On the Level-1 Unico, I was immediately struck by an enormous soundstage and incredible visceral impact that threw me back into my chair not unlike that old Maxell ad. The whole back wall just disappeared and was replaced by a thoroughly immediate and engaging, room-filling dynamic presence. The Unico and my Kestrel 2s made a great synergistic pairing, both excelling in the recreation of space. It was a presentation difficult to get up and walk away from. There was also a beguiling warmth and clarity plus a touch of midrange liquidity that suggested the influence of glowing glass. Added sibilance and chestiness on vocals were noticeable by their absence. This was my first experience with a hybrid amplifier. There really does seem to be something special about mixing two technologies. The Unico had the iron fist of high-current transistors and the velvet glove of tubes, allying the sweetness, texture and delicacy of valves with solid state muscle and control. In many respects, one enjoys the benefits of either topology without their potential limitations. The Level-1 Unico also displayed articulated imaging, excellent resolution and transparency across the spectrum, casting a forward, immediate sonic picture with terrific dynamics and solid bass wallop of exceptional pitch definition.

I will honestly confess that I've never yet cranked an amp to levels as uninhibited as the Level-2 Unico without being troubled by distortion. The amp was so clean and controlled that listener fatigue never became an issue. This was quite an incredible experience! The Level-2 had no difficulty with any musical genre or volume I chose to throw at it. It became child's play to identify the slightest system change effects such as a cable or support footer substitution. Not only was this a great analytical tool, it was a thoroughly involving, musical piece of kit with terrific immediacy and presence. Frankly, given the mere $400 cost difference, I was completely taken aback by the superiority of the Level-2 over the Level-1. I can only guess at the differences compared to the stocker. If I were contemplating upgrading an existing model or purchasing a modded unit, I'd spring for the Level-2. At only $2,295, Walter and Chris believe the Level-2 Unico bests the likes of the BAT or Mark Levinson integrated amps. I suspect a great deal of the noted sonic differences were due to the substitution of the stock opamps in the amplifier driver stage since greater resolution and high-frequency extension are two of the claimed characteristics of Burr-Brown's OPA-627.

In Walton's Cello Concerto [Naxos CD 8.554325], the Level-1 Unico brought out the power and growl of the cello's lower register and deftly mixed it with the rich, expressive texture produced by rosin, bow and strings. It appeared to put the cello right in front of me. With the Level-2, I not only heard more detail and extension but somehow, cello and orchestra sounded more three-dimensional and alive. I could also perceive the massed strings and woodwinds reflecting off the walls. Thomas Ehnes' reading of Bach's Sonatas and Partitas for Solo Violin [Analekta CD FL 2 3147-8] was electrifying on the junior Unico, his warm violin tone wonderfully present, the sense of fingers and bow flying across the strings clearly audible. As with the previous recording, the Level-2 extracted more micro data from the recording, thus enhancing the feeling of a live performance. The surrounding acoustic was better realized and Ehnes' violin emerged from a blacker background, his tone slightly more rounded and full.


One of my favorite opera recordings is Carlos Kleiber's incandescent reading of Wagner's Tristan und Isolde [DG Japan CD POCG30151]. Many critics have attacked some of the singing but I enjoy this towering monument to endless longing far more than any of its competitors, with my personal highlight Margaret Price's Isolde in the second act's love duet, as well as the light touch, sheer excitement and clarity of Maestro Kleiber and the Staatskapelle Dresden. Price's performance was absolutely ravishing on the Level-1 Unico but Level-2 enhanced my awareness of diction, breathing and the sheer orgasmic passion and delirious episodes her character undergoes in Act II. During another session, the Unico was so convincing in portraying the piss and vinegar of The Clash's London Calling [Epic CD 63885], that I had to fight back an urge to carve up my couch with a switchblade and throw it across the room. Not that I've ever committed spontaneous acts of vandalism in the throes of musical ecstasy. Naw, never!

"Everybody smash up your seats and rock to this brand-new beat! This here music mash up the nation, this here music cause a sensation! Tell your ma. Tell your pa. Everything gonna be all right." "Revolution Rock" from London Calling. On the Level-1, I was somewhat less prone to rearrange my living room. Still, that couch made for an awfully tempting target.

When comparing the Unicos to my reference Bryston B60, it was striking how these designs tended to sound like their respective physical appearance. The Unicos cast a big, room-filling soundscape with awesome slam, palpable presence and greater extension at both ends of the spectrum. The wee Bryston presented a smaller, more reserved performance. The soundstage was set farther back from the plane of the Kestrel 2s. However, its music emerged from a blacker background. I detected a fair degree of hum and low-level noise on both Unicos during idling or quiet passages. The little Bryston, while not endowed with the sheer dynamic oomph and resolving power of either Unison Research unit, was as quiet as a tomb. As my real profession is in the cemetery business, I am an expert on tombs. Trust me, they are very quiet.

While neither Unico had the lovely smoothness and purity of the Song SA-34 SB, they blew it away in sheer power, drive and frequency extreme extension. Loudspeaker compatibility appeared to be excellent, removing the need to shop around for 90dB+ speakers. But this comparison to the Song Audio piece isn't a fair contest. It's comparing apples to oranges. Truth be told, I can see some audiophiles preferring the relaxed beauty yet limited crankability of the SA-34.