مجله ToneAudio اخیرا مطلبی در مورد ویتوس 050 تو مد Class A/B نوشته که جالبه بخونیدش.

تو این تحلیل تحلیل گر به یک نکته مهم اونم باس ویتوس اشاره داره که میگه برخلاف خیلی از ترانزیستوری هایی که بنظر باس کیپ و خوبی میدهند ویتوس باس رو به شکلی دیگه رندر میکنه و جیم اسمیت هم تو کتابش دقیقا نوشته که باس طبیعی اون حالت کیپی که بیشتر ترانزیستوری ها پخش میکنند نیست و تو این شاخص ویتوس پاسخی درست و طبیعی داره.

دلیل نزدیکی ویتوس به بهترین آمپلی فایرهای خوب لامپی همون پاسخ خطی اش تو میکرو هست.

تحلیل رو بخونید:

http://www.tonepublications.com/gear/the-vitus-audio-ss-050-amplifier/

After Break-in and going through regular power cycles, it takes about 30 minutes to fully stabilize in normal play.

The highest strength of the SS-050 is the inner detail and lack of grain it presents. While some might prefer the somewhat dreamier, more romantic presentation of the SS-010 monoblocks, they are only 25 watts of pure Class-A power, somewhat more limiting in speaker options. 100 watts per channel just offers more opportunity to mate the SS-050 with different speakers.

This amplifier is solidly on the top of the mountain with the worlds best; one of a small handful that sounds like neither solid state nor vacuum tubes. On one level, it has no sound at all; merely presenting the music it’s fed in a completely honest way. Of course, the downside to all this honesty is much will be required of your source components.

Again, I was impressed with not only the weight, but also the subtle texture and roundness of the opening bass riffs in this track. When I turned this up, perhaps too loud, the placement of the snare drum remained rock solid, just in front of the soundstage on the right side, and did not fall back into the mix. However, when I went back to my early stamper originals, it was plainly obvious that these records were produced from digital safety masters; another layer of detail was now available.

Though it is a somewhat worn out audiophile cliché, that is often overused, the SS-050 is truly an amplifier that adds or subtracts nothing (or at least very precious little) to the recording; it just pulls everything that is available out so you can hear it. If you’ve ever compared the sound of a very dirty record, to one that you’ve just spent time meticulously cleaning, this is the effect the SS-050 will have on your music collection.

High frequencies are delicately rendered, without a hint of graininess. Overtones sound clean, with cymbals and percussion sounding correct without being overdone. Acoustic bass again has the correct amount of natural resonance without being loose and whumpy, yet without making the mistake of being overdamped. This is a trap that many solid-state amplifiers make and while this may appeal to a segment of audiophilia that is looking for really tight bass, is not what an upright bass sounds like in a room. All the way through the frequency spectrum, the SS-050 always retains a delicacy that many think solid state is not capable of producing, and was only reserved for vacuum tubes.

However it’s sound quality is without peer. I put the SS-050 up at the pinnacle of solid-state amplifier design that in many ways surpasses the best vacuum tube designs I’ve heard, yet having none of the inconvenience associated with tubes. This amplifier will sound just as good 25 years from now as it does today. And when you consider that over that period of time, you will have bought about 10 sets of 6550 output tubes, the SS-050 becomes a much more practical investment.

If you are looking for the anchor to an ultimately minimalist system, this amplifier should be at the top of your list. And it is available in silver and black as well as the bright gold you see here.