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Step two saw a few cable changes. Out with some of the Ocellia interconnects and power cords, in with Zu Varial ICs and Genesis Absolute Fidelity cords for a slightly fuller sound with a bit less edge and bite but just as much dynamic prowess. I was on the right track but not quite there yet. The next change was to remove the preamplifier altogether and go DAC direct through the Burson Conductor's variable outputs. This approached the balance I look for - denser tone with a lot of detail not obnoxiously thrown forward; and deep solid bass. The ability to set the Conductor to 7dB of gain was a blessing, providing slightly more level gradations and useable range on the attenuator.


This setup was clearly the antithesis to Trafomatic's SM-300B with big dynamic swings, hard-hitting impacts and a very open midband which at times bordered on the hard, giving the impression of higher resolution although it really was just a shift of perspective, not a true difference in magnification.

Compared to the FirstWatt F5 the Finale ended up being more solid-state sounding with good transient resolution especially in the bass and that residual hint of upper midrange glare the F5 somehow avoids. On bass depth and power, the F5 won on depth, the Finale on power. The transistor amplifier went lower with a tighter presentation whilst the tube amplifier delivered an exuberant performance with a lot of speed, hard-hitting impacts and full body but not quite as much resolution or ultimate depth. The F5 had great audiophile bass, the Finale went for the party animal version. This was surprising considering how one of its principal designers is a Pink Martini and opera type of guy. The combination of high resolving power and solid bass dynamics made this amplifier a real delight on Renaud Garcia Fons fare and truly showcased the complex mastering that goes into all his studio recordings. It's also important to note that the Finale offers a very good dose of tube fluidity and elasticity; less than the EL84TT or SM-300B but certainly more than the F5 which despite all its admirable qualities can't quite master that trick.


On the not so happy side, no matter what combination of gear or how much time I gave it, I could not eradicate a certain level of tension in the upper midrange where sopranos and violins live. Depending on the album it came across as either glassiness which over time drove me to fatigue; or as compression and slight distortion as though the dynamic response had been selectively reduced in that range. Whilst the Finale was outgoing, highly resolved and with a very solid foundation, it really did not mate too well with the Ocellias and the kind of music those shine with.


When I hear a piece of equipment that hollers "let's party" at me, I just have to pull my Zu Essence out of retirement. That turned out to be a really good idea. Match Zu's density, somewhat duller upper mids and outgoing behaviour with an amplifier that's a little too boisterous in the rise and shine department and you have yourself a rave. Twenty watts are more than enough to rock down the Casbah with Zu. The result was an exuberant fun system I would not recommend to string quartet and soprano lovers but which will do ZZ top and the Gorillaz like few others.