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The sound of a protostar?
After placing the EL30s on a platform and hooking it up to the Supratek preamp and Wilson Sasha speakers, I ran the amp with the radio for a number of days prior to formal auditioning. Note that during the extended auditioning period (over at least two months) I tried both balanced and single-ended connections and found little if any difference between them. Ask me to identify blind which option is connected and you’ll probably get a different answer each time.
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Straight off I was very pleased with the overall balance of the sound. Here was an amp that managed to provide surgical detail resolution, neutrality, state-of-the-art transparency and truly superb bass. Cat Power’s (Chan Marshall & Co.) Jukebox is on constant spin chez Kramer’s. "New York" has an enormous drum intro and some amps suffer this onslaught (especially with the low impedance the Sasha presents) by sounding anaemic and lacking power through the intro while recovering somewhat after the drumming ebbs. The EL30s slammed the bass with power and pace and, very importantly, extraordinary tonal accuracy. The drums felt like a skin being hit and the whacks trailed off with realistic reverberation.
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But given a large transformer—especially of the Plitron variety—and enough capacitance for power reserves and many a solid statesman can display brute force. The EL30s did fine detail and finesse just as well. No better example comes to mind than Chan’s wavering almost breaking voice in "Silver Stallion" where the amp communicated her tonal nuance while presenting the beauty and poetry of the lyrics in a way that drew me into the experience. And Chan’s image was solid, dead center and present.
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In a similar vein, Neil Young’s Live at Massey Hall 1971 was given the same resolute treatment. Once again the EL30s communicated in a way that created a semblance of the hall, its acoustics, its audience and even its vibe. "Old Man" has Neil modulating his voice from soft to loud and the EL30s tracked the dynamic swings while maintaining Neil’s distinct tone and preserving his vocals’ interaction with the ambience. Each guitar pluck had speed, attack and the right timbre with precise image and body.
What more can you ask of an amplifier? Well, this particular writer is partial to tonal qualities, dynamic contrast, transient attack and transparency. All of these qualities are generously offered by the EL30s.
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The Lawrence of Arabia Overture (Cincinnati Pops) was an illustration of all of the above plus more. Again, the intro is a tympani-heavy passage that leads to a slow and ponderous segment where the string section is spread across a massive stage especially laterally – the depth perspective, although good, was a tad less extended than with some amps. As the overture continues, the string section has a sense of grouped individuality contrary as it may sound where many singular violins play en masse but their tonality allows you to discern them as individuals within a homogenized group. And as the orchestra swells—and the Cincinnati lads and lasses can swell alright—the EL30s kept up no sweat. In fact as much as I pushed things, the meter never once rose above the second row of LEDs. There’s a whole lotta headroom there.
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As I neared the end of the review process, I thought I would give my listening notes the once over. Among a long list of observations I had underlined "exquisitely detailed", "deadly accurate" and just below that "superbly dynamic". Among its numerous other strengths, these two quotes sum up the EL30s to a "T".
Conclusion
You may love or hate the granite frontage, the over-the-top heatsinks and maybe even the VU LEDs (although they’re defeatable) but in my opinion, the EL30s is a unique and stunning visual statement. It possesses a variety of useful features, connecting options and is built to last. Sonically it excels at the things well-engineered and powerful solid-state amps do, namely total control of the speakers’ drivers, neutrality and transparency. But it adds a bit more. It has the speed of a good class D circuit, the attack and surgical resolution of a cumbersome and massive class A device and gets closer than many transistors to the ultimate palpability, finesse and detail delicacy of a well-executed SET.
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The high-end audio universe is crowded with all manner of companies fighting for market share. There are a myriad stars in this universe all in the process of birth and expansion. As a new presence, SGR Audio and the Ralston team are a supernova shining with increasing brightness. Witness as a new star is born.
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Quality of packing: Demo model with random box/foam provided.
Reusability of packing: A number of times.
Ease of unpacking/repacking: Easy task.
Condition of component received: As new.
Completeness of delivery: Accessories provided (rubber feet and machined cones with protective dishes).
Quality of owner's manual: Demo unit, therefore no instruction manual.
Ease of assembly: Due to their central location within the bottom of the chassis, the cones are not easy to place onto surface-protecting discs.
Website comments: Well designed website with ample product information
Warranty: 3 years.
Human or web interactions: First rate. Company representatives were prompt and forthcoming with information requested
Final comments & suggestions: None at this stage.
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