Understated looks LOL
you mean those giant gold knobs
I like the look, but would never call them understated
Riviera Labs AFM-100 SE Class A Monoi amplifiers- something new and different
- Thread starter Elliot G.
- Start date
Understated looks LOL
you mean those giant gold knobs
I like the look, but would never call them understated
That’s what makes the world go round. my personal amps and preamp aren’t gold but that’s a personal choice. I will say that the people that own them live the way they look and IMO it’s an audio product that the looks really make a quality statement.Understated looks LOL
you mean those giant gold knobs
I like the look, but would never call them understated
They don’t look like a computer or a plain square box .
I love their high end Italian style and btw even their packing is the best I have ever seen
Here is my perspective of my “downgrade” from the CH L10 preamp and CH M10 amp to the Riviera APL01SE preamp and AFM100SE dual mono amplifier. I have a lot of experience with CH, had an L1 before my L10 and an M1.1 stereo amplifier prior to my M10 stereo amplifier
The easy part. The Riviera equipment is gorgeous. The Riviera comes packed impeccably, with travel cases that have more handles than anyone could ask for, making it simple to move to any location, including my house, where my sound room is on the second floor. The CH equipment, while by no means ugly, is stark and industrial looking by comparison. Those who have purchased CH know they pack their stuff in a standard, albeit strong cardboard box with an outer cardboard rim, by no means easy to move one’s location, especially considering their weight. While turning on the Riviera requires pushing buttons, CH has options for a cool network operation with an app. I love the simplicity of the Riviera remote, controlling volume and nothing else. The CH has many more configuration capabilities, and in my opinion, sometimes having these choices, at least in my 40+ years in the high end, leads to more “fiddling” than listening.
After just turning on the Riviera stuff in my system, I knew immediately, I was listening to something very special. From my perch, even after just 4 days, the Riviera is, at least to my ears, much more musical and listenable. The height, depth and air are superb. Transparency is remarkable. By no means was/is the CH a slouch and I loved my CH, but putting the Riviera into my system brought me to a level of enjoyment, I haven’t thought possible, since my first exposure, years ago, when I first had Jadis and Conrad Johnson demoed in the 80s. I don’t mean to imply that the Riviera competes in the same sound spectrum as CJ or Jadis, however, those of us who were “audiophiles” back in the 80s remember first hearing that stuff and shaking our heads at how revolutionary the design and results were compared to the competition. Maybe calling the Riviera revolutionary is a little over the top, BUT, for a zero feedback all-Class A hybrid, they are remarkably liquid beyond any experience I have ever had while controlling large instrumental sounds such as deep bass better (amazingly, as I thought the CH did this better than anything ever) than the CH. From the most subtle to the largest presentations, I have to say, I have never heard anything as subtle, rich, open and dynamic as these electronics.
I really had trepidation getting rid of my CH, some of the best solid-state equipment in the world, especially after my many years of ownership, but I listened to Elliot, especially given his experience with Gobel speakers and he was right. I am not looking backwards. I still have tweaks ahead, possibly a new DAC but I am in awe with this stuff.
Long and short, I have ZERO regrets in “downgrading”.
This is a letter that my client sent me today.
He is a physician that lives on the west coast of Florida and has been a client for many years. Enjoy
The easy part. The Riviera equipment is gorgeous. The Riviera comes packed impeccably, with travel cases that have more handles than anyone could ask for, making it simple to move to any location, including my house, where my sound room is on the second floor. The CH equipment, while by no means ugly, is stark and industrial looking by comparison. Those who have purchased CH know they pack their stuff in a standard, albeit strong cardboard box with an outer cardboard rim, by no means easy to move one’s location, especially considering their weight. While turning on the Riviera requires pushing buttons, CH has options for a cool network operation with an app. I love the simplicity of the Riviera remote, controlling volume and nothing else. The CH has many more configuration capabilities, and in my opinion, sometimes having these choices, at least in my 40+ years in the high end, leads to more “fiddling” than listening.
After just turning on the Riviera stuff in my system, I knew immediately, I was listening to something very special. From my perch, even after just 4 days, the Riviera is, at least to my ears, much more musical and listenable. The height, depth and air are superb. Transparency is remarkable. By no means was/is the CH a slouch and I loved my CH, but putting the Riviera into my system brought me to a level of enjoyment, I haven’t thought possible, since my first exposure, years ago, when I first had Jadis and Conrad Johnson demoed in the 80s. I don’t mean to imply that the Riviera competes in the same sound spectrum as CJ or Jadis, however, those of us who were “audiophiles” back in the 80s remember first hearing that stuff and shaking our heads at how revolutionary the design and results were compared to the competition. Maybe calling the Riviera revolutionary is a little over the top, BUT, for a zero feedback all-Class A hybrid, they are remarkably liquid beyond any experience I have ever had while controlling large instrumental sounds such as deep bass better (amazingly, as I thought the CH did this better than anything ever) than the CH. From the most subtle to the largest presentations, I have to say, I have never heard anything as subtle, rich, open and dynamic as these electronics.
I really had trepidation getting rid of my CH, some of the best solid-state equipment in the world, especially after my many years of ownership, but I listened to Elliot, especially given his experience with Gobel speakers and he was right. I am not looking backwards. I still have tweaks ahead, possibly a new DAC but I am in awe with this stuff.
Long and short, I have ZERO regrets in “downgrading”.
This is a letter that my client sent me today.
He is a physician that lives on the west coast of Florida and has been a client for many years. Enjoy
Great letter! And from everything I have read and heard about both, I could believe it. There are so many people who genuinely love their CH...from their comments, I have come away with the impression that one must be ready to be extra thoughtful in the mix of equipment and setup because they are exactingly transparent. I have spoken with a few new CH owners who found themselves working/re-working after the CH went in, to get the original mellifluous, organic verve of music back into their overall system.
I went thru a version of that after bringing in the Robert Koda after the CJ/Gryphon Mephisto equipment went out.
There is something fundamentally different between Riviera and CH . The research done by Riviera about sound and perception is one of the things that set it apart. It is different and one can hear how it is special it is .
Have you heard Lamm? I believe they also did a lot of research about how humans hear as part of their design. Perhaps they share some similar qualities?
Yes I have but I don’t think that they share anything in common. Wadax has done much current research in this area as well. Riviera is IMO unique in this area not that they have done research but rather in the application of that into providing a level of performance that very few get too.
Former Riviera owner here. Wonderful equipment. I sold it for non sonic reasons.
I now use another hybrid integrated, an Ypsilon Phaethon. Thrilled with it. Not making a comment on the relative merit of the two brands, just suggesting that anyone interested in the Riviera approach should also seek to hear Ypsilon.
I now use another hybrid integrated, an Ypsilon Phaethon. Thrilled with it. Not making a comment on the relative merit of the two brands, just suggesting that anyone interested in the Riviera approach should also seek to hear Ypsilon.
Actually I'd be interested in a comparison. I've had the Ypsilon pre in my system as well as the Riviera, and preferred the Riviera, although it was not a back to back comparison. I think I know where you're coming from in terms of their harmonic "bloom" but interested in your more experienced perspective.
Hi heihei, there are some brief Ypsilon vs. Riviera impressions in this thread:
Ypsilon phaethon SE
Hi this weekend they bring me to try Ypsilon phaethon SE. I am very curious to see it. I have already tried a pathos Heritage, an absolare passion and a grandinote shinai. The first two integrated very nice. I would call the first very refined and the second more muscular. The shinai was the one...
www.whatsbestforum.com
I can't speak to the Riviera vs. Ypsilon separates unfortunately.
As far as Riviera vs. Ypsilon integrateds go -- I can only triangulate at this point, since like you I didn't have them in the house back-to-back. So my impressions are more "transitive" (Riviera and Ypsilon both benchmarked against the separates from a well-regarded Swiss brand).
As far as what they have in common -- yes, a sense of harmonic development. The "bloom" on the Riviera was more overt. There's a more distinctive "Riviera sound" you might say, whereas the Ypsilon is more invisible, it's just a full expression of tone, timbre, harmonics. Both brands have a sense of weight and texture that are seductive (to be clear, I'm not saying either brand sounds "romantic")...it's notable b/c many brands do not capture this as well, it seems to me.
As far as high level differences, I find the Ypsilon higher resolution, quieter, more dynamic and generally more refined. As a side note, the Riviera sound reminds me quite a bit of the DarTZeel sound actually...those interested in Dart might want to hear Riviera.
I find the Ypsilon to be closer to live (among other reasons, you are closer to the stage), and the Riviera to be comparatively more relaxed.
As with all these "differences" (which, again, I am only triangulating) -- I am not suggesting that either is "better" or "worse". These are just preferences.
Note I have the silver Phaethon, which is 2x the price of the Riviera integrated. If you're looking at the copper Phaethon (which I have heard quite a few times but have not owned), it's the same price as the Levante and is a more fair comparison. The silver Phaethon killed my desire for separates (I compared them to separates at 2x+ the cost).
Normally I wouldn't bring another brand into a brand appreciation thread like this, but there seem to be some other Riviera vs [brand ABC] comparisons here, so thought some might find this useful.
This was an insightful comparison, Metaldetektor. Thanks for taking the time. As someone who has heard Ypsilon and liked what little I heard, and also has heard some of Dartzeel's work years ago, I do have to say the description of Riviera seem very very intriguing to me. So always nice to hear from people who have experience across designers.
@metaldetektor thanks for sharing your thoughts. Can I ask what valves each of the two amps were fitted with? In my experience with the Levante, it can make a tremendous difference.
There is a significant, actually a very significant distinction from a Riviera Levante and the APLK 01 Se and the AFM 100 Se mono blocks.
The Levante is a best buy in my mind especially when it is used with a system that it fits with. TTHe comparison however with the reference level seperates they make is truly not a fair one.
I have used the seperates and listened to them in the same systems as the giant D'agostino seperates ,the Gryphon Apex, the CH 1 and Ten series and some other tube based gear from VAC and ARC.
They are different in what they do and how they produce the sound of music and the spaces within and between the botes. Thier ability to just play and get out of the way of the music is in my mind uncanny. I have no real experience with Yipsilon and Robert Koda ( which is coming) only in circumstances that were not controlled. Not controlled meaning systems and rooms with whicuh I was not at all familiar with so way to many variables to direct the sound and pint it to a singular part of the experience. I have liked the systems I heard with both YP and RK and would find them products that need exploration. As of today Riviera is and has been my reference and my favorite of all the products that have been in my room and it truly isn't close. I have been listeneing to this combo for a year , almost every day, on all kinds of music, at all levels, and have never been either bored or grown tired of the sound. This is a first in my life and I don't plan on going backwards.
The clients that have changed to it have moved on from excellent brands and havent looked back either.
The Riviera reference level products do things that IMO nothing else to date does. The future is open and bright so lets enjoy the road as it comes.
it’s been a few days since I got back from the installation and I’ve had some time to listen to my own system again. This is of course my reference, my room, my gear , my chair and my music. I needed to relax , unwind and listen . I’m always learning from each installment and each clients room and their observations.
There is magic. It’s my job and passion to find it for myself and those who have chosen to do business with me.
This system always makes me smile and the combination of components work beautifully together to make music.
Everytime I think I’ve heard what I thought was the as far as I can go I find more .
There is magic. It’s my job and passion to find it for myself and those who have chosen to do business with me.
This system always makes me smile and the combination of components work beautifully together to make music.
Everytime I think I’ve heard what I thought was the as far as I can go I find more .
I spoke to my client last night now that he has had a week or so for the gear to get some hours on it and he has had the time to spend the weekend listening.
Part two of his experience should be coming soon. Its always fun when someone sees what the gear is really capable of doing and the Riv's are truly something different and special.
See you all at Capfest i am packing today and leaving tommorow
Part two of his experience should be coming soon. Its always fun when someone sees what the gear is really capable of doing and the Riv's are truly something different and special.
See you all at Capfest i am packing today and leaving tommorow
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From what I've read on the websites of both Lamm and Riviera, they definitely share design goals and engineered their equipment to 'sound right' according to the rules of human hearing perception rather than just the common bench specs.
Nor are they the only ones to have done that. In fact this is a tradition of design that goes back quite a ways. The head engineer of HH Scott, Daniel von Recklinghausen expressed what this is all about nearly 60 years ago: "If it measures good and sounds bad, -- it is bad. If it sounds good and measures bad, -- you've measured the wrong thing."
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Thank you. I also recall Conrad Johnson 'It just sounds right'. I think that is still their motto.
Although Riviera and Lamm both use the research about human perception of sound, they do sound quite different to me. I have Riviera APL 01se which I have tried with Lamm M1.2 (owned for a year) and Riviera AFM100se (used for few weeks). In my system Lamm sounded quite forward, midrange based, with a bit of artificial energy. On the other hand Riviera sounds to me very balanced, natural, organic, musical. From what I have heard at shows, I guess closer to Wadax. Riviera and Lamm obviously must have used different research
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