The volume attenuation section is followed by two "gain stages" or voltage amplifiers per channel. This involves a discrete circuit designed by Audio Flight with current feedback, operating in Class A mode. The voltage amplification stage is housed in an aluminum enclosure and is encapsulated with epoxy resin for reasons of thermal stability of all components. A large aluminum plate serves for heat removal. The subsequent, very low-noise output stage, also works in Class A mode. Due to its high current supply capability, it is said to be capable of driving any existing power amplifier, and was put into practice with MOSFET transistors, after having tested circuits with EXFET and bipolar transistors in long listening sessions. The fact that each of the two stereo channels is accommodated on its own printed circuit board, that the conductor tracks feature a particularly thick copper layer, and that grounding and voltage conductors are executed as copper rails, does not really surprise at all in view of the previously described elaborate solutions.

Even though this Strumento n°1 mk2 has already been played at some trade fairs, I offered it a week or two of refreshment on the grid to acclimatize in my listening room. In the meantime, I became familiar with its operation. After pressing the "Set" button, the level of each input can be varied by plus/minus 6dB in order to avoid volume jumps when switching between the inputs due to sources providing different output levels. In the next menu item, the inputs 1 and 2 have to be defined as balanced or unbalanced. Under "Direct" you are able to deactivate the volume control for an input of your choice destined for the operation of the Strumento n°1 mk2 in a multi-channel system—but who, for goodness sake, wants to ever connect such a fine high-end preamplifier to a home cinema system? The next step is "Edit," which offers the possibility to name the inputs individually. "Link" takes care of the configuration of trigger voltages, in order to switch other components in the audio system on or off together with the preamplifier. "Default" restores the factory settings. Last, but not least, you get the version number of the firmware displayed.

The display of the Strumento n°1 shows "DAVE," and I click through the relevant songs stored on the Melco's hard disks, which the Chord DAVE then provides as an analogue signal to the Audia Flight. However, with Muddy Waters' album Folk Singer, which was re-released by MFSL almost a quarter of a century ago, I rest quite a bit longer: a voice, two guitars, a bass and a minimalist drum set—really not that big challenge for a high-quality audio system. And yet I am struck by what the Strumento n°1 gets out of this well-known record. Initially there is this large, brightly illuminated recording studio, added by the sometimes mellifluous, sometimes explosive voice. The vigorously picked guitar strings pounce with a rarely heard vehemence. Willie Dixon's double bass mumbles along as usual due to the recording conditions, but rhythmically it still delivers with propulsion. And when now and again Clifton James kicks his bass drum; this happens with lots of pressure. Dynamics, speed, and clarity get combined by the Strumento n°1 with enthusiasm and vibrancy in an exceptionally harmonic way—and that without a single trace of cold analytics! Over the years, I am more and more weaned off associating design features or the technical data of a component with the sound impressions that I experience. But here the correlation between the preamp's short rise time and the playback's dynamics is virtually imposing. In any case, Einstein's The Poweramp and, without missing the slightest bit, the Kawero! Classic, are inspired by the output of the Audia Flight to new dynamic heights.