AYON Scorpio Gen4 KT88 P45w/T30w class-A monoblock power amps - AFBias TTP

AY 40 AM SCORPIO
NZ$ 6,995.00 pr (incl. GST)
Ayon Audio

"The Bugatti of Audio" - according to respected TAS: The Absolute Sound magazine

New

"Well the Ayons are playing beautifully as I type this communicardo. The music is so relaxed, stress free and natural sounding you just fall into it. Bass extension is incredibly deep and controlled with no hint of flab or bloat. In terms of PRAT or stop start these amps are fast and deliver quick transients within the music in a heartbeat. I'm so glad I made the move to Ayon the build quality is exceptional with performance to match. Thanks and regards"....... Tim

The entrance into real high-end mono vacuum tube amplification”. The Scorpio Mono represents a dramatic rethinking of economic vacuum tube based monoblock amplifier. 

The Scorpio monoblock combines neutrality, realistic dynamics and power projection, true musicality with high resolution.

Perfect finish, elegant discrete design and outstanding sonic performance make the “Scorpio” unique, setting a new price-to-value standard in its price class for monoblock designs.

Features

Specifications

Reviews

Testimonials

Features

Full-featured vacuum tube mono power amplifier
Switchable between pentode and triode mode

Vacuum Tubes
The choice of signal and power tubes have a significant influence on the sound and hence on the inspiration and joy of listening. This is not only the decision between good and bad tubes but finally the interaction of the different types of tubes and their combination that are used in the various Ayon amplifiers.

Signal Path
We believe that the simplest circuits work best together with the shortest signal path. The shorter the signal path is, the less possibility of sonic degradation from various sources, including the wire itself. Even on the circuit boards, the copper traces are kept to a very minimum length. The completely redesigned circuit board provides a more straightforward and direct approach to the signal paths.
●  Logical sequenced soft-start power up for extended tube life
●  Power vacuum tube and electronic protection circuit system
●  Ultra short signal path
●  Simplest direct circuit path for purest musical sound and high reliability
●  No solid state devices in the signal path
●  High current and low impedance design that operates tubes in the best areas their curves
●  Minimal discrete wiring for optimum signal propagation
●  Automatic and manual bias adjustment 
●  No followers or buffers in the signal path
●  High quality parts throughout

Power Supply
The power supplies have been further refined with new components and enhanced AC line noise filtration. Separate power transformers, chokes and filters provide total isolation between the input and output stages which makes this a pure power source. We also use electrolytic capacitors with much larger storage capacity to make up for the loss in filtering when using resistors in lieu of inductors.
●  Low noise –insulated power transformers 
●  Power transformer is encased, excellent damped and RFI/EMI shielded
●  Innovative power supply provides a high speed energy delivery on transients
●  Choke filtered power supply for power tubes
●  Separate and isolated power supplies over each stage of amplification
●  Regulated DC filament supplies with soft start
●  Current in-rush limiting
●  Auto sequencing - Power on cycle completes in 1 minute

Dual Grounding System
The modification of the grounding topology leads to increased rejection of noise from the power supply and other areas. The dual grounding topology used in all of our amplifiers is quite unique to the whole hi-end tube amplification industry. Such extensive topology provides for quieter backdrop for which the music can unfold in its entirety. It further establishes the quick and controlled bass response and the full bodied expression of the high frequency. The ground leg of the signal has not been neglected and given meticulous attention in its implementation. The importance of proper grounding cannot be over emphasized.
●  Ground switch
●  Central one-point star earth grounding
●  Dual grounding system (switchable)

Output Transformer
The super-wide bandwidth output transformer’s major strength is that it can deliver the current in the bass, while at the same time maintaining the speed in the high frequencies, dramatically improving the square wave response of the amplifier. The effect is a much more natural and relaxed sound with much better clarity, resolution and fluidity.
●  Super-wide bandwidth high performance output transformer
●  High efficiency with low insertion loss for optimal current and voltage transfer
●  Multiple tight layering and coupling for extended frequency response
●  Output transformers are sealed with an anti-resonance compound material

Components
The type of parts used therefore must have a synergistic relationship to the circuit they are placed in. It is this relationship of which type of part to use where, that ranks our products apart from the mass.
●  Selected, premium quality passive components used in all applications
●  High speed  & high quality audiophile grade coupling capacitors 
●  High quality – RCA input jack
●  Special isolated - internal wiring

Mechanical Construction
The high grade aluminum chassis impart a richer, more lustrous tonality with a cleaner background and less hash and grain. All brushed anodized anti-vibration-resonance and non-magnetic chassis’s are fully hand assembled to insure the highest level of craftsmanship.
●  Improved heat ventilation chassis
●  The aluminium feet are resonance absorbing types
●  Backlit “ayon” logo 
●  All front & rear panel descriptions are engraved
●  Ground switch
●  Chassis finish: black / chrome

Specifications

Class of Operation; Triode* or Pentode mode, Class-A*
Tube Complement: KT88 
Load Impedance: 8 & 4 Ohms
Bandwidth: 15Hz - 40kHz
Output Power / Pentode mode: 1x 45W
Output Power / Triode mode; 1x 30W
Frequency Response; 10 Hz - 50 kHz
Input Impedance at 1 kHz: 100 KΩ
Input sensitivity ( full power ): 700mV
S/N ratio at full power: 98 dB
NFB; 0dB
Inputs: RCA
Dimensions 200W x 440D x 130H mm
Weight, each: 15 kg

Specifications subject to change without notice

Reviews

With Scorpio one gets a sweet - both in terms of appearance and sound – compact monoblocks that can work easily with a wide range of loudspeakers, including those with a more difficult impedance curve. And the performance is sooooo enjoyable!
Wojciech Pacuta - Hi Fidelity

REVIEW SUMMARY: We are talking about a very well tonally balanced presentation, that is perceived as particularly rich, complete. The sound signature of this amplifier is quite similar to the Crossfire EVO, which I reviewed once for the „Enjoy The Music” magazine in terms of tonal balance, the setting of priorities, including how the objects in front of a listener are presented. Sound is warm, full, dense. Already these three words situate it in a slightly different place than amplifiers that manufacturer offered a few years ago. Older models were about being quick, transparent and delivering pure power. The new generation, perhaps in part due to the precise bias control of power tubes presents more traditional tube-ish sound, especially in the models that still use KT88, but adding to that good resolution and dynamics. This performance reminded me of other classic amplifiers using these tubes, such as: McIntosh MC275 and QUAD II. 

The Scorpio mono amplifiers very nicely fit the present Ayon's sound philosophy. It's an incredibly rich, dense performance of a warm character. Its dynamics is very high and powerful, low bass extremely well controlled. Even the Harbeth's 30- cm woofers performed accordingly, realising Gerhard's ideas about bass extension and punch. There is a proper momentum, fullness, and full control. What one gets with Ayon's more expensive amplifiers, especially triode ones, is a better resolution and selectivity. But with Scorpio one gets a sweet - both in terms of appearance and sound – compact monoblocks that can work easily with a wide range of loudspeakers, including those with a more difficult impedance curve. And the performance is sooooo enjoyable! 

I know Gerhard Hirt pretty well, I think I can call him my friend. He runs his company, Ayon Audio as a top class manager should but at the same time he is an audiophile and music lover too with a large collection of records, CDs and music files. He is so creative and full of ideas all the time that he can't help himself and he simply has to present an improved version of one of the products every now and then. He simply can't wait to share each of his achievements with the customers. Audio tycoons rather try to achieve at least certain level of profit from current products before introducing new ones. That's why one can see brands such as Accuphase, Mark Levinson, Audio Research and others to release new products or versions every 2-3 years. But Gerhard as a truly passionate man is sort of impatient and simply has to deliver all improvements to customers as soon as possible. 

I think that was the genesis of the first ever Ayon SACD player and the new files player that will premiere in November during Audio Video Show 2016 in Warsaw. Same goes for Scorpio monoblocks. These are sort of a "spin off" of an integrated amplifier carrying the same name, which we've known since the last year. I think they are supposed to show what this particular design and the KT88 tubes are truly capable of when one is ready to spend bit more and free the power amplifier from difficult duties by leaving the preamplifier section out and separating right and left channel. Thus one reduces a crosstalk between channels, improves power supply capacity (because now there are two of them) and lowers vibration level thus reducing microphonics of valves.

Scorpio Mono 

The amplifier does not cost much - for this type of product - and does not take up much space, because these monoblocks are surprisingly small. It's a real relief after other huge and heavy beast that seem to be a specialty of Ayon Audio. Manufacturer used here two beam tetrodes KT88 working in push-pull configuration in A class. These are readily available valves in a wide range of brands, both of the current production and NOS ones. So this is an amplifier for the "people", a “volksamp” if you will. Tubes are pre-selected, measured and paired. One can find specifications of each tube, including signal ones, on their boxes. That's a good practice for any tube device. 

The amplifier has been designed to operate within an optimum gain curve for tubes, which means that they are better utilised than usually. The problem is the higher the temperature and the need for constant monitoring of their work. Especially for the latter purpose a few years ago Gerhard designed, herewith utilised its latest version, an automatic calibration system called Intelligent Auto-Fixed-Bias (AFB). As highlighted in the manual, it is neither a system of semi-automatic adjustment, nor fixed bias system. 

Preparation of the amplifier to operate is pretty straight forward, but it does not hurt to ask your distributor or dealer to do that for you. Once the system is calibrated it will work perfectly operating in optimal conditions. One could, of course, prepare amplifier even easier to use, with multiple protective circuits but that would cause an inferior sound quality. 

One can indeed, within certain limits, change amplifiers sound depending on one's preference and loudspeakers one uses. For example, by choosing the mode tubes operate in - as a pentode or triode. To do this simply press the small button on the back of the amplifier. However, it should be done ONLY when the device is switched off! This is the case, where one definitely should read the manual or listen carefully to the advice of a party who sold him this device. 

In the pentode mode amplifier is capable of delivering 45W output, and while operating in triode mode a 25W (30W) output – that's what manufacturer specified. I've included the second value in two versions, because I found two different values on the website and in the manual. Please notice how the number is given at distortion of 5%. Let me remind you that for tube amplifiers, it is assumed that power is given usually at 3% (for transistor amplifiers is 1%). So when comparing values between Scorpio Mono and other amplifiers one should take that into consideration. 

This, of course, are mono power amplifiers, so there is a separate amplifier for each channel, each amplifier features a separate power cable. The devices are, however, extremely small and sleek; they actually occupy the same space as a stereo amplifier. 

I have a vague feeling that somehow, subconsciously engineers responsible for the Scorpio Black had to remember this sound signature It is not just a copy, but a new device inspired but some classics and in an interesting way too. The device delivers a very rich, dense sound. Everything is included - a 3D body and detail and space, accompanied by a focus on a large volume, although there is no doubt that the body of each phantom image is the most important element of the presentation. The instruments are so large in size, will never disappear in the background, they are presented with utmost attention to details. It is, I believe, a result of certain modification of the sound, ie. an emphasis in medium bass and lower midrange area. That's exactly a type of sound modification that one usually calls a "physiological" or “friendly” or simply “enjoyable”. 

I listened to some albums taking the above discovery into consideration and established that these recordings had with Scorpio their own, distinct sound characteristic. So when I listened to Bach cantatas performed by Bernarda Fink, her voice, but also the trumpets, sounded slightly leaner, had tonal balance gently shifted up, but they were not made artificially richer, heavier due to amplifier's emphasis. At the same time one clearly hear this features of the recording and accept it as something natural. And that's because Scorpio are “cruel” for imperfect recordings. They tend to “cover up" such shortcomings either with color saturation, or the volume of the sound, but should not emphasis weaknesses of any recording. 

Such, ie., warm sound with somewhat naturally soft attack usually results with a preference of a particular type of recordings, that sound best (please forget about the so-called "neutrality", it does not exist in real life, there are only successive approximations to it). I wouldn't really say that some particular music genre or type suits these amps best, and that one can not listen to other types, even though the above description usually ends with such conclusion. Ayon is too powerful, too fast, too dynamic for such limitation of repertoire to be true. Warm? - Yes, but not muddy. Rolled off treble? - I think it's safe to say, but the sound doesn't lack freshness and is surely not dark. 

We are talking about a very well tonally balanced presentation, that is perceived as particularly rich, complete. All events have their own importance and purpose, which I have heard before with some amplifiers of a completely different design, such as elinsAudio manufacture Concerto and also with Ayre AX-5 Twenty. Comparing this performance with more precise sounding devices, eg. next Polish integrated, Abyssound ASA- 1600, one can realise that Ayon stresses the importance of all instruments, combining all sound sources together at the expense of selectivity. 

When on a wonderful album, Il Canto D'Orfeo , that was sold in the main building of the National Museum in Warsaw (I bought it when visiting a very nice exhibition Brescia. Renaissance in Northern Italy) including works related to the myth of Orpheus I heard theorbo, it sounded pretty clear, warm and more "present" than in reality. The same is true when harpsichord or organ start to play. When one listens to these instruments during the concert, even when sitting close to them one identifies them mainly through the transient attack, more powerful plucks. The recording, of course, "highlights" them, but Ayon goes even a step further by aligning them eg. with vocals. Baroque music, vocal (Smolik!), Electronic (Jarre), jazz (Namysłowski), ie. every genre with a clear central point, a leader - all these discs sounded fabulously. 

Triode, my triode! 

Such type of presentation is usually associated with triode amplifiers. The Ayon delivers it right away, but in pentode mode. It is clear that the top triode amps are the single-ended ones (SET or Parallel SE), but everything below their price and quality is not so obvious. Because Ayon for example, when playing in triode mode delivers less clear, less tangible instruments. The sound is obviously more relaxed, because eg. classic albums in terms of sound character are more like a live performance – one “sees” it from a bigger distance, and the edges are subjected to diffusion. On the other hand sound is not resolving enough to deliver performance even close to live-like dynamics and resolution. That's why every time I returned to pentode mode as the one that better reflects full ability of Scorpio Mono, which gives sound a stronger character and differentiates it in a better way.

Sound


Recordings used for the test (a selection)
 

Il Canto D’Orfeo, wyk. Il Trionfo del Tempo, Et’Cetera | Klara KTC 4030, CD (2009) 

Brian Eno, The Ship, Warp Records | Beat Records BRC- 505CE, SHM-CD (2015) 

Depeche Mode, Ultra, Mute/Sony Music Labels SICP-30543, Bluspec CD2 (2007/2014) 

Dire Straits, Brothers in Arms, Vertigo/Mobile Fidelity Labs UDSACD 2099, „Original Master Recording, Special Limited Edition | No. 1808”, SACD/CD (1985/2013) 

Jean-Michel Jarre, Electronica Project. Vol. 1 Time Machine, Columbia | Sony Music Entertainment 88875108352 , Box No. 465/1000, CD + 2 x 180 g LP + FLAC 24/96 (2015);

Johann Sebastian Bach, Solo Cantatas BWV 35, 169, 170, wyk. Bernarda Fink, Freiburg Baroque Orchestra, Harmonia Mundi HMG 502016, CD (2009/2016) 

Michał Wróblewski Trio, City Album, Elite Records 11529024, CD (2014) 

Owlle, France, Sony Music Entertainment France, „Promotional Copy”, CD-R (2014) 

Smolik/Kev Fox, Smolik/Kev Fox, Kayax | Agora 92781141, CD (2015) 

Zbigniew Namysłowski Modern Jazz Quartet, Lola, Decca/Universal Music Japan UCCM-9173, „From Europe With Jazz. Vol. 2”, CD (1964/2003) 

Tube amplifiers are grateful object of experiments. Trials with various tubes - power and input one - anti-vibration elements (valves are prone to microphonics) and some others make it possible to adjust the sound to your taste and system. There are, of course, certain limits of those changes, even if you occasionally hear some people claiming that tube rolling resulted in "a totally different amplifier." At first one might observe particularly spectacular changes, but after some time it turns out that they are only slight modifications. It is not possible to achieve anything more because of the limitations of an electrical system, used parts, materials and the way they are put together. 

The same can be, in my opinion, said about the power tubes operating modes - triode and pentode. These are, of course, the same tubes - pentodes or, in this case, beam tetrode, which can however be used in two ways. Listening to Ayon while comparing its sound in either mode, I could always say that it was Scorpio, not two different devices. The basics sound qualities are in fact the same for 'triode' and 'pentode' mode. This does not mean, of course, that the sound is exactly the same, but the differences are in fact rather just slight modifications of the same sonic signature and not something totally different. To be honest I preferred the pentode mode and so I shall describe how these amps sound like when using it. At the end I will present the main differences between both modes and how they affect the perception of music.

The sound signature of this amplifier is quite similar to the Crossfire EVO, which I reviewed once for the „Enjoy The Music” magazine in terms of tonal balance, the setting of priorities, including how the objects in front of a listener are presented. Sound is warm, full, dense. Already these three words situate it in a slightly different place than amplifiers that manufacturer offered a few years ago. Older models were about being quick, transparent and delivering pure power. The new generation, perhaps in part due to the precise bias control of power tubes presents more traditional tube-ish sound, especially in the models that still use KT88, but adding to that good resolution and dynamics. This performance reminded me of other classic amplifiers using these tubes, such as: McIntosh MC275 and QUAD II. 

Summary 

I have not listened to Ayon amplifiers for quite some time, dealing with thousands of other products. It's time to catch up, because Gerhard's works are always interesting. Soon, we shall take a closer look at new Ayon players (CD35 CD/SACD and music files), both – in reviews and during the Krakow Sonic Society meeting. For the Audio Video Show 2016 we are also planning a joint presentation of Polish Jazz recordings, hosted by Jacek Gawłowski. 

The Scorpio mono amplifiers very nicely fit the present Ayon's sound philosophy. It's an incredibly rich, dense performance of a warm character. Its dynamics is very high and powerful, low bass extremely well controlled. Even the Harbeth's 30- cm woofers performed accordingly, realising Gerhard's ideas about bass extension and punch. There is a proper momentum, fullness, and full control. What one gets with Ayon's more expensive amplifiers, especially triode ones, is a better resolution and selectivity. But with Scorpio one gets a sweet - both in terms of appearance and sound – compact monoblocks that can work easily with a wide range of loudspeakers, including those with a more difficult impedance curve. And the performance is sooooo enjoyable! 

Design

Even in the dark it is clear that Scorpio Black is a product of Ayon Audio. The distinctive shape of the housings made of aluminium elements and the illuminated red logo (this is why in the dark is even easier to recognise this brand's products...) are unchanged for years. A novelty is the size of these particular devices – they are significantly smaller than any previous models, and it is because there is only one pair of power  tubes instead of two or even three of them. Gerhard decided to use KT88 beaming tetrodes, or to be exact the KT88sx, custom made for Ayon by a Chinese company Shuguang. The 12AU7 (unmarked) and 12AX7EH Russian Electro are employed as drivers and phase inverters. 

The power tubes work in class A in push-pull configuration, and one can choose the mode they work in - a classic pentode or triode. To change the mode one uses a button placed on the rear panel. Until recently, all amplifiers featured a toggle switch placed on top cover next to tubes. Ayon changed that for Scorpio for some reasons – either it didn't fit stylistically, or there was something else. From what I heard from some people, the Ayon devices are seen by some as an not reliable. I've been using their preamplifier for many, many years and nothing ever happened to it. The amplifiers used in accordance with instructions also perform very well for many years. Yet, they are not immune to stupidity. 

For years Gerhard has been developing his proprietary auto-bias system that allows tubes to always work in optimal conditions. Its calibration, however, was initially quite complicated, so many impatient users ruined their tubes and blamed amplifiers for that. And even after the procedure was simplified, nothing changed, except the direct cause of damage. Nowadays the tubes are usually damaged by the irresponsible use of the triode/pentode switch. And all one has to do to avoid that is to read the manual, which clearly states: DO NOT do this when the amplifier is switched on. First, turn off the power, wait 2 minutes to make a change and turn the power back on. And one does that - back to the description of this design – using a mechanical switch on the bottom panel. 

Behind the tubes there are two large housings with transformers inside – mains and output, cast in a special resin, which dampens vibrations and shields against RF and EM radiation. Each stage has a separate power supply and DC filament for tubes is regulated. The circuit includes choke for filtering power for tubes and a soft start system and inrush current limiting. The power on cycle takes approx. 1 minute, during which the illuminated logo on the front keeps flashing. 

On the back there is a single solid RCA input and three speaker terminals - separate one for 4 and 8 Ω loudspeakers (ground terminal is common for both). There is also a toggle switch that cuts off the signal's ground from chassis' ground. This might come handy if there is hum coming from speakers. 

It's a very solid device with the classic and characteristic Ayon design and appearance.

…….Wojciech Pacuta

.....the Scorpions can faithfully reproduce a symphony orchestra,....
JÜRGEN SAILE

STATEMENT: There are prices in the high-end sector, so it's almost unhygienic to talk about it. The scorpions are clearly not. The intention was probably to build a device that makes listening to music fun and that one or the other can afford without access to the account in Panama. The manufacturer has clearly succeeded. In addition, the devices can respond to taste preferences through the switching mode. Cool!

EXTENDED REVIEW: This must be an Ayon, I recognise even from afar and without glasses! What comes here as a slim shirt - at least from Ayon's point of view - represents the entry-level model of the company in the world of tube monoblocks dar.

I have to admit, I like the design, no rally stripes, no lower exhaust, nothing from the glamor world. The housings are immaculately solid and with 15 kg per device still easy to transport. Says my cross. Overall, everything makes a very high quality impression. In addition to the output and power transformer you will find two power tubes and two small signal tubes on the base plate, that's it! For the body builders among us Scorpio is also available as a complete amplifier in a housing with a smooth 29kg.

The final tubes are KT88 Beampower Tetrodes, which Ayon manufactures in the Chinese Shuguang plant. With KT88 tetrodes from Chinese production, unfortunately, a lot has been driven to Schindluder. Transposed low-cost tubes, B-Ware sold together with A-Ware; The Chinese, of course, know that, but keep coming back to it. However, Ayon knows that too. Therefore, Shuguang builds the tubes according to the company's exact specifications and due to the meanwhile large turnover there are no more problems. Nevertheless, the tubes are naturally measured and selected before being inserted into the amplifiers. Thus, it is best to keep your hands off this tube set and leave everything as it is. The tubes are matched and marked in which socket they belong. More on that later.

Historically, the Beam Power Tetrode was developed in the 1930s to bypass the Mullard / Philips patent for the Pentode. With a pure tetrode, the electrons would be additionally accelerated by the screen grid and hit the anode at high speed. This would lead to an opposite secondary current, which can significantly impede the actual anode current and would lead to a significant kink in the curve. To avoid this effect, the Beam Power Tetrode contains a specially shaped plate between the screen grid and the anode, which is connected to the cathode. Due to this construction, the kink disappears in the characteristic curve, hence the designation "KT" for Kinkless Tetrode. The model KT88 used here is a design from the year 1956. In the Scorpio they are switched in a classic push-pull configuration. A two-stroke, so to speak. This also explains the relatively high output power with only two used end tubes. Although theoretically more would be in it, but probably at the expense of the service life of the KT88.

What is more often found with hi-fi amplifiers with KT88 tubes - or in general with multigrid tubes - is a switchover possibility between pentode and triode operation. You can change the sound within certain limits. Here too, this can be done by means of a small pressure switch on the back of the device, the operating mode is indicated by a red LED on the chassis. BUT: this switch is a lethal weapon for killing the end tubes, it must not be operated during operation! The manual expressly points this out, but I assume that you like reading manuals just as much as I do ... Of course, it must be said that in triode mode, the screen grid does not suddenly dissolve in the air, but is simply connected to the anode , Usually. In any case, the amplifiers achieve 25 watts output power in triode mode and 45 watts in pentode mode. For Ayon conditions almost underpowered, when I think of the Epsilon models of colleagues summer. However, the search for a suitable loudspeaker should also be simplified considerably with the Scorpio.

Otherwise you can still see a 6189 JAN, the American equivalent of an ECC82 and a 12AX7 respectively ECC83. Incidentally, JAN is the abbreviation for Joint (!) Army Navy. Joint might explain a lot. In any case, these tube types are often used as a driver or in the phase reversal stage, as well as in the Scorpio. So basically nothing unusual, it does not have to be. Ultimately, the sonic result depends on the design and quality of the components used. And of the circuit, of course.

Now, tubes are wearing parts that just age and thus shift their working point. Unfortunately, the aging process is not the same for tubes of the same design. For this reason, you have to readjust the quiescent current - BIAS- to new German again and again. Now there are always lovers of tube amplifiers who do not even want to know that you can adjust the BIAS. Gerd Hirt has something suitable for these fans: a car-BIAS circuit. Incidentally, this is integrated in all power amplifiers of the house.

Even if there is something of "car", you still have to lend a hand and calibrate the tubes manually. There is a small pressure switch on the back, which can be operated with a ballpoint pen, for example. Before you should warm up the amplifier for 15 minutes, then press the switch - done. This procedure takes about a second and should be done once a month. You will then be rewarded with tubes that always work at optimal working points. This is already done in the factory before delivery and this is also the reason why the tube belonging to the base is exactly marked. If you have ever confused the pages, then you only need to recalibrate once and everything is ok again.

Another important feature is a kind of cold start device. This will slowly increase the voltages on the tubes after switching on. This takes about a minute and is indicated by the flashing Ayon logo on the front panel. The tubes do not like it at all, if the anode voltage is already applied, but the heating filaments are not really hot. Otherwise, there is still a protection circuit, in case anyone makes nonsense with the devices in a big way. Of course, this is not in the signal path.

All well and good, but how do these things sound? To listen, I first tried the amplifier in triode mode. People who know me will have thought that anyway. The output is about the same as my 211SE Elrog. After a few discs with different styles of music, I was a little surprised; Actually, I had expected a sound that I knew from numerous Ayon amplifiers so far, with the focus on clarity, dynamics and pure power development. Scorpio now offers a slightly different vote, but that does not mean that there was no dynamic here. I think that would not allow Gerd Hirt. On the surface, the playback seems a bit warmer, more relaxed, but without anything somehow pleasant, wattig soft flushed acts. If you listen more closely, you realize that all the details are present and only the tonality is slightly changed. This is primarily due to the slightly more pronounced basic tone range, whereby we are talking here of minimal changes. Simplified, I would say, the playback is pleasant, which I can not say by any hi-fi amplifier. This also means that I can listen to music for hours without having to turn down the volume after a while. As far as the depth of space is concerned, I have already seen more, but in completely different price categories. Nevertheless, the Scorpions can faithfully reproduce a symphony orchestra, as far as this is possible within their own four walls. This is primarily due to the slightly more pronounced basic tone range, whereby we are talking here of minimal changes. 

To hear what happens in the two circuit variants, I first let Oscar Peterson play and switched to the Pentode mode. Peterson was known to be no child of sadness as far as playing the piano is concerned. His technical brilliance and his swing-feeling earned the heavyweight Maestro the nickname "the brown bomber of boogie-woogie". Um, that reminds me, is it allowed to say anything like that these days? In times of political correctness? Whereby the term is actually a contradiction in itself. But let's leave that alone. Anyway, Scorpio Peterson's dynamics, joy of playing and powerful technology in Pentodenschaltung can play even more lively, which can be determined by switching back very easily. Here just a little more rough dynamics is offered. The playback is a bit brighter, so the action seems to be more in the foreground. Overall, a slight plus for the pentode.

In return, of course, I can emerge musicians, whose piano playing over the triode circuit is reproduced interesting. For example, the pianist Marcin Wasilewski of the Thomasz Stanko Quartet. It is not so much about high speed, but rather about the motto "play less notes helps the music". Similarly, Miles Davis had said yes. The triode now lets the music flow more, is relaxed and offers all the nuances of interpretation. The music rests in itself, of almost classical beauty. Also, the wing is shown more plastic, you get more the impression, because in front sits the interpreter and plays.

So that now no false impression arises: the amplifier breaks down when needed on my highly sensitive speakers in triode mode really going on; Latin jazz titles with great percussion, for example, do not stay dry. However, this can look quite different on one of today's popular lower sensitivity speakers. I always enjoy listening to the piano to listen to the components, firstly because I hear a piano or a grand piano live in my combo on a regular basis, and secondly because of a special characteristic of the sound production.

The individual tones in our Western sound system are all in a mathematical relationship to each other, for example, at an octave 2: 1. Unfortunately, Pythagoras had already realized that this system does not quite work out at the intervals between the notes. Thus, inter alia, starting from a "C", a semitone up step would not be exactly the same as a semitone step down from a "D". But we only have one button on the piano.

The art of the piano tuner is now to find a compromise solution in piano tuning that allows all intervals to be played in all keys. But this also means that most of the intervals are not pure, but float. Since Johann Sebastian Bach (well-tempered piano!) Countless possibilities of piano tuning have been tested, all of which have a different sound character and can even be adapted to the respective concert conditions. This is all very simplified, of course, but these beats can be heard very clearly in the chord and are a formative element of the piano sound.

And here lies one of the great strengths of the triode, it can simply reproduce these subtleties and the associated moods more natural. And clearly. Of course, this does not apply to free jazz players, whose music sounds more like a traffic accident. In addition, the triode on my speaker has enough sovereignty to faithfully portray the size of a concert grand piano. Well, what now? Switch for each artist? The tubes do not like that at all. So set it once and then keep your fingers away. Forever. Always! Or maybe yes...

In conclusion, the slightly modified tuning of the Scorpio tells me a lot, because if I have a tube amplifier in front of me, in which innumerable additional circuits everything imaginable was linearized and regulated and the whole then sounds like a transistor, then I can Buy me right now. But here, of course, everyone has to decide for themselves what they like best. Although this should not give the impression that the amplifier somehow sounds completely different, of course that's not the case. It's more about subtleties here. As far as resolution is concerned, it is certainly even more conceivable, but here we should leave the church in the village for the price of these devices rather not.

In pentode operation Scorpio offers even more rough dynamics, acts more direct. The bass range is even more punchy and controlled, which is already a strength of the KT88 anyway. That sounds more impressive at first, but the music in triode mode gets more expression and timbre, looks more three-dimensional and more plastic. Overall, playback in both modes is more compact, less esoteric. With a well-recorded acoustic guitar you can literally see the body, but I can not hear which string mark the musician has raised. Sometimes in a slightly exaggerated way. The triode puts the focus more on the fundamental range. My preferred operating mode would be triode mode, because together with my speakers this sounds best and listening to music is the most enjoyable. Should it be, or? Frecherweise I would say, the power amplifiers are not for people who spend more time in Internet forums smart things to write than listening to music.

If I do not write anything negative, then come back to the hi-fi police and complains "jubilation", or something. So then: The only thing that I liked less is - admittedly - a slight pop when switching off. However, this may not be heard in today's loudspeakers with 85 dB characteristic sound pressure. By the way, like many other things. But that's another topic.


STATEMENT
There are prices in the high-end sector, so it's almost unhygienic to talk about it. The scorpions are clearly not. The intention was probably to build a device that makes listening to music fun and that one or the other can afford without access to the account in Panama. The manufacturer has clearly succeeded. In addition, the devices can respond to taste preferences through the switching mode. Cool!

Testimonials

these wonderful amps.,

Hi Terry,
"Well the Ayons are playing beautifully as I type this communicardo. The music is so relaxed, stress free and natural sounding you just fall into it. Bass extension is incredibly deep and controlled with no hint of flab or bloat. In terms of PRAT or stop start these amps are fast and deliver quick transients within the music in a heartbeat. I'm so glad I made the move to Ayon the build quality is exceptional with performance to match"
Thanks and regards
...... Tim