Hello All,Long time lurker and owner of Aspen gear, and first time poster on this forum.I met Hugh many moons ago and what impressed me was Hugh's passion for that emotional engagement that makes us all yearn to listen to that next piece of music, and of the quality of his offerings.Result: I have built 2 Aksa N+ amps and one GK1-R which have served me and another friend well for many years. I also on occasion impose on Hugh's time for a coffee and listen to "what he has been up to" and therefore declare a level of connection with Hugh.That said, I have listened to the evolution of Hugh's designs, I'm always amazed at the improvements Hugh can extract from what are already exceedingly high performing audio designs, and of the high quality of board and case manufacture that are offered by him.The Soraya and Maya are truly exceptional products, the praises have been sung by many on this forum, so I won't repeat them, however the Naksa 70 and now 100 are an absolute suprise packet for their lower component count, a real engineering approach to "less is more" design. These amps have a musicality, resolution, soundstage, engagement and effortless presentation that really make it worthwhile to re-explore your music collections....and that is what our love of audio should be all about.I encourage all to have a listen to one of these amps if possible, or at the very least, to consider them. Don't mean to sound like a fanboy, sorry, however it's well worth the effort, my order is in.Regards,Rick.
Hi Guys,
I've had the good fortune to listen to the NAKSA 100 for close on three days compliments of Mr D. Looking back to my "Tasting Notes" on the NAKSA 70 some time ago on Audio Circle I am struck by the similarities in my findings. At the time I was comparing it to my Aspen Soraya circa 2008.
I was impressed by the marked improvement in the quantity and quality of the bass, the level of detail retrieval, the much reduced background noise, and the increased level of realism. Well blow me down - here we go again!
If we liken the NAKSA 70 to an exuberant puppy anxious to play and please its owner then the NAKSA 100 is a fully trained, strong and obedient young dog from the same litter.
Take the 70 and add scale and an even wider soundstage and a willingness to play loud and hard without a hint of the top end breaking up.
I have a large collection of classical recordings many of which are recorded at an annoyingly low level. Not a problem with the 100 - just turn the wick up as much as you like - it's all there.
I guess the standout feature of the 100 is the way in which the bass line seems to give backbone to the overall performance.Opera, in particular, benefits from the 100's ability to "spotlight" a solo performance and bring it forward in the mix.
Curiously, the 100 does an exceptional job of reproducing saxophone and I'm not sure why this should be so but Stan Getz fans take note.
If you liked the 70 I feel very confident that you will love the 100 especially if you spring for the very spiffy and purposeful new case.The 70, The 100, The Maya, decisions, decisions. Until I had this extended home audition with the 100 I thought that the Maya would be my next move. Now, to be honest, I'm not sure. It's like having kids - they are all different but you love them warts and all.For the record my two daughters don't have any warts but my 9 year old son certainly has - he shows it to me on a regular basis.
Cheers,
Marty.
I've had the good fortune to listen to the NAKSA 100 for close on three days compliments of Mr D. Looking back to my "Tasting Notes" on the NAKSA 70 some time ago on Audio Circle I am struck by the similarities in my findings. At the time I was comparing it to my Aspen Soraya circa 2008.
I was impressed by the marked improvement in the quantity and quality of the bass, the level of detail retrieval, the much reduced background noise, and the increased level of realism. Well blow me down - here we go again!
If we liken the NAKSA 70 to an exuberant puppy anxious to play and please its owner then the NAKSA 100 is a fully trained, strong and obedient young dog from the same litter.
Take the 70 and add scale and an even wider soundstage and a willingness to play loud and hard without a hint of the top end breaking up.
I have a large collection of classical recordings many of which are recorded at an annoyingly low level. Not a problem with the 100 - just turn the wick up as much as you like - it's all there.
I guess the standout feature of the 100 is the way in which the bass line seems to give backbone to the overall performance.Opera, in particular, benefits from the 100's ability to "spotlight" a solo performance and bring it forward in the mix.
Curiously, the 100 does an exceptional job of reproducing saxophone and I'm not sure why this should be so but Stan Getz fans take note.
If you liked the 70 I feel very confident that you will love the 100 especially if you spring for the very spiffy and purposeful new case.The 70, The 100, The Maya, decisions, decisions. Until I had this extended home audition with the 100 I thought that the Maya would be my next move. Now, to be honest, I'm not sure. It's like having kids - they are all different but you love them warts and all.For the record my two daughters don't have any warts but my 9 year old son certainly has - he shows it to me on a regular basis.
Cheers,
Marty.
Hi Rick. I guess this is always going to be a problem to a small scale manufacturer like Aspen. You and I have heard them all but most forum members will not have. Not at least till a few more become distributed around the world. It's very easy to 'seem' like a fanboy with its connotations of pushing something that promotes our choice or decision when in reality we are simply amazed at our luck in finding such good kit - and on our doorstep in our case.
Marty, I was enjoying your post till I got to that bit - just don't let him touch your Soraya
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Hi Marty,
I agree with you entirely - the NAKSA 100 is a very live sounding amp, but as well as having more stage width than the NAKSA 70 it has more depth in my system. In other words you pay more for the 100 but you get some extra goodies. Both amps are tonaly warm, yet clear, but imo the 100 sounds more like you are at a live performance. My NAKSA 100s drive a pair of Quad ESL 63 Pro electrostatic speakers.
When I first bought the 100 I was pleasantly surprised to be able to hear extra things going on right at the back of the recording venue that I never realised were there.
I continually look forward to listening to my system these days thanks in part to Hugh's fine sounding range of amps. Yes, he is progressively forging ahead with his designs.
Russell
I agree with you entirely - the NAKSA 100 is a very live sounding amp, but as well as having more stage width than the NAKSA 70 it has more depth in my system. In other words you pay more for the 100 but you get some extra goodies. Both amps are tonaly warm, yet clear, but imo the 100 sounds more like you are at a live performance. My NAKSA 100s drive a pair of Quad ESL 63 Pro electrostatic speakers.
When I first bought the 100 I was pleasantly surprised to be able to hear extra things going on right at the back of the recording venue that I never realised were there.
I continually look forward to listening to my system these days thanks in part to Hugh's fine sounding range of amps. Yes, he is progressively forging ahead with his designs.
Russell
Thanks guys,
Very encouraging.
I've just put the finishing touches to a NAKSA 100 going to the US tomorrow - hi Paul!
Here's the inside shot taken from the rear panel, showing all the wiring but no transformer (it's shipped without it to save weight). The trafo should be a 400-450VA toroid, with two 35Vac secondaries. There is provision to mount two smaller toroids if desired.
Cheers,
Hugh
Very encouraging.
I've just put the finishing touches to a NAKSA 100 going to the US tomorrow - hi Paul!
Here's the inside shot taken from the rear panel, showing all the wiring but no transformer (it's shipped without it to save weight). The trafo should be a 400-450VA toroid, with two 35Vac secondaries. There is provision to mount two smaller toroids if desired.
Cheers,
Hugh
Attachments
No, Tom, not yet done. I only have the price for the modules, which is $AUD1420.
The case is $AUD160, binding posts, fused IEC module, and heavy duty switch and appropriate quality wiring add $52 .
Assembly to the point where you have only to install the two trafos, with all wiring done, is $AUD180. This takes me a few hours as I heatshrink everything, tie it all down, do it meticulously. From this point, finishing the stereo amplifier takes about an hour and a half as you have only to connect six wires.
Hope this helps,
Hugh
The case is $AUD160, binding posts, fused IEC module, and heavy duty switch and appropriate quality wiring add $52 .
Assembly to the point where you have only to install the two trafos, with all wiring done, is $AUD180. This takes me a few hours as I heatshrink everything, tie it all down, do it meticulously. From this point, finishing the stereo amplifier takes about an hour and a half as you have only to connect six wires.
Hope this helps,
Hugh
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I need 3-channels for pure analog Trinaural system. Am I correct that the most cost-effective route is to purchase two stereo amps with only three boards (vs. four)?
Would love to hear from anyone in/near Utah or CA who might offer a brief demo.
Is the AKSA 100 appropriate for the following speaker load?
Dynaudio Esotec 2-way: (2) 160mm, (2) 28mm, main and ambiance side-firing radiation…True 88 dB/1W/1M… 2.7-Ohm minimum @ 200 Hz…flat 4-Ohms above 600 Hz...active high-pass crossover (dual-pole 135/80 Hz)…3000cf room (26 x 16 x 7.5’)
TIA!
Would love to hear from anyone in/near Utah or CA who might offer a brief demo.
Is the AKSA 100 appropriate for the following speaker load?
Dynaudio Esotec 2-way: (2) 160mm, (2) 28mm, main and ambiance side-firing radiation…True 88 dB/1W/1M… 2.7-Ohm minimum @ 200 Hz…flat 4-Ohms above 600 Hz...active high-pass crossover (dual-pole 135/80 Hz)…3000cf room (26 x 16 x 7.5’)
TIA!
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Thanks guys,
Very encouraging.
I've just put the finishing touches to a NAKSA 100 going to the US tomorrow - hi Paul!
Here's the inside shot taken from the rear panel, showing all the wiring but no transformer (it's shipped without it to save weight). The trafo should be a 400-450VA toroid, with two 35Vac secondaries. There is provision to mount two smaller toroids if desired.
Cheers,
Hugh
why heatsink in instead of out .....
Jimbo,
Not quite sure what you need, but tentatively, yes, the NAKSA 100 would be suitable.
You'd need to buy three channels, which I could arrange, but one enclosure with three channels in it. This would be rather large; might be better to buy two boxes.
It would handle power down to 2.7R without problem.
Hope this helps, sorry for delay.
Cheers,
Hugh
Not quite sure what you need, but tentatively, yes, the NAKSA 100 would be suitable.
You'd need to buy three channels, which I could arrange, but one enclosure with three channels in it. This would be rather large; might be better to buy two boxes.
It would handle power down to 2.7R without problem.
Hope this helps, sorry for delay.
Cheers,
Hugh
Just letting the forum know that another Naksa 100 has begun bringing music to wonderful life. The Naksa was "energized" on Thursday and immediately put my beloved Aksa 100 Nirvana + to shame with improved sound stage and a blacker than black background. It has now had approx 24 hours of "running in" and is getting better by the hour, being fed by a GK-R, a Music Fidelity CD player and Crystal DAC. What has really impressed me is the strength and depth of the base reproduction, my modified VAF DC-X's have never gone so low or sounded so natural and controlled, be it the Kodo: O-Daiko (Heartbeat Drummers from Japan) or the Flight of the Cosmic Hippos (Bella Fleck). Looking forward to the further beddding in of the Naksa, and demo'ing this amp to my soon to be jealous audiophile mates.....THANKS Hugh!!!!!
It's been three weeks since this was posted, and I thought I might make an observation about the NAKSA 100 (and the 70, the baby brother) vis a vis the GB project I've been involved with, the FetZilla.
I have compared the two carefully, particularly the FetZ with the NAKSA 100. It is rare that the designer can be objective about his babies, but the FetZ was not actually my design, though I did have some influence. It is a very competent, high end amp with a lovely, rounded FET sound - if such can be said - but it does not compare to the NAKSA series of amps. They are very different.
You can buy a couple of FetZilla boards for $68 and with another $200-$300 build it into a very nice amplifier with high performance. But the NAKSA costs $870 for the 70W module, and $1420 for the two 100W modules. No contest on price, certainly, but you get what you pay for..... the NAKSA is a wonderful sounding amp that has everything; quiet, clarity, bass, midrange, top end, depth of image, pace and effortless delivery.
Today I'm putting the finishing touches to a new preamp, the GK2, which goes out tomorrow to the customer. I'm feeling pretty comfortable with my product line these days; Aspen offers stratospheric high end sound quality at very reasonable prices, and I feel that the last fifteen years of development - a long time by any measure - are bearing good ripe fruit.
Cheers,
Hugh
I have compared the two carefully, particularly the FetZ with the NAKSA 100. It is rare that the designer can be objective about his babies, but the FetZ was not actually my design, though I did have some influence. It is a very competent, high end amp with a lovely, rounded FET sound - if such can be said - but it does not compare to the NAKSA series of amps. They are very different.
You can buy a couple of FetZilla boards for $68 and with another $200-$300 build it into a very nice amplifier with high performance. But the NAKSA costs $870 for the 70W module, and $1420 for the two 100W modules. No contest on price, certainly, but you get what you pay for..... the NAKSA is a wonderful sounding amp that has everything; quiet, clarity, bass, midrange, top end, depth of image, pace and effortless delivery.
Today I'm putting the finishing touches to a new preamp, the GK2, which goes out tomorrow to the customer. I'm feeling pretty comfortable with my product line these days; Aspen offers stratospheric high end sound quality at very reasonable prices, and I feel that the last fifteen years of development - a long time by any measure - are bearing good ripe fruit.
Cheers,
Hugh
Proud to announce a very good review of the NAKSA 100 by digital audio review, an ezine right here in Oz, run by one Johnny Darko, a very well informed audiophile who writes very well!
Johnny Darko's NAKSA 100 review
Cheers,
Hugh
Johnny Darko's NAKSA 100 review
Cheers,
Hugh
Hello Hugh
Johnny Darko's article just confirm again that the Naksa 100 are in the world best amps and also that you was darn right about the importance of dominance of even harmonics in a amp. A big number of very low thd amps will never sound as musical and engaging as your Naksa amps.
Bye
Gaetan
Johnny Darko's article just confirm again that the Naksa 100 are in the world best amps and also that you was darn right about the importance of dominance of even harmonics in a amp. A big number of very low thd amps will never sound as musical and engaging as your Naksa amps.
Bye
Gaetan
Ah, this is all rather pleasing, thanks Pierre (my Australian friend Probbo I have known for 35 years!) and Gaetan, my Quebecois friend who shrewdly sees into the psychoacoustic aspects of human hearing!
However, I expect there will be disagreement with some of my comments, but no sense in being controversial if a few feathers don't get ruffled!
Cheers,
Hugh
However, I expect there will be disagreement with some of my comments, but no sense in being controversial if a few feathers don't get ruffled!
Cheers,
Hugh
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