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In the Voxativ system. To recalibrate his VT-52/Devialet ears to upscale 300Bs, Dan the evening prior had leashed up his Kondo monos. After taking us on a wild romp through his music library—from Rococo counter tenor to Johnny Cash and June Carter, from Mozart l'Egyptien to the Hadouk Trio's Live at the FIP, from some Bach with harpsichord and solo oboe to Buddha Bar lounge and Fado numbers, from Trilok Gurtu & Robert Miles ambient with synth bass to some fierce Andalucian coplas by Rafael 'Falete' Ojeda —he now turned to me with a whisper. "On these speakers I favor their amps to my Kondos. Do you think I should tell them?"

Gino Colombo in the hot seat
I'm not sure he ever did. Purchasing the amps on the spot probably said enough. The Colotube monos in gestalt and auroma were very similar indeed to the A-010 but more powerful. Shigeki-San has C3m drivers for his VT-52s with four 80s, one rectifier per signal tube. The VT-52s in that circuit behave like super 45s. They're a clear higher octave for any Yamamoto A-08S owner. They are as fast, lit-up and direct as the Emission Labs solid-plate 45s with a bit more of everything and add an attractive infusion of 300B-type body and grounding (and 50% more power for one more mighty watt). Having owned each amp Yamamoto makes, Dan considers the A-010 the crown jewel of that range. I'm familiar only with three models. On that basis I'd concur fully. Perhaps this made it fait accompli that Dan would now find the Swiss monos just as irresistible?

Pia Colombo in reflection

Sharing Dan's suspicion that the smaller Voxativs in the office were better suited to his current systems, we next moved them in front of the broad field-coil versions. A few tracks into this impromptu A/B, five listeners agreed. In this room, with these electronics and our given biases, everyone favored the standard Ampeggios. On vocals in particular it was uncanny. They had more body without the forward presence energy of the Dué which particularly at higher levels injected more white, sharpness and textural leanness. The smaller model with its strategically faceted rear horn also had the more potent midbass to be fleshier, punchier and in this context more finely balanced.
€700 Metrum Acoustics Octave DAC vs. Esoteric UX1/APL Hifi NWO 4.0SE

Gino's circuit is noticeably faster and less colored than other 300B amps I've met before*. This provides no buffering gentlification or gentrification if you will. Plucked/popped strings and percussive hits enjoy unfettered rise times. There's only very minor harmonic enhancement to be moister than the French D-Premier but otherwise reflexes are similarly greased. Having a vast open floor plan, generous listening distance and complete privacy to indulge stout SPLs, this was a perfect opportunity to explore these very qualities. The Voxativ Dué would probably prefer a somewhat mellower more luscious amp like a Kondo. Because that's not a direction Dan presently had in mind, he promptly contacted Inès Adler with a request. Trade back the Ampeggio Dué for two pairs of smaller Ampeggios. She could retain the difference to offset shipping impact. Inès responded flexibly to accommodate her customer and also appreciated how tastes and ancillaries don't make anyone's top model always the most suitable.
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* One design I suspect could perhaps equal the Swiss in that regard are the Polish Ancient Audio €30.000 Silver Grand Monos.
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