Amp/Preamp Asylum: REVIEW: Pathos Classic One Integrated Amplifier (Tube) by Doug Schroeder Looking for a new Amp or Preamp? If you're after tubes, post over here.

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Model:	Classic One
Category:	Integrated Amplifier (Tube)
Suggested Retail Price:	US$1950
Description:	Hybrid Tube/Solid State Integrated Amplifier
Manufacturer URL:	Pathos
Model Picture:	View

Review by Doug Schroeder ( A ) on April 01, 2006 at 18:02:02 IP Address: 72.131.17.99

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Yes, just a few days ago, maybe two weeks, I posted a review of the Classic One MkII here. I indicated I might secure a second and run them mono. I have; so this is a new review based on them in bridged mode. The sound is such an upgrade, I figure it merits special attention that a second review would bring.

Everything I said in my previous review of the unit in stereo mode still stands true. I've not changed my opinon that this is a wonderful, afforcdable stereo tube integrated.

Now, on to the show...

One does not realize how much "presence" can be gained in the sound if one does not explore more power in amplification. I see a lot of posts asking if an upgrade in power makes a difference. Seasoned audiophiles know that with moderately or highly inefficient speakers the power does make a huge difference.

One has to be careful with the volume control with these in mono! The power seems to be exponential, and if one runs the level up too quickly the sound is overwhelming! I can see that symphonic music could be heard too loudly very easily.

I have never experienced so much amps having a complete “grip” on a set of speakers. These amps are in TOTAL control of the drivers. It’s like they become an extention of the will of the amps. One also has the ardent desire to hook up the biggest, most expensive, most exquisitely exceptional speakers available because one feels the certainty that they’d be in for a real treat!

The Pathos Classic One MkII moving from 70wpc in stereo to 170 in bridged mode is a sheer delight in upgrading the "presence" factor. By presence I mean a feeling of power not only in each note played or word sung, but a sense that there's plenty more in reserve behind each note or word. In stereo mode, the Pathos makes a piano recording sound very good, natural. But in mono mode, these integrateds have the effect of making the mic sound like it's been moved from several feet away from the piano to inside the piano! One feels they can hear the body of the instrument, not just the sound it makes.

People talk about sound being forward or recessed. In my experience, the change from stereo to mono makes it sound more like the mic moved! I seem the same distance from the music but the nuances from moving a mic closer (just like when speaking into a mic) are coming through much cleaner with the mono configuration. This is true not just with solo instruments, but across the specturm of sound and with all recordings.

I believe I'm hearing better separation running them mono, as well. That may be my imagination, I'll admit. But, there does seem to be more clarity between what information goes L/R in mono mode. Also, the depth of the echoes and the ambient sounds of the venue come through much more cleanly.

There is an attendant increase in both detail and smoothness. I had cranked up an Anastacia disc (she's got a strong voice) and at times it can sound edgy. In my PS Audio rig previously her voice had a slight tinge of sharpness. Running a single classic one things improved, but going with monos suddenly her voice became cleaner and less edgy. No sharpness at all.

The Monos are set from stereo to mono by a simple flick of a switch on the underside. Possibly the easiest task I've ever performed in audio. The manual indicates one has to open up the unit, but thankfully, it appears Pathos has cut an access notch in the bottom to bypass that routine.

One needs to be aware that speaker cabling connections (in the bridged mode ONLY) may be a bit tricky since the spacing between the utilized L/R binding posts is about 10". One will need to be able to spread the leads almost a foot to ensure easy connection. If cables have a yoke restricting a very wide spread it could be problematic.

You will also note that if using these units for HT, vinyl, etc. purposes, the same rule applies to interconnects placed in additional inputs. So, it’s best to seek interconnects which come in L/R pairs rather than unified cords.

Those are about the only technical issues I see with these two integrateds operating in mono. There are some obvious advantages; for starters, the removal of an additional component! Without a separate preamp, one foregoes the obligatory extra set of interconnects. This is a critical point, I believe. A couple years ago I returned to an all in one cdp after trying a drive/dac combo. With the quality of the players available now, I see no need for the extra hassle and questionable advantages of a two chassis design/setup under the $3k mark. Especially considering just how much cabling effects the sound of a component, one is introducing a rather large variable in the interconnect between the drive and dac. Whereas, with a player, one gets what one hears, and there is one less cable to muck with.

Similarly, the integrated nature of the Classic One’s are imho a huge benefit in that one does not need to run around trying to match pre to amp, cables to pre, cables to amp, etc.

In addition, one does not have to hunt for a pre with dual outs, or split the signal with a “y” adapter, which also diminishes the quality ever so slightly. It’s closer to the thought on the minds of the posts asking about running cdp directly into an amp. Those questions raise the need for volume control. Well, with the twin Classic One’s it’s all handled quite tidily.

Do the level/volume controls work in tandem? Yes, mine function flawlessly. Absolutely in lockstep, whether moving one digit or a run of twenty. And, if for some reason a unit is off a digit, one needs only hold the remote on proper angle to exclude the other and resolve the discrepancy. Which brings up another seldom used but potentially critical benefit of the twin integrateds. Left and Right chanel volume control. If one’s room needs it, this can be a life saver. You won’t get that on many pre/amp combos.

A bonus is the extra remote one acquires when purchasing the second unit. Stow the extra away in case the unthinkable disaster happens to the first.

An aesthetic consideration is that if one is going to move from one of these units to two, it may be difficult to acquire the exact mirror image second unit. I bought my first one without intent on pairing it. The dealer had only one left. But only days later I reconsidered and pursued the second amp. I assumed it would look mirror image. It did not! The only difference was the shape of the silver top plate/cover for the transformer. Partway through the maunufacturing of the Classic One a change had been made. Now I had two units that were oh, so close, but not identical! Intolerable for a perfectionist like me. The solution, to contact my dealer and work backwards to the parts supplier to acquire the desired cover. I understand that I can effect the repair at home. But, of course, it’s much easier to make up your mind prior that you want sequential serial numbers. This will also ensure you get very close color matching on the wooden trim. Even though my units were made at different times, the color on the wood trim matches quite well.

The Classic One is a marvelous component as a stand alone integrated. However, paired and run bridged, it becomes something more than double the value. It offers a peek into very high end sound with a couple extra perks, like L/R volume control.

I’m quite happy with the supplied Sovtek tubes. I contacted Pathos inquiring as to suggestions for other tubes. Their reply: The Sovteks are the best sounding, most economical and readily available tubes they could find. Like true Italians, they also compared the beautiful sound of differing tubes to the delight of a world full of beautiful women, each with their own enchantments.

Yes, those Italians are on to something! They’re making visually and audibly sexy gear. And an audiophile need not covet, since they’re not beyond reach!

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Product Weakness:	Keep interconnects L/R separate and speaker cables leads long enough to reach 12" gap between binding posts! Potential slight difference in looks if not sequential ser. #'s
Product Strengths:	Bridged: great "presence", sense of reserve power, L/R vol. control, eliminate extra components & cables, beautiful x 2!

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Associated Equipment for this Review:
Amplifier:	Pathos Classic One MkII (Bridged!)
Preamplifier (or None if Integrated):	None
Sources (CDP/Turntable):	Rega Apollo
Speakers:	Chapman T-7
Cables/Interconnects:	Tice Audio
Music Used (Genre/Selections):	Jazz, Instrumental,
Room Size (LxWxH):	23 x 13 x 7'6
Room Comments/Treatments:	Tuned w. panels
Time Period/Length of Audition:	2 days in bridged mode
Other (Power Conditioner etc.):	Tice Audio Solo
Type of Audition/Review:	Product Owner

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