CANOR HYPERION P1 PREAMP
The Canor Virtus / Hyperion combo reminds me of great American tube technology when adjusted appropriately. It has almost inexhaustible power reserves and makes Tool‘s insane album „Fear Inoculum“ a feast of music listening via the gut, perfectly preserves stability and balance even at extremely excessive SPL levels, and always sounds rhythmically convincing, colorful, and authentic !
Holger Barske | 2022
Canor Hyperion P1
Reference Tube Line Preamplifier
Gain / 11 dB / XLR Out
Bandwidth / 10 - 80 000 Hz ± 0,1 dB
The attenuator is located in the special aluminum box (10 mm thick walls) which provides perfect shielding and thanks to the special design it also absorbs the vibrations.
The Hyperion P1 is a Class-A preamplifier and was designed to avoid ANY global feedback.
The attenuator, as well as the electronic part, are installed on anti-vibration pads (columns) which contributes to the overall elimination of vibrations.
The analogue part is separated from the power part by a solid aluminium wall (10 mm thick) which contributes to the elimination of interference.
the attenuator control is galvanically separated via optical drivers.
11 dB (XLR)
< 150 Ω
10 – 80 000 Hz ±0,1 dB
< 0,005% (1 kHz, 2 V RMS) XLR
< 0,3 % (1 kHz, 49 V RMS) XLR
Signal to Noise Ratio
> 115 dB (20-80kHz)
4x XLR, 5x RCA (1 x Fix.out)
4 x 6922 / 2 x 6H30pi
450 x 190 x 465 mm
What they say ...
Olaf Storm | January 2023
The Class A circuit of the Hyperion P1 does not require an over-all negative feedback. Defined mains filters are used to ensure that no interference can break through from the mains to the signal part. The potentiometer responsible for regulating the volume is surrounded by one centimeter thick walls, which on the one hand are intended to provide electrical shielding and on the other hand have a vibration-inhibiting effect. The latter runs like a red thread through the entire construction: Nothing must vibrate, and microphony must not even become an issue. Symbolic of this are the dampers, which are mounted on a total of six tubes (4 x 6922, 2 x 6H30PI). Nine high-level inputs, four of which are XLR versions, The preamplifier offers two symmetrical and one analogue output. The power amplifiers can be switched on automatically via a trigger output.
How consistently the attention to sound quality is taken to the extreme at Canor can also be seen from the fact that the power amplifier does not have a single-ended RCA input. The circuit is fully symmetrical / balanced, and if it were to be driven with an asymmetrical signal, i.e. RCA, this would have a negative impact on the sound ... which is why Canor dispensed with this option altogether.
Our Respects !! ... not all designers have that much courage.
The Virtus M1's filter capacity on the mains supply input is 3,900 microfarads, which largely eliminates the need for an external mains filter. Furthermore, there is a choke under the welded cover, which effectively suppresses the anode voltage ripple. Four KT150 tubes, two ECC82 and a 12AX7 provide the remarkable power of 110 watts at an impedance of eight ohms. Incidentally, it is absolutely necessary to mention that both the preamplifier and the power amplifier were free of any hum or noise disturbances over the entire duration of our tests. This issue, which otherwise often tarnishes dealing with tube devices, is totally absent with the Canor Audio components.
Finally, the Hyperion and Virtus are also delivered with special solid spikes. Installing these involves removing the felt pads under the device's feet. This exposes threaded holes into which the spikes are inserted. Special spike shoes are supplied to protect sensitive surfaces.
We start our listening test with the Cologne musician Kai Otten whose album "Camper Mode" is often classified under "Easy Listening". This album's Prelude track brought forth gently ephemeral piano sounds and a deep bass, followed by filigree string-play on the guitar. It should be noted that the finest details and the maximum precision is achieved after insertion of the above-mentioned special spikes.
These monos deliver the right amount of punch in ultra-linear mode with negative feedback activated. The perception of the large space created by the reverberation is wonderful.
The pianist Michael Wollny, has in recent years become an international great in the jazz scene. His album »Ghost« is one of the best recordings of the past year. "Monsters Never Breathe" is characterized by the soulful playing of bowed cymbals, which carries the chords of the piano. While the smaller Canor AI 2.10 integrated amplifier manages to convey a convincingly "deliberate mood", It is absolutely amazing to experience how the Hyperion and Virtus combo's sheer sovereignty bring the acoustic events to "life".
This Jazz trio recording bursts with musicality.
In search of the setting
In view of this inspiring performance, we had almost forgotten the possibility of influencing the sound via the triode / UL settings. Next up was »Heart Beats« by the Adam Baldych Quintet, a piece that sounded much more intimate and emotionally moving in triode mode. Yet, in triode mode, some of that fascinating resolution that the Ultra Linear mode brings is lost ... but we had to concede that the silkiness of the tones in the "Triode" setting was addictive. Here, It's not primarily about individual instruments sounding different, but about the mood of the music as a whole. This is comparable to the difference between experiencing a concert with 50, or with 5,000, other people. Both have their appeal, and with the Virtus M1 / Hyperion P1 pairing you can choose one of the two presentations, depending on your mood.
The film music of »The Transformers« is completely unsuitable for the triode mode, because here a powerful driving energy unfolds in the lower octaves, regardless of the fact that the many wind instruments outshine the performance. What the notion of »epic« means becomes clear at the end of the track when the big choir comes in. Any fears we had that the tubes could "choke", turn out to be unfounded ... even with power-hungry speakers like the Wilson Benesch Discovery 3zero. In this set up, the XLR cable was also changed from QED to HMS, which rewarded the Wilson Benesch with a more generous reproduction of the stage. Once these adjustments are in place, anyone who hears Miles Davis' trumpet will never forget the experience.
This is sound culture at the highest level !
With Canor's PH 1.10 in the system, even ZZ Top's "rockers" don't manage to push the Canor Trio to their limits. The music now comes from vinyl, reproduced by the Transrotor Massimo Nero turntable fitted with the TRA Studio arm and MC Merlo Reference cartridge. On »Brown Sugar« the musical events start out with a slow "grind". Then the piece explodes - and the Slovakian amps simply stand unflappably like a rock in the surf. We have, of course, we've experienced similar "power from the groove" with other amplifiers, but it is simply fantastic how this Canor-Trio draws us into this music. The sound is downright dirty ... real dirty - just as it should be with this type of guitar character. We know of very few other amplifiers that deliver this superior level of sound.
Holger Barske | 2022
"Reference Level Tubes"
Please see the link to the full review in English below
Take a listen ...
Canor Audio Virtus M1 System
In very good company with
Vivid Giya G2 speaker
Sedona / Ralf Illenberger
Video courtesy of Bratislava
Hi-End Show 2022