Auris Audio Nirvana Tube Amplifier
As its name suggests, Nirvana is designed to take you to a state of absolute bliss.
Boasting premium quality and sound neutrality, Nirvana enables you to choose any headphones you like. With an output power of 6.5W pure class A, this amplifier can drive almost any headphone on the market.
Auris strives for reasonable and affordable prices, making it their goal to enable as many audiophiles as possible to enjoy top-quality sound.
Nirvana is based on EL34 tubes in single ended configuration. Drive tube is ECC82. Impedance choosing is standard in our headphones amplifiers and VU meter shows real output power.
- 1 x ECC82, 2 x EL34
- Amplifier Configuration
- Single Ended
- Input Sensitivity
- Power Output
- 6.5W max
- Output Impedance
- 32 Ohm/80 Ohm/150 Ohm/300 Ohm & 600 Ohm
- Analog Inputs
- 3 x Line
- 300mm W x 390mm L x 190mm H
- Power Supply Dimensions
- 300mm W x 390mm L x 95mm H
- Power Supply Weight
- 7.2kg (~16 lbs)
- Remote control
*Specifications are subject to change without prior notice.
* Intimacy - It feels like you're in the music as if it was written and played just for you.
* Soundstage - great headphones don't view "intimacy" and "soundstage" as contradictions.
* Textures and Surprises - I discovered new textures and sonic surprises.
I was lucky to audition an Auris Nirvana with Focal Utopia headphones and Black Dragon cables. Music came from Moon Audio founder Drew Baird's iPad running Roon core, Tidal and with a Bricasti M1 DAC thrown in just because he could.
"Concert-like" was the phrase I noted listening to Ralph Towner's 1974 album Solstice. Towner's album reminded me of why I liked every musician on Solstice. Towner guitar sounded haunting, dramatic, and beautiful. Garbarek's soprano saxophone and Weber's fluid driving base blended with Towner's guitar as I drifted off.
The "Auris surprise" revelation was Jon Christensen's swinging drums. Stunningly Beautiful has is an apt description.
"STONES SOUND," is what I wrote in caps listening to Hot Rocks 1964-1971 remastered. Ron Wood's bass is the sonic surprise here. You hear the Stones' "Wall of Sound" on Jumpin' Jack Flash.
Mick maracas are more important and prevalent than previously heard, but Wood's bass in Time Is On My Side and Sympathy For The Devil are Auris + Focal + Dragon + Bricasti sonic Rolling Stones' sonic surprise.
Sonic surprises happen when you haven't heard half the textured musical detail BEFORE listening to high fidelity gear.
Textures and Surprises
Soccer Mommy's Clean was Auris Nirvana's "sonic surprise" proof. Sophie Allison's voice is strong yet quiet. Clean is Allison's first studio album and the mixing board, something Marcey Donelson calls "conspicuous tools".
Allison's voice, highly personal lyrics, and her well-crafted album sounded great. Soccer Mommy's voice is easily lost in what Donelson calls the album's "unsettled harmony".
Without power Allison's vulnerable, simple, quiet voice goes away. And you don't know what you don't know or in this case you don't miss what you don't realize should be there.
Once you hear your music's "smooth detail" there is no going back. Drew respects Frank and I trust Drew. And it didn't take me long to hear why Drew was excited about Auris.
If "smooth detail" gets better than Auris Nirvana I haven't heard and probably can't afford it. The Utopia + Dragon + Auris Nirvana + Briscoti combination was wonderful, surprising, and powerful. Too Good! Thanks, Drew!