Ken, with respect, it has been pointed out to me in another thread that the transformers used, along with topology employed in the Studio Six is perhaps not quite on par with amplifiers at the same/similar price point. I am not saying that this is a fact - merely an impression of another member - but I think it will be fair if you can shed some light on the matter - specially of component sourcing and may be some design decisions involved in creating the Studio Six in this thread.
Hi @x838nwy -
I'm not sure about about the meaning of "on par" in this context, because I haven't seen these other comments you're speaking about. I also can't speak to the actual sourcing of components and such in the ALO Studio Six, as I'm a writer/reviewer - and, most importantly, a confessed music addict! But I will say this, and I say it after 20 years in both high end audio and the music business:
Being the proud owner of an E.A.R HP4 (what I consider to be amongst the very best reference-level tube headphone amps), and currently running the Studio Six, Burson Conductor, and Ray Samuels The Darkstar - I am obligated to say that I would buy the Studio Six in a HEARTBEAT.
Forget what others are saying. Try it for yourself. Me, I've been listening to music on a high end two-channel system for 20 years (including gear by Classe Audio, E.A.R, dCs, Zu Audio, Nordost, and more), I've listened while mixing at the desk in a ton of studios, and I've worked backline at live shows: The Studio Six is a splendid sonic achievement. Nothing less. It's connects me to the music emotionally, physically, psychologically, and spiritually, which is what I seek in a high quality amplifier.
It's something Ken and his team have reason to be proud of,