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The Control preamp features four unbalanced inputs, two unbalanced RCA outputs and a switchable processor loop. Frequency response is claimed flat from DC to over 100kHz, input impedance as 50kΩ, output impedance as 100Ω and distortion at 0.01% under 'normal' operation. Power cord experimentation is available with an IEC socket and there are the aforementioned 12-volt trigger sockets and fascia LED on/off switch. And that’s it folks because as we know, in the high-end simple is best (but no simpler). I also asked Ross Stephens who worked on the industrial design to present his ideas behind the unusual styling: "Inspired by Gary's approach I wanted to create a simple enclosure that was driven by its primary function to support the internal electronics and let them perform at their best. I believed that visual beauty would only be achieved through beautiful performance and that the two couldn't be separated especially at the very highest end of the audiophile market. I often see products that to my eyes are unbalanced with excessive amounts of materials used on the front panel, leaving the chassis that supports the critical electronic components to be made out of thin sheet.

"Perhaps this is one of the main reasons Gary and I have worked together for so long. We inherently respect what the other is trying to achieve. We would never accept a solution that has one of us compromise unnecessarily. With this shared approach to electronic and mechanical design we selected aluminium as the main material for the product. Its non-magnetic qualities mean that it wouldn't interfere with the electronic signals. It also has good thermal conductivity and is reasonably easy to work. Through careful use of laser cutting and CNC folding we managed to reduce the number of main parts in the enclosure to just two including the internal chassis (3mm thick) that supports the electronics and the exterior cover (5mm). When fully assembled the cover that incorporates the sides, top and front panel acts as a beam to add structural rigidity to the complete enclosure.


"The way we produced our heatsink is a good example of our expectation to be critical, innovate and refined. During the production of the design prototypes I became increasingly concerned with how much material was being wasted during the laser cutting of the cover's triangular ventilation holes. Almost half of the 5mm thick aluminum sheet turned to scrap. This inspired the idea to harvest those pieces and reuse them as heatsink fins in our class A power amplifiers. Whilst this sounded easy, finding the perfect shape that looked right tessellated across the cover and stacked together as heat sink took many hours and prototypes."

I can attest to the solidity and torsional strength of the casing. These components feel substantial without being outrageously heavy like a monster Krell. The pre/mono combo slotted into my reference system fed from the superb AMR CD77.1 driving the Wilson Audio Sasha speakers whilst cabling was a mix of PSC Monolith, CRL Gold and ETI Quiessence Reference. Preamps were swapped to gauge individual component merits. The combo was chez Kramers for an unusually long period as my review time was being occupied by other hectic publication commitments which almost totally eroded my sanity. Earlier than expected—only a few days after the combo returned to the affable Cameron Pope from Australian importer Krispy Audio—I took delivery of my new reference speakers, the Wilson Audio Alexia. Sadly I was unable to try this combo within that more demanding revealing context.

Classy, aye? There’s no doubt that competent class A operation brings something special to the table. Not exclusively however. Capable class AB and even class D designs can equal or surpass run-of-the-mill class A amplification on performance. But here we have examples of very well designed class A amplifiers that given the appropriate speaker load will sound quite superb.

When I say "appropriate speaker load" I don’t mean ultra-benign flat 8Ω and high-sensitivity designs. These amps are far more capable than that. They can drive tricky loads although a speaker of reasonable sensitivity (86dB and up) is required especially in large rooms. Driving the tough but efficient Wilson Sasha, the Reference monos provided a warm balance and enveloping soundscape while retaining plenty of headroom in our mid-sized room.