In the AMR-150 amplifier, driver (JFET) and terminal (MOSFET, current over 150 A) cascades are placed on separate boards and receive independent power supply. The microprocessor provides protection against overheating, inrush current and DC-component. The model implements hybrid cooling through radiators and fans with automatic adjustment of the operating mode depending on the temperature. The device achieves optimal working conditions approximately two hours after switching on, but this time can be reduced to 15 minutes by resorting to accelerated heating of the circuit (the Heat button on the front panel, the “green flame” icon on the “clock”). Electronics is equipped with an excellent aluminum remote control, which is enough to control the two components.
In the perception of music, two aspects can be distinguished: sensual (emotional) and mental (mental), and both of them are present during any listening, but each time in a specific proportion. The system of Gato Audio components gives more food to the mind than the listener's heart, as if redistributing psychic energy through leveling sensual and enhancing mental communication and directing attention to deep architectural features,details and nuances of music. This feature, which is expressed in a certain emotional coldness, slight detachment, and a certain simplicity of sound, in general, in my opinion, is characteristic of the Danish (and, more broadly, Scandinavian) Hi-Fi and High End schools. Noteworthy is the dependence of the sound of the Gato Audio system on the degree of heating of the electronic components - primarily the amplifier. At first it is perceived as defocused, and then over time it slowly falls into place, just like someone, slowly rotating the ring of the sound “lens” (association with the camera), gradually brings the details of the image to optimum clarity with a considerable depth of field. Just then the green flame icon on the display goes out.
The system deeply and with high clarity displays the vertical structure of musical matter, without losing the structural elements and without distorting the volume and spatial balance between them. From the outset, you pay attention to the complete absence in the sound of the veil, any clouding. Leaves no place for criticism and tonal balance - the spectrum of the piano was transmitted very carefully. The coloristic side (timbres) and the so-called air were somewhat less impressive.Both the microdynamic pattern and the large relief were thoroughly tested: sound elevations and sharp peaks in different recordings.
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