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THE LINAR 10 IS IN THE STORE FOR DEMO

AS OF 4/27/04!

Our friend Victor Sima of Linar Audio.

THE LINAR 10

5.1 integrated amp

Yes, I said 5.1 integrated!

Read the info below.

Only $4200

Model: Linar Audio Model 10

Price: $4200 USD

Dimensions: 18"W x 7.25"H x 16"D

Weight: 65 pounds

Warranty: Three years parts and labor

Features

* Six two-channel RCA inputs

* 5.1-channel input

* No capacitors in signal path

* No overall feedback used in circuitry

* Capable of driving low-impedance loudspeakers

* Extremely stable under capacitive load

* Advanced soft-start circuit to limit noise or damage when turning on/off

* DC voltage protection circuit to prevent damage to speakers and amplifier

* Fully complementary design from input to output

* Dual 750VA custom-made toroidal transformers

* Matched JFET input transistors

* Remote control

Simplicity and longevity are two concepts rarely associated with home-theater products. Numerous choices and constantly changing technologies can make building a high-performance home-theater system confusing and expensive, but reducing the number of components can help alleviate sticker shock. For instance, you don’t necessarily need to buy that expensive processor or receiver for decoding audio -- many moderately priced DVD players come equipped with full 5.1-channel decoding of DTS and Dolby Digital audio signals.

Although few, there are options when it comes to amplifying a DVD player’s 5.1 output. You can purchase a separate multichannel preamp such as McCormack Audio’s MAP-1 and a companion multichannel amplifier such as Audio Research Corporation’s 150M.5, or you can set your sights on a more cost-effective solution -- such as Linar Audio’s new Model 10 multichannel integrated amplifier ($4200).

The face of simplicity, built for the long haul

Victor Sima, founder of Simaudio Ltd. and now owner of Linar Audio, designed the Linar Model 10 as a high-value component. The 10 is attractive in a minimalist, industrial-design sort of way -- a reminder of Sima’s enduring philosophy of putting performance before appearance. The 10’s chassis construction and interconnectivity benefit from the tight assembly of carefully chosen parts, including robust, all-metal, five-way speaker binding posts and heavy-duty RCA jacks for multichannel and CD inputs and, to keep costs down, standard, circuit-board-mounted RCAs for the less critical Tuner, Tape, and Aux 2 inputs.

Apart from its high-quality connections, it’s the Linar 10’s 65 pounds that suggest the presence of something special beneath its antimagnetic skin -- this integrated amplifier packs five channels of 120W amplification into its single chassis. Two 750VA transformers and a bank of capacitors totaling 120,000µF comprise a power supply that Victor Sima alleges can easily drive all capacitive and complex loads. At first I thought the 10’s power supply worked similarly to that of the Anthem MCA 50 multichannel amplifier: one transformer handling the front two channels while the other drives the center and rears. But it turns out that Sima uses two transformers for managing space inside the Model 10’s tight enclosure. In application, the transformers are wired in series to perform as a single 1500VA toroid. Sima designed the power supply to redirect all of its capability to any channel that needs it -- this design choice enables the 10 to drive all but the largest speakers with unflappable ease.

All Sima designs have large, stable power supplies, but you’d be wrong to assume that the Linar Model 10 is simply a reworking of a current Simaudio amp. Sima is quick to point out that the Linar 10 is a completely new design that is the result of almost five years of prototyping and listening. JFETs on the input feed output MOSFETs via fully complementary, DC-coupled circuit paths. Negative feedback is eschewed, and each of the Model 10’s five channels uses the same high-quality parts. Sima claims that this configuration, along with his secret recipe of handpicked MOSFETs, gives the 10 a liquid, glare-free, non-transistory sound.

My main reservations about the Linar 10’s design concerned its preamplifier section and digital volume control. A preamplifier is a separate circuit with variable gain, which can boost the relatively weak output of a source component so that there’s enough oomph to drive the input of an amplifier. Music and movies can sound compressed and dull if the amplifier’s input isn’t driven adequately. At first I believed the 10 used a digital volume control. Was this an inexpensive digital attenuator that might add noise to the signal? My concerns were allayed when Victor Sima described how the volume control actually works. The Linar 10 does not use a preamplifier section; instead, the digital volume control directly adjusts the amplifier’s output gain. According to Sima, omitting the preamp reduces the noise floor, which increases the 10’s overall dynamic range.

Simple setup

There was nothing physically difficult about setting up the Linar 10. There’s plenty of room on the rear panel to plant cables, and I found the stout binding posts easy to tighten without tools. Still, some of the 10’s settings differ from what you may be accustomed to. Unlike many surround-sound products, the individual channels of a surround array can’t be calibrated via the Linar 10, which offers only three choices of speaker level: fronts, rears, and subwoofer. Victor Sima expects customers to make individual channel adjustments via their DVD player and overall balance among the fronts, rears, and subs via the Linar 10. This proved logical and easily done.

I had one issue with the remote control. The Rear Volume button toggles between the rear and subwoofer volume levels. The problem is that it’s placed directly below the main volume controls. I often accidentally hit the Rear Volume instead of the overall Volume button, unintentionally adjusting the rear or sub level instead of the system volume. Compounding the issue is the Linar 10’s painfully sparse display, which isn’t the easiest to read at a distance and offers for volume level only a hash-marked bar, not a numerical readout. Initial setup and adjustments require using a sound-pressure-level meter. I would rather see a display with a numerical readout and a remote control whose Rear Volume button was in a safer position.

Simply wonderful sound

Linar recommends a break-in period of 200 hours. Victor Sima points out that until they settle in, the Model 10’s sensitive electrical components cause nonlinearity in the delivery of voltage and current. I don’t necessarily believe in long break-ins, but I heeded the warning and let the 10 settle in for a week before doing any serious listening. The only anomaly I experienced during my evaluation was a gentle turn-on thump on first powering up the Linar 10. Sima recommends leaving the amplifier on at all times to keep its circuits stabilized.

The soundtrack of Black Hawk Down will plunk you down in the middle of the action if your equipment is up to the task, and it demonstrated the Model 10’s considerable muscle and grace. The bass in chapters 9 and 10 emerged from my Thiel CS2.4 speakers with both weight and nimbleness, while destructive weaponry cut through the air effortlessly. The Model 10 reproduced complexly layered Foley and sound effects with unrestrained ease. There was never a moment when sounds were smeared or bunched together -- every spent artillery shell clearly stood out against the mêlée of close-proximity combat and overlapping dialogue. The Model 10’s nonexistent noise floor can take a lot of the credit for its amazing resolution. Many amplifiers I’ve auditioned always seemed to produce a little noise or an annoying hum through the speakers. The Linar exhibited neither, even when I placed my ear right up against my Thiel CS2.4s’ extremely revealing drivers.

A home-theater component should find an enjoyable balance between transparency and restraint, but solid-state amplifiers with the Linar’s crisp, open quality run the risk of sounding uncomfortably bright, or of ruining the show by letting through too many of a recording’s flaws. Action films are typically mixed hot, which adds edge and sizzle to the clang of swords or plosive sounds. Chapters 3 and 5 of the fun but brainless Van Helsing include some sonically strident scenes; the Linar 10 added a touch of sugar to the shrieks of airborne bloodsuckers as Dracula’s brides attack an unsuspecting village.

Despite its modest claimed output of 120Wpc, the Linar came across as an incredibly powerful amplifier. Several scenes in the extremely well-produced Hellboy will test any amplifier, alternating as they do between silence and earth-shaking destruction. The Linar really strutted its stuff in chapter 2, "Closing the Portal," and chapter 22, "Something Big." Each scene was startling in its realism.

Music-only recordings were reproduced with just as much enjoyment. Tony Banks’ Seven: A Suite for Orchestra, performed by Mike Dixon and the London Philharmonic [Naxos 8.557466], sounds stunning when given the appropriate amount of power and finesse. The fourth movement, The Ram, showcases a recursive string motif that pulls you right in, and sparkling percussion that can have an edgy sound through less-refined equipment. The Linar 10’s fantastic high-frequency reproduction did a remarkable job of keeping things under control with just a hint of harmonic sweetness, and bass control never wavered, even in the most demanding passages. Robert Shaw’s bombastic rendition of Orff’s Carmina Burana [Telarc CD-80056] took hold of my Thiel CS2.4s with authority.

Comparison

Together, Audio Research’s MP1 multichannel preamplifier and 150M.5 multichannel amplifier produce a sound that is liquid, powerful, and alluring. I love the ARC combo, especially the 150M.5. Still, $14,500 for the pair is expensive; the Linar makes a compelling argument for pocketing $10,000 and saving some shelf space in the deal.

The qualities of construction of the ARC pair and the Linar 10 are comparable. Both sport well-finished, heavy-gauge boxes made entirely of aluminum and secured using machine screws instead of less-expensive sheet-metal screws. Each ARC product uses much-higher-quality switchgear and an impressive vacuum-fluorescent display, while the Linar’s display and silver buttons look as if pulled from the same parts bin as my cell phone’s. The binding posts on these products differ but are both of extremely high quality.

In terms of circuit design, however, the two are at opposite ends of the playing field. The 150M.5’s digital amplifier design is based on the popular Tripath Technologies class-T Digital Power Processing (DPP) semiconductor, while the Linar’s amplifier is based on traditional class-A/B design principles with Victor Sima’s own modifications and well-protected parts recipe. Both are reported by their manufacturers as being unconditionally stable into the most demanding speaker loads.

ARC’s MP1 preamplifier has no direct counterpart in the Linar. The MP1 does use a class-A circuit to (reportedly) minimize distortion; the Linar sidesteps a preamplifier section altogether by directly adjusting the amplifier’s output gain.

In terms of cost, the ARC combo requires five cables (balanced for best performance) to connect the 150M.5 to the MP1. I used ARC’s own brand of balanced interconnects, which cost about $300 per 2m pair, or $750 for a five-channel system. Because the Linar 10 adjusts gain internally, there is no need for interconnects other than those from the DVD player.

Sound quality is where the major similarities converge. I listened to the ARC combo for quite a while before replacing it with the Linar Model 10. Once installed, the Linar immediately impressed me with its bass extension and delicate high frequencies. The Linar presented a more controlled and bottomless low end to my ear and backside, while the ARC favored a bit more warmth. The high-frequency performances of the two sounded very similar. Whether it was the subtle mechanical sounds in chapter 22 of Hellboy or the layered Foley effects in Blade 2, both captivated me with the amount of inner detail and sophistication they were able to let through from any recording.

The midrange was where they differed. The ARC combo exhibited a bit more forwardness and bloom, while the Linar sounded slightly more reserved. And a comparison of the noise levels was no comparison at all: the Linar clearly won out when compared to the slight but readily apparent hiss of the ARC combo.

Simplicity isn’t easy to accomplish

What Victor Sima has done with the Linar Model 10 is astonishing -- at $4200, the Model 10 multichannel integrated amplifier has to be one of the greatest values in audio. It’s hard enough to find a processor that sounds good with music, much less an amplifier to go with it, all for $4200. With the Model 10, all you need is a top-flight DVD player for out-of-this-world home-theater sound. The Model 10 is a high-value component bred from an impressive bloodline, and the next great product for audiophiles looking to make their lives a bit simpler.

NEW STEREOPHILE REVIEW!

Music in the Round #10

Kalman Rubinson, January, 2005

Linar Model 10: rethinking the multichannel amplifier

Until the audio industry gets its act together and offers us a truly universal digital interface, we're going to be using preamplifiers and power amplifiers with analog inputs. Why not put them in one box? After all, there are many integrated stereo amps. Well, the Linar Model 10 ($4200) is just that: a 5.1-channel preamp with a five-channel power amplifier in the same chassis ().

This 60-lb block, a high-end amp from designer Victor Sima, sports two 750VA toroidal transformers, Teflon-insulated machined RCA connectors, and a circuit free of signal-path capacitors and global feedback. It has five stereo inputs and one six-channel input (designated Aux 1), and five power amps rated at 120W each into 8 ohms. The dual line-level subwoofer outputs carry full-bandwidth mono signals when a stereo source is selected.

The Linar 10's front panel looks like a power amp with a small green LCD display and five pushbuttons: Input, Power, Tape Monitor, and Power Up/Down. The LCD indicates input selection and volume level in each of the modes, but was generally too small to read from my listening position. The rear panel has five pairs of binding posts across the top (L/C/R/LS/RS), and RCA jacks across the middle for its line-level inputs and outputs.

But after I'd hooked up the inputs and outputs, I never laid a hand on the Linar 10 again, preferring the very capable remote control. This little beauty has direct-access buttons for each input: CD, Tuner, Aux 1 (multichannel), Aux 2, Aux 3, Mute, Volume Up/Down, Tape Monitor (On/Off), Display (On/Off), and, of course, Power On/Off. In addition, there's a button to duplicate the stereo L/R signals at the LS/RS outputs for stereo in four channels, and another, labeled Rear Volume, that toggles the volume buttons from controlling all channels to setting levels independently for the subwoofer or rear channels. Note that, in the Stereo in 4 Channels mode, the Model 10 could also be used for biamping stereo speakers or for powering a stereo pair in another room. Strangely, there is no simple facility for left/right balance adjustment in multichannel, and the workaround for stereo is kludgy. Not a big problem.

I used the Linar 10 as an integrated amplifier, as it was designed to be, but also as a power amp, with the McCormack MAP-1 handling selection and levels. In either role, the sound was always ample and smooth, but just a little smoother with the Linar on its own. Background noise was inaudible at any level setting, and there was plenty of power for the Paradigms. All functions worked smoothly and silently from the get-go, except for a fairly quiet burp on power-up.

I might characterize the Linar's sound as warm, not because of any rolloff in the extreme treble but because the high frequencies are gently softer and the midbass generous. Compared with, say, the MAP-1 or the Bryston 9B-ST, the Linar 10 had a little more of a velvet glove covering the steel fist that was notably present. Overall, it resembled the Bel Canto digital amps harmonically, but without their granitic bass. If that suggests Goldilocks' choice of not too hard and not too soft, you get the idea. The Linar 10 was clean with every music and film selection, its rendition of soundstage depth and width excellent, its dynamics impressive. The Linar did well with the Paradigm Studio/60s, but it was a particularly felicitous match with the Magnepan MGMC1s, which sang as sweetly as they do with much more expensive amps.

As a single-box solution, the Linar 10 is pretty much without direct competition, so I can compare it only to separate preamps and amps. Having done that, I think it competitive in sound quality with any that has passed through my multichannel system, and all of the combinations of those separates cost much more than the Linar on its own. With a universal player and stereo sources, the Linar 10 provides an audiophile's transition from stereo to multichannel. Those who've made that transition can feed the outputs from a multichannel processor or receiver into the Linar 10's multichannel input and still enjoy all-analog stereo from the other inputs.

The only issue is whether this clean, hefty all-in-one suits your needs. I had to add the Zektor MAS3 that I reviewed in December to accommodate multiple multichannel inputs, but for most folks, the Linar Model 10 and a decent universal player would make a great audio system. And think of what you'd save in interconnects!

Pictures from CES 2004.

The Linar 10 connected directly to the outputs of an inexpensive DVD player

was truly impressive! Of course the Gershman Acoustics Avant Garde speakers helped too!

But I have to say this may be the best solid state sound I have ever heard!

I know this was the best sounding multichannel room at CES 2004 and it was using a cheap

DVD player, just think if they were using an EAD DVD 6000, WOW!

The Linar 10 multi channel amplifier is the kind of amplifier that everyone is looking for and the market hadn't delivered . Today, the sound reproduction system that we seek needs to achieve multiple tasks in order to benefit from the new formats and new technologies available to the audiophile community, including:

*Compact disc format usually played in a stereo system.

*Super audio compact disc, the first generation was in stereo, but today S.A.C.D is also in multi channel. Those combinations are the summit in sound reproduction once you listen to the same recording of those formats with the Linar 10 you will never come back to the traditional stereo system.

*D.V.D dolby digital in 5.1 as well as digital DTS.

All these require lots of dynamic power and a speedy amplifier to drive the speaker and all this is easily achieved with the Linar 10 amplifier and even more.

Linar 10 is a 5.1 integrated amplifier compatible with all S.A.C.D, DVD and CD that has audio output with processor and DA converter. Linar 10 has 6 inputs 1 for S.A.C.D multi channel (as well as 5.1 home theater) 5 stereo inputs. 3 low level outputs 2 for subwoofer and 1 tape output.

As well as 5 channel power amplifier of 120 wpc. also included in this amplifier are 6 individual volume controls giving the user control to increase or decrease all the amplifier inputs simultaneously with the mute option on all these inputs.

As in many cases, the rear speakers are smaller than the front speakers. We've added the option to control the rear speaker volume on the remote in order to equalize the surround effect.

There are even more options that make the Linar 10 a very versatile amplifier without cutting any edges.

For these who prefer, they can use the Linar 10 amplifier in a bi-amplified system to drive the lows and highs of each speaker with separate channels of this awesome power amplifier .

The Linar 10 amplifier also has a functional 4 channels in stereo giving to the user the possibility to connect the front stereo signal to the rear left and right channel, an option that will be appreciated at party time or just to deliver stereo sound to another room.

We've designed and built the Linar 10 to be compatible with all digital and analog output sources, but the most efficient way is to connect the Linar 10 directly with a digital source such as the Marantz DV8400, Philips SACD1000, Sony DVP-NS9000es as well Denon. In the near future Linar Audio will offer his own digital sources and processor.

General information

*Straight forward design without any coupling capacitors or any capacitor in the signal path avoiding limitation in the base frequencies.

*The Linar 10 use 0db feedback and is capable of driving any speaker load available in the market It's this remarkable ability to drive a capacitive load with extraordinary stability which makes the Linar 5.1 unique.

*Advanced soft start circuit and instant off limiting the in rush current and avoiding any noise to the speaker when turning on\off as well avoiding damage of the AC components.

The circuit is monitoring the output stages and when the circuit sense any DC voltage the amplifier will turn off automatically to protect speaker and the audio circuitry.

*The Linar 10 is fully complementary design from input to output

*Size of power transformer 2x750 VA total 1500 VA toroidal transformers made by Plitron for Linar AudioLow noise series

*Input type device Match Jfet

*Output type device the latest generation Mosfet output Transistor

*Custom made heat sinks with engraved surface multiplying by 2 the heat sink area

• Machined RCA connectors with Teflon isolation.

New! Linar Class A

$3995

High performance Audiophile

Class A Power amplifier

General information

Why a Class A amplifier ?

This sort of class in power amplifiers refers to the class of operation of the output stage transistors.

As we are using the latest MosFet output transistor generation, to use them in class A is optimizing the operation point by increasing the current through the output stage. Class A is also giving another possibility to the designer to do a better sounding amplifier than in another class of operation.

*Facility of bridging mode 200 Watts at 8 ohms Linar uses the best technique for this mode we called it Balanced Monaural Amplifier by driving the same signal to the inverting of one channel and the uninverting of the other channel we connect both channels in balanced mode from input to output creating a monster amplifier of 200 watts. The result is incomparable sound reproduction.

*Straight forward design without any coupling capacitors or any capacitors in the signal path avoiding limitation in the bass frequencies.

*Balanced and unbalanced facility the user can choose also between inverting or un inverting inputs.

*The Linar Class A uses 0db feedback and is able to drive any speaker load available in the market. Its remarkable ability to drive a capacitive load with extraordinary stability makes Linar unique in this type of amp.

*Advanced soft start circuit and instant off limiting the in rush current and avoiding any noise to the speaker when turning on/off as well avoiding damage of the AC components.

The circuit is monitoring the output stages and when the circuit senses any DC voltage the amplifier will turn off automatically to protect speakers and the audio circuitry.

*The Linar Class A is fully complementary design from input to output

*Size of power transformer 2x750 VA total 1500 VA toroidal transformers made by Plitron for Linar Audio Low noise series

*Input type device - Matched Jfet

*Output type device - the latest generation Mosfet output Transistor

*Binding post type - WBT model 0765 safety line

*Custom made heat sink with engraved surface multiplying by 2 the heat sink area

• Machined RCA connectors with Teflon isolation.

•

The Linar Class A amplifier is a pure class A amplifier .

Linar Class A specifications

Output power at 8 ohms 50 WPC

Output power at 4 ohms 100 Watts

Output power at 2 ohms 200 Watts

Output power at 1 ohms 400 Watts

Total harmonic distortion 20-20khz

worst-case 0.4% (typically 0.05%)

Total intermodulation distortion typically 0.05% with combination of any 2 frequencies - note 1

Noise -110 db below max power

Frequency response 1Hz-250 Khz +0-3db

Input impedance 53.3 Kohms

Output impedance 0.016 Ohm

Damping Factor Better than 500

Input sensitivity RCA inputs 0.7 Volts Rms

(for max power)

Balance input sensitivity 0.35 Volt Rms

(for max power)

Gain 30 time the input signal or 29db

Channel separation < 100db

Slew rate Note 2

Class of operation A

Power consumption in idle 150 watts

Mass 65 Lbs with packaging

Dimensions 18”x7x15.25” (LxHxD)

Warranty 3 years parts and labor

Note1 - According to IHF-A202 standard for the purpose of this standard F1 shall equal 60hz,and F2 shall equal 7000hz the low frequency sine wave having an amplitude 4 times greater than that of the high frequency sine wave. The measurement of Linar amplifiers are in respect of this standard even with any frequency combination in any ratio.

TIM is a form of dynamic intermodulation distortion that may be associated with feedback amplifiers that use internal lag compensation.

Note2 - as the amplifier doesn’t use any global feedback the slew rate is irrelevant

All measurements carried out with 120 AC line voltage.

At Linar Audio we are constantly trying new design ideas to improve our products, therefore we reserve the right to change or modify product specifications without notice or obligation.

Linar Model 250i

$3995

High performance Audiophile

Stereo Power amplifier

General information

*Straight forward design without any coupling capacitors or any capacitor in the signal path avoiding limitation in the bass frequencies.

*Balanced and unbalanced inputs allowing the user to also choose between inverting or uninverting inputs.

*The Linar 250i uses 0db feedback and is capable of driving any load speaker available in the market. It's this remarkable ability to drive a capacitive load with extraordinary stability that makes Linar unique.

*Advanced soft start circuit and instant off limiting the in rush current and avoiding any noise to the speaker when turning on\off as well avoiding damage of the AC components.

The circuit is monitoring the output stages and when the circuit sense any DC voltage the amplifier will turn off automatically to protect the speakers and the audio circuitry.

*Facility of bridging mode 600 Watts at 8 ohms Linar using the best technique for this mode we called it Balanced Monaural Amplifier by driving the same signal to the inverting of one channel and the uninverting of the other channel we connect both channels in balanced mode from input to output and creating a monster amplifier of 600 watts. The result is incomparable sound reproduction.

*The Linar 250i is fully complementary design from input to output

*Size of power transformers is 2x750 VA total 1500 VA toroidal transformers made by Plitron Low noise series

*Input type device - matched Jfets

*Output type device - the most advance Mosfet output Transistor

*Binding post type -WBT model 0765 safety line

*Custom made heat sink with engraved suface multiplying by 2 the heat sink area

* Machined RCA connectors with Teflon isolation.

Linar 250i specifications

Output power at 8 ohms 150 WPC

Output power at 4 ohms 300 WPC

Output power at 2 ohms 600 WPC

Output power at 1 ohms 1000 WPC

Total harmonic distortion 20-20khz

worst-case 0.4% (typically 0.05%)

Total intermodulation distortion - typically 0.05%

with any combination of 2 frequencies - note 1

Noise -110 db below max power

Frequency response 1Hz-250 Khz +0-3db

Input impedance 53.3 Kohms

Output impedance 0.016 Ohm

Damping Factor Better than 500

Input sensitivity RCA inputs 1.5Volts Rms

(for max power)

Balance input sensitivity 0.75Volt Rms

(for max power)

Gain 30 times the input signal or 29db

Channel separation > 100db

Slew rate - Note 2

Class of operation A, AB

Power consumption in idle 20.5 watts

Mass 65 Lbs with packaging

Dimensions 18”x7x15.25” (LxHxD)

Warranty 3 years parts and labor

TIM is a form of dynamic intermodulation distortion that may be associated with feedback amplifiers that use internal lag compensation.

Note2 - The amplifier doesn’t use any global feedback making the slew rate irrelevant.

All measurements carried out with 120 AC line voltage. At Linar Audio we are constantly trying new design ideas to improve our products, therefore we reserve the right to change or modify product specifications without notice or obligation.

New! Linar Model 500

High performance Audiophile

MONO Power amplifier

$3995ea

General information

Why a Monaural Amplifier ?

The Linar 500 is for these who need more power and as a mono module the user can put the amplifier close to each speaker and use very short wire connection between the amplifier and speaker.

But there is more, the Linar 500 is designed and built with 2 separate amplification modules where the input circuitry is common to the 2 modules; this input driving the 2 modules in matched in balanced mode. First module drives the positive side of the signal and the second drives the negative side of the signal the result is complete cancellation of the common noise as well the common known distortion and unknown distortion.

*Straight forward design without any coupling capacitors or any capacitor in the signal path avoiding limitations in the bass frequencies.

*Balanced and unbalanced facility - the user can choose also between inverting or un inverting inputs.

*The Linar 500 uses 0db feedback and is able to drive any load speaker available in the market. It's this remarkable ability to drive a capacitive load with extraordinary stability that makes Linar a unique product.

*Advanced soft start circuit and instant off limiting the inrush current and avoiding any noise to the speaker when turning on/off as well avoiding damage of the AC components.

The circuit is monitoring the output stages and when the circuit sense any DC voltage the amplifier will turn off automatically to protect speaker and the audio circuitry.

*The Linar 500 is a fully complementary design from input to output

*Size of power transformer - 2x750 VA total 1500 VA toroidal transformers made by Plitron Low noise series

*Input type device - Matched Jfet

*Output type device - the most advanced Mosfet output Transistor

*Binding post type WBT model 0765 safety line

*Custom made heat sinks with engraved surface multiplying by 2 the heat sink area

* Machined RCA connectors with Teflon isolation