AVReviews

This time, we received the Ayre KX-8 preamplifier and the Ayre VX-8 power amplifier for review, both from the company's new entry-level series.

We would like to thank "Avi Yaffe", the official importer of the Ayre brand in Israel, for providing us with those products for review.

Bottom Line

About Ayre Acoustics

Ayre Acoustics was founded in Boulder, Colorado, in 1993 by Charles Hansen, a respected audio engineer who had previously founded the loudspeaker company Avalon. With deep expertise in both digital and analog sound reproduction, establishing an electronics company in the audio field was a natural next step. In 2006, Charles was severely injured in a cycling accident, leaving him paralyzed in the lower half of his body. After a long struggle with pain, Charles passed away in 2017.

Many audio companies are boutique firms with a small number of employees and a limited engineering team, often led by the chief designer or engineer. As a result, the departure of such a key figure can present significant challenges, and even raise doubts about the company's ability to continue functioning.

The key figures at the company today are Ariel Brown, who was recruited by Charles in 1996 right after finishing his studies and is now continuing his legacy, and Jake Forsyth, who joined the company in 2022 and is responsible for marketing and business operations. Jake has professional experience in the audio industry, having studied sound engineering and worked in various management roles. He was involved in the founding of an audio distribution business and also spent two years working at PS Audio. I had the opportunity to meet both of them at the 2024 Munich High-End Show. Unfortunately, we didn't manage to record an interview, but it was a fascinating conversation with people who truly love sound and music, very experienced and have a contagious positive attitude.

When Jake took on his role, he posted an honest and optimistic message on the audiophilestyle forums (link to the post). He shared that in 2018, the company moved to a larger building to begin production of the 8 series, their new entry-level lineup. They encountered a variety of technical challenges, and then COVID-19 hit, severely impacting their supporting businesses. Without a doubt, the company went through a difficult period, but now they're moving forward. They’ve launched the 8 Series products, hired new and talented employees, and are working with a wide range of partners. I believe the company is on the rise, and in the near future, we can expect more product launches and ventures into new and exciting directions.

Under Test: Ayre KX-8 & Ayre VX-8

I received both products under review here along with the CD player from the same series, the Ayre CX-8, which I chose to purchase for myself. A review of that will be published later.

These three products belong to Ayre’s entry-level series, which is also the company’s newest line. Above the 8 series is the 5 series, which is the mid-range line, and above that is the company’s flagship line, the R series. Among the company’s offerings, you'll find integrated amplifiers, preamplifiers, power amplifiers, monoblock amplifiers, DACs, phono preamps, headphone amplifiers, and more.

While many companies offer integrated amplifiers as their entry-level products and reserve pre/power separates for their higher-end lines, Ayre gives you the option to purchase separates, like the ones under review here, even within their entry-level series.

Ayre products feature compact-sized chassis that share a consistent design; you won’t find here the large enclosures typical of many American companies. The chassis are made of aluminum, and all of Ayre’s products are manufactured at their Colorado facility. From the very early days of the company, Ayre’s products have been based on technologies and engineering principles that include zero-feedback design, which ensures natural and accurate sound reproduction, fully balanced circuitry using discrete components rather than printed circuits, and finally, their signature Double Diamond output stage design.

Ayre KX-8 Preamplifier

Let’s start with the Ayre KX-8 preamplifier. This is a modular preamplifier that, in its basic form, is a pure analog preamp with two balanced XLR inputs and three unbalanced RCA inputs. On the output side, there is one balanced XLR output and one unbalanced RCA output. Additionally, you can add up to three optional modules:

1. Network Module: This includes a network input and two USB ports, allowing streaming to the preamplifier.
2. Digital Input Module: This includes a coaxial input, two optical inputs, and an AES\EBU input.
3. A USB Audio Module

These modules add a DAC circuit based on the ESS ES9038Q2M chip. As you can see, you can customize the functionality of the Ayre KX-8, starting from a pure analog preamplifier all the way to an All-In-One preamp that even includes streaming capabilities.

Additionally, there are two AyreLink ports, which is essentially Ayre’s control protocol that allows you to control other products from the company through this device. For example, if you power on the KX-8, all other Ayre devices connected via AyreLink will also turn on. Many companies have chosen to develop their own control protocols; personally, I believe that a general trigger protocol is sufficient and can work with products from different brands. Therefore, I would prefer to see a trigger-out output here, if not in place of AyreLink, then at least as an additional option.

Finally, on the front panel, you’ll find two headphone inputs: one unbalanced and one balanced dual input.

We have received the analog version of the Ayre KX-8, without the optional digital modules.

The dimensions of the Ayre KX-8 are 44 cm wide, 33 cm deep, and 11.5 cm high, with a weight of 5.7 kg.

Ayre VX-8 Power Amp

The Ayre VX-8 power amplifier is the natural companion to the KX-8 preamplifier. This amplifier is also designed with zero-feedback, featuring a fully balanced configuration with discrete components.

The Ayre VX-8 includes one balanced XLR input and one unbalanced RCA input, with the selection between them made via a switch on the rear panel.

Additionally, there are two XLR outputs and two RCA outputs for connecting a subwoofer, allowing you to connect two subs to your stereo system using the Ayre VX-8. The Ayre VX-8 also features two AyreLink ports.

Please note that the speaker terminals on the VX-8 are compatible only with spade connectors. Therefore, if your speaker cables have banana plugs, like mine do, they will not fit this amplifier.

The amplification power here is 100W at 8 ohms and 170W at 4 ohms.

The dimensions of the VX-8 are identical to those of the KX-8, and its weight is 11 kg.

Design and Build Quality

The Unboxing video:

Package Contents:

The Ayre KX-8 includes a power cable, an AyreLink cable, a remote control, batteries, a user manual, and three wooden isolation feet.

The Ayre VX-8 includes a power cable, an AyreLink cable, a user manual, and three wooden isolation feet.

The wooden feet are included as a gift for customers who purchase Ayre products, and in an accompanying letter, they explain that they have found placing the company's products on these feet enhances the sound quality.

I think this is a lovely gesture, and these feet significantly elevate the device off the surface on which it rests. They are stable and sturdy, so I believe they have the potential to provide excellent isolation and damping.

Ayre's products feature an industrial, clean, and fairly minimalist design. There are no excessive embellishments, just functional design with good build quality. The interaction with the buttons was a satisfying experience; I especially liked the volume knob, which is hefty but turns smoothly and pleasantly.

The Ayre 8 series or products are available in silver or black finishes. We received the silver finish, which I found impressive and integrates beautifully with the rest of my system.

On the rear panel of both devices, you can see the absolute channel separation: all the inputs and outputs for the right channel are on one side, while the left channel’s inputs and outputs are on the opposite side. This connection is a bit cumbersome, but since it arises from a separate channel design and a desire to minimize the signal path, it is justifiable.

The Ayre KX-8 preamplifier features a screen with a very sharp font in a turquoise color. Despite the small font size, I found it readable even from a distance due to its clarity. In the device settings, you can choose whether the screen turns off after a while or stays on continuously. Ayre recommends in the user manual to turn off the screen to reduce any digital circuitry in the system that might produce noise, as well as to prolong the screen's lifespan. I followed their recommendation. Since we received only the analog version of the KX-8, the screen displays only the selected input, and when adjusting the volume, a graphic representation of the chosen level is shown. When digital modules are installed, the screen can also display the name of the streamed song and more.

The VX-8 power amplifier features a particularly clean panel with a single button that is used to switch between active mode and standby mode.

On the top panel, you'll find two large ventilation openings through which you can see the components inside the amplifier, including various LEDs.

In summary of the design aspect, the words that come to mind are solid, well-built, functional, and simple, in the best sense of the word. This is how I would describe the design of Ayre products.

Functionality and user experience

Let’s start with the experience of the initial connection: all inputs and outputs are symmetrical and clearly labeled, making it very easy to navigate the connection between the two devices. After the initial power-up of both devices using the main switch on the rear panel, they enter standby mode, indicated somewhat confusingly by a green light.

Ayre VX-8 User Experience

The user experience with the Ayre VX-8 power amplifier is exactly as expected from a power amplifier—very straightforward. The power/standby button is the only button on the front panel, and there are no markings on it, as there is no need; its function is intuitively clear. A single press turns the light blue, indicating that the amplifier is ready for operation.

The only additional functionality is the selection between XLR and RCA inputs, which is done via the switch on the rear panel, as mentioned earlier. The VX-8 has two ventilation openings on the top panel, allowing a view of the amplifier's components and some LEDs. Interestingly, when the amplifier is in standby mode, the internal lights glow green, similar to the main indicator light. However, when the amplifier is active, some of the internal lights remain green while others turn red, which may be mistakenly interpreted as a malfunction by users.

Regarding the device's heating, after hours of operation, if you place your hand near the top ventilation openings, you can feel some warmth coming from them. While it's not particularly excessive heat, it’s definitely advisable to place the unit in a well-ventilated area and certainly not to stack any other devices on top of it.

Ayre KX-8 Control and User Experience

The user experience and control of the Ayre KX-8 preamplifier is undoubtedly more interesting. Let’s start with the front panel, which features two buttons on the left side, both unmarked, requiring users to intuitively understand that the far-left button serves as the power/standby switch. Additionally, this button also functions as a mute control. When the preamp is active, a quick press on the button mutes the sound, while a slightly longer press puts the unit into standby mode.

The second button on the left is used to switch between the various inputs. On the right side, there's a large volume knob that rotates smoothly and provides a satisfying feel during use.

The settings and additional control features are accessed through the provided remote control. Unfortunately, unlike the solid build quality and clean design of the main unit, I found the remote to be much less impressive.

The remote control is a plastic IR model filled with small buttons. It is compatible with all devices in the series—the preamp, DAC, and CD player (so I received the same remote with the CX-8)—which is one reason it feels crowded. Additionally, I have two more complaints. The first is the choice of icons, which in some cases left me clueless about their functions without consulting the manual. The second and final complaint is that one of the important buttons, which opens the settings menu and is marked with a wrench symbol, is even smaller than most of the other buttons.

Once you enter the menu, the excellent display on the Ayre KX-8 clearly and understandably presents the various options. Although the font is small, requiring you to lean closer to the device, the text is very clear and sharp. The menu is neatly divided into four categories: Inputs, Display, Network, and System.

In the Inputs menu, you can easily hide inputs that you’re not using. This is a great feature; I connected two devices to the Ayre KX-8—one via the XLR input and the other through the RCA input—hiding the remaining inputs, so the input selection displays only those that are in use. In this menu, you can also assign a custom name to each input. Another option available for every analog input is the activation of the Pass-Through mode, which is useful for connecting devices that have their own volume control, such as a home theater receiver or an external processor.

In the Display menu, you can set whether the display remains on all the time or turns off after a few seconds. The Network menu allows you to configure various settings that are irrelevant here, as we do not have the network module. Finally, in the System menu, you can view the installed firmware version as well as clearly see the optional modules that are installed.

I then connected the AyreLink cable between the KX-8 and VX-8, allowing me to power both devices on and off with a long press of the power/standby button, which is quite convenient.

In summary, the experience of using the Ayre KX-8, with its array of convenient options and a functional, clear display, offers everything one could wish for in a preamplifier. It’s just a bit disappointing that the remote control is less impressive.

Solid State Amplifier with Tube-Like Sound

While researching information about Ayre, I frequently came across opinions stating that Ayre's products have a "tube-like" sound. Even Ayre themselves refer to this; for instance, on their website, the description of the VX-8 power amplifier states:

״Ayre Acoustics sound featuring tube-like warmth and musicality with solid state immediacy and control.״

The term "tube-like sound" is not an accurate descriptor, as not all tube amplifiers sound the same, just as not all transistor amplifiers sound alike. To me, a tube-like sound is characterized by warmth in the mid-bass, a large and three-dimensional soundstage, often with pronounced and separated mids that manifest in emotionally engaging vocals, while the highs are smooth and rounded. When I asked ChatGPT about the characteristics of tube sound, the response was:

1. Warmth
2. Harmonic Distortion
3. Smoothness
4. Depth and Dimension
5. Dynamic Range

So, overall, there is a similarity to my definition.

If this is the sound that characterizes tube amplifiers and it’s the sound you’re looking for, then why not simply choose a tube amplifier? After all, there’s no shortage of them on the market. Well, tube amplifiers have their drawbacks; their power output is often not high, so they may not always be suitable for less sensitive speakers. Tube amplifiers typically generate a lot of heat, and, of course, there is maintenance involved, which includes replacing tubes after a certain period (usually after a few thousand hours). Therefore, if a solid state amplifier can be made to sound like a tube amplifier, you can essentially enjoy the best of both worlds.

The listening test

First, let's describe the connection of the system and the various components.

How I connected the Ayre KX-8 and Ayre VX-8

Since my speaker cables have banana plugs and are not compatible with the Ayre VX-8 connections, I asked Uri Yaffe to lend me suitable cables. The cables I received are from the American company Audience, and along with the speaker cables, I also received XLR cables to connect the preamplifier to the power amplifier. Both cables are of the Studio ONE series.

The Ayre KX-8 and Ayre VX-8 were placed on the cabinet in my living room on the included wooden feet.

The speakers I used for the review were the YG Acoustics Carmel 2. Additionally, I utilized two sources. First, the Nagra Streamer, connected to the MSB Discrete DAC, and then via XLR cables to the Ayre KX-8. The second source was the Ayre CX-8 CD player, which was connected via RCA cables to the Ayre KX-8. Full details of the system will be provided at the end of the article.

After connecting the system, I played it for about two days, playing music from our long playlists such as Sunset Jazz and Thank God for the Blues. During the break-in period, I conducted some casual listening, and after a few days, I set down for critical listening.

Tidal Streaming

The content from Tidal was streamed to the Nagra Streamer using Tidal Connect. This time, I chose to start with a classic blues track, Darker Side by Jonny Lang. This hit sounded punchy and rhythmic through the Ayre duo, which simply urged me to turn up the volume. There’s a slight warmth in the bass, characterized by softness and pleasantness. The mids feature the electric guitar, which sounds emotional and full-bodied, along with well-separated vocals and clean-sounding keys instrument. The overall presentation is smooth, slightly softened, and very enjoyable.

We'll continue with electric guitar but pick up the pace with the Israeli progressive metal supergroup Steroid Puppets and their track Minerva from the album Earthguest. Here, the Ayre duo demonstrates their ability to convey dynamics and precision. The fast-paced drums are well-separated, and the rhythm is punchy enough, while the guitar maintains an aggressive feel. Despite Ayre's tendency toward a smooth and slightly softened sound, the aggression of this piece is presented clearly and accurately, without exaggeration or undue emphasis.

After all the energy and aggression, let’s move on to something more acoustic. The next piece I chose is The Only Thing That Matters by Fink, from his new album Beauty In Your Wake. Fink's voice sounds big and well-centered, while the guitar offers a good level of detail. The soundstage is three-dimensional and expansive, which definitely reminds me of tube amplifiers. There’s a slight emphasis on the midrange that works wonderfully for this piece, with the bass being soft and spreading across the stage. Additionally, the vocal is wrapped in a pleasant halo, a quality I've sometimes noticed in tube amplifiers.

Another acoustic piece I examined was If Everyone Had Someone by The Hanseroth Twins from their debut album, Vera. This is a more delicate track, and the Ayre system fits this style like a glove. The vocals are pleasant and well-centered, with good separation between the two brothers' voices. The guitar is gentle, and the overall presentation is soft, melodic, and enjoyable.

Now let's move on to jazz, and this time I've chosen a group I recently discovered, Lydian Collective, a London-based quartet that plays fusion jazz. I selected the piece Cascades from their album Adventure. This is a lively jazz composition, and through the Ayre system, I experienced good dynamics. The sound is rich, the piano is clear and well-separated, and the drums have a good amount of articulation. The soundstage is large and three-dimensional, with sounds lingering slightly in the air, meaning the decay is somewhat prolonged—a characteristic I've often noticed in tube amplifiers.

The overall presentation is smooth and delightful, providing sufficient detail and dynamics in a way that feels natural and seamless, without excessive emphasis on dynamics or bass. The midrange, which includes the piano and later features the electric guitar, is the centerpiece of the piece and is highlighted while the bass accompanies it with a gentle warmth.

To examine dynamics and micro-dynamics, I returned to Heart Beat by Antonio Farcione, a piece I've used many times before. Here, I'm reminded once again of the naturalness and smoothness of the Ayre KX-8 and VX-8 system. I wouldn’t say the dynamics are “restrained,” but they are certainly not “aggressive” or exaggerated. The piece features dramatic rises in the guitar, with punchy bass due to the percussive strikes on the guitar. The dramatic presentation is felt, yet it remains soft and pleasant. The higher tones of the guitar are slightly rounded and mellow, and the soundstage is large and three-dimensional. Additionally, there is a good level of detail in the quieter sections.

I'll conclude this listening test section with a piece of electronic music, returning to a track I've often used in my reviews, The Game Has Changed by Daft Punk. This piece consists of deep bass explosions and a constant deep bass layer. The deep bass layer was convincingly rendered, possibly delivering the deepest bass in this test, though I would have preferred a bit more kick in the explosions. The Ayre system's presentation brings the midrange, where the melody of this piece resides, to the forefront, giving it more space at the expense of the explosive effects. This creates a different experience, truly allowing one to appreciate how much effort went into the melody of this track.

CD Content

In the second part of the test, the Ayre CX-8 CD player as the source, creating a complete system from Ayre's 8 series devices. The Ayre CX-8 was connected to the Ayre KX-8 preamplifier via basic RCA cables from QED.

I chose two albums to evaluate, starting with Hotels & Dreamers by Allan Taylor. This album boasts exceptional recording quality. While Taylor is often associated with the guitar, this time I opted for a piano piece called For What It's Worth. Here, I received a clean presentation with warm bass that highlights and elevates both the piano and the vocals. Allan's voice is rich in detail, delivered in a separated and emotional manner. There is a certain refinement and smoothness that can be felt in the saxophone segment.

Additionally, I utilized this piece to assess the system's performance at low volumes. The midrange remains very present, exhibiting noticeable micro-dynamics, and the soundstage stays quite large. However, in the bass region, there is a clear retreat. This results in a pleasant presentation that is well-suited for romantic evening listening or when hosting guests. However, if you're seeking dynamics and power, you'll need to turn up the volume to a moderate level.

The second album I chose was the self-titled album by Fleetwood Mac, also known as "The White Album." Originally released in 1975, the CD version I have is the 2018 Remastered edition. I have commented on this version before, noting that, in my opinion, the dynamics have been emphasized somewhat artificially compared to how the album sounds on vinyl (I believe the version I have on vinyl is the original mastering).

I found myself sitting and listening to the entire Fleetwood Mac album from start to finish. There was excellent separation in the bass layers, good detail retrieval, and a slight emphasis on the midrange with a touch of softness, making the sound feel less over-processed and restoring the natural feel this album has in its vinyl version.

Perhaps this is the secret charm of Ayre: the ability to deliver music in a natural, smooth, and soft manner, allowing listeners to enjoy both modern recordings with exaggerated dynamics and less-than-perfect quality recordings.

Before I conclude, I want to address the "tube-like" sound characteristic. So does the Ayre system really sound tube-like? Throughout the test, I identified several features I would associate with tube amplification: the slight warmth in the bass, the forward midrange presentation, a large and three-dimensional soundstage, soft presentation with rounded highs, and more. Therefore I can see where Ayre has earned a reputation for having a tube-like sound. Although I don't have a tube amplifier on hand for direct comparison, I've tested a few tube amps this year, and I believe Ayre’s sound signature shares some similar qualities, albeit in a more subtle manner.

Summary

In conclusion, the system comprising of the Ayre KX-8 preamplifier and Ayre VX-8 power amplifier serves as an entry point into Ayre’s world of separate amplification. The Ayre KX-8 preamplifier offers versatile and modular design, allowing it to be used as a purely analog preamp, or upgraded with optional modules to the level of an all-in-one device with streaming capabilities. Both units feature Ayre's clean, functional, and industrial design, with solid build quality. All of the company’s devices are manufactured in their factory in Colorado, USA.

Ayre’s sound signature incorporates several qualities often attributed to tube amplification, delivering a soft sound with warm bass, emotive mids, rounded highs, and a three-dimensional soundstage.

In summary, the Ayre KX-8 and Ayre VX-8 provide a functional, well-built amplification system that aims to deliver music in a natural, smooth, and enjoyable manner.

Prices:
Ayre KX-8 (preamplifier without optional modules): 31,480 NIS
Ayre VX-8 (power amplifier): 33,900 NIS
Warranty: 5 years

The system I used for the review: 
Speakers: YG Acoustics Carmel 2
Streamer: Nagra Streamer
DAC: MSB Technology Discrete DAC with dual power supplies
CD Player: Ayre CX-8

Cables: 
Coaxial cable between the Nagra Streamer and the DAC: Nordost Blue Heaven
XLR cable between the MSB DAC and the pre-amplifier: Nordost Blue Heaven
XLR cable between the pre-amplifier and Power amplifier: Audience Studio ONE
Speaker cables: Audience Studio ONE
RCA cable to connect the CD player to the pre-amplifier: QED cable

Power:
Power cables  for the Nagra Streamer and the MSB DAC: Nordost Blue Heaven 
Power Distribution Block : QBASE QB8 Mark II (to it the Streamer, DAC and CD player were connected)
Power cable for the distribution block: Nordost Red Dawn