April 2001

 Frequency Response:
 20Hz to 20kHz +/- 0.5 dB
 THD: under 0.05%
 S/N Ratio: better than 90 dB Single-ended or Balanced Mode

 Power Output:
 8 Ohm Load: 160 Watts rms/channel, 4 Ohm Load: 320 Watts
 rms/channel
 Input Impedance: 100k-Ohm
 Input Sensitivity: 2.5V

 Dimensions: 5.5" x 12.5" x 16.5" (H x W x D)
 Weight: 35 lb. each
 Price: $2000. USD each

 Monarchy Audio
 380 Swift Ave., #21
 S. San Francisco, CA 94080
 Phone: 650-873-3055
 Fax: 650-588-0335
 E-mail: monarchy@earthlink.net
 Website: http://www.monarchyaudio.com/

 High-Power Hybrid Monos Make Music!

                                  Do you ever wish you could find a
                                  simple high power amplifier that
                                  sounds as sweet as your favorite
                                  little tube amp and yet can provide
                                  the same kind of musically involving
                                  presentation when pushing your
                                  not-so-sensitive reference speakers
                                  to relatively loud volume levels? Do
                                  you also yearn for an amp that can
 keep its composure while reproducing complex instrumental passages along
 with a wide range of dynamic gradations and inner detail? If your answer was
 yes, then you may want to take a close look at the Monarchy Audio SE-160
 single-ended class-A monoblock amplifiers.

 The SE-160 is a relatively compact monophonic hybrid design that couples a
 6DJ8/6922-based tube input stage to a high-power MOSFET output stage.
 High-quality parts are used throughout, including a heavy-duty, 650-Watt
 toroidal transformer per amplifier (1300 Watts per pair). Balanced XLR
 connectors, as well as high-quality, single-ended RCA jacks are provided, as is
 a female IEC connector for use with detachable AC power cords.

 The amps are physically a bit smaller than one might expect for units of this
 power rating, but they are attractive, meaty packages, boasting thick black
 aluminum faceplates with heavy-duty gold-plated rack handles. While one
 wouldn’t rank them at the pinnacle of modern art, their appearance is quite
 respectable.

 Each SE-160 monoblock uses a single dual-triode driver tube and Monarchy’s
 designer and CEO, Mr. C.C. Poon tells me that any 6.3 volt dual triode having
 the same pin configuration as the 6DJ8, such as the 6922, 7308, 6CG7/6FQ7,
 E88CC, 6N1P, etc. can be substituted. No matching of the triodes is necessary
 as only one triode section is used for the voltage amplification, while the other
 triode section is used as a current source.

 Roll Your Own Amp, Dude!

 SE-160s are made to order, with a lead-time of 2 to 3 weeks. Mr. Poon states
 that the final sonic character of the amplifier is influenced mainly by the owner’s
 choice of tube and encourages experimentation. That way the sound can be
 tailored to the user’s personal taste (within certain limits). Since there is only one
 tube per chassis, trying a couple of different tube types ("tube rolling") is both
 affordable and fun.

 The 6DJ8 tubes that came
 with my review amplifiers
 may not be the best
 sounding choice. I tried a
 few different types of tubes
 in the SE-160s, including
 some 7308s and 6FQ7s. I
 will caution those of you
 who prefer the 6FQ7/6CG7
 tubes that these are taller that the 6DJ8 genre and the glass tips on some will not
 allow the amp’s top covers to be reinstalled. Those who prefer the taller tubes
 could always have the covers drilled to allow the tip of the tube to protrude. At
 any rate, I got extremely gratifying results using the shorter tube types, so this is
 not a valid cause for concern. I left the covers off when making quick tube
 comparisons to save time between listening samples. Taking the additional time
 to unscrew and then refasten the covers (16 screws in all) would have wreaked
 havoc with my short-term memory. The safety conscious can get away with
 merely laying the covers back atop the amps and putting a couple of screws in
 each cover.

 Toward the end of my review process, Mr. Poon sent me a pair of Siemens
 ECC88 premium quality gold-pin tubes to try and I must admit that they
 changed my impression of the amp’s performance potential for the better. I had
 thought that the Amperex 7308s and the General Electric 6FQ7s that I used
 were in very good condition and sounded fine, yet the Siemens ECC88s
 achieved a level of focus and high frequency extension that I did not hear
 through these other tubes. I also tried the Russian Sovtek 6N1P tubes, and
 though they were possibly not quite as detailed as the E88CC tubes, they
 achieved an ideal tonal balance in my system and sounded more at ease. The
 E88CCs tended to be a little harder sounding on dynamic peaks, and their
 timbre was slightly skewed.

 Of all the tubes I tried, the 6N1Ps were my favorites, followed by the 7308s
 and the E88CCs. My preference is for musicality over detail and the 6N1Ps
 offered the better blend of both attributes. Although the E88CCs had more
 detail and ultimate frequency extension than the 7308s that I had on hand, I
 preferred the more musical and natural tonal balance of the 7308s (which grates
 less on the ears over time).

 The Sound: Welcome to the Grand Illusion

 I first installed the Monarchy SE-160s in my alternative reference system using
 Magnepan MG 1.4 speakers (with custom outboard Walsh-type tweeters) and
 a Sonogy Black Knight high-power solid-state amplifier. My preamp was a
 B&K Pro 10, and my source was an older JVC direct-drive turntable, with a
 Grace uni-pivot arm and a vintage Micro Acoustics 3002 moving-magnet
 cartridge. I did this for two reasons: first, to gauge the full-range sound of the
 amp, and second, to hear the amp with different speakers before inserting it into
 my primary reference system to power the electrostatic panels of the
 InnerSound Eros hybrid speakers.

 My initial impressions were quite favorable. Compared to the presentation of
 the Sonogy Black Knight, the SE-160s appeared to have slightly more
 lower-treble emphasis, but slightly less extension into the uppermost high
 frequencies. If anything, the midrange was a bit smoother and the bass was
 quite punchy and full-bodied – not very different from the Black Knight’s bass
 performance, which is an area where the Sonogy amp excels.

 Through the Maggie 1.4s, I had the impression that the SE-160s were a bit
 smoother and sweeter sounding in the midrange to upper midrange area. This
 worked very well on vocal works, brass, piano, and other midrange-rife
 recordings.

 The bass performance suited me (and the Maggies) just fine. It was agile,
 rhythmic and weighty; not Krell, vise-grip tight, but certainly convincing in the
 context of how real low-frequency instruments actually sound. Speakers that
 are slightly lean in the mid-bass area would welcome the SE-160s’ robust and
 punchy persona.

 Because of the slight highlighting I observed in the lower treble, I was
 concerned about whether or not this might become problematic when the amps
 were used to power the very extended and revealing electrostatic panels of my
 InnerSound Eros speakers. So it was with some hesitation that I transplanted
 the Monarchy amps into my reference system, usurping the critically acclaimed
 InnerSound ESL amp that I knew and loved. As it turned out, my fears were
 not justified. Upon running through various tracks on different CDs and LPs, it
 became apparent that the high-frequency character of the SE-160s was more
 synergistic with the Eros electrostats than I had assumed.

 Although with some tubes the SE-160’s recreation of air and uppermost treble
 seemed very slightly truncated, when I swapped the Siemens ECC88s for the
 Amperex 7308s (and later with the Sovteks), the highest audible frequencies
 were suddenly apparent to the same approximate degree as with the ESL amp.
 Additionally, the broadband focus seemed to improve and the width of the
 soundstage appeared to widen. However, along with these improvements came
 a slight hardness, which was noticeable only in contrast to the amp’s
 presentation with the 7308s.

 Getting back to that lower treble region, through the Eros, on Gershwin’s An
 American in Paris from the CD Dayful of Song (Delos DE3216) it served the
 triangle well. Chiming in from stage left, the initial strikes and the trailing
 overtones were rendered in just the right proportion and sounded utterly natural.
 "Absolutely authentic," read my listening notes. Next, on the remastered version
 of Led Zeppelin II (Atlantic 82633-2), the brush on the snare on the song
 "Moby Dick" sounded extremely convincing. Other recordings left me with the
 impression that there was a slight lower-treble aggressiveness, but since it was
 more noticeable with my digital gear than it was with my analogue turntable
 system, I thought it could have been an artifact of the digital recording process.

 At about that time, I was hearing good things about a modification for my
 Perpetual Technologies P-3A DAC, offered by ModWright LLC. To make a
 long story short, I had the modification done and I’m happy to report that it did
 indeed improve the treble presentation to the point where I could no longer
 point a critical finger. At that juncture, with the Monarchy amps, the sound of
 my digital gear (the complete system, really) became very natural and
 analogue-like. Cymbals shimmered with plenty of natural air and focus in a way
 that was very realistic and pleasing to the senses. And the upper harmonics of
 acoustic guitar seemed right and raised goose bumps with certain recordings.

 I thought the SE-160s held a slight edge over the ESL amp was in the area of
 stereo separation. Instruments seemed more distinct as they emanated from
 their respective locations within the huge multi-layered soundstage. It appears
 that you can only get that kind of separation from monoblocks, where the two
 channels are completely isolated from each other, both physically and
 electrically.

 The SE-160s are very dimensional sounding amplifiers and throw a very wide
 soundstage with a good sense of depth and excellent placement of individual
 instruments and voices. Surprisingly, with both the 6N1Ps and the ECC88
 tubes, the Monarchy amps appeared to equal or perhaps exceed the expansive
 soundstage dimensions achieved by the InnerSound ESL amp. With certain
 recordings I thought the SE-160s exhibited a bit more width, whereas the
 recreation of soundstage depth varied with the individual recordings and was a
 virtual toss-up, with both contenders reproducing this aspect equally well on
 average. This is impressive considering that the ESL amp has bested all
 previous amplifiers that I’ve tried in its ability to recreate a credible and
 expansive soundstage.

 Importantly, the Monarchy amps sound fast, palpable, and very involving and
 life-like when reproducing acoustic instruments. From ferocious fortissimi on the
 Grand Piano to triumphant blasts of the brass, to the agility and sweetness of a
 solo violin, the SE-160s painted a portrait of sonic splendor with such liquidity
 and finesse that on more than one occasion it raised goose bumps and coaxed
 sympathetic tears. They are that good!

 "Soldier at the Brook" from Stravinsky’s L’ Histoire du Soldat (Everest EVC
 9049) is an excellent example of an emotionally involving movement. Listening
 through the SE-160s, the sprightly violin on the left and the cello on the right
 certainly sounded sweet, but there is more to it than that. One has a clear
 picture of the bow as it’s pushed and pulled across the strings, with the short
 snappy strokes of the violin contrasting nicely with the slower and more
 deliberate bowing of the cello. Here, the rosin on the bow sounds authentic and
 convincing – as opposed to the coarseness often mistaken for fidelity – routinely
 emitted by wanna-be amplifiers. (If the preceding statement seems bold, you
 have interpreted it correctly.)

 Another passage that really blew me away was the finale of Rhapsody in Blue
 (Delos DE3216). Combining Litton’s passionate pounding of the ivories with
 the formidable horn section, the big bass drum, and the rest of the orchestra,
 this recording was reproduced magnificently through the Monarchy pair. The
 best part was the degree of octave-to-octave harmonic integrity exhibited in the
 reproduction of piano notes as Litton’s playing spanned the instrument’s
 considerable range. I was humbled, mesmerized, and satisfied by the scope and
 plausibility that the Monarchy amps presented.

 What with the dynamic and heartfelt lyrics punctuated by his poignant acoustic
 guitar, Johnny Cash’s "Down by the Train" from American Recordings
 (American 9-45520-1) on vinyl raised goose bumps. The SE-160s kept the
 soul of this great artist intact. It provided a seamless transition between the
 upper and lower vocal registers, with the requisite proportion of upper-bass
 chestiness to evoke a palpable visual image of the man in black. Truth be told,
 the upper bass to lower midrange transition was more realistic and satisfying
 through the Monarchy amps than it was through my reference amplifier.
 Reproduction of consonants is simply first rate, which heightened my
 comprehension of the lyrics on this and many other recordings.

 Conclusion

 By now it must be apparent that I am smitten by the considerable sonic virtues
 of the Monarchy Audio SE-160 amplifiers. They proved a synergistic match in
 my reference system, and I believe these amps will be happy in most
 installations, especially those that require stable, high-power amplification. If it
 were only a question of power and stability, there are surely less expensive
 amplifiers that could fill those requirements. However, for most audiophiles,
 who are rightly concerned with an amplifier’s ability to render a convincing
 facsimile of real acoustic instruments in a live venue, the choices are few and
 usually quite expensive.

 Though I have used more extravagant, highly praised amplifiers in my system,
 the SE-160s paint a more convincing musical portrait those that I’ve tried. The
 fact that the audiophile can tailor the amp’s sound (by tube swapping) to match
 his taste and system characteristics is another very real benefit. The Monarchy
 SE-160 amplifiers are among a rare breed of products that can fool the listener
 into imagining he is witnessing a live musical event. I can offer no higher praise
 than that. Put them on your short list.

 FJA’s Associated Equipment:

      Analog Source: Michell Gyro SE II turntable; Origin Live Rega
      RB250 arm; Benz-Micro Ruby 2 cartridge
      Phono Preamp: AHT/P DM Phono Stage
      Digital Source: Perpetual Technologies P-1A/P-3A combo with
      ModWright LLC Signature modification and Monolithic P3 power
      supply; Parasound C/BD-2000 belt-drive transport
      Preamp: AHT tube line stage
      Amplifier: InnerSound ESL amplifier
      Speakers: InnerSound Eros with active crossover/bass amp
      Subwoofer: Paradigm Servo-15
      Cables: Harmonic Technology silver digital cable; Gary Markowitz’s
      Remarkable Cables, and Full Spectrum Signature interconnects;
      Sonoran Desert speaker cables; AC cords: Full Spectrum Exotic,
      and Clayton Audio solid-core