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The KALA 21 uses a single custom computer for both Server and Player apps. The Server/Player computer is derived from the Player computer in the KALA 50 but with increased processing resources. The medium-power Server/Player computer controls what is played and allows you to play over your network to multiple end-points, and to the DAC in your main system by USB.   ...[more]

The KALA 22 uses a single custom computer for both Server and Player apps. The Server/Player computer is derived from the Player computer in the KALA 50 but with increased processing resources. The KALA 22 outputs are the same as for the KALA 50, except that Ethernet streaming to your DAC is over your network (the KALA 50 and KALA 41 additionally provide Direct Streaming). The medium-power ...[more]

  The KALA 41 is a powerful Server-Only device, optimised for running Server apps, and performing at the same level as the Server engine in the KALA 50. This quality level of Server running the Server app will add layers of additional musical insight, and will prove indispensable in any high-end audio system.   The Server engine is the heart of any computer audio system, m...[more]

The KALA 50 uses a custom computer designed for Server Apps and another designed for Player Apps, and multiple cascaded processing stages. The Server engine provides a high-power buffer and signal generation stage. Turning a file or a chaotic internet stream into a well-timed stream is managed by Server apps and benefits strongly from a high level of processing resources. The Player engine ...[more]

The Oladra employs premium parts throughout and multiple computing and processing stages. The Oladra uses a unique custom computer optimised for Server Apps and another optimised for Player Apps. Multiple cascaded processing stages then create a signal with high-bandwidth and virtually zero noise below the bitrate, which ensures that the timing of binary data transitions are precisely d...[more]

The market for multichannel power amplifiers is crowded, competitive and compromised. Most conventional designs have shortcomings in terms of size, heat, or, most importantly, sonic performance. Audio Research has waited to enter this market until the technology to break through these compromises was fully developed. That time has come.The 150M is unlike any previous amplifier design you have seen...[more]

The CD3 has been a remarkable success since its introduction two years ago, clearly demonstrating how much musical information is buried in compact discs. In the face of emerging formats, the CD3 has proved that the billions of redbook discs in circulation remain vital in high resolution music systems. So why change such a good thing? Because the MKII retains the inherent musicality of the origina...[more]

Since its introduction in 1999, the LS16 has been a best-seller, combining a relaxed, engaging musicality with good flexibility and connection options. So why change a good thing? Well, the enhancements introduced in the Mark II versions of both the Reference 2 and LS25 have proven so popular that we feel it is time to incorporate many of the same technological improvements into the LS16MKII.Funct...[more]

Its purpose is to provide the differential signal for true balanced operation, a first for this series. With both balanced and single-ended inputs (switch selected), the VM220 will be compatible with every Audio Research preamplifier. In addition, the VM220 uses a super-wide-bandwidth output transformer to provide better frequency extension, explosive musical dynamics, and more powerful bass ex...[more]

The chassis, circuit layout and feature set of the VS110 are almost identical to the VS55, but scaled up to accomodate the greater power output. The chassis itself measures 17 1/2" W by 19" D, and features an anodized, natural-finish top plate labeled with tube location/type, output-tube bias access points and the inset Audio Research logo. The chassis front holds a rocker-style power switch and g...[more]