At Octave, we regularly receive feedback from music lovers and experienced audiophiles who compare their trusted system with an Octave amplifier – and are then surprised. Often, this creates a special bond: with the sound. With the transparency, the control, the musicality.
Once you've heard Octave, it's hard to go back.
This was the case with Patrick from the Netherlands, who put our HP 300 SE tube preamplifier in direct comparison with two true legends: the Audio Research SP11 and the Krell KRS 2.
What follows is an in-depth, honest, and passionately written review. No marketing, no assumptions – just the ear, the experience, the music.
We're pleased to share Patrick's full review with you here – because sometimes a listener's voice speaks louder than any spec sheet.
Expectations and Setup:
The excitement grew as I saw the box in the hallway: an Octave HP 300 SE preamplifier! Alongside this new addition were two legendary preamps: the Audio Research SP11 and the Krell KRS 2, both once absolute reference devices in the high-end realm. I waited for the perfect moment to compare these three. The conditions were ideal: my girlfriend was out, the cats were asleep, the John Curl Parasound JC1 power amps were warmed up, and the JM Lab Utopia speakers (the originals, not from Focal) were optimally positioned. Let the test begin!
First Listening – The Reference Setup:
Naturally, I wanted to first hear how my current setup sounded. I had prepared a list of ten reference tracks—a mix of classical, jazz, pop, and modern electronic music. The foundation of my current chain is the Eversolo DMP-A8, which I use not as a DAC but as a Roon endpoint. The digital signal goes to the DCS Puccini Clock and the Scarlatti DAC, whose preamp stage sounds incredibly musical and natural. Numerous external preamps—including models from Mark Levinson and Pass Labs—have been in my rack, but the combination of DCS DAC and preamp has always been sonically superior. Transparent interconnects connect the DAC to the JC1 power amps, which operate in Class A mode, delivering 25 watts per channel—600 watts in Class AB.
The Familiar Sound – and the Desire for More:
The first notes filled the room—the familiar, natural sound was immediately present. From the deepest bass to the highest highs, everything was harmonious, without unpleasant peaks or dips. The music detached wonderfully from the speakers and created a realistic stage in front of the listener.
But why try something else at all? Because a true audiophile is always seeking more. Once you've heard high-end, you know: it's an addiction. The curiosity about what's sonically possible, the desire for even more goosebumps, emotion, live feeling, and musical depth drives you further. You want to be completely immersed in the music.
The first test candidate was the Audio Research SP11. The difference from the reference setup was immediately audible: a warm sound, an inviting atmosphere, like in a small jazz or blues club. Particularly impressive was the spaciousness—in width and depth! "This is it," I thought, "I'm convinced." But when switching back to my original setup, it became clear: yes, the atmosphere was a bit more sober, but the localization of instruments was more precise. The stage remained impressive, but the sound was clearer and airier.
Krell KRS 2 – Powerful Bass & Fine Highs:
Then the Krell KRS 2 came into play. Suddenly, the bass was tangible—physically present and with enormous tension in the music. The depth effect increased further, the treble was fine and detailed. "This is serious," I thought and let the Krell play all evening. But the longer I listened, the more I felt something was missing. Despite all the sonic quality, I missed the liveliness—as if there was a slight veil over the sound. Back in the reference setup, everything was open, lively, and free again.
Octave HP 300 SE – Welcome to the Present:
Now it was the Octave HP 300 SE's turn. I let it warm up for an hour with a radio station. The tubes were already glowing nicely—unfortunately not visible from the outside, as they're built inside and the cover isn't transparent. I set the gain to "Mid," which matched perfectly with the power amps. Then I played my reference tracks again.
"Wow!" I thought, "Welcome to modern times!" The music completely detached from the speakers, the sound image came much more directly towards me. I was fascinated by the almost tangible representation of the instruments. Voices stood precisely in the center, in front of the instruments—just as it should be. The sound was intimate, yet with a size and presence I hadn't thought possible. Was I really still hearing the same speakers?
Dynamics & Transparency – Conclusion on the Octave:
This preamplifier has enormous dynamics. Especially with classical music, it was almost frightening how gentle passages transitioned into monumental volume surges. My conclusion: the Octave holds nothing back—it's a perfectly transparent sound tool! Honest, neutral, and dynamic. At the same time, it conveys, in delicate, personal pieces—like "If You Go" by Shirley Horn—the feeling that she's singing just for me alone in my living room.
The Octave definitely plays an octave higher—and the box is now one floor higher... and it's staying there!
