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Ocellia's electronics presently comprise an 8wpc 300B stereo amp and 300B push/pull 15-watt monos. A prototype tube preamp with phono stage has been maturing in Samuel's personal system for months and the source component we listened to is nearing completion.

In his basement office, Samuel showed how his cardboard spacer quattro E-core output transformer dwarves competitors [hard left below] and how oversized his power transformer is for the output rating [hard right].

The innards of his push/pull monos show vintage-quality construction.

The underside of a board shows what a serious circuit trace is supposed to look like and how stuff used to be built.

Hard-wired sub modules live on their own metal bases.

The main amp chassis sports wood-veneered side panels and white lacquer transformer and choke cans. White also happens to be the dominant color of Samuel's dedicated listening room above the factory.

The speakers sit on concrete elevations of the actual floor while a suspended parquet floor flows around these islands all the way to the back wall where rail-less white stairs float upwards to the second story rooms.

Samuel and Rebecca have two children, Eduard and Violet. From the looks of it, both have been infected with the music-listening virus from the cradle on. Ocellia truly is a family-style business.

Though likely unintentional, even the resident moose head mirrors the luthier's concept of Ocellia.

Like the dual-concentric 12-incher, the 8-er was biwired so we could listen to just the widebander or add PHY's piezo tweeter. Though coming in at 40dB/octave very high, the tweeter on the 8 added vocal-range smoothness and very overtly improved the bass. Samuel and Bernard have explanations for the former, none for the latter. Both hear it though exactly as I did. Go figure.