The insides show familiar sights. The PSU is linear and based on an Avel Lindberg toroidal power transformer. Soo In's output devices of choice couple to the belly plate as a pair of push/pull common-source lateral Exicon Mosfets per channel. The variable resistor at the output of the proprietary ENsence modules spreads across a small PCB with 10 relays that execute 1'024 super-graduated steps (2^10=1024). One full turn on the volume control registers as 57 clicks and connects to a motorized Alps pot outside the signal path for a simple user interface. Beneath each cubed radiator hides a critical ENsence channel module. These discrete current-mode operational amplifiers run a precision bias controller whose sensor tracks thermal shifts to correct bias deviations within milliseconds. That real-time monitoring runs the output devices in their sweet spot regardless of load and temperature. This JET2 bias controller combines an ADC/DAC and MPU with custom firmware. All of it translates into rare circuit cleverness. All that was a given long before its arrival. Now let's investigate how it fares against its older sibling.

Both amps' power inlets saw an M2 cord of Boenicke Power Gate distributor. Either connected to my DAC via LessLoss' latest Entropic C-MARC interconnect. Swapping these and Boenicke S3 speaker cables into sound|kaos Vox 3afw monitors was all it took to change amps. Their matching voltage gain rendered volume compensations moot. Prior to explaining how they differed sonically, I'll describe the AMP-13R's established profile. That all started with sound|kaos Libération dipoles which their maker Martin Gateley provided with the compact Bakoon Int. During that assignment I realized that this tiny integrated amp deserved its very own review. On Martin's load it easily outclassed my twice as costly Trilogy 925 integrated on openness and speed while a somewhat similarly profiled Kinki Studio EX-M1 sounded far drier. Although the latter shared lateral Exicon Mosfets with the AMP-13R and a quick open spatially grand demeanour, their similarities ended there.

Martin's open-baffle speakers quickly revealed the Kinki's more lit-up, nervous, shiny and forward attitude. The Bakoon Int had a blacker background and lower tonal center of gravity despite 1/10th the power rating. Yet it held back no punches on spatial grandeur and readiness to render the dynamic contrasts of large orchestral schemes in full. On these fronts the AMP-13R was fully awake, vigorous, lively and truly remarkable so not sloppy at all. Its lightning-fast response combined with superb textural qualities, perfect tonal evenness, wicked imaging, off-the-charts momentum and effortlessness left me thoroughly impressed. No wonder Martin liked this petite amp so much on his sensitive dipoles.

At first the EX-M1/Libération combo had struck me as more explosive, beefy on bass, airy and more direct. Not for long. Where early on I mistook this disposition for higher fun factor, it rather quickly became more juvenile voicing that introduced fatigue. Meanwhile the AMP-13R remained pleasantly relaxed yet substantial. The more both machines clashed, the bigger their gap grew on quality and equilibrium. The EX-M1 emerged as texturally drier and more pale, less orderly and with a boosted upper bass to unmask hollowness. Newcomers could mistake this for more visceral, snappy and surgical while trained ears would see the Bakoon as more calm, composed, meticulous, tactile and significantly superior where it matters most. Its core was as dynamically gifted and vivacious as it was quicksilvery and long on decay loaded up with easeful detail. Being first rate on sorting, control, momentum, colors and maturity followed. The AMP-13R went far beyond introductory flash and immediacy. That really made all the difference.