Sometimes when the world shouts too loudly, I immerse myself in other sounds: in music. I escape the cacophony by diving into my stash of vinyl records (not literally, although that’s a fun image) and reveling in the soundwaves they release. The soundwaves liberated from those physical grooves, combined with impressions stored deep in my hippocampus, never fail to soothe, energize, fascinate, excite.
Reviewing new analog equipment allows me to explore this sonic corporeality and gives me a chance to hear my cherished vinyl discs anew, with a different focus. Sound patterns and song lines are reanimated.
A well-made tube amplifier represents, to me, the pinnacle of sound reproduction—including certain hybrid designs. I have yet to hear a solid state amplifier reproduce the natural tone, realistic timbre, liquidity, physicality, and pure embodiment of recorded musicians that a fine tube amplifier achieves.
Tube amplifiers that have enchanted me over the years include the magnificent E.A.T. E-Glo I integrated amplifier, the tightly focused Luxman SQ-N150 integrated amplifier, the harmonically adept Zesto Leto Ultra II preamplifier, the neuron-altering Komuro 845, the atmospheric Audio Note Ongaku, and of course my Shindo Laboratory Allegro dual-body preamplifier and Haut-Brion power amplifier.
But what about hybrid amps—amplifiers that include both tubes and solid state devices? How do they stack up against solid state amps? Against pure tube amps? My answer: It depends.
So when I was asked to review the Italian-made Pathos InPoL Remix MkII integrated amplifier ($5395), which uses both tubes and transistors in an innovative circuit, I dove in ears first.
On the outside
Manufactured in Vicenza and perhaps inspired by the city’s architecture, Pathos amplifiers are visually arresting, with bold lines and a solid stance. The Remix is a
