Vexo LP-PS and Vexo S40
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When we review something we like to test also devices by brands that are not so well known, because we want to give a complete view on the world scene. Why world scene and not Italian scene? Very simple, because Vexo is well known abroad but not so much in Italy. Vexo has its headquarter close to where we are located and I remember that in 2012 the magazine I wrote for sent me there for a report to present Vexo to the Italian readers. The report is online on the Vexo website, it is in Italian but for those of you that want to take a look there are nice pictures.
That article was published in September, few weeks before the launch of Audio-activity, my enterprise that thanks to my collaborators has an international appeal and is read all over the world.
In the meantime, Vexo has relocated and has changed its corporate structure but the production of the main models has not changed and it is still very up to date and efficient.
Next year, they’ll celebrate 10 years of activity, an achievement that means a will of emerging in a very competitive market that can be very rewarding if you are serious and tenacious.
The production at the moment includes the LP-PS MkII preamplifier, the S20/S30 power amplifiers - the name reveals the use of different vacuum tubes, respectively 300B and 2A3 - and the S40 power amplifier that we have here to test with its preamplifier. There is also an interesting headphone amplifier that uses valves EL84 working in single ended mode.
That article was published in September, few weeks before the launch of Audio-activity, my enterprise that thanks to my collaborators has an international appeal and is read all over the world.
In the meantime, Vexo has relocated and has changed its corporate structure but the production of the main models has not changed and it is still very up to date and efficient.
Next year, they’ll celebrate 10 years of activity, an achievement that means a will of emerging in a very competitive market that can be very rewarding if you are serious and tenacious.
The production at the moment includes the LP-PS MkII preamplifier, the S20/S30 power amplifiers - the name reveals the use of different vacuum tubes, respectively 300B and 2A3 - and the S40 power amplifier that we have here to test with its preamplifier. There is also an interesting headphone amplifier that uses valves EL84 working in single ended mode.
Let’s take a look at the technical features of the two devices:
Preamplifier LP-PS:
Tube complement: GZ34 x 1, 6H30 x 8
Bandwidth (1 W): 5 Hz ÷ 250 KHz (limited by us)
Negative feedback NFB: 0 dB
Signal to noise ratio (S/N): >90 dB
Input impedance: 100 KΩ (RCA), 200 KΩ (XLR)
Inputs: RCA line x 2, XLR line x 2
Outputs: pre RCA, pre XLR, rec
Gain: 18 dB
Power supply:z 120 V/230 V - 60/50 Hz
Dimensions (H/W/D): 350 x 210 x 340 mm + 290 x 210 x 340 mm
Net weight: 10 Kg+ + 14 Kg approx.
Controls: Remote control, mute, line/direct, monitor
Special SRPP+Power driver configuration without negative feedback.
True fully balanced tube (no discrete components or integrated circuits).
Double chassis (line preamplifier and separate power supply).
Encapsulated and resinated toroidal transformer.
Secondary transformer exclusively dedicated to auxiliary and control functions.
Stabilized filaments voltages.
Anode voltage with rectifier tube, LC inductive filter and transistor stabilization.
Balanced volume control (four channels) with relays and very high stability and precision (0.1%) resistors, operating via 80-step remote control. Volume level displayed by an analog indicator.
Input selection with double cutting relay to isolate the common signals from the input sources.
10 Years Warranty (excluding tubes).
Preamplifier LP-PS:
Tube complement: GZ34 x 1, 6H30 x 8
Bandwidth (1 W): 5 Hz ÷ 250 KHz (limited by us)
Negative feedback NFB: 0 dB
Signal to noise ratio (S/N): >90 dB
Input impedance: 100 KΩ (RCA), 200 KΩ (XLR)
Inputs: RCA line x 2, XLR line x 2
Outputs: pre RCA, pre XLR, rec
Gain: 18 dB
Power supply:z 120 V/230 V - 60/50 Hz
Dimensions (H/W/D): 350 x 210 x 340 mm + 290 x 210 x 340 mm
Net weight: 10 Kg+ + 14 Kg approx.
Controls: Remote control, mute, line/direct, monitor
Special SRPP+Power driver configuration without negative feedback.
True fully balanced tube (no discrete components or integrated circuits).
Double chassis (line preamplifier and separate power supply).
Encapsulated and resinated toroidal transformer.
Secondary transformer exclusively dedicated to auxiliary and control functions.
Stabilized filaments voltages.
Anode voltage with rectifier tube, LC inductive filter and transistor stabilization.
Balanced volume control (four channels) with relays and very high stability and precision (0.1%) resistors, operating via 80-step remote control. Volume level displayed by an analog indicator.
Input selection with double cutting relay to isolate the common signals from the input sources.
10 Years Warranty (excluding tubes).
Power amplifier S40:
Tube complement: 300B x 8, 6SN7 x4, 12BH7x2
Output power: 50 W + 50 W RMS – 1 Khz
Total Harmonic Distorsion THD (1W): <0,15%
Bandwidth (1W): 8 Hz – 60 KHZ, +/- 1,5 dB
Negative Feedback: 0 dB
Signal to Noise Ratio: >100 dB
Input Sensitivity: 1 V RMS – 1 Khz (50W RMS)
Input Impedance: 100 KOhm (RCA), 200 KOhm (XLR)
Output Impedance: 4/8 Ohm
Inputs: 1 x RCA, 1 x XLR
Power Supply: 120V/230V - 60/50 Hz
Dimensions: 470x275x600 mm + 470x275x600 mm
Net weight: 40 Kg + 60 Kg approx
Parallel push-pull design with zero negative feedback.
Fully balanced tube circuits (no discrete components or integrated circuits).
Double chassis (power amplifier and separate power supply).
Totally dual mono configuration with 4 encapsulated and resinated toroidal power transformers (separate anode voltage and filaments voltages for each channel), mounted on a double support that is de-coupled with anti-vibration devices.
Fifth transformer exclusively dedicated to auxiliary and control functions.
12 independent stabilized power supplies dedicated to filaments voltage.
Power tubes protection via proprietary "Bias Guard" system operating on two levels.
"Digital Bias Control" system for the calibration and control of the power tubes bias.
10 Years Warranty (excluding tubes).
Tube complement: 300B x 8, 6SN7 x4, 12BH7x2
Output power: 50 W + 50 W RMS – 1 Khz
Total Harmonic Distorsion THD (1W): <0,15%
Bandwidth (1W): 8 Hz – 60 KHZ, +/- 1,5 dB
Negative Feedback: 0 dB
Signal to Noise Ratio: >100 dB
Input Sensitivity: 1 V RMS – 1 Khz (50W RMS)
Input Impedance: 100 KOhm (RCA), 200 KOhm (XLR)
Output Impedance: 4/8 Ohm
Inputs: 1 x RCA, 1 x XLR
Power Supply: 120V/230V - 60/50 Hz
Dimensions: 470x275x600 mm + 470x275x600 mm
Net weight: 40 Kg + 60 Kg approx
Parallel push-pull design with zero negative feedback.
Fully balanced tube circuits (no discrete components or integrated circuits).
Double chassis (power amplifier and separate power supply).
Totally dual mono configuration with 4 encapsulated and resinated toroidal power transformers (separate anode voltage and filaments voltages for each channel), mounted on a double support that is de-coupled with anti-vibration devices.
Fifth transformer exclusively dedicated to auxiliary and control functions.
12 independent stabilized power supplies dedicated to filaments voltage.
Power tubes protection via proprietary "Bias Guard" system operating on two levels.
"Digital Bias Control" system for the calibration and control of the power tubes bias.
10 Years Warranty (excluding tubes).
These devices are built in a very special way. Only few enterprises in the world use all these resources to build their electronics.
I will describe the preamplifier first: it has an original design that is developed in height. The power supply - that has the same dimension of the power control unit - has only the switch button on the front panel and, on the back, it has the usual IEC port for the power supply with a LED showing the correct electric phase, the power switch, the fuse and the cable that connects to the preamplifier. The preamplifier has a “crowded” front panel. In the upper central part there is a vu-meter that lights up with a cold white light when the preamplifier is on and the meter measures the percentage of the volume used. On the lower left part there is the input selector, a red LED that indicates that the device is on, the volume control and three small professional looking switches for the mute, the volume control by-pass and the tape monitor. On the back, we have three unbalanced inputs, two balanced inputs, balanced and unbalanced outputs. There is also the ground switch in case of loop and a big connector for the power supply.
The power amplifier is made up of two chassis of the same dimension. The power supply has only a small red LED on the front to show if the device is on, while on the back we have the IEC port, the power switch (again with the control of the electric phase), 3 fuses and 2 big connectors for the power supply of the circuits of the power amp. It has a front panel with many things on it. There are two big lighted vu-meters that have the same light of the preamp and that show the bias voltage that is adjustable by removing the two small flaps beneath them. The switch-on button in the center completes the front panel. The back panel is crowded too and it has 6 loudspeakers outputs with the positive connectors for 4 and 6 Ohms speakers impedance, balanced and unbalanced inputs, 8 fuses for the power supplies and 2 big connecting cables that come from the power supply unit.
Well, two, or maybe I should say 4, big and heavy devices that have a very professional look. I am really fascinated by these devices that mix old valve technology with modern measuring devices look. I like this clean postmodern line that contrasts with the warmth of the many lighted valves.
Up to here the description of these devices that celebrate the most extreme hi-fidelity. This is a hi-fidelity that has an extreme look and that costs a lot but all this is done in order to obtain a sound that is supposed to be better than that of the competition. And we are here to verify if this is true, if it’s real gold shining or if it’s all appearance.
I will describe the preamplifier first: it has an original design that is developed in height. The power supply - that has the same dimension of the power control unit - has only the switch button on the front panel and, on the back, it has the usual IEC port for the power supply with a LED showing the correct electric phase, the power switch, the fuse and the cable that connects to the preamplifier. The preamplifier has a “crowded” front panel. In the upper central part there is a vu-meter that lights up with a cold white light when the preamplifier is on and the meter measures the percentage of the volume used. On the lower left part there is the input selector, a red LED that indicates that the device is on, the volume control and three small professional looking switches for the mute, the volume control by-pass and the tape monitor. On the back, we have three unbalanced inputs, two balanced inputs, balanced and unbalanced outputs. There is also the ground switch in case of loop and a big connector for the power supply.
The power amplifier is made up of two chassis of the same dimension. The power supply has only a small red LED on the front to show if the device is on, while on the back we have the IEC port, the power switch (again with the control of the electric phase), 3 fuses and 2 big connectors for the power supply of the circuits of the power amp. It has a front panel with many things on it. There are two big lighted vu-meters that have the same light of the preamp and that show the bias voltage that is adjustable by removing the two small flaps beneath them. The switch-on button in the center completes the front panel. The back panel is crowded too and it has 6 loudspeakers outputs with the positive connectors for 4 and 6 Ohms speakers impedance, balanced and unbalanced inputs, 8 fuses for the power supplies and 2 big connecting cables that come from the power supply unit.
Well, two, or maybe I should say 4, big and heavy devices that have a very professional look. I am really fascinated by these devices that mix old valve technology with modern measuring devices look. I like this clean postmodern line that contrasts with the warmth of the many lighted valves.
Up to here the description of these devices that celebrate the most extreme hi-fidelity. This is a hi-fidelity that has an extreme look and that costs a lot but all this is done in order to obtain a sound that is supposed to be better than that of the competition. And we are here to verify if this is true, if it’s real gold shining or if it’s all appearance.
The two Vexos have been connected to the following system:
turntable Basis 2001, tonearm Graham 2.2, cartridge Lyra Kleos, phono preamplifier: Einstein "The Turntable's Choice", preamplifier: MBL 4006, power amplifiers: Bryston 7B ST mono, loudspeakers: JBL 4350B, interconnect cables: MIT Oracle MA-X Proline, MIT Shotgun S2 RCA, Transparent Super XLR, Transparent Super RCA, LAT International XLR, loudspeaker cables: MIT Magnum MA, Vovox Initio, USB cable: MIT SL-Matrix USB, power cables: MIT Shotgun AC 1, Black Noise Pearl and others DIY, mains distributor:Lector Edison 230/8, mains filter: Black Noise 2500.
Many of you have surely noticed that I have used for this review only the analog source because my dCS is no more mine and has been momentarily substituted by a Oppo 105D. The Oppo has just arrived so I don’t think it’s right to use it for our reviews and - for this reason - we have not used it in this test.
“Going for the One” ( Atlantic) is a Rock record by the Yes that may seem in contrast with the most extreme Hi-End and also with the 300B low powered tubes. I use it to listen to good music but also to test the ability of the power amplifier to control the loudspeakers. I have listened to the track that gives the title to the album at levels that go from 95/98 dB (c) with a peak of 102 dB. If there is any distortion it really hard to hear it. The low range is deep and surprisingly well controlled. The 300B tubes, when well driven, do not produce a mellow sound for the low range that is one of their renown characteristics. The high range has no faults too, no arbitrary and annoying sound rounding.
When in use, you notice the intelligent project of the volume control that allows micrometric regulations also with the remote.
The tenor sax of the song “Cinny’s Waltz” in the vinyl “Foreign Affairs” by Tom Waits is cuddled by these Vexos and the deep and scratching voice of the American songwriter stands very precise among the loudspeakers. Every single hue is available without any effort and the relaxing effect of the listening is guaranteed. It is a sound that one can enjoy for hours without any strain. The sound is mellow in a good way, embracing as a fleece blanket, and at the same time pure, without any artificial adding to the original message.
The viola and the violin of the Oistrakh family in the “Sinfonia Concertante” K364 by Mozart (LP Decca) can be distinguished clearly among the instruments of the Moscow Philharmonic. The reprise of the strings of the two soloists, father and son, is perfectly balanced between the sound of the strings under the bow and the sound of the bodies of the viola and violin. I notice these details while I still have in my ears the music of the concert I attended yesterday. I was in the first row, close to the violins, on the left side of the director Zhang Xian, just a couple of meters away from the orchestra. For those of you that are curious the program included the Bolero by Ravel, the Concierto de Aranjuez by Rodrigo and the Capriccio Spagnolo by Rimskij-Korsakov.
In the sound that I am listening now I miss only that little roughness, that creaking of the wooden bodies of the strings that is so hard to obtain and capture, even in the best recordings made with cutting hedge instruments.
The microphone clearly prefers the sound that the human ears hear as less important during the event or viceversa. I am afraid that this is true for many acoustic instruments, including percussions. Our Vexos anyway take the best of the recording and reproduce it with strength and lightness at the same time. They never mistreat music unless you ask them to play beyond their means, that are those of the eight 300B valves. The majestic power supply is not there to perform a miracle and to multiply the output power. It is there to make the valves work without their traditional weakness in order to reproduce a low range that is controlled and distinguished and that maintains its high ranking mid range.
As for the mid range I could not avoid playing one of my favourite voices: that of Joan Baez. I listen to the vinyl “Made in Europe” (Ariola). The famous vibrato of her voice is reproduced with clarity and every nuance is proposed with rigor and extreme clarity.
I’d rather say transparency, using an abused word in the hi-fi field.
There is air, a lot of air among the instruments, these 300B play really well. Moreover, with my medium-high sensitivity loudspeakers the sound pressure is very good and the listening is very realistic. The four 15” woofers are perfectly controlled. The sound results a bit harsh only at very high levels but I am sure no one thinks of a 50W amplifier if has 85 dB loudspeakers … am I right?
There is one thing I want to say once again. If a producer tells you that his amplifier manage every loudspeaker either he produces a 2000 W final or he’s lying. Don’t be fooled. When I had the MBL 101D loudspeakers (81 dB) I have seen 1000W mono power amplifiers enable their thermal protection alarm and turn off, leaving a small pond of sweat underneath them.
Anyway, vivacity and dynamics are characteristics that our “heroes” have and that are present also when there is a complicated piano and/or bass drum like those of the Stravinskij's Sacre du Printemps, to be clear.
In the end the price, 60.000 euros for the two devices. From tomorrow on I am sure I will receive the usual e-mails from people asking if this amplification system is worth it.
Well, how can I possibly evaluate it? Is there a 300,000, 200,000, 60,000 or 20,000 euros sound? Would you take the risk of giving an advice to people reading your review? What if tomorrow I test a 50,000 euros amplification and I find out that it sounds well? You might tell me that I made you waste 10.000 euros.
All in all, as for the sound there is nothing to say as you have read above. You have to evaluate what you take at home with you. If you consider that some people spend 120,000 euros for a Hermès handbag - that has entry level models that cost 4,000 - these Vexos will appear a large retailer item.
Please keep in mind that when you buy these devices you take at home a piece of Italian mastercraft. It is an object that is as beautiful as a modern sculpture and that plays in a wonderful way your favourite music. Outside Italy this concept is clear but here in Italy it is not so evident ...
Angelo Jasparro
Manufacturer: Vexo
Translation: Francesca Rubino
turntable Basis 2001, tonearm Graham 2.2, cartridge Lyra Kleos, phono preamplifier: Einstein "The Turntable's Choice", preamplifier: MBL 4006, power amplifiers: Bryston 7B ST mono, loudspeakers: JBL 4350B, interconnect cables: MIT Oracle MA-X Proline, MIT Shotgun S2 RCA, Transparent Super XLR, Transparent Super RCA, LAT International XLR, loudspeaker cables: MIT Magnum MA, Vovox Initio, USB cable: MIT SL-Matrix USB, power cables: MIT Shotgun AC 1, Black Noise Pearl and others DIY, mains distributor:Lector Edison 230/8, mains filter: Black Noise 2500.
Many of you have surely noticed that I have used for this review only the analog source because my dCS is no more mine and has been momentarily substituted by a Oppo 105D. The Oppo has just arrived so I don’t think it’s right to use it for our reviews and - for this reason - we have not used it in this test.
“Going for the One” ( Atlantic) is a Rock record by the Yes that may seem in contrast with the most extreme Hi-End and also with the 300B low powered tubes. I use it to listen to good music but also to test the ability of the power amplifier to control the loudspeakers. I have listened to the track that gives the title to the album at levels that go from 95/98 dB (c) with a peak of 102 dB. If there is any distortion it really hard to hear it. The low range is deep and surprisingly well controlled. The 300B tubes, when well driven, do not produce a mellow sound for the low range that is one of their renown characteristics. The high range has no faults too, no arbitrary and annoying sound rounding.
When in use, you notice the intelligent project of the volume control that allows micrometric regulations also with the remote.
The tenor sax of the song “Cinny’s Waltz” in the vinyl “Foreign Affairs” by Tom Waits is cuddled by these Vexos and the deep and scratching voice of the American songwriter stands very precise among the loudspeakers. Every single hue is available without any effort and the relaxing effect of the listening is guaranteed. It is a sound that one can enjoy for hours without any strain. The sound is mellow in a good way, embracing as a fleece blanket, and at the same time pure, without any artificial adding to the original message.
The viola and the violin of the Oistrakh family in the “Sinfonia Concertante” K364 by Mozart (LP Decca) can be distinguished clearly among the instruments of the Moscow Philharmonic. The reprise of the strings of the two soloists, father and son, is perfectly balanced between the sound of the strings under the bow and the sound of the bodies of the viola and violin. I notice these details while I still have in my ears the music of the concert I attended yesterday. I was in the first row, close to the violins, on the left side of the director Zhang Xian, just a couple of meters away from the orchestra. For those of you that are curious the program included the Bolero by Ravel, the Concierto de Aranjuez by Rodrigo and the Capriccio Spagnolo by Rimskij-Korsakov.
In the sound that I am listening now I miss only that little roughness, that creaking of the wooden bodies of the strings that is so hard to obtain and capture, even in the best recordings made with cutting hedge instruments.
The microphone clearly prefers the sound that the human ears hear as less important during the event or viceversa. I am afraid that this is true for many acoustic instruments, including percussions. Our Vexos anyway take the best of the recording and reproduce it with strength and lightness at the same time. They never mistreat music unless you ask them to play beyond their means, that are those of the eight 300B valves. The majestic power supply is not there to perform a miracle and to multiply the output power. It is there to make the valves work without their traditional weakness in order to reproduce a low range that is controlled and distinguished and that maintains its high ranking mid range.
As for the mid range I could not avoid playing one of my favourite voices: that of Joan Baez. I listen to the vinyl “Made in Europe” (Ariola). The famous vibrato of her voice is reproduced with clarity and every nuance is proposed with rigor and extreme clarity.
I’d rather say transparency, using an abused word in the hi-fi field.
There is air, a lot of air among the instruments, these 300B play really well. Moreover, with my medium-high sensitivity loudspeakers the sound pressure is very good and the listening is very realistic. The four 15” woofers are perfectly controlled. The sound results a bit harsh only at very high levels but I am sure no one thinks of a 50W amplifier if has 85 dB loudspeakers … am I right?
There is one thing I want to say once again. If a producer tells you that his amplifier manage every loudspeaker either he produces a 2000 W final or he’s lying. Don’t be fooled. When I had the MBL 101D loudspeakers (81 dB) I have seen 1000W mono power amplifiers enable their thermal protection alarm and turn off, leaving a small pond of sweat underneath them.
Anyway, vivacity and dynamics are characteristics that our “heroes” have and that are present also when there is a complicated piano and/or bass drum like those of the Stravinskij's Sacre du Printemps, to be clear.
In the end the price, 60.000 euros for the two devices. From tomorrow on I am sure I will receive the usual e-mails from people asking if this amplification system is worth it.
Well, how can I possibly evaluate it? Is there a 300,000, 200,000, 60,000 or 20,000 euros sound? Would you take the risk of giving an advice to people reading your review? What if tomorrow I test a 50,000 euros amplification and I find out that it sounds well? You might tell me that I made you waste 10.000 euros.
All in all, as for the sound there is nothing to say as you have read above. You have to evaluate what you take at home with you. If you consider that some people spend 120,000 euros for a Hermès handbag - that has entry level models that cost 4,000 - these Vexos will appear a large retailer item.
Please keep in mind that when you buy these devices you take at home a piece of Italian mastercraft. It is an object that is as beautiful as a modern sculpture and that plays in a wonderful way your favourite music. Outside Italy this concept is clear but here in Italy it is not so evident ...
Angelo Jasparro
Manufacturer: Vexo
Translation: Francesca Rubino
