AVReviews

This time, we visited Guy Raguan, the owner of Raguan Audio, to explore and review the ultra-high-end tube integrated amplifier, the Engström ARNE.

In this review, we’ll discuss the Scandinavian design, touch on the meaning of some technical specifications, and of course, share our thoughts on the sound of the Engström ARNE.

Bottom Line

About Engström

Engström is a family-owned Swedish company founded in 2008 by two brothers. Lars Engström, an engineer with a background in designing radios, navigation systems, and more, had a passion for creation from an early age, building his first tube amplifier at just 12 years old. In 2001, Lars began designing what would become the company’s famous Lars amplifier model. His brother, Timo Engström, serves as the company’s CEO and is responsible for the distinctive look of their products, drawing inspiration from Scandinavian radio furniture of the 1960s and ’70s.

The company’s website introduces an interesting concept called “gray sound,” which refers to sound that isn’t reproduced purely, leading to ear fatigue and stress according to research. Engström avoids this “gray sound” by designing balanced amplifiers with linear construction, carefully selecting every component to maintain this linearity. Their amplifiers are built with a zero-feedback design.

Under Test: Engström ARNE

The Engström ARNE integrated amplifier (now in its MK2 version) is named after the Swedish jazz musician Arne ‘Dompan’ Domnérus. It features four 300B power tubes and four D3a tubes, delivering 30W per channel. The chassis is made of aluminum, with adjustable feet containing ceramic balls at the base. The amplifier’s design includes a unique direct connection between the drive tubes and the power tubes, providing more power and lower distortion. According to the company, the tubes offer exceptionally fast response, resulting in outstanding dynamics. The volume control is resistor-based, allowing for precise adjustments with 48 distinct steps.

The Engström ARNE comes with four inputs: 2 balanced XLR and 2 unbalanced RCA.

Additional technical specifications:
Harmonic Distortion: 1% at 30W
Frequency Response: 10Hz – 40kHz +/- 1dB
Dimensions (mm): 480 x 450 x 320
Weight: 38 kg

Design and Functionality

The Scandinavian countries, and Sweden in particular, have elevated minimalist design to an art form. The design of the Engström ARNE is a perfect example of this style. The ARNE’s chassis is completely clean, with the only design element being the slope of the front panel and the surface behind the tubes. It’s quite remarkable how such a subtle detail like this slope can give the amplifier its character and uniqueness.

The front panel features just two knobs and nothing else—no logo, no text, keeping everything extremely clean and elegant. The smaller knob switches between inputs, while the larger one controls the volume. Turning the volume knob is a unique experience, offering a satisfying resistance where you can actually feel each step as you adjust it.

The Engström ARNE is a large, wide amplifier. Despite our best efforts to capture its true size in photos, it often appears smaller than it actually is—perhaps due to its minimalist design. It’s advisable to check the dimensions of your stand beforehand.

The ARNE is available in two finishes: black and silver. Additionally, you can choose between the company’s signature clear glass cover or a sleek dark one. The unit we reviewed had the black finish and the dark glass cover, which is almost impossible to photograph without reflections. The glass cover also features stunning diagonal lines.

Here’s a view from the side, showing the opening the cover leaves for releasing the heat of the tubes.

On the back panel, the inputs and outputs are neatly arranged in a single row, along with the label indicating the model of the amplifier.

For a product of this quality, the design experience begins with the packaging; the amplifier comes in an impressive wooden box.

When ordering, you can choose from several types of power tubes. This amplifier was ordered with power tubes from Emission Labs in the Czech Republic.

The control experience with the amplifier is all about simplicity: selecting the input and adjusting the volume. The amplifier also includes a sturdy remote control, well-crafted and designed to handle volume changes with ease.

The only drawback in terms of usability is the absence of a power button, with the only option being the main switch on the rear panel. While the manufacturer may intend for the amplifier to remain powered on at all times, this approach may not suit all users, requiring access to the rear panel each time you want to turn the unit on or off.

Another usability consideration is heat management. From what I observed, the heat emitted by the tubes themselves is not particularly high, but more heat radiates from the side panels. As with any amplifier, it’s important to place it in a well-ventilated and open area to ensure proper cooling.

About Technical Specifications of Amplifiers

There’s so much discussion online about technical specifications, like “How many watts do I need?” It’s easy to get lost among the various measurements and methods of testing. How is it possible that there are 500W per channel amplifiers costing 20,000 shekels, while here we have an example of an ultra-high-end amplifier with a modest output of just 30W per channel? Does this mean it can only drive highly sensitive speakers? Well, we tested the amplifier with the Zellaton Plural Evo speakers, which have a high sensitivity of 92dB but an impedance of 4 ohms. Not once did we feel there was a lack of power; the sound was big, expansive, and completely effortless. So, I’m confident that this amplifier can drive less sensitive speakers without any issues.

My advice on this topic is always to listen to the sound for yourself, as matching and sound character are things that are very difficult to determine from technical specs alone.

The Listenning Test

To evaluate the sound performance of the Engström ARNE amplifier, it was connected to a system that included Zellaton Plural Evo speakers, the MSB Reference DAC, and the Antipodes K50 music server as the source. Power cables were Shunyata Sigma Omega, connected to a Shunyata Everest power distributor. Speaker cables and interconnects were Echole Limited Edition. The tracks were streamed from Tidal via Roon.

I chose to start the test with the energetic pop-rock track “Song for Sybil” by the Norwegian band Minor Majority. I picked this track to see how the amplifier handles dynamics, bass, and energy, and the result was jaw-dropping. The ARNE creates the feeling of being at a live performance, thanks to its expansive and incredibly natural sound. This sensation stayed with me throughout the test.

The vocals were delivered with exceptional smoothness and excellent centering, while the separation between the bass and vocals was outstanding. The bass was deep and punchy, the sound full-bodied and soulful. The dynamics were conveyed effortlessly, with the amplifier urging us to turn up the volume more and more. At every level, it maintained an extraordinary balance and energy.

Throughout the test, we listened at higher volumes than I usually do because the amplifier, speakers, and room acoustics kept demanding more power. The guitar solo at the end was simply mesmerizing, with the guitar isolated and the distortion rendered with such precision and detail. All this energy was wrapped in a smooth and natural delivery.

As you can see, it was clear to me after the first track that I was listening to something exceptional, but what followed took it even further. Next, I moved on to two ballads that I particularly love. The first was a folk/Americana ballad called “On The Run” by Robert Ellis from the album “Yesterday’s News”. I intended to focus on every detail in this song, but with the Engström ARNE, that’s simply impossible. Half a minute into the track, my eyes closed on their own, and this magical Swedish amplifier transported me to a private performance by Robert.

Robert’s vocals are almost whispered in this song, but through the ARNE, you can hear every detail, down to the sound of his breath. The whisper is completely separated from the guitar. The sound is immense, filling the entire room with Robert’s voice and his acoustic guitar. Despite the power and presence of the sound, the smoothness and naturalness of the ARNE and the entire system make it feel as though the equipment disappears, and what is left is only the music.

I had a similar experience with the rock-blues ballad “Begging” by Norwegian guitarist and bluesman Bjørn Berge. The Engström ARNE’s ability to deliver deep, gritty vocals alongside a powerful guitar is so natural and moving that I couldn’t avoid using a word I usually try to steer clear of: “perfection.”

To dial down the excitement a bit, I switched to a genre I’m usually less drawn to: electronic music. I chose the short piece “Intervals” by Boris Blank. Here, the system showcases its impressive ability to reproduce details and precisely position elements, along with tight and punchy bass that feels controlled. Despite the technical nature of this music, the system’s accurate delivery makes it suddenly feel full of soul.

Next, I moved on to two jazz tracks, starting with a contemporary jazz piece that blends elements of ambient music. The track is “Last Breath” by the British jazz group GoGo Penguin, from their new album “Everything Is Going to Be OK”. This short piece features a deep bass layer, which the ARNE reproduces with both power and depth, while maintaining fantastic detail. Every small nuance in the bass layers is easy to hear. The instrument separation here is simply absolute, not because it’s exaggerated, but because it retains a natural and smooth feel.

A much more classic jazz piece I chose is “9 jours avec Leila” by the wonderful trumpeter Ibrahim Maalouf. The piano is rich and deep, providing a solid foundation for the trumpet, which sounds smooth and precise. Every subtle shift in Ibrahim’s tone is conveyed with remarkable clarity and naturalness. There is a beautiful balance between the deep bass, the piano, and the trumpet.

The final part of the test involved some of the best female vocalists in the world. First up was another jazz track, “The Girl in the Other Room” by Diana Krall. Here, Diana’s voice, with its depth and nuances, fills the entire stage. The piano is rich and detailed, while the bass is soft and soothing.

Eva Cassidy’s cover of “Ain’t No Sunshine” was another standout moment in the test. Once again, it was a blend of moving vocals and acoustic guitar. The completely quiet background greatly contributes to the sense of realism, clarity, and naturalness.

I chose to end the test with Melody Gardot’s version of “Your Heart Is As Black As Night”. Melody’s vocal is unique, with a simultaneously sweet and rough quality, and the Engström ARNE conveys it with an airy, deeply emotional presence. Every subtle shift in Melody’s singing is clearly rendered, showcasing a wonderful and completely natural micro-dynamics.

After completing the test, while we were chatting, I played Mark Knopfler’s rock ballad “Slow Learner” at an extremely low volume. Even while talking and at such a low level, the sound was vibrant, engaging, and particularly pleasant.

?Is There Still a Place for ‘Classic’ Audio Components

About 15 years ago, when I first became interested in the audio world, there was a recurring saying I heard: “In audio, the more you pay, the less you get”. The meaning is that in high-end audio, every function is expected to be performed by a dedicated device—like a separate DAC, preamp, etc. At that time, all-in-one devices were considered “lifestyle” products that were not taken seriously. We’ve come a long way since then, and today there are all-in-one amplifiers, even with streaming capabilities, that are considered legitimate ultra-high-end products.

So, does an integrated analog tube amplifier, without a DAC or streamer, still have a place in modern audio? It’s not an easy question, as modern consumers are looking for systems with fewer boxes and more capabilities. So why would someone still want an analog tube amplifier? The answer, of course, is the sound. If what matters most to you is closing your eyes and feeling like your favorite singer is right in front of you, then the Engström ARNE might be the amplifier for you.

In other words, for those audiophiles who prioritize achieving the highest sound quality, there is still absolutely a place for analog audio components like the ARNE.

Summary

The Engström ARNE is a luxurious analog tube integrated amplifier, designed and built according to Scandinavian minimalist philosophy. Its ease of use and functional precision are, to me, a work of art. Despite being a large amplifier, it seems to do everything it can to avoid drawing attention to itself, as if saying, “I’m not the focus here.”

This philosophy extends to the sound of the Engström ARNE as well. During playback, it simply disappears, taking the entire system with it, so that all that remains is the music, which seems to surround the listener from all directions, creating a powerful, unique, and emotional experience.

Price: 125,000 ILS
Warranty: 3 years on the amplifier and 1 year on the tubes

The system used for the review:
Music Server: Antipodes k50
DAC: MSB Reference DAC
Speakers: Zellaton Plural Evo
Power Distribution Block: Shunyata Research Everest
Power cables: Shunyata Research Sigma Omega
Interconnects and Speaker Cables: Echole Limited Edition