ball-bearing rotary controls, which feel solid, heavy, and precise during use. The step size of the volume change depends on the rotation speed. Slow rotation changes the level in 0.5 dB steps, while fast rotation changes the volume in 2 dB steps. Unusually for a high-end product, the preamp includes Bass, Treble, and Loudness controls that can also be fully bypassed. Even though there are valid arguments against using EQ, there are times when it can be beneficial. Thus, I always welcome the inclusion of this almost forgotten feature.<\/p>\n

The preamp, presumably mandated by law, has an Auto-Standby feature that switches to standby after 15 minutes of inactivity, which can be quite annoying for a tube product with a warm-up period. Fortunately, the function can be defeated in the Personal Setup menu. The manual indicates that “the menu button on the right under the display” must be pressed before waking the unit from standby. To be fair, it says “on the right”, but confusingly, the middle button has a ‘Menu’ label, while the other buttons are unlabeled. As it turns out, the unlabeled button on the far right opens the Personal Setup menu, not the Menu button. With that addressed, I left the preamp powered on for most of the day before starting my listening tests.<\/p>\n

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Upon pressing the power button, the preamp runs a self-check routine to enumerate the available modules and test the tubes, and then switches on. The tubes are maintenance-free, and there are no user settings to be made. Tube life expectancy is not indicated, but I would assume at least 2.000 hours.<\/p>\n

Next: SA 8.3 Power Amp and A 8.3 Integrated Amp Description<\/em><\/p>\n

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SA 8.3 Power Amp<\/h3>\n

The Ovation SA 8.3 is a stereo power amplifier with XLR and RCA inputs. With fully DC-coupled signal routing and 24 MOSFET transistors per channel, it delivers continuous power of 250 W at 8 \u03a9, 450 W at 4 \u03a9, and up to 60 amps of current, with pulse peaks over 450 W at 8 \u03a9 or 900 W at 4 \u03a9, ensuring powerful impulse peaks and effortlessly driving even the most demanding loudspeakers while maintaining a pure signal path.<\/p>\n

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Two 1000 VA toroidal transformers and two separate power supply units with large energy storage units with over 136,000 \u03bcF capacitors per channel ensure a stable, loss-free power supply to the power amplifiers and the processor unit.<\/p>\n

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Unusually for a powerful transistor power amplifier, the SA 8.3 has a tube input stage. The tubes are maintenance-free, and there are no user settings to be made. Upon pressing the power button, the amplifier runs a self-check routine to ensure the tubes are ok and then simply switches on.<\/p>\n

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The SA 8.3 can be regarded as an improved, more powerful version of the SA 6.3, which is also part of the Ovation range but omits the tube input stage. While the SA 8.3 is AVM’s top-of-the-line amplifier, there is also a bridged-mono version, the MA 8.3, that delivers over 1,000 watts of power.<\/p>\n

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A 8.3 Integrated Amp<\/h3>\n

The A 8.3 is AVM’s top-of-the-line integrated amplifier. Visually identical to the A 6.3, the A 8.3 is also technically identical, with the addition of the exclusive Ovation 803 T-tube technology. According to AVM, the A 8.3 tubes impart more richness to the sound, whereas the A 6.3 offers outstanding clarity and neutrality with its transistor pre-stage. Hence, both models cater to different sound preferences.<\/p>\n

The A 8.3 and A 6.3 share numerous features, including the powerful Class A\/AB MOS-FET technology with 20 transistors per channel, delivering 2 x 200 W (8 \u03a9) or 2 x 330 W (4 \u03a9).\u00a0 Both amplifiers feature dual-mono architecture, fully DC-coupled input stages, and a highly stable power supply with a 1000 VA toroidal transformer.<\/p>\n

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Above Left: A 6.3; Right: A 8.3<\/em><\/p>\n

The same high-quality, chrome-plated, ball-bearing rotary controls included with the PA 8.3 preamp are used here, offering a solid, heavy, and precise feel during operation. The step size of the volume change depends on the rotation speed. Slow rotation changes the level in 0.5 dB steps, while fast rotation changes the volume in 2 dB steps.<\/p>\n

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There are five high-level inputs (1 XLR, 4 RCA), five digital inputs (1 coaxial, 2 optical, 1 USB), and Bluetooth 4.2. For maximum flexibility, they offer two variable preamplifier outputs (XLR and RCA) and a fixed line-out.<\/p>\n

Digital signal processing is up to 384 kHz\/32-bit, plus DSD128 support over USB. Additionally, the amplifiers are equipped with a separate Class-A headphone amplifier accessible via a 6.3 mm jack on the front. A parametric loudness function, tone control with bypass, and the ability to integrate a home theater setup (AV bypass) provide exceptional versatility. Like all Ovation components, the A 8.3 has an easy-to-use display and provides extensive menu options, such as customizable input sensitivities and the option to name individual inputs, enhancing user personalization.<\/p>\n

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

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Review Context<\/h3>\n

The three AVM units were<\/span> listened to\u00a0<\/span>in the main system<\/a>, comprising<\/span>\u00a0the CH Precision C1.2<\/a> DAC,\u00a0L1<\/a>\u00a0preamplifier, and\u00a0A1.5<\/a> power amplifier<\/span>. <\/span>Digital sources include the Aqua La Diva M2<\/a> CD Transport, Antipodes Oladra<\/a>, and Grimm MU1<\/a> music servers. A range of power cables was used, but the same types were always used when making comparisons. Speakers used are the Apogee Duetta Signature (recently fitted with new foils), Driade Premium Model 9,<\/a> and the Apertura Armonia Evo and <\/span>Adamante.<\/span>\u00a0<\/span>All interlinks are Driade Flow Link Reference 808<\/a>, and the speaker cables are Driade Flow Reference 808<\/a>. The AVM components were positioned on Artesania Aire<\/a> racks, supported directly on the Carbon Fiber Linear Arms<\/a>‘ beechwood footers. <\/span>All components (including review components) are powered by the PS Audio P20<\/a> PowerPlant.<\/span><\/p>\n

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Listening – SA 8.3 Power Amp<\/h3>\n

To assess each unit’s performance, I introduced them into the existing system one by one. Starting with the full CH system, I swapped the A1.5 power amp for the AVM SA 8.3. Given that the SA 8.3 employs tubes in its input stage, combined with MOSFET transistors, I expected it to sound quite smooth and relaxed, perhaps too much so for my taste. I didn’t need to worry because the SA 8.3 isn’t stereotypically tube-like. AVM has struck a very good balance, offering undeniably greater charm than purely solid-state AVM amplifiers, while maintaining speed, control, dynamics, and resolution.<\/p>\n

The SA 8.3 amplifier is effortlessly dynamic and very expressive, but it also has a huge heart and produces a very natural sound that is easy to sink into. There is a very moderate amount of lushness and richness, but it is most definitely not smeared, dull, or restrained. On the contrary, it is lively, foot-tapping, and engaging and, most importantly, effortlessly lyrical and emotionally involving. In these respects, I would place it higher on the audiophile ladder than a Bryston 4B or 14B cubed. The AVM is just as revealing and precise as a Bryston, even a bit more controlled in the bass perhaps, and yet it\u2019s absolutely not cold or analytical in the least.<\/p>\n

Unusually, for a transistor amplifier, the SA 8.3 has an 8 – 4 – 2 Ohm setting in the menu. This is a feature often seen on tube amplifiers to match the transformer windings to the speaker load, but rarely on transistor power amplifiers. The only transistor amplifiers I know that have a similar facility are those made by McIntosh, which use output transformers to match the transistors to a known load. In this case, the setting does not change the amplifier’s technical performance and only adjusts the responsiveness of the level meter on the display.<\/p>\n

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Rather than trying to mimic a tube product, the tubes serve to enhance the amplifier’s inherent qualities. Thus, tube fanatics will not mistake the SA 8.3 for a pure tube product. Nevertheless, it’s very far from the stereotypical “dry and square” solid-state sound. It’s not quite as precise, agile, and refined as the CH A1.5 or the WestminsterLab Rei<\/a> monos (which both cost about twice as much) or as liquid and free-flowing as a Halcro Eclipse<\/a> (which costs three times as much), but it sounds remarkably natural and free-flowing for such a big amplifier. Or for any transistor amplifier, really. At various points during my listening sessions, I concluded that this amplifier slots in my system perfectly.<\/p>\n

Compared to the A1.5, the SA 8.3’s ultimate resolution, refinement, and transient speed are slightly lower. In turn, the AVM offers a fuller, more voluptuous bass, a subtly warmer, richer midrange, and a slightly sweeter treble. It possesses a very natural timbre, and although it might be considered to be tuned ever so slightly to the rich side of strictly neutral compared to CH Precision, Bryston, or WestminsterLab, I still consider it essentially neutral, not warm.<\/p>\n

The amplifier projects a large sound precisely in the right way. It does not just cast a large yet vague sound-bubble, but actually breathes in all directions with the music. Spacious recordings sound precisely so, as do intimate and direct-sounding recordings.<\/p>\n

Most importantly, while the SA 8.3 is a beast in terms of control and power reserve, it doesn’t keep its muscles flexed all the time; it effortlessly scales to the music’s needs for speed, pacing, and dynamics. Unlike some very powerful amplifiers, the SA 8.3 does not at all behave like a metronome. On the contrary, the amplifier is quick on its feet and fluidly follows any changes in speed in the recordings. If the music is intimate, quiet, and relaxed, so is the amp, and if the music demands all-out power and energy, the amplifier simply delivers. There is always plenty of control if needed<\/em>, but there’s never a sense of overt control.<\/p>\n

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Listening – PA 8.3 Preamp + SA 8.3 Power Amp<\/h3>\n

Just how powerful the SA 8.3 power amp is became painfully clear when I inadvertently connected the PA 8.3 preamp’s Line Output instead of its Preamp output, thinking it was the transistor equivalent of its Tube Output stage… Stupidly, connecting a non-volume-controlled line-level output is a mistake I have made at least twice before. I recall a time when using a Wadia 861 CD player at max volume directly into a pair of Jeff Rowland model 6 amplifiers with Bowers & Wilkins Nautilus 804s. Back then, the sound was not just loud, but also severely distorted. In this recent instance, it remained entirely clean and musical, but, holy guacamole, startlingly<\/em> loud!<\/p>\n

After recovering from my patching mistake, I double-checked with Garmt, and he confirmed that the solid-state output was not mounted in my review sample. However, in the interest of this review, it would be sent to me separately. Meanwhile, I resumed listening using the PA 8.3’s Tube Output board.<\/p>\n

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Some of the internal lighting can be set to off in the menu. The photo shows the inside with all LEDs on.<\/em><\/p>\n

Once again, despite using the tube outputs, there was no stereotypical tube sound. However, when powered with the same GigaWatt PowerSync Ultra power cable I use for the CH L1 preamp, the PA 8.3 preamp does sound fuller and darker than the CH L1, more so than the SA 8.3 power amp differs from the CH A.1.5 in that regard. After swapping to a less voluminous-sounding power cable, the preamp shifts slightly toward the neutral CH L1, aligning more closely with the SA 8.3’s subtly smooth sound. Still, while I consider the SA 8.3 power amp essentially neutral, the PA 8.3 preamp, at least with its tube output, is more voluptuous, darker, and slightly warm. Nevertheless, the preamp remains far from dull, slow, or restrained. It’s smooth, natural, liquid, and slightly more relaxed than the L1, yet it remains propulsive, lively, engaging, and realistically dynamic. Similar to the SA 8.3 power amp, the PA 8.3 preamp excels at portraying not only the temporal and dynamic features of music but also the physical qualities, such as the texture of piano, the wood of a guitar, and the body of vocals, while never sounding forced or restrained in any way.<\/p>\n

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At the time of this review, the Aequo Audio Ensium<\/a> speakers were also available. Although these are partially active speakers that do not require the SA 8.3’s huge power, it worked wonderfully! Just like with the Apogee speakers, the amplifier refrained from bragging and simply put the music first. Easy-to-drive speakers often don’t match well with very powerful amplifiers, as the amplifiers don’t get to work hard enough and can sound like they are idling, or worse, are controlling the life out of it. In this case, however, despite the amplifier’s huge reserves and the speaker’s relatively high efficiency, the combination sounded effortlessly propulsive, dynamic, and emotionally engaging.<\/p>\n

Next: Solid-State preamp output board, A 8.3 Integrated Amplifier, and Conclusion<\/em><\/p>\n

<\/p>\n

Solid-State preamp output board<\/h3>\n

The preamplifier’s solid-state output board arrived approximately two weeks after I started this review. Having achieved a solid understanding of how the preamp behaved with its tube output, I fully expected the solid-state output to sound leaner, tighter, and crisper, and perhaps even more impactful. However, contrary to expectations, it sounded less articulate and distinct in the bass, less expressive in the midrange, and dynamically flatter. How about that? Scratching my head, I figured the card might be new and need some running in. So, I allowed it to bed in for a few days, switching the preamp on in the mornings and off in the evenings. After three days, the difference was smaller, and the solid-state output had become more fluid and engaging. As with all AVM products I have heard, the solid-state output has a well-balanced presentation with excellent resolution combined with a natural tonality. However, switching to the tube output (which is always on and available right away) quickly confirmed that I still preferred it.<\/p>\n

As tube aficionados will surely confirm, tubes tend to provide a harmonically richer sound with a more natural balance, and to an extent, the PA 8.3 tube output delivers precisely this. However, from my experience, tubes can sound lush and warm, tight and fast, or anywhere in between, depending on how they are implemented. And indeed, the implementation on the PA 8.3 board creates a remarkably articulate, lively, and expressive rendition, rather than a stereotypically thick and mellow rendition one might expect. As a bonus, the tube output even provides a more realistic rendition of textures. For instance, piano sounds more wooden and percussive via the tube output, and comparatively a little more synthetic via the solid-state output. Moreover, the tube output is actually more propulsive, lively, and expressive than the solid-state output!<\/p>\n

Strictly speaking, the tube output adds a touch of fullness and character, which I usually prefer to avoid, but in this case, it also better captures the musical intent and feels more exciting and alive, providing a more involving experience. And after all, that’s what matters most.<\/p>\n

If the solid-state output had been all I had heard, I would have given it good marks, but hearing the tube output has spoiled me. Unless the prospect of having to replace the tubes at some point is off-putting, I would definitely recommend going for this option over the solid-state output.<\/p>\n

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A 8.3 Integrated Amplifier<\/h3>\n

In 2017, I had an AVM A 6.2 integrated amplifier on loan, along with Martin Logan ESL11A electrostatic speakers that I was reviewing at the time, and I vividly recall how it sounded compared to the Brystons I was also reviewing during the same period. I used Apogee Divas at the time, and the 6.2 was particularly fast, tight, and well controlled. In addition, it was very clean, precise, and transparent.<\/p>\n

The A 6.2 has been succeeded by the A 6.3. In essence, the A 8.3 I am reviewing right now is an A 6.3 with the addition of <\/span>Ovation 803 T-tube<\/span>\u00a0<\/span>technology<\/span>.<\/span>\u00a0<\/span>Assuming<\/span> the A 6.3 <\/span>share<\/span>s<\/span>\u00a0a similar sonic balance\u00a0<\/span>with<\/span> the A 6.2, one might expect a <\/span>compromise<\/span> between <\/span>typical transistor strengths such as speed, tightness, and control, and the appealing qualities of tubes such as harmonic richness and liquidity.<\/span>\u00a0<\/span>However, this was not the case at all.<\/span>\u00a0<\/span>Like the SA 8.3 preamp and PA 8.3 power amp, AVM has thoughtfully integrated the tube sections to capture their advantages without compromis<\/span>ing<\/span>\u00a0the amplifier’s\u00a0<\/span>fundamental<\/span>\u00a0qualities.<\/span><\/p>\n

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The PA 8.3 (top) and A 8.3 (bottom) share the same high build quality, differing only in the cooling fins on the side of the integrated amplifier.<\/em><\/p>\n

At the outset of this review, I posed the question of how much of the separates’ performance is preserved in the single-chassis solution. To assess this as fairly as possible, I positioned the A 8.3 integrated amplifier on the same Artesania Aire<\/a> rack as the separates, supported directly on the Carbon Fiber Linear Arms<\/a>‘ beechwood footers, and using the same interlinks and power cables.<\/span><\/p>\n

As it turns out, when stepping down from the separates to the integrated amplifier, a surprising amount of quality remains. Resolution, transparency, and bass control: it’s all there. The integrated amplifier even sounds slightly more neutral, as it does not have the seductive richness of the big amp. Moreover, I initially felt that the integrated sounded a little bland and dynamically restrained compared to the pre-power combo.<\/p>\n

First, I assumed that the difference must be in the power amplifier section. After all, although the A 8.3 with 200 Watts in 8 Ohms seems almost as powerful as the SA 8.3 with 250 Watts in 8 Ohms, the 4-Ohm values reveal a more profound difference: the big SA 8.3 increases its output to nearly double, at 450 Watts, whereas the integrated A 8.3 provides 330 Watts. But then, the thought occurred that, although the PA 8.3 preamp feature<\/span>s<\/span> fully balanced, DC-coupled signal <\/span>paths<\/span>, the A 8.3 integrated is not specced as such. So, p<\/span>erhaps the integrated’s single-ended internal path might favor unbalanced connections.<\/p>\n

Moments after swapping the Driade Flow Link Reference 808 XLR cable for its RCA equivalent (which sounds exactly the same), my suspicion was confirmed. RCA was indeed the answer! It seems that the integrated is indeed not fully balanced, or, at least, it treats a balanced signal differently. With RCA, it sounds so much better. It’s still not as bold and enthusiastic, as full-bodied, or as dynamic as the pre-power combo, but it gets a lot closer.<\/p>\n

The A 8.3 is leaner than the combo but has excellent bass control and articulation, at least as good as the power amplifier. Although the integrated also has a tube input stage, it sounds more like the PA 8.3 and SA 8.3 combo did when using the preamp’s solid-state output stage. It’s still performing at an audiophile level, but it’s hard to go back to coming from the big combo’s majorly propulsive, enthusiastic, and communicative nature. Ultimately, the A 8.3 is not an exact equivalent of the big boys, but it shares the same DNA and performs very nearly at the same level.<\/p>\n

Addendum:<\/strong><\/p>\n

The A 8.3 has just been discontinued and replaced by the A 8.3 S. The PA 8.3 will remain in production unchanged. The SA 8.3 will become the SA 8.3 S version. The rest of the new Ovation S Line consists of the CS 8.3 S All-in-One, AS 8.3 S Streaming Integrated Amplifier, and PAS 8.3 S Analog Preamp with Streamer and DAC, and the MP 8.3 S Media Player\/DAC.<\/p>\n

AVM also just announced the AS XL Ultimate Streaming Integrated Amplifier at High End Vienna, combining the SA 8.3 S with an analog preamplifier.<\/p>\n

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Conclusion<\/h2>\n

AVM might fly under the audiophile radar, but the brand is not to be underestimated! As I find time and again, they consistently offer excellent value for money at every price point. The Ovation range may seem costly compared to their more cost-effective product lines, but that’s for good reason!<\/p>\n

The PA 8.3 is confidently better than anything I heard anywhere close to its 10.299 Euro retail price. In terms of ultimate audiophile performance, it can be beaten, but it will be hard to beat it for realism, engagement, and all-out musicality. Given its excellent sound quality and its flexible modular design, I can only conclude that the preamp is very reasonably priced. Additionally, it even features bass, treble, and loudness controls! I’ve forgotten to test this, but the important takeaway is that the preamp sounds as good as it does, despite<\/em> these facilities.<\/p>\n

At 20.649 Euros, the SA 8.3 Power Amp is not the bargain of the week. However, it performs so uniformly well across all parameters that I can confidently recommend it to anyone shopping in the price range up to 30.000 Euros. It simply does not set a foot wrong, and I have yet to hear a power amplifier at any price point that can beat it in drive, expression, or dynamics. However, this amplifier is not just about power; it is also infectiously lively, foot-tapping, and engaging, and, most importantly, effortlessly lyrical and emotionally involving.<\/p>\n

The integrated A 8.3, finally, offers a large portion of what the separates achieve, and it does so at a price point that can only be considered very reasonable for what’s offered. That’s not just performance close to that of the twice-as-costly separates, but also a built-in DAC and an expansion slot for additional features.<\/p>\n

All three products are Highly Recommended!<\/p>\n

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External Links<\/h3>\n

Manufacturer: AVM<\/a>
\nDistributor for the Benelux: Mafico<\/a><\/p>\n

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