crwilli
Active member
- Thread Author
- #1
Just read through Tom Martin’s recent review of the Blockaudio Class A Monoblocks, and it was one of the more compelling writeups on high-end amplification I’ve seen lately. Key points:
• Top-shelf Class A execution
These are true 200W/8Ω Class A mono amps (100W/4Ω), with additional Class A/B headroom above that. They’re huge, heavy (190 lbs each), run hot, and burn a ton of power at idle (450W per chassis). Price is ~$60K/pair in the U.S.
• Why Class A here matters
Martin points out the theoretical advantage: Class A devices operate in their most linear region at low power levels—where music spends most of its time. The idea isn’t efficiency, but minimizing non-linear behavior that creeps in with more common switching or biasing schemes.
• The sound
What impressed him most was how the Block monos bridge two traits that are often mutually exclusive:
• Bass
Described as powerful, full, and controlled with real grip—but not hyped. High damping without dryness, and they don’t inject artificial tightness or EQ-like emphasis.
• Imaging & spatial realism
One of the strongest suits. Deep layering, front-to-back distance, and clearly separated instruments. Martin notes psychoacoustic research that deeper staging actually helps us perceive more detail, and the Blocks excel here.
• Works across eras
Old rock, orchestral recordings, chamber music, even rougher digital productions benefited. Not masked or sweetened—just opened up, clarified, and made more intelligible.
• They don’t fix bad recordings
If something is hot, compressed, or poorly mastered, it still will be. These aren’t tone shapers or a cure-all for digital sins.
• Bottom line
For Martin, these amps illustrate why ultra-high-end Class A still exists. They seem to resolve the classic tension between neutrality/detail on one hand and natural beauty on the other. He calls the improvement both immediately obvious and fundamentally subtle—meaning they don’t overlay a signature, but instead remove barriers between source and music.
His takeaway: If you want to understand what’s possible from amplification at the very top of the market, the Block Monos make a strong case.
Hope he reviews the Block Line Stage.
• Top-shelf Class A execution
These are true 200W/8Ω Class A mono amps (100W/4Ω), with additional Class A/B headroom above that. They’re huge, heavy (190 lbs each), run hot, and burn a ton of power at idle (450W per chassis). Price is ~$60K/pair in the U.S.
• Why Class A here matters
Martin points out the theoretical advantage: Class A devices operate in their most linear region at low power levels—where music spends most of its time. The idea isn’t efficiency, but minimizing non-linear behavior that creeps in with more common switching or biasing schemes.
• The sound
What impressed him most was how the Block monos bridge two traits that are often mutually exclusive:
- High resolution, clarity, transient insight
and - Smoothness, ease, and artifact-free treble
• Bass
Described as powerful, full, and controlled with real grip—but not hyped. High damping without dryness, and they don’t inject artificial tightness or EQ-like emphasis.
• Imaging & spatial realism
One of the strongest suits. Deep layering, front-to-back distance, and clearly separated instruments. Martin notes psychoacoustic research that deeper staging actually helps us perceive more detail, and the Blocks excel here.
• Works across eras
Old rock, orchestral recordings, chamber music, even rougher digital productions benefited. Not masked or sweetened—just opened up, clarified, and made more intelligible.
• They don’t fix bad recordings
If something is hot, compressed, or poorly mastered, it still will be. These aren’t tone shapers or a cure-all for digital sins.
• Bottom line
For Martin, these amps illustrate why ultra-high-end Class A still exists. They seem to resolve the classic tension between neutrality/detail on one hand and natural beauty on the other. He calls the improvement both immediately obvious and fundamentally subtle—meaning they don’t overlay a signature, but instead remove barriers between source and music.
His takeaway: If you want to understand what’s possible from amplification at the very top of the market, the Block Monos make a strong case.
Hope he reviews the Block Line Stage.
