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AYRE V-6xe 

3 CH-6 CH Amp

457(W)x180(H)x480(D) mm
36 (3CH) + kg

multichannel amplifier

The Ayre V-6x multichannel power amplifier delivers a new dimension of realism to your home theater system. Its unique modular design allows you to customize it with the number of channels you need for your system. With 16 high-current output devices per channel, the V-6x delivers stunning performance on even the most demanding soundtracks. The exclusive fully-balanced, zero-feedback circuit precisely reconstructs the original soundstage, immersing you in the film's sonic reality. With the Ayre V-6x, your home theater isn't just another room -- it's another world!




  • Modular Design / Up to 6 channels available
  • Zero Feedback, fully balanced discrete circuitry 
  • 16 High-Power Devices per Channel / FET input stage
  • Ayre Conditioner (patent pending) Power-Line RFI Filter
  • Sophisticated DC Protection Circuit
  • Remote "trigger" operation


Power Output

150 watts per channel continuous into 8 ohms
300 watts per channel continuous into 4 ohms


26 dB

Input Impedance

100 kohm (per phase)

Frequency Response

DC - 200 kHz

Power Consumption

10 watts in standby mode
50 watts per installed channel in operating mode, no signal
17.5"W x 19"D x 7.75"H
(45.7cm x 48cm x 18cm)
80 pounds (36 kg)
plus 6 pounds (2.5 kg) per installed channel



Home Theater V-6x by: Steve Guttenberg 12-01-2001

"I thought my three-year-old Jmlab Mini Utopia speakers were on their way out until I heard them with the Ayre Acoustics V-6x amp, which made them sound like altogether-better speakers."

"The V-6x proved itself to be a sonic chameleon, it can sound va-va-voom warm and luscious, cool and lean, or one of the many shades in between. It seemed to exert control over the Utopias in some special way that enabled them to transmit more of the music's structure and emotion. All of the betters apply, as well: The bass is tighter and deeper, and the top end is much cleaner, clearer, and more transparent. The Ayre's effortless top-to-bottom articulation and deliciously complex tonal palette were, at the same time, more--well--comfortable. The Mini system's soundstaging, always a strong suit, was deeper; it was more palpable and holographic."

"What makes the V-6x so special? First off, it's a modular design. You can configure it for three, four, five, or six channels of amplification (the stereo-only V-5x is its nearly identical twin). So, if you're not sure you're going to move up to Dolby EX or DTS ES, buy yours with five channels; if you change your mind, you can have your dealer add the sixth channel."

"The V-6x's brushed-aluminum casework is drop-dead gorgeous."

"Great audio transcends itself. The best ones, like the Ayre V-6x, can breathe life into the sound. This extraordinary amp just about hard-wires your ears and brain to music and soundtracks. You really have to hear it for yourself."

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Ayre MX-R
Mono Poweramplifier

MX-R은 앰프 디자인의 개념을 일신한 대담한 수법에 따라 설계되어 있습니다. Ayre의 디자인 팀은 가장 작은 회로 요소 하나하나에서부터 회로의 레이아웃, 와이어링, 섀시의 소재와 구조에 이르기까지 모든 부분에 걸쳐, 근본적으로 발상을 전환하여 철저하게 연구하였습니다. 그리고 2년에 이르는 연구개발과 집요한 리스닝 테스트 끝에 순수한 엣센스를 용출하는 아날로그 앰프 MX-R이 탄생하였습니다.

독특한 그리고 심플하고 우아한 모노코크 아키텍쳐라고 불리는 섀시는 각각의 회로
와 파트를 완전하게 격리하면서 또한 일체화하고 더욱이 히트 싱크 역할까지 하는 획기적인 구조입니다. 이 섀시는 강도가 비할 수 없이 뛰어나 기계적 안정성을 보장할 뿐만 아니라 전자기 영향을 없애고 열에너지의 안정성도 뛰어 납니다.

그 외관과 크기로부터의 이미지를 뒤집는 300W/8Ω, 600W/4Ω의 고출력을 달성한 앰프 회로는 전원부를 포함하여 모두 디스크리트 리니어 회로로 구성되어 있습니다. 듀얼 EI 파워 트랜스포머, 리니어 파워 서플라이 그리고 온도 센서가 있는 새로운 파워 디바이스와 독자적인 EquiLock 회로 기술에 의해 Ayre의 전통적인 제로 피드백 풀밸런스 앰프회로의 능력을 극한까지 높이고 있습니다.

음의 퀄리티와 해상도가 유례가 없을 정도의 수준까지 달성되어 어떤 스피커도 생생하게 울리는 MX-R. 그 음에는 가슴을 뛰게 하는 음악의 울림과 감동이 맥박치고 있습니다.

주요 특징

■ 제로 피드백 디자인

■ 풀 밸런스, 디스크리트, 리니어 앰프 회로 구성

■ 리니어 아날로그 파워 서플라이 탑재
음질이 뛰어난 EI 트랜스포머를 2개 탑재하여 +/-측 각각의 리니어 정류회로에 전원을 공급합니다.

■ 독자적인 EquiLock 회로
EquiLock 회로는 게인 트랜지스터를 최적의 레벨로 안정적으로 동작시켜 얻어진 정전압을 공급함으로써 왜율을 대폭 저감, 고역의 대역폭을 넓혀 음의 퀄리티와 개방감을 개선합니다.

■ ThermalTrak 방식 출력 바이폴러 트랜지스터를 탑재하여 높은 안정성을 실현
풀밸런스 출력단을 달성하기 위해 총 16개(NPN x 8 , PNP x 8)의 ThermalTrak 방식 출력 트랜지스터(바이폴러)를 사용하였습니다. 4개의 NPN과 4개의 PNP로 +측, 4개의 NPN과 4개의 PNP로 -측을 구성하여 AB 급으로 구동합니다.
일반적으로 클래스 AB 바이어스의 앰프 디자인에 있어서 항상  문제가 되는 것은 출력단의 바이어스 변동과 실제 동작의 열변동에 의한 안정성의 확보입니다. 통상 열의 변동에 의한 동작 안정성에 대처하기 위해서는 출력 트랜지스터가 장착되어 있는 히트 싱크상에 바이어스 트랜지스터를 근접 배치, 열변동을 보상하려고 합니다. 그러나 그렇게 하더라도 열이 안정적으로 균형이 유지되기까지는 워밍업이라는 일정시간이 필요하고 이 동안에는 불안정한 동작을 피할 수 없습니다. 또, 바이어스 레벨이 너무 높으면 발열의 변동에 억제가 효과가 없게 되어 열 폭주를 일으킵니다. 그 때문에 앰프 디자이너는 안전을 위해 염두에 둔 레벨보다 바이어스를 낮게 억제해 버리고 때문에 음질이 희생되게 됩니다. ThermalTrak 시스템은 출력 트랜지스터의 패키지 내부에 직접 온도 검출 다이오드를 넣어 이러한 문제를 해결합니다. 트랜지스터 내부의 온도 검출 다이오드는 출력 트랜지스터의 온도 변화를 순간적으로 감지하여 실시간으로 정확하게 출력 스테이지의 바이어스를 제어, 열 폭주를 저지합니다
. ThermalTrak 방식 출력 바이폴러 트랜지스터의 탑재로 높은 안정성에 의해 이상적인 앰프 동작을 실현합니다.

■ 초저손실의 PCB 소재 채용

■ 신개발 커스텀 메이드 오디오 그레이드 저항

■ 고품위 폴리스틸렌 콘덴서 채용

■ 전자적인 히스테리시스를 일으키지 않고 필터링 효과가 안정된 파워 라인 RFI 필터, Ayre Conditioner(특허 신청중)를 탑재

■ AyreLink 커뮤니케이션 시스템 대응




300W(8Ω/연속) , 600W(4Ω/연속)



입력 임피던스

2MΩ(balanced, 1MΩ/phase)


DC - 250 kHz

소비 전력

45W(스탠바이), 120W(정상동작, 무신호시), 750W(최대)


W280 x H95 x D480(mm)


23 Kg



Ayre MX-R monoblock power amplifier
Recently, on the Stereophile Web forum, reader Natal commented on Robert J. Reina's review of the Creek Audio Destiny integrated amplifier in the January 2007 issue: "Maybe it's just me but I've never found any piece of electronic equipment sexy."



My first reaction was pity. Be there a man with soul so dead / Who never to himself hath said / Hubba-hubba, zing-zing-zing / I've got to plug into that thing?

My second thought was somewhat more rational: Right on, Natal—stereo components are just appliances. After all, nobody thinks toasters or vacuum cleaners are sexy, right?

A few seconds with a broadband connection and a search engine disabused me of that notion.

Besides, I kept gazing at my hi-fi shelves, visually caressing the sleek Ayre MX-R monoblocks ($16,500/pair in silver, $17,000 in black). Sexy? God help me, I do think so. Carved out of a 75-lb billet of aluminum, each MX-R its routed and shaped (11" W by 18.75" D by 3.75" H) into a hunka hunka shiny, anodized audio presence. It's too physical to look cute and too sleek to look like a monster amp—until you read the specs. Output of 300W (600W into 4 ohms)? DC–250kHz frequency response? Input impedance of 2 megohms? That's not sexy?

Then there's the way it sounds playing music . . .

Ayre conditioning?
Let's get the size thing out of the way. While it's far from tiny, most people think the MX-R is too small to produce 300W without resorting to class-D technology or a switch-mode power supply. But the MX-R is just your ordinary zero-feedback, discrete design with a linear power supply—a dual-transformer power supply, actually, employing custom-designed trannies that Ayre has built to spec just to fit the MX-R's shape.

Starting with that 75-lb billet of aluminum, Ayre has its machine shop carve away about two-thirds of the material, leaving the amp's monocoque chassis about as mechanically stable as they come. This construction has the added benefits of serving as one honkin' huge heatsink and allowing attachment points "about anywhere I want," says Ayre's Charlie Hansen. "That's the real reason we could get everything so compact."

Hansen is quick to point out that the MX-R is both a big leap forward for Ayre and an extension of the company's usual way of doing things. "Zero-feedback, fully balanced discrete circuitry is all we've ever done (well, the AX-7 and CX-7 aren't discrete, we use transistor arrays), so there's nothing new there—it's just the good old Ayre recipe."

With a few twists, of course. The MX-R is the first time Ayre has used ON Semiconductor Corp.'s ThermalTrak output devices. With conventional bipolar transistors (and most MOSFETs, for that matter), the optimum bias voltage changes with temperature; this makes designers either underbias output devices so that thermal runaway doesn't occur, or use a heat-sensing circuit, usually on the device's heatsink, to drive output-compensation circuitry, which is complex and subject to time lag. ThermalTrak transistors have internal bias control and real-time temperature sensing. Problem solved, right?

"You'd think so," said Hansen, "but when we built on Semi's recommended circuit using ThermalTraks, we discovered it still took some jiggering to de-funkify it. But we're tenacious. We don't stop until we solve the problem—and in the process, we got to learn a lot more about semiconductors than we ever wanted to know."

Then there's Ayre's EquiLock circuitry. Hansen again: "The Ayre recipe says to use FETs in a balanced-differential input (which means four of 'em), feeding current mirrors coupled to whatever we're using as an output stage, which in the case of our power amps are big freakin' things. We do this because it allows us to couple the input and output stages without using any capacitors, and that allows us to have a true DC amplifier with no phase shift or capacitor signature. No problems, in other words.

"I have some beliefs that approach religious faith: FETs are better than bipolars, zero feedback is better than feedback, balanced is better than single-ended, and the simpler a circuit, the better. But here's the thing: Just because I believe something doesn't make it true, and designing the MX-R taught me some lessons.

"The first is that, in parts of the circuit, bipolar devices sound better than FETs, so that's what we used. And then there's the EquiLock circuit, which violates my 'simpler is better' dictum. EquiLock is kind of like creating a cascode by combining two triodes. You could say we're joining together two transistors to act like one transistor that has a really stable operating point. Adding a second transistor to the signal path seems like it deviates from my belief that simpler is better, except that it works better."

The MX-R also includes the AC filtering system incorporated into most of Ayre's products, including the L-5xe AC filter ($1500). L-5xe . Hansen calls this the Ayre Conditioner. The first part of Ayre Conditioning is not particularly unusual—it's just a capacitor across the line to filter out RF and lower impedance.

"Everybody does that," said Hansen. "The other part is just weird. We used to use ferrite blobs in our products' power supplies. Ferrites work—they absorb HF energy. Here's my understanding of what they do: Ferrites contain magnetic domains, which are tiny microcrystals, and when you put a magnetic field in there, it moves them—and that creates friction, which creates heat. So ferrites take that energy and turn it into heat and get rid of it, which is good. The background is quieter and the hash goes away.

"Eventually, anything that has a ferrite on it begins to sound hard, glassy, and dynamically constricted. I discovered that you could use a bulk-tape demagnetizer to restore the effectiveness of the ferrite, so I toyed with the idea of installing some kind of degaussing circuit in there, but that's not a very elegant solution. I don't like Band-Aids, because they just treat the symptom—we had to come up with a solution to the problem. I thought about it for a while and I finally came up with a solution."

And that is . . . ?

"Our secret." He cackled.

Solid Ayre
Operationally, audio components don't come simpler than the MX-R. The two-color LED in the center of the front panel serves as the standby/on switch. There's a single XLR balanced input, two AyreLink (remote control) ports, an IEC socket, and a hearty Cardas binding post designed to mate with spade lugs. By the way, the MX-R's speaker output is balanced, so don't connect it to anything with a common ground or your life won't be so simple.

There's no power-off option, which might bother some—the MX-R consumes 45W in standby mode and 120W powered on with no signal. The amp had a clangy opacity when cold, however; once I'd got it comfortably warm and stable, I had an incentive to keep it that way.

Clearing the Ayre
After only a few hours of play, the MX-R sounded far more relaxed than it had at first, although the sound continued to improve gradually over the next week or so. It wasn't a steady progression, however. In each new listening session, I'd find a different nit to pick—but beginning around day three, the music became increasingly more full-bodied, liquid, and three-dimensional, until all the nits had disappeared.


I don't want to make this sound any more onerous than babying a high-performance car for its first 1000 miles. Of course, you want to just get in and go hard, but things need to settle in before you can get the performance you've paid for. Once the MX-R got up to cruising speed, I could—and did—use the standby switch without having to go through the rough patches again.

Dynaudio's Confidence C4 loudspeaker really likes to be bossed around by an amplifier, and the MX-Rs obliged, driving both of my C4s into submission with big orchestral crescendos, such as those presented in Leonard Bernstein and the New York Philharmonic's second recording of Mahler's Symphony 2 (CD, Deutsche Grammophon 433 395-2). I'd expect that from 300W amps, but the Ayres managed to pull it off without harshness or bloat. In fact, as I listened to orchestral recordings, I found myself not so much in awe of the power of the orchestra as drawn deeper into the music, which didn't so much envelop or overwhelm me as reveal to me its inner mysteries.



A recent recurring favorite chez Wez has been Paavo Järvi and the Cincinnati Symphony's SACD of works by Britten and Elgar (Telarc SACD-60660), which has gotten most of its play for its superb Four Sea Interludes from Peter Grimes. It sounded transcendent with the MX-Rs, but it was while listening to the work that followed, Elgar's Enigma Variations, that I began to grasp what might be the greatest attribute of the compact Ayre. To steal a march from the catechism, its sole purpose appears to be to praise music and to glorify it.

It's not that I never "got" Elgar. I rate his two completed symphonies quite high in the pantheon, and have been tantalized by Anthony Payne's reconstruction of his uncompleted Symphony 3. But Järvi and the Cincinnati's performance of Enigma hadn't seemed all that illuminating the first, say, 20 times I'd heard it. Perhaps the 21st time was the charm, you say? Perhaps, but I began to suspect it was the Ayre MX-R.

Before venturing too far down that particular road, I should describe the Ayre's sonic signature. It didn't sound "solid-state–like" (ie, dry, lean, or hard). Neither did it sound "tube-like" (ie, euphonic or overly warm). It was fast as the dickens, as evidenced by its delivery of the timpani transients on the Britten Sea Interludes, and was unusually clean in its retrieval of detail, as illustrated by its ability to isolate the quiet but penetrating harmonic overtones of that recording's triangle.

On the other hand, if "solid-state–like" means free from added color, yes, it did sound like that. On the other hand, if "tube-like" means capable of delivering convincing stereo solidity, well, it did that too. Reference-level tube and solid-state designs have been approaching convergence for some time now, but the MX-R rendered such distinctions more moot than most.

Far less mundane, however, was its ability to get to the inner music of recordings I thought I'd strip-mined for essence. This included those whose grooves I'd dug through a few zillion times, as well as those I'd never heard before. This was brought home with particular force when I pulled out Nat King Cole's last album, L-O-V-E (CD, Capitol 80536), after hearing the title song at Starbucks over the holidays.

"L-O-V-E" is such a swinging song that it's difficult to imagine it ever fading into the background, but the Ayres had me delving deeper into Ralph Carmichael's superb arrangements than I'd ever gone before. Sure, that solo trumpet is killer, but how had I missed that clarinet riff in the final four before?

That's not to say that the MX-R dissected music, highlighting just the juicy bits. It was unrivaled at presenting the whole picture, but its presentation shared with live music that quality of clarity of the parts as well as the whole.

The Ayres' presentation of the triangle on the Britten-Elgar SACD was an excellent example of what I mean. At an orchestral concert, there can be 100 musicians sawing and blowing and pounding away, but when the percussionist lightly strokes the triangle, it doesn't "penetrate" through the other notes, as we reviewers sometimes write. Nor do the other musicians mute their sound in order to allow that delicate ting to be heard. We hear the sound of the triangle within the overwhelming sound of the whole ensemble and within the room—and without benefit of its own spotlight microphone. That's something the Ayre did as well as, and quite possibly better than, any piece of hi-fi kit I've ever auditioned.

Ayre quality
The Krell Evolution 600 monoblock amplifiers ($30,000/pair) that had so impressed me in the December 2006 Stereophile were still on hand, so a comparison seemed justified. In that issue, I wrote: "The low-level detail, sinuous pacing, and sheer power of the Evolution 600 amplifier captured music the way I hear it—and if the whole system is running CAST technology, you've got something that's very close to perfection squared."

That's still true—especially the part about the Evolution 600s sounding their best by far in a complete Krell CAST system. Isolating the 600s as a single element for comparison with the MX-Rs removed the CAST advantage, of course, but even without it, the 600 is an amp to reckon with.

With the Britten-Elgar SACD, both the Krells and Ayres presented the power of the orchestra and the rich inner voices of the woodwinds with comparable vigor. Did the Krells produce greater bottom-end solidity? Through the Dynaudio Confidence C4s, yes, absolutely. Other speakers in my system made the issue less clear-cut—either because they lacked the C4's bottom octave or, as in the case of the Vandersteen Quatro Wood, assigned it to their own dedicated amps.

On Nat Cole's "L-O-V-E," I switched back and forth repeatedly, able to hear extremely subtle differences but not having a consistent preference. Was the trumpet perhaps punchier through the Krells? Yes. Could I hear the slight rasp in Cole's voice better through the Ayres? Yes. Were both immersive and emotionally compelling? Yes.

Okay, why not try a solo instrument, to see if one of the amp pairs was overlaying simplicity with too much mojo? Out came Xuefei Yang's Romance de Amor (CD, EMI 677225); I cued up Albéniz's Asturias. Both pairs of amps did a remarkable job of getting out of the way of a solo guitar: no transient smearing, no heaviness, just purity and grace. I could listen to either all day long, all year long.

I began to pore over my listening logs, looking for discs that might highlight the differences between the Ayres and the Krells. I found 'em, but not in the way I'd expected. I'd assumed, you see, that there had to be one killer disc that would unveil the secret flaw of one or the other amp. Instead, I found a remarkable gulf between their sets of strengths.

During my time with the Krell Evolution 600s, I combed my collection, looking for the finest examples of the audio engineer's art. I would dig out discs I hadn't heard in years, thinking, I remember this sounded pretty good! Nine times out of ten, I'd end up thinking, Yeah, but never this good. The Krells sounded so good I wanted to hear only the best I had—and they elevated my sense of "best."

While my stint with the MX-Rs had some overlap with recordings, especially with discs that the Krell Evo system had spectacularly imprinted upon me, my listening logs ran much further afield. The Krells had me digging out discs engineered by Wilkinson, Layton-Moore, Johnson, Faulkner, and quite a few by Atkinson. My MX-R logs also included Jelly Roll Morton, Fats Waller, Ralph Stanley, and, yes, Casals and Cortot. I'm not saying that the Ayres made those sonically compromised discs sound better than they do, nor am I saying that the Krells made them sound worse. I did, however get impatient with less than superb recordings with the Evos. I felt I was wasting the amps' potential. The Ayres, without being euphonic, didn't make me feel that way.

I have a lot of "okay" recordings, and even more that are sonic dog food. I wish it weren't true. Lord knows, every time I buy a new record, I hope it will match fabulous music making with first-rate sound, but Holt's Law—"The quality of a recording is inversely proportional to the quality of its performance"—has been wickedly persistent for lo, these many years since JGH coined it. Given that reality, the MX-Rs have a leg up on most of their competition.

However—in a full-blown CAST system, the Krell Evolution 600s remain foremost among the finest amplifiers I've ever experienced, especially when unlimited power is required. The Ayre MX-Rs, which I never seriously challenged with any of the speaker loads I had on hand, weren't quite as impressive in terms of pure grunt.

On the other hand, even when you don't factor in other CAST components, the Ayres are half the price of the Evo 600s.

Ayre apparent
At $16,500/pair, the Ayre Acoustics MX-R isn't really a "bargain." However, the MX-R is competitive with the best amplifiers on the market, and in many ways—size, energy efficiency, stability—is one of the most remarkable performers at any price. And Ayre's engineering and construction are second to none—which, come to think of it, is a pretty good tagline for the MX-R: second to none. That the MX-R is sexy is just gravy.

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[CD Player] Accuphase DP-78  (0) 2008.12.01

K-1, K-3의 뒤를 이어 제3라인업을 형성하는 "5" 시리즈의 프리앰프로서 파워앰프 V-5xe, 포노앰프 P-5xe의 중핵에 위치한 모델입니다.


•전단 완전 밸런스회로 디자인  
•제로 피드백  
•1dB, 66단계 금속 피막 저항 소자를 FET로 스위칭하는 접점 열화가 없는 어테뉴에이터볼륨 채용  
•입력 전환도 FET 스위칭, 접점 열화가 전무  
•”프로세서 패스쓰루 모드”탑재 


2002년 발표된 K-5x는 상급기 K-1x, K-3x의 제로 피드백, 풀 밸런스, 디스크리트 구성의 회로 컨셉은 계승하고 컨트롤부는 기계적인 스위치를 배제함으로써 합리적인 가격에 높은 성능을 자랑하였습니다. FET 전자 스위치로 디스크리트하게 배치한 메탈 필름 저항을 1 dB씩 66단계로 바꾸는 볼륨 회로처럼 입력 셀렉터도 FET 스위치에 의해 접점 로스와 경년 변화가 없는 고순도의 컨트롤을 가능하게 하고 있습니다.
또 리모콘 동작이나 전환 등을 컨트롤 하는 마이크로 프로세서는 동작 시 이외에는 sleep 모드로 들어가기 때문에 아날로그 신호에 대한 간섭이 전혀 없습니다.
이 K-5x에 대해 K-5xe는 정류회로의 미소한 스위칭 노이즈도 완전하게 제거하는 새로운 전원 기술 “Dynamic Power” 회로로 전원부를 업그레이드하고, 입력 회로에의 제로 피드백 전압 레귤레이터 등을 탑재한 결과 음장감이 확대되고 저역은 더욱 에너지감이 넘치며 깊은 곳까지 뛰어난 해상력으로 음악을 표현합니다.



최대 입력 레벨

4Vrms(언밸런스), 8Vrms(밸런스)

입력 임피던스

20kΩ(언밸런스), 40kΩ(밸런스)


4dB(언밸런스 출력), 10dB(밸런스 출력)

주파수 특성


출력 임피던스

55Ω(언밸런스), 110Ω(밸런스)

소비 전력



W440 x H120 x D440 (mm)

Ayre Acoustics K-5xe Preamplifier

The little brother gets no respect.

It takes only a cursory search of the Internet to unearth mountains of information about Ayre Acoustics products, from their statement-level V-1xe power amplifier to their K1-xe preamplifier and the ubiquitous CX-7e, which just about everyone who’s anyone uses as a reference CD player.

But dig a little deeper into the Ayre line and there sits little brother, the K-5xe preamplifier, lonely and essentially unreviewed by the same audiophile press that can’t seem to get enough of Ayre’s top-level products. I’ve had my eye on the K-5xe for some time now, as the P-5xe phono stage has held pride of position in my system since I reviewed it in 2005 -- and after all, they’ve got the same number.

The P-5xe phono stage is one of those rare audio components that sits there, elegant as all get-out, never intrudes on the music -- and thus stays out of perception -- and quietly performs its job in an efficient, invisible manner. Doesn’t that sound exactly like what a good preamplifier should do? Well, that’s why I bought it, and it’s why my mind kept coming back to the K-5xe. At $2950 USD, the K-5xe seems as if it would be the perfect companion to the P-5xe.

The suspense was too much to bear. I contacted Steve Silberman of Ayre Acoustics, and he agreed to send me a K-5xe, along with a companion V-5xe power amplifier, so that I could investigate the familial synergy of a complete Ayre system.


The Ayre components impressed even before I took them out of their boxes. Amplifier and preamplifier ship in sturdy cardboard boxes, but instead of Styrofoam, Ayre uses cardboard spacers for the V-5xe amplifier, and a super-nifty suspension system based on cardboard and some sort of clear, springy plastic for the K-5xe. Thanks for doing your part for the environment, Ayre.

Once I’d decanted the K-5xe, the good impressions continued. Consisting of a solid, inert, rectangular box measuring 17.25"W x 4.75"H x 13.75"D, the K-5xe felt heavier than its 25 pounds would suggest. Its brushed, anodized aluminum panels are well damped -- a rap on the top plate elicited a dull thud instead of the alarming tang that emanates from the rattly steel chassis of lesser (but not necessarily less expensive) gear. A closer examination revealed high standards of construction and close tolerances, with little or no gaps between chassis parts.

The front panel is clean and uncluttered, with a central window that displays the volume in blue numerals in increments of 1dB. The input switches are arrayed below the display, labeled with quirky but intriguing symbols -- star, planet, moon, comet -- which you can categorize using the mnemonic device of your choice. There’s also a buffered tape loop and, on the far right, a mute switch. The volume knob is silky and freewheeling, connected optically via FETs to the K-5xe’s array of metal-film resistors. Although I didn’t open the K-5xe’s case, Ayre claims that its power supply, especially the transformer, is exceptionally chunky -- as indeed it must be to jack up the weight of this relatively small box to 25 pounds.

If you’ve paid even passing attention to the audiophile scene, you know that Ayre Acoustics made its name on two principles: zero feedback and fully balanced operation. Steve Silberman explained, while setting up the K-5xe and V-5xe, that Ayre feels that while the use of feedback can provide better measurements, the zero-feedback circuits used in Ayre products are more musical by far.

Balanced connections are more complicated to implement than are single-ended, requiring almost double the number of circuits and the parts required to build them, which of course raises the cost of manufacturing. In return, the technology’s proponents say, balanced connections reject noise and permit longer cable runs. The K-5xe features two balanced inputs, one balanced output, and an equal number of single-ended connections, along with the tape loop. Any one of the K-5xe’s inputs, single-ended or balanced, can be configured as a processor pass-through input for use with a surround-sound system.


Hooking up the K-5xe was simplicity itself. There is no power switch -- the K-5xe powers up as soon as it’s plugged in. For the first time, I was able to use my Benchmark DAC1’s balanced outputs (my Sonic Frontiers SFL-2 has only one balanced input, which I dedicate to my phono stage), connected to one of the K-5xe’s balanced inputs (my P-5xe phono stage took the other one).

The K-5xe fed its signal to either the Ayre V-5xe or my own Anthem Statement P2 amplifier, and I spent a good bit of time switching amps to get a handle on what each piece of Ayre gear was bringing to the party. I used only balanced connections between amps and preamp.

Sources consisted of the Pro-Ject RPM 10 turntable (now a permanent resident of the Thorpe household) with my beloved Roksan Shiraz cartridge bolted to its pointy end. My Toshiba SD-3750 DVD player has been replaced by an Oppo DV-970HD, at the insistence of Roger Kanno of www.hometheatersound.com. Speakers were Focus Audio’s Master 3 throughout the entire review period, connected by Acoustic Zen Satori cables. Interconnects were all Analysis Plus Solo Crystal Oval (balanced), although I also used the stock interconnect provided with the Pro-Ject RPM 10. Power cords were Shunyata Taipans for the most part, not including the occasional dalliance with Cardas Hexlink 5s. All AC cords were plugged into a Shunyata Hydra Model-6 power conditioner, though I did experiment with Ayre’s recommendation of connecting their products directly to the power source.


Completely disregarding Ayre’s recommendation of 100-500 hours of break-in, I gave the K-5xe and its squat little buddy, the V-5xe, a full 30 seconds to warm up, then sat down for a listen. I never did confirm if Ayre had broken-in these two units at the factory for me, but they may well have -- I noticed little, if any, change in their sound from the first note to the last, just before I boxed them up to ship back to Ayre.

What I did notice -- instantly -- was a dramatically low system noise floor. Without music playing, and the turntable’s cuing arm raised, the Ayre system was dead silent, almost to the point of sucking the ambient noise floor right out of the room. With the furnace off and no one else in the house, the system and the room itself were silent. Of course, almost all solid-state gear these days is quiet, but the K-5xe took things to another level. Even with my ear right up to the speaker, I couldn’t tell if the system was powered up or down. So I lowered the tonearm onto one of the best-pressed LPs I own: the third of Peter Gabriel’s eponymously titled solo albums, aka Melt and/or Three, this one from 1980 [Atlantic/Classic PG3].

I’ve heard much made of the similarity of Ayre equipment to tube gear, but my initial reaction to the K-5xe didn’t lean in that direction. To my ears, tubes add a subtle sparkle to music; the best tube equipment carefully leverages that characteristic toward a better sense of space and dimensionality of harmonic overtones. The K-5xe didn’t add anything. In place of the additive enrichment and high-calorie lushness of tubes, the K-5xe carefully extracted the music and passed it on with almost nothing added or subtracted.

Ayre Acoustics V-5xe Power Amplifier

Some say synergy is everything. At the very least, it shouldn’t be overlooked, I say. In this context, synergy was the result of spending two months listening to a complete Ayre system comprising a P-5xe phono preamp, K-5xe preamplifier, and V-5xe power amp.

The V-5xe ($4500) is claimed to be a member of the Double-Down Club: it doubles its power as the speaker’s impedance halves. In this case, that means it puts out 150Wpc into 8 ohms or 300Wpc into 4 ohms. While the benefits of this are dubious in the real world, it does mean that the V-5xe packs one hefty power supply. Sure enough, it’s a chunky little guy: 18"W x 7"H x 16"D and weighing a dense 55 pounds. Like the -5xe preamp and phono stage, it’s a beautifully finished, inert block.

With one Power/Standby button up front, the real fun lurks ’round back, where Ayre has provided some seriously robust binding posts operated by a single large thumbscrew. I thoroughly enjoyed this innovative design. I’m not quite so enamored of the up-and-down mirror-imaging of the connectors -- I would much prefer that everything lined up nicely on a horizontal plane. Call me old-fashioned.

For the duration of the review period, the V-5xe performed flawlessly. It ran just warm to the touch, which is fine as far as I’m concerned. Never trust an amp that runs cold, my dear departed pappy used to say.

All three Ayre products share a distinctive house sound that leans toward the crisp, clear, see-right-through-the-soundstage end of things. In comparison to the K-5xe and P-5xe, the V-5xe seemed to inject just the tiniest bit of warmth into the all-Ayre system, slightly fleshing out the midrange and the area just above it, adding a little more body to vocals and some extra wood to stringed instruments.

Consider that additional juice through the midrange in the context of how the other Ayre products, especially the K-5xe preamp, convey the music’s harmonic intricacies. The V-5xe amplifier had no overt richness, yet the images from the midrange right through the treble contained ample detail and delicate subtlety. It’s all about insight into the music, and the V-5xe delivered it in spades.

For decades now I’ve enjoyed pianist John O’Conor’s interpretations of Beethoven. They could be considered a touch delicate, but that’s why his playing is that much more passionate when he lets loose in Presto of the "Moonlight" Sonata, from Beethoven’s Piano Sonatas Vol.I [CD, Telarc CD-80118]. O’Conor’s piano has scale and majesty here, and the V-5xe dug deep to present an outstandingly solid image. Each hammering note of the crescendos in this movement was imbued with O’Conor’s innate pensiveness, and the V-5xe’s natural delicacy provided me with additional insight, almost showing me the movements of his fingers.

Like the K-5xe preamp, the V-5xe presented ample treble extension, sounding slightly forward but without the slightest hint of grain. There was admirable sparkle in the V-5xe’s top end, and with its exceptional purity in the highs, it was possible to listen for extended periods without fatigue. In comparison to my Anthem Statement P2, the V-5xe’s highs were slightly more elevated in level but also slightly cleaner -- an admirable tradeoff, in my book.

Down low, the V-5xe had good grunt but was no miracle worker. The bass was deep, tight, and tuneful, but slightly down in level. In the context of the slightly forward highs, this made the amp sound very slightly lean. However, its slightly warm midrange ameliorated this tendency, and the end result was a thoroughly enjoyable sound.

The Ayre V-5xe is about twice the price of my Anthem P2, and delivers half the power -- on the face of it, an eyebrow-raising equation. But the V-5xe has enough tricks up its sleeve to warrant its higher price. It’s stunningly built, and boasted an incredible purity of sound that was apparent right from the first listen. The V-5xe merits a solid recommendation from this listener.

…Jason Thorpe

But the K-5xe did something special that went a bit beyond adding or subtracting information. Gabriel’s "No Self-Control" is a dense, claustrophobic song that vivisects the small, dirty cubbyholes of a disturbed mind, and it takes several listens to dig down beneath the obvious into the almost Jungian emotions with which it’s charged. From the first notes, the K-5xe presented a clear, easily deciphered view that let me better investigate the dense interplay of the instruments. This entire album is clustered around the midrange, and any congestion in this range removes much of the music’s immediacy. I heard no such congestion -- quite the contrary. The K-5xe delineated every stroke of Phil Collins’ drumwork, each razor-sharp note of Robert Fripp’s guitar, with almost hallucinogenic immediacy. By increasing the apparent space between the instruments and by carefully disentangling the closely clustered borders of the acoustic space, the K-5xe helped me get even closer to this deeply disturbing song.

I’m always on the alert when a component at first seems to reveal more detail in music, because such traits are often accompanied by thinness and etch. I generally don’t worry about it, however -- if it’s doing this, I’ll find out in the long run. Fortunately, the K-5xe didn’t walk this path. While there was no way I could have mistaken the K-5xe’s eminently neutral tonal balance for a lush, chocolatey tube preamp, the Ayre didn’t bleach the richness out of music. Deeper into Gabriel’s Three, the totally out-of-place but still exciting "And Through the Wire" has an abrasive tonal balance that the K-5xe portrayed with all of its sharp edges intact, but without exacerbating the condition. Gabriel’s voice was appropriately aggressive, and the overly echoed chorus displayed good depth and density, the dynamic swings of the chunka-chunka drum work coming through with an admirable intensity.

Impenetrable, busy music makes for fun listening but difficult reviewing. I found it much easier to get a handle on the K-5xe’s character by listening to The Tony Bennett/Bill Evans Album [Riverside OJC-439]. Bennett’s voice, from my punky little Original Jazz Classic pressing, has a delicious, subtle halo that my Sonic Frontiers SFL-2 tube preamp tends to accentuate with additional harmonic overtones. The Ayre K-5xe didn’t resort to such trickery. Instead, it seemed to dig deeper into the actual acoustic, standing clear of the action while revealing the harmonics on which the real musical action depends. I guess it’d be simpler just to say that the K-5xe was clear through the midrange, but that would be doing it a disservice. While it definitely sounded open, clear, and unrestrained through this range, it did seem to go out of its way to help reveal the music’s character -- its soul, if you will.

Los Lobos’ La Pistola y El Coraz? [Slash 92 5701] is a busy little gem of a record -- beautifully recorded traditional Mexican music stunningly played on mostly acoustic instruments, and a microcosm of all that’s important to both music lovers and audiophiles. While La Pistola is quite fast-paced, there are a couple of delightfully melodic tracks that confidently deliver tasty slices of rural Mexico. I’ve found that the frantic violin on "Las Amarillas" can have a metallic edge through any component that leans toward thinness. The K-5xe refrained from hardening any of the string textures with which this track is littered, while keeping distinct all of the densely packed instruments and voices.

Being a tube lover of long standing, I always lean toward the Dionysian side of the audio equation -- I far prefer warm and lush to crisp and dry. As I’ve said, the K-5xe didn’t sound tubey, but it did manifest some of the same spatial and emotional qualities of my tube-stuffed SFL-2. I know that a component is going above and beyond the call of duty when the music makes me pause in my tracks, look up at the stereo, and crack a big, wide grin. I repeatedly experienced this phenomenon with the K-5xe in the system, and the most recent example was when I gave La Pistola another listen. "Estoy Sentado Aqu?quot; is music to drink tequila to while you lament the lost love of your life. The accordions, guitars, and big-assed acoustic bass in this track all combine into a luscious musical stew. The K-5xe had a bottom end that managed to be solid-state-tight and harmonically complete at the same time, and this juicy foundation, along with the Ayre’s knack for instrumental placement, made for that look-up-smile-and-chuckle moment.

Finally . . .

My overall reactions to the Ayre K-5xe flowed from one extreme to another. At times I wanted a bit more lushness, at others I was astounded at how the Ayre managed to draw me into the music. It’s fairly easy to dismiss my desire for a richer sonic palette -- I came to the K-5xe directly from reviewing a tube preamp. It’s far more telling to consider that the solid-state Ayre was so easily able to involve me in the music to the extent that it did.

As I packed up the Ayre preamp and power amp for return to the factory, I asked myself what sort of person would be the potential customer for the K-5xe. I suspect it won’t tempt the committed tube lover to decamp for the land of silicon. While the K-5xe is a delightfully neutral preamplifier, and while it did full justice to the intent and soul of the music I played through it, it was definitely not lush in the tubular sense -- and that may be a deal-killer for those looking for a cool-running alternative to tubes. On the other hand, those used to solid-state preamps will undoubtedly welcome the Ayre’s deft way with harmonics and its exceptional portrayal of space, and end up completely enchanted.

After my splendid experience with the matching P-5xe phono stage, I had high hopes and high expectations for the Ayre K-5xe, especially at its altogether reasonable price of $2950. Now, having listened to and lived with the K-5xe, it’s easy to see why so few units show up on the used market. With its dead-quiet, unfussy operation, superb build quality, and totally neutral tonal balance, its level of performance is usually the domain of preamplifiers costing twice as much.

…Jason Thorpe

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서울 삼성동에 있는 개인사업가 K씨의 단독주택.30평 남짓한 앞마당에 아담한 2층짜리 건물로 겉으로 보기엔 여느 단독주택과 다를 게 없다.

하지만 지하 계단을 내려가면 사정이 다르다.

불을 켜니 사람 키만한 스피커와 대형 프로젝터,수십개의 각종 AV기기들이 방문객을 압도한다.

자동스위치로 180도 젖혀지는 안락의자와 푹신한 소파까지….유니폼을 입고 음식을 가져다 주는 직원만 있으면 소규모 프리미엄 영화관이다.

영화를 보기 위해 전원을 켜고 일본 데논(Denon)사의 A1XV DVD플레이어와 벨기에 바코(Barco)사의 Cine9 CRT프로젝터를 작동시키는 데만 10여분.프랑스 자디스(Jadis)사의 여섯 덩어리짜리 진공관 앰프를 예열시키는 것은 30분이 넘게 걸린다.

인내심을 갖고 기다리니 웅장한 오케스트라 화음과 함께 '반지의제왕-왕의 귀환' 영상이 미국 스튜어트사의 123인치 스크린에 나타난다.

미국 에어리얼(Ariel)사와 영국 PMC사의 제품으로 구성된 8.3채널(센터스피커 1개,프런트스피커 2개,서라운드스피커 5개,우퍼 3개) 오디오 시스템에서 울려퍼지는 '거대한' 사운드에 가슴이 철렁 내려앉는다.

데논 제품 외에도 메르디안(Merdian) 800,에어(Ayre) D-1X 등 DVD플레이어만 3개.감상하고 싶은 작품의 특성에 따라 기계도 달라진다.

"극장이나 콘서트 현장에 가야 맛볼 수 있는 음향과 영상의 감동을 집에 그대로 옮겨 놓았다고 보시면 됩니다.

물론 감상하고 싶은 콘텐츠를 기분에 따라 바꿀 수 있다는 점에서 극장보다 낫다고도 할 수 있죠." 20년 전부터 음반 영화 등 각종 콘텐츠를 수집해온 K씨는 최근 이 집으로 이사온 이후 3개월동안 약 10억원을 들여 '자신만의 극장'을 만들었다.

3800장의 DVD 타이들,1800개의 HD녹화물,K씨 자신도 몇 장인지 모르는 레이저디스크(LD) 레코드판 CD 등은 단순한 돈의 가치를 뛰어넘는다.

시스템을 설치한 김한규 GLV 사장은 "A/V 기기 외에도 환기 에어컨 등 공조 시스템,다양한 모드의 조명,최적의 음향과 화면을 얻기 위한 음향판과 마감재,하나의 리모컨으로 모든 시스템을 제어할 수 있는 통합 컨트롤 시스템 등을 갖춰놨다"고 설명했다.

각각의 품목마다 최고의 브랜드를 사용하는 '하이엔드(최고급) 홈시어터'.스크린과 스피커,재생장치 등을 최고급으로 갖추는 데 최소 5000만원 이상을 투자해야 한다.

때문에 K씨와 같은 하이엔드 홈시어터 마니아는 아직은 수십명 정도에 불과하다는게 관련 업계의 분석이다.

물론 삼성전자 LG전자 등 국내 업체에서 일괄적으로 제품을 구입하면 200만원대에도 홈시어터를 구축할 수 있다.

야마하 데논 등 '웬만한' 일본 제품에 중저가의 프로젝터를 설치하면 1000만원 정도에 꽤 훌륭한 시스템을 만들 수 있다.

하지만 안방에 최고의 영화관과 콘서트홀을 옮겨 놓으려는 인간의 꿈은 K씨와 같은 홈시어터 마니아들을 끊임없이 양산하고 있는 것이다.

1t짜리 대리석 위에 놓인 사이몬 요크(Simon Yoke)사의 턴테이블,색상 명암 등 입력 신호를 완벽하게 재생한다는 소니의 방송 규격 모니터 BVM F24 등 국내에서는 구경하기 힘든 세계 최고 제품들이 방을 한가득 채우고 있다.

유창재 기자 yoocool@hankyung.com

부산 하이파이 AV 시스템

바코 시네9과 시스템전경

스튜어트 HD130과 JMlab유토피아 스피커

콘트롤시스템과 서브우퍼

바코 시네9과 홈시어터 전용의자

할크로 DM68과 깔끔한 배선처리

시스템 랙과 서브우퍼, 모니터

이 곳의 시스템 컨셉은 최상위 그레이드의 하이파이와 홈 시어터를 공존하는 형태입니다.

시스템의 구성은 알맞았지만 리스닝 룸이 문제였습니다.
리스닝 룸의 구조가 기존의 방 2개를 터놓은 형태로 가로 4.5m, 길이가 약 9m정도 되는 긴 형태의 공간이었는데 문제는 방과 방 사이를 1/3정도 가로막은 아치형 벽기둥이었습니다. 이로 인해 공간이 하나로 연결되지 않고 두 개의 공간으로 분리된 것처럼  전면과 후면의 음향의 괴리감이 생겼는데 처음에는 서라운드 스피커를 모노폴 타입의 Thiel의 Power Point로 했다가  결국에는 음장의 보강과 확산에 도움이 되는 바이폴라 타입의 JMlab Side Utopia로 사이드와 백서라운드를 추가함으로서 음장의 자연스러운 공간감을 확보하였습니다. 메인 스피커와의 음색의 통일성도 이루고, 음장도 한층 자연스러워졌습니다.

여기에 전체적으로 울림이 많은 공간에 정세한 음의 이미징을 만들고자 천정의 반사음을 잡기위해 Bio Wall을 10장 시공했고, 뒷면의 정재파를 잡기 위해 RPG의 디퓨저와 스탠드를 장착했습니다.

약간 아쉬운 부분은 JMlab Utopia를 울려주고 있는 파워앰프 마크 436L. 저역 구동을 제대로 못하고 있고 미드 베이스가 약간 둔중한 느낌을 주는 면이 있는데, 이는 향후 좀 더 나은 제품으로 교체할 예정입니다.

영상은 최고의 퀄리티를 보여주는 Barco Cine9를 주축으로 Ayre D1x SDI와 비가텍 Dune-F를 사용 가격대 성능비를 지향했습니다.
원래는 Teranex Volare210를 사용할 생각이었으나 먼저 음향 쪽을 완성시키고자  영상의 완벽함은 추후를 기약하기로 했습니다.
물론 현재의 화질만으로도 충분한 다이내믹레인지와 정교한 컬러 밸런스와 계조력 등 표준적인 영상이 나오고 있습니다.


*설치 시스템

프로젝터 : Barco Cine9
비디오프로세서 : Vigatek Dune-F
DVD플레이어 : Ayre D1x SDI
DVHS : Victor DH-35000
HD수신기 : Samsung K165
SACD플레이어 : Krell SACD스탠다드
스피커 : JMlab Utopia(main), JMlab Center Utopia(center), JMlab Side Utopia(rear x3), REL StentorIII (Sub)
파워앰프 : Mark Levinson 436L(main), Ayre V6x (center, rear)
AV프로세서 : Chord DSP8000
전원안정기 : 파워테크 PAV-5000
케이블 : Kimber 1130 외
암막 : 수입천 전동 암막 시공
룸튜닝제 : RPG, 바이오월, 대형 카페트 

*시스템 유형 : 하이엔드 6.1ch 시스템 구축과 하이파이 양립형

*주요 업그레이드 사항

1. 메인앰프: 마크 436 -> 할크로 DM68
2. 서라운드스피커 : 틸 파워포인트 -> JMlab 서라운드 유토피아
3. 전원 케이블 : 전 시스템 후루텍 최상급 파워케이블로 교체

기존의 시스템도 멀티채널 시스템에서는 훌륭한 사운드를 재생하였습니다만 궁극의 하이파이 사운드를 재생하는 측면에서는 아쉬움이 있었습니다.
중고역대의 뉘앙스와 저역의 콘트롤 능력이 공간에 비해 제품들의 거창함을 제대로 드라이브한다고 볼 수 없었기 때문입니다.

그러던 와중에 유토피아 스피커와 가장 훌륭한 매칭을 이룬다는 할크로의 플래그십 모델 DM68 모노블럭 파워앰프로 교체 이후 음악적 울림과 하모닉스가 대폭 향상되어 가히 최상급 시스템다운 면모를 드러내게 되었습니다.

본 리스닝 룸은 두 개의 방을 연결하여 사용하는 공간으로서 서라운드 쪽의 이펙트와 양감이 부족하였는데 이 또한 동사의 서라운드 유토피아로 교체한 이후 전면의 스테이지와 연결감과 이동감이 자연스러워 졌으며 무엇보다 음색의 일치를 꽤할 수 있게 되어  SACD와 DVD오디오 등의 멀티채널을 보다 향상된 하이엔드 감각으로 즐길 수 있게 되었습니다.

전원 케이블 교체이후 보다 향상된 다이내믹레인지와 정갈해진 음장의 느낌은 하이엔드에서 마지막 2%의 세팅이 얼마나 중요한지를 깨닫게한 중요한 체험을 하셨습니다.

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