The second sonic pillar on which the ASR’s performance rests is presentational in nature. Despite its willing dynamic response and resulting sense of musical power and impact, this amplifier is never, ever less than invitingly listenable. Indeed, if we were to play the One Word Review game, in the case of the Emitter II I’d come back to that word “listenable”. But what makes it so engaging? For years, there’s been endless words written about and innumerable products claiming to offer the best aspects of tube design along with the strengths of solid-state – the theoretical best of both worlds. Of course, the performance attributes of the two technologies are often contradictory and in conflict, impossible to realise simultaneously in a single circuit. Yet, in some ways, that’s exactly what the Emitter II has achieved, in effect if not in detail. That requires an explanation…
‘Tube-like’ – but not like tubes…
The ASR manages to combine tubelike tonality and flow with exemplary solid-state levels of resolution, focus, transparency and dynamics. The latter aspects of performance are not far short of the class-leading (and significantly more costly) products mentioned above – and considerably better than most. But at the same time, the amplifier manages to provide a relaxed and inviting warmth to its sound. I can’t be sure but I strongly suspect that this duality is the result (perhaps that should be benefit) of the power supply arrangements. Not only does the incredibly powerful output stage benefit from massive, dual mono and totally separate power supplies, promising not just the ability to respond to sudden dynamic swings but also complete separation of the two channels and their individual dynamic demands. Given the way that stereo works – the interdependence of the two separate channels – the individual integrity of each channel is absolutely critical to a convincing result. The scale, dimensionality and absolute stability of the ASR’s musical picture demonstrate just how successfully the amplifier’s topology meets that challenge.
But at the same time, the line stage that drives that output stage is fed from its own independent battery supply. Batteries get a mixed press in audio, especially when it comes to amplification. Offering quiet, smooth, ripple-free DC, their use can result in a beguiling tonal purity, but they can also be dynamically limp and lacking in authority. Mind you, that isn’t always the case, Definitive Audio has long delivered one of the most impressive rooms at the High-End Show, whether using their Vox Series horn speakers or the compact, two-way Auditoriums. But what has been a constant is the huge battery power supply they bring with them to run the whole system. No lack of grunt, dynamic range or authority there! At the other end of the scale, probably 25-years ago, I reviewed a set of Final Audio Research amplifiers from Japan, a diminutive line-stage and power amp that ran entirely from torch batteries! The sound was wonderfully fluid and tonally seductive – although running costs with anything other than seriously efficient speakers were ruinous.
