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Bel Canto Design e. One REF600M- Monoblock Power Amplifier

Stereophile

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October 2016

Has it really been more than seven years since I reviewed Bel Canto’s REF1000M monoblock?1

- Kalman Rubinson

Bel Canto Design e. One REF600M- Monoblock Power Amplifier

According to the Bel Canto website, that model, based on Bang & Olufsen’s ICEpower class-D modules, is no longer made. But now, like so many manufacturers, Bel Canto has adopted for its new models the NCore class-D module from Hypex—although the REF600M monoblock ($4990/ pair) is not Bel Canto’s first product to use it . . .

Last year, Michael Fremer reviewed Bel Canto’s nearly all-digital Black amplification system,2 which comprises one ASC1 Asynchronous Stream Controller (essentially a Master Clock/preamplifier) and a pair of MPS1 Mono PowerStreams (monoblock DAC/power amps with digital and analog inputs, connected to the ASC1 via ST-optical links). The MPS1 is based on an NCore amplifier module and Hypex SMPS power supply board, supplemented by Bel Canto’s own AC power pre-conditioning circuitry. The sound of this $50,000 system ($20,000 for the ASC1, $15,000 for each MPS1) impressed the fastidious Fremer, and John Atkinson’s measurements (and comments) were highly complimentary. After spending an unseemly amount of time with it at the 2015 Consumer Electronics Show, I, too, was impressed with the Black system.

I couldn’t help noticing that the power-output specs of the REF600M monoblock—300W into 8 ohms, 600W into 4 ohms—are identical to those of the MPS1, suggesting that they share similar NCore and power-supply components. So, even taking into account the fact that a basic power amp such as the REF600M has no need for the MPS1’s digital inputs and DAC, the new amp’s price is eye-openingly low. Yes, there are cheaper NCore monoblocks out there (and Hypex modules are available to DIY-ers), but this amp comes with a pedigree. I had to have a pair.

Déjà vu

When the REF600Ms arrived, I felt as if I were in the movie

FLERE HISTORIER FRA Stereophile

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Definitive Audio in Bellevue, Washington, near Seattle—one of the premier dealerships in the Pacific Northwest—continued its 50th anniversary celebration with an event it called “Icons and Innovators.” Highlighted by showings of the new JBL Everest series and Bowers & Wilkins Nautilus and 801 Abbey Road edition loudspeakers, the event drew a full house to the first of two sessions.

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Traveling through time and space

In the April 2024 issue of this magazine, a piece by Editor Jim Austin appeared in the “As We See It” space. It was titled “On assessing sonic illusions,” and it has haunted me for more than a year. Jim’s thesis was that a music recording is a “synthetic, whole-cloth creation ... a complete fabrication.” He writes: “Very few recordings correspond to an actual performance. Most are studio concoctions with pieced-together instrumental tracks and artificial ambience that document no sonic event that ever occurred.”

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RECORD REVIEWS

Why award Recording of the Month to a project whose vocal soloists, though thoroughly committed, are in some respects less than ideal?

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Doshi Audio Evolution Stereo

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Sticking with it

David and Alma Wilson must be doing something right. They’ve been married for 50 years, and for 36 years, they’ve owned and operated Accent on Music on Main Street in Mount Kisco, New York, about an hour north of New York City. In a recent, lively Zoom conversation with the Wilsons, it became apparent that staying the course is a viable approach, for marriage and for business.

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Period-style listening

Last night, I sat on a bright yellow velveteen sofa eating red beans and rice while listening for three hours to blues and jazz from rare 78rpm records. I walked out feeling gospel-level raised up, with a head full of dreams and cultural memories.

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Punk rock was never meant to grow old. For their first three studio efforts, The Replacements epitomized the punk ethos. Sorry Ma, Forgot to Take Out the Trash (1981), the EP Stink (1982), and Hootenanny (1983) are loud, bashy fun.

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